THE BOTTLE AND RIBBONS.--This is another favourite bottle trick. The

bottle is in this case also of tin, with an enclosed space round the

sides to contain wine, commencing about an inch and a half from the

lower end, and terminating just within the mouth. (_See_ Fig. 207.) The

bottle has no bottom, and there is thus a passage, in the shape of an

inverted funnel, extending through its whole length. A cylindrical base

or stopper (_see_ Fig. 208) just fits into the space at the bottom of

the bottle, and on this are fixed six or eight small reels or bobbins.

On each of these is wound a yard or so of ribbon, each of a different

colour. An upright wire rod springs from the centre of this base,

terminating just within the neck of the bottle in a little flat piece

of metal, perforated with as many holes as there are ribbons; and one

end of each of the ribbons is brought up through one of these holes,

and a little knot made upon it to prevent its slipping back again.

The ribbons being in position, and the space in the bottle duly filled

with wine, the performer brings it forward, and, after pouring out a

glass or two, asks some lady present which is her favourite colour,

and on receiving an answer, gently taps the bottle with his wand, and

immediately draws out with the tip of his forefinger from the neck, and

presents to her, a ribbon of the desired colour. More wine is produced,

alternately with fresh ribbons, until all are exhausted.

The above is the drawing-room form of the trick. Upon the stage, it

is slightly varied. The same kind of bottle is used, but the internal

provision of reels and ribbons is removed, so that the bottle remains

a simple tin bottle, open at the bottom, with the funnel-shaped

passage already mentioned extending through its entire length. The

performer, having poured out a glass or two of wine, places the

bottle on a stool or table, through the pillar of which is a hole or

passage communicating with a corresponding hole in the stage. Beneath

this is stationed the performer’s assistant, who is provided with a

large number of various coloured ribbons, and a thin rod of three or

four feet in length, with a small point or blunt pin at the top. The

performer takes care always to repeat in an audible voice the name of

the colour called for. This is a signal to the assistant to hitch one

end of the ribbon in question on the top of the rod, and hold it in

readiness beneath the stage. He does not, however, push it up through

the bottle until warned by the sound of the tap of the wand on the

bottle that the performer is ready to receive it. The performer, on

his part, takes care, before tapping the bottle, to place his thumb

upon the mouth, so as to prevent the rod passing too far. Sometimes a

combination of colours is asked for, as, for instance, the tricolour,

or any other national group of colours.

Alter having produced a reasonable number of ribbons, an effective

finish may be made as follows:--A last colour or combination of

colours having been demanded, the performer does not draw the ribbons,

as hitherto, completely out of the bottle, but leaves them hanging

down loosely on each side of it. He now announces that, at the word

of command, the ribbons shall, of their own accord, return into the

bottle. The assistant takes his cue accordingly, and at the third tap

of the wand draws the ribbons smartly down again; their instantaneous

disappearance within the bottle being exceedingly effective.

THE NEW PYRAMIDS OF EGYPT, OR THE WINE AND WATER TRICK.--This trick may

be very well worked in conjunction with either of the bottle tricks

already described, and we therefore notice it in this place. Its effect

is as follows:--The performer pours out a glass of wine and a glass

of water, finally transferring both to a small decanter. Placing the

decanter on a small round stand, and the empty glasses on similar

stands on either side of it, he covers each with a pyramidal cover,

and announces that at his command the mixed wine and water will again

separate, and pass into the empty glasses, the spectators being allowed

to choose into which of the glasses each element shall pass. The choice

having been made, he fastens a tape or ribbon to the centre pyramid,

and thence to each of the side ones, giving the audience to understand

that, by a mysterious kind of capillary attraction, the wine and water

will travel along this ribbon to their respective destinations. A few

moments having elapsed, the ribbons are untied and the covers removed.

The decanter is found to be empty, and the wine and water to have

respectively returned to the glasses designated by the audience.

[Illustration: FIG. 209.]

The glasses used have no speciality, but the decanter has a small

hole in its under side. This is plugged with a pellet of wax, which,

however, is instantly removeable at pleasure. Of the three stands, two

(those on which the glasses stand) have no preparation, being mere

raised shapes of tin. The third is similar in appearance, but is, in

fact, a hollow box, with three or four little holes drilled in its

upper side, for a purpose that will presently appear. Of the three

covers, the centre one is hollow throughout, but the other two have

each its upper portion occupied by a hollow chamber or reservoir,

divided in two by a vertical partition, and tapering down to a tube

with a very small opening. Each of these compartments has an air-hole

at the top. (_See_ Fig. 209.)

These two covers are beforehand prepared for the trick by filling the

two compartments of each, one with wine, and the other with water.

The air-holes are stopped with pellets of wax, but for the sake of

distinction the “wine” compartment of each is plugged with red wax,

and the “water” compartment with white wax. Any other distinguishing

mark is, of course, equally good. So long as the air-holes are thus

stopped, there is no fear of the liquid running out. The performer,

having filled the glasses as already described, mixes the contents

in the decanter, and in placing the latter on the stand, removes the

wax plug from the bottom, thus allowing the wine to run out, and to

percolate through the above-mentioned holes into the stand, where it

remains. He next places the empty glasses on their respective stands,

and places the covers over them. He then asks the audience into which

of the glasses they desire that the wine shall travel, and into which

the water. When they have made their decision, he has only to remove

the red pellet from the cover which is over the glass into which the

wine is to pass, and the white pellet from the opposite cover. The

tying of the tape from cover to cover is merely designed to give time

for the liquids to reach their respective destinations, and is, indeed,

altogether dispensed with by many performers. The air-holes may be

stopped by means of tinfoil pasted over them, instead of the wax, if

preferred. The foil is instantly removeable by scraping with the nail.

[Illustration: FIG. 210.]

THE MYSTERIOUS FUNNEL.--This is a little appliance on the same

principle, which may be incidentally introduced with good effect in the

course of a wine trick. It is a tin funnel, made double throughout,

with a space of half-an-inch or so between its inner and outer sides.

It is, in fact, a funnel within a funnel, joined at the upper edges.

(_See_ Fig. 210.) It has an air-hole, _a_, generally on the under side

of the handle. When required for use, the hidden space is filled with

wine. The simplest way of doing this is to stop the spout of the funnel

with the finger, and then to fill it with wine, which, seeking its own

level, will gradually rise to the same height in the outer space as it

stands at inside the funnel. This must, of course, be done with the

air-hole open. When the space is filled, the air-hole is stopped, and

the wine remaining inside the funnel allowed to run out. The funnel

will now appear perfectly empty, and may be used as a funnel in the

ordinary way.

The mode of using the funnel is somewhat after the following manner,

subject, of course, to variation, according to the taste and invention

of the performer:--

A juvenile is invited to take a glass of wine, the produce of either

of the preceding tricks. When he has imbibed it, the performer asks

a second juvenile whether he would like a glass also. The reply is

pretty sure to be in the affirmative, but the performer pretends to

find, when about to oblige him, that his store is exhausted. He begins

to apologize for the supposed disappointment, but as if suddenly

bethinking himself, says, “However, you shan’t be disappointed. If I

can’t supply you in the natural way, I must do so in a supernatural

way. Suppose we take back the wine this young gentleman has just drunk.

I don’t suppose it will be any the worse. Let me see, where is my magic

funnel. Oh, here it is. Let us make sure first that it is quite clean.”

He pours water through it, and then holds it up to the light in such a

manner that the audience can see right through, thus indirectly showing

them that it is empty. “Now, sir” (addressing the youngster who has

drunk the glass of wine), “I am going to take back that glass of wine.

Be kind enough to bend your elbow, and hold it over the mouth of the

funnel, so. And you, sir” (addressing the expectant), “perhaps you will

be kind enough to take this young gentleman’s other arm, and work it

gently up and down. In fact, we are going to transform him into a pump.

Now, sir.” The performer holds the glass under the funnel, and as soon

as the pretended pumping begins, opens the air-hole, when the wine runs

into the glass, and is handed to the second young gentleman as a reward

for his exertions.

Acted with spirit, this little interlude is sure of an uproarious

reception from the juvenile portion of the audience, particularly if

the operator possesses the magic bradawl described at page 332, and

makes use of it to bore a small hole in the victim’s elbow before

beginning to pump the wine from it.

[Illustration: FIG. 211.]

THE BOX OF BRAN TRANSFORMED TO A BOTTLE OF WINE.--While upon the

subject of wine tricks we may mention this, which is by no means the

least surprising of the illusions to which “the bottle” gives birth.

The necessary apparatus consists of four pieces. First, a plain

cylindrical tin box A (_see_ Fig. 211), japanned to taste, and about

six inches high by three in diameter. Secondly, B, a similar box, so

far as external appearance is concerned, but materially different

in its internal construction. This latter is bottomless, but has a

horizontal tin partition at about three-quarters of an inch from the

top. These two boxes have but one lid, which fits either indifferently.

The third article is a cylindrical pasteboard cover (Fig. 212), closed

at the top, and of such a size as to fit loosely over B, but an inch or

two taller. The fourth item is a bottle, made of tin, japanned black,

and of somewhat peculiar construction. (_See_ Fig. 213.) As a measure

of capacity, it terminates just below the shoulder, the remainder,

or body of the bottle, being, in fact, merely a tube closed at the

bottom, in which this upper portion works. A spiral spring within the

body presses the neck portion upward into its proper position; but if

pressure be applied, the neck portion will sink downward into the body,

as shown in Fig. 214, in which condition it just fits into B. A small

point projects from the lower part of the bottle, and corresponds with

a bayonet catch at the bottom of B, which is in fact designed as a case

or cover for the bottle.

[Illustration: FIG. 212.]

[Illustration: FIG. 213.]

[Illustration: FIG. 214.]

For the performance of the trick the operator will require, in addition

to the apparatus above mentioned, an oblong deal box, half full of

bran. (Rice is sometimes used, but is not so good.) Any box will answer

the purpose, so long as it is not less than fifteen inches or so in

length, and nine in breadth and depth. In preparing for the trick, the

first step is to fill the bottle, or the “fillable” portion thereof,

with wine or some other liquid. The bottle is then corked; B is placed

over it and pressed down, and the bayonet-catch fastened. In this

condition, but without a lid, B is placed in the deal box, and buried

in the bran. The box of bran being now brought forward and placed on

the table, the performer is ready to begin the trick. He first draws

attention to A, which he hands round for inspection, as also the

pasteboard cover. When they are returned, he brings forward the box of

bran, moving his hand backwards and forwards in it, and distributing a

few handfuls to show its genuineness. Replacing the box on the table,

he proceeds to fill A with bran. This he does by dipping A completely

in the box, and scooping up the necessary quantity. As if to show

all fair, he pours the bran out again into the box, and then makes a

second dip to refill it. This time, however, he makes an exchange,

and instead of bringing up A, brings up B, filling as he does so the

shallow space at the top of the latter, which thus appears to be full

to the brim. Placing it on the table, and putting the lid on, he places

the pasteboard cover over it, and, addressing the company, volunteers

to teach them how to extract wine from bran, and wine bottles from tin

boxes. After a moment’s pause, and the orthodox touch with the wand,

he removes the cover, giving it at the same time a slight twist, thus

releasing the catch, and removing B within the cover. The spring within

the bottle now meeting no resistance, presses the neck portion upwards

into its proper position, with all the appearance of a genuine bottle;

and as it, in its present condition, is considerably taller than B,

it can hardly be suspected that it was a moment ago concealed in the

latter, particularly as the performer immediately proceeds to give a

further proof of its genuineness by pouring a glass of wine from it.

In connection with the above trick we may describe another useful piece

of apparatus, known as

THE BRAN BOTTLE.--This is a bottle, which, being covered over for an

instant, vanishes, leaving in its place a heap of bran. The bottle is,

like that last described, of tin, with a false bottom or partition,

about an inch below the shoulder, so that it holds about a glassful of

wine. The place of the ordinary bottom is supplied by a disc of tin,

with a raised shoulder round it, fitting loosely within the bottle,

so as to drop out by its own weight, unless kept in place by some

external pressure. The cover is a mere cylinder of pasteboard, closed

at the top. The bottle is prepared for use by filling the lower portion

with bran, and putting the bottom in place (where it is retained by

the pressure of the fingers), then filling the upper part with wine.

The performer first pours wine from the bottle, and then places it on

a plate, ostensibly to show that it does not pass through any opening

in the table, but really for a reason which will presently appear. He

now places the cover over the bottle, and on again lifting it presses

the sides slightly, and so lifts the bottle with it. The loose bottom,

having no longer anything to hold it, remains on the plate, concealed

by the bran which pours from the bottle, and into which the bottle is

apparently transformed. Meanwhile, all eyes being drawn to the heap

of bran, the performer lowers his hand, containing the cover, for an

instant behind the table, and relaxing the pressure of his fingers,

lets the bottle slip out on the _servante_, immediately coming forward

with the cover, and carelessly showing that it is empty.

In combination with the Bran Bottle, the trick last above described

is greatly heightened in effect, the bottle appearing under the cover

which has just been placed over the tin box--the bran from the latter

being found under the cover which a moment previously concealed the

bottle, and the tin box being found to have passed into the large

box of bran. The Bran Bottle may also be worked with great effect in

combination with the trick of the “Bran and Orange,” described at page

335.

[Illustration: FIG. 215.]

[Illustration: FIG. 216.]

THE BRAN GLASS.--This is an ingenious and very useful piece of

apparatus. It is made in all sizes, from that of an ordinary

wine-glass to a goblet large enough to hold a rabbit. Its effect is as

follows:--The glass is brought forward apparently filled with bran to

the brim. The performer proves its genuineness by taking up a handful

of it, and scattering it over the stage. A brass cover is now placed

over the glass, and instantly removed, when every particle of bran is

found to have disappeared, and in place of it is found some article

which had been conjured away at some earlier period of the trick. The

explanation is very simple. The glass is shaped as shown in Fig. 215,

with straight sides, tapering outwards. The supposed bran is really a

hollow shape of tin, _a_, closed at the top, but open at the bottom,

with bran gummed all over it, and a handful of loose bran spread on

the top. At each side of its upper edge is a little wire point, just

overpassing the edge of the glass. The cover (_see_ Fig. 216), which is

of such a size as to cover the glass as far as the upper part of its

stem, has no speciality about it, save a shallow groove running round

its upper edge on the inside, as shown by the dotted line. When the

cover is placed on the glass, and pressed smartly down, the two points

already mentioned are forced into this groove, which thus grips the

tin shape, and when again removed, lifts it out of the glass, leaving

behind whatever article may have been beforehand placed within.

Where the bran glass is of large size, the metal cover is

indispensable; but for glasses not exceeding the ordinary tumbler size,

it is preferable to cover the glass with a borrowed handkerchief only,

the hollow shape being in this case made, not of tin, but of thin

cardboard. The two points are dispensed with, but in place of them

there should be a piece of thread, in length about double the diameter

of the glass, fastened from side to side of the shape. This, hanging

down on the side of the glass which is toward the performer, is caught

hold of through the handkerchief, and thus handkerchief and shape are

lifted together.

The Bran Glass may be made available in a variety of ways; the trick

next following will afford a good practical illustration of its use.

[Illustration: FIG. 217.]

TO FIRE BORROWED RINGS FROM A PISTOL, AND MAKE THEM PASS INTO A

GOBLET FILLED WITH BRAN AND COVERED WITH A HANDKERCHIEF, THE BRAN

DISAPPEARING, AND BEING FOUND ELSEWHERE.--The glass used in this

instance is of ordinary tumbler size. It is not brought forward as

above, with the bran shape already in place, but empty, and may

therefore be freely offered for inspection. With it is brought forward

a wooden box, of any size and shape, filled with bran, and in this,

ready to hand, is concealed the bran shape. We have already had

occasion to describe the magic pistol, or rather pistol tube; but

the tube used in this instance (_see_ Fig. 217) has an additional

peculiarity. It is of comparatively small size, being about two inches

wide at the mouth. Within this mouth fits easily a tin cup, _a_, about

an inch and three-quarters in depth, and having its edge turned over

outwards all round, so as to afford a ready grip to the palm when it

may be necessary to remove it. The pistol is beforehand loaded with

powder, and the cup above described is placed in the mouth of the tube.

The performer begins by asking the loan of three rings, to be fired

from his magic pistol. To preclude the possibility of their being

exchanged, he requests the owners to drop them into the pistol

themselves. First, however, by way of wad, he takes a small piece of

white paper, and presses its centre portion into the mouth of the

pistol tube, its edges projecting all round, and forming a sort of cup

to receive the rings. Three rings having been offered, and dropped

into the pistol, the performer closes over the edges of the paper,

and presses them down with his wand, the effect being as if the rings

were fairly rammed down into the pistol, though they really remain in

the cup, just within the mouth. He now hands the pistol to one of the

spectators, requesting him to hold it muzzle upwards above his head. In

handing it to him, he places for a moment his own right hand over the

mouth of the tube, his palm being flat upon it, and in again removing

the hand lifts out and palms the cup (which the projecting edge enables

him to do with perfect ease). He has thus obtained possession of the

rings. (As the holder of the pistol has been instructed to hold it

above his head, he is not very likely to look into it; but lest he

should do so, and discover that the rings are already removed, it is

well to place in the tube beforehand a piece of crumpled white paper,

to represent that which contained the rings.)

The performer now hands round the glass for examination, and

subsequently draws attention to the box of bran. While doing this he

has little difficulty in getting the rings out of the cup and paper

into his right hand. He then, holding the glass in his left hand, dips

it into the box, and fills it with bran, which he forthwith pours

slowly back again to prove its genuineness. Meanwhile, his right hand

is engaged in fishing up the bran shape among the bran, placing it

mouth upwards in the box, and dropping the rings into it. When he again

dips the glass into the box, he slips it mouth downwards over the

shape, immediately turning it into the natural position, and bringing

it up, to all appearance, full of bran. As the rings were in the shape,

they are, of course, now in the glass. He brushes the loose bran off

the top, and then covers the glass with a borrowed handkerchief, taking

particular notice on which side hangs the loop of thread. The person

holding the pistol is now requested to take good aim, and fire at the

glass. He does so, and the performer, lifting the handkerchief with the

shape within it, lets the latter drop on the _servante_, and advancing

with the glass, requests the owners to identify their rings.

The trick may either end here, upon the supposition that the bran has

been blown away altogether by the explosion, or the bran may be shown

to have passed to some other place. There are numerous methods of

effecting this latter transposition. For instance, the pea vase (_see_

page 351), first shown empty, may be used, or the bran may be made to

fall out of a second borrowed handkerchief, by means of the bag shown

at page 248, or may be found in the apparatus next described.

[Illustration: FIG. 218.]

[Illustration: FIG. 219.]

THE “DOMINO-BOX” (SOMETIMES CALLED THE “GLOVE-BOX”).--This is a little

oblong box of walnut or rosewood, measuring about four inches in length

by two inches in width, and an inch and a quarter in depth. It has a

sliding lid, drawing out in the ordinary manner, but the whole box

has a tightly-fitting inner lining, which may be pulled out, drawer

fashion, with the lid. (_See_ Fig. 218.) It is used as follows:--Any

small article, say a glove or a lady’s handkerchief, is secretly

placed inside this inner lining. The performer exhibits the box to the

company, and to show that it is empty, turns it over towards them, and

draws the lid nearly out, drawing out with it at the same time the

inner lining or drawer also. (_See_ Fig. 219.) From the position of the

box, the drawer is, at a very short distance, completely hidden by the

lid. The box is, of course, seen to be perfectly empty. The performer

now closes it, and turning its right side upwards, places it on the

table. He then proceeds with the next stage of the trick, and at the

right moment again opens the box, or invites some one else to do so.

This time the lid alone is drawn out, and the hidden article is found

in the box.

[Illustration: FIG. 220.]

There is another speciality about the Domino-box, which renders it

available to cause the disappearance of a coin placed in it; though,

as in the case of the “Rattle-box,” described in the chapter devoted

to coin tricks, the coin is heard to rattle within it till the very

moment of its disappearance. This is effected as follows:--Between the

bottom of the drawer and that of the box proper is a very small space,

just large enough to allow a shilling to lie between the true and false

bottom. On the under side of the drawer, however (_see_ Fig. 220,

showing the under side of the drawer portion), are glued two thin slips

of wood, gradually approaching each other, and thereby narrowing this

space to a width of about half an inch. If when the lid is withdrawn

_with_ the drawer, as already explained, a shilling or sovereign is

dropped into the box, and the box again closed, the coin will have

plenty of room to rattle about as long as it remains at the end _a_,

but if shaken down with a sharp jerk in the direction of the end _b_,

it will become caught in the narrower portion of the opening, and will

thenceforth be silent, unless it may suit the purpose of the performer

to release it again, which he can do by a sharp downward jerk in the

direction of _a_. Of course, as the coin is below the false bottom, it

will appear to have vanished when the box is opened in the ordinary way.

The Domino-box is sometimes used to change a sovereign to its

equivalent in silver, the “change” being beforehand wrapped in paper,

and concealed in the drawer. It is sometimes also caused to fill itself

with bonbons, in place of a coin deposited in it.

These boxes are usually made in pairs, alike in appearance, but the one

is a simple box without any speciality, and may therefore be handed

round for examination, the mechanical box being adroitly substituted

at the right moment. The fact that _two_ boxes are used is, of course,

carefully concealed.

[Illustration: FIG. 221.]

THE COFFEE TRICK. (COFFEE BERRIES CHANGED TO HOT COFFEE, WHITE BEANS

TO SUGAR, AND BRAN TO HOT MILK).--The pieces of apparatus used in

this trick are of brass or japanned tin, and are three in number, two

being tall cylindrical vases, standing eighteen to twenty inches in

height, the third a goblet-shaped vase, of about half that height. The

latter is made upon the principle of the “bran glass,” above described,

consisting of three portions (_see_ Fig. 221), the goblet _a_, the

cover _c_, and a shallow tray _b_, which fits into the goblet, and

which, if the cover is pressed down smartly, and again removed, is

lifted off with it. It differs, however, from the “bran shape” in the

fact that _b_ is open at top instead of at bottom, and is only about

one-fifth the depth of the goblet, leaving therefore considerable space

below it. This portion of the apparatus is prepared for use by placing

in the goblet a quantity of hot milk, putting _b_ in position above it,

and finally filling _b_ with loose bran.

[Illustration: FIG. 222.]

The construction of the other two vases will be quickly understood upon

an inspection of Figs. 222, 223. _a_ is the vase, and _c_ the cover

fitting loosely over it, but between these two is a well, _b_, made

double, so as to fit at once into and outside of _a_, after a mode of

construction which we have more than once had occasion to notice. There

is a bayonet-catch at the lower edge of _c_, corresponding with a pin

or stud at the lower edge of _b_, so that _c_ may be lifted off either

with or without _b_. There is a similar catch at the lower edge of _b_,

corresponding with a stud at the bottom of _a_, but cut in the opposite

direction to the other catch, so that the action of unlocking _a_ from

_b_ locks _b_ to _c_, and _vice versâ_.

[Illustration: FIG. 223.]

The vase a requires a special description. A shallow saucer of tin,

_d_, just fits the interior of the vase, working up and down therein

piston-fashion, but prevented from coming out altogether by the fact

that the upper edge of _a_ is slightly turned inwards all round. Below

_d_ is a spiral spring, whose action tends to force _d_ to the top of

the vase, as shown in Fig. 222. From the centre of _d_, however, there

extends downwards through the spiral spring a piece of stiff wire

_e_, with a crook, _f_, at the end. The foot of the vase is hollow

throughout. If the saucer _d_ is forced down by pressure from within,

this wire, as soon as it reaches the position shown in Fig. 223, will

hook itself within the foot of the vase, and so keep down _d_, until

the crook is again released, when the whole will instantly return to

the condition shown in Fig. 222. The bottom of the foot is open, so

that the fingers can without difficulty find and release the crook when

necessary.

The vases are prepared by pressing down _d_ in each as shown by the

dotted lines in Fig. 223, and filling the well of the one with hot

coffee, and that of the other with loaf-sugar. Their respective covers

are then placed over them. The attention of the audience is first

directed to a couple of wooden boxes, each about half as long again

as the vases, and ten or twelve inches in depth, one of which is

filled with coffee-berries, and the other with white haricot beans.

The performer now uncovers the vase which contains the coffee, first

turning the bayonet-catch so as to lift off the well _b_ with the

cover, and shows, by holding the vase upside down and rattling his

wand within it, that it is perfectly empty. He now fills it with

coffee-berries, laying it down in the box to do so, and holding it by

the foot with one hand while he shovels the berries into it with the

other. Having completely filled it with the berries, he holds it aloft,

and, to show that there is “no deception,” tilts it, and lets them run

back again into the box. Again he dips it into the box, but, as he does

so, releases the crook (which the fingers of the hand holding the vase

are just in position to do), and thus lets _d_ fly up to the top of

the vase. Again he brings up the vase, apparently full as before, but

really having only a mere layer of berries, of the depth of _d_, at the

top. He now puts on the cover, the well in which again forces _d_ and

the superposed layer of coffee-berries down to make way for it, and

causes the crook again to catch beneath the hollow of the foot. The

same operation is now gone through with the vase whose well contains

the sugar, and the box of white beans. The performer lastly takes

from the third vase a handful of bran, which he scatters to show its

genuineness, and then places the cover over it. The trick is now really

completed. On removing the respective covers (taking care of course,

first to turn the bayonet-catches in the right direction), the wells

are released from the covers and locked to the vases, which are thus

found full respectively of hot coffee and sugar, and, on removing the

cover of the third vase, the bran is lifted off with it, and the milk

is revealed.

[Illustration: FIG. 224. FIG. 225.]

Some coffee vases, and more particularly those of French make, dispense

with the bayonet-catch, replacing it by a peculiar arrangement inside

the top of the cover. The upper edge of the well is slightly turned in

all round, and the turning of the knob at the top of the cover causes

three flat bolts or catches to shoot out circularly from the edges of

a hollow disc, soldered to the top of the cover inside, and insert

themselves under this projecting edge. (_See_ Figs. 224, 225.) The

mechanical arrangement by which this is effected is almost impossible

to explain in writing, though it becomes readily intelligible upon an

actual inspection of the apparatus, and will be understood without much

difficulty after a slight study of the above diagrams, the arrow in

each case indicating the direction in which the knob must be turned,

in order to bring the bolts into the condition shown in the opposite

diagram.

THE INEXHAUSTIBLE BOX.--The inexhaustible box is, to all outward

appearance, a plain wooden box, of walnut, mahogany, or rosewood,

in length from twelve to twenty inches, and in depth and width from

nine to fifteen inches. Whatever its dimensions, its width and depth,

exclusive of the lid, must be alike. To prove that it is without

preparation within, the performer turns it over on the table towards

the spectators, and, lifting the lid, shows that it is perfectly empty.

Again he closes it, and, turning it right side upwards, opens it once

more, and instantly proceeds to take from it a variety of different

articles. At any moment the box is again turned over towards the

audience, and shown to be empty; but it is no sooner replaced, than the

performer recommences taking from it toys, bonbons, etc., the supply

being many times larger than could possibly be contained at one time in

the box.

[Illustration: FIG. 226.]

The bottom _a b_ of the box (_see_ Fig. 226) is moveable, working on a

hinge _b_ extending along its front. When the box is turned over to the

front, this bottom piece does not turn over with it, but remains flat

upon the table as before. A piece of wood _b c_, of exactly similar

size and shape, is glued to _a b_ at right angles. When the box stands

right side upwards, this piece lies flat against the front of the box,

whose upper edge is made with a slight “return,” so as to conceal it.

When the box is turned over to the front, this piece, like the bottom,

retains its position, while any object which had previously been placed

in the box remains undisturbed, but hidden by this latter piece. (_See_

Figs. 226, 227.) It is, of course, necessary that such object should

be of such a size as not to overpass the arc which the edge of the box

describes in its change of position, and the length from _b_ to _c_

must be exactly the same as that from _a_ to _b_.

The mode of using the box will require little explanation. Any number

of objects, not overpassing the limits we have mentioned, may be placed

in the box, which, being then turned over, can be shown apparently

empty. The box being replaced in its normal position, the articles

are again within it, and can be produced at pleasure. The effect

of “inexhaustibility” is produced as follows:--Each time that the

performer turns over the box to show that it is empty, he takes from

the _servante_, or from his pockets, and places upon _a b_, a fresh

supply of articles, to be produced as soon as the box is again right

side upwards.

[Illustration: FIG. 227.]

It should be mentioned that the hinge at _b_ is made to act freely,

so that the bottom may by its own weight retain its position when the

box is turned over, and not turn over with the box. Some boxes are made

with a catch or pin at some part of _a_, so as to prevent _a b_ falling

prematurely while the box is being placed on the table, or while the

performer carries round the box, and shows that, inside and out, it is

without preparation. This, however, the performer may safely do, even

without the use of any catch or fastening, by taking care to grasp

the box, when carrying it, by its front edge, with his fingers inside

it. The fingers will thus press _b c_ closely against the front of

the box, and will thereby effectually prevent _a b_ from shifting its

position. The box is, of course, in the case supposed, really empty.

The performer has therefore to make an opportunity for introducing what

may be needful into it; this he may do by remarking as he replaces it

on his table, “You are by this time, ladies and gentlemen, tolerably

well satisfied that there is nothing in this box; but for the greater

satisfaction of those who may not have been able to see the interior

as I carried it round, I will once more show you that it is absolutely

empty.” So saying, he turns it over, and once more shows the interior,

at the same time placing on _a b_ whatever article he designs to

produce.

[Illustration: FIG. 228.]

THE JAPANESE INEXHAUSTIBLE BOXES.--This is a form of the same

apparatus, in which an additional element of mystery is produced by the

use of a box within a box. The inner box is an ordinary inexhaustible

box, as last described, but made with a flat wooden lid, instead of the

hollow or “box” lid used in the older form of the trick. The outer box

just fits over the inner, and is, in fact, a mere cover for it, being

an ordinary wooden box, save that it has no front. The two are brought

on one within the other. The performer begins by taking the smaller

box (which is ready filled with the objects to be produced) completely

out of the larger, and shows that the latter is absolutely empty. He

then places the two boxes together, as shown in Fig. 228, turning over

the smaller box to show its interior, as already described. After this

has been done, the smaller box is tilted back to its normal position

within the larger, the lid of the latter being slightly lifted to allow

it to pass, and then both lids being opened together, the production

of the contents commences. The function of the larger box is, in fact,

merely to act as a screen to the hinder part of the smaller, when

turned over towards the audience. The only advantage of the Japanese

over the ordinary box is that it may be worked on any table, and with

spectators on all sides, but this advantage is counterbalanced by the

drawback that nothing can be produced save what was originally in the

box, neither can the smaller box be carried round, and shown empty.

This, however, may be met by beginning the trick with the two boxes

together, and then, after having brought to light the whole of the

original contents, offering (for the pretended purpose of heightening

the effect) to continue the trick without the aid of the outer box. The

inner box may thenceforth be replenished from behind in the same way as

the ordinary Inexhaustible Box.

The Inexhaustible Box is frequently made the vehicle for those

distributions of bonbons, toys, etc., which to the juvenile mind form

by no means the least attractive feature of a magical performance. It

is also available for the production of flowers, multiplying balls

(_see_ page 307), goblets, bird-cages, and the miscellaneous assortment

of articles generally associated with “hat” tricks. One of the most

effective modes of using it is in connection with the very pretty trick

next following.

THE FEAST OF LANTERNS.--The performer, having exhibited the box empty,

as already described, turns it over again, and instantly produces from

it a paper lantern of many colours, with a lighted candle in it. This

he hands to his assistant or one of the company to hang up at some

convenient part of the stage or room, and returning to the box produces

another, and yet another, till ten or twelve, or even a larger number,

have been produced, the box being every now and then turned over to

prove it empty. The effect of a number of lanterns thus mysteriously

produced from an empty box, and hung about the stage in all directions,

is most brilliant. As the candles do not burn very long, and there may

be some risk of the lanterns catching fire, it is well to make this

trick the _finale_ of the entertainment, and to allow the curtain to

fall before the illumination has had time to lose its effect.

[Illustration: FIG. 229.]

[Illustration: FIG. 230.]

A great part of the effect of the trick lies in the very considerable

bulk of the lanterns, three or four of which would apparently be more

than sufficient to fill a box from which a dozen or so are produced.

This arises from the construction of the lanterns themselves, which

are of the kind used for Christmas-trees and illuminations, and when

open offer a considerable cylindrical surface (_see_ Fig. 229), though

when closed they are little more than flat discs (_see_ Fig. 230). They

are placed in the box in the condition shown in the last-mentioned

figure; but when lifted out by the wire at top, at once expand,

concertina-fashion, and assume the shape shown in Fig. 229. They are

lighted in sundry ways, one method being as follows:--Each lantern

contains about three-quarters of an inch of candle, from which the

wick has been removed, and a wax match inserted in its stead. Against

the front of the box, or rather against the wooden flap _b c_ (_see_

Fig. 227), is glued a tablet _d_ of sandpaper upon which to strike the

match, and a gentle rub against this instantly lights the candle, when

the lantern is immediately lifted out, as already explained. There

is, however, an improvement whereby the lanterns are not only made to

occupy much less space, but may be lighted simultaneously. In this

case the little cylinder which forms the socket for the candle, and

which should be about half an inch in diameter, instead of occupying

the middle of the space at the bottom of the lantern, is placed at one

side of such space. One of the lanterns, viz., that which is to be

undermost when they are grouped together, has no further preparation;

but the second, by the side of its own socket, has a round hole in the

bottom, just large enough to give room for the socket of the first.

The next, or third lantern, has two holes, allowing the passage of the

sockets of the first and second. The fourth has three holes, the fifth

four, the sixth five, the seventh six, and the eighth seven, so that

when the lanterns are placed one upon another in proper order, the

sockets of the lower lanterns come up in a circle through the holes in

the bottom of the uppermost one. The tops and bottoms are made of tin,

which is not only safe from catching fire, but occupies very little

space. In this case the original wicks of the candles are retained,

but are slightly moistened with turpentine to render them instantly

inflammable, and are lighted by a lucifer or wax match struck in the

ordinary way, the merest touch sufficing to ignite them. They may then

be lifted out in rapid succession with great effect. A group of six or

eight lanterns thus prepared may be produced from a borrowed hat, being

previously concealed in the breast or tail-pocket of the performer, and

“loaded” into the hat at any convenient opportunity. It is desirable in

this case to have a friction tablet glued upon the top of the uppermost

lantern to strike the match upon, as the hat lining is hardly adapted

for that purpose.

[Illustration: FIG. 231. FIG. 232.]

The lanterns above described are the most generally used, and are by

much the easiest to manipulate. There is, however, a spherical lantern

also obtainable at the toy-shops, which has a decidedly prettier

effect. This form of lantern is, when shut up, as shown in Fig. 231.

To develop it, the wires _a_ and _b_ are each made to describe a

semi-circle, as shown by the dotted line, bringing the whole into the

condition shown in Fig. 232, in which condition it is maintained by

slipping the loop of _a_ under _b_. The best plan for lighting in this

case is to have a separate small piece of candle, prepared with a

match wick, as above-mentioned, placed in readiness on the _servante_,

and a small pin or sharp nail projecting upwards from the bottom of

the box to act as a candlestick. The candles in the lantern will in

this case need no special preparation. The performer first lights the

prepared candle by rubbing it against the tablet, and then presses it

down upon the upright pin we have mentioned. The other candles are in

turn lighted from this, each lantern being put into shape before being

lifted out of the box, which must in this case be of tolerable size, in

order to admit of their ready development.

THE BUTTERFLY TRICK.--This is a trick of Japanese origin, which became

very popular two or three years since. In effect it is as follows:--The

performer brings forward an ordinary fan, and a couple of bits of

tissue-paper, each torn into a fanciful likeness of a butterfly.

Taking these upon his hand, he gently fans them, the motion of the air

speedily causing them to rise above his head. Still gently fanning

them, he causes them to hover, now high, now low, now fluttering along

the wall, now descending into a gentleman’s hat, whence they presently

emerge to again flutter hither and thither at his pleasure.

The point that most strikes an attentive observer is the fact that,

whether they fly high or low, the butterflies always keep _together_.

Sometimes they may be a couple of feet apart, sometimes only a few

inches, but they never exceed the above limit; and the spectator

naturally concludes that an extraordinary degree of dexterity must be

necessary to enable the performer to keep them from diverging more

widely. Here, however, in truth lies the secret of the trick, which is,

that the so-called butterflies are connected by a piece of very fine

silk a couple of feet in length, which, when the butterflies are in

motion, is absolutely invisible to the spectators. The remainder of the

trick is a matter of practice, though it is less difficult than would

be imagined by any one who had never attempted it.

Some performers have the silk thread attached to one of the buttons

of the coat. This arrangement will be found greatly to facilitate the

working of the trick.

The paper for the butterflies is better torn than cut, and should be as

nearly as possible of the shape of a St. George’s cross, and about two

inches square.

THE WIZARD’S OMELET. (BORROWED RINGS AND LIVE DOVES PRODUCED FROM AN

OMELET.)--This is a trick which always produces a great sensation,

whether performed upon the stage or in the drawing-room. Its effect

is as follows: The performer produces either naturally or magically

(_e.g._, from the egg-bag, or from the mouth of his assistant,

as described at page 329) three eggs, which he hands round for

examination. His assistant next borrows from the audience three

ladies’ rings, receiving them, in order to prove that he does not

tamper with them in any way, on the performer’s wand instead of in his

hands. The wand, with the rings still upon it, is laid upon the table.

The assistant next brings in an omelet pan, and places it, with its

lid beside it, on the table. The performer breaks the eggs into it,

dropping in shells and all--then pours some spirits over it, to which

he sets fire, and while it is still blazing drops the rings from the

wand into it. He brings it forward to show that the rings are really in

the flames; and on returning to his table, claps the cover on the pan,

and fires a pistol (any ordinary pistol) over it. Without a moment’s

interval, he again removes the cover. All traces of the omelet and

egg-shells have vanished, but in their place are found three live

doves, each with a ribbon round its neck, to which is attached one of

the borrowed rings.

The explanation of this surprising result is simplicity itself. The

reader, with his present knowledge, will readily conjecture that, as

to the rings, a substitution is effected; but he may not so easily

guess the manner of such substitution. It will be remembered that

the rings were collected by the assistant on the performer’s wand.

This arrangement, which is ostensibly adopted to prevent, in reality

facilitates an exchange. The assistant makes his collection with

three dummy rings placed beforehand on the lower end of the wand, and

concealed by the hand in which he holds it; which, we will suppose, is

the right hand. In returning to the stage, he takes hold with the left

hand of the opposite end of the wand, and allows the borrowed rings to

run down into that hand, at the same moment releasing the dummy rings

from the right hand, and allowing them to run upon the middle of the

wand in place of the others. He now has the borrowed rings in his left

hand, and (laying the wand with the substitutes on the table) carries

them off with him to prepare for the _dénouement_ of the trick.

[Illustration: FIG. 233.]

The only other matter which will require explanation is the

construction of the omelet pan. This is a shallow pan of brass or tin,

about ten inches in diameter, by two and a half in depth. Within this

is an inner pan, also of brass or tin, fitting tightly within it, but

about half an inch less in depth. The lid is made with a very deep

rim or shoulder all round, and just fits within the lining, though

less tightly than the latter fits within the pan. (_See_ Fig. 233, in

which _a_ represents the pan, _b_ the lining, and _c_ the lid.) The

assistant, as soon as he gets behind the scenes, loops the borrowed

rings to the ribbons, which are already tied round the necks of the

three doves, and places the latter in _b_, immediately putting on _c_

(the two together having the appearance of a simple cover), and brings

forward the pan and cover. The performer now makes his omelet, and

drops the substitute rings into it. In bringing forward the pan to show

that the rings are really there, he takes care to avoid the owners of

them, who would alone be likely to detect the substitution. When he

claps on the cover, the trick is really done, the firing of the pistol

being merely for effect. When the cover is again removed, the lining

remains in the pan, concealing the omelet beneath it, and revealing the

doves, with the rings attached to their necks.

THE ROSE IN THE GLASS VASE.--The ingenious piece of apparatus which we

are about to describe was, we believe, the invention of Robert-Houdin.

It consists of a glass vase, on a foot, and with a glass lid, standing

altogether eight to ten inches in height. This is placed on a square

box-like plinth or pedestal, of wood covered with morocco, and

measuring about eight inches square by six in height. The lid is placed

upon the vase, which, being transparent, is clearly seen to be empty. A

borrowed handkerchief is for a moment thrown over the whole, and again

removed, when a handsome rose (natural or artificial) is seen to have

mysteriously found its way into the vase; whence it is removed, and

handed to the company for inspection.

[Illustration: FIG. 234.]

The secret of this mysterious appearance is twofold, lying partly

in the vase and partly in the pedestal. The vase, which at a little

distance appears as simple and commonplace as any in a confectioner’s

window, has a segment cut off one side, leaving an opening of about

five inches in height by three and a half in width. (_See_ Fig. 234.)

This opening is kept turned away from the audience. The pedestal, like

the vase, is closed on every side except the side remote from the

spectators, which is open. A curved wire arm, with a “clip” at the

end to receive the stalk of the rose, works up and down, describing a

quarter of a circle, in this open space. A spring hinge, on which this

arm works, impels it to assume the position shown in the figure, thus

lifting the rose through the opening into the vase. The apparatus is

set by forcing down the arm with the rose into the position indicated

by the dotted lines, in which position it is retained by a little

catch, until the performer, in the act of covering the vase with the

handkerchief, presses a stud at the upper side of the pedestal. This

withdraws the catch, and allows the rose to rise into the vase. Of

course, the performer in taking out the flower does so from the top,

and with proper precautions not to disclose the existence of the

opening at the back of the vase.

The ingenuity of the reader will probably suggest to him combinations

to make the trick more effective. To those who have not such ready

invention, we may remark that the trick may be very effectively

combined with that of the ball that changes to a rose, and _vice versâ_

(_see_ page 300), or a duplicate rose may be placed in the _mouchoir du

diable_ (described at page 195), and thence ordered to pass to the vase.

[Illustration: FIG. 235.]

THE CHINESE RINGS.--These are rings of brass or steel, in diameter

from five to nine inches, and in thickness varying from a quarter to

three-eighths of an inch. The effect of the trick to the spectator

is as follows:--The rings are given for examination, and found to

be solid and separate; but at the will of the operator they are

linked together in chains of two, three, or more, becoming connected

and disconnected in a moment, and being continually offered for

examination. Finally, after the rings have become involved in an

apparently inextricable mass, a slight shake suffices to disentangle

them, and to cause them to fall singly upon the stage.

[Illustration: FIG. 236.]

The sets of rings sold at the conjuring depôts vary in number, ranging

from six to twelve. The set of eight, which is perhaps the most usual

number, consists of one “key” ring, two single rings, a set of two

linked together, and a set of three linked together. The “key” ring

(_see_ Fig. 235), in which lies the secret of the trick, is simply a

ring with a cut or opening, _a_, in it. For use upon a public stage,

where the performer is at a considerable distance from his audience,

there may be a gap of an eighth of an inch between the ends, but

for drawing-room use, they should just touch each other. Some rings

are made to “clip” like an ear-ring, and some have the opening cut

diagonally instead of square, but the simple square cut is, in our own

opinion, the best.

[Illustration: FIG. 237.]

We shall, in the first place, describe the trick as performed with

the set of eight rings above mentioned, afterwards noticing the more

elaborate performance with twelve. We must premise, however, that the

manipulation of the rings admits of almost infinite variation, and that

the practice of performers differs greatly as to the mode of working

them.

[Illustration: FIG. 238.]

[Illustration: FIG. 239.]

[Illustration: FIG. 240.]

[Illustration: FIG. 241.]

The performer comes forward holding the eight rings in his left hand,

arranged as follows. First (_i.e._, innermost), comes the set of three;

then the “key” ring (the opening uppermost in the hand), then the set

of two; and, lastly, the two single rings. Taking the first of these,

he hands it to a spectator for examination; passing it when returned

to another person, and carelessly handing a second ring to be examined

in like manner. This should be done without any appearance of haste,

and with an air of being perfectly indifferent as to how many of the

rings are examined. The two “singles” having been duly inspected, the

performer requests one of the spectators to take them both in his

right hand, at the same time taking in his own right hand the next

two rings, which, it will be remembered, are the set of two, though

the audience naturally believe them to be, like the first, separate.

“Now, sir,” the professor continues, “will you be good enough to link

one of the rings which you hold into the other.” The person addressed

looks more or less foolish, and finally “gives it up.” “You can’t?”

says the performer, in pretended surprise. “My dear sir, nothing is

easier. You have only to do as I do. See!” Laying down the rest of the

rings, he holds the two as in Fig. 236, and makes a gentle rubbing

motion with the thumb upon the rings, and then lets fall one of them,

which naturally drops to the position shown in Fig. 237. He now hands

these two rings for examination. The spectators seek for some joint

or opening, but none is found; and meanwhile the performer transfers

the next ring (the “key”) to his right hand, keeping the opening under

the thumb. He now takes back with the left hand the two single rings,

immediately transferring one of them to the right hand, and with the

ball of the thumb presses it through the opening in the key ring, into

which it falls, with exactly the same effect as the apparent joining

of the two linked rings a moment before. Again he separates and again

joins the two rings. The second single ring is now made to pass through

in like manner, making the combination shown in Fig. 238. The performer

remarks, “We now have three joined together. Here are three more, as

you see (shaking those in the left hand), all solid and separate, and

yet at my will they will join like the others.” Making a rubbing motion

with the thumb as before, he drops two of the three, one by one, from

the hand, when they will appear as a chain of three. These he hands for

examination, taking back the set of two, and linking them one after the

other into the key ring, to which now four rings are attached. Again

taking back the set of three, he links these also one by one into the

key ring, which thus has seven rings inserted in it. (_See_ Fig. 239.)

Using both hands, but always keeping the opening of the key ring under

one or the other thumb, he now takes off these seven rings, commencing

with the two single ones, and again offering them for examination; then

taking off the set of two. Last of all, he unlinks the set of three,

and then, holding them at length in his left hand, joins the upper one

to the key ring, thus making a chain of four, of which the key ring is

the uppermost. He next takes the lowermost ring of the four, and links

that into the key ring, bringing the four rings into a diamond shape,

as shown in Fig. 240. Again unlinking the lower ring, he takes up the

set of two, and connects them with the key ring, holding them up above

it, thus making a chain of six, the key ring being third from the top.

(_See_ Fig. 241.) Taking the upper ring between his teeth, he links the

two single rings into the key ring on either side, making the figure of

a cross, as shown in Fig. 242. As the hands are now occupied in holding

the single rings forming the arms of the cross, he can no longer keep

the opening of the key ring concealed by the thumb, but it is extremely

unlikely that among so many rings, so slight a mark in one of them will

attract notice. Regaining possession of the key ring, he links all one

by one into it, so as again to bring them into the condition depicted

in Fig. 239. Then, holding the key ring with both hands, and with the

opening downwards, about a couple of feet from the floor (_see_ Fig.

243), he shakes the rings violently, at the same time gently straining

open the key ring, when the seven rings will all in succession drop

through the slit, and scatter themselves about the floor, the general

impression being that they all fall separate, though the grouped sets,

of course, remain still united.

It is not an uncommon thing to see a performer commit the _gaucherie_

of handing _all_ the rings, save only the key ring, to be examined in

the first instance; the key ring being hidden under the breast or under

the tail of the coat, and being added to the set in returning to the

table. The spectators are thus needlessly made acquainted with the fact

that certain of the rings are already linked together, and this once

admitted, the trick loses nine-tenths of its effect.

[Illustration: FIG. 242.]

[Illustration: FIG. 243.]

The set of twelve rings is less frequently seen, and is rather more

complicated to manage, though in good hands it is capable of much more

brilliant effects than the smaller number. The set consists of five

single rings, a group of two, a group of three, and two key rings.

These are held in the hands of the performer in the following order.

First (_i.e._, innermost) a key ring, then the group of three, then

the second key ring, then the group of two, and lastly the five single

rings. The latter are distributed for examination. While they are still

in the possession of the audience, the performer requests one of the

spectators to link two of them together, and himself taking in his

right hand the group of two, pretends to link the latter, as already

described, and hands them for examination. The performer meanwhile

takes in his right hand one of the key rings, and collects the single

rings in his left. As soon as the group of two are handed back, he

links one of them to the key ring in his right hand, thus forming a

chain of three, with the key ring uppermost. Next linking the lowest

ring into the key ring, he forms Fig. 238, which, by holding the two

lower rings apart, assumes the shape of a triangle. Again disengaging

the lower ring, passing one of the single rings from the left hand to

the right, and laying down on the table all the rings remaining in that

hand (the group of three uppermost) he joins the single ring to the

key ring, thus making a chain of four, of which the key ring is second

from the top. These he lays, still linked, upon the table, and takes up

from the heap already lying there the three uppermost (which, it will

be remembered, are the group of three), and holding them for a moment

together in the hand, lets them fall one by one to form a second chain

of three. Taking the next ring of the heap (the second key ring) in

his disengaged hand, he steps forward, and requests some one to take

hold of either of the three rings, and to pull against him, in order

to prove their solidity. This ascertained, he passes the upper ring of

the three into the hand which already holds the key ring, and links it

into the key ring, thus forming a second chain of four, of which in

this case the key is the uppermost. Linking the lowermost into the key

ring, he shows the rings as in Fig. 240. Once more unlinking the lower

ring, so that the four again appear as a single chain, he proceeds

(apparently) to link all the twelve together. This is effected as

follows:--

Taking two of the single rings, the performer links them into the key

ring of the chain which he holds. He next links one of these same

single rings into the key ring of the other chain, thus linking the two

chains together at a distance of one ring from the end of the chain.

He thus has ten rings joined. He now takes the two chains one in each

hand by the ends remotest from the point of juncture, immediately after

picking up and holding (one in each hand) the two remaining single

rings. These, of course, he does not and cannot link with the rings

adjoining them, but the audience seeing that all the rest are linked

together, readily believe that these also form part of the chain. The

precise arrangement of the rings will be readily understood from an

inspection of Fig. 244.[M]

[M] The numbers 1, 2, 3, in the centre of the various rings in

Figs. 240–244, indicate whether the ring in question is a

“single” or forms part of the group of two or of three, as

the case may be.

[Illustration: FIG. 244.]

The feat may either end here, the rings, still linked, being gathered

together and carried off by the assistant, or the performer may link

all one by one into either of the key rings, and then shake them out

and scatter them on the floor in the manner already described as to

the eight rings. The performance may be elaborated to any extent, the

two key rings giving a wonderful facility of combination, but whatever

be the passes adopted they should not be too numerous, as the trick,

however skilfully worked, consists only of repetitions of the same

primary elements, and the interest of the spectators will quickly

diminish.

The performer should, in manipulating the rings, study neatness and

lightness, rather than rapidity. The effect should be as though the

rings _melted_ into and out of one another, and the smallest appearance

of force or exertion should be avoided. It has a very good effect in

disengaging the rings one from another, to hold them together for a

moment or two after they are actually disconnected, and then holding

them parallel to each other, to draw them very slowly apart. The

precise moment of their separation is thus left uncertain, the illusion

being thereby materially heightened. A single ring may in this way

be drawn along a chain of three or four, the effect being as if the

disengaged ring passed _through_ the whole length of the chain.

THE CHARMED BULLET.--As a rule, people object to being shot at, and

the least nervous person might fairly demur at facing the muzzle of

a loaded pistol at six paces’ distance; but the magician is superior

to such weakness, and will face a bullet with as little compunction

as he would stop a ball at cricket. Neither must it be imagined that

there is any “deception,” at any rate in the quality of the articles

employed. The pistol is a real pistol, the powder is genuine powder,

and the bullet--an ordinary leaden bullet--is chosen and marked by one

of the audience, fairly placed in the pistol, and fairly rammed home.

The pistol is fired with deliberate aim by a disinterested spectator;

but no sooner has the smoke cleared away than the performer is seen

standing unharmed, with the marked bullet caught between his teeth.

So much for the effect of the trick; now for the explanation. The

pistol (_see_ Fig. 245) is, as already stated, an ordinary weapon,

and the only speciality of the bullets is that they are a size or

two smaller than the bore of the pistol. The ramrod, _b_, is a plain

cylinder of wood or metal, tapering very slightly at each end. The

secret lies in the use of a little metal tube _a_, about two inches

in length, open at one end, but closed at the other. This tube, which

is of such a size as to fit loosely within the barrel of the pistol,

but tightly upon either end of the ramrod, is placed in the right-hand

_pochette_ of the performer, and a small bag of bullets in the

_pochette_ on the other side.

[Illustration: FIG. 245.]

The performer comes forward with the pistol in one hand and the ramrod

in the other, and having a small charge of gunpowder, screwed up in

a bit of soft paper, concealed between the second and third fingers

of his right hand. He hands the pistol and ramrod for inspection.

While they are under examination, he asks, “Can any lady or gentleman

oblige me with a little gunpowder?” Nobody answers, and he continues,

addressing some mild elderly gentleman, “Perhaps you can accommodate

me, sir?” The elderly gentleman naturally replies that he is not in

the habit of carrying gunpowder about with him. “Excuse me,” says the

performer, “but I fancy you have a small packet of powder under your

coat-collar. Permit me!” and drawing his hand gently down beneath the

collar, he produces the little packet. This he hands to the person

who is holding the pistol, with a request that he will load it. While

he puts in the powder, the performer drops his left hand to the

_pochette_, and palms the little bag of bullets, which he forthwith

produces from a gentleman’s hat, or a lady’s muff.[N] From among the

bullets he requests the person who put in the powder to select and

mark one. While this is done, he himself takes the pistol in his left

hand, holding it muzzle upwards, and in the act of transferring it

with apparent carelessness to the other hand, secretly drops into it

the little tube, the open end upwards. The spectator having chosen

and marked the bullet, is requested, for greater certainty, to place

it in the pistol himself. A very minute portion of paper is added by

way of wad, and the performer then takes the pistol, and rams it down.

The bullet, of course, has fallen into the little tube, and as the

ramrod fits tightly within the latter, it naturally, when withdrawn,

brings out tube and ball with it. The tube and ramrod are made to

match (generally black, but sometimes of brass or silver-plated);

and therefore the tube, when on the rod, even if exposed, would not

be likely to attract attention. The performer, however, prevents the

possibility of its doing so, by holding the rod by that end, thereby

concealing the tube with his hand. He now hands the pistol to a

spectator, requesting him, for fear of accidents, to hold it muzzle

upwards until the word to fire is given. The performer now takes up

his position at the furthest part of the stage, and during his short

journey gains possession of the bullet. This is effected by sharply

drawing away the ramrod with the left hand, thereby leaving the tube

open in the right, and allowing the ball to roll out into the palm. The

tube, having served its purpose, is got rid of into the _profonde_,

and the ball is either slipped into the mouth or retained in the hand,

according to the mode in which it is intended to be produced.

[N] A muff, being open at each end, is an excellent thing

whence to produce any small article--_e.g._, a borrowed

watch, a ball, etc. For this purpose the performer should

take hold of one end of the muff with the hand in which

is palmed the article in question, which is immediately

allowed to slide gently through the muff, and is stopped

by the other hand. If this is neatly done, the keenest eye

cannot detect the deception.

Some performers use several small bullets. In our own opinion, a

single ball of tolerable size is not only more manageable, but more

effective. The mode of producing the bullet also varies. Some, instead

of producing it in the mouth, hold up a china plate by way of target,

the bullet being held under the two first fingers against the front of

the plate. When the pistol is fired, the plate is turned horizontally,

and the bullet released from the fingers. This plan is sometimes to

be preferred, inasmuch as it creates an excuse for leaving the stage

for a moment to fetch the plate, an opportunity which is valuable in

the event, which sometimes happens, of the ball, from an excess of

wadding or any other cause, not dropping readily from the tube into

the hand. To meet this possible difficulty, some tubes have (to use an

Irishism) a small hole through the _closed_ end, so that the performer,

on leaving the stage, can, by pushing a piece of wire through the hole,

instantly force out the bullet.

[Illustration: FIG. 246.]

THE BIRTH OF FLOWERS.--There are two or three different tricks which go

by this name. Of one of them we may dispose in a very few words. It is

purely a mechanical trick, having neither ingenuity of construction nor

dexterity of manipulation to recommend it. The apparatus consists of

a cover _a_ (_see_ Fig. 246), a base _c_, and an intermediate portion

_b_, connected with _a_ by means of a bayonet-catch; _c_ is beforehand

partially filled with earth, and in _b_, the top of which is perforated

with small holes, is inserted a natural or artificial plant, or bouquet

of flowers. The cover _a_ is placed over _b_, and the apparatus is

ready. The performer, drawing attention to _c_, pretends to sow some

magic seed therein. He then places _a_ over it, and pretending to warm

it with his hands, commands the seeds to germinate. Releasing the

bayonet-catch, he removes the cover, and shows the flowers apparently

just springing from the earth in _c_. In some of the smaller sizes of

this apparatus the bayonet-catch is dispensed with, the mere pressure

of the fingers on the sides of _a_ being sufficient to lift off _b_

with it.

The trick which we are about to describe under the same title is

one of a composite nature, and one which, proceeding from marvel to

marvel, produces in good hands a great effect. It is divided into three

portions--first, the production of a single flower, then of a handsome

bouquet, and lastly, of a large basket of flowers. The performer comes

forward with his wand in one hand, and in the other a little box,

in reality quite empty, but containing, as he asserts, magic seeds,

capable of producing on the instant the choicest flowers. “I will first

show you, ladies and gentlemen, their effect in the simplest form. In

the hurry of coming here this evening, I omitted to provide a flower

for my button-hole. You will see how easily, by the aid of the magic

seed, I can supply the deficiency. What shall it be? Clematis, rose,

geranium? Suppose we say a rose. I take a single seed from my box--ah,

here is a rose-seed--and place it in my button-hole.” (He applies the

supposed seed to the button-hole.) “I breathe on it to supply the

necessary warmth. I wave my wand--Once! twice! thrice! The seed has

blossomed, you see, into a handsome rose.”

The explanation of this pretty little trick is exceedingly simple. The

preliminary preparation is made as follows:--Through the centre of

an artificial rose, without stalk, a short piece (about ten inches)

of thin black elastic is passed, and secured by a knot on the inside

of the flower. The other end is passed through the button-hole (from

the outside), and thence through an eyelet-hole made for the purpose

in the breast of the coat, immediately under the button-hole. The

extreme end is looped over a button sewn on the waistcoat about the

region of the waistband. The tension of the elastic naturally draws

the flower close against the button-hole, while yet allowing it, when

necessary, to be drawn away from it to a distance of several inches.

The performer, before coming forward to perform the trick, draws the

rose away from the button-hole, and places it under the left armpit,

whence, so long as the arm is kept close to the side, it cannot escape.

When he waves his wand, with the words, “Once, twice, thrice!” he makes

the first motion facing to the right, the second fronting the audience,

and the third facing slightly to the left, at the same time striking

the button-hole with the wand, and throwing up the left arm, when the

flower, released, instantly springs to the button-hole, the slight turn

to the left completely covering the manner of its appearance.

[Illustration: FIG. 247.]

But the trick is not yet over. “You see, ladies and gentlemen, that

I am not dependent on Covent Garden for a rose for my button-hole;

but you will naturally say, ‘Ah! the magic seed may be all very well

for a single flower, but what if you wanted a complete bouquet?’ I

hasten to show you that this is equally within my power. Will some one

oblige me with the loan of a hat by way of hothouse? Thank you. Here;

you observe, is an ordinary drinking-glass” (this has, meanwhile,

been placed on the table by the assistant), “in which I will drop,

haphazard, a pinch of the magic seed.” This he does with the left hand,

the right being occupied with the hat, and then, with the glass in the

left hand and the hat in the right, comes forward to the audience,

requesting a lady spectator to breathe upon the glass, which he

immediately afterwards covers with the hat. He now requests the same or

another spectator to count ten, to allow the mesmeric influence time to

operate, and then, removing the hat, shows a handsome bouquet (natural

or artificial) in the glass. Returning the hat, and handing the glass

and flowers for inspection, he borrows a silk pocket-handkerchief, or,

in default of procuring one from the audience, uses one of his own,

brought forward by the assistant. Drawing it ropewise through his hands

to show that it is empty, he spreads it before him, holding it by two

of its corners. Having exhibited one side of it, he spreads the other,

when the shape of something solid is seen to define itself beneath it,

and the handkerchief being removed, a large round basket of flowers

(_see_ Fig. 247), ten or more inches in diameter by two deep, is

revealed.

The reader, with his present knowledge, will probably have already

conjectured the mode in which the bouquet is brought into the glass.

It is beforehand placed at the left hand corner of the _servante_, the

stem slanting upwards at an angle of about 45°. When the performer,

standing at the left hand side of the table, drops the imaginary seed

into the glass with his left hand, his right, holding the hat, drops

for a moment to the level of the table, and clips between the second

and third fingers the stem of the bouquet, when, by simply bending the

fingers, the bouquet is brought into the hat after the manner of the

cannon-ball. (_See_ page 305.) When the hat is placed over the glass,

the bouquet is naturally brought into the latter.

We may here mention that there are bouquets of a special and rather

ingenious construction, enabling the performer, in the act of producing

the bouquet from a hat in the above or any similar trick, to cause

it suddenly to expand to three or four times its original size. The

bouquet is in this case made of artificial flowers, stitched on a

framework forming a kind of miniature parasol, with a very short

handle. The bouquet, when introduced into the hat, has a slightly

conical shape, but the performer in withdrawing it puts up the parasol,

so to speak, thereby spreading it to twelve or fourteen inches’

diameter.

[Illustration: FIG. 248.]

[Illustration: FIG. 249.]

The production of the basket of flowers from the handkerchief is

produced by wholly different means, and will require a somewhat minute

explanation. In the first place, the flowers are secured to the sides

of the baskets by silk or wires, so that they cannot fall out, in

whatever position the basket is placed. To the basket are attached two

black silk threads. The one (which we will call _a_) is about eighteen

inches in length, and is attached to a button on the performer’s

waistband, immediately above the front of the left thigh. Obviously,

therefore, the basket, if fastened by this thread alone, would hang

down loosely in front of the performer’s left knee. The second thread

(which we will call _b_, and which is attached to the edge of the

basket at a few inches’ distance from the first) is only three or four

inches in length, and serves to suspend the basket behind the back of

the performer (concealed by his coat) until the proper moment for its

appearance. For this purpose it has a small loop or ring at the loose

end, and this is attached by means of a strong short needle, after the

manner shown in Figs. 248 and 249 (the latter representing a slightly

enlarged view of the attachment), to the waistband of the performer.

The needle carries a third thread _c_, which, passing through the cloth

of the trousers, is brought round and attached to the centre button of

the waistband, being concealed by the edge of the waistcoat. The _modus

operandi_ will now be easily understood. The basket is in the first

instance suspended by the thread _b_. The performer, while spreading

the handkerchief before him, ostensibly to show that it is empty,

crooks the little finger under the edge of his waistcoat, and pulls

_c_, thereby withdrawing the needle, and detaching _b_. The basket,

being no longer held back by _b_, falls, but is compelled by _a_ to

swing round in front of the performer, who, while lifting it, still

covered by the handkerchief, breaks _a_, and thus altogether releases

it. The object of passing the needle through the cloth of the trousers

is that it may not fall forward and be seen when _c_ is pulled.

The contrivance last above described is the invention of Robert-Houdin,

slightly simplified, however, inasmuch as he employed, in place of the

needle, a little wire bolt working on a metal plate attached to the

back of the waistcoat; but the principle in either case is precisely

the same.

[Illustration: FIG. 250.]

THE MYSTERIOUS SALVER.--This is a tin tray (_see_ Fig. 250),

ornamentally japanned, and of about twelve inches in diameter. There is

a space of about three-quarters of an inch between the upper and under

surfaces of the tray, at one side of which, under cover of the curled

rim, is an opening of about three inches in width. Within this opening,

so placed as to be within easy reach of the fingers of any person

holding the tray, are two wire hooks, marked _a_ and _b_ in the figure.

On gently pulling hook _a_, a little hammer _c_ rises up at right

angles to the surface of the tray, again falling back by the action

of a spring as soon as the pull is relaxed. On pulling _b_, a similar

movement is communicated to a sort of ladle _d_, sunk in the surface of

the tray, and rising up in a direction parallel to that of the little

hammer already mentioned. This ladle has a flat tin cover, hinged very

loosely upon its outer edge (so as to open of its own accord when the

ladle passes the perpendicular position), and japanned in such manner

as to represent one of a circle of medallions forming part of the

pattern of the tray, and therefore little likely to attract attention.

If any small article be beforehand placed in the ladle, and _b_ be

pulled, the article will naturally be flung out upon the surface of the

tray. In practice, however, the salver is always used in conjunction

with a little glass tumbler, about three inches in height, which, being

placed upon the medallion opposite to that which forms the cover of the

ladle, the contents of the latter fall into the glass instead of upon

the tray.

The salver is generally used somewhat after the following fashion:--A

little round brass box, say an inch and a half in diameter and an

inch deep, is handed to the audience, with a request that they will

place any small article (such as a coin, a ring, a watch-key) in it.

All necessary precautions are taken to prevent the performer knowing

what the articles in question are, and the box is, for still greater

security on this point, wrapped by the performer in a handkerchief,

and handed to one of the audience to hold. The reader, with his

present knowledge of the little faith that is to be put in the acts

of magicians, however apparently straightforward, will readily

conjecture that at this point there is a substitution. The performer,

apparently wrapping up the box which has just been handed to him,

really substitutes another of similar appearance, sewn in one corner

of the handkerchief. This latter, which contains two or three metal

buttons, or other objects adapted to cause a rattling when shaken, is

so arranged that when the lid is pushed home a piece of cork within is

pressed down upon the buttons, and they are made silent; but if the lid

be raised ever so little, and the box shaken, they rattle. This latter

is the condition in which the box is wrapped in the handkerchief.

The performer, leaving the dummy box, wrapped up as above, with the

spectator, retires for a moment in order to fetch the salver. This

gives him the opportunity to take the articles out of the box, to note

what they are (we will suppose a ring, a florin, and a locket), and

place them in the “ladle” of the salver. The empty box he places in

one of his _pochettes_. He now brings forward the glass and salver,

together with a paper lamp-shade (similar to those placed over the

lights of a billiard table), wherewith to cover the salver while the

supposed flight of the objects takes place. He first shows that there

is nothing in his hands, on the salver, or in the glass, and then

places the latter in its proper position, and covers the whole with the

paper shade. His assistant holds the salver, using both hands, with

his right in such a position as to have control of the hooks _a_ and

_b_. The performer requests the person holding the box to shake it,

in order to show that the articles are still there. He then addresses

the company to the following effect:--“Ladies and gentlemen, allow me

to remind you of the position of affairs. Some articles, unknown to

me, have been placed by yourselves in a box. That box has not been in

my possession, even for a moment, but has remained ever since in the

hands of the gentleman who is now holding it. Here, as you see, is a

little glass” (he raises the shade with the left hand), “perfectly

empty. I shall now, by virtue of my magic power, order the articles in

the box, whatever they may be, to leave the box, and fall into this

little glass, and I will tell you by the sound of each as it falls

what the article is. Let us try the experiment. First article, pass!”

The assistant pulls _a_, and the little hammer _c_ forthwith strikes

the glass, simulating to some extent the sound of a small article

falling therein. “That, by the sound, should be a coin, I should say

a florin. Hold tight, sir, please. Second article, pass!” Again the

assistant causes the hammer to strike the glass. “That, ladies and

gentlemen, is a ring. You must hold tighter yet, sir, if you mean to

defy my power. Third article, pass!” This time the assistant pulls _b_,

causing the ladle _d_ to rise, and to shoot out the three articles

together into the glass. “That, I should say, was a lady’s locket.

Fourth article, pass!” (This is a mere blind, and elicits no response.)

“Ladies and gentlemen, there were three articles placed in the box,

a ring, a florin, and a locket, and you will find that they have now

all passed into the glass.” (He removes the shade, and shows that they

have done so.) “May I trouble you once more to shake the box?” The

repeated injunctions to hold tighter have naturally caused the holder

to press the lid home, and the box is therefore silent, corroborating

the assertion that the articles have departed. “Now, ladies and

gentlemen, having conjured away the contents, I shall now proceed to

conjure away the box; but this time, by way of variety, I will do it

visibly. Attention!” He takes one corner of the handkerchief with his

right hand. “Now, sir, when I say ‘Three,’ will you please drop the

handkerchief. One, two, _three_!” The performer shakes the handkerchief

and pulls it rapidly through his hands till the corner containing the

box comes into the left hand, the box having apparently vanished. “The

box has gone, you see, but where? that is the question. Pardon me, sir,

you have it in your pocket, I think,” addressing some elderly gentleman

of innocent aspect. With the handkerchief still dangling from his

left hand, the performer thrusts the other hand into the waistcoat or

breast-pocket of the individual in question, and produces from thence

the missing box, which he has a moment previously palmed from the

_pochette_.

The weak point of the trick, as above performed, is the sound of the

hammer on the glass, which is but a poor imitation of that of coins,

or the like, falling into it. In some trays the hammer is altogether

dispensed with, the performer himself holding the tray, and the

necessary sound being produced by the assistant actually dropping a

coin into a glass behind the scenes, as near the standing place of the

performer as possible. This latter plan is much to be preferred.

A further improvement consists in the use, in place of the salver,

of a small round table, or _guéridon_, made on the same principle

(without the hammer), and worked by pulling a string from behind the

scenes. With a little dexterity, the articles may be introduced into

the “ladle,” while in the act of placing the glass upon the table, or

of moving the latter to the front of the stage, though it is more usual

to do this behind the scenes, and then to bring the table forward, as

described in the case of the salver.

The trick may be varied by borrowing four half-crowns or florins, duly

marked, which, being exchanged, and their substitutes placed in the

half-crown casket (_see_ page 202), are thence made to pass one by one

into the glass.

THE VANISHING DIE.--The effect of this trick, in its simplest shape,

is merely to make a die, some three inches square, pass through the

crown of a hat, and be found inside. The trick in this form is but a

poor and transparent affair, but it is sometimes useful as affording

a pretext for borrowing a hat which you design to make use of for

some other purpose; and it furnishes the germ of two or three really

effective illusions. The apparatus consists of three portions--a solid

wooden die, generally painted black with white spots, a tin counterpart

thereof,--fitting loosely over it, and exactly similar in appearance,

but with one side open,--and an ornamental cover of thin pasteboard

(sometimes this also is of tin), fitting in like manner over the hollow

die. The trick is worked very much after the manner of the “cone,”

recently described. The performer comes forward, having the solid die

in the one hand, and the cover, with the tin counterpart within it, in

the other. Placing these on the table, he borrows two hats, which he

likewise places on the table, mouth upwards. “Ladies and gentlemen,” he

commences, “I have here a block of wood” (he lets it fall on the floor,

the sound sufficiently indicating its solidity, and again picks it up),

“and a cover of simple pasteboard.” He places the cover over it, as if

merely suiting the action to the word, and in again removing it, leaves

the tin die over the solid one. “If any one would like to examine it,

he is perfectly welcome to do so. I have here also two hats, borrowed

haphazard from the audience, and, as you can all see, perfectly empty,

and not prepared in any way. Now I propose to make this solid die” (he

tosses it carelessly into one of the hats, and again apparently takes

it out, but really takes out the hollow shell only) “pass right through

the crown of one of these hats, and fall into the other.” He places the

hats one upon the other, mouth to mouth, and the tin shell, with the

opening downwards, upon the uppermost. “Here is the die, which I cover,

thus. Now, at my command it shall pass downwards through the hat. One,

two, three! Pass! See, the cover is empty” (taking it up with gentle

pressure, so as to lift the shell with it, and placing both on the end

of his wand, proving, apparently, that the cover is empty), “and here,

in the lower hat, is the die. Let us try the experiment again. I will

replace the die in the lower hat. One, two, three! Pass!” He lifts the

cover, without pressure, leaving the hollow die on the upper hat. “It

has obeyed, you see. Once more. One, two, three! Pass!” Again the cover

is empty, and again the die has passed into the lower hat.

THE DIE DISSOLVING IN A POCKET HANDKERCHIEF.--The trick last described

has two drawbacks--first, that it is very generally known, and, second,

that the principle is rather too obvious, the secret being very easily

guessed, even by persons not endowed with special sagacity. There is,

however, an improved form of the same trick, in which an additional

element is introduced, whereby these disadvantages are, to a great

extent, removed.

[Illustration: FIG. 251.]

The apparatus used is the same as in the last case, with the addition

of a coloured handkerchief, prepared as follows: Five square pieces of

stout pasteboard, each a shade larger than one side of the solid die,

are joined together with hinges of tape or cloth, in the form shown by

the dotted lines in Fig. 251. The centre piece, _a_, is attached to

the middle of the handkerchief, the others being allowed to hang loose

upon their respective hinges. A second handkerchief of similar pattern

is then laid upon the first, and the edges of the two are stitched

together all round.

[Illustration: FIG. 252.]

The performer having exhibited the solid die and cover, as already

explained, and having removed the latter (with the hollow die within

it), places it upon the table. Spreading the prepared handkerchief

beside it, he places the solid die upon the centre of the handkerchief,

and gathering up the four corners of the latter, lifts it, bag-fashion,

with his left hand, the four loose flaps of pasteboard naturally

folding themselves up around the die. He now takes it with his right

hand, clipping the solid die within the pasteboard, and turns the whole

over as in Fig. 252, thus bringing the die uppermost, with the folds

of the handkerchief hanging down around it. He next takes in the left

hand a borrowed hat, holding it up for a moment, to show that it is

empty. Then, turning it mouth upwards, he remarks, “I will place the

die here in the hat.” Suiting the action to the word, he lowers his

hand into the hat, but, as if suddenly bethinking himself, he says,

“No! I won’t use the hat at all. Perhaps some one will kindly hold the

die.” In withdrawing his hand, however, he relaxes the pressure of

his fingers, thereby leaving the solid die in the hat, though as the

folded pasteboard retains its cubical shape, the handkerchief still

appears to contain the die. Grasping it immediately below the folded

shape, he gives the handkerchief in charge to one of the spectators,

who is directed to hold it in like manner. The hat he places carelessly

upon the table. He now once more lifts the cover with the hollow die,

rattling his wand within it to show that it is empty. Again replacing

it, he commands the die to pass from the handkerchief under the cover.

The person holding the handkerchief is asked if he felt it depart, but

he naturally maintains that it is still in the handkerchief. “You are

mistaken,” says the professor; “what you see is merely the ghost of

the die still clinging to the handkerchief. Allow me!” and taking one

corner he requests the owner to drop the handkerchief, which he then

shakes out, exhibiting both sides to show that the die has vanished. He

then lifts the cover, and shows the hollow die, which the spectators

take to be the genuine one, and concludes the trick by finally

commanding the die thus shown to pass into the hat; which, on being

turned over, is found to contain the solid die, while the hollow die is

again raised with the cover, and the latter shown apparently empty.

THE DIE AND ORANGE.--The die in this instance is about three and a half

inches square. It has the usual ornamental tin or pasteboard cover,

but there is an additional item of apparatus employed, a square wooden

box, with hinged lid, and of such a size as just to contain the die.

The effect of the trick is as follows:--The die is brought forward in

the box, the performer holding the square cover in his other hand.

The die being then taken out of the box, and placed on the table, the

box is shown empty, and the cover placed over the die. The performer,

having mysteriously procured an orange from the hair or whiskers of a

spectator, drops it into the box, which is then closed. He now asks the

spectators, in order to impress the facts on their memory, where they

suppose the two articles to be. They naturally answer that they are

where they have just seen them placed; or, if they venture to question

this, the performer raises the cover and opens the box, and shows that

die and orange both remain _in statu quo_. He now commands the two

articles to change places. Lifting the cover, the die is found to have

disappeared, the orange having taken its place, and, on opening the

box, it is seen to contain the die, which is taken out, and exhibited

on all sides to the company. The die and orange, being again covered

over, at command change places as often as the company please.

The reader will doubtless have conjectured that there are in reality

two dice and two oranges. The box when first brought forward contains

in reality _two_ hollow dice, one within the other. The smaller and

innermost (the one which is afterwards taken out and placed under the

cover) is placed in the box with its open side towards the hinges, and

contains an orange. The performer takes it out, taking care, of course,

that the orange does not fall out, and places it (open side downwards)

upon the table. The cover is now placed over it, and, if lifted with

pressure, lifts the hollow die with it, and reveals the orange; but

if lifted by the button on top, so that the sides are not pressed, it

leaves the die covering the orange.

We now return to the box. This contains a second hollow die, so placed

that the open side is upwards, and the box therefore appears to be

empty. The lid, however, contains a sixth side, exactly fitting the

open space, and thus making the die complete. This moveable side is

alternately made to form a lining to the lid or to form part of the

die, according as a little button on the lid is moved in one or another

direction. Both the true lid and this moveable portion of it are lined

with looking-glass, so as to show no difference of appearance, whether

the box is exhibited empty or as containing the die. When the sixth

side is made to form part of the die, the latter may be completely

removed from the box, and shown on all its sides without betraying the

secret, the orange for the time being remaining enclosed within it.

It is a good plan to have a solid die matching those used in the trick,

to be, if necessary, substituted and handed round for inspection. If

the performer uses a trap-table, it has a very good effect to conclude

the trick by causing the orange under the cover to fall through the

trap, and then, lifting the cover and hollow die together, to show by

rattling the wand within, that both die and orange have altogether

vanished.

[Illustration: FIG. 253.]

THE VANISHING CANARY BIRD AND CAGE.--This is another favourite die

trick. The performer exhibits a canary bird in a little oblong brass

cage, measuring six inches by four. He next exhibits a die three inches

square, showing all sides to prove that it is solid. This he places

upon a tray, which is held by the assistant, and covers it with a fancy

cover as already described. He now throws a handkerchief over the cage.

Bringing it forward thus covered to the company, he orders the cage to

vanish, the die to pass into a borrowed hat, and the bird to appear

upon the tray in place of the die. No sooner said than done; he waves

the handkerchief, which is seen to be empty, and on raising the cover

the bird is found under it; while, on turning over the hat, out falls

the die.

[Illustration: FIG. 254.]

The disappearance of the cage, which is of the form shown in Fig.

253, will be readily understood by any reader who has followed the

description of the “flying glass of water” described at page 367. The

handkerchief used is double, and contains in its centre, stitched

between the two surfaces, an oblong wire frame, in size and shape

exactly corresponding with the top of the cage. When the performer

throws the handkerchief over the cage on the table, he takes care to

bring this wire shape immediately over the cage. When he apparently

lifts the cage under the handkerchief, which he does standing behind

his table, he really lifts the handkerchief only, distended by the

hidden wire, and with the other hand he gently lowers the cage out of

sight upon the _servante_.

[Illustration: FIG. 255.]

So much for the disappearance of the cage; but it yet remains to be

explained how the bird comes to be found under the cover in place

of the die. This is effected as follows:--There are two dice, the

one solid, the other of hollow tin, and having one side wanting, but

capable of being closed at pleasure by means of a sliding lid, also of

tin, which supplies the missing side, and is painted accordingly. The

outer edge of this lid is folded over outwards in a semicircular form.

(_See_ Fig. 254). The tray used (_see_ Fig. 255) is of tin, japanned,

and of ordinary appearance, but has a square piece of tin, of the same

size as one of the sides of the die, soldered upon its centre at

about one-sixteenth of an inch above the surface. Three of its sides

are soldered to the tray, the fourth being left open. The centre of

the tray is ornamentally japanned, in such manner as to conceal this

special arrangement.

[Illustration: FIG. 256.]

A duplicate bird is beforehand placed in the hollow die, which is

then closed, and placed either upon the _servante_ or in one of

the secret pockets of the performer, who, having borrowed a hat,

secretly slips the hollow die into it, and places it on the table

mouth upwards. He now brings forward and offers for inspection the

solid die, the cover, and the birdcage, placing the latter when

returned upon his table, rather towards the hinder edge. “The die,”

he carelessly remarks, “I will place in this hat” (suiting the action

to the word); “or, better still, I will place it upon this tray, so

that you may be able to keep sight of it throughout the trick.” So

saying, he again takes out apparently the same, but really the hollow

die, and places it on the tray with the moveable side downwards, in

such manner as to hook the turned-over portion of that side into the

open edge of the corresponding square upon the tray, and places the

cover over it. Handing the tray to his assistant, he proceeds to cause

the disappearance of the birdcage from the handkerchief, as already

described. This done, he advances to the tray, and lifts the cover with

the hollow die within it, first, however, sliding away cover and die

together towards the opposite end of the tray (_see_ Fig. 256), and

thereby leaving behind upon the centre of the tray the moveable slide,

the interior of which is japanned so as to correspond with the centre

pattern of the tray, and thus does not attract any attention.

The solid die, having remained in the hat, may readily be produced when

required.

THE DECANTER AND THE CRYSTAL BALLS.--The routine of this trick, as

practised by different performers, varies a good deal. We propose to

describe it in two forms, the first being as nearly as possible that

which was adopted by Robert-Houdin.

_First Method._--The apparatus in this case consists of four glass

balls (two of plain glass an inch and a half in diameter, one of

ruby-coloured glass of the same size, and one of plain glass,

three-quarters of an inch in diameter) and a decanter of clear glass,

with a hollow or “kick” underneath it just large enough to admit one

of the larger balls. The decanter is two-thirds filled with port or

claret, and is brought forward with the red ball beneath it, in the

hollow we have mentioned, and is placed on the performer’s table. The

remaining balls are disposed as follows: the two large balls in the

performer’s left _pochette_, and the small one in the _pochette_ on

the other side. Thus provided, the performer comes forward, wand in

hand. Taking the wand carelessly in his right hand, he says, “Ladies

and gentlemen, I have already given you some proofs of the singular

powers of this wand, but I do not know whether I have drawn your

attention to one remarkable faculty which it possesses, viz., that if

I strike anything with it, at the same time mentally calling for any

object, that object is instantly produced from the article touched.

Let us put it to the test.” (He pulls back his coat-sleeves, showing

indirectly, by a careless gesture, that his hands are empty.) “For

the purpose of the trick I am about to show you, I require a crystal

ball. Now, observe, I give but one gentle touch, not here upon the

table” (he raps the table with his wand), “where you might suspect some

mechanism or preparation, but here in my empty hand, and instantly, you

see, a ball appears at my bidding.” As he touches the table with the

wand, thereby drawing the eyes of the spectators in that direction,

he carelessly drops his left hand to his side, and takes from the

_pochette_ and palms one of the plain glass balls, which as soon as

the wand reaches his hand he produces at the finger-tips. “The ball,

as you see, ladies and gentlemen, is of solid crystal, without crack

or flaw” (he takes it in the right hand, tosses it up, and catches it

again). “The hardest steel would fail to chip it, and yet, by my magic

power, I am able instantly to divide it into two equal portions, each

round and true as the original.” At the moment of tossing the ball in

the air, all eyes are naturally attracted to it, and the performer has

ample opportunity to again drop the left hand to his side, and palm the

second ball. Keeping this in the palm of the left hand, he transfers

the first ball to the finger-tips of the same hand. Drawing the wand

across it, he allows it to drop into the palm, and to strike against

the ball already there. Rubbing his palms together, as if to mould

the divided ball into shape, he shows the two balls, professedly the

divided portions of the first. Taking one in each hand, he continues,

“I undertook to make the divided portions exactly equal, but I have

not succeeded so well as usual. It seems to me that this one is rather

the larger, what say you, ladies and gentlemen?” He places the two

balls on the table, side by side, as if for comparison, and carelessly

dropping the right hand to his side, palms between the second and third

fingers (_see_ page 273), the small ball. “Yes, this one is certainly

the larger, but I can easily rectify the mistake by pinching a little

piece off.” Taking the ball in the left hand, he pretends to pinch off

a portion from it with the right, at the same time letting the little

ball fall to the finger-tips of the latter. He replaces the large ball

on the table, rolling the little ball between the fingers, as though

to give it roundness. “No, that one is still the biggest, I haven’t

taken quite enough yet. I must take a little more; or, better still,

I will add this little piece to the smaller one.” Taking the supposed

smaller ball in the left hand, he pretends to squeeze the little one

into it, presently letting the latter fall behind it into the palm

of the left hand, and replacing the two larger balls side by side on

the table, dropping the little ball at the first opportunity into the

_pochette_. He continues, “I think they are now about right. The reason

why I have been so particular about it is that I am about to pass one

of these balls into the other, which I could not have done unless they

had been of exactly the same size. Now which of them shall I pass into

the other? It is for you to decide.” He has meanwhile moved so as to be

behind his table, standing sideways, with his right side to the table.

Whichever ball the company decides is to be passed into the other, he

takes in his right hand, immediately afterwards taking the other in the

left hand, which he holds aloft, following it with his eyes. Stretching

back the right arm, as though to give an impetus to the ball, he drops

it into a padded box, or basket, placed upon the _servante_ to receive

it, immediately afterwards bringing the right hand with a semicircular

sweep upon the left, and rolling the ball the latter contains between

the palms, as though to press the one ball into the other; and

presently showing that the hands now contain one ball only.

[Illustration: FIG. 257.]

The same effect may be produced without the aid of the table, as

follows:--Taking both the balls in his right hand, as in Fig. 257,

the performer covers them with the left hand, retaining as he does

so ball _a_ with the thumb, but allowing ball _b_ to roll down the

left sleeve, which, with a little practice, will be found by no means

difficult. He now rubs the palms together, as if rubbing the one ball

into the other, and then separating them shows that the two balls have

become transformed into one only. This he exhibits in the right hand,

and while the eyes of the company are attracted to the ball, lowers

the left arm, allowing the ball to run down the sleeve into the hand,

whence it is immediately dropped into the _pochette_ on that side.

The next step is the supposed colouring of the ball. The performer

continues, “Ladies and gentlemen, having proved to you my perfect

control over the ball in respect of size, I propose to show you that

I have equal mastery over it in respect of colour. This I shall do by

passing it into this bottle of wine, which being red, the ball will

become red also. Had the bottle contained a blue liquid, you would

have found the ball become blue, and so on. The ball” (he takes it

in his left hand, and apparently transfers it to his right by the

_tourniquet_, keeping the right hand closed as if containing it,

and dropping it from the left into the _pochette_ on that side) “is

considerably larger than the neck of the bottle. This, in a natural

way, would be rather a difficulty, but to a magician it will give very

little trouble. I have only to squeeze the ball a little” (he lifts

the bottle with the left hand, at the same time slipping the little

finger underneath it, to prevent the red ball beneath it falling, and

holding the right hand an inch or two above it, works the hand as if

compressing the ball), “and it gradually becomes smaller and smaller,

till it melts completely into the bottle.” He opens the right hand, and

shows it empty, immediately afterwards shaking the bottle, and allowing

the ball beneath to rattle slightly. “The ball is now in the bottle, as

you see; the next step is to get it out, and it is rather difficult to

do this without at the same time allowing the wine to escape. However,

we will try. I have no doubt that by a strong effort of will I shall

be able to manage it.” He now takes the bottle between his hands,

holding it so that the two little fingers are beneath, and after a

little shaking, allows the ball to drop, as if through the bottle.

This may be varied by holding the bottle with the left hand only, and

striking the mouth with the palm of the other, allowing the ball to

drop at the third stroke, professedly expelled by the compression of

the air.

[Illustration: FIG. 258.]

_Second Method._--The balls used in this instance are five in number,

two large, one of each colour; two small, one of each colour, and one

(a trifle larger than these latter), of which one half is red, and

one half white. The decanter is replaced by an ordinary wine bottle

(_see_ Fig. 258), prepared as follows:--A tin tube, _a_, three inches

in length, closed at the bottom, but open at the top, is made to fit

within the neck (just so tightly, that it cannot fall out of its own

accord), its upper edge being turned over all round, and japanned

black, so that when placed in the bottle it may be undistinguishable

from the actual neck. The cavity at the bottom of the bottle is filled

with a resinous cement, in such manner as only to leave room for one of

the larger balls. The tube is beforehand filled with port or claret,

and placed in the neck. The bottle itself, which, if not naturally

opaque, must be rendered so by an interior coating of black japan,

should be nearly filled with water. Thus prepared, it is brought

forward and placed on the table. The balls are disposed as follows: the

two white ones in the left _pochette_ of the performer, the two red

ones and the parti-coloured ball in the _pochette_ on the other side.

Coming forward to the audience, the performer produces the large white

ball, either as described in the first form of the trick, or from his

wand in manner described at page 276. While showing it in his left

hand, he drops the right hand to his side, and palms the large red

ball. Laying the white ball on his table, he remarks, “I have here a

bottle of wine. We will begin by testing its genuineness.” He lifts

the bottle by the neck with the left hand, immediately transferring

it to the right (which grasps it round the bottom), and introduces

beneath it the red ball, which is thenceforth kept in position by the

little finger. Taking in the other hand a wine-glass (which should be

of such a size as just to contain the contents of the tube), he fills

it with wine, and hands it to one of the company. In returning to his

table, he secretly withdraws the tube. (This is easily done by grasping

the bottle round the neck with the left hand, and gently drawing it

downwards with the right, the turned over portion of the tube being

clipped by the finger and thumb of the left hand, in which it naturally

remains.) As the performer passes behind the table, he gets rid of the

tube by dropping it on the _servante_. In placing the bottle on the

table, he is of course careful not to expose the red ball underneath

it. Taking the white ball in his left hand, he proposes to turn it red,

and for that purpose to pass it into the bottle. Pretending to transfer

it to the right hand by the _tourniquet_, he drops it from the left

hand into the padded tray on the _servante_, and then apparently passes

it into the bottle, as above. The routine of getting it out of the

bottle again is the same as above described in relation to the first

method.

We may, however, here note a variation in practice. Some performers,

instead of introducing the red ball under the bottle at the outset of

the trick, as above described, make no attempt to bring it under the

bottle until after the white ball is supposed to have been passed into

the wine, when the performer, raising the bottle with the left hand,

transfers it to the right, and brings the ball under it, retaining it

there with the little finger until he thinks fit to allow it to drop,

pretending to squeeze the bottom of the bottle as if to force it out.

After having produced the red ball, the performer remarks, “Perhaps,

ladies and gentlemen, you imagine that I have not really passed the

ball through the bottle, and that the effect is, in reality, produced

by the substitution of a different coloured ball. Let me assure you

that so truly is the wine in the bottle, and nothing else, the cause

of the change of colour, that you will find on examination that

every particle of colour has left the wine, its whole virtue having

been absorbed by the ball. Supposing for a moment that I could have

exchanged the ball, you will hardly imagine that I could exchange the

liquid in the bottle, which has been proved to be good old wine. Will

the same gentleman who tried it before be good enough to taste it now?”

Taking another glass, he fills it from the bottle, which is now found

to contain nothing but water.

The performer, meanwhile, has again palmed the white ball, which he

next produces, as being a new one, from his wand. Comparing the red

and the white together, he pretends to discover that the red is the

largest, and therefore pinches from it a small portion (the small red

ball). He now discovers that he has taken too much, and that the red

ball is now the smaller. He therefore pinches a second piece (the small

white ball) from the white one, and finally rolls the two little balls

thus obtained into one, producing the parti-coloured ball. The mode of

producing these last effects will present no difficulty to any one who

has attentively studied the description of the first form of the trick.

THE FLAGS OF ALL NATIONS.--This is, in good hands, a very pretty and

effective trick, but requires considerable neatness of manipulation.

Its effect is as follows:--The performer comes forward with a couple

of miniature silk flags, measuring, say, three inches by two. Taking

one in each hand, he brings the hands together, and begins to wave them

backwards and forwards, when the flags are seen to multiply, the two

being suddenly transformed into a dozen, quickly increasing to a still

larger number. Not only do the flags increase in number, but in size

also, until perhaps a couple of hundred have been produced, ranging in

dimensions from one or two inches square to a foot or even larger, and

of six or eight different colours.

This seeming marvel rests on a very slight foundation. The flags to be

produced are of coloured tissue-paper, with flagstaffs made of wire, or

of the “bass” of which scrubbing-brooms are made, so as to occupy very

little space. These are rolled up together in little parcels, like with

like, according to size. Thus arranged, they are placed, the smaller

ones in the sleeve of the performer, and the larger ones about his

person, with the ends just inside the breast of his waistcoat. While

waving the first two flags backwards and forwards, he gets one of

the parcels from the sleeve into his hands, immediately unrolling and

developing it, when the two flags appear to have multiplied into fifty.

Under cover of these, he draws down from the sleeve another parcel,

which he develops in like manner, and after the sleeves are exhausted

has recourse to the fresh store within the waistcoat. He all along

takes care to retain in his hands a large and widespread bundle of the

flags, which, being kept moving backwards and forwards, materially aids

in covering the mode of production of the remainder.

THE UMBRELLA TRICK.--The performer comes forward with an umbrella,

which may be either the common-place article of every-day life, or a

brilliant fancy production, akin to Joseph’s coat of many colours. This

he hands for inspection, and meanwhile borrows a lady’s handkerchief.

The latter, for safe keeping, he places in an empty vase, which is left

in full view of the company. The umbrella, duly examined, he places

in a case, which may be either the ordinary glazed oilskin case, or

a special apparatus prepared for the purpose. Whichever it be, the

result is the same. On again uncovering the vase, the handkerchief has

vanished, and in its place is found the silk covering of the umbrella.

On removing the umbrella from its case, it is found to have lost its

covering; but the handkerchief, torn in several pieces, is found

fastened to its naked ribs, one piece to each. These are removed. Again

the vase is covered, and the umbrella restored to the case. The torn

fragments of the handkerchief are burnt, and their ashes invisibly

passed into the vase; and on a new examination the two articles are

found uninjured as at first.

With reference to the transformation of the handkerchief in the vase,

it will be only necessary to state that the vase employed is either the

burning globe (_see_ page 246), or the “pea vase” described at page

351. In either case a duplicate umbrella cover is placed in the second

compartment, and thus the vase may be shown to contain either the

handkerchief or the umbrella cover at pleasure.

[Illustration: FIG. 259.]

[Illustration: FIG. 260.]

With regard to the umbrella, the reader will readily conjecture that

an exchange is effected, but the mode of effecting it varies. If the

ordinary glazed case is used, the umbrella is exchanged bodily for

another, similarly encased, placed beforehand on the _servante_.

This, however, requires some little dexterity, as an umbrella, from

its length, is an awkward article to exchange; and this has led to

the employment of cases specially constructed to effect the change.

That most frequently used is an upright pillar of zinc or tin, oval

in form, and open at the top, and so constructed as to stand upright

without support (_see_ Fig. 259). It is divided vertically into two

compartments, in one of which is placed beforehand the second umbrella.

Of course no one can be permitted to examine or even look into the

case, which is a serious drawback to the effect of the trick. There is,

however, another form of case sometimes employed, which is a trifle

less objectionable. This is a wooden tube, about three feet long, and

three and a half inches square. (_See_ Fig. 260.) Like the case already

described, it is closed at the bottom and open at the top, and divided

vertically into two compartments, _a_ and _b_. One or other of these,

however, is always closed by the flap _c_, which by virtue of a spring

is normally compelled to take the position shown in the figure, thus

closing compartment _b_. When required for use, the second umbrella is

placed in compartment _a_, and the flap _c_ drawn back (as shown by

the dotted line) so as to close _a_, in which position it is held by a

little catch. The performer hands the genuine umbrella for inspection

to one of the spectators, with a request that he will himself place it

in the case. As soon as he has done so, the performer by a movement of

his forefinger draws back the catch, and releases _c_, which flying

back to the opposite position, shuts in the genuine umbrella, and

reveals the substitute. When this apparatus is employed, the supposed

restoration of the umbrella is omitted.

Some performers dispense with the use of the vase, and vanish and

reproduce the borrowed handkerchief by sleight-of-hand, after one or

other of the modes described in relation to handkerchief tricks.

THE “PASSE-PASSE” TRICK.--The trick which is specially designated by

this name (which would appear to be equally applicable to about three

parts of the tricks we have described) is as follows:--

The performer brings forward a bottle and a small tumbler, which he

places side by side upon the table. Producing a couple of tin or

pasteboard covers, ornamentally japanned, of a size to just go over the

bottle, he places one of them over the bottle, and another over the

glass. He now commands the two articles to change places, and on again

removing the covers the glass and bottle are found to be transposed.

Again he covers them, and again the change takes place; and this he

repeats as often as he pleases, occasionally pouring out wine or other

liquor, to show that the bottle is a genuine one, and not a mere

make-believe.

The reader will already have anticipated that there are in reality two

bottles and two glasses. The bottles are of tin, japanned to resemble

the ordinary black bottle, but with the bottom only about a couple of

inches below the neck, leaving an open space beneath for the reception

of the glass. Each bottle has near the bottom, at the side which is

kept away from the audience, an oval opening or finger-hole, measuring

about an inch and a half by one inch. When it is desired to lift the

glass with the bottle, the middle finger is made to press on the glass

through this opening, thereby lifting both together with perfect

safety. The outer cover just fits easily over the bottles, and if

lifted lightly leaves the bottle on the table, but if grasped with some

little pressure, carries the bottle with it.

The mode of working the trick will now be readily understood. The

bottle which is brought forward has a second glass concealed within

it, kept in position, while the bottle is brought in, by the pressure

of the finger. The cover which is placed over this bottle is empty.

The other cover, which is placed over the glass, contains the second

bottle, which, being hollow below, enables the performer to rattle his

wand within it, and thus (apparently) to prove the cover empty. Having

covered the glass and bottle, he raises the cover of the first very

lightly, leaving the glass concealed by the second bottle, but lifts

the other with pressure, so carrying the bottle with it, and revealing

the glass which has hitherto been concealed within it. By reversing the

process, the bottle and glass are again made to appear, each under its

original cover. Where it is desired to pour wine from either bottle,

the performer takes care, in lifting it, to press the glass through

the finger-hole, and thus lifts both together. For obvious reasons the

glass into which the wine is poured should be a third glass, and not

either of the two which play the principal part in the trick.

[Illustration]