CHAPTER XVI.

MISCELLANEOUS TRICKS.

Under this head we propose to describe such tricks as do not come

within either of the preceding categories. We shall make no attempt at

classifying them, save that we shall, as far as practicable, describe

the best known and simplest feats first, and thence proceed to the more

complicated. Stage tricks, _i.e._, tricks adapted to the stage only,

will be treated in the Chapter next following. We will begin with

THE CUT STRING RESTORED.--This is a trick of such venerable antiquity,

that we should not have ventured to allude to it, were it not that

the mode of working which we are about to describe, though old in

principle, is new in detail, and much superior in neatness to the

generally known methods.

[Illustration: FIG. 152.]

After having offered the string, which should be about four feet

in length, for examination, the performer takes the ends (pointing

upwards) between the first and second finger and thumb of the left

hand, and the first finger and thumb of the right hand, letting the

remainder of the string hang down in a loop between them. Now bringing

the right hand close to the left, he draws that portion of the string

which is held in the right hand towards himself between the first and

second fingers of the left hand (thus crossing at right angles that end

of the cord which is held in the left hand), continuing to pull until

half the length of the string has passed the left hand, and at the

same time slipping the third finger of the left hand between the two

parts of the string, which will thus be as shown in Fig. 152, in which,

for convenience of reference, the three lines in which the string

now hangs are marked _a_, _b_, and _c_, and one-half of the string is

shown black, and the other half white, though of course there would be

no such difference of colour in the original.[L] The first finger and

thumb of the right hand, still retaining the end which they already

hold, seize the portion _b_ at the point marked with that letter, the

third finger of the left hand at the same time drawing back the portion

_a_ towards the palm of the hand. The string will thus be brought into

the position shown in Figs. 153 and 154, (in the latter of which, for

the sake of clearness, the thumbs are made transparent), the part now

held horizontally between the two hands, which appears to be the middle

of the string, really being only the immediate continuation of the end

held in the left hand. The whole operation of arranging the string

in proper position, though tedious to describe, does not take half a

second in practice.

[L] It should be mentioned that, in order to economize space

in the diagrams, the actual length of the string is

represented as much shortened.

[Illustration: FIG. 153.]

The performer next requests some person to cut the string, thus

arranged, in half, and this being (apparently) done, he transfers the

string altogether to the right hand, keeping the point of junction of

the crossed pieces hidden between the finger and thumb. (_See_ Fig.

155.) He now gives either end to some one to hold, and, placing his

open left hand near to the end thus held, winds the string rapidly

round it, sliding off as he does so the short piece, which, as soon as

it is clear of the longer portion, he presses with his thumb between

the second and third fingers of the same hand. On again unwinding the

string from the left hand, it is found apparently whole as at first.

[Illustration: FIG. 154. FIG. 155. FIG. 156.]

The principle of the trick being very generally known, you will

frequently find some one of the audience proclaim his acquaintance with

it, and declare that you have merely cut a short piece off the end

of the string. “Pardon me,” you reply, “my dear sir; that method of

performing the trick has long since been exploded. I will at once show

you that I do not make use of any such shabby expedient. Of course,

if a piece was, as you suggest, cut off the end, the string would be

that much shorter after the operation. Will some one be kind enough to

measure it?” While this is being done, you secretly double in a loop

the little piece which was cut off on the former occasion, and which

has still remained in your right hand. When the string is returned

to you, you double it in half, and allow it to hang down between the

first finger and thumb of the right hand, drawing up immediately above

it the little loop you have just formed. (_See_ Fig. 156.) You now

ask some one again to cut the string, which he apparently does, in

reality merely dividing the little loop. You go through any magical

gesticulations you please, and ultimately again conceal the cut ends

between the fingers, and produce the string once more restored. On

being measured, it is found to have lost nothing of its length.

The trick in this second form being performed by wholly different

means, the repetition will puzzle even those who knew, or believed they

knew, the _modus operandi_ in the first case.

[Illustration: FIG. 157.]

MY GRANDMOTHER’S NECKLACE.--The trick which bears this title is also

a very old one, but is little known in the improved form we are

about to describe. In its older shape it is performed with three

perforated wooden balls or beads, threaded on a couple of tapes, whose

ends are held securely by two of the spectators. The problem is to

detach the beads without breaking the tapes, and this is effected as

follows:--The tapes, which should be from four to six feet in length,

are beforehand doubled in the middle, and slightly joined at the bend

of each with fine cotton or silk of the same colour. The tapes are

thus really middle to middle, though to a casual observer they appear

to be merely laid side by side. The performer comes forward with the

tapes, thus prepared, thrown over his left arm (taking care that the

point of junction shall be on the side towards his body, and therefore

concealed), and with the beads in his hands. These latter, which are

mere wooden balls, from one to two inches in diameter, perforated so

as to freely admit the tapes, he hands for examination. When they are

returned, he threads them one after another upon the tapes, holding the

latter in a loop, so that the balls may sink down to the middle, and

so cover the point of junction. He next requests two of the company to

come forward and hold the tapes, and hands two ends to the one and two

to the other. Each person believes that he holds one end of each tape,

though, in reality, each has both ends of the same tape. The performer

now takes from each one of the ends which he holds, and crossing the

tapes in the manner shown in Fig. 157, gives to each the end which the

other previously held. Holding a hat below the balls, he requests each

person to pull smartly at the word “three.” The word of command is

given, “One, two, Three!” and the thread breaking, the balls fall into

the hat, though the ends of the tapes still remain in the hands of the

holders.

The improvement to which we have alluded consists in the use of _six_

balls, three red and three black. The red balls having been first

threaded on the tapes, and the two ends having been crossed and

returned to the holders in manner already described, the black balls

are in turn threaded on the tapes at either end, and the performer,

holding the hat beneath, and addressing one of the persons who hold the

tapes, says, “Which will you have, sir, the red balls or the black?”

Whichever the answer, the result is the same, for the red balls only

can come off the tapes, the black remaining still upon them; but in

either case the performer is able to satisfy the choice which has been

made. If the red balls have been chosen, he says on their falling,

“You chose the red, I think. You see that your commands are at once

obeyed.” If, on the other hand, the black are chosen, the performer

says, “You prefer the black? Then _I_ will take the red,” which he does

accordingly. The audience, having heard the choice freely offered, and

not being aware of the subterfuge by which the implied undertaking is

fulfilled, naturally believe that the performer was able to take off or

leave on the tape whichever group of balls he pleased.

THE “BONUS GENIUS,” OR VANISHING DOLL.--While upon the subject of

old-fashioned tricks, we may briefly notice that known under the

name of the Bonus Genius, which has puzzled many generations of

our forefathers, and, though now rarely exhibited by professional

performers, is still a great favourite with juvenile audiences. The

Bonus Genius is a little wooden figure of a man, four to six inches

in height, and more or less grotesque in colour and design. A little

cloak, made small above and full below, like the skirt of a doll’s

dress, and with no opening save where the head of the figure passes

through, completes the apparatus. There are, however, two points about

the doll and his cloak which are unknown to the spectators. First,

the head of the doll is moveable, a wooden peg forming the neck, and

fitting, somewhat tightly, into a corresponding hole in the body;

secondly, there is stitched on the inside of the cloak, just below the

opening for the neck, a little pocket, of the description known among

tailors as a “patch” pocket, and of such a size as to contain the head

easily. The performer, holding up the figure, and introducing it to the

company as his flying messenger, warranted to outstrip the electric

telegraph, covers it with the cloak, so that nothing but the head is

seen. Grasping the figure under the cloak with his right hand, the

performer holds a burlesque conversation with him, finally entrusting

him with a message to be immediately delivered to the President of

the United States, the Shah, or any other individual at a distance.

The figure does not move. “Well, sir, are you not going?” asks the

performer. The figure shakes his head from side to side, an effect

easily produced by turning the body backwards and forwards under the

cloak. “You won’t, eh? Why not, I should like to know? Oh! I see what

you mean. I haven’t given you your travelling expenses.” As he says

the last words, he grasps the figure and cloak from the outside round

the neck with the left hand, and draws away the right from beneath the

cloak, secretly carrying with it the body, and putting his hand in his

pocket, as though in search of money. He leaves the body of the figure

in his pocket, and brings out the hand again empty, but in the position

of holding a coin between the finger and thumb. “There, sir,” he says,

“there is a shilling for you,” making the gesture of giving it. “You

don’t see the coin, ladies and gentlemen; but the fact is, what I have

just given him is fairy money; the weight of the ordinary coinage would

interfere with the rapidity of his flight. Now, sir, make haste; you

have nothing to wait for now.”

The performer has, meanwhile, again put the right hand under the cloak,

and with two fingers holds the little pocket open for the reception of

the head. As he says the last words, he gives the head a sharp downward

rap with the fingers of the left hand, and lets it fall into the little

pocket, the effect being as if the figure had suddenly vanished. The

performer shakes the cloak, and turns it inside out to show that it

is empty, taking care always to grasp it by that part which contains

the head, when all other portions of the cloak may be shown freely;

and as the audience are not aware that the figure is divisible, and

supposing it to be indivisible, it would be clearly much too large

to be concealed in the closed hand, there is nothing to lead them to

guess the secret. If it is desired to make the doll reappear, the head

is pushed up again through the opening of the cloak, the hand beneath

supporting it by the peg which forms the neck, and it may thus be made

to vanish and return any number of times.

With tolerable skill in “palming,” the little pocket may be dispensed

with, the head being simply held in the hand. This mode of working is,

in our own opinion, to be preferred, as the cloak may then be handed

for examination without giving even the infinitesimal clue which the

pocket might suggest. Some performers, to still further hoodwink the

spectators, make use of two figures--the first, which is handed round

for inspection, being solid, and being afterwards secretly changed

for its counterpart with the moveable head. Others again use only one

figure, which is solid throughout, but are provided with a separate

head (whose existence is, of course, not suspected by the spectators),

and having handed round the solid figure for examination, conceal this,

and work the trick with the head only.

THE DANCING SAILOR.--The Dancing Sailor is a figure cut out of

cardboard, eight or nine inches in height, and with its arms and legs

cut out separately, and attached to the trunk with thread in such a

manner as to hang perfectly free. The mode of exhibiting it is as

follows:--The performer, taking a seat facing the company, with his

legs slightly apart, places the figure on the ground between them. As

might be expected, it falls flat and lifeless, but after a few mesmeric

passes it is induced to stand upright, though without visible support,

and on a lively piece of music being played, dances to it, keeping

time, and ceasing as soon as the music ceases.

[Illustration: FIG. 158.]

The secret lies in the fact that, from leg to leg of the performer, at

about the height of the figure from the ground, is fixed (generally by

means of a couple of bent pins), a fine black silk thread, of eighteen

or twenty inches in length. This allows him to move about without any

hindrance. On each side of the head of the figure is a little slanting

cut, tending in a perpendicular direction, and about half an inch in

length. The divided portions of the cardboard are bent back a little,

thus forming two “hooks,” so to speak, at the sides of the head. When

the performer takes his seat as before mentioned, the separation of his

legs draws the silk comparatively taut, though, against a moderately

dark background, it remains wholly invisible. When he first places

the figure on the ground, he does so simply, and the figure naturally

falls. He makes a few sham mesmeric passes over it, but still it

falls. At the third or fourth attempt, however, he places it so that

the little hooks already mentioned just catch the thread (_see_ Fig.

158, showing the arrangement of the head), and the figure is thus kept

upright. When the music commences, the smallest motion, or pretence of

keeping time with the feet, is enough to start the sailor in a vigorous

hornpipe.

THE BOTTLE IMPS.--These are miniature black bottles, about two inches

in height, with rounded bottoms, and so weighted that, like “tumbler”

dolls, they rise of their own accord to the perpendicular, and will not

rest in any other position. The proprietor, however, has a charm by

which he is able to conquer their obstinate uprightness. For him, and

for him only, they will consent to be laid down, and even to stand at

an angle of 45°, though they again rebel if any other person attempts

to make them do the same.

The little bottles are made of _papier maché_, or some other very light

material, varnished black, the bottom of each being a half bullet,

spherical side downwards. The centre of gravity is therefore at the

bottom of the bottle, which is thus compelled always to stand upright.

The performer, however, is provided with one or two little pieces of

iron wire, of such a size and length as just to slip easily into the

bottle. One of these being held concealed between the finger and thumb,

it is a very easy matter, in picking up the bottle, to slip it in,

and this slight additional weight neutralizing the effect of the half

bullet at the foot, causes the bottle to lie still in any position.

Having shown that the bottle is obedient to the word of command, the

performer again picks it up with the neck between the first and second

fingers and thumb, carelessly turning it bottom upwards, and thus

allowing the bit of wire to slip out again into the palm of his hand,

when he is able to again tender the bottle for experiment. Partaking

of the nature of a puzzle as well as a conjuring trick, this little

toy has amused thousands, and if neatly manipulated, may be repeatedly

exhibited, even before the same spectators, with little fear of

detection.

THE VANISHING GLOVES.--This is a capital trick with which to commence

an entertainment; when coming, as it should do, unannounced, and before

the performance proper has commenced, it has an air of improvisation

which greatly enhances its effect, and at once awakens the attention of

the audience.

The performer comes forward in full evening dress. While saying a few

words by way of introduction to his entertainment, he begins to take

off his gloves, commencing with that on his right hand. As soon as

it is fairly off, he takes it in the right hand, waves the hand with

a careless gesture, and the glove is gone. He begins to take off the

other, walking as he does so behind his table, whereon his wand is

laid. The left hand glove being removed, is rolled up into a ball,

and transferred from the right hand to the left, which is immediately

closed. The right hand picks up the wand, and with it touches the left,

which being slowly opened, the second glove is found to have also

disappeared.

The disappearance of the first glove is effected by means of a piece of

cord elastic, attached to the back of the waistcoat, and thence passing

down the sleeve. This should be of such a length as to allow the glove

to be drawn down and put on the hand, and yet to pull it smartly up

the sleeve and out of sight when released. It is desirable to have a

hem round the wrist of the glove, and to pass the elastic through this

like the cord of a bag, as it thereby draws the wrist portion of the

glove together, and causes it to offer less hindrance to its passage

up the sleeve. Upon taking off the glove, the performer retains it

in his hand, and lets it go when he pleases. He must, however, take

care to straighten his arm before letting it slip, as otherwise the

elastic will remain comparatively slack, and the glove will, instead of

disappearing with a flash, dangle ignominiously from the coat-cuff.

The left hand glove is got rid of by palming. The performer, standing

behind his table as already mentioned, rolling the glove between his

hands, and quickly twisting the fingers inside, so as to bring it

into more manageable form, pretends to place it in his left hand, but

really palms it in his right. He now lowers the right hand to pick up

his wand, and as the hand reaches the table, drops the glove on the

_servante_. He now touches the left hand with the wand, in due course

opening the hand and showing that the glove has departed.

Some performers vanish both gloves by means of elastic, one up the

right sleeve, the other up the left, but in doing so they offend

against one of the cardinal precepts of the art, viz., never to

perform the same trick twice in succession by the same means. The

audience having seen the manner of the first disappearance, are all on

the alert, and are not unlikely on the second occasion to guess the

means employed. If, on the other hand, the performer adopts the plan

indicated above, the two modes of producing the effect being different,

each renders it more difficult to discover the secret of the other.

THE EGG-BAG.--This is a very old-fashioned trick, but, if performed

with address, is by no means ineffective. It was exhibited in a

modified form by the Japanese jugglers who visited London a few years

ago. We shall first describe it in the simple form adopted by them, and

shall then proceed to explain the older and more elaborate version.

The Japanese egg-bag is about eight inches in depth and six in breadth,

and made of alpaca, tammy, or some similar opaque material. Its only

peculiarity is that one of its sides is double, the stuff being folded

down inwards from the mouth of the bag to about two-thirds of its

depth, and stitched at the sides, but left open at its lower edge.

The effect of this arrangement is to make a sort of pocket, mouth

downwards, inside the bag. If any small article, such as an egg, be

placed within the bag, and the bag be turned upside down, the article

will not fall out, but will fall into the pocket, which, in the

reversed position of the bag, will be mouth upwards. This will enable

you to conceal the presence of any article in the bag, as you may turn

it upside down, and even inside out, without any fear of the article

falling; and so long as you take care to keep the “pocket” side of the

bag towards yourself, the spectators have not the least reason for

suspecting that the bag is otherwise than empty. The uses to which this

little bag may be put are various. Amongst others, it is available

either to produce or cause the disappearance of an egg, and may thus,

in combination with other apparatus, be made useful for many tricks. We

shall content ourselves with describing one only of the modes of using

it.

The performer comes forward, having in his hand the bag, in which is

beforehand placed a small egg. He turns the bag upside down and inside

out, thus proving, to all appearance, that it is perfectly empty.

Holding the bag for a moment with his teeth, he pulls back his coat

cuffs, to prove that he has nothing concealed in that quarter, taking

care as he does so to show clearly that his hands are empty. Taking

the bag in his left hand, and imitating (if he can) the clucking of a

hen, he dips his right hand into it, and produces an egg (or rather

_the_ egg). This he places in his mouth, letting all see that he does

so, then making a gesture of swallowing, he again dips his hand in the

bag, and produces a second egg, of which he disposes in the same way,

repeating the operation until a dozen or more have been apparently

produced and swallowed. With the reader’s present knowledge, it is

hardly necessary to suggest to him that the egg, though fairly placed

in the mouth, is, under cover of the hand, instantly pushed out again

with the tongue, and palmed, rendering it a very simple matter to

produce (apparently) another egg from the bag. Although so absurdly

simple, the trick is effective, and if neatly performed, produces a

complete illusion.

The bag which is more generally known as the “egg-bag” is a much larger

affair, measuring eighteen to twenty inches in width, by fourteen or

fifteen in depth. In its most approved form, one side of the bag is

made double, the double side being stitched all round, save for about

four inches at one corner of the bottom of the bag. The little opening

thus left affords therefore the sole access to the space between the

double sides. Between these double sides, and immediately below their

upper edge, is stitched a broad band, with a row of a dozen or more

little pockets, each capable of holding an egg, end upwards. Each

pocket covers about two-thirds of the egg, which is prevented from

falling out spontaneously by a little piece of elastic round the edge

of the pocket, though it will slip out and fall into the space between

the double sides on the slightest pressure being applied to it.

The bag is prepared for use by placing an egg in each of the little

pockets we have mentioned. The eggs used are either blown shells or

imitation eggs of wood or tin, with one real one for the performer to

break as a specimen, and so lead the audience to the belief that all

are equally genuine. The bag being brought forward is turned upside

down--of course nothing falling from it. The performer then, thrusting

his arms down to the bottom, and seizing the bag by the corners inside,

turns it inside out, taking care, however, to keep the double side

towards himself. Having thus conclusively proved its emptiness, he

again brings back the bag to its normal condition, and in the act of

doing so, squeezes with his finger and thumb (through the stuff) the

genuine egg out of its pocket. It falls into the space between the

double sides, and by gently sloping the bag downwards in the direction

of the opening at the corner, he brings the egg into the outer bag,

whence he produces it, and breaks it to show its genuineness, as

already mentioned. Again he turns the bag inside out, shaking and

twisting it, and again produces an egg from it as before, repeating

the operation until the supply of eggs is exhausted. Sometimes he

varies his proceedings by trampling or jumping on the bag, which he

lays for that purpose on the floor, with its lower edge towards the

audience. The eggs are thus on the side remote from the spectators, and

in trampling on the bag it is very easy for the performer to avoid the

particular line in which he knows them to be.

It was formerly the fashion, after bringing out a number of eggs as

above described, to finish by producing the hen which is supposed to

have laid them. This was done by an adroit exchange of the bag just

used for another containing a hen, hung in readiness behind a chair, or

some other convenient cover. This latter bag having no double side, or

other preparation, might safely be abandoned to the inspection of the

most curious spectator. Where it is not intended to produce the bird,

it will still be well to have the second bag, so as to be able to make

an exchange, and to hand the bag for inspection.

It is a great improvement to the egg-bag to have the lower portion,

say the last three inches of its depth, made of network, so that the

spectators can at once see each egg as it falls to the bottom of the

bag. It is hardly necessary to observe that in this case the inner

lining of the double side must terminate where the network commences.

TO PRODUCE EGGS FROM A PERSON’S MOUTH.--While upon the subject of

eggs, we may notice this, though it has always appeared to us a rather

disagreeable trick. It is rarely exhibited as a separate feat, but

generally as a prelude to some other illusion, for the performance of

which three or four eggs are necessary.

The performer, requiring eggs, sends his assistant to fetch a plate. On

his return, he places him, holding the plate with both hands in front

of him, facing the company. The performer standing beside him, and

gently patting him on the head, an egg is seen to appear between his

lips. This is taken from him, and placed on the plate. The performer,

passing behind him, now stands on his other side, and again patting his

head, another egg is produced in like manner. This is repeated until

the requisite number of eggs is procured, the assistant, as each fresh

one is produced, simulating increasing difficulty, as though the eggs

were forced up from the stomach by a powerful muscular effort.

This effect is produced as follows: We will suppose that five eggs

are to be produced. One is placed beforehand in the mouth of the

assistant, and four more are placed in the _pochettes_, or tucked

under the waistband of the performer, two on each side. Having placed

his assistant in position, the performer secretly takes one of these

latter into his right hand, and palms it. Patting the assistant on the

head with his left hand, he waits until the egg appears between the

teeth, and immediately on its appearance, raises his right hand as if

to receive it, thus bringing up the palmed egg opposite the mouth,

while the egg that is already in the mouth slips back, under cover of

the hand, out of sight. The palmed egg is laid on the plate, and the

performer, in the act of passing behind his assistant, palms a second

egg in his left hand. The same pantomime is again gone through, save

that in this case the right hand pats the head, and the left hand

is held to the mouth to receive the egg. After four eggs have been

produced in this manner, the fifth, which has been all along in the

mouth, is produced apparently in like manner, but the performer takes

care that in this instance it shall be seen beyond a doubt that the egg

really does come from the mouth; which being manifestly the case in

this instance, the audience are pretty sure to jump to the conclusion

that all were produced in an equally _bonâ fide_ manner.

[Illustration: FIG. 159. FIG. 160.]

THE PILLARS OF SOLOMON, AND THE MAGIC BRADAWL.--There is a very

old-fashioned apparatus, sometimes called the Pillars of Solomon, for

apparently uniting a piece of cut string. It consists of two slips

of wood, each about four inches in length by five-eighths of an inch

square, laid side by side. At about an inch from one end of each, a

transverse hole is bored, and through this, passing through both slips,

a string is passed, and may be drawn backwards and forwards from side

to side. (_See_ Fig. 159.) The apparatus having been shown in this

condition, the performer passes a knife between the two slips, thus

apparently dividing the string; but the string is notwithstanding still

drawn backward and forwards through the holes, as sound as ever.

The secret lies in the fact that the string does not, in reality, go

straight through the two slips of wood from side to side. A glance at

Fig. 160 will enlighten the reader as to its real course. Instead of

passing straight through from _a_ to _d_, as it appears to do when

the two pillars are laid side by side (which is the condition in

which they are first exhibited to the spectators), it passes down the

length of the first pillar from _a_ to _b_, out at _b_, and into the

second pillar at _c_, whence it passes upwards, and emerges at _d_.

The passing of the knife between the two points _a_ and _d_ does not

therefore affect the string in the least.

[Illustration: FIG. 161. FIG. 162.]

It is obvious that in this form of the apparatus the two pillars,

being joined by the cords at the points _b c_, cannot be completely

separated, and the fact of their always being kept close together at

the lower end is quite sufficient to betray to an acute observer the

principle of the trick. There is, however, an improved form of the same

apparatus, in which, after the apparent cutting of the cord, the two

pillars are held wide apart, one in each hand of the performer, and

yet, when they are again placed side by side, the string runs backwards

and forwards merrily as ever. The pillars are, in this instance, of

the form shown in Fig. 161. They are about six inches in length, of

light and elegant shape, having at each end a ball or knob of about an

inch and a quarter in diameter, flattened on one face to allow of the

pillars being laid closely side by side. The cord, as in the former

case, passes down the first pillar from _a_ to _b_, but instead of

passing out at _b_, it is rolled round a little pulley working in the

lower knob of that pillar. (_See_ Fig. 162, which gives a sectional

view of the lower portion of each pillar.) A similar cord is passed

down from _d_ in the second pillar to _c_, and is there rolled round a

second pulley, but in the opposite direction to that of the first cord;

so that, if both pulleys move in the same direction, the cord on the

one will be wound, and the cord on the other unwound. Each pulley is of

one piece with its axis, the axis of the one terminating in a little

square tenon or nut, and that of the other in a corresponding mortice

or hollow, so that when the two pillars are placed side by side, their

axes fit the one into the other, and whichever of the two pulleys is

set in motion, the like movement is communicated to the other. The

effect of this is as follows: If the cord at _a_ be pulled, it unwinds

that portion of the cord which is wound on the pulley at _b_, and by

the same movement winds up the cord on the other pulley; and _vice

versâ_. We have omitted to mention that there is glued into a little

hole on the flat side of each of the upper knobs, exactly opposite the

points _a_ and _b_, a very minute piece, say an eighth of an inch in

length, of similar cord; these greatly heightening the appearance of

reality upon the apparent cutting of the cord.

The pillars are brought forward side by side, the nut of the one pulley

fitting strictly into the hollow of the other. The performer shows, by

drawing the cord backwards and forwards, that it fairly traverses the

two pillars from side to side. Taking a knife, he passes it between the

two pillars, and to all appearance cuts the cord, immediately taking

the pillars one in each hand, and showing the cut ends (really the

short bits on the inside) to prove that it is fairly cut through. Again

bringing the pillars together, taking care that the mortice and the nut

correspond as before, he commands the cord to be restored, and again

pulls it backwards and forwards as at first.

Some little fun may be created by placing the upper knobs of the

pillars pincer-fashion, one on each side of a person’s nose, the

cord being thus apparently made to run right through the nose. An

air of greater probability may be given to this curious effect by

first piercing the nose with the magic bradawl. This is in appearance

an ordinary bradawl, but the blade is so arranged as to recede into

the handle on the slightest pressure, again reappearing (being, in

fact, forced forward by a spiral spring in the handle) as soon as the

pressure is removed. A duplicate bradawl of ordinary make is first

handed round for examination, and the trick bradawl being adroitly

substituted, the performer proceeds therewith to bore a hole through

the nose of any juvenile volunteer who will submit to the operation.

Holding a piece of cork on one side of the nose, he apparently

thrusts the awl through the nose, the sinking of the blade into

the handle exactly simulating the effect of a genuine perforation.

(Some performers make use of a sponge moistened with some liquid

resembling blood, which by a little pressure is made to trickle down

from the imaginary wound; but this is a piece of realism which we

think is better omitted.) The nose being thus apparently pierced, the

imagination of the spectators is in a measure prepared to accept the

phenomenon of the restored cord running through it as already described.

[Illustration: FIG. 163.]

THE MAGIC COFFERS.--These are round tin boxes, japanned to taste,

and made generally about five inches in depth by three in diameter,

though they are sometimes larger. (_See_ Fig. 163.) The only speciality

about them is a moveable portion _a_, which may either be removed with

the lid or left upon the box, according as the lid is lifted with or

without lateral pressure. This moveable portion is bottomed with a

grating of parallel wires, an eighth of an inch apart. The coffers

are generally worked in pairs, the effect produced by them being the

apparent transmission of the contents of the one to the other, and

_vice versâ_. They may be worked with various articles.

For our present purpose we will suppose that the performer desires to

change white haricot beans to coffee-berries, both of which suit the

apparatus very well. He beforehand fills the one coffer with beans,

and the moveable compartment belonging to it with coffee-berries,

doing exactly the reverse as to the second coffer. The coffers are

now brought forward, and the performer, removing the lids (_with_ the

moveable compartments), allows the spectators to satisfy themselves

that each coffer is full to the bottom, and that the contents

are nothing more or less than what they appear to be. This being

established, he returns to his table, and again puts the lids on the

coffers, taking care that that which contains the beans shall be placed

on the coffer containing the coffee-berries, and _vice versâ_. He now

requests two of the younger spectators to step forward, and assist

him with the trick. A couple of volunteers having been procured, they

are made to salute the audience, and are then seated upon chairs at

each side of the stage, each being entrusted with one of the coffers,

which, that all may see, they are requested to hold with both hands

above their heads. The performer, standing between them, says, “Now,

young gentlemen, I must caution you to hold tight, or the electrical

forces which are rapidly generating in these magic coffers will carry

them clean away, and possibly you along with them. Now, first please

tell me, just to start fair, which coffer is it that you have got,

sir, the one with the beans, or the one with the coffee-berries?” The

chances are ten to one against the _extempore_ assistants remembering

which was which, and the majority of the audience will be equally

uncertain. The professor pretends surprise and disappointment. “Ladies

and gentlemen, you cannot possibly appreciate the beauty of these

philosophical experiments unless you follow them carefully from the

commencement. I will open the coffers once more.” So saying, he opens

first the one coffer and then the other, taking care, however, to lift

the lids only, so that the one which really contains the coffee-berries

shows the layer of beans, and that which contains the beans the layer

of coffee-berries. In each case he takes up a handful, and lets them

flow back from his hand into the coffer, the better to impress upon

the audience the contents of each, finally placing a bean in the hands

of the youth who holds the supposed coffer of beans, and a berry in

the hands of the holder of the supposed coffee-berries. Again closing

the lids, he requests the person holding the bean to throw it into

the closed coffer held by the other. The juvenile, looking foolish,

replies that it can’t be done; and a similar reply is received from the

youth holding the other coffer. The performer, addressing the company,

asks some one else to make the attempt, but equally without success.

He continues, “Gentlemen, among this large and brilliant audience not

one person can be found who will undertake to throw this little bean

into one of those coffers. Imagine, then, the difficulty of passing

the whole of the beans which this coffer contains into the other, not

dropping even one on the way, and at the same moment transferring the

whole of the berries in this coffer into that which, a moment before,

was full to the brim with the beans. But it must be done. Young

gentlemen, will you be kind enough to repeat with me, One, two, three!

At the word ‘three,’ by the way, you had better close your eyes, or

they might possibly be injured by the shower of beans and berries. Are

you ready, Mr. Beans? Are you ready, Mr. Berries? Now, then, One! two!

_three!!!_ Did you feel them pass? I hope they did not hurt you. Now

let us once more open the coffers. I have kept my word, you see--Mr.

Beans has the coffee-berries, and Mr. Berries has the beans. Will you

please step forward, and show the company that the coffers are, as at

first, full to the very bottom.” The lids, containing the moveable

compartments, he meanwhile places carelessly upon his table.

Some performers make the change more than once, and it is obvious that

the contents of the coffers may be made to apparently change places

any number of times. If this is done, however, the secret of the false

tops is apt to be suspected; whereas, in the method above described,

the audience have, as they believe, proved the coffers full to the

bottom, both before and after the trick; and this greatly increases the

difficulty of accounting for the transposition.

The object of having the false tops bottomed with open wirework,

instead of with tin, is to be prepared for the expression of a

suspicion on the part of the audience as to the existence of a false

top. In such case the performer, borrowing a penknife, passes it well

down through the upper layer of beans, etc., and through the wirework,

thus proving (apparently) that the coffer is open to the bottom. In the

trick as above described, however, the expression of such a suspicion

is a very remote contingency.

The trick is sometimes performed with sweetmeats in one or both of the

coffers, and in this form has an added charm for a juvenile audience,

who complete the trick by swallowing that portion of the apparatus.

THE BRAN AND ORANGE TRICK.--This trick is performed with a single

coffer, in appearance very similar to those used in the last trick,

but slightly different in construction. The false top is, in this

case, bottomed with plain tin. The bottom of the coffer is moveable,

being soldered to a circular rim or shoulder of tin about a quarter of

an inch in depth, over which the coffer fits pretty tightly, though

the projecting edge of the bottom enables the performer to remove

it without difficulty. The performer must also be provided with an

ordinary oblong wooden box. Its precise dimensions are unimportant,

save that it should be a good deal larger than the coffer, but about

an inch or so less in height. This box is filled with bran, as also

is the false top of the coffer. A couple of oranges, as much alike as

possible, must also be provided. One only of these is produced to the

audience, the other being beforehand placed on the _servante_ of the

table.

The performer begins by placing upon the table the coffer and the box

of bran. Removing the lid (with the false top), he brings forward the

coffer, and shows that it is perfectly empty. In returning to his

table, he loosens (though without removing) the moveable bottom, and

replaces the coffer on the table. He next brings forward the box of

bran, showing that there is no preparation about it, and in replacing

it on the table, places it in front of the coffer, which, however,

being the taller, remains visible behind it. He next introduces the

orange, either palming it (from one of his _pochettes_), and magically

producing it from some person’s nose or whiskers, or by the more

prosaic method of having it brought in by his assistant. He now returns

to his table, and, standing behind it, proceeds to fill the coffer with

bran. This he does by placing the coffer upright in the box, holding it

with one hand and ostentatiously pouring in bran with the other until

it is full. In placing the coffer in the box, however, he takes it up

quite _without_ the bottom, so that he is, in reality, only filling an

open tube. Meanwhile, he secretly picks up, with his disengaged hand,

the second orange from the _servante_, and places it upon the bottom,

which remains behind the box. Having filled the coffer, and remarking,

“Pray observe that it is quite full,” he (before removing it from the

box) covers it with the lid, and then lifting it out, again places it

behind the box in such manner as to go neatly over the bottom and the

orange upon it. (Of course, in the act of lifting the coffer, all the

contents run back again into the box.) Having now got the second orange

within the coffer, and having, by a gentle pressure, again settled the

bottom in its place, the performer places the coffer on a second table

or a chair close in front of the audience. He then says, “I am about

to order the bran with which this coffer is filled” (here he raises

the lid without the false top, and the coffer therefore appears full

of bran) “to pass back again into the box from which it was taken,

and this orange” (here he passes behind his table, and holding up the

orange, replaces it six or eight inches from the hinder edge) “to pass

into the coffer in place of it. Now, first for the bran. One, two,

three! Pass! Did you see it fly from the coffer into the box? You

didn’t? Well, at any rate, you shall see the orange pass. I take it

up _so_” (here he places his two hands round it, and rolls it on to

the _servante_ in manner described at page 294, coming forward with

the hands together, as though still containing it, and holding them

over the coffer at a few inches’ distance), “and squeeze it smaller and

smaller, in this manner, till it becomes small enough to pass right

into the coffer, as you see.” Here he separates his hands, showing them

empty, and immediately taking off the cover _with_ the false top, rolls

out the orange, and shows that the coffer is otherwise empty.

The trick as above described is susceptible of a good many variations.

If the performer uses a trap-table, the orange may be made to pass

through a trap instead of being rolled off at the back of the table,

though the latter method, if neatly executed, can hardly be surpassed

in illusive effect. A more substantial improvement may be made by

causing the bran, instead of simply disappearing as above mentioned,

to reappear in some other quarter. There are many pieces of apparatus

which may be used for this purpose, perhaps as good as any being the

improved sweet-bag (_see_ page 248). This should be previously filled

with bran, and hooked to the back of the table. The performer in this

case borrows a handkerchief, which he carelessly spreads on the table,

and a gentleman’s hat, which he places mouth upwards beside it. Instead

of announcing that the bran will return from the coffer to the box from

whence it was taken, he states that it will, at command, pass into

the handkerchief which he holds, and which as he speaks he picks up,

with the bag beneath it, holding it, without apparent intention, just

above the hat. At the word “Pass!” he slightly turns his wrist, thereby

releasing the flap of the bag, and a shower of bran is instantly seen

to pour down into the hat. This little addition greatly enhances the

effect of the trick.

THE RICE AND ORANGE TRICK.--In this feat rice and an orange are made

to change places, but by wholly different means from those last above

described.

[Illustration: FIG. 164.]

[Illustration: FIG. 165.]

The apparatus in this case consists of three japanned tin cones, about

ten inches in height by five at the base, and each having a brass knob

at the top--and an ornamental vase of tin or zinc, standing about the

same height as the cones, and having a simple metal cover, or top.

Of the cones (all of which are open at the bottom), two are hollow

throughout, but the third has a flap or moveable partition halfway

down, inclosing the upper half of the internal space. This flap works

on a hinge, and is kept shut by a little catch, which is withdrawn by

pressure on a little button outside the cone, when the flap drops down,

and lets fall whatever has been placed in the enclosed space. (_See_

Fig. 164.) The cone is prepared for the trick by filling this space

with rice, and closing the flap; and the three cones are then placed in

a row on the performer’s table, the prepared one being in the middle.

The vase (_see_ Fig. 165) is constructed as follows:--Its depth inside

is less by about an inch than its depth outside, leaving, therefore,

between its true and false bottoms, an empty space, _a_. A circular

hole is cut in the inner or false bottom, but this hole, in the normal

condition of the vase, is kept closed by a circular disc of metal, _b_,

exactly fitting it. This disc is soldered upon an upright wire rod,

passing through the foot of the apparatus, and terminating in another

disc, _c_, somewhat smaller in size. Round this rod is a spiral spring,

whose action tends to press it down, and thereby to keep the disc or

valve normally closed, though it rises, and thereby opens the valve

(as shown by the dotted lines in the figure), whenever upward pressure

is applied to _c_. The face of the upper disc, _b_, is slightly

concave, corresponding with the rest of the interior of the vase. The

vase is prepared for the trick by placing an orange in it, and in

this condition it is brought forward and placed on the table by the

performer or his assistant. A small paper bag full of rice is brought

in at the same time, and completes the preparations.

With this introduction, we proceed to describe the trick as worked by

Herrmann.

The performer begins by borrowing two hats, and places them one on

the other, the mouths together, on a chair or table. He then (by

palming) produces an orange from the hair or whiskers of a spectator,

and places this on another table. He next brings forward and exhibits

the vase, filling it as he advances with rice from the paper bag,

and thus concealing the orange which is already placed therein. He

calls attention to the genuineness of the rice and the simplicity of

the cover, and finally putting on the latter, places the vase on the

ground, or elsewhere, in view of the audience. He pretends a momentary

hesitation as to where to place it, and in the slight interval during

which he is making up his mind he presses up the button within the

foot. This opens the valve, allowing the rice to escape into the space

_a_, and leaving the orange again uncovered. The audience is, of

course, unaware that such a change has taken place.

Leaving the vase for the moment, he requests the audience to choose

one or other of the three cones on the table. The choice almost always

falls on the middle one (which, it will be remembered, contains the

concealed rice). This he places on the top of the upper hat. He next

asks the audience to select one or other of the remaining cones, and

places this over the orange upon the table, showing by rattling his

wand within it that it is hollow throughout, and, if desired, handing

round the remaining one for inspection.

At this point we hasten to anticipate an objection which will probably

occur to the reader. We have said that the audience, when called upon

to choose one of the three cones, _almost_ always select the middle

one, and we have proceeded on the assumption that they do so. “But

suppose,” says the acute reader, “that they _don’t_ choose the middle

one, but select one of the end ones; the trick is spoilt, as neither

of the others will produce the rice.” By no means, O acute reader! If

we had requested the audience to choose which of the cones should be

placed upon the hat, there might have been a little difficulty, no

doubt; but we did nothing of the kind. We merely asked them to choose

one of the cones. If their first choice falls on one of the end ones,

we hand it round for examination, and finally place it _over the

orange_. Then, standing behind the table, we ask the audience to make

their choice between the two remaining cones, right or left. Whichever

is chosen, we are safe; for as we have already had occasion to explain

in connection with the trick of the half-crown in the orange (_see_

page 171), the right of the audience is our left, and _vice versâ_,

so that by taking their reply in the sense which suits our purpose

we are certain to be right. We therefore, in any case, take the cone

containing the rice as being the one designated, and place this on the

hat, sending round the other for inspection. As the audience have,

to all appearance, been allowed perfect freedom of choice, and have

actually examined two out of the three cones, they are very unlikely to

suspect any preparation about the remaining one.

The trick is now all but complete. Once more the performer raises the

cone placed on the hat, to show that there is nothing underneath it;

and as he replaces it presses the button, thereby letting the flap

fall, and the rice pour out upon the hat, though it remains still

concealed by the cone. He next lifts up the cone under which is the

orange, and holding the latter up, replaces it, but in again covering

it with the cone, makes a feint of removing and slipping it into his

pocket. Then noticing, or pretending to notice, a murmur on the part

of the company, he says, “Oh, you think I took away the orange, but I

assure you I did not.” The company being still incredulous, he again

lifts the cone and shows the orange. “Here it is, you see, but as you

are so suspicious, I won’t use the cover at all, but leave the orange

here in full view on the table.” He again lays the orange on the

table, but this time on what is called a “wrist trap.” Leaving it for

the moment, he advances to the vase, and holding his hands together

cup-fashion over it, but without touching it, he says, “I take out the

rice, so, and pass it under this cover” (walking towards the cone on

the hat, and making a motion of passing something into it). “Let us

see whether it has passed.” He raises the cover, and the rice is seen.

“Perhaps you think, as you did not see it, that I did not actually

pass the rice from the vase to the cover. At any rate, you will not be

able to say the same about the orange. I take it up, before your eyes,

so!” He places his hands round it on the table, and at the same moment

presses the lever of the trap, which opens, and lets it fall through

into the table, closing again instantly. Keeping his hands together, as

though containing the orange, he advances to the vase, and holding his

hands over it, says, “Here is the orange which has not left your sight

even for a single moment. I gently press it, so” (bringing the hands

closer and closer together) “and make it smaller and smaller, till it

is reduced to an invisible powder, in which state it passes into the

vase.” He separates his hands, and shows them empty, and then opening

the vase, rolls out the orange, and shows the vase empty, all the rice

having disappeared.

The mechanism of the Wrist Trap will be explained in the next Chapter.

If the performer does not possess a trap table, he can cause the orange

to disappear in the manner referred to at page 337.

[Illustration: FIG. 166.]

THE MAGIC WHISTLE.--The student will not have proceeded far in his

magical experience before he meets with an often-recurring nuisance, in

the person of some individual, old or young, who knows, or pretends to

know, the secret of all his tricks, and whose greatest delight it is,

by some _mal-à-propos_ question or suggestion, to cause the performer

embarrassment. The magic whistle is specially designed to punish, and,

if possible, to silence, an individual of this kind. It is of turned

boxwood, and of the shape shown in Fig. 166, and yields a shrill and

piercing note. The performer, bringing it forward and blowing through

it, announces that this little whistle, so simple in appearance, has

the singular faculty of obeying his will, and of sounding or not

sounding at his command alone. The loquacious gentleman is pretty sure

to question the fact, or is on some pretence selected to make trial of

its truth. The performer places him directly facing the audience, and

after himself once more sounding the whistle, hands it to him in order

to try his skill. He blows vigorously, but in vain; not a sound can he

produce, but his mouth and lips gradually become obscured with a white

or black dust. He finally retires to his seat amid the laughter of the

audience, and generally much less disposed to make himself prominent

during the remainder of the evening.

The secret lies in the fact that there are two whistles--one is a

perfectly ordinary instrument, but the other, though similar in

appearance, does not sound, but is perforated round the inner side

of the head (_see_ the Figure) with a number of small holes. The

head unscrews, and is beforehand filled with finely powdered chalk

or charcoal, which, when the whistle is blown, is forced through the

holes, and settles round the mouth of the victim.

With the present knowledge of the reader, the necessary exchange of the

two whistles will not be regarded as offering any difficulty.

There is a larger appliance for the same purpose in the shape of a

flageolet. Another apparatus of like effect, though differing a little

in detail, is called

[Illustration: FIG. 167. FIG. 168.]

THE MAGIC MILL.--This is a little Mill of the form shown in Fig. 167,

and five or six inches in height. It is made of zinc or tin, and

consists of two portions--the upper part A, and the base B (_see_ Fig.

168), the former sliding over the latter (as shown by the dotted lines

in Fig. 167), and fitting easily upon it. A is hollow throughout; _a_

and _b b_ are hollow tubes open at each end, a third little tube _c_

springing at right angles from _a_. The base, B, is a hollow chamber,

closed on all sides save at the openings _d_ and _e e_. This chamber

is beforehand fitted with powdered chalk or charcoal; after which A is

placed in position over it. If, under these circumstances, any person

blows smartly through the tube _a_, the effect will vary according to

the position of B within A. If B be so turned that the three holes

_d_ and _e e_ correspond with the tubes _a_ and _b b_, the breath

entering at _d_ will force out the contents of B through the tubes

_b b_, and powder the lips of the person blowing, as in the case of

the magic whistle. But if, on the contrary, B be turned ever so little

to the right or left, the three openings in B no longer corresponding

with the tubes, the latter will be closed, and the breath having no

other outlet, will be forced upwards through the upright tube _c_,

thereby setting the little vane _f_ in rapid motion. The latter is the

condition in which the apparatus is brought forward by the performer.

Blowing through _a_, he sets the mill in motion, and invites others to

do likewise, in which, of course, they succeed without difficulty; but

when the turn of the intended victim arrives, the performer gives A a

slight twist round, in such manner as to bring the openings of B in

correspondence with the three tubes, with the result already explained.

We have omitted to mention that there is on the under surface of B a

little raised point, corresponding in position with the opening _d_, so

that the performer is able to tell instantly by feel whether B is or is

not in the required position.

As a matter of convenience, we shall, before proceeding further with

the explanation of individual tricks, describe two or three pieces of

apparatus of general utility, to one or other of which we shall have

frequent occasion to subsequently refer.

THE DRAWER-BOX.--This is a piece of apparatus of very frequent use in

the magic art. In appearance it is an ordinary drawer, with an outer

box or case of walnut or mahogany (_see_ Fig. 169), and is made of

various dimensions, according to the size of the articles with which it

is intended to be used, and which may range from a pack of cards to a

live rabbit. Its use is to produce or to cause the disappearance of a

given article; the drawer having the faculty of appearing full or empty

at pleasure.

[Illustration: FIG. 169. FIG. 170.]

[Illustration: FIG. 171.]

The first step towards the comprehension of the apparatus will be to

completely take out the drawer, which, however, even when removed, does

not at first sight indicate any speciality. On a closer examination, it

will be found that the drawer is in reality double (_see_ Fig. 170),

consisting of two parts, _a_ and _b_, the latter sliding backwards and

forwards freely within the former, which is, in fact, a mere case or

shell, open at one end. If any object, suppose an orange, be placed

in _b_, and _a_ and _b_ together be placed in the outer case, it is

obvious that, upon drawing out _a_, _b_ will come with it, and the

orange will be seen; but if _b_ be held back, _a_ will be drawn out

alone, and the apparatus will be apparently empty. For the means of

retaining _a_ at pleasure, it will be necessary to examine the outer

case, which will be found to have a groove or mortice cut in its under

surface (_see_ Fig. 171), along which lies a spring or tongue of wood,

fixed by a screw at one end, the other, or free end, being provided

with a catch or stud _c_, which, upon pressure, is forced through

an opening in the bottom of the outer case, and made to sink into a

little hole or notch in the bottom of _b_, being again withdrawn by the

action of the spring as soon as the pressure is removed. The bottom

of the outer case is covered with velvet, ostensibly as a finish, but

really to conceal the wooden tongue. When it is desired to draw out _a_

without _b_, the apparatus is held as shown in Fig. 171, and a gentle

pressure applied by the finger through the velvet upon the free end

of the wooden tongue, thus forcing the catch upwards, and keeping _b_

back. If _a_ be drawn out without this pressure, _b_ will come with

it. The upper edge of _a_ is turned over all round, so that a casual

observer is not likely to detect any difference in the thickness of the

sides of the drawer, whether it is drawn out with or without its inner

casing.

[Illustration: FIG. 172. FIG. 173.]

Some drawer-boxes have a different arrangement for holding back the

inner drawer, consisting of a little wire bolt lying loosely in a

cylindrical cavity in the hinder end of _b_, corresponding with a

similar cavity in the side of the outer case. As long as the drawer-box

is kept in its normal position, this pin offers no obstacle to the

withdrawal of _b_ with _a_; but if the box be turned over on the side

in which is the bolt, the latter drops partially into the hole in

the outer case, thus bolting _b_ to it, until, by again turning over

the apparatus, the bolt is made to drop back again into its original

position. The arrangement is rather difficult to explain in writing,

but will become quite clear upon an examination of Figs. 172 and 173,

both representing a section of the hinder end of the drawer-box,

the one in its upright and the one in its turned-over position. The

necessary turning over of the box is plausibly accounted for by the

performer’s desire that the audience shall, for greater fairness, have

a full view of the top of the apparatus.

[Illustration: FIG. 174. FIG. 175.]

There is an ingenious addition sometimes found in drawer-boxes of

French make, whereby _b_ may be at pleasure bolted to _a_, and the two

may thus be handed for examination, with little chance of their secret

being detected. The bolting and unbolting is effected by a slight

movement up or down of the knob in front, thereby raising or depressing

a kind of hook of bent tin, working in the thickness of the front of

_a_. Fig. 174 shows this hook in its raised or unhooked, and Fig. 175

in its depressed or hooked condition.

The drawer-box, as above described, is available to produce or

disappear, but not to change articles. With a slight modification,

however, it may be made available for changing also. The inner drawer

_b_ is in this case made only half the depth of _a_, or even less;

and thus, when closed, there is left between the bottom of _b_ and

that of _a_ a considerable space, so that _a_ and _b_ may in this case

each be made to hold a given object, and an apparent transformation

be effected. Thus, for instance, _b_ may be filled with bran, and any

small article, such as a borrowed pocket-handkerchief, be placed in

_a_. The drawer is first pulled out with _b_, and shown filled to the

brim with bran; but on being closed and again opened (without _b_), the

bran is apparently transformed into the handkerchief.

Another modification of the drawer-box is known as

[Illustration: FIG. 176.]

THE DISSECTING DRAWER-BOX.--This is, in general appearance, not unlike

the ordinary drawer-box already described, but with this difference,

that the outer case has a raised top, somewhat of a sarcophagus shape.

(_See_ Fig. 176). The drawer is partially drawn out to show that it is

empty, is again closed, and on being once more drawn out, proves to

be full to the brim with flowers. These having been distributed, the

performer, to prove the perfect emptiness of the apparatus, not only

takes the drawer completely out, but takes the outer case (which is

constructed accordingly, the sides, top, and bottom being hinged to the

back) apart, as shown in Fig. 177. Notwithstanding this, upon again

reconstructing the case, and replacing and reopening the drawer, it is

once more found filled with flowers.

[Illustration: FIG. 177.]

The reader, being acquainted with the ordinary drawer-box, will have

no difficulty in accounting for the first harvest of flowers, but the

second may possibly puzzle him a little. The secret lies in the top

of the outer case, which, as we have already mentioned, is slightly

pyramidal in form, allowing a considerable space between its inner

and outer surface, and in this space is packed the second supply of

flowers. This space is closed on its under side by a flat wooden slab

_a_, of the same area as the inside of the drawer, held in position by

a thin wooden slip or bead at either end. The hindmost of these beads,

_b_, is so arranged as to yield to pressure, and, when the drawer is

pushed slightly in, gives way just enough to release the slab before

mentioned, which thereupon falls flat upon the bottom of the drawer,

and upon it the hitherto concealed flowers, which, spreading as they

fall, completely fill the drawer.

THE CHANGING CARD-DRAWER.--This is a smaller variety of the drawer-box,

designed specially for use in card tricks. The inner drawer is just

large enough to contain a pack of cards, which may thus be produced or

vanished by its means. Between the bottoms of the true and false or

outer drawer, is a space of about an eighth of an inch. This makes the

apparatus available not only to produce or vanish as above mentioned,

but to transform one card into another. The card to be changed is for

this purpose placed in the outer drawer, which, when closed, carries it

under the bottom of the inner drawer, and in this latter is placed the

card for which it is to be changed, or _vice versâ_.

There is an improved form of the card-drawer, with a double change,

effected on the principle of the dissecting drawer-box. This is just

as above described, with the addition that when the two drawers are

pressed smartly home, the action releases a thin slab of wood forming

apparently part of the inner surface of the case, and exactly equal

in area to the bottom of the inner drawer, into which it falls. When

required for use, a card is placed above this slab, which, falling when

required, covers the card already in the box, and exhibits instead

that which had been concealed above it, as in the case of the changing

card-boxes, described in the chapter devoted to card tricks. The uses

of such an apparatus will be obvious; but we will describe, by way of

illustration, one very good trick which may be performed with it.

The apparatus is prepared beforehand by placing a given card (say the

knave of spades) above the moveable slab, and another (say the eight

of diamonds) in the outer drawer. The performer invites two persons

to each draw a card, and “forces” upon them the knave of spades and

eight of diamonds. The cards being replaced in the pack, he, if he

has used an ordinary pack, brings them to the top by the “pass,” and

palms them, or if he has used a forcing pack, exchanges that pack for

an ordinary one from which those two cards have been removed. Leaving

the pack on the table, he exhibits the card-drawer, taking out both

drawers together, and showing, apparently, that case and drawer are

absolutely empty. Closing the drawer, he announces that he will make

the drawn cards leave the pack, and pass into the drawer. One of the

cards (the eight of diamonds) is named, and pulling out this time the

outer drawer only, he shows that it contains that card, which is taken

out, and handed to the person who drew it. Again the drawer is closed,

being this time pushed sharply home. The second card, the knave, being

now named, the drawer is again opened, and this card shown; the drawer

being again taken wholly out, and the drawer and case turned in all

directions for inspection, as before, the operator only taking care to

hold the drawer with one finger inside, that the moveable slab may not,

by falling out, betray its presence.

[Illustration: FIG. 178.]

CHANGING CADDIES.--These are of various kinds. We will begin with the

simplest, thence proceeding to the more complicated. The conjurors

caddy, in its most elementary form, is an oblong box, about six inches

in length by five in height and four in width. (_See_ Fig. 178.)

One-half of its interior, which is divided into two compartments by

a transverse bar across the top, is occupied by a drawer, or moveable

compartment, so arranged as to slide freely backwards and forwards

from end to end, according as the caddy is allowed to slope in the one

direction or the other. (_See_ Figs. 179 and 180.) Each compartment has

its own lid, the caddy sometimes, but not always, having an outer lid

in addition.

[Illustration: FIG. 179. FIG. 180.]

We will suppose that it is desired to produce any article from

the caddy, first shown empty. The article in question (say an

egg, hard-boiled for safety) is beforehand placed in the moveable

compartment, which we will suppose to occupy for the time being the

space under lid _a_, as shown in Fig. 179. The performer takes off the

opposite lid _b_, and shows the space beneath empty. Before removing

the second lid, he slopes the caddy in the opposite direction, so as to

bring the moveable compartment under lid _b_ (_see_ Fig. 180), and thus

is enabled to show the space under _a_ also empty. He then proceeds

with the trick, and at the right moment produces the article from the

caddy.

[Illustration: FIG. 181.]

It is obvious that the caddy above described is only available for

appearances and disappearances, and not for transformations. To

obviate this defect, the majority of caddies are now made with _three_

compartments (_see_ Fig. 181), with a sliding drawer occupying two of

them. The caddy in this form may be used to “change” objects in manner

following:--The sliding drawer being as shown in Fig. 181, the article

to be ultimately produced (say an orange) is placed in _b_. The three

compartments are now shown empty, beginning with _c_, and allowing the

sliding drawer to assume the position shown in Fig. 182, before in turn

uncovering _a_ and _b_. The article to be changed (say a watch) is now

placed openly in compartment _b_. The performer closes the lid, and,

after a moment’s interval, reopens it, but in that interval slopes

the caddy so as to again bring the sliding drawer into the position

shown in Fig. 181, when the orange is again brought under _b_, and,

on removing the lid, is disclosed. To show that the watch has really

disappeared, the caddy may again be shown (apparently) empty, in the

same manner as at first.

[Illustration: FIG. 182.]

There are a good many varieties of caddies made. One is known as the

“skeleton” caddy, from the fact that the bottom is made to take out, so

that the company can look through all three compartments. The sliding

drawer in this case is bottomless, and is so arranged as only to slide

when the performer releases it by pressing upon a particular spot in

the ornamental moulding round the bottom of the caddy. This pressure

withdraws a little pin, which normally rests in a little hole in the

side of the sliding drawer, and thus renders it for the time being a

fixture. In some caddies, again, the sliding drawer does not run up and

down by its own weight, but is moved backwards and forwards from below

by means of a projecting pin passing through a slit in the bottom of

the caddy. The caddy in this case does not require to be inclined one

way or the other, and is on this account preferred by many to the other

make.

The trick next described will introduce to the reader a changing caddy

of another and special construction.

[Illustration: FIG. 183.]

THE MAGIC VASE AND CADDY. (To make peas change places with a

handkerchief.)--For this trick two special pieces of apparatus are

necessary. The first is a tin vase, of the shape shown in Fig. 183, and

generally of about ten inches in height. It consists of three parts,

the vase proper _a_, the cover _b_, and a moveable compartment or well,

_c_, which is constructed upon a principle which we have had frequent

occasion to notice, the cylindrical portion of _a_ passing between

the inner and outer wall of this moveable compartment. It is coloured

exactly similar to that portion of _a_ which it covers, which therefore

looks exactly the same to the ordinary spectator, whether _c_ be in

its place or removed. The internal depth, however, of _c_ is little

more than half as deep as that of the actual vase, _a_. The cover _b_

exactly fits over _c_, and by means of a little appliance called a

“bayonet-catch,” will either lift _c_ with it when removed, or release

_c_ and leave it upon _a_.

[Illustration: FIG. 184.]

As this “bayonet-catch” is of constant use in magical apparatus, it

will be desirable to describe it somewhat minutely. A rectangular cut

or slit (_see_ the enlarged view in Fig. 184) is made in the lower edge

of the cover _b_. Its perpendicular arm is about a quarter of an inch

in length, and its width about an eighth of an inch. A small pin or

stud, about an eighth of an inch in length, projects perpendicularly

from the lower edge of _c_, at such a height that when _b_ is placed

over _c_, the upper or horizontal arm of the slit shall be just level

with it. If the upright arm of the slit be brought immediately over

this pin, the latter will, as the cover sinks down, travel upward along

the opening as far as the junction with the transverse portion of the

slit. If the cover be now again lifted, the pin will, of course, offer

no obstruction to its removal; but if the cover be first slightly

turned to the right, the pin will become engaged in the transverse

portion of the slit, and upon then lifting the cover, it will carry

with it the pin, and all connected with it. When it is desired to lift

off the cover _alone_, it will only be necessary to turn the cover

a little to the left, thus bringing the pin again over the upright

portion of the slit.

[Illustration: FIG. 185.]

The second piece of apparatus is a caddy (Fig. 185), in appearance not

unlike an ordinary tea caddy, with three equal-sized compartments,

each having its own lid. Upon close inspection it will be discovered

that the internal depth of these compartments is somewhat shallow in

comparison with the external measurement of the caddy, leaving a space

about an inch deep between the inner and outer bottoms. A sliding

drawer, working from end to end of the caddy, as already explained,

occupies the space of two compartments. Supposing this for the moment

removed, it would be found that the external caddy, in the space

occupied by the two end compartments, _a_ and _c_, has a false bottom

covering the hollow space we have already mentioned, but that the space

occupied by the middle compartment _b_ has none. Of the two moveable

compartments, which together constitute the sliding tray already

mentioned (_see_ Fig. 186), the one _d_ has a bottom, the other _e_ has

not.

[Illustration: FIG. 186.]

When the sliding drawer is in its proper position in the caddy, and

is pushed as far as it will go towards the one or the other end, the

result is as follows:--If it is pushed to the right, the bottomless

compartment _e_ occupies the space at that end, under lid _c_, while

the opening in the false bottom of the caddy is, for the time being,

closed by the bottom of _d_, which now occupies the middle space.

If the sliding tray is pushed to the opposite end (_i.e._, to the

left), _d_ will occupy the space _a_ at that end, while the bottomless

compartment _e_, being over the opening, gives access to the space

beneath.

The caddy is prepared for the purpose of the trick by placing in the

space between the true and false bottoms a white handkerchief, and the

sliding tray is then pushed to the right, so as to bring compartment

_d_ to the middle, and thus close the opening. The vase is prepared by

filling both divisions with peas. The two pieces of apparatus having

been placed on the table by the assistant, the performer opens the

caddy, and taking off the lids of the three divisions, and holding it

with his fingers inside the right hand end (thereby preventing any

possibility of the tray shifting), brings it forward to the audience,

and passing rapidly in front of them, begs to introduce to their

notice an old tea caddy, in which he has accidentally discovered some

curious magical properties. In the present condition of the caddy all

three compartments appear exactly alike, and of equal depth; and the

interior being of a dead black, the spectators are not likely to notice

that they are somewhat shallow. Again closing the lids, and replacing

the caddy on the table, he next draws attention to the vase. Taking

off the cover without the moveable compartment, and holding it upside

down, he pours the peas contained in the upper compartment (which

should not be _quite_ full) into the cover, and back again two or three

times, finally offering a handful for inspection. He then borrows a

lady’s handkerchief, which should as nearly as possible resemble the

substitute hidden in the caddy. He asks permission to place it, for the

purpose of the trick, in the vase. This is, of course, readily granted,

but the peas are in the way. After a moment’s pretended hesitation,

he says, “Well, I will put them in the caddy. Pray observe that I

really do so.” So saying, he pours them into _d_ (which, it will be

remembered, is for the time being the centre compartment), leaving that

compartment uncovered, so that they may remain visible to all. He then

places the handkerchief in the apparently empty vase, which he closes

and places on the table. He continues, “You have all seen me place

the handkerchief in the vase, and the peas in the caddy. Now I will

show you a very curious experiment. Perhaps some scientific gentleman

among the audience will explain how the effect is produced; for I

confess that though I have performed this trick some scores of times,

I am not quite certain myself as to the reason of the phenomenon.

Let me beg you once more to assure yourselves that these are genuine

peas, real common-place peas at twopence a pint, with no nonsense

about them.” As he says this, he passes along the front rank of the

spectators, exhibiting the peas in the caddy, and occasionally taking

out a handful, and offering them for closer inspection. As he reaches

the end of the line, he says, “You are all thoroughly satisfied that

these are genuine peas, and that the lady’s handkerchief is in the vase

upon the table. Quite right. Now observe, I don’t even touch the vase,

and yet, at the word of command, the handkerchief will pass into the

caddy which I hold in my hand. Pass!” During the last few words, and

holding the caddy for an instant with the lid towards the audience, so

as to screen his hand, he has pushed the sliding tray to the left, so

that _d_, containing the peas, now occupies the end space, while the

bottomless compartment _e_ has taken its place in the middle. Dipping

down through this compartment into the hollow space beneath, he takes

out the substitute handkerchief. “My commands are obeyed. Here is the

handkerchief. But where are the peas? Probably, as the handkerchief

has taken the place of the peas, the peas have taken the place of the

handkerchief. Let us see.” He uncovers the vase, lifting this time with

the cover the moveable compartment containing the real handkerchief.

“Yes, here are the peas, right enough,” shaking the vase, and taking

them up by handfuls to show them. He continues, “Now I dare say this

seems very surprising to you, but in truth it is comparatively simple.

The real difficulty begins when you try to make the handkerchief

and the peas travel back again to their original situation. This

part of the experiment is so difficult, that I always feel a little

nervous over it, but I must make the attempt.” Pushing the substitute

handkerchief openly down to the position it originally occupied, he

takes the opportunity, in carrying the caddy back to the table, to

slide back the tray as at first, and, after a little more talk, shows

that the peas have returned to the caddy, and lifting the cover alone

from the vase, produces therefrom the genuine handkerchief.

[Illustration: FIG. 187.]

THE COVER, TO PICK UP ANY ARTICLE.--This (called in French

“_ramasse-tout_”) is a brass cover of six to ten inches in height, and

of the shape shown in Fig. 187. Within it works backwards and forwards

on a spring hinge, a kind of scoop, pressing, when at rest, against

the side of the cover, as in Fig. 188, but moving into the position

shown in Fig. 189 whenever pressure is applied to the button _a_, again

returning to its original position when such pressure is removed. The

manner of using it is as follows:--The performer, we will suppose,

desires to cause the disappearance of an orange, in order that it (or

a counterpart) may be subsequently produced in some other quarter.

Placing the orange upon the table, he places the cover over it,

pressing, as he does so, the button _a_, so as to draw back the scoop.

As his hand quits the cover, the pressure being removed, the return of

the spring causes the scoop to clip the orange tightly against the

side of the cover; and if the cover be now lifted without pressing the

button, it will carry the orange with it. If it is desired again to

produce the orange, the button is pressed in the act of lifting the

cover, which then leaves the orange on the table.

It is hardly necessary to observe that the cover is always lifted

perpendicularly, so that the spectator cannot see the interior.

[Illustration: FIG. 188. FIG. 189.]

It is well to be provided with a second cover similar in external

appearance, but without any mechanism. This may be handed round for

inspection, and afterwards secretly exchanged for the mechanical cover.

THE CHANGING COVER.--This cover is available not only, as in the last

case, to produce or vanish, but also to change one article for another.

It is somewhat of the pattern of an ordinary round dish cover, with a

metal knob on the top. (_See_ Fig. 190.) It is divided by a vertical

tin partition _a_ (_see_ Fig. 191), into two equal compartments, _b_

and _c_. The lower, or open side of each of these compartments is of

course semicircular. A flat tin plate, _d_, also semicircular, works on

an upright axis, _e_, passing upwards through the centre of the cover,

and terminating in the knob on the top. By turning, therefore, this

knob halfway round to the right or left, the performer is enabled to

close whichever of the compartments happens for the time being to be

open, at the same time opening that which was previously shut. There

is a little point or stop on the upper side of the semicircular plate,

which meeting resistance from the vertical partition, prevents the

plate making more than the necessary half-turn either way.

[Illustration: FIG. 190. FIG. 191.]

The apparatus is prepared by placing the article representing the

result of the supposed transformation (say an apple) in either

compartment, and turning the knob so as to close that compartment, and

open the other. The article to be changed (say an orange) is placed

upon the table, and the performer places the cover upon it, taking care

that the open compartment for the time being shall come fairly over it.

He then gives a half turn to the knob, thereby closing the compartment

which has hitherto been open, and securing the orange within it, and at

the same time releasing the apple, into which, on the cover being again

raised, the orange appears to be transformed. In this case, as in the

last, it is well to have a plain counterpart cover to hand round for

inspection if necessary.

The uses to which the changing cover may be put are very numerous.

The following is an instance of a rather original application of it,

which produces a capital effect. We will suppose that the performer

has executed a trick in which he has availed himself of the assistance

of some juvenile member of the audience, and that an apple has been

one of the “properties” of the trick. The trick being concluded, the

professor asks his temporary assistant whether he would like to have

the apple, and is of course eagerly answered in the affirmative. “Very

well,” says the professor, “you shall have it; but you must first earn

it by a little display of dexterity. I will put it under this cover.”

He suits the action to the word. “Now I am going to say, One, two,

three! At the word ‘Three’ I shall raise the cover, and you must try

to snatch the apple before I replace it. If you can catch the apple in

this manner three times in succession, it is yours; but on one further

condition, that you eat it at once here upon the stage.” The conditions

are readily accepted. “One, two, three!” cries the professor, raising

the cover and disclosing the apple, which is instantly snatched up.

A second time the process is gone through, with a like result. “You

mean to win, I can see,” remarks the performer. “Now, once more, and

the apple will be yours; but I warn you I shall be rather quicker

this time. One! two!! three!!!” The eager boy springs forward, and

clutches--not the apple, but a Spanish onion, which had been placed

in the second compartment of the cover. “You have won, sir,” says the

professor, pretending not to notice the change; “but don’t forget

the second part of your bargain. You are to eat it at once, before

leaving the stage.” We will leave to the imagination of the reader the

discomfiture of the victim, and the amusement of the spectators; also

the subsequent magical processes by which the transformed apple may be

restored to its original and more fragrant condition.

[Illustration: FIGS. 192, 193, 194.]

THE CHANGING LADLE.--This is a piece of apparatus designed for secretly

obtaining possession of a chosen card or piece of writing. The bowl,

so to speak, of the ladle is in the form of a segment of a cylinder

(_see_ Fig. 192), the size of its opening being about four inches by

two and a half, and its depth three inches. It is made of tin, with a

thin, cylindrical handle. The edges of the bowl are turned inwards all

round to the extent of about a sixteenth of an inch, thereby serving

to disguise a moveable slab of tin, _a_, which moves backwards and

forwards like the leaf of a book within the ladle, working upon a

hinge at its lower edge. This is made to work backwards and forwards

by a wire rod passing through the whole length of the handle, and

terminating in a little knob or cap at its outer end. The normal

position of _a_ is to lie against the inner or handle side of the bowl

(_see_ Fig. 193), being retained in that position by the effect of a

spiral spring in the handle, which draws the wire back. If, however,

pressure be applied to the knob or cap at the end of the handle, the

wire is forced downwards, thereby bringing the moveable leaf _a_ against

the outer side of the bowl, as shown in Fig. 194.

There are various modes in which the changing ladle may be made

useful. For example, it may be used to burn and restore a card. For

this purpose, the ladle is prepared by placing in it beforehand any

indifferent card of similar pattern to the pack in use, and is in this

condition placed on the performer’s table, in such manner that the

spectators may not observe that there is already a card in it. The

performer then comes forward and hands to one of the company a pack of

cards, with a request that he will select any one he pleases. While

he is making his selection, the performer or his assistant places on

the table and sets fire to some spirits of wine on a bowl or plate. A

card having been chosen, the performer requests the drawer to return

it to him, and, in order to exclude the possibility of any exchange or

sleight-of-hand, volunteers to receive it at arm’s length in the ladle,

which he brings forward for that purpose, holding it by the extreme end

of the handle, and pressing with his palm the knob at the top, thereby

bringing the moveable leaf into the position shown in Fig. 194, with

the card already in it pressed flat against the outer side of the bowl,

and thus completely hidden. The chosen card being placed in the ladle,

the performer, in returning to his table, relaxes the pressure of his

palm, thereby bringing the moveable leaf back into the position of

Fig. 193, releasing the dummy card, and concealing that chosen against

the inner side of the bowl. He then drops apparently the chosen, but

really the substitute, card into the flames, taking care as he does

so not to turn the face of the card toward the audience. The ladle,

with the genuine card in it, is carried off by the assistant as having

served its purpose, and the chosen card is subsequently restored after

any fashion which the fancy of the operator may dictate.

The ladle may also be used to apparently burn and restore a paper on

which one of the company has written any words or figures. In this case

a blank half-sheet of note-paper, folded in four, is beforehand placed

in the ladle, and a piece of paper folded in the same way is handed to

one of the audience, with a request that he will write what he pleases

upon it, again fold it, and place it in the ladle. It is then either

apparently burnt (as in the case of the card), or placed in some other

apparatus, the operator making a great point of the fact that he does

not touch the paper. As the genuine paper remains in the ladle, it is,

of course, very easy for the performer to ascertain what is written

upon it, and having displayed his knowledge, to ultimately reproduce

the paper under any circumstance which he thinks fit. Sometimes the

trick is varied by requesting a spectator to write a question upon the

paper, which is subsequently reproduced with an appropriate answer

written beneath the question.

[Illustration: FIG. 195.]

[Illustration: FIG. 196.]

THE CONE, OR SKITTLE. (_La quille_).--This is a block of polished

boxwood, of the shape shown in Fig. 195, with a thin shell of the

same material exactly covering it, and so closely resembling it in

appearance, that the solid block and the hollow shell, seen apart,

cannot be distinguished the one from the other. The cone is made in

various sizes, from three inches in height by one and a half at the

base, to seven inches in height by three at the base. It is worked

with a paper cover, consisting of an open tube of cartridge paper

about double the height of the cone, and tapering in such manner that

its larger end shall fit loosely over the cone. The performer brings

forward this paper tube in his right hand, and the cone (with the

hollow shell upon it) in his left, taking care to hold his fingers

beneath it in such manner that the solid cone cannot fall out. He first

calls attention to the paper tube, which the audience are allowed to

examine at pleasure. When it is returned to him, he says, “You are now

quite satisfied that there is no preparation about this tube, which is,

in fact, simply a cover for this block of wood.” As if merely suiting

the action to the word, he covers the block with the tube, immediately

removing it again, and carelessly laying the cover on the table. In

removing it, however, he grasps it with a gentle pressure, and so takes

off with it the hollow shell (_see_ Fig. 196), of whose existence the

audience have no suspicion. He continues, “Perhaps you would also like

to examine the block, which you will find to be a plain, solid piece of

wood, without mechanism or preparation of any kind.” The block having

been duly examined, the supposed empty cover is placed upright upon

the table; and the solid block having been disposed of by any means in

the performer’s power, is ordered to pass invisibly under the cover,

which being raised, the hollow shell is seen, appearing to the eye of

the audience to be the block itself, and to have found its way there in

obedience to the performer’s command.

The above is the working of the “cone” in its simplest and barest

form, but no skilled performer would dream of presenting the illusion

in such a common-place way. To make the trick effective, it should be

so arranged as to make the cone apparently change places with some

other article. There are many combinations which might be suggested,

but we shall content ourselves with describing one or two of those in

most general use. The smaller sized cones may be worked in conjunction

with a goblet and ball (the same as those used for the Cups and

Balls), in manner following:--Having tendered for inspection the cone

and cover as already described, and placed them on the table, the

performer offers the goblet and ball in like manner for inspection.

When they are returned, he places them also upon the table, a little

distance apart, and meanwhile palms a second ball, which should be

in readiness either on the _servante_, or in one of his _pochettes_.

He now places the paper cover (which, it will be remembered, contains

the hollow shell) over the first ball on the table. “Pray observe,” he

remarks, “that I have fairly covered over the ball” (here he raises

and replaces the cover, pressing so as to lift the shell with it, and

showing that the ball is still there). “The goblet, as you have seen,

is perfectly empty.” (Here he raises the goblet, and, in replacing

it, introduces the second ball under it, as described in the chapter

devoted to the Cups and Balls.) “I shall now order the ball to pass

from the cover under the goblet.” He waves his wand from the one to

the other. “Presto! Prestissimo! Pass!” (He raises the goblet, and

shows that the ball has (apparently) passed under it.) The first ball

still remaining under the paper tube, he cannot at present raise it,

so proceeds rapidly to the next stage of the trick, that the omission

may not be noticed. “So far,” he remarks, “the trick is mere child’s

play. The real difficulty is to pass the cone under the cover in place

of the ball. However, I will make the attempt.” So saying, he picks

up the cone with his right hand, and apparently transfers it to his

left, really palming it, and immediately afterwards dropping his right

hand to his side, and getting rid of the cone into the _profonde_.

Then, taking two or three steps away from the table, still holding

the left hand as if containing the cone, and looking towards the

cover, he says, “One, two, three, Pass!” with a motion of the hand

as if throwing something; immediately showing the hands empty, and

lifting up the cover (but this time by the top, so as not to exert any

pressure against its sides), and showing the hollow shell, which now

conceals the ball, and is taken by the spectators to be the genuine

cone. “We have succeeded pretty well so far, ladies and gentlemen,” he

remarks; “it remains to be seen whether I shall be equally successful

in bringing back the cone and ball to their original positions. I dare

say you would all like to know how the trick is done, and therefore

this time I will vary the mode of operation, and make the transposition

visibly.” (Here he drops his right hand to the _profonde_, and secretly

palms the solid cone.) “First the cone” (he passes his right hand,

keeping the back towards the audience, upwards along the cover, and, as

it reaches the top, brings the cone into view). “Pray once more assure

yourselves that it is fair and solid. Now for the ball.” He picks up

the ball with the left hand, and holding it between the finger and

thumb, apparently transfers it, by the pass called the _tourniquet_

(_see_ page 150), to the right, forthwith getting rid of it into the

_profonde_ on the left side. “Pray observe that it does not leave your

sight even for a moment.” Then holding his hand high above the paper

cover, he makes a “crumbling” movement with it, immediately showing it

empty, and lifting the cover with a slight pressure, so as to carry the

shell with it, shows the ball beneath. The attention of the spectators

being naturally attracted to the ball, it is an easy matter to let the

hollow shell slip out of the paper cover upon the _servante_, and again

to hand the cover for examination.

Some performers, instead of using the goblet, work the small cone with

the “ball-box” (_see_ page 296).

It is obvious that the directions above given will apply only where the

cone is of a size so small as to be readily palmed, in which case it is

hardly conspicuous enough to be used before a large audience. Where a

cone of larger dimensions is employed, it is necessary to vary the mode

of operation. We shall therefore proceed to describe the trick in its

stage form, as worked by Herrmann and other public performers.

The cone in this case is about seven inches high, and is worked in

conjunction with a “drawer-box” of such a size as to contain it easily.

Having handed round for inspection the cover and cone, as already

described, the performer suddenly remembers that he requires an orange,

which he forthwith produces from his wand. (It is hardly necessary to

observe that the orange is beforehand placed in readiness in one of the

_pochettes_, and is produced from the wand in the manner described for

producing a ball. _See_ page 276). Laying down the orange on the table,

he next exhibits the drawer-box, taking the drawer completely out,

and, after showing it on all sides, replacing it. He then covers the

orange on the table with the paper cover (containing the hollow shell),

and places the solid cone in the drawer-box, which being of the kind

described at page 345, he turns upon its side, with its top toward the

audience. He meanwhile palms in his right hand, from his pocket or the

_servante_, a second orange. He now announces that he is about to take

the orange back again, which he does by passing his wand up the side

of the cover, and immediately producing therefrom the second orange.

He places this upon another table at a little distance, and covers it

with a borrowed hat, making as he does so a feint of removing it, and

slipping it into his tail pocket. He hears, or pretends to hear, some

one remark that he took away the orange, and answers accordingly. “Oh!

you think I took away the orange. Allow me to assure you that I did

nothing of the kind.” (He lifts up the hat, and shows the orange in its

place.) “I will cover it again; or, still better, to prove that I do

not take it away, I won’t cover it at all, but leave it here in full

view on the table.” He replaces it on the table, but this time places

it on what is called a “wrist-trap,” in readiness for a subsequent

disappearance. “Having taken the orange from under the cover,” he

continues, “I have now to make the solid block vanish from the drawer,

and take its place; but I shall do it this time invisibly. See, I have

only to wave my wand from the one to the other, and the thing is done.

The drawer is empty” (pulling out the false drawer only), “and here is

the block” (he lifts the paper cover, and shows the hollow shell). “Now

I come to the most difficult part of the trick, which is to bring both

articles back to their original position. First, I will take the block

of wood.” He covers the shell with the paper tube, and makes a movement

of his wand from the cover to the drawer. “Pass! Let us see whether it

has obeyed.” He this time pulls the drawer completely out, and lets

the block fall heavily on the stage. “Now for the orange.” He places

both hands round it, as if picking it up between them, and presses as

he does so the spring of the trap, which opening, lets the orange fall

through into the table. Bringing the hands, still together, immediately

above the paper cover, he rubs them together as if compressing the

orange, finally separating them and showing them empty, and immediately

afterwards lifting the cover with the hollow shell, and showing the

first orange beneath it.

It will be observed that the trick above described is, in some of its

parts, very similar to that described at page 337. The mechanism of the

wrist-trap will be found explained in the next chapter. In the meantime

the student may produce the same effect without using a trap at all, by

means of the sleight described at page 294.

[Illustration: FIG. 197.]

[Illustration: FIG. 198.]

THE CONE AND BOUQUET.--This is another form of the cone trick,

involving the use of rather more elaborate apparatus. The cone in

this case is about five inches in height by three at the base, and

tapers very slightly. It may be either of boxwood, as in the trick

last described, or the block may be of any hard wood, and the hollow

shell of tin to fit, each blacked and polished, so as to look exactly

alike. It is used in conjunction with a paper cover as before, and two

little bunches of flowers, exactly alike, and of such a size as to be

just covered by the hollow shell. Each of these little bouquets is

made upon a tin framework, consisting of a wire arch springing from a

flat saucer-like base. (_See_ Fig. 197.) A pedestal and cover complete

the apparatus. The pedestal _a_ (_see_ Fig. 198) is cylindrical; and

about six inches in height, by four across the top. Its upper surface

consists of a circular plate of tin, working up and down piston-wise

in the pedestal. This is forced upwards by a spiral spring, but yields

to pressure, sinking vertically to a depth of four or five inches when

necessary. The upper edge of the pedestal is slightly turned in all

round, so that the top may not be pressed out altogether by the force

of the spring. An outer casing of tin, _b_, fits over _a_, just so

tightly as to resist the upward pressure of the spring when forced down

by any object between the pedestal and this casing. The cover, _c_, is

about double the height of _a_, and by means of a bayonet catch (_see_

page 352) may be lifted off either with or without _b_ at pleasure.

[Illustration: FIG. 199.]

[Illustration: FIG. 200.]

The pedestal is prepared for use by removing _b_, and placing one of

the little bouquets on the top of _a_; then again putting on _b_, and

forcing it down into its place, when the condition of the apparatus

will be as shown (in section) in Fig. 199. The wire arch prevents the

flowers being crushed out of shape by the pressure of the spring. The

pedestal and cover are now brought forward and placed on the table;

also the cone (with the shell on), the paper tube to cover it, and the

remaining bunch of flowers. The paper tube is first exhibited, placed

over the cone, and removed with the hollow cone within it, as in the

last trick. The solid cone is then offered for examination, and having

been duly inspected, is placed upon the pedestal. The performer makes

a movement as if about to place over it the cover _c_, but checks

himself in the act, and shows that this cover is empty and hollow

throughout. He then puts on the cover, and reverting to the bunch of

flowers on the table, covers it with the paper tube. He next announces

that in obedience to his command, the block and the bunch of flowers

will change places. He raises the paper tube, holding it by the top,

and thus leaves behind the hollow shell, covering and concealing the

bunch of flowers. He next takes off the cover of the pedestal, first,

however, turning the bayonet catch, so as to lift off with the cover

the casing _b_. The solid cone is carried off between the casing and

the cover (_see_ Fig. 200), while the action of the spring, the casing

being removed, brings the concealed bunch of flowers to the top of the

pedestal, in the position lately occupied by the cone. Having shown

that the cone and the flowers have changed places, the performer next

undertakes to bring them back to their original situation, which, by

reversing the process, he does without difficulty.

The pedestal above described is a very useful piece of apparatus,

being available either to produce, change, or vanish any article of

appropriate size. A very effective trick may be performed therewith

by causing an empty tumbler to appear full, or _vice versâ_. In this

case, however, it should by no means be admitted that an _exchange_

takes place, as the supposed filling of an empty glass with water by

covering it with an evidently unsophisticated cover, is rather the more

surprising phenomenon.

THE FLYING GLASS OF WATER.--This capital trick was, we believe, first

introduced to the public by Colonel Stodare, to whom the profession

is indebted for many first-class illusions. The necessary apparatus

consists of a couple of ordinary glass tumblers, exactly alike, with

an india-rubber cover just fitting the mouth of one of them, and a

coloured handkerchief of silk or cotton made double (_i.e._, consisting

of two similar handkerchiefs sewn together at the edges), with a wire

ring (of the size of the rim of one of the tumblers, or a fraction

larger) stitched loosely between them, in such manner that when the

handkerchief is spread out the ring shall be in the middle.

[Illustration: FIG. 201.]

[Illustration: FIG. 202.]

The performer, beforehand, nearly fills one of the tumblers with water,

and then puts on the india-rubber cover, which, fitting closely all

round the edge, effectually prevents the water escaping (_see_ Fig.

201). The glass, thus prepared, he places in the _profonde_ on his

right side. He then brings forward the other glass and a decanter

of water, and the prepared handkerchief, and in full view of the

audience fills the glass with water up to the same height as he has

already filled the one in his pocket, and hands round glass and water

for inspection. When they are returned, he places the glass upon the

table, a few inches from its hinder edge, and standing behind it,

covers it with the handkerchief, first spreading out and showing both

sides of the latter, proving, to all appearance, that there is no

preparation about it. In placing the handkerchief over the glass, he

draws it across in such manner as to bring the hidden ring as exactly

as possible over the top of the glass. Then placing the left hand

over the handkerchief, as shown in Fig. 202, he raises, apparently,

the glass within the handkerchief, but really the empty handkerchief

only, which is kept distended by the ring, and, at the same time, under

cover of the handkerchief, gently lowers the glass of water with the

other hand on to the _servante_. This is by no means difficult, as the

pretended carefulness of the operator not to spill the water allows

him to make the upward movement of the left hand as deliberate as he

pleases. All that is really necessary is to take care _to follow with

his eyes the movement of the left hand_, which will infallibly draw the

eyes and the minds of the audience in the same direction. Having raised

the supposed tumbler to a height of about two feet from the table, the

performer brings it forward to the audience, and requests that some

gentleman with a steady hand will favour him with his assistance. A

volunteer having been found, and having given satisfactory replies as

to the steadiness of his nerves, and the strength of his constitution

generally, is requested to place his hand under the handkerchief and

take the glass. As he proceeds to obey, the performer lets go of the

handkerchief with the left hand, still retaining one corner with the

right, and lets the right arm with the handkerchief drop to his side.

Pretending to believe that the gentleman has taken the glass, and not

to notice its disappearance, he turns carelessly aside, and brings

forward a small table or chair, saying, “Put it here, please.” Looking,

generally, somewhat foolish, the victim replies that he has not got

it. If the performer is a good actor, he may here make some fun by

pretending to believe that the victim has concealed the glass, and

pressing him to return it. At last he says, “Well, if you won’t give

it to me, I must find it for myself,” and he proceeds to tap with his

wand the sleeves and pockets of the unfortunate individual, but without

success, till, on touching him between the shoulders, he pretends

to tell by the sound that the glass is there. “Yes, here it is,” he

remarks. “I am sorry to be obliged to ask you to turn your back on the

company, but to show them that there is no deception on my part, I am

compelled to do so. Will you please turn round for one minute.” On

his doing so, the performer, again shaking out the handkerchief, and

showing both sides of it to prove it empty, spreads it over the back

of the victim. Again he taps with his wand, which, striking the ring

through the handkerchief, causes an unmistakeable hard sound to be

heard; and then grasping the ring as before through the handkerchief,

he deliberately raises it up in a horizontal position, the effect

being as if the glass had again returned to the handkerchief. He then

says, “I don’t think I will trouble this gentleman again; he is too

much of a conjuror himself;” then turning rapidly to the audience, he

says, “Catch, ladies and gentlemen,” and “flicks” the handkerchief

quickly towards the spectators, who duck their heads in expectation of

a shower. “Pardon me, ladies, I fear I alarmed you; but you need not

have been afraid; I never miss my aim. That gentleman has the glass”

(designating anyone he pleases). “May I trouble you to step forward one

moment, sir?” On the person indicated doing so, the performer places

him facing the audience, and under cover of his body takes the second

glass out of the _profonde_, and throws the handkerchief over it,

remarking, “Yes, ladies and gentlemen, here it is, in this gentleman’s

tail pocket.” Then taking hold of the glass with the left hand beneath

the handkerchief, he clips with the first finger and thumb, through the

handkerchief, the edge of the india-rubber cover, and thus drawing off

the cover inside the handkerchief, hands round the glass and water for

inspection.

[Illustration: FIG. 203.]

Two improvements have recently been made in this trick, which, though

trifles in themselves, greatly heighten the effect. Upon a performance

of the trick as already described, it is not uncommon to find some

person, more acute than the average, guess that there is a ring in

the handkerchief. The first of the improvements we have mentioned

is designed to make the ring no longer a fixture, and yet to insure

bringing it into the right position when necessary. This is effected by

stitching the two handkerchiefs together, not only round the edge, as

already explained, but also as shown by the dotted line in Fig. 203.

This confines the ring to the triangular enclosure, _a e d_, within

which, however, it is allowed to move freely, not being attached to the

handkerchief in any way. If the handkerchief is held by the two corners

_a_ _d_ (which should be distinguished by a mark of coloured silk or

worsted, so as to be readily identified by the performer) the ring will

take its proper place in the middle, as shown in the figure. If, on the

other hand, the handkerchief be held by either the corners _a_ _b_ or

_c_ _d_, the ring will forthwith run into the angle _a d e_ or _d a e_,

as the case may be, and the handkerchief, if grasped a little below

this particular corner, may be twisted or pulled through the hands

ropewise, proving, with apparent conclusiveness, that there is no ring

or shape concealed in it.

The second improvement is to have ready on the _servante_ a small piece

of sponge, recently dipped in water. This is picked up by the right

hand of the performer as he places the genuine glass on the _servante_.

When he has moved away from his table, at the moment of requesting his

volunteer assistant to take the glass, he places the right hand for a

moment under cover of the handkerchief, and squeezes the sponge, the

water that immediately pours from it being, apparently, accidentally

spilt, and so negativing any possible doubt on the part of the

spectators that the glass is really in the handkerchief. With these two

additions the trick is one of the most effective that can possibly be

performed, whether in a drawing-room or on the public stage.

THE BOWLS OF WATER AND BOWLS OF FIRE PRODUCED FROM A SHAWL.--After the

explanation of the last trick, the reader will form a tolerably good

guess at the means of performing this, which has puzzled thousands,

and is still one of the most popular feats in the _répertoire_ of the

conjuror.

The performer comes forward with a shawl in his hand, which he spreads

out and exhibits on both sides, to show (as is really the fact) that

there is no preparation about it. The spectators being satisfied on

this point, and the orchestra playing the “Ghost Melody” or other

appropriate accompaniment, he swings the shawl about in time to the

music, finally throwing it over his left shoulder and arm, the arm

being held square before him. The arm now gradually sinks down, and the

form of some solid object is seen defined beneath the shawl, which,

being removed, reveals a glass bowl brimming with water, and with

gold fish swimming about in it. This is repeated a second and a third

time, the performer sometimes discarding the shawl, and borrowing a

pocket-handkerchief among the audience for the production of the last

bowl.

The bowls used are saucer-shaped, measuring six to eight inches in

diameter, and one and a half to two inches in depth. Each is closed

by an india-rubber cover, after the manner of the tumbler in the

last trick. Thus secured, they are concealed about the person of the

performer. The precise mode of concealment varies a little. Where

three bowls are to be produced, one is generally carried beneath the

coat-tails, in a sort of bag open at the sides, suspended from the

waist, and the other two in pockets, opening perpendicularly, inside

the breast of the coat or waistcoat, one on each side.

Sometimes, by way of variation, bowls of fire are produced. The

bowls are in this case of thin brass. They have no covers, but the

inflammable material (tow moistened with spirits of wine) is kept in

position by wires crossing the bowl at about half its depth, and is

ignited by a wax match, struck against the inside of the bowl under

cover of the shawl and immediately dropped into the bowl, when the

contents instantly burst into a blaze. Some bowls have a mechanical

arrangement for igniting the tow, but we ourselves much prefer the

simple bowls above described.

It was originally the practice to throw the shawl over a small round

table, immediately removing it, and exhibiting the bowl upon the table.

Modern performers discard the table, and produce the bowls in the midst

of the audience.

THE BOWL OF INK CHANGED TO CLEAR WATER, WITH GOLD FISH SWIMMING IN

IT.--The performer brings forward a goblet-shaped glass vase, six or

eight inches in height, nearly full of ink. To prove that the ink is

genuine, he dips a playing-card into it, and brings it up with the

lower half stained a deep black. Next, taking a ladle, he ladles out

a portion of the liquid, and pours it on a plate, which is handed

round for inspection. He next borrows a handkerchief from one of

the audience, and covering the vase with it, announces that, by the

exercise of his magic power, he will transform the ink in the vase to

water. On removing the handkerchief, this transformation is found to be

accomplished, while a couple of gold fish, placidly swimming about in

the bowl, sufficiently prove that the trick is not performed, as might

be imagined, by means of some chemical reagent.

The explanation, though by no means obvious, is very simple. The liquid

in the vase is plain water; but a bottomless black silk lining, fitting

the vase, and kept in shape by a wire ring round its upper edge, gives

it the appearance of ink to a spectator at a little distance. In

removing the handkerchief, the performer clips with it the wire ring,

bringing away the lining within the handkerchief, and revealing the

clear water in the glass.

But the reader will naturally inquire, “How, then, are the blackened

card and the genuine ink ladled out on the plate accounted for?”

[Illustration: FIG. 204.]

The blackened card, though apparently an ordinary one, has the same

figure, say a knave of diamonds, on both its sides; but the lower half

of the one side is beforehand stained with ink. The performer dips

it in with the unsoiled side toward the audience; but giving it a

half-turn as he removes it, thereby brings the blackened side in front.

The ink poured on the plate is accounted for with equal simplicity.

The ladle (_see_ Fig. 204) is of tin, having a hollow handle of the

same metal, with a minute hole opening therefrom into the bowl. There

is a similar small hole near to the top of the handle. The bowl is

beforehand filled with ink, which is thence allowed to run into the

handle; after which the upper hole is stopped with a little pellet

of wax, or a small piece of paper is pasted over it. By reason of

a well-known natural law, the liquid will not run out of the lower

hole until the upper one is opened. As the performer dips the ladle

apparently into the ink in the bowl, he scrapes off with his nail

the wax or paper with which the upper hole is stopped, and the ink

immediately runs into the bowl, whence it is poured upon the plate.

[Illustration: FIG. 205.]

THE INEXHAUSTIBLE BOTTLE.--The same natural principle which prevents

the ink from flowing into the bowl of the ladle until the upper hole

is opened, is the basis of this old but still popular trick. The

inexhaustible bottle, though in appearance an ordinary glass bottle, is

in reality of tin, japanned black. Internally it is divided into three,

four, or five separate compartments, ranged round a central space, and

each tapering to a narrow-mouthed tube, which terminates about an inch

within the neck of the bottle. A small pinhole is drilled through the

outer surface of the bottle into each compartment, the holes being

so placed that when the bottle is grasped by the hand in the ordinary

way (_see_ Fig. 205), each hole may be covered by one or other of the

fingers or thumb. The central space is left empty, but the surrounding

compartments are filled, by means of a funnel with a very tapering

nozzle, with the wines or liquids expected to be most in demand, or

to which it is intended to limit the spectators’ choice. A tray full

of glasses, made specially of very thick glass, so as to contain in

reality much less than they appear to do, completes the apparatus.

The performer comes forward with the magic bottle, followed by an

attendant bearing the tray of glasses. He commences by openly pouring

water into the bottle, and out again, so as indirectly to raise the

inference that the bottle must be perfectly empty. The water, in truth,

really passes into the centre space only, and thence runs out again

as soon as the bottle is tilted. The fingers, meanwhile, are tightly

pressed on the different holes, and thus excluding the air, effectually

prevent any premature flow of wine from the various compartments.

The performer, still holding the bottle mouth downwards, says, “You

observe, ladies and gentlemen, that the bottle is now perfectly empty,

and yet, by my magic art, I shall compel it to refill itself for your

benefit.” He then, addressing various individuals, asks each whether

he prefers port, sherry, gin, etc., and when the answer is given, has

only to raise the finger stopping the air-hole of that particular

compartment to cause the liquid named to flow from the bottle, stopping

as soon as the finger is again pressed on the hole. It is a good plan,

in order to prevent confusion, to place the liquors in the bottle in

alphabetical order, commencing from the hole stopped by the thumb. Some

performers increase the variety of the liquors produced, by placing

beforehand in certain of the glasses a few drops of various flavouring

essences. By this means a compartment filled with plain spirits of

wine may be made to do duty for brandy, whiskey, etc., at pleasure,

according to the glass into which the liquid is poured.

[Illustration: FIG. 206.]

The trick is sometimes elaborated by the performer, by way of

conclusion, apparently breaking the bottle, and producing therefrom a

borrowed handkerchief or other article which has been made to disappear

in some previous trick. This is effected by means of an additional

speciality in the construction of the bottle. The compartments

containing the liquids in this case terminate a couple of inches above

the bottom of the bottle, and the part below this, which has a wavy

edge, like fractured glass, is made to slip on and off. (_See_ Fig.

206.) The performer, having produced the wines, pretends to crack the

bottle all round by rapping it with his wand, and, having apparently

cracked it, pulls the bottom off, and exhibits the handkerchief, which

was beforehand placed in readiness therein. The two parts of the bottle

joining with great nicety, there is little fear that the pretended

crack will prematurely attract attention.

Where the trick is performed before a very large audience, a single

bottle would not contain sufficient liquor to answer all the demands

upon it. In this case it is necessary to change the bottle, sometimes

more than once in the course of the trick. This is most frequently

done under cover of a chair or table; but where the trick is performed

on the stage, a more elaborate expedient is sometimes employed. The

bottle used has in this case an outer shell or casing of tin, open at

the bottom, the actual receptacle for the liquids being within this.

When the bottle is exhausted, the performer with apparent carelessness

places it upon a small table, standing against the side scene, pending

the arrival of more glasses, or under any other convenient pretext. The

bottle is, in truth, placed immediately over a small round trap, the

performer being guided as to its proper position by a couple of small

pins projecting upwards from the surface of the table, against which

pins he pushes the bottle. The moment it is so placed, the assistant

behind the scenes, who has his eye to a hole in the partition, and his

arm extended within the table, opens the trap, pulls down the empty

interior of the bottle, and instantly replaces it with a full one,

which he holds in readiness, and at the moment when the performer again

grasps the bottle to continue the trick (and thereby furnishes the

necessary resistance), pushes it sharply up into its place.

[Illustration: FIG. 207. FIG. 208.]