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[Illustration: (cover)]
[Illustration]
MODERN MAGIC.
_A PRACTICAL TREATISE_
ON
THE ART OF CONJURING.
BY
PROFESSOR HOFFMANN.
_With 318 Illustrations._
WITH AN APPENDIX CONTAINING EXPLANATIONS OF SOME OF THE BEST
KNOWN SPECIALTIES OF MESSRS. MASKELYNE AND COOKE.
Populus vult decipi: decipiatur.
_AMERICAN EDITION._
GEORGE ROUTLEDGE AND SONS
LONDON: BROADWAY, LUDGATE HILL
NEW YORK: 9 LAFAYETTE PLACE
By PROFESSOR HOFFMANN.
PARLOR AMUSEMENTS and Evening Party Entertainments. 516 pages,
107 Illustrations. 12mo, cloth, $1.50.
MODERN MAGIC. A Practical Treatise on the Art of Conjuring. With
an Appendix containing explanations of some of the best known
specialties of Messrs. MASKELYNE and COOKE. 578 pages, 318
Illustrations. Square 12mo, cloth, $1.50.
TRICKS WITH CARDS. (_Condensed from_ “Modern Magic.”) 142 pages,
50 Illustrations. Fancy boards, 12mo, 50 cents.
_For Sale by Booksellers, or will be sent, postpaid, on receipt of
price by the publishers_,
GEORGE ROUTLEDGE & SONS,
9 LAFAYETTE PLACE, NEW YORK.
CONTENTS.
CHAPTER I.
INTRODUCTION.
PAGE
Introductory Observations 1
The Magic Wand 4
The Magician’s Table 5
The Magician’s Dress 8
_Profondes_ 9
_Pochettes_ 9
“Loading” Pockets 9
CHAPTER II.
GENERAL PRINCIPLES OF SLEIGHT-OF-HAND APPLICABLE TO CARD TRICKS.
The Cards 11
To “Make the Pass” 12
To “Force” a Card 21
To Make a “False Shuffle” 23
To “Palm” a Card 27
To “Ruffle” the Cards 27
To “Change” a Card 28
To Get Sight of a Drawn Card 34
To “Slip” a Card 35
To “Draw Back” a Card 36
To “Turn Over” the Pack 37
To Spring the Cards from one Hand to the Other 37
To Throw a Card 38
The “Bridge” 39
CHAPTER III.
CARD TRICKS WITH ORDINARY CARDS, AND NOT REQUIRING SLEIGHT-OF-HAND.
Simple Modes of Discovering a Given Card 42
Various Modes of Disclosing a Discovered Card 44
To Make a Card Vanish from the Pack, and be found in a
Person’s Pocket 46
To place the Four Kings in different parts of the Pack, and to
bring them together by a simple Cut 47
The Four Kings being placed under the Hand of one Person, and
the Four Sevens under the Hand of Another, to make them
Change Places at Command 48
Four Packets of Cards having been formed face downwards on the
Table, to discover the Total Value of the Undermost Cards 49
To Name all the Cards of the Pack in Succession 50
The Cards being Cut, to tell whether the Number Cut is Odd or
Even 51
The Whist Trick. To deal yourself all the Trumps (_see also
page 119_) 51
To allow a Person to think of a Card, and to make that Card
appear at such Number in the Pack as another Person shall
Name 52
The Cards revealed by the Looking-glass 53
To Guess Four Cards thought of by Different Persons 53
The Pairs Re-paired 54
The Magic Triplets 55
Another Mode of Discovering a Card thought of 55
To Guess, by the aid of a Passage of Poetry or Prose, such one
of Sixteen Cards as, in your Absence, has been Touched or
Selected by the Company 56
To Detect, without Confederacy, which of Four Cards has been
Turned Round in your Absence 57
To Arrange Twelve Cards in Rows in such a manner that they
will Count Four in every Direction 58
To Place the Aces and Court Cards in Four Rows, in such a
manner that neither Horizontally nor Perpendicularly shall
there be in either Row two Cards alike, either in Suit or
Value 58
The Congress of Court Cards 59
CHAPTER IV.
TRICKS INVOLVING SLEIGHT-OF-HAND, OR THE USE OF SPECIALLY
PREPARED CARDS.
The “Long Card” 60
_Biseauté_ or Tapering Cards 60
Tricks Performed by the Aid of a Long Card, or _biseauté_ Pack--
A Card having been Chosen and Returned, and the Pack
Shuffled, to produce the Chosen Card instantly in various
ways 62
To Cut at the Chosen Card 62
To Let all the Cards fall, save the One Chosen 62
To Pick out the Card, the Pack being placed in a Person’s
Pocket 62
To Fling the Pack in the Air, and Catch the Chosen Card 63
To Change a Card drawn hap-hazard to the Chosen Card 63
To Divide the Pack into several Packets on the Table, allowing
the Company to stop you at any Moment, and to cause the Top
Card of the Heap last made to Change into the Chosen Card 65
To Teach the Company a Trick which they Learn without
Difficulty; then to allow them to Succeed or cause them to
Fail at your Pleasure 65
To Distinguish the Court Cards by Touch 69
To Name any Number of Cards in Succession without Seeing Them 70
To Make Four Cards change from Eights to Twos, from Black to
Red, etc. 71
A Card having been Drawn and Returned, and the Pack Shuffled,
to make it Appear at such Number as the Company choose 73
The same Trick with several Cards, and by a Different Method 75
The “Three Card” Trick 76
To Nail a Chosen Card to the Wall 77
The Inseparable Sevens 77
The Inseparable Aces 79
Having placed the Four Aces in different positions in the Pack,
to make the two Black change places with the two Red ones,
and finally to bring all Four together in the Middle of the
Pack 80
A Card having been thought of, to make such Card Vanish from
the Pack, and be Discovered wherever the Performer pleases 83
To cause a Number of Cards to Multiply invisibly in a Person’s
keeping 84
The Pack being divided into two Portions, placed in the
keeping of two different Persons, to make Three Cards pass
invisibly from the One to the Other 86
To allow several Persons each to draw a Card, and the Pack
having been Shuffled, to make another Card drawn haphazard
change successively into each of those first chosen 87
To make Four Aces change to Four Kings, and Four Kings to Four
Aces 90
Having made Four Packets of Cards with an Ace at the bottom
of each, to bring all Four Aces into whichever Packet the
Company may choose 91
To Change the Four Aces, held tightly by a Person, into Four
Indifferent Cards 93
The Shower of Aces 97
Several Persons having each drawn Two Cards, which have been
Returned and Shuffled, to make each Couple appear in
Succession, one at the top and the other at the bottom of
the Pack 99
To make Two Cards, each firmly held by a different Person,
change places 101
To change Four Cards, drawn haphazard, and placed on the
Table, into Cards of the same Value as a Single Card
subsequently chosen by one of the Spectators 102
Two Heaps of Cards, unequal in Number, being placed upon the
Table, to predict beforehand which of the two the Company
will choose 103
A Row of Cards being placed Face Downwards on the Table, to
indicate, by turning up one of them, how many of such Cards
have during your absence been transferred from one end of
the Row to the other 104
Several Cards having been freely chosen by the Company,
Returned and Shuffled, and the Pack placed in a Person’s
Pocket, to make such Person draw out one by one the chosen
Cards 106
The Cards having been freely Shuffled, and cut into three or
four Heaps, to name the top Card of each Heap 108
To allow a Person secretly to think of a Card, and, dividing
the Pack into three Heaps, to cause the Card thought of to
appear in whichever Heap the Company may choose 108
To allow a Person secretly to think of a Card, and, even
before such Card is named, to select it from the Pack, and
place it singly upon the Table 110
A Card having been secretly thought of by one of the
Audience, to place two Indifferent Cards upon the Table,
and to change such one of them as the Audience may select
into the Card thought of 111
A Card having been Drawn and Returned, and the Pack shuffled,
to divide the Pack into several Heaps on the Table, and to
cause the Drawn Card to appear in such Heap as the Company
may choose 114
To change a Drawn Card into the Portraits of several of the
Company in succession 115
A Card having been Drawn and Returned, and the Pack shuffled,
to place on the Table six Rows of six Cards each, and to
discover the chosen Card by a throw of the Dice 116
A Card having been withdrawn and replaced, to call it from
the Pack, and to make it come to you of its own accord 117
Mode of Preparing specially adhesive Wax for Conjuring Purposes 118
The Whist Trick. (Improved Method.) To deal yourself all the
Trumps, the three other Players holding the usual mixed
Hands 119
CHAPTER V.
CARD TRICKS REQUIRING SPECIAL APPARATUS.
The Magic Sword. A Card being drawn and replaced, and the Pack
flung in the Air, to catch the chosen Card on the point of
the Sword 121
The Rising Cards.--Several Cards having been drawn, returned,
and shuffled, to make them rise spontaneously from the Pack 125
The Jumping Cards.--Two or three Cards having been drawn,
returned, and shuffled, to make them jump out of the Pack 130
To make a Card stand upright by itself on the Table 132
“Changing” Card-boxes, and Tricks performed with them 134
The Mechanical Card-box 137
The “Card and Bird Box” 138
The Card Tripod 139
The “Torn Card” 139
Mechanical Changing Cards 142
CHAPTER VI.
PRINCIPLES OF SLEIGHT-OF-HAND MORE ESPECIALLY APPLICABLE TO
COIN TRICKS.
Palming 146
Passes 147
Changes 157
CHAPTER VII.
TRICKS WITH COIN WITHOUT APPARATUS.
A Florin being spun upon the Table, to tell blindfold whether
it falls head or tail upwards 159
Odd or Even, or the Mysterious Addition 160
To change a Florin into a Penny, back again, and then to pass
the same invisibly into the Pocket of the Owner 161
To make a marked Florin and Penny, wrapped in separate
Handkerchiefs, change places at Command 163
To make two marked Coins, wrapped in separate Handkerchiefs,
come together in one of them 164
To pull Four Florins or Half-crowns through a Handkerchief 168
To pass a marked Florin (or Half-crown) into the Centre of two
Oranges in succession 170
The Flying Money.--To make a Coin pass invisibly from the one
Hand to the other, and finally through the Table 172
To rub One Sixpence into Three 175
The Multiplication of Money 176
To Make a Marked Sixpence vanish from a Handkerchief, and
be found in the Centre of an Apple or Orange previously
examined 178
The Travelling Counters 180
The Wandering Sixpence 181
CHAPTER VIII.
TRICKS WITH COIN REQUIRING SPECIAL APPARATUS.
The Heads and Tails Trick 182
The Magic Cover and Vanishing Halfpence 183
The Animated Coin, which answers Questions, etc. 185
Appliances for Vanishing Money--
The Vanishing Halfpenny Box 187
The Rattle Box 189
The Pepper-box 190
The Brass Money-box 191
The Brass Box, known as the “Plug-box” 192
The Handkerchief for Vanishing Money 194
The Demon Handkerchief 195
The Davenport Cabinet 195
Appliances for Re-producing Vanished Money--
The Nest of Boxes 197
The Ball of Berlin Wool 198
The Glass Goblet and Cover 199
The Glass without Cover 200
The Miraculous Casket 202
The Half-Crown or Florin Wand 203
The Shower of Money 205
The Vanishing Plate, or Salver 208
The “Changing” Plate 210
The Tray of Proteus 211
CHAPTER IX.
TRICKS WITH WATCHES.
To indicate on the Dial of a Watch the Hour secretly thought
of by any of the Company 213
To Bend a Borrowed Watch Backwards and Forwards 214
The Watch-mortar and the Magic Pistol 215
The “Snuff-box Vase” 217
The “Watch Box” 219
The “Watch Target” 220
The Mesmerised Watch. (To Make any Watch a Repeater) 222
CHAPTER X.
TRICKS WITH RINGS.
The Flying Ring 225
To Pass a Ring from the one Hand to either Finger of the other
Hand 227
To Pass a Ring through a Pocket-handkerchief 228
To Pass a Ring through the Table 228
To Pass a Ring invisibly upon the Middle of a Wooden Wand, the
Ends being held by two of the Spectators 230
The Magic Ball and Rings 231
To Pass a Borrowed Ring into an Egg 233
The Magic Rose 234
CHAPTER XI.
TRICKS WITH HANDKERCHIEFS.
Introductory Remarks 236
The Handkerchief that cannot be Tied in a Knot 237
The Handkerchief that will not Burn 237
The Vanishing Knots 238
To Exchange a borrowed Handkerchief for a Substitute 240
The Locked and Corded Box, and the Washerwoman’s Bottle 241
The Reversible Canister 245
The Burning Globe 246
The Transformed Handkerchief 246
The Handkerchief cut up, burnt, and finally found in a Candle 249
The Shower of Sweets 251
The Feathers from an Empty Handkerchief 254
The Flying Plume 256
The Magic Laundry 258
The Egg and the Handkerchief 260
The “Hand-Box,” for Vanishing a Handkerchief 263
CHAPTER XII.
TRICKS WITH DOMINOES AND DICE.
To Arrange a Row of Dominoes face downwards on the Table, and
on returning to the Room to turn up a Domino whose points
shall indicate how many have been moved in your absence 265
To Allow any Person in your absence to arrange the Dominoes
in a Row, face downwards, and on your return to name
blindfold, or without entering the Room, the end numbers of
the Row 267
To Change, invisibly, the Numbers shown on either Face of a
Pair of Dice 268
To Name, without seeing them, the Points of a Pair of Dice 269
CHAPTER XIII.
THE CUPS AND BALLS.
Introductory Remarks 271
Principles of Sleight-of-hand applicable to Ball Tricks--
To Palm the Ball 273
To Reproduce the Palmed Ball at the End of the Fingers 274
To Secretly Introduce the Palmed Ball under the Cup 275
To Simulate the Action of Placing a Ball under a Cup 276
To Produce a Ball from the Wand 276
To Return a Ball into the Wand 277
To Pass one Cup through Another 277
Burlesque Address to the Spectators 278
Pass I. Having Placed a Ball under each Cup, to draw it out
again without Lifting the Cup 279
Pass II. To make a Ball Travel invisibly from Cup to Cup 281
Pass III. Having placed a Ball under each of the end Cups, to
make them pass successively under the Middle Cup 282
Pass IV. Having placed two Balls under the Middle Cup, to make
them pass under the two Outer Ones 283
Pass V. To pass three Balls in succession under One Cup 283
Pass VI. To place three Balls one after the other upon the top
of one of the Cups, and to make them fall through the Cup
on to the Table 284
Pass VII. To pass three Balls in succession upwards through the
Table into one of the Cups 285
Pass VIII. To pass two Balls in succession from one Cup to
another without touching them 286
Pass IX. To make three Balls in succession pass under the
Middle Cup 286
Pass X. The “Multiplication” Pass 287
Pass XI. To Transform the Small Balls to Larger Ones 288
Pass XII. To again Transform the Balls to still Larger Ones 289
CHAPTER XIV.
BALL TRICKS REQUIRING SPECIAL APPARATUS.
Further principles of Sleight-of-hand applicable to Ball Tricks--
To Palm a large Ball 293
To Vanish a Large Ball with the aid of the Table 294
The Ball Box 295
The Red-and-Black-Ball Vases 296
Morison’s Pill-box 298
The Ball which changes to a Rose 300
The Obedient Ball 301
CHAPTER XV.
HAT TRICKS.
The Cannon-balls in the Hat 304
Multiplying Balls 307
The “Hundred Goblets” from a Hat 308
A Dozen Babies from a Hat 309
The Magic Reticules 309
The Drums from the Hat 310
The Birdcages from the Hat 311
The Cake (or Pudding) in the Hat 312
The Welsh Rabbit 313
CHAPTER XVI.
MISCELLANEOUS TRICKS.
The Cut String Restored 317
My Grandmother’s Necklace 320
The “Bonus Genius,” or Vanishing Doll 321
The Dancing Sailor 323
The Bottle Imps 324
The Vanishing Gloves 325
The Egg Bag 326
To Produce Eggs from a Person’s Mouth 329
The Pillars of Solomon, and the Magic Bradawl 330
The Magic Coffers 333
The Bran and Orange Trick 335
The Rice and Orange Trick 337
The Magic Whistle 341
The Magic Mill 342
Pieces of Apparatus of General Utility--
The Drawer-Box 343
The Dissecting Drawer-Box 346
The Changing Card-Drawer 347
Changing Caddies 348
The Magic Vase and Caddy 351
The Cover, to pick up and replace any Article 355
The Changing Cover 356
The Changing Ladle 358
The Cone, or Skittle 360
The Cone and Bouquet 364
The Flying Glass of Water 367
The Bowls of Water and Bowls of Fire produced from a Shawl 371
The Bowl of Ink changed to clear Water, with Gold Fish swimming
in it 372
The Inexhaustible Bottle 373
The Bottle and Ribbons 376
The New Pyramids of Egypt, or Wine and Wafer Trick 377
The Mysterious Funnel 379
The Box of Bran transformed to a Bottle of Wine 380
The Bran Bottle 382
The Bran Glass 383
To Fire Borrowed Rings from a Pistol, and make them Pass into
a Goblet filled with Bran and covered with a Handkerchief,
the Bran disappearing, and being found elsewhere 384
The Domino-Box (sometimes called the Glove-Box) 386
The Coffee Trick 388
The Inexhaustible Box 391
The Japanese Inexhaustible Boxes 393
The Feast of Lanterns 395
The Butterfly Trick 397
The Wizard’s Omelet 398
The Rose in the Glass Vase 400
The Chinese Rings 401
The Charmed Bullet 409
The Birth of Flowers 411
The Mysterious Salver 416
The Vanishing Die 419
The Die Dissolving in a Pocket Handkerchief 420
The Die and Orange 423
The Vanishing Canary Bird and Cage 424
The Crystal Balls 426
The Flags of all Nations 432
The Umbrella Trick 433
The “Passe-Passe” Trick 435
CHAPTER XVII.
STAGE TRICKS.
The Tables in use in Stage Tricks 437
The “Plain” Trap 437
The “Wrist” or “Pressure” Trap 438
The “Rabbit” or “Dove” Trap 441
“Changing” Traps 442
The “Money” Trap 445
“Pistons” (for working mechanical apparatus) 447
“Bellows” Tables 449
The Rabbit Trick 452
The Fairy Star 454
The Card Bouquet 457
The Demon’s Head 458
The Magic Picture Frame 463
The Flying Watches and the Broken Plate 465
The Magic Picture and the Chosen Cards 467
The Magic Portfolio 468
The Glove Column 469
The Vanishing Pocket-handkerchief, found in a Candle 470
The Sphinx 471
The Cabinet of Proteus 475
The Indian Basket Trick 477
Electrical Tricks 480
The Light and Heavy Chest 482
Spirit-Rapping 485
The Magic Bell 486
The Crystal Cash Box 487
The Magic Drum 492
The Aërial Suspension 495
CHAPTER XVIII.
CONCLUDING OBSERVATIONS.
Hints as to Working up Tricks 502
Arrangement of Programme 505
Stage Arrangements 508
Parting Counsels 510
APPENDIX.
CHAPTER I.
Introductory 515
CHAPTER II.
KEMPELEN.
Kempelen’s Speaking Figure 522
Its Construction 523
Houdin 524
His Talking Figure 524
The Magic Harlequin and its Construction 524
The Magic Clock 526
The Performing Clown 526
The Cook of the Palais Royal 526
The Orange and Rose Trees 527
Electric Bell and Drum 528
Suspension in the Air 528
CHAPTER III.
THEODIN.
Theodin 530
Robin and Anderson 530
The Magic Windmill 530
Anderson’s Old Man 531
Col. Stodare’s Living Head 531
Pepper and Tobin 532
Proteus; or, We’re Here and Not Here 532
Fatima 534
CHAPTER IV.
AUTOMATA: PSYCHO.
Automaton of Messrs. Maskelyne and Cooke 536
Psycho and its Imitators 536
Zoe 539
Fanfare 540
CHAPTER V.
MARIONETTES.
Taking a Man to Pieces 542
The Living Marionettes 543
CHAPTER VI.
CLAIRVOYANCE.
Clairvoyance, or Second Sight 545
The Clairvoyance of the Superstitious Ages and the Clairvoyance
of the Day 546
Questions and Answers 547
The Reading of Concealed Writing 549
The Addition of Unseen Figures 550
CHAPTER VII.
SPIRITUALISM.
Spiritualism 551
Mediums and their Pretences 552
Their Tests 552
Various Tying Tests 552
The Sealed Accordion 553
Floating in the Air 554
Floating Tambourines, Guitars, etc. 555
The Spiritual Musical Box 555
Writing on the Ceiling 556
Invisible Writing 556
The Floating Table, etc. 557
CHAPTER VIII.
PARLOR MAGIC.
Parlor Magic 558
A Surprise 559
Indian Sand Trick 559
The “Q” Trick 560
The Bleeding Thumb 560
The Marked Florin in Oranges 560
The Chinese Pictures 561
Bautier’s Great Ink-and-Water Trick 562
Carrying Fire in the Hands 563
[Illustration]
[Illustration]
MODERN MAGIC.
CHAPTER I.
INTRODUCTION.
Considering the great antiquity and the unfading popularity of the
magic art, it seems at first sight a matter of wonder that its
literature should be so extremely scanty. In England, in particular,
is this the case. Until within the last few years it would have been
difficult to name a single book worth reading upon this subject, the
whole literature of the art consisting of single chapters in books
written for the amusement of youth (which were chiefly remarkable for
the unanimity with which each copied, without acknowledgment, from its
predecessors), and handbooks sold at the entertainments of various
public performers, who took care not to reveal therein any trick
which they deemed worthy of performance by themselves. Upon a little
consideration, however, the scarcity of treatises on “White Magic” is
easily accounted for. The more important secrets of the art have been
known but to few, and those few have jealously guarded them, knowing
that the more closely they concealed the clue to their mysteries, the
more would those mysteries be valued. Indeed, the more noted conjurors
of fifty years ago strove to keep the secret of their best tricks
not only from the outside world, but from their _confrères_. At the
present day the secrets of the art are not so well kept; and there
is hardly a trick performed upon the stage which the amateur may not,
at a sufficient expenditure of shillings or guineas, procure at the
conjuring depôts. There being, therefore, no longer the same strict
secresy, the literature of magic has improved a little, though it still
leaves much to be desired. The general ambition of compilers seems
to be to produce books containing nominally some fabulous number of
tricks. In order to do this, they occupy two-thirds of their space with
chemical and arithmetical recreations, and, as a necessary result, the
portion devoted to conjuring tricks, properly so called, is treated so
briefly and scantily as to be practically useless.
There is a vast difference between telling how a trick is done and
teaching how to do it. The existing treatises, with few exceptions,
do the former only. The intention of the present work is to do the
latter also; to teach sleight-of-hand generally, as well as particular
tricks; and to conduct the neophyte from the very A B C of the magic
art gradually up to those marvels which are exhibited on the public
stage. The student may rest assured that, if he will diligently follow
the instructions here given, he will be able in due time, not merely
to astonish his friends _extempore_ with a borrowed coin or pack of
cards, but to roll two rabbits into one, compel chosen cards to rise
spontaneously from the pack, produce lighted lanterns from empty
hats, and bowls of gold-fish from empty pocket-handkerchiefs; in a
word, to execute all those wonders which he has hitherto deemed the
exclusive property of the public performer. There are, of course,
different degrees of natural aptitude. “_Non cuivis hominum contingit
adire Corinthum._” It is not every one that can be a Robert-Houdin or
a Buatier, but, given the usual number of fingers and thumbs, fair
intelligence, and a sufficiency of perseverance, any one who will
may become at least a tolerable conjuror. Be it remembered, that we
especially stipulate for _perseverance_. A wizard is not to be made in
a day, and he who would attain excellence must be content to proceed
as he would with music, drawing, or any other accomplishment--viz.,
begin at the beginning, and practise diligently until he attains the
coveted dexterity. The student need not, however, wait the termination
of the somewhat formidable course of study we have indicated, before he
begins to astonish his friends; on the contrary, there are numerous
tricks requiring very little manual dexterity, which are yet, if neatly
performed, brilliant in effect. These simpler tricks, for which we
shall give full instructions, will supply the beginner, even at the
outset, with a fair programme, which he may from time to time enlarge
as he feels able to undertake more elaborate illusions.
The first rule to be borne in mind by the aspirant is this: “_Never
tell your audience beforehand what you are going to do._” If you do
so, you at once give their vigilance the direction which it is most
necessary to avoid, and increase tenfold the chances of detection. We
will give an illustration. There is a very good trick (which will be
described at length hereafter) in which the performer, after borrowing
a handkerchief, gives it to some one to hold. When it is returned, it
proves to be torn into small pieces. It is again handed to the holder,
who is instructed, in order to restore it, to rub it in a particular
manner; but when again unfolded, it is found in a long strip. These
effects are produced by successive adroit substitutions, and the whole
magic of the trick consists in the concealment of the particular moment
at which each substitution is effected. Now, if you were to announce to
the audience beforehand that you were about to cause the handkerchief
to appear in several pieces, or in a long strip, they would at once
conjecture that the trick depended on an exchange, and their whole
vigilance being directed to discover the moment of that exchange,
you would find it all but impossible to perform the trick without
detection. If, on the other hand, you merely roll up the handkerchief,
and ask some one to hold it, the audience, not knowing what you are
about to do, have no reason to suspect that you have handed him a
substitute; and when the transformation is exhibited, the opportunity
of detection will have already passed away.
It follows, as a practical consequence of this first rule, that _you
should never perform the same trick twice on the same evening_. The
best trick loses half its effect on repetition, but besides this, the
audience know precisely what is coming, and have all their faculties
directed to find out at what point you cheated their eyes on the first
occasion. It is sometimes hard to resist an _encore_, but a little tact
will get you out of the difficulty, especially if you have studied, as
every conjuror should do, the variation and combination of tricks.
There are a score of different ways of vanishing a given article, and
as many of reproducing it; and either one of the first may be used
in conjunction with either of the second. Thus, by varying either
the beginning or the end, you make the trick to some extent a new
one. The power of doing this readily is very useful, and among other
advantages will enable you to meet an _encore_ by performing some other
trick having some element of similarity to that which you have just
completed, but terminating in a different and therefore unexpected
manner.
The student must cultivate from the outset the art of “talking,” and
especially the power of using his eyes and his tongue independently of
the movement of his hands. To do this, it will be necessary to prepare
beforehand not only what he intends to _do_, but what he intends to
_say_, and to rehearse frequently and carefully even the simplest
trick before attempting it in public. It is surprising how many little
difficulties are discovered on first attempting to carry into effect
even the clearest written directions; and nothing but practice will
overcome these difficulties. The novice may be encouraged by assuming,
as he safely may, that the most finished of popular performers was once
as awkward as himself, and were he to attempt any unfamiliar feat,
would probably be as awkward still.
Before proceeding to the practice of the magic art, it will be well to
give a short description of two or three appliances, which are of such
constant use that they may be said to form the primary stock-in-trade
of every conjuror. These are--a short wand, a specially adapted
table, and certain secret pockets in the magician’s dress. There are
numerous other appliances of very general use, which will be explained
in due course, but those we have named are so indispensable that we
could hardly complete the description of half-a-dozen tricks of any
pretension without a reference to one or other of them. First in order
comes
THE MAGIC WAND.
This is a light rod of twelve to fifteen inches in length, and about
three-quarters of an inch in diameter. It may be of any material, and
decorated in any manner which the fancy of the owner may dictate. To
the uninitiated its use may appear a mere affectation, but such is by
no means the case. Apart from the prestige derived from the traditional
properties of the wand, and its use by the wizards of all ages, it
affords a plausible pretext for many necessary movements, which would
otherwise appear awkward and unnatural, and would thereby arouse the
vigilance of the audience at possibly the most critical period of the
trick. Thus, if the performer desires to hold anything concealed in his
hand, by holding the wand in the same hand he is able to keep it closed
without exciting suspicion. If it is necessary, as frequently happens,
to turn his back upon the audience for an instant, the momentary turn
to the table, in order to take up or lay down the wand, affords the
required opportunity. We most strongly advise the would-be magician to
cultivate from the outset the habitual use of the wand. Even where its
employment is not absolutely necessary for the purpose of the trick,
its use is in strict accordance with the character he professes to
fill, and the dainty touch of the wand, for the supposed purpose of
operating a magical transformation, assists materially in leading the
audience to believe that such transformation did actually take place at
that particular moment, instead of having been (as is really the case)
secretly effected at an earlier period.
The next appliance to which we must draw the student’s attention is
THE MAGICIAN’S TABLE.
There are plenty of good minor tricks which may be performed anywhere,
and with little or no previous preparation, but as soon as the student
has outgrown these humbler feats, and aspires to amuse his friends
or the public with a pre-arranged _séance_, his first necessity will
be a proper table. We do not now refer to the elaborate combination
of traps, pistons, etc., which is used for stage performances. This
will be duly described in its proper place. The table necessary for an
average drawing-room exhibition differs from an ordinary table in two
points only--its height, which should be six or eight inches greater
than that of an ordinary table--and the addition of a hidden shelf or
ledge at the back. Its form and dimensions are very much a matter
of fancy and convenience. For most purposes nothing is better than a
plain oblong deal table. It should have turned legs of some harder
wood, stained and polished, and these, if it is desired to make the
table portable, should be _screwed_ into the four corners, so as to
be readily taken off and put on again as may be required. In length
the table may be three to four feet, and in breadth eighteen inches
to two feet. Three feet by twenty inches is a very convenient size.
At the back should be placed, about six inches below the level of the
top of the table, a projecting shelf, six to eight inches in width,
and extending nearly from end to end. This shelf, which is technically
known as the _servante_, should be covered with thick woollen cloth, in
order to deaden the sound of any object falling on it.
Some performers have a rim about half an inch high running along the
outer edge of this shelf; while others, in place of the shelf, use
a wooden tray, fixed in the same position, and one to two inches in
depth. The manner of fixing the shelf is optional. In some tables it
is made to slide in and out like a drawer; in others to fold up on
hinges against the back of the table, or itself to form the back. This
latter is the most convenient mode, as the opening made by the flap
when let down gives access to the interior of the table, which forms a
convenient receptacle for necessary articles. In this case, the upper
part of the table is made box fashion; _i.e._, is bottomed throughout
with wood on a level with the hinges of the _servante_, giving an
enclosed space under the whole extent of the table. Over the table
should be thrown an ordinary cloth table-cover, of such a size as to
hang down about ten or fifteen inches at the front and sides, but not
more than an inch or so on the side away from the audience. To prevent
its slipping, the cloth may be fastened on this side with a couple of
drawing pins. Where traps are used, and the cloth has therefore to be
cut, the hanging cloth is dispensed with, and the table is covered with
cloth glued on the top, with a margin round it, after the fashion of a
card-table, and this may be done, if preferred, even where the table is
without mechanism. The adoption of this plan allows of the introduction
of gold mouldings, or other ornamentation, on the front and sides. In
our own opinion, unless there is some special reason to the contrary
in the mechanical arrangements of the table, the plain hanging cover
is preferable, as being least suggestive of apparatus or preparation.
The precise height of the table is best determined by the stature of
the performer. The _servante_, or hidden shelf, should be just so high
from the ground as to be level with the knuckles of the performer as
his arm hangs by his side; and the top of the table should, as already
stated, be about six inches higher than this. It will be found that
this height will enable the performer secretly to take up or lay down
any article thereon without stooping or bending the arm, either of
which movements would suggest to the spectators that his hand was
occupied in some manner behind the table. One of the first tasks of the
novice should be to acquire the power of readily picking up or laying
down any article on the _servante_, without making any corresponding
movement of the body, and especially without looking down at his hands.
If the performer is uncertain as to the precise whereabouts of a given
article, he must ascertain it by a quick glance as he approaches his
table, and not after he has placed himself behind it. From this moment
he must not again look down, as if once the audience suspect that he
has a secret receptacle behind his table, half the magic of his tricks
is thenceforth destroyed.
An oblong box, twelve or fourteen inches in length by three in depth,
well padded with wadding, and placed on the _servante_, will be found
very useful in getting rid of small articles, such as coin, oranges,
etc., as such articles may be dropped into the box without causing any
sound, and therefore without attracting attention.
In default of a table regularly made for the purpose, the amateur may
with little difficulty adapt an ordinary table for use as a makeshift.
A common library or kitchen table having a drawer on one side, and
raised on four bricks or blocks of wood to the requisite height will
answer the purpose very fairly. The table must be covered with a cloth;
and should have the drawer pulled out about six inches (the drawer
side being, of course, away from the audience) to form the _servante_.
A still better extempore conjuring table may be manufactured in a few
minutes with the aid of a good-sized folding bagatelle board. Place
the shut-up board on a card or writing table (which should be six
or eight inches shorter than the board), in such manner that there
may be left behind it (on the side which is intended to be farthest
from the audience), a strip of table six or seven inches in width.
This will form the _servante_. Throw an ordinary cloth table-cover
over the bagatelle board, letting it hang down a foot or eighteen
inches in front, and tucking its opposite edge under the hinder edge
of the board, whose weight will prevent it slipping. If the cloth is
too large, it must be folded accordingly before placing it on the
table. The table thus extemporized will be of a convenient height, and
will answer very fairly for the purposes of an ordinary drawing-room
performance.
The conjuror, however, may be called upon to give a sample of his art
when neither regular nor extemporized table is available; and even
where he is sufficiently provided in this respect, he will frequently
have occasion to produce or get rid of a given article without retiring
behind his table to do so. The wizards of a century ago met this
necessity by wearing openly in front of them a sort of bag or apron,
called in the parlance of the French conjurors, a _gibecière_, from its
supposed resemblance to a game-bag. This was used not only to carry the
cups and balls, and other minor paraphernalia of the art, but for the
purpose of procuring, exchanging, or getting rid of any small article
at the pleasure of the performer. In fact, this bag supplied the place
of the _servante_, which was not then known. It is hardly necessary
to observe that the _gibecière_ has been long since disused, and a
performer who should now appear in a pocketed apron would run much risk
of being taken for a hairdresser. Although, however, the _gibecière_
is not now, as of old, worn openly, the conjuror of the present day
is provided with certain secret substitutes, to explain which it is
necessary to say a few words as to
THE MAGICIAN’S DRESS.
It is not very many years since the orthodox dress of the conjuror was
a long and flowing robe, embroidered more or less with hieroglyphic
characters, and giving ample space for the concealment of any
reasonable sized article--say from a warming-pan downwards. The very
last specimen of such a garment, to the best of our belief, is, or
was, worn by the magician attached to the Crystal Palace. We do not
know whether he is compelled by the regulations of the establishment
to wear such a robe; but if so, it ought to be liberally considered in
his salary. The costume _de rigueur_ of the magician of the present
day is ordinary “evening dress.” The effect of the feats performed
is greatly heightened by the close fit and comparative scantiness of
such a costume, which appears to allow no space for secret pockets
or other place of concealment. In reality, however, the magician is
provided with two special pockets, known as _profondes_, placed in
the tails of his dress-coat. Each is from four to six inches in depth
and seven in width, and the opening, which is across the inside of
the coat-tail, slanting slightly downwards from the centre to the
side, is, like the _servante_, so placed as to be just level with the
knuckles of the performer, as his hand hangs by his side. He can thus,
by the mere action of dropping either hand to his side, let fall any
article instantly into the _profonde_ on that side, or take anything
from thence in like manner. The action is so natural, that it may
be used under the very eyes of the audience, at very small risk of
their observing it; and if the performer at the same moment slightly
turns his other side to the spectators, he may be perfectly secure
from detection. Some performers have also a couple of _pochettes_
(small pockets) made in the trousers, one behind each thigh. These are
generally used for purposes of production only, the _profondes_ being
still employed for getting rid of any article, which, indeed, is their
primary purpose, for they were originally made too deep (‘_profonde_,’
whence their name) to get articles easily out of them. Many professors,
in addition to the pockets above mentioned, have also a spacious
pocket, opening perpendicularly, inside the breast of the coat, under
each arm, for the purpose of what is called “loading,” _i.e._, bringing
a rabbit, or other article, into a hat, etc. Other pockets may be
added, as the fancy or invention of the performer may dictate; but the
above are those generally used.
It will also be found a great convenience to have an elastic band,
about an inch in width, stitched around the lower edge of the waistcoat
on the inside. When the waistcoat is in wear, the band makes it press
tightly round the waist, and any object of moderate size--a card, or
pack of cards, a handkerchief, etc.--may be slipped under it without
the least risk of falling. Used in conjunction with the pockets before
described, this elastic waistband affords a means of instantaneously
effecting “changes” of articles too large to be palmed with safety;
one hand dropping the genuine article into the _profonde_ on that side,
while the other draws the prepared substitute from under the waistband,
a very slight turn of the body, towards the table or otherwise,
sufficing to cover the movement.
With these few preliminary observations, we proceed to the practice of
the art, commencing with the ever-popular class of illusions performed
by the aid of playing cards.
[Illustration]