HAT TRICKS.
The present Chapter will be devoted to those tricks in which a hat
plays a special or prominent part. Borrowed hats have been used in the
course of many of the tricks already described, but the part played by
the hat has been of an incidental and subordinate character. In the
tricks next following the hat is the principal article employed.
The majority of hat tricks are different modifications of the same
broad idea, viz., the production from a borrowed and apparently empty
hat of various articles, in size and number much exceeding what any hat
could in the natural way contain. One of the best is that of
THE CANNON-BALLS IN THE HAT.--The earliest and simplest form of this
trick is limited to the production of a solid wooden globe, blacked to
resemble a cannon-ball. The introduction of the ball into the hat is
effected as follows:--The ball, which has a hole of about two inches
in depth by one in diameter bored in it towards its centre, is placed
on the _servante_ of the performer’s table in such manner that the
hole above-mentioned shall slant upwards and outwards, at an angle of
about 45°. To keep the ball steady, and to prevent its rolling off,
some performers have a slight circular hollow scooped in the surface of
the _servante_ itself. A more convenient plan, however, is to use an
india-rubber ring (such as is given to infants teething). This may be
placed on any part of the _servante_, and makes a capital rest or bed
for the ball. A bit of half-inch rope, with the ends joined so as to
form a ring, will answer the same purpose.
[Illustration: FIG. 134.]
[Illustration: FIG. 135.]
When the performer desires to introduce the ball into the hat, which
we will suppose to have been borrowed for the purpose of some previous
trick just completed, he takes the hat with his thumb outside and his
fingers inside the brim, and holds it up with its mouth towards the
spectators, so as to show indirectly that it is empty (_see_ Fig. 134).
Carelessly lowering his hand, he brings the hat mouth downwards on the
table, and, drawing it towards him, slips the second finger into the
hole in the ball (_see_ Fig. 135), when the mere action of crooking the
finger brings the ball into the hat. He then, still holding the ball
supported by the finger, walks away from the table towards the owner
of the hat, with the apparent intention of returning it. Just before
reaching him, however, he pretends to notice that it is somewhat heavy,
and looking into it, says, “Dear me, sir, there is something rather
peculiar about this hat. Are you aware that there is something in it?”
The owner naturally professes ignorance of the fact; and the performer,
after keeping the audience in suspense for a moment or two, turns the
hat over, and lets the ball fall out upon the stage.
[Illustration: FIG. 136.]
The performer may in some degree heighten the effect of the trick by
making it appear that the ball is wedged very tightly in the hat,
as the difficulty of introducing it becomes thereby presumably the
greater. This is managed by holding the hat with both hands, as shown
in Fig. 136, when the extended finger-tips will prevent the ball from
falling as long as may be desired, however much the hat may be shaken.
[Illustration: FIGS. 137, 138.]
The trick, as above described, is of very short duration. In order
to lengthen, and at the same time to diversify it, a second ball
is sometimes employed, of similar appearance, but of different
construction. This second ball (_see_ Figs. 137, 138, the latter
representing a section of the ball) is a strongly made hollow sphere of
tin or zinc, with a circular opening of about three and a half inches
across, closed by a sort of sliding door, _a_, also circular, working
on two curved arms, _b b_, which move on two pivots, _c c_, at opposite
sides of the ball on the inside. In this door is a hole an inch in
diameter, answering the same purpose as the hole bored in the solid
ball.
The ball is filled beforehand with bonbons, small toys, or any other
articles suitable for production. Thus “loaded,” it is placed upon
the _servante_, and introduced into the hat as above described. The
performer goes through the ceremony of pretending to discover something
in the hat, but does not, as in the last case, at once produce the
ball. Slipping back the sliding door, he brings out, one by one, the
articles contained in the ball, not hurriedly, but with deliberation,
as he thereby produces the effect of greater quantity. Having emptied
the ball, he again closes the circular slide, remarking that the hat
is now quite empty. As a proof that it is so, he turns the hat mouth
downwards as above directed, preventing the ball from falling with
the tips of his fingers. Again he moves towards the owner, as if to
return the hat, and again pretends to find something in it. This time,
however, he does not allow the ball to fall on the ground, as, being
hollow, it will not bear rough usage, but lifts it out with his left
hand, taking care that the “door” side shall be downwards, next his
palm. Observing that he will have the ball packed up for the owner of
the hat to take home with him, he returns to his table, and places it
thereon. As the ball was in his left hand, the right is still holding
the hat, and this gives him the opportunity to introduce the second
(_i.e._, the solid) cannon-ball, which should be placed in readiness
at the opposite corner of the _servante_. This also is produced in due
course, and, being manifestly solid, naturally leads the audience to
infer that the other was so also.
[Illustration: FIG. 139.]
What are known as “multiplying balls” are frequently used in
conjunction with the cannon-balls. These are cloth-covered balls of
about two and a half inches in diameter. In appearance they are solid,
but in reality are mere outer coverings of cloth, kept distended by
spiral skeletons of wire (_see_ Fig. 139), and may be pressed quite
flat, in which condition they occupy an exceedingly small space, though
they immediately regain their shape on being released. A large number
of these may be packed in the hollow cannon-ball, and when taken
out, produce a pile extending far above the mouth of the hat, the
cannon-ball lying hidden beneath them.
The hollow ball may also be filled with soft feathers, of which what
will seem an incredible quantity when spread out may be compressed
into a very small space. Feathers are, however, objectionable in a
drawing-room, from the difficulty of collecting them from the carpet.
THE “HUNDRED GOBLETS” FROM A HAT.--The goblets used for this purpose
are of polished tin, about four inches in depth, and made without
ornament or projection of any kind. Being all of the same size, and
slightly tapering, a large number of them may be fitted one within
the other, and yet occupy little more space than a single one. The
goblets thus packed are placed in a bag of black alpaca, just large
enough to receive them, and concealed on the _servante_, or in one
of the _profondes_ of the performer. When it is desired to introduce
them into the hat, they are grasped in either hand, the back of the
hand being turned towards the audience, and thus covering them. The
hand is now carelessly placed in the hat, as though to take something
out. Once introduced, the goblets are produced one by one, and placed
mouth downward on the table, their number giving an appearance of
bulk which seems to exclude the possibility of their having been all
contained within so small a space. Two or three parcels of goblets may
be introduced successively, and brought out one by one, with little
difficulty.
We may here mention a little expedient which will be found of great
assistance where the performer desires to introduce into a hat a bundle
of goblets (or any similar article) from either of his secret pockets.
We will suppose that the article in question is in the right-hand
_profonde_. Taking the empty hat in the opposite hand (the left), he
stoops a little, and holding it down near the floor, with its mouth
toward the company, gently moves it round and round in circles, gazing
at it intently, as though anticipating some important result. This
draws all eyes to the hat, and enables him to drop his right hand to
the _profonde_, and bring out, under cover of the hand and wrist,
the article to be introduced. Continuing the motion, he gradually
brings the mouth of the hat upwards, so that the company can no longer
see into it, and suddenly plunges his right hand into it, as though
merely to take out the article or articles which he, in fact, thereby
introduces. This may be repeated from the _profonde_ on the opposite
side; and thus two successive packets of articles may be produced
without even going near the table.
[Illustration: FIG. 140.]
A DOZEN BABIES FROM A HAT.--Among the various objects available for
production, may be enumerated dolls, of which a dozen, each eight or
nine inches in height, may be produced from a borrowed hat. The dolls
for this purpose are of coloured muslin, stretched over a framework or
skeleton of spiral wire, after the fashion of the multiplying balls
(_see_ Fig. 140), and may be compressed vertically to a thickness of
about three-quarters of an inch. A dozen of them may be packed within
the hollow cannon-ball, described above, resuming their shape as soon
as they are released.
[Illustration: FIG. 141.]
THE MAGIC RETICULES.--This is one of the most modern hat tricks. The
reticules, which are of cardboard covered with leather, are, when
expanded, as shown in Fig. 141. They are, however, constructed so as to
fold into a very small compass, in manner following. The ends, _a a_,
are only attached to the reticule at their lower edges (which form a
kind of leather hinge), and may be folded inwards flat upon the bottom
of the reticule. (_See_ Fig. 142.) The ends of the ribbon _b_, which
forms the sling or handle of the reticule, run freely through two
holes _c c_ in the upper side of the reticule, and are attached to the
ends _a a_ at the points _d d_. The ends being folded down, as in Fig.
142, the reticule becomes a hollow oblong, open from end to end, as in
Fig. 143. The angles, being made of soft leather, are flexible, and
by pressing the sides in the direction indicated by the dotted lines
(_see_ Fig. 143), the reticule is brought into the condition shown in
Fig. 144, and, on being again folded, into that shown in Fig. 145, in
which condition it is little larger than a pocket-book. Half-a-dozen
reticules thus folded, and packed in a bag of black alpaca, or held
together by an india-rubber ring, form a small and compact parcel,
and are easily introduced into the hat. The performer having got them
out of the bag, has only to unfold each, so as to bring it into the
condition shown in Fig. 144, when the mere act of lifting the reticule
out of the bag by the ribbon _b_ raises the sides and ends, and
restores it to the shape shown in Fig. 141.
[Illustration: FIG. 142. FIG. 143.]
[Illustration: FIG. 144. FIG. 145.]
THE DRUMS FROM THE HAT.--In this trick the performer generally begins
by producing from the hat a number of the multiplying balls described
at page 307. He next produces a miniature drum, prettily ornamented,
then another, then a third and a fourth, each being a shade larger
than its predecessor, and the last of such a size as barely to be
containable within the hat.
With the reader’s present knowledge, he will readily conjecture that
the drums are so constructed as to fit one within the other, the
multiplying balls being packed within the smallest of the four. One end
of each drum is loose, and falls inwards upon the opposite end, upon
which it lies flat, thus giving space for the introduction of another
drum, a size smaller. Across the loose end, and parallel to it, is
fixed a wire, forming a handle whereby the performer may lift the drum
out of the hat, the act of doing so raising the end into its proper
position, and a wire rim round the inside of each drum preventing the
loose end being drawn out altogether. Each drum is taken out with the
loose end upwards; but the performer, in placing it on the table, turns
it over, thus bringing the solid end up. In default of this precaution,
the loose end would fall back again to its old position, and so betray
the secret. The drums are usually made oval, rather than round, as they
are thus better suited to the shape of a hat.
THE BIRDCAGES FROM THE HAT.--Not content with cannon-balls, drums,
and ladies’ reticules, the public of the present day requires that
birdcages and living birds should be produced from an empty hat.
[Illustration: FIG. 146. FIG. 147.]
[Illustration: FIG. 148.]
The birdcages used vary in their construction. Some are made to fit
one within the other, after the fashion of the drums just described,
save that the birdcages, unlike the drums, are lifted out by the solid
and not the loose ends, which fall down of their own accord. Those in
most general use, however, are of the shape shown in Fig. 146, and are
alike in size, measuring about six inches in height, by five in breadth
and depth. The bottom is made to slide upwards on the upright wires
which form the sides. When it is desired to prepare the cage for use,
a canary is first placed therein, and the bottom is then pushed up as
far as it will go (_see_ Fig. 147), the sides, which work on hinges at
_a a a a_, being folded one by one upon the bottom, the cage finally
assuming the shape shown in Fig. 148. It is in this condition that the
cages, generally three in number, are introduced into the hat, either
from the _servante_ or from inside the vest of the performer; and in
the act of lifting out (which is done by the wire loop at top), the
sides and bottom falling down, the cage again becomes as in Fig. 146.
[Illustration: FIG. 149.]
THE CAKE (OR PUDDING) IN THE HAT.--This is an old and favourite hat
trick. The necessary apparatus consists of two parts--first, a round
tin pan _a_ (_see_ Fig. 149), four inches in depth, and tapering from
five inches at its greatest to four and a half inches at its smallest
diameter. It is open at each end, but is divided into two parts by
a horizontal partition at about two-thirds of its depth. Second, a
larger tin _b_, japanned to taste, five and a half inches in depth,
and so shaped as to fit somewhat tightly over the smaller tin. In the
larger end of the latter is placed a hot cake or pudding, and in this
condition it is placed on the _servante_ of the table, projecting a
little over the edge. The performer borrows a hat, and in passing
behind his table, tips cake and tin together into it. The chances are
that the tin will fall small end upwards (the opposite end being the
heaviest); but if not, the performer turns the tin, so as to bring
it into that position. Placing the hat mouth upwards upon the table,
he announces his intention of making a cake in it; for which purpose
he takes, one by one, and mixes in the tin _b_, a quantity of flour,
raisins, eggs, sugar, and the other ingredients for a cake, adding
water enough to make the mixture into a thick batter. This he pours
into the hat, holding the tin with both hands, at first high above it,
but gradually bringing it lower and lower, till at last, as if draining
the last drop of the mixture, he lowers the mouth of the tin right
into the hat, and brings it well down over the smaller tin. On being
again raised, it brings away within it the smaller tin and its liquid
contents, the cake being left in the hat. He next proceeds to bake the
cake, by moving the hat backwards and forwards at a short distance
over the flame of a candle, and, after a sufficient interval, exhibits
the result, which is cut up and handed round to the company for their
approval.
As the batter round the sides of _b_ is apt to cause _a_ to stick
pretty tightly into it, a folding ring is generally fixed inside _a_,
in order to facilitate its removal after the close of the trick.
THE WELSH RABBIT.--This is a trick of a comic character, and in the
hands of a spirited performer is sure to be received with applause,
particularly by the younger members of the audience. Its effect is as
follows:--The performer brings in in one hand a saucepan, fancifully
decorated, and in the other a plate, with bread, cheese, pepper, etc.
With these ingredients he proposes to make a Welsh Rabbit, and to give
the audience, without extra charge, a lesson in cookery. Chopping the
bread and cheese together in a burlesque fashion, and seasoning with
pepper and salt to a degree which no palate short of a salamander’s
could possibly stand, he shovels all into the saucepan, and claps the
lid on. For a moment he is at a loss for a fire, but this difficulty
is quickly conquered. Borrowing a gentleman’s hat, and a lady’s
pocket-handkerchief, he requests permission to use them for the purpose
of the experiment. This is readily accorded, but the respective owners
look on with consternation when the performer proceeds to set fire to
the handkerchief, and, dropping it still blazing into the hat, to cook
the Welsh Rabbit by moving the saucepan to and fro over the flames.
Having done this for a minute or two, he extinguishes the flames by
lowering the saucepan for a moment into the hat. Then again removing
it, and taking off the lid, he brings it forward to the company, and
exhibits, not the expected Welsh Rabbit, or “rare-bit,” but a genuine
live rabbit, every vestige of the cheese and other ingredients having
disappeared.
[Illustration: FIG. 150.]
The secret of this ingenious trick lies mainly in the construction of
the saucepan, which consists of four parts, designated in the diagram
(Fig. 150) by the letters _a_, _b_, _c_, and _d_; _a_ is the lid, which
has no speciality, save that the rim round it is rather deeper than
usual; _b_ is a shallow tray or lining, of the same depth as the lid,
fitting easily within the top of the saucepan; _a_, on the contrary,
fits tightly within _b_; _c_ is the body of the saucepan, and has no
speciality; _d_ is an outer sheet or covering, loosely fitting the
lower part of the saucepan, and, like it, is japanned plain black, the
upper part and lid being generally of an ornamental pattern. (For our
own part, we much prefer either plain black or polished tin throughout,
as savouring less of mechanism or preparation.) The presence or absence
of _d_ does not alter the general appearance of the saucepan, and
cannot, therefore, be detected by the eye. It should be mentioned that
_d_ is so made, that between its bottom and the bottom of the saucepan
is a space of about half an inch in depth, and in this space, before
the apparatus is brought forward, is placed a substitute handkerchief,
sprinkled with a few drops of spirits of wine or eau de Cologne, to
render it more inflammable; within the saucepan is placed a small live
rabbit, after which _b_ is put in its place, and pressed down.
[Illustration: FIG. 151.]
The performer is now ready to begin the trick. He brings forward the
saucepan, holding it as in Fig. 151, in which position the pressure
of the first and second fingers on _d_ prevents it falling off, as,
being loose, it would otherwise do. Placing it on the table, he mixes
the bread, cheese, etc., on the plate, and then pours all into the
saucepan, where, of course, they fall into _b_. As _b_ is comparatively
shallow, it is well to place the saucepan in some tolerably elevated
situation, so that the audience may not be able to see into it, or
they may perceive that the bread, etc., do not fall to the bottom.
The lid is next placed on the saucepan. The hat and handkerchief are
borrowed, the latter, which is to serve as fuel, being dropped into the
hat. The performer, as if bethinking himself of a possible difficulty,
carelessly remarks, “We mustn’t have the stove too small for the
saucepan;” and so saying, lifts the latter, as shown in Fig. 151, and
lowers it for a moment into the hat, as though testing their relative
sizes. In that moment, however, he relaxes the pressure of his fingers
on _d_, and so leaves it within the hat, placing the saucepan on the
table beside it. When he again takes out the (supposed) handkerchief,
and sets light to it, it is, of course, the substitute that is actually
burnt, the genuine handkerchief meanwhile remaining hidden beneath
_d_ in the crown. The effect of the flames rising from the hat, in
which the audience cannot suppose any preparation, is very startling,
and yet, unless the substitute handkerchief is unusually large, or
the spirit has been applied with a too liberal hand, there is no real
danger of injuring the hat. The performer moves about the saucepan
above the blaze at such a distance as not to inconvenience the animal
within, and, after a moment or two, brings the saucepan sharply down
into the hat, for the ostensible purpose of extinguishing the flames,
but in again lifting it out he brings with it _d_, and places all
together on the table. Nothing is now left in the hat but the borrowed
handkerchief, which may be restored in any manner which the performer’s
fancy may suggest. When the lid of the saucepan is removed, as it fits
more tightly within _b_ than the latter fits within the saucepan, it
naturally carries _b_ with it, thus causing the disappearance of the
bread, cheese, etc., and revealing in its place the live rabbit.
Some fun may be created by selecting beforehand an assistant from
the juvenile portion of the audience, and dressing him up with a
pocket-handkerchief round his head, and another by way of apron, to act
as assistant cook.
A guinea-pig or small kitten may be substituted for the rabbit, the
performer accounting for the wrong animal being produced by supposing
that he must have made some mistake in mixing the ingredients.
[Illustration]