SLEIGHT OF HAND

A Practical Manual of Legerdemain
for Amateurs & Others

EDWIN SACHS

Dover Publications, Inc.
New York

Published in Canada by General Publishing Company, Ltd.,
30 Lesmill Road, Don Mills, Toronto, Ontario.
This Dover edition, first published in 1980, is an unabridged
republication of the second, greatly enlarged, edition of the
work as published by L. Upcott Gill, London, 1885.
International Standard Book Number: 0-486-23911-X
Library of Congress Catalog Card Number: 79-54184
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N. Y. 10014

[CONTENTS.]

[PREFACE TO SECOND EDITION.]

It is always a matter for self-congratulation on the part of an author to be called upon to furnish a Preface to a second or subsequent edition of some "bantling of his brain." In the present instance the task is more satisfactory than usual, the author not coming before the reader empty-handed. Since the publication of the first edition, conjurors have not been idle, and numerous new methods for producing magical surprises have been invented. Such of these as are suitable or worthy—for, in their haste to be novel, many have failed to be satisfactory—the author has incorporated; and, by a thorough revision of the work, he has placed before the aspiring conjuror, written up to date, all that it is possible for him to know in the region of Sleight of Hand.

E. S.

London,

April, 1885.

SLEIGHT OF HAND

Introduction.

"It is as pleasant to be cheated as to cheat," is a maxim that must have been framed expressly for conjuring, for the more completely one is deceived by its medium (and, be it said, by its medium alone) the better one is pleased.

The date of the origin of conjuring, as we now understand the art, is not known, but there must have been proficients in the practice of it as early as the time of Chaucer; for that ancient writer speaks of one Coll Tregetour (Tregetour signifying a juggler) producing a windmill from beneath a walnut shell. There is doubtless some slight exaggeration in this statement, or else modern wizards are far behind those of early days—an hypothesis I cannot accept. In the superstitious lands of the East, jugglery was doubtless at the bottom of the many manifestations that were mixed up with religion, and the wily priests made the best (or worst) uses of its influence on the uncultivated mind. When we consider the effect that is even now produced on the minds of an enlightened audience by a skilful manipulator, the wonderment of people who were but half civilised, and who were taught to believe in spirits, is scarcely a matter for surprise.

Although superstition has not died out—if, indeed, it ever will die out—there are now very few people who attribute the successes of a conjuror to any other agency than that of his own skill; always excepting that of the everlasting "confederate," who, as the reader of the following pages will discover, exists, in ninety-nine cases out of a hundred, only in the imagination of the spectator.

Formerly, conjurors appeared clothed in long robes and tall, pointed hats, both covered with mystic signs and symbols; Robert Houdin, whom we may consider the father of modern conjuring, being the first to perform in the now conventional evening dress. This innovation had the effect of increasing the genuineness of the performance, as it was an easy matter to conceal large articles beneath a flowing robe, such as had been previously worn; but the close-fitting dress suit affords no means of concealment—to the minds of an audience, at any rate. Houdin was the means of elevating the art in the eyes of the public, besides investing it with nearly all that it possesses of the graceful; and, as it has undergone still more improvement since his time, it has now become a pursuit well worthy the attention of anyone inclined to follow it up, as much for the amusement of himself as of others. Besides its power of amusing, conjuring affords an immense amount of instruction to its student, and is useful in inculcating coolness, precision, and an endless amount of resource, which will always stand one in good stead on the world's wide and ever-changing stage.

It is my intention to give, in the following pages, such instruction as shall enable the merest tyro to become an adept in the art of Legerdemain, providing that a due degree of attention is given and a reasonable amount of practice undertaken. Practice, indeed, is what is required in order to achieve success in any pursuit or amusement, whatever its nature may be, and without it the best of instruction is given in vain. For this reason, I must exhort such of my readers as may seek to amuse their friends through the medium of what I shall impart to them to devote as much time as they can spare to practice at the outset, in order that they may acquire a neat method of manipulation, which is the keystone of success in a conjuror, and which, once attained, will never leave them. If to this delicacy of manipulation is added a suavity of manner, accompanied by a never-failing cool daring, then the perfection of a conjuror is attained.

Magic may safely be divided into two parts, Drawing-room Magic and Grand Magic. As it is in the family circle that every amateur conjuror mostly exhibits his attainments, I shall first treat of drawing-room magic; indeed, it is absolutely necessary to be a master of that branch, in order to undertake grand magic successfully. The success of the conjuror who can perform only on the stage, far removed from all inquisitorial interference, will be but of short duration. I find it has been the case with most amateurs, who rarely find opportunities for performing on a stage, that their greatest successes have been achieved in the drawing-room.

The very first thing a conjuror must procure is a conjuring-wand—an implement that is always supposed by the audience to be for show only; and for such they must always be made to think it is. It is, however, an absolutely indispensable article, both to beginner and proficient, as it serves as an auxiliary to the concealment of any article in the hand, as will be explained hereafter. For the present, all the learner has to do is to procure a round stick of ebony, about 18in. long, fitted with ivory, silver, or brass ferrules (not caps) countersunk at each end, and to trust to me to its being necessary. It is best to have the wand made to suit the taste, as those sold at conjuring-shops are invariably too short. Any walking-stick manufacturer will make it.

[Part I.]
Drawing-room Magic.

This derives its chief beauty from the fact that it is almost entirely dependent on pure sleight of hand, a fact which audiences are never slow to appreciate. The most familiar objects are dealt with, and are made to vanish and re-appear in unexpected places, as though they really were disembodied and reinstated. The amateur will find, after a few years' experience, that the impromptu performances he may, from time to time, be called upon to give in the drawing-rooms of his acquaintances, will be much more satisfactory to both himself and his audiences than the more pretentious affairs given upon stages, which call for a great deal of management, apart from ability, to render them successes. When once the performer has attained the credit of being better than the ordinary ruck, it will become incumbent upon him to keep up the level of skill by means of practice, as wonder must follow wonder in ever-increasing proportion.

Coins, from being so readily procurable, and from their adaptability, are deservedly favourite media, and with them I shall first deal. For all general purposes, a well-conditioned florin will be found the best coin for the beginner; although, of course, he must, in time, be able to manipulate slippery half-crowns and pennies with equal ease. Florins, as a rule, are more readily procurable in these days, but few half-crowns being coined in comparison with them. But as the conjuror must be provided against all emergencies, I shall give directions for the best method of treatment for each coin. The means adopted for the temporary concealment of a coin in the hand is known as Palming, and I shall commence Drawing-room Magic with a description of the various methods.

[CHAPTER I.]
PALMING.

THE PALM PROPER—THE FINGER PALM—THE THUMB PALM—THE REVERSE PALM.

Fig. 1.

Fig. 2.

Fig. 3.

Method 1. The Palm Proper.—Hold the coin firmly between the thumb on the one side and the middle and third fingers on the other, the first and little fingers taking up graceful positions, as it were, to cover the movement about to be made ([Fig. 1]). Remove the thumb to its ordinary position of repose, and, at the same instant, let the two fingers (second and third) press the coin into the palm of the hand, half way down the root of the thumb, the muscles of which must be brought to bear against the edge of the coin, so that it is held firmly and forms a bridge over the hollow of the hand ([Fig. 2]). A backward and forward swing should be given to the hand whilst the coin is being palmed, as it not only covers the movement, but also facilitates the operation in a marked degree. In pressing the coin home, it will be found that the third finger will be more used than the middle one. The instant the palm is effected, the hand must be made to assume the most natural position possible under the circumstances, the little finger being well thrown out, after the dainty manner ladies affect when holding a cup, so as to give the hand breadth. Some beginners think that in holding the hand perfectly flat they are effecting a very beautiful palm; but this is not the case, as can be seen at once by looking at the hand without any coin in its palm. That is the model the conjuror must copy: any unnatural position at once betrays the fact that something unusual is going on. For this method, the florin will be found the best coin, its edge affording a better hold than that of any other piece.

Method 2. The Finger Palm.—The coin is held between the thumb and forefinger, and the latter then slid aside, so that the coin rests upon the side of the middle finger. The forefinger then takes the place of the thumb, and the coin is held as in [Fig. 3]. The action is simplified if the coin is held in the first instance between the thumb and middle finger, but it looks awkward and suspicious. This method will be found particularly adapted for concealing coins of the size of a shilling and less. Larger coins should not be treated thus, except in emergencies, when anything is allowable.

Method 3. The Thumb Palm.—This palm is not generally known, which is to be wondered at, for it is a very safe and easy one. The coin is simply held between the thumb and forefinger, and then slid to the root of the latter, where it is held, as in [Fig. 4]. The only objection to this palm is that it keeps the thumb a close prisoner, to the manifest loss of grace, but it is exceedingly useful for large and slippery coins, such as half-crowns, pennies, and crowns.

Fig. 4.

Fig. 5.

Method 4.—Two, three, and four coins may be palmed by the first method, but the method shown at [Fig. 5] is the safer. There is a rather unnatural disposition of the thumb about it, but the fingers are left free play.

Fig. 6.

Method 5. Reverse Palm.—It is sometimes required of the performer to show that his hands do not contain any coin. If a coin is palmed in one of them, he must first exhibit the other open in a very ostentatious manner, and, whilst the audience is momentarily engaged in looking at it, press the coin, by means of the thumb, through the fingers of the hand in which it is held, so that it protrudes at the back, and cannot be seen from the front ([Fig. 6]). Some performers have brought this palm to a great state of perfection. One very telling effect is to pretend to throw the coin away. For this purpose, it is held between the tips of the first finger and thumb, whilst lying upon the side of the middle finger. As the action of throwing is imitated, the forefinger is slid over the coin, the thumb being removed, and the coin thus made to protrude at the back of the hand.

Other fanciful methods of palming exist, but they will be of no practical use to the conjuror, so I have omitted descriptions of them.

[CHAPTER II.]
TRICKS WITH COINS.

TRICK FOR PALM PRACTICE—HOW TO "PASS" A COIN INVISIBLY—HOW TO CHANGE A COIN—THE USE OF THE WAND IN PALMING—TO PASS A MARKED COIN THROUGH A TABLE—METHOD FOR CONCEALING MANY COINS—THE AERIAL VISIT AND JOURNEY—TO "PASS" SEVERAL COINS—HINTS ON PRACTICE—TO CAUSE A COIN TO VANISH FROM A HANDKERCHIEF—ON BORROWING A HANDKERCHIEF—THE DANCING COIN—A MYSTERY WITHIN A MYSTERY—TO CAUSE A FLORIN AND A PENNY TO CHANGE PLACES—TO PICK A MARKED COIN FROM A NUMBER, BLINDFOLDED—THE MARRIAGE—TO INVISIBLY EXTRACT A COIN FROM OUT OF A GLASS OF WATER—TO PASS PENNIES INTO A BOTTLE—TO CAUSE EXPOSED COINS TO CHANGE PLACES—TO "SLEEVE" COINS—HINTS ON MARKING COINS—THE BEST COINS TO USE.

The uses of the palm will make themselves manifest in every trick in which money is used as a medium, but the beginner can astonish his friends, and, at the same time, make himself perfect, by any of the following minor tricks:

(a) Throw the coin backwards and forwards, from hand to hand, three or four times, in a careless manner, always taking care that the left hand is shut well over each time the coin is contained in it; and then make a feint of throwing, but, in reality, palm the coin after the method that best suits its size. The hand (in most cases it would be the left, as the majority of conjurers palm with the right; with left-handed people it would be, of course, reversed) which is supposed to receive the coin must be closed smartly, so as to make a noise similar to that caused by a coin thrown into the palm. This is effected by the ends of the two middle fingers striking the fleshy part of the thumb ([Fig. 7]). If this is properly executed, the illusion is perfect, and all eyes will be directed to the left hand, when the coin can be quietly placed in a side or tail pocket, to which receptacle it may afterwards be made to pass from the left hand, where it is supposed to be, in a magical manner. I would recommend the beginner to practice this movement sedulously in private, as it teaches quick and neat palming, and will prove a most useful auxiliary to many important tricks. By "passing" a coin from place to place "in a magical manner" is implied the act of pretending to do so; it being an accepted axiom amongst conjurers never to "pass" anything invisibly to any given spot until the article is already safely located there. This practice will, of course, commend itself to all as avoiding untoward mistakes. To "pass" a coin from the hand, wave the wand over it, and say whatever you think will go down best with the particular audience you have before you. A sharp rap on the knuckles will complete the operation, but always take care to show the hand empty, otherwise the trick is spoilt. If the wand is not handy, pretend to rub the coin away between the fingers, or affect to give it to one of the audience. (See [Figs. 8] and [9] for an effective method.)

Fig. 7.
(The dotted line represents the coin palmed in the right hand.)

Fig. 8.

Fig. 9.

(b) Have a coin palmed in the left hand, and borrow a similar one from the audience, and have it well marked (always have coins marked where possible, "to prevent changing"). Make a movement as though you placed the marked coin in the left hand, but in reality palm it. At the same time, open the left hand, and the coin that has been snugly concealed there will look as if it had just left the right hand. By this means a change is effected which you can utilise according to circumstances. By fidgeting about among the audience, you may be able to place the marked coin under one of them; the other coin being held by someone who is directed to hold it "very high, sir, very high, so that everyone can see it"—the real object being to keep him from examining it too closely. By standing the holder of the coin on a chair, an opportunity for slipping the palmed coin into his pocket presents itself, and should be taken advantage of. The marked coin being once safely hidden, it is an easy matter to palm the unmarked one (which, of course, the audience has been led to believe is the marked one) and make it "pass" invisibly to wherever the other may be. The conjuror's own coin should always be provided with a very distinct mark—a cross is invariably a safe one to employ—as it is rarely that one meets with people who can refrain from instituting an illicit investigation so soon as the conjuror's back is turned. When the holder of the coin is seen to be surreptitiously examining it for the mark, the conjuror should not prevent him, but call the attention of the audience to the fact, and ask if the mark be visible. The holder, seeing the cross, will answer in the affirmative; he not being aware, of course, that the borrowed coin was possibly marked with a very different sign. This incident will add to the effectiveness of the trick.

In tricks [a] and [b] the wand will be found very useful. It should always be carried under the arm, after the manner in which soldiers carry their canes; and when any palm has been effected, and the coin has to remain concealed in the hand, the wand should be taken in the hand containing the coin. Beginners, especially, will find this of great assistance, as in the case of a somewhat defective palm the coin can be pressed well home by clenching the wand hard. Besides this, the fact of carrying a wand in the hand keeps the idea of the coin being there from the minds of the audience; and the mind is what the conjuror has to deceive.

(c) Have a coin palmed in the right hand ([Palm No. 2]), and procure a similar one, marked, which hold up to the audience by the left hand. Pretend to take it in the right, but let it fall into the hollow of the left hand ([Figs. 8] and [9]); the unmarked coin in the right hand being exhibited. In order to effect this daring change naturally and without detection, the thumb of the right hand must be passed through the ring formed by the thumb and forefinger of the left and the coin held between them, and the fingers closed well over the coin, which will appear to be grasped by them. Now place the left hand under the table, the right hand remaining above. Covered by the action of bringing it on the table, execute [Palm No. 1] with the right hand, but keep the fingers formed as though they still held the coin, which you then pretend to lay on the table with a sharp "click." This "click" is made by the coin in the left hand, under the table, in order that the illusion may be perfect. The right hand will then affect to rub the coin through the table, and eventually the one in the left hand, which has in reality never been out of it, will be produced. The noise of rubbing is also made by the coin under the table, only it must not be continued too long; and care must be taken that the two hands act in perfect unison, as it will not do for the noise to continue when the action of rubbing with the right hand has ceased. This trick is not so difficult as it looks on paper, and is very effective. The whole trick consists in pretending to take the marked coin from the fingers of the left hand without doing so.

(d) Conceal a number of coins in the left hand. As a quantity cannot be easily palmed, they must be held in the hand with the wand. If that is not handy, hold the flap of the coat; but care should be taken that the wand is at hand for this trick. Borrow a hat, taking it in the right hand (in which a solitary coin is palmed), and transfer it rapidly to the left in such a manner that the crown is always towards the audience, and the fingers holding the coins are inside. The coins must not be jingled, or the trick will be exposed. Tell one of the audience that he must be very rich if he can afford to carry money about in such strange places as you perceive he does. Surprise will, of course, be expressed on his part, when you will fumble about in his hair, and eventually find the coin which you have had palmed. This is a much better method of commencing than merely saying, "I have here a shilling." It is sure to amuse the audience, and put you on a good footing with them; besides which, it is always well to mingle as much with them as possible, as then people go home and say, "Oh! he came right down among us, and found money in people's heads," &c. Also take care to find the money in an elegant and inoffensive manner. Having spun the coin in the air, in order to show that it is a real one, retire to the end of the room, as far away as you can, if the room is small, and hold the hat, still in the left hand, before you, with the crown towards the audience. With the coin in the right hand, make a pass at the hat, palming the coin ([Palm No. 2]), and letting one from the left hand fall. You will then appear to have passed the coin from the right hand into the hat, by way of the crown. Should the coin by accident fall on a soft place in the hat, and make no noise in so doing, shake the hat about to show that the coin really is inside, or no one will know what is supposed to have taken place. Now advance a step or two, looking cautiously forward as if you saw something in the air, and suddenly make a dart out with the right hand, at the same time bringing the coin to the extreme ends of the fingers. The idea conveyed is that the coin has been caught in the air ([Fig. 10]). Pass it through the hat, letting another fall from the left hand, and shaking the hat so as to ensure the two that have been dropped jingling together, and find another in the air a little farther on. Proceed in this way till all the coins in the left hand are exhausted (varying the proceedings by occasionally finding one at your elbow or foot), and then show the hat with coins to the audience, a member of which will doubtless have "just one more" seated on the tip of the nose, which coin is put into the hat in the ordinary way. The beginner should use shillings, seven or eight only in number, for this trick, although larger coins are certainly more effective at a distance. It is best to use two palms, viz., the finger palm when the coin is to be caught in the air or in the flame of a candle (a very pretty effect), as it is more readily brought to the ends of the fingers from that position; and either of the others ([No. 1] for choice), when the coin is to be found on the body or elsewhere. It is as well to occasionally pretend to put the coin into the hat in the ordinary way, instead of through the crown. Some conjurors object altogether to passing through the crown; but this is merely a matter of fancy. It sometimes happens that the person in whose hair you find the first piece will, from his being a "funny man," or otherwise privileged person, ask you to give him back his property. Acquiesce at once with his request, of course after your own manner, which will be to palm the coin, and pretend to give it to him, much to his discomfiture. In borrowing the hat, be sure that it hides the left hand in the act of being taken, so that any accidental exposure of the coins held there, which might occur through inexperience, will be covered. Also observe the greatest caution in dropping only one coin into the hat at the first pass. After the first coin has fallen, it does not matter if two or more are accidentally let fall at once, as the error could not be detected; but at the commencement it would be simply fatal to do so. Under cover of the hat it is easy to separate one coin from the rest for the first drop. If the number of coins is very limited, you must give the hat a short, sharp shake, which will serve in lieu of letting one fall; but only do this now and then. This trick will be treated in an enlarged form, under the head of "Grand Magic." When any number of coins are required for any other trick, they should always be collected in this manner, it being a most effective method. Always take a step in advance each time a coin is found. For this reason the performer should stand well to the right on the stage on commencing.

Fig. 10.

(e) The following makes an excellent "follow" to the preceding trick: Suppose that you have sixteen coins in all in the hat; conceal four of them in one hand. If the hat is then held by the same hand, it will not be noticed that it contains any coins. Now ask someone to count the coins in the hat, and, of course, there will be twelve. Take four of these away, and give them to be held by another person. Hold the hat high in the air, and tell the person who has the remaining eight coins to drop them into it when you have counted "three." Watch the action of his hand narrowly, and, as the eight coins fall, release the four concealed in the hand which holds the hat so that they all fall exactly together. The great thing to avoid is the sound of two distinct drops, which would be fatal. Leaving the hat, covered with a handkerchief if you please, in the hands of your temporary assistant, who will, of course, be enjoined to "hold it very high," you take the four coins just previously given to be held, and "pass" them invisibly into the hat, where, of course, twelve coins will be found. The method for passing used is the same as that depicted at [Fig. 7], with the difference that the coins are not palmed. They must be held in the fingers loosely ([Fig. 11]) so that when the false movement of placing them in the outstretched palm is made they will come together with a clash, which is highly necessary for the success of the pass. The hand actually containing the coins must instantly seize the wand, which article will then cause the magic journey from left hand to hat to be made. Be careful that the counting of the coins is done in a very deliberate manner, and in a loud voice, so that everyone in the room knows how many coins are supposed to be in the hat before you pass the rest into it. If this is not done, the effect of the trick is lost.

Fig. 11.

Here let me advise my readers to assiduously practise quick palming, for which purpose I would recommend [trick a] as a most effective exercise. So much depends upon a quick and secure palm, that too great a stress cannot be laid upon it. Indeed, I cannot too strongly impress the learner with the necessity of practising everything, to the minutest detail, in private, before venturing to perform before others. By so doing, much chagrin and disappointment will be averted.

(f) The trick I am now about to describe will, I have no doubt, be known to many of my readers; but I ask no excuse for giving it here, as those who can claim a previous acquaintanceship with the trick will, perhaps, here learn a wrinkle or two worth knowing: Borrow a handkerchief. When I say "borrow a handkerchief," I do not mean simply borrow one without any comment. On the contrary, make a great fuss about never using your own handkerchief, &c.; and be particular to hand round all borrowed articles for inspection, to show that you "have no confederates." By making your audience thoroughly sick of looking at borrowed articles, they are more likely to pass over anything of your own that will not bear minute examination. This should be borne well in mind. Spread the handkerchief out upon the table, and place a coin, not heavier or larger than a shilling (borrowed and marked), in the centre of it. Beneath the nail of the middle finger of the right hand (which hand is immaterial, but for the purpose of illustration it is necessary to use the terms "right" and "left") you have a small piece of bees' wax (on no account cobblers' wax) which you have previously made tolerably adhesive by working it about. Place this finger on the coin, saying, "Now, in order that all may see that I do not for one instant move the coin from its position, I place this finger upon it," and, taking up one of the corners of the handkerchief in the other hand, fold it over the coin so as to well cover it, and press it down hard, allowing the wax to come off on the coin, and to cause a mutual adherence between it and the handkerchief. Fold the remaining three corners over one another with great deliberation, exhibiting a portion of the coin each time, to show that there is "no cheating." When all four corners are folded over, the handkerchief will still be in the shape of a square, but of course much smaller than it was at the commencement, and it will have an aperture running from the centre to each corner. Note the portion of the handkerchief to which the coin is stuck, and place the two hands, side by side, in the aperture formed by this portion and the one next to it ([Fig. 12]). If the hands are now separated briskly, and the sides of the handkerchief allowed to slide through the fingers, it stands to reason that, the coin being fast to the corner of the handkerchief, it will, when the corner is reached, find its way into the hand. The handkerchief must be shaken hard, as soon as the coin is safe in the hand, for effect. The operations of opening the handkerchief and shaking it must be practised until they can be compassed both smoothly and quickly in one movement. The trick is easy, but requires some little practice. Common soap is an excellent substitute for wax, but it has the disadvantage of being less portable. The beauty of the wax is that it can be so easily concealed beneath the nail, and comes off the coin cleanly. The coin successfully vanished from the handkerchief, it rests with the performer to reproduce it in what manner he pleases. If he has already found coins in the heads of the audience, the reproduction can be varied. For instance, if a tiny piece of wax be affixed to the flat end of the wand, and that end brought into contact with the coin whilst in the palm, and a little pressure used, the coin will adhere. Then, if the wand be passed rapidly behind a curtain, or inside the coat of one of the audience, a great effect can be caused by slowly producing the vanished article from its supposed place of concealment at the end of the wand. The trick can be further prolonged by having about 15in. of human hair, with a tiny bead of wax at the end, affixed to a waistcoat button. Affix the coin to the waxed end, and place it in a wineglass, in which it can be easily made to dance by slightly moving the glass or depressing the hair with the wand, which is supposed to be beating time. Such a combination of tricks, each one easy in itself, affords invaluable practice to the beginner. The conjuror, like the chess-player, must always see, in his mind's eye, two or three moves ahead, so that no hitch or hesitation occurs. For example, the instant the coin reaches the hand from the handkerchief, it must be palmed, the wand taken up, and the handkerchief ostentatiously given round for inspection to show that there is no hole in it, or for any other plausible reason. Perhaps you will only gain five seconds by this, but that is time enough to enable you to press the wand against the coin. You must not, after this, allow the least pause to occur, but at once seize someone, and have your wand inside his coat before he knows what you are about; for it must be remembered that, if the action is noticed, the coin will be noticed too, as it is in a tolerably conspicuous position at the end of the wand. Then, whilst you are rating the individual soundly for having endeavoured to spoil your trick by concealing the coin, and drawing universal attention to him, one hand will be busily employed in pressing the waxed end of the hair against the coin. The trick of dancing a coin in a glass is so well known that no one with any desire for a reputation as a prestidigitateur would introduce it by itself; but, in the illustration I have just given, the coin has been in such a variety of places and situations, that the idea of its being fixed to anything does not enter the minds of the audience. Half-a-minute's dancing is quite sufficient, and at the end of it the attention of the audience must be at once drawn into another groove by your showing the coin to be the veritable one marked some time since, the wax being removed by a finger nail.

Fig. 12.

(g) Another very pretty trick is the following, although also well known. Procure (a "magical repository" will be found the best place to go to in the long run) a "nest" of round boxes, one fitting inside the other. If the outside one is of the size of a crown piece, and the inner one large enough to contain a shilling, the "nest" should consist of nine or ten boxes. Have the lids arranged in order, one within the other, and the bodies in the same manner, beside the lids. If you are performing with a retiring screen, the boxes can be arranged behind it. Lacking this, the next best plan is to have them at the bottom of a bag, which will stifle the noise made by shutting them. Borrow a marked coin, which you will exchange for a similar one in your palm ([Palm No. 1]). Give this to be held. Say, "Now, here I have a small box." But as you have purposely left the "small box" behind your screen or in your bag, as the case may be, you will have to go and fetch it. As soon as your hands are out of sight, pop the coin (which will be the marked one) into the smallest box, and shut all the lids down together. If you have to do this inside the bag, and consequently in full view of the audience, your face must bear an anxious and slightly annoyed expression, as if the box could not be found. As soon as the manœuvre is executed, exclaim, as if much relieved, "Ah, here it is. Now, ladies and gentlemen," &c., &c. The operation of shutting all the boxes down at once is a very simple one if the lids are taken in one hand and the bodies in the other, the two halves meeting, as it were, half way. A little practice will soon show the futility of attempting to turn the lids over on the bodies. Place the box in a prominent place (do not give it to be held, as a slight shake will reveal the fact that there is a coin already inside), and, taking the coin out of the handkerchief, "pass" it into the box, which now ask someone to open. Of course, box No. 2 will be found inside, at which you will say, "Dear me!" or make any other expression of surprise. Boxes Nos. 3, 4, and so on will in turn be revealed, amidst great amusement, and in the innermost one, which the performer must, on no account, open himself, the coin will be discovered. You cannot very well avoid allowing an examination of the boxes, but always take care that the lids are in one place and the boxes in another, and all in great confusion as to gradation of size, and at the earliest opportunity sweep them away. It is the fashion to perform this trick with a coin previously sewn in a handkerchief, which handkerchief is whisked in the air. The effect is decidedly good, if not spoilt (as it certainly will be, ever and anon) by a demand to examine the handkerchief, which demand, I need hardly say, it is impossible to accede to. This sort of thing the conjuror must never indulge in. Let him borrow and return his handkerchief like a man, and trust to his sleight of hand.

(h) Palm a penny ([Palm No. 1]); borrow another, and a florin. Ask one of the audience to extend his or her hands (palms open and upwards) towards you; give the borrowed penny to be held by someone else, hold the florin at the ends of the fingers of the left hand, and execute the pass described in [trick c], which will leave the florin in the palm of the left hand. The penny in the right hand must not, however, be actually exhibited, as is the coin in [trick c], but be immediately placed in one of the outstretched hands before you. If the owner of them is at all restive, and anxious to see what is in his or her hand, or is a person you know or think you cannot trust, ask the nearest person to assist in the operation by holding the hand in one of his or her own. This, you will explain, is to show that you have no confederates. If the two parties are of opposite sexes, you can improve the occasion by some gentle sally about the gentleman being honoured by holding a lady's hand, &c. This operation concluded, the audience, including the holder of the coin, is, you may have no fear, under the impression that the florin is in the holder's hand. You have now to make believe to place the penny into the other outstretched hand. To do this, you must execute the same pass as before, only reversed; i.e., the right hand will hold the penny, and the left the palmed florin. This trick affords an instance where palming with both hands is a requisite accomplishment. If the performer is not able to palm with both hands, an opportunity must be made for getting the coin in the left hand back into the right. By repeating the change as before, you will be supposed to place the penny in the other hand of the holder, and, drawing particular attention to the exact position of the coins, command them to change places. This trick, so simple to look at, is one of the most difficult to perform of those yet described; for not only must the sleight of hand be well executed, but the whole demeanour of the performer must be impressive of the fact that he really is doing what he says he is, instead of exactly the reverse. Yet the impressiveness must not be too pointed, or the natural suspicion in human nature will be aroused. The "happy medium" is well hit if the performer, in giving the florin (in reality the penny), says, "Now, sir" (or "madam," as the case may be), "I will ask you to take great care of this coin for me. Conjurors are but poor people, and cannot well afford to lose money; for this reason I have given you the florin to hold in your right hand, it being the stronger." On giving the penny, you can say that "I would rather, for safety's sake, that it were along with the florin in the right hand, only, in that case, there would be no trick." In giving the coins into the holder's hands, it is highly essential that you close the latter rapidly, the coins being so covered by your own fingers during the operation that nothing is seen of them. Otherwise, it would be unnecessary to proceed further with the trick. The florin may be marked, but not so the penny, unless the audience insists upon it, as they sometimes will, at the instigation of Mr. Interference; in which case the pennies must be once more exchanged—a very simple matter—before the coins are returned to their owners.

(i) Borrow or produce (it is immaterial, save for appearance, which you do) six to nine coins, and lay them, apart from each other, on a table or slab. Have one of the coins marked by several persons in the room (use the "no confederate" excuse), and placed along with the unmarked ones in a hat and the whole shaken up so as to be well mixed. Whilst this is being done, have yourself blindfolded. Placing your hand in the hat, feel every coin, and you will at once detect which is the marked one, by its warmth. The heat is imparted to it from the many hands through which it has passed. It is always advantageous to have the other coins lying on as cold a place as possible; but never turn back a tablecloth for the purpose of allowing them to lie on the bare mahogany, or a clue to the solution of the mystery will be given. Sometimes some clever people will pretend to put the marked shilling into the hat without doing so. This you can easily detect by counting the coins. Of course, you would not count them until you failed to find the marked one, as the trick should be performed as quickly as possible. No sleight of hand whatever is required; but it is a trick which never fails to excite the greatest wonderment whenever successfully performed. By allowing the audience to arrange the preliminaries, you disarm suspicion. The blindfolding, which is an innovation of my own, I find a great improvement. Of course, make the most of it.

(k) Have a shilling palmed ([Palm No. 1]), and borrow another; also a handkerchief. Place the borrowed shilling in the handkerchief, which roll up very loosely, the coin from the palm being included in the folds, and as near the other one as possible without actually touching it. Place the whole in a hat, with one end of the handkerchief hanging out. Now borrow another shilling, which say you will pass invisibly into the handkerchief. Make a pass, and ask someone to shake the handkerchief into the hat, when the two coins will jingle together. This is a simple trick, and is capable of variation according to circumstances.

(l) The trick I am now going to describe, as a drawing-room experiment with coins, surpasses, for simplicity and effect, all others. But its simplicity must not lead the learner to attempt it without having attained some proficiency in the foregoing tricks, for considerable neatness is required to execute it effectively. Procure a piece of glass of the size and thickness of a penny, and have the edges ground smooth, but not polished. This is best obtained from a lapidary—not an optician. Have it palmed in either hand ([Palm No. 1]). Borrow a penny, and, whilst it is being marked, ask one of the audience to half fill a wineglass, which has been well examined, with water. Always let the audience attend to such matters as these, as it tends to disarm suspicion, and also saves you trouble. You will, of course, not omit to make the most of there being no possible deception in the glass, which you will give a lady to hold by the stem or foot. Now borrow a white handkerchief, as coarse as you can procure it (do not ask for a coarse handkerchief, for that would be impolite, but say you want a gentleman's handkerchief, and then you can select which you prefer), and, taking the marked coin in the same hand as that in which the glass is palmed, spread the handkerchief over it. Approach the lady holding the wineglass, and affect to take up the coin, with the handkerchief, from the outside, by means of the disengaged hand, but in reality take up the glass, palming the coin ([Palm No. 1]). Now spread the handkerchief over the wineglass, with the supposed coin exactly above the latter, and within an inch of its rim. Let the holder of the wineglass grasp the coin (i.e., the counterfeit presentment thereof) with the thumb and forefinger of the disengaged hand, and keep it in the same position, with the understanding that at the word "three" it is to be allowed to fall into the glass (see [Fig. 13]). Take great care that the piece of glass is held exactly over the wineglass, and utter the word of command only when there is a dead silence. The jingling of the falling glass will, of course, be assumed by the audience to be that of the penny. You will now express your intention of invisibly extracting the coin from the glass. Use any cabalistic form you may choose, and, with a flourish of the wand from the wineglass towards your hand, exhibit the coin, and give it to be examined. Let the lady withdraw the handkerchief from the wineglass, which at once seize and show rapidly round. The glass at the bottom will not be perceived, and you must take an early opportunity of extracting it. Some tricks "take" in various degrees at different times, but this one never fails to throw the audience into a state of bewilderment. Always obtain possession of the wineglass as soon as you can after the completion of the trick, for people will sometimes feel to the bottom of it with their fingers, although without the faintest notion of what they are looking for. When you bewilder people, you must not be surprised if they do inexplicable things, and must prepare yourself for all emergencies.

Fig. 13.

My reason for directing the performer to borrow a penny for this trick is that it has, similarly with the circle of glass, no milled edge, and is of the size most convenient for the occasion. In extreme cases an eyeglass may be used, when, if it has a milled edge, as most of them have, it would be as well to borrow a florin; but in such instances there must be no dallying in showing the glass round after the trick, or the ribbed edge will infallibly be seen. I remember finding myself, on one occasion, without my piece of glass, and borrowed an eyeglass of one of the audience, under the pretext that the silken cord by which it was suspended was the very thing I required for a trick. I did some trivial thing with the cord, but forgot to return the glass for an hour or so, having in the interim forced it out of its frame (it was mounted in tortoiseshell), performed the trick, and replaced it. I knew that I should have to perform this particular trick, or have my reputation tarnished, so made a bold stroke for victory. Now I am never without the glass, and advise my readers to observe the same precaution. A port wine glass is the best to use, the piece of glass being liable to stick in the comparatively narrow sherry glass. Always give the wineglass to a lady to hold: ladies are less liable to attempt to conduct experiments after their own manner, or to make premature disclosures, either of which proceedings is embarrassing to the performer. The conjuring repositories supply a champagne tumbler, with a glass exactly the size of the interior of the bottom. This is an undoubted improvement, as the water may be poured out, if an examination be demanded, when the glass will still adhere to bottom of the tumbler, although the latter be turned upside down. This trick, when "worked" in conjunction with the nest of boxes, previously mentioned, makes an excellent combination. The nest can be used for any sized coin by the simple expedient of removing the very smallest boxes.

(m) Take a penny, in good condition, and make, or have made, by a competent person, a groove, quite 3/16in. deep, all round the outer edge. This is very easily and most efficiently managed by means of a lathe; but, wanting that useful machine, a piercing-saw and flat needle-file will answer. When the groove is completed, with the piercing saw cut the penny into three pieces of equal width. Now take a very fine indiarubber band, obtainable at all shops where rubber goods are sold, and stretch it round the groove. The [illustration] shows the penny in three pieces, and also the band—actual size before being stretched. In putting on the band, commence with the centre piece, and then fit in the side pieces, the greatest care being necessary not to allow the band to get twisted. The result of these operations, when concluded, is that the penny can be folded up and made to occupy a space in width one-third of its usual diameter. When held at a little distance from the spectator, the incisions are not observable, especially before the penny is used for a trick, the issue of which, being unknown, does not lead the suspicions of the audience into any particular groove. As the act of folding causes a sharp strain to be put upon the band at the junctions, the groove at those points must be carefully filed, so as to completely do away with anything resembling a cutting edge, or a disaster may very easily occur. Invariably, before using, the band should be minutely examined, and, if the slightest signs of wear manifest themselves, it should be changed.

Fig. 14.

The prepared coin (which need not necessarily be a penny) is generally used in conjunction with a bottle, into which it is made to pass, viâ the mouth. In order to make the trick at all satisfactory, a marked penny should be borrowed, and exchanged, by any of the previously described methods, for the prepared one.

A soda-water bottle has been previously handed round for examination, and this is taken in the left hand. With the right hand show that the penny is at least as broad again as the mouth of the bottle, and then, folding it up quickly whilst making a covering movement, and hidden by the body of the hand, let it fall through. Show the bottle round to the spectators, continually shaking it, as if to convince them that the coin is solid and real, but really to prevent the possibility of the slits being seen. The trick can now be finished in two ways, viz., the bottle may be broken, or the coin can be shaken out again. I fancy the breaking of the bottle is the more effective, as the shaking out method impresses too forcibly upon the mind of an intelligent company the fact that some mysterious, if ingeniously concealed, preparation exists in connection with the coin. But the performer in this instance, as in very many other cases, must be guided in his actions by the mental calibre of the spectators. To shake the coin from the bottle, the latter should be taken horizontally in the right hand, the fingers of the left hand closing round the mouth, leaving a hollow in the palm for the coin to fall into. A not too violent sweeping shake is then given, bringing the mouth of the bottle downwards, when the coin should pass into the left hand. Some little practice will be required to insure this operation being brought off at the first attempt. Having to shake the bottle three or four times looks unskilful, although it does not absolutely spoil the trick. I have directed the use of a soda-water bottle because it has sloping sides, which facilitate the operation of getting the penny out very considerably, and also because it is made of white glass. If a coloured bottle were used (which it must not be, if possibly avoidable), the spectators would suspect that a coin had somehow been concealed in the interior before the trick began. However the coin may be regained, whether by breaking the bottle or by shaking out, it must be immediately re-exchanged for the borrowed penny, which will then be returned. It is quite possible to have that coin palmed during the whole operation; but if the performer lacks the necessary skill for this, it should be carried in the ticket pocket of the coat. The conjuror should have every coat he wears (excepting his dress one) furnished with this ticket pocket, and it will be greatly to his advantage to have one on each side. It should not be too deep, so that coins and other articles may be speedily reached with certainty, and it should not have a covering flap.

The penny can also be prepared by omitting the groove, employing instead holes, made completely through, across the slits, through which elastic is passed, and fastened. As, for this purpose, flat elastic is immeasurably superior to any other form, some trouble is entailed in making suitable slits through; but, once accomplished, the article is far better than one prepared in any other way. The elastic should run quite freely through the centre piece, and be fastened with glue to the outside pieces only, first being slightly stretched, to insure the whole being brought closely together. The grooved penny can be purchased at a much less cost than would be incurred in making it, and, in addition, is more likely to be correctly constructed.

Fig. 15.

The following is a development of the use of the folding penny, which is even more startling than the foregoing, one or more pennies being made to pass into a bottle, which has been examined, and which has the mouth stopped by a large cork. In this case, the cork ([Fig. 15]) is a delusion and a snare. It is just 2in. long, and 1-1/16in. broad at the top, tapering to 15/16in. at the bottom. Viewed from the exterior, it is a cork; in reality, it is made of brass, with a thin veneer of cork glued on the outside. The measurements given include the cork skin. The bottom opens, flap-like, on a hinge, but is kept normally closed by means of a fine spiral spring, running the whole length of the inside, and soldered on the top and bottom. Protruding through a hole drilled in the top is a pin, which also runs the whole length of the interior (carried inside a small tube), and, when pressed, pushes open the bottom flap, thus allowing any contents there may be to fall out into the bottle. When the pressure upon the pin is removed, the power of the spring closes it again. This cork is charged with one or more folding pennies (three or four are generally used), and concealed in the hand, a genuine cork being handed for examination. The latter is changed for the "property" cork, which is then placed in the bottle, which must be white, and, of course, have a very wide mouth. The performer now produces some pennies, which he may "pass" into the bottle in any way he pleases. A good method is to use the [two boxes] described in "[Grand Magic]" as then the performer's hands are free. But the pass shown at [Fig. 11] may be employed, the bottle being taken in the hand in which the coins are actually concealed. When the coins are being "passed," the bottle must, of course, be held in one hand or the other, and pressure given the pin by a finger at the proper moment. Where one coin only is used, it may be simply palmed, which method would also apply where the performer is skilful enough to palm several coins at once. In this case, the coins would merely be held in one hand, and the bottle in the other, and the coins thrown into the bottle.

(n) A very pretty trick, though rather difficult to learn, is performed, with the aid of the Reverse Palm ([Fig. 6]), as follows: Borrow from two separate persons two coins of the same denomination. Take particular pains to have the marks quite distinct on each, so that the two are distinguishable from one another. There is no objection to the performer superintending the marking, in order to insure its being properly done. One coin, for instance, might have a single stroke marked upon it, or a cross, whilst the other could have a small circle or an initial. The numbers 1 and 2 could also be efficiently employed; and, for facility of description, I will now suppose them used. Palmed ([Fig. 2]), you have another coin of your own, similar to those borrowed. You place two chairs or settees a little distance apart, between yourself and the spectators. Take coin No. 1, and, standing behind one of the chairs, facing the company, act as though you tossed it upon the cushion. What you really do, however, is to palm the coin by the reverse palm, following the instructions on [page 8], for throwing a coin away into the air; the coin that has been concealed in the palm being released, in its stead. This action must be assiduously practised until it can be performed with complete certainty and smoothness. Practise first tossing a coin on a chair from a distance of a couple of feet, and then imitate that action as nearly as possible whilst making the change. The toss must be made with a steady, smooth swing, neither too hurriedly nor too slowly executed. When the manœuvre is finished, the palm of the hand must, of course, be towards the audience. A half, or whole, turn of the body must now be made, to enable the performer to get the coin from the back of the fingers to the palm proper. The way to ensure the safe execution of this is to put the thumb over the first finger, so that it grasps the coin, assisted by the middle finger. The first finger can then be drawn out of the way. With coin No. 1 in the palm, take coin No. 2, and repeat the changing operation, at the completion of which the state of affairs will be: On chair 1, duplicate coin (supposed by spectators to be coin No. 1); on chair 2, coin No. 1 (supposed by spectators to be coin No. 2); in performer's palm, coin No. 2. Any fanciful form of causing a magical change to take place may be gone into, and the performer then asks a spectator to examine the coin on chair 2, which is found to be coin No. 1. As only two coins are known to the spectators, it is taken for granted by them that the one on chair 1 is coin No. 2; but it will be as well for the performer to incidentally remark, "And, of course, there is coin No. 2," and then at once proceed to show the trick over again, "for the general satisfaction of those present." For this purpose, coin No. 1 is taken from the person who examined it, and ostensibly replaced upon chair 2. Instead, however, coin No. 2 is placed there. Under the plea of placing the chair a little closer, so that a better view may be obtained, the performer takes up duplicate coin from chair 1, and, in apparently replacing it, substitutes coin No. 1. The coins have thus been made to regain their old positions, and may now, of course, be freely examined, the performer not touching them again. If the performer feels any confidence in himself in this rather difficult trick, he may use three marked coins, when, by skilful manipulation, he may make all sorts of changes. By working changes with only two of the three at a time, he always has one lying dormant, which is not liable to inspection, and may, therefore, be the duplicate one. It is not advisable for him to prolong the trick, unless it be going very well. He must keep his wits about him, however, or he may find that he has forgotten the precise whereabouts of his own coin. A very bold, but remarkably effective, way of bringing about the final change is to pick the coin from the chair, and, instead of moving that closer, toss the coin into a lady's lap. The lady should be sitting upon the extreme verge of the other spectators, or else must be shielded by some article of furniture, or the coin palmed at the back of the hand is not unlikely to be seen. The very boldness of this action is, however, its chief safeguard, only there must be no sort of hesitation in its execution.

A performer with large and muscular fingers can use half-crowns for the trick, but for the beginner shillings and halfpence will be sufficient. Copper coins are not so effective as silver; but an accidental exposure of a portion of them is not so readily perceived as is the case with the brighter metal—not that there is the least excuse for such exposure.

Before returning the duplicate coin to the pocket, the performer may produce one or two other effects with the reverse palm. Let him borrow a hat, and a coin similar to the one concealed. Standing sideways to the company, let him have the duplicate palmed reversely in the hand that is farthest from the audience. Say it is the left hand. With the right hand place the hat into the left one, the thumb on the brim, the fingers inside. As the company have seen the palm of the left hand open, not the slightest suspicion will be entertained that it holds anything. The borrowed coin is now made to perform an ærial journey, being palmed. The performer's eye follows its imaginary flight, and then catches it in the hat, the coin in the left hand being of course released, when it will be heard to fall. After showing this coin, reverse palm the other, under cover of the hat, and repeat the operation. To do this, the performer must be able to palm equally well with either hand. If the trick be repeated, it should be varied each time by some such device as finding that the coin had taken refuge in a gentleman's hair, lady's handkerchief, &c., on its way to the hat.

By the time the learner has proceeded thus far with success, he will have acquired a proficiency that will enable him to amuse a circle of friends for an hour or two by means of coin tricks alone, without much fear of detection, especially if the rule of rehearsing in private before exhibiting in public be adhered to. The security afforded by a good palm can scarcely be over-estimated, as it enables the performer to attempt the most barefaced impromptu experiments with comparative impunity. These impromptu interludes are always conducive to success, for the audience can generally discover originality.

But, before taking a temporary leave of coins, I must put my readers up to a few wrinkles in connection with the use of the sleeve—a portion of the conjuror's attire which is but rarely employed, notwithstanding the popular exclamation of "Up his sleeve," which is usually made use of when the operator has vanished some trifle in the shape of a cauliflower or rabbit, for the reception of which articles the sleeve of a dress coat is so admirably adapted. No; the sleeve is only used when its coadjutorship is unsuspected; and, in the case of coins, only when the palm is suspected of containing the coin. So many people have a misty idea of palming, that one frequently hears whispered, "In his palm." Should the whisperer be wrong, of course you will at once prove him to be so by exhibiting your palms empty; but should he be right, you will then feign not to hear the whisper. Sometimes, though, the announcement is not made in a whisper, but in the form of a challenge to you, and this you must be prepared to meet. Suppose the coin is palmed and you are challenged; you are close to or among the audience, and the challenger is importunate. Nothing remains but to sleeve the coin. This manœuvre is executed by shooting the arm straight out, the palm open and downwards, with such force as will carry the coin up the sleeve. Of course, you must not stand in middle of the room shooting your arm out, or the audience will either divine what you are about or will think you are taking leave of your senses. The action must be covered by an advance towards the challenger, which must be done as boldly as if you had never even seen the coin, much less concealed it in your palm. As you advance, say something; for example, "What! in my palm, sir? I don't understand you. How can anything be in my palm? If you don't believe me, see for yourself." With this, make the shoot, and turn the hand over. Care must be taken that the arm is quite level, or the coin will slide gracefully on to the floor. You must not stop here, but say, "Perhaps you would like to see my other hand as well, sir" (show left hand, at same time allowing coin to fall back in the right, where palm it), "or maybe you think the coin is up my sleeve." Shake both arms vigorously, which, as the coin is again in your palm, you can do with impunity, and ask someone to feel your sleeves. An extra effect is given by your asserting that the cause of the gentleman's anxiety was that he himself had basely pilfered the coin, and wished to pass the odium on to you. With this remark, produce the coin from some part of his person. Barring the disturbance to the equilibrium of one's feelings of security whilst the performance is going on, this little interlude, promptly carried out, is as good as any set trick. Of course there must be no bungling. Should the sleeves be turned back, as they often will be, they must first be unrolled, with great deliberation. In such an instance you would, of course, show that your sleeves are guiltless of any deception, before exonerating the palm. Practice will enable you at once to perceive the nature of the objection about to be raised, so that ordinarily you can anticipate, and turn down one sleeve at least. It is not often that the exigency occurs, but it will infallibly do so at some time or other, so one must be prepared to meet it, or be looked upon as an impostor. A second method for sending a coin up the sleeve is to place it almost on the ends of the fingers ([Fig. 16]) palm upwards, and, turning the hand rapidly over, close it ([Fig. 17]). This will throw the coin up the sleeve, whereas the appearance is that it is enclosed in the hand. A third method is to hold the coin between the thumb and middle finger ([Fig. 18]) and "flip" it up the sleeve. A fourth method is to place the coin on the edge of the table and cover it with the ends of the fingers, which draw smartly back and shut, when the coin will be shot up the sleeve. This somewhat resembles the second method. A fifth method is to spin the coin high in the air, and as it descends make a "grab" at it as if catching, but in reality allow it to fall down the sleeve, keeping the hand shut as though holding it. This is one of the most thorough deceptions I know of. It is so perfect that the operator himself cannot see the coin enter the sleeve. I am quite aware that it seems improbable, but a trial will be conclusive on the point. A pleasing variety of the first method is to place a coin (the heavier the better) on the palm of the hand. Turn the hand over briskly, at the same time thrusting it well forward, and the coin will slide up the sleeve. In performing any of these tricks be careful to have the shirt cuff pulled well up and out of the way, and do not wear large links or solitaires, against which the coin will infallibly clink, if only for the simple reason that it is not wanted to do so. No one but a bungler would use the sleeve in his regular performances, except when driven by necessity; but it is highly essential for a conjuror to be perfect in all the minutiæ of his art, and he must practise them as the pianoforte-player practises the scales which he never plays to the public.

Fig. 16.

Fig. 17.

Fig. 18.

In using marked coins, always take the greatest care that the marking is done in such a manner as to render it impossible for the coin not to be recognised on making its reappearance; and also let several people see the mark. It is very disheartening, when you have performed an elaborate trick, in which a Mr. Interference has given you no end of trouble, to hear the owner of the coin say that he cannot recognise his mark. I have seen people put some trivial mark on a coin in pencil, which would rub off immediately. It is also advisable to have a quantity of cheap coins by you. In such tricks as [trick d], large, thin, and showy silver Turkish coins are the best. They possess every advantage; the milled edge gives a firm hold for the palm, whilst the substance of the coin allows of a large number being held in the hand. Besides this, thin coins give a good business-like clink; whilst a large coin is always more effective than a small one. Pennies plated over make very fair substitutes, and do not entail much loss of capital if kept aside ready for use, as they always should be, which can hardly be said to be the case with florins or half-crowns.

[CHAPTER III.]
TRICKS WITH COMMON OBJECTS.

ON RAPIDITY AND DECEPTION—MISDIRECTION—A JAPANESE SUGAR TRICK—"FLY AWAY, JACK; FLY AWAY, JOHN: COME AGAIN, JACK; COME AGAIN, JOHN"—A "RISING BLADE"—TO RESTORE A PIECE OF COTTON THAT HAS BEEN CUT UP IN SMALL PIECES—TO PASS A RING FROM A HANDKERCHIEF ON TO A WAND HELD AT EACH END—A SECOND METHOD—A THIRD METHOD.

I commence this, the second portion of drawing-room conjuring, with the decided hope that, before my readers attempt to follow me, they will have attained some proficiency in the art of palming and other little matters alluded to in my remarks concerning the treatment of coins. If such skill has been acquired, although in a small degree only, it will be of use in rendering the manipulation of other objects much easier. The prevailing idea with the public is that a conjuror moves things about from place to place before one's very eyes, but with such extreme rapidity as to avoid detection. This, I say, is the prevailing idea, and long may it continue to be so, since it is the very thing an audience is supposed to imagine. The learner, however, must, from the outset, dismiss such an impression from his mind as untenable, even for an instant. If he has a lurking opinion that a hand can be moved without the motion being detected, let him practise at moving, say, a cork or a piece of sugar, a distance of only one short inch. Let him practise for a twelvemonth to begin with, and I will guarantee that at the end of that period he is no nearer the consummation of the feat than he was at the commencement. If time hangs heavily on his hands, let him go on practising, say, for five or ten years: the result will be precisely similar. No; conjuring is based upon more deceptive principles than mere rapidity of movement, although that, of course, enters largely into its composition. Articles are, indeed, transmitted from one place to another before the eyes of the audience, but it is always, as it were, sub rosa. This is the reason why conjurors say so much about the hand being quicker than the eye, &c. The audience is continually trying to detect movements which are never even attempted, the result being that other movements are conducted with impunity. The conjuror must start with the one principle firmly fixed in his mind that he is to deceive his audience in every way possible. At no time is he actually to do that which he says he is doing. Every look and gesture, besides every word, should tend to lead the mind into the wrong groove. Misdirection is the grand basis of the conjuror's actions; and the more natural the performer's movements in this particular, the more complete will be his success. With each trick that requires it, I shall give hints for misdirecting the spectator's attention, although I am of opinion that every conjuror can best suit himself if he is only firmly impressed with the necessity for misdirection. The drawing-room conjuror must hold himself prepared to perform offhand with any article that may happen to present itself to view; although it is, of course, perfectly allowable for him to send for anything he may require. An article which one is tolerably certain to find in most houses is

Sugar.—Take four well-shaped pieces, of a medium size, and place them before you on a table, at which you will sit at your ease, in the form of a square, and about a foot from each other. Hatch up a long rigmarole about one piece being the Emperor of Japan, another his wife, another his daughter, and another his prime minister, or any other rubbish you please, so long as you bring it about that it is necessary that all four should assemble together in one place. In the country of which you are speaking, you will explain, it is the custom of Royalty to travel by telegraph, and invisible to the gaze of the "common herd." To illustrate how it is done, you will cover two of the four pieces, each with a separate hand, and, at the word "pass," make a slight movement as if throwing a piece from one hand to the other. On raising the hands, two pieces will be found under one, and none under the other. Repeat this operation (the minority always going over to the majority) until all four pieces are collected under one hand. The explanation of this really pretty, and, to the uninitiated, inexplicable trick, is, that you have a fifth piece of sugar palmed. If this piece be released, and that under the other hand palmed, the effect is the same as if an invisible journey had really been made. Supposing the five pieces of sugar to be represented by numerals, the various changes may be thus tabulated:

The rough and adhesive nature of sugar renders it very easy to palm. In palming, avoid all contraction of the muscles of the back of the hand, which is visible to the audience, or a clue to the solution of the trick will be given. If going out to a place where you are likely to be asked to exhibit your skill, be provided with a piece of sugar, and then ask for the requisite four pieces. If you are unprovided, then you must secure possession of the sugar basin, and secrete the extra piece as best you can. The extreme simplicity of this trick is only equalled by the astonishment of the audience, who are straining their eyes to catch a glimpse of the piece of sugar as it passes. I need hardly remark that they never succeed.

Fig. 19.

Fig. 20.

Knives, I think I may say, are also tolerably common articles, and some good tricks are performed with them. Take a cheese knife and four tiny squares of paper. Stand facing your audience, however small it may be, and, wetting the papers separately, stick two on each side of the blade, taking care that the positions on both sides correspond as nearly as possible. Hold the knife before you in the fingers of the right hand ([Fig. 19]), and in such a position that only one side of the blade is visible. With the thumb and finger of the left hand remove the piece of paper nearest the handle, and, putting your hand behind your back, make a feint of throwing it away, without actually doing so. Now, with a rapid movement, cause the knife to describe a half circle in the air still with the same side uppermost; but the position of the hand will be slightly altered ([Fig. 20]), which will lead the audience to think that the knife has been actually turned over. Barely before the movement is completed a finger of the left hand must be upon the spot recently occupied by the piece of paper, as if taking off a second piece from the opposite side. The first piece, which has all the time been in the left hand, is thus made to do duty twice. The second time, it is dropped on the floor in full view of the audience, accompanied by the remark, "that makes the second piece." Now remove the other piece of paper, and repeat the manœuvre executed with the first piece, taking the greatest care that only one side of the blade is visible, and that the finger of the left hand, with the concealed paper, is down upon the vacant spot before the spectators' eyes can rest there. Having ostensibly removed the fourth and last piece of paper, the knife is supposed to be empty, which you boldly declare to be the case, making a rapid backward and forward movement with the blank side to prove it. You then say you will cause the papers to re-appear upon the knife instantaneously. All you have to do is to put your hand behind your back and reverse the position of the knife so that the side of the blade with the two pieces of paper still remaining upon it is uppermost. Bringing the knife again to the front, make another quick backward and forward movement, saying, "Here are the papers back again on both sides as before," and then, without any further preliminaries, draw the blade through the fingers and cause the two papers to fall upon the floor. If this final movement is not executed, the audience will, when they have recovered their senses, point to the two papers which you dropped on the floor during the performance of the trick, and want to know why they are there and not on the knife. Continued rapidity of motion is what is required for the success of this trick. There must be no halting in the middle or hesitation of any kind, to avoid which practice in private will be essential, as, indeed, it will be with every trick worth doing at all.

Borrow a light penknife, and take care that it is not too sharp, and has a good deep notch at the haft. You are previously prepared with about two feet of very fine black silk, one end of which is attached to a button of your vest, the other end being furnished with a loop large enough to pass over a finger. This can either be wound round the button, or can hang loosely, with the free end looped up. I prefer the latter method, and have never found it lead to any inconvenience, which at first sight it appears extremely likely to do. Also borrow a hock or champagne bottle; pint size preferred. First send round the knife to be examined, and, whilst the examination is going on, get the loop of the silk over the end of one of the fingers of the left hand. When the knife is returned to you, and not before, give the bottle to be examined, and distract the attention of the audience by allusions to the "departed spirits" of the bottle, and admonitions to be sure and see that the bottom does not take out. By the time the bottle comes back you have slipped the loop over the blade of the knife and allowed it to catch in the notch, where cause it to remain. If the knife is a sharp one, extra caution must be observed, or the silk will be severed. This actually happened to me on one occasion, so I speak from direful experience. By sending the bottle away to be cleaned, I gained sufficient time to tie another loop in the silk, and went on as usual; but the incident was not a particularly cheerful one taken altogether—there was too much "glorious uncertainty" about it. Take the knife upside down, i.e., with the sharp edge of the blade uppermost, between the finger and thumb, hold the silk sufficiently taut to keep the loop in position by means of the other fingers, and drop the whole into the bottle. This must not be done with the bottle in a perpendicular position (in which case the loop will probably either break or slip off the knife), but with it inclined at an angle of about 45 deg. ([Fig. 21]). This will allow the knife to slide down at a safe speed and yet reach the bottom with a good "thud." Having satisfied yourself that everything is in order, hold the bottle perpendicularly in the left hand between the audience and yourself, and about breast high. Make use of any cabalistic nonsense you please, and then cause the knife to rise from the bottle by the action of moving it from you and towards the audience. The action of raising the bottle must be but sparsely indulged in, if at all, as it is easily noticed; not so the horizontal motion. When brought to the mouth of the bottle the knife quietly topples over on to the floor, whence allow it to be picked up by a spectator, who will not require much admonition to examine it. Also send the bottle round again; and get rid of the silk as soon as you can after the trick is done. It will be noticed that I have directed the performer to use a hock or champagne bottle. The reason for this will be obvious after once trying the experiment with a bottle having an abrupt shoulder, such as an ale bottle. The knife catches in it, and a vigorous jerk, which is as likely to cause a breakage as anything else, has to be resorted to to free it. The sides of hock and champagne bottles presenting an even surface the whole way up, that class of bottle is therefore to be preferred. By means of the foregoing three tricks I have seen a room full of intelligent people utterly bewildered.

Fig. 21

The following trick I have never known to be discovered if only properly performed. For it you will require another exceedingly common object, viz.:

Cotton.—Take a piece of any colour, 12in. to 15in. long, and see that one of the audience is provided with a very sharp penknife. Double the cotton once, and have the bend cut quite through. Double again and have it cut, and repeat the operation until it is nothing but pieces, each barely a third of an inch long. Rub the pieces together in the fingers, and, after a short time, quietly draw out the cotton again as it was in the first instance. That is what you must ostensibly do: now for how to do it. First of all, have concealed between your finger and thumb a piece of cotton about the length above mentioned. This you must roll up small, and deliberately hold between your finger and thumb, or, better still, if the fingers be sufficiently large, between the tips of any two fingers, as they are more naturally kept together. Nobody will notice it if the hand is engaged in negligently holding the lappel of your coat, the wand, &c. I need hardly mention that the concealed piece must be of the same colour as that operated upon, as the production of a white in place of a black piece would scarcely be satisfactory. To ensure the success of this preliminary, some considerable manœuvring has often to be gone through, and no small amount of tact exhibited. Where you are showing the trick for the first time, you can of course ask for any coloured cotton you please (always choose black when you have a choice), but it is such a fascinating trick that you will be called upon to perform it over and over again in the same house, or before the same people—which is quite as bad—and you will find that all kinds of ingenious devices will be brought to bear upon you. As a commencement, always carry in the corners of your waistcoat pockets two black and two white pieces, ready for emergencies. Each pocket will contain two pieces of the same colour, but differing in thickness, one in each corner. It is useless to carry other colours on the mere chance, as you are sure to be unprovided with the exact one required at the moment. When coloured cotton is produced, you must, by some means or other, get at the reel from which the cotton is taken. If driven right into a corner, you must go so far as to ask someone (always let it be the master or mistress of the house) to secretly obtain a piece for you; but this you will have to resort to on rare occasions only. Make all sorts of excuses so as to cause a delay, even going so far as to postpone the performance of the trick, but not before you have seen what colour you are likely to be favoured with. Your wits must do the rest. The reader must remember that I have taken extreme cases, and such as but rarely occur; but still they do occur, and if I did not warn the beginner of pitfalls ahead, he would not think much of my teaching. In the ordinary way, he will be able to ask for any colour he pleases, which will of course be similar to that with which he is provided. We will suppose that everything has progressed favourably. Take the cotton to be cut between the thumb and forefinger of each hand, by the extreme ends, and, doubling it, let one hand hold the loop to be cut, the fingers of the other hand holding the ends. As soon as the knife has passed through the cotton, give it a "twitch," and bring the ends, of which there will now be four, quickly together, as if you had performed some very intricate manœuvre. Of course, you have really done nothing at all, the movement being only a deceptive one to lead the spectators to believe that the secret of the trick consists in the way in which you twist or double the cotton. Have this in mind all through the trick, and keep up the deception. Continue to double the cotton, taking the greatest care that the ends all come neatly together, and that all the loops are cut through. Do everything with the greatest deliberation (except the delusive "twitch"), for there is no occasion for any hurry. When the cotton is cut so small that it will not double any more, commence to knead in the fingers, and gradually work the fragments behind the concealed piece, which must be brought to the front. This you will do without once removing the hands from the full view of the audience—in fact, under their very eyes. When you feel quite sure that everything is snug and secure, commence to unravel the whole piece, which will pass for the resuscitated original.

People who have seen the trick performed before will sometimes suggest that the piece of cotton should be measured before being cut up. Allow this to be done with all the grace in the world (when you find that you cannot do otherwise), but, before operating upon it, roll it up in the fingers, either absently, whilst engaging the audience in conversation, or for the purpose of seeing if it is of the proper dimensions, and exchange it, unperceived, for the concealed piece, which will be cut up instead. Although it is not advisable to have the cotton measured first, yet, when it is done, it invariably adds lustre to the feat. The pieces must never be carelessly thrown away, but secreted in a pocket on the first opportunity that presents itself, and afterwards burnt.

Fig. 22.

Rings can be made use of in many tricks, both in the drawing-room and on the stage. The following will be found very neat and effective: Procure a metal imitation of a wedding-ring, and have it cut neatly through. Pass this ring under a single thread of your handkerchief near one of the corners. Borrow a lady's ring, which palm, under pretence of putting it in the handkerchief. (The best method for palming a ring is to hold it between two fingers at the roots.) This you will appear to have done if you give the false ring (under cover of the handkerchief) to be held by someone who is not the owner of the borrowed article. It is immaterial whether the genuine ring has a fancy head or not, as the back of it will usually be about the width of a wedding-ring. Take the wand in the hand, and, unperceived, slip the ring in your palm over it until it reaches the middle, still covered by the hand. Now ask two persons to hold the wand, one at either end, and lay the handkerchief containing the false ring (still held from the outside by the original holder) over it. If you now remove your hand, you will leave the ring on the wand still concealed by the handkerchief ([Fig. 22]). Take hold of the end of the handkerchief which hangs down below the wand, and instruct the person holding the false ring to leave go when you count "three." As soon as you are obeyed, draw the handkerchief smartly across the wand. This will cause the ring to spin round, and assist materially in inducing the audience to believe that it was actually conjured from the handkerchief on to the wand whilst the latter article was being held at either end by two people. A slight jerk will detach the false ring from the handkerchief, which you can send round to be examined. A hint I can give the learner is, never to ask a lady to lend you her wedding-ring or keeper. Many ladies are exceedingly superstitious, and feel embarrassed when asked, from not liking to refuse, and yet being unwilling to take their rings from their fingers. Always borrow a ring the back of which nearly, if not quite, matches your false article in substance.

Procure a metal ring, similar to the one used in the last trick, of very soft brass, and, when you have cut it through, sharpen up the two ends to points with a file, or any other way you please. Borrow a lady's ring, and exchange it, as in last trick, putting the false one in a handkerchief, which have tied with tape or string in such a manner that the ring is contained in a bag. If the borrowed ring is narrow all round, you may make use of your nest of boxes (described in [trick g], Chapter II.), if it has not been previously utilised in some other trick; it being a golden rule among conjurors never to use the same apparatus twice during the same evening. An apple (a potato, small loaf, &c., will do as well) can be used instead with effect, if a goodly slit be made in it, and the ring pushed in while you are taking it from your bag or from behind the screen. Show the apple round, boldly saying that everyone can see that there is no preparation about it, at the same time taking care that no one has time to decide either one way or the other from the rapidity with which you pass it about. Place it in a prominent position, and then take the handkerchief containing the false ring by the bag, allowing the ends to fall over and conceal your hands. Quickly unbend the ring, and, working one of the pointed ends through the handkerchief, draw it out, and rub the place of exit between your fingers, so as to obliterate all traces of it. All this you must do very quickly, and, dropping the handkerchief on the floor, say, "Without untying the string, I have abstracted the ring, which I now pass into that apple." Here make a pass. Take a knife in the hand holding the false ring (unless you have been clever enough to get rid of that article), and, showing the audience that the other hand is quite empty, proceed to cut open the apple slowly. When the knife touches the ring, allow it to "clink" upon it as much as possible, and call attention to the fact, as it is a great feature in the trick. Do not cut the apple completely through, but, taking it forward (on a plate is the best way), allow the owner of the ring to take it out with her own hand. Of course, the audience must not be allowed to handle the apple, and so discover the old slit. This trick should not be performed with the preceding one, but on another evening. The principal effect of the trick is the apparent abstraction of the borrowed ring from its confinement in the handkerchief in an incomprehensible manner, and you must, therefore, allow the audience to see that the ring undoubtedly is tied up securely in the first instance.

Another trick with a ring is performed by aid of the wand only. Borrow a good stout ring, a signet for example, and, holding it near the roots of the fingers of the right hand, pretend to pass it over the wand, but, in reality, let it slide along on the outside of it, and still keep it in the hand. The deception is assisted if the ring be first carelessly placed upon the wand, and taken off again, two or three times. Say to one of the audience, "Will you be so kind as to hold one end of the wand with either hand?" and, in stretching the wand out towards him, allow the left hand momentarily to pass close under the right, and let the ring fall into it—of course, unperceived. If you look at your hands whilst doing this, you are a lost man. You must look the addressee boldly in the face, and thereby divert attention to him—not that there is the slightest excuse for exposing the ring during its passage from one hand to the other. When the wand is firmly held at both ends, say something about the futility of strength in certain cases, and eventually show the ring in the left hand, and remove the right from the wand to show that it is empty. If relinquished at this stage, the trick is very incomplete, as the audience usually divine, or affect to divine, that the ring never was put upon the wand at all. It is a peculiarity of this trick that this remark is almost invariably made, so the conjuror must be prepared with something still more "staggering." Return the ring to its owner, and call attention to the fact that you have not cut it in any way (not that anyone will ever think that you would do so, but you must assume that this idea is prevailing in the minds of the audience), and secretly take from your pocket, or wherever it may be concealed, a thick metal (or gold) ring, which keep in the left hand. Borrow the ring again, and slide it over the wand with precisely the same movement which you used in the first instance, when you did not put the ring on. This time you must appear to be very clumsy, and let the two hands come together so that everyone can see the action clearly, and snatch the left hand away sharply as if it contained the ring. You will doubtless see a number of heads lean towards each other, and hear a good deal of loud whispering, in which the words "left hand" will be conspicuous. Take no notice of this beyond looking as confused as possible, and the audience will think they have bowled you out at last. The strange part of it is that, in a trick of this kind, a spectator who fancies, rightly or wrongly, that he has discovered something, never attributes the fact to your want of skill, but to his own remarkable powers of perception. The effect of the ruse will be heightened if you allow a tiny portion of the false ring to catch the eye of one or more of the audience; or resort to any other artifice to induce them to believe that you really have the borrowed ring in the left hand, and have allowed the fact to transpire through carelessness. Now say that, the ring being securely on the wand, you mean to take it off as before, and give the two ends of the wand to be held. You will then appear to notice the incredulous looks and remarks of the audience for the first time, and stoutly deny that the ring is in the left hand, which, however, you decline to open. Allow the audience to argue the point with you, and, when one has said that he saw you take the ring in the left hand, and others have made a similar statement, pretend to give in, and say that you must admit that you are discovered; but, at the same time, you feel it incumbent on you to do something to retrieve your character. You will, therefore, pass the ring, now in the left hand, invisibly on to the wand. Make a pass with the left hand, and draw the right smartly away from the wand, causing the ring on it to spin round. The effect may be imagined. At the instant the right hand leaves the wand, the left should place the false ring (supposing one is used) in the pocket, as all manner of questions will be asked afterwards. The trick can be varied in many ways, by confusing the spectators. Peripatetic conjurors make a good deal of money by means of this trick, by betting that the ring is either on or off the wand. Manner has a great deal to do with the success of it.

[CHAPTER IV.]
TRICKS WITH CUPS AND BALLS.

THE CUPS—THE BALLS—HOW TO CONCEAL A BALL—HOW TO SLIP A BALL UNDER A CUP UNPERCEIVED—HOW TO VANISH A BALL: PHASE ONE, PHASE TWO, PHASE THREE—THE MANUFACTORY—HOW TO INTRODUCE LARGE OBJECTS BENEATH THE CUPS—BAG FOR HOLDING ARTICLES—HINTS—TALK FOR THE TRICK.

Fig. 23.

The variety of tricks performed with the aid of cups and balls take a prominent position in the repertory of every conjuror laying claim to any proficiency in pure sleight of hand. Three tin cups (or, rather, as they are always used in an inverted position, covers), rather more than 4in. in height, and some 3in. across the mouth, with the bottom concave, and two or three little rings near the mouth ([Fig. 23]) will be required. Also make, to commence with, four cork balls, blackened, either by burning or by colouration, each about the size of an ordinary bullet. The audience know of the existence of three balls only, the fourth being concealed by the conjuror between the roots of the third and middle fingers. The very first thing the learner must acquire is the knack of slipping the ball rapidly from the exposed ([Fig. 24]) to the concealed position ([Fig. 25]) in a secure manner. The ball is partly slid, partly rolled, partly dropped into the position, the thumb, with a slight motion, which, in time, will become quite an unconscious one, pressing it finally home.

Fig. 24.

Fig. 25.

The action, which must be accompanied by the backward and forward swing used when palming coins, must be practised with both hands, the more awkward hand of the two being taught first. When tolerably perfect in this, practise getting the ball down to the tips of the fingers at the roots of which it is held, care being of course taken that no portion of it protrudes. The object of getting the ball into this position is, that it may be placed under any cup, raised ostensibly for some other purpose, without detection. As the cup is placed on the table, the ball held in the fingers is slid quietly under it. All conjurors do not use this method, some grasping the cup as low down as possible, and jerking it up and down, thus getting the ball inside direct from the concealed position ([Fig. 25]). This latter method is exceedingly neat, but is the more difficult one to accomplish. However, the learner may try for himself, and adopt the method which comes the easier to him. The ball is not taken in the tips of the fingers until the hand is about to grasp the cup, the major motion shielding the minor one. With the two movements described under his control, the learner should proceed thus: Place the three cups in a row, with a ball in front (i.e., towards the audience) of each, and explain that the cups are solid tin and are not provided with permeable bottoms. There is no objection to allowing an examination to be made, but it had better take place at the end of the trick, or much time will be wasted. Say that the tin cups are for the purpose of covering the balls, and place one cup over each to illustrate it. Now take up cup No. 1, and, whilst placing it down a few inches off, slip the concealed ball under it. Pick up ball No. 1, and vanish it by concealing it in the prescribed method ([Fig. 25]). You can pretend to throw it into the air, or affect to put it into the other hand (see Coins, [Fig. 7]), from which it will be "passed" by a rap from the wand, which article you will find a true friend when performing with the cups and balls, and which should be held in readiness under the arm. Repeat the operation with cups No. 2 and No. 3, each having a ball placed under it when shifted. Tell the audience that so well trained are the little balls, that, at your word of command, they will return from their invisible wanderings to their imprisonment beneath the cups, which you will then raise, and show the balls beneath. This is the first and simple phase.

In the next, cup No. 1 is placed over a ball, and the concealed one slipped in with it. Take up another ball, and pretend to "pass" it through the cup, which raise, showing two balls together, and then replace, slipping concealed ball under along with the other two; and then "pass" the third ball through, which will bring all three balls under one cup. On putting cup No. 1 down, after exhibiting the three balls together, slip concealed ball under it, and pick up one of the three, which vanish. Then say it is as easy for you to abstract a ball from beneath a cup as it is for you to pass it to the inside. Put cup No. 2 over the two balls, and pretend to take one out by means of the wand, the concealed ball being exhibited as the one thus abstracted. "Pass" this through cup No. 1, which raise, showing the ball already there, and, on replacing it, slip under concealed ball. Recall the ball you vanished previously, and show it under cup No. 1, and then "pass" it back to cup No. 2, where the two balls still are; slip concealed ball under, and then "pass" ball from cup No. 1 to cup No. 2. The ball "passed" must in each instance be picked up and vanished, and not merely told to pass from one cup to another. The changes can be kept up for a long time if a ball be slipped under a cup whenever it is raised; but the performer must keep his head clear, or he will find himself getting into trouble by showing four balls at the same time.

Phase 3 consists of piling the three cups one over the other, and passing the balls into what I may term the storeys thus formed. It is for this phase that the bottoms of the cups are made concave to receive the ball. If the bottom were flat, the ball would roll off at an awkward moment. Place cup No. 1, with concealed ball underneath, on the table, and, taking up a ball, "pass" it through. Put cup No. 2 over cup No. 1, concealed ball being sandwiched between the bottoms of the two. The slipping of a ball beneath a cup which is placed on the table is a very simple matter, but it requires considerable adroitness to slip one cleanly between two cups. It is only to be done with a sharp jerk, the ball being thus sent to the top of the cup, which is then rapidly placed over the other. Considerable practice will be required to attain this knack, but the pretty effect well repays any trouble. Even when taking the greatest care, the ball is very liable to become jammed between the sides of the cups instead of their bottoms. The noise made by the rattling of the ball in the cup is covered by that occasioned by one cup being placed over the other. Repeat the operation with the third cup, and then show the balls in their respective positions. Should a cup cant over to one side, it will be because the ball beneath, it is not in its place, but is jammed in between the two sides of the cups. In this case, care must be taken in removing the uppermost cup. If adroitly managed, the errant ball can be brought back to its proper position on the top of the lower cup by the action of withdrawing the upper one. This should be practised in private, so that the emergency may be met without difficulty when it occurs.

The fourth phase consists in apparently manufacturing an inexhaustible quantity of balls beneath the cups. This is very easily managed by first covering each of the three balls with a cup openly. Take up cup No. 1, and put it down again a few inches off, with the concealed ball under it. Pick up ball No. 1, and pretend to put it in your pocket, but conceal it in the fingers; take up cup No. 2, and replace it, with concealed ball beneath it, and affect to put ball No. 2 into the pocket, but conceal as before. Repeat operation with cup and ball No. 3, and then recommence with cup No. 1. This phase can be prolonged at will. A number of balls can be carried in the pocket, and afterwards exhibited as the ones you have manufactured; but this is by no means necessary to the success of the trick.

A most startling and amusing conclusion to a display with the cups and balls is the introduction of large balls, potatoes, oranges, lemons, apples, &c., beneath the cups. Care must be taken that these larger articles will go into the cups easily, or a fiasco may result. The best balls are those made of fancy paper, as they are nice and light. A convenient place for keeping them ready for use is a shallow, oblong, open bag, made out of black silk or alpaca, and furnished with a bent pin at each end, and one in the middle. This bag you can affix to the tablecloth behind the table. In the absence of such a receptacle, the tablecloth can be pinned up, and so form an impromptu one; but this can hardly be arranged unperceived in front of an audience. In the absence of both cloth and bag, the articles to be conveyed inside the cups must be kept under the waistcoat, or in the pockets, but, in this case, the pockets must be side ones, and easily got at. The moment for introducing the large ball, orange, &c., into a cup is when the eyes of the audience are attracted towards any object just revealed to them. The orange, &c., must be taken by the left hand from its place of concealment whilst the right is engaged with the cup; and the instant the latter is raised, for the purpose of showing whatever may be under, it must be passed briskly—at the same time, in a manner not too marked—to the left hand, and the article slipped inside. The hands must remain together only sufficiently long to permit the completion of the manœuvre, when the cup must be again held by the right hand only; the article inside being prevented from falling by having the little finger placed beneath it. Sometimes, I press the paper balls lightly into the cup, and am so enabled to hold the cup by the top, and to raise it from the table, to show that there is nothing under it. By bringing the cup down hard on the table, the ball will become disengaged. This method should only be used as a change. Supposing that you have an orange inside cup No. 1, place it gently and unconcernedly on the table whilst drawing attention, by means of your tongue, to cup No. 2. By the time cup No. 2 is raised, the left hand will contain, say, an apple, which will go inside the cup, and public attention drawn to cup No. 3, which, in its turn, will be raised, and tenanted with a potato. You can now either knock over all three cups, and reveal their contents, which has a very good effect, or continue the manufactory as with the cork balls, pretending to put the potatoes, oranges, &c., into the pocket. It will be only necessary to have one of each kind of article, although the audience will be led to believe that your pockets are crammed with them by the time you have finished. It is best to have four kinds, as by that means each cup has something different under it every time it is raised. It is not advisable, however, to fill the cups more than twice by this method. The performer must not have his head filled with the idea that his movements are noticed, for the eyes of the spectators are sure to be riveted on the article last revealed. Any hesitation will be attended with disastrous results, so the thing must be done with dash, or not at all. Every conjuror should endeavour to become perfect with the cups and balls, as they not only amuse and astonish audiences, but afford great practice to the learner.

One very important thing in connection with this trick is the talk with which it is accompanied. The performer should be talking the whole time, explaining everything as he goes on; at the same time, he must not talk a lot of nonsense, which will only cause the audience to form a low estimate of his prestidigitatorial powers, but infuse his harangue with a little very mild humour. Something like the following, varied to suit the circumstances, will be to the point: "I have here three little tin cups, solid, and free from any trickery or deception, as you may see for yourselves." (Hand cups round.) "Kindly see that the bottoms do not take out. I have also three little cork balls, equally guileless with the cups. Madam, will you be so good as to squeeze one, and see that it is solid?" (Give a ball to a lady.) "Thank you. These little balls, ladies and gentlemen, are, you will be interested to hear, trained to a high degree of perfection, and are perfectly obedient to my will, as I will shortly show you. This cup, which you will perceive is perfectly empty, I place here on the table, and, taking up one of the balls, I simply say to it, 'Hey, presto! begone!' and it has vanished. The second little ball I take from beneath this cup, and command it to keep company with its predecessor. 'Fly!' and it has gone. The remaining ball I treat in the same manner. By the aid of my magic wand, I recall my little servants. See, here comes one, and, following my wand, it passes through into this cup" (tap a cup with the wand), &c., &c. It will be as well for the conjuror to study what he intends saying beforehand, in the early stages of his career, for he will find his wits sufficiently troubled to execute his tricks properly without requiring to think about his language.

A little sleight, which may be introduced with effect, is the apparent throwing of one cup through the other. This illusion is effected by holding a cup, mouth upwards, lightly between the thumb and forefinger. The other hand then throws a second cup sharply into it. The lower cup is allowed to fall, and the second cup caught by the thumb and forefinger, the appearance being that one cup has passed completely through the other.

[CHAPTER V.]
TRICKS WITH HANDKERCHIEFS.

BURNING A HANDKERCHIEF IN A SMALL WAY—HINTS ABOUT APPARATUS—HOW TO PULL A HANDKERCHIEF THROUGH THE LEG—THE KNOT UNTIED BY MAGIC—THE CONFECTIONER HANDKERCHIEF—FEATS WITH HANDKERCHIEFS.

What conjurors would do without pocket handkerchiefs, I will not venture to suggest. Almost every trick has a handkerchief of some kind as a component part. Handkerchiefs are torn up, burnt up, tied into knots, made receptacles for money, and used in a variety of other ways; in fact, they are the conjuror's most faithful allies.

Burning a Handkerchief is usually made a stage trick, and belongs properly to Grand Magic; but there is a method which may be successfully tried in the confined limits of the drawing-room. I do not allude to the use of the "burning globe," which article entirely dispenses with the necessity for the display of anything approaching sleight of hand, with which I, in this book, have only to deal. By using mechanical tricks, many feats of sleight of hand are imitated; but then the apparatus cannot be shown round, and the audience goes away from the performance impressed with the idea that conjuring means exhibiting a certain number of cunningly-devised boxes, canisters, &c. I remember being present at an amateur conjuring entertainment, where tricks were exhibited that must have cost two hundred pounds, at least. The eye was perfectly bewildered with the array of electric clocks, drums, &c.; but every third trick failed at some point, which was not to be wondered at, seeing that the thing was got through as though against time. This sort of thing is not conjuring; although it would be bad for conjuring-trick manufacturers if everyone thought the same. Some apparatus one must have; but only what is absolutely necessary. The difference between an apparatus conjuror and an adept at sleight of hand is as great as that between an organ-grinder and a skilled musician.

To burn a handkerchief in what I may term a small way, be provided with a piece of cambric, or other material resembling a handkerchief, about four inches square. The best way is to cut up a cheap handkerchief that has been hemmed. Have this piece rolled up in the hand, and concealed by the act of holding the wand. Borrow a handkerchief, which carelessly roll up in the hands, as if judging as to its size, and get the piece mingled in its folds. Ask the owner if he or she has any objection to your burning the end of it. Say "Thank you," whether the answer be "Yes" or "No" (conjurors are often afflicted with a convenient hardness of hearing), and proceed at once to burn what is, in reality, your interpolated piece, but which will appear to the audience to be the handkerchief, at a candle. When you have burnt a tolerably large hole, put out the flame, and walk towards the owner of the handkerchief, as if about to return it to him, thanking him, at the same time, for the loan of it. If you had not permission to burn the handkerchief, the owner of it will probably now tell you so; and if he is at all testy on the point, so much the better for the success of your trick. Say that you really thought he said "Yes," are sorry for the mistake, which, however, cannot now be helped, &c. If, on the other hand, you had permission to do as you pleased, which a flattering, implicit faith in your abilities will frequently accord to you, you must affect to see in the person's looks an objection to take the handkerchief in a burnt state, and so, in either case, eventually set yourself the task of having to restore the injured article. This you can very simply do by rubbing it in your hands, and concealing the fictitious piece rolled up in the palm; or you can prolong the operation by folding the handkerchief in a piece of paper, omitting the burnt piece, and then pronouncing some cabalistic words over it, whilst it is held by someone in the audience. This is, perhaps, the better way of the two. If the beginner is afraid to trust to his own skill, and prefers using apparatus, he can procure many kinds of canisters, &c., for changing handkerchiefs, the working of which will be explained by the vendor, so there is no necessity to do so here.

To Pull a Handkerchief through the Leg.—This is a trick which will bear exhibition in any company. It recommends itself especially for drawing-room purposes. Take a very long handkerchief, and, seating yourself, pass the handkerchief (apparently) twice round the leg, just above the knee, and tie the two ends securely together, or have them tied for you. Take hold of a single thickness of the handkerchief, and jerk it sharply upwards, when it will appear to pass through the leg. The secret of the trick is thus explained: When you pass the ends below the leg, for the purpose of ostensibly crossing them, so as to bring them up on opposite sides, you rapidly make a bend in one, and pass the other firmly round it. By this means, a temporary junction is formed strong enough to bear a slight strain. By distending the sinews of the leg, the folds are compressed, and additional security is thus obtained. The ends are of course brought up again on the sides on which they descended, and the knot tied above the thigh—not beneath it. The formation of the bend and loop round it must be practised assiduously, for I do not know of any trick of the same magnitude requiring more skill in execution than this one. The hands should not remain an instant longer under the leg than one would require to merely cross the ends, and there must be no fidgeting observable. For performing this trick, Döbler (the original one) received a diamond ring from the Emperor of Russia.

To Untie a Knot by Word of Command.—Tie a knot with two ends of a handkerchief, but in such a manner that one end is always quite straight; in fact, one end should be tied round the other, and not the two ends tied together. If you take the extreme end of the straight portion, anyone may pull as hard as he likes at it from the other side of the knot without making it any tighter, although you must lead him to believe that he is doing so. When he has pulled to his heart's content, take the knot in one hand and cover it with the rest of the handkerchief. Whilst doing so, work, with the concealed hand, the straight end through the folds of the other, but do not destroy the folds, which give to be held, of course under cover of the handkerchief. Command the knot to come undone, and then shake the handkerchief out. This is the groundwork of a trick on a much larger scale, which will be treated of in [Grand Magic]. It is a very effective little trick, and should never be despised.

To Find Sweetmeats in a Handkerchief.—For this pretty trick the performer will require a conical bag, made of fine calico, cambric, or any other substance resembling a handkerchief. The length of the bag should be about 5in.; and it must be furnished at the apex with a bent pin—a black one. The mouth must be fitted with two pieces of flat watch or crinoline spring, sewn in the stuff in such a manner as to keep the opening closed. This bag must be filled with sweets, and suspended, by means of the bent pin, on the edge of the table—out of view of the audience, as a matter of course. Borrow a handkerchief, and say that you will now find something that will please the juvenile portion of the audience. Wave the handkerchief mysteriously about, and then spread it out upon the table. Wave your hands over it, take it up delicately by the centre with one hand, and squeeze it with the other over a plate with which you will be provided. Naturally, nothing will come of it, so you repeat the operation, this time at a different part of the table. At the third or fourth attempt, the handkerchief should hang over that portion of the table where the bag is suspended, and when it is raised the bent pin should be included in the grasp. On squeezing the handkerchief this time, the hand should compress the ends of the springs, which will open, and allow the sweets to escape and fall upon the plate with a great clatter. Do not empty the bag at once, but give it two or three squeezes, allowing a little to fall out each time, which will greatly heighten the effect. When the bag is empty, the next thing to do is to remove it from the handkerchief. If a chair is handy, the bag can be dropped on it; but the best way is to boldly introduce the hand beneath the handkerchief, and, whilst calling attention to the sweets, hang it again on the edge of the table, which can easily be managed behind the handkerchief. The sweets used should be small round or oval ones, they being best suited for the purpose.

There are many little feats performed with handkerchiefs hardly deserving the title of tricks, in the way of tying bows and knots, &c., by entirely unorthodox methods. They are too insignificant for performance alone; but they look very well when worked in with more important tricks. Besides (and it cannot be too often stated), conjurors should endeavour to know everything connected with sleight of hand. In drawing-room circles, one is continually asked if one can do this, that, or the other; and it is quite as well to be able to reply in the affirmative, for it always tells detrimentally to fail in a little matter. The following feats will be found effective:

To Lengthen a Handkerchief.—Having borrowed a handkerchief, great amusement is caused when the performer observes that the article is not long enough, and expresses his intention of stretching it. This is done by taking the handkerchief by one corner in each hand, and, whilst twisting it up, gathering an inch or two in each palm. Stretch the arms wide apart, so that the handkerchief lies across the chest, without allowing any of the gathered-up portions of it to escape. Now give the handkerchief a turn or two in the air, and again stretch it across the chest, this time allowing about half an inch to escape out of the hands. Twist again and stretch, allowing a little more to escape, and repeat the operation until the extreme ends are reached. Imply by manner, as much as possible, that a deal of stretching is taking place, and the audience will be led to believe that the handkerchief has been extended at least six inches beyond its original length.

To Appear to Tie a Knob that will not Draw Tight.—This feat is also exceedingly diverting. The performer, apparently, goes through all the necessary formulæ for forming a knot; but, lo! when the ends are pulled out, no knot is seen. There are three ways of doing this. One is to pass one end behind the other, instead of through the loop, as usual, which must apparently be done. To do this neatly, one end must be held in each hand, the handkerchief twisted sharply up, and the hands then brought quickly together, which will cause a coil of about two turns to be formed. Pass the right end quickly round the back of the left, and then draw out both, as if tightening the knot. As you pull, the coil will bunch in the middle, as if a knot were really there, and increased tension will pull it out quite straight. The second method is thus performed: Lay one end of the handkerchief across the right hand, the major portion of it being on the outside, and the short end held down by the little finger only. With the left hand, take the hanging end, and, bringing it round on the inside, lay it over the other. Pass the left hand through the loop thus formed, take with it the uppermost end, and draw it through; but, just as you pull the two ends out straight, slip the thumb of the right hand under the inside bend of the lower end, and hold it between the finger and thumb. In the third method, commence by taking one end of the handkerchief in either hand. Pass the right hand over to the left side, in front of the left arm, which is kept perfectly still in front of the body, so that the handkerchief hangs on the left forearm in the shape of a loop. The second end must now be placed in the left hand, which thus detains both for the time being. Pass the right hand, now free, through the loop from the inside, and, reaching up with it, let it grasp its original end just placed in the left hand, and pull it through. This must be done with great deliberation, as the beauty of the sleight rests in the extreme slowness with which it can be executed, the secret lying, not in any quickness of fingers, but in the fact that the handkerchief ends are never looped one over the other, as would be the case if the right hand were passed through the loop from the outside, which the learner may at once discover by experiment. In pulling the end out, as though tying the knot, if it be retarded by the left thumb, a more natural appearance is given. This method is to be preferred to the foregoing, which, however, are useful as changes.

To Tie a Knot Instantaneously.—Take an end of the handkerchief in either hand between the thumb and forefinger, the end in the left hand pointing inwards, and that in the right hand outwards, the hands being held so that their backs are towards the company, the thumbs on top and the little fingers below. Open the fingers of each hand at the first and middle fingers, and then bring the hands together until they overlap a couple of inches, the right hand on the outside. This will bring the end of the handkerchief in either hand between the opened fingers of the opposite one. The fingers close on the ends, and the hands are at once separated, when the knot will be found to be tied. This may be first practised with a piece of stout string, and the learner must not be satisfied until he can tie the knot by merely bringing the fingers together for an instant, the knot being tied apparently by means of the mere collision of the two hands. It is astonishing what perfection can be attained by means of practice, the knot at last seeming to appear on the handkerchief, instead of being tied.

To Tie a Knot on the Wrist whilst Holding an End of the Handkerchief in either Hand.—Jerk the right hand towards the left one, so as to throw a loop in the handkerchief, through which dart the left hand, still holding its end, and the feat will be accomplished. It should be done in a nonchalant manner, and without any ostentation. Practise first with a piece of string.

The performance of the foregoing feats will be facilitated by the use of a silk handkerchief that is not too new, and it should always be first twisted, rope-fashion.

[CHAPTER VI.]
CHINESE TRICKS.

A NEW MARBLE TRICK—FIRE-EATING—FINAL EFFECT—THE BUTTERFLY TRICK—THE FAN—HOW TO MAKE THE BUTTERFLIES—HOW TO KEEP THEM IN THE AIR.

Chinese Marble Trick.—Some years ago, there came over to England a few Chinese conjurors, who were seen by the public but very little, but who favoured me on several occasions with private views. Their skill lay chiefly in the performance of such delectable feats as swallowing sword-blades, tiny china cups, glass balls, and large leaden plummets. Although appreciating such tricks, I respectfully declined attempting to astonish my audiences by their means. There was, however, one little trick performed with four small marbles, which struck me as being something quite novel and quaint. Of the four marbles (little ivory balls are what I invariably use), one is concealed in the fingers, as in the cup and ball trick, unknown, of course, to the audience, who are supposed to know of the existence of three only. These three the performer puts into his mouth—one at a time, slowly, is the best way—to show that there is "no deception." He now forms his left hand into a fist, and holds it steadily in front of him, thumb upwards, as though holding a sword at rest. With the right hand he pretends to take a marble from the mouth, the concealed one being exhibited. The action of taking a marble from the mouth must be imitated exactly; and this is best done by rolling it along the lips until it travels from the roots of the fingers to their tips. The sleight must be quickly done, for the eyes of the audience are full upon the hand. Place the marble on the top of the left hand, i.e., on the doubled-up first finger, which, after a few seconds, open slightly, so as to allow the marble to disappear in the hand. With the right hand actually take a marble from the mouth, which will now contain two. Pretend to place this marble on the left hand, as you did the first one, but in reality conceal it. When the left hand is momentarily covered with the right, as it feigns to place a marble upon it, open the first finger, and, with the least possible jerk, bring the first marble again to the top. The audience will think that marble No. 1 is in the hand and marble No. 2 atop. After another short pause, allow the marble to again sink in the hand, thereby causing the idea that two marbles are concealed in it, and, with the right hand, affect to take another marble from the mouth, the concealed one being, of course, shown. Ostensibly, place this one on the left hand (deception as before), and allow it to disappear like its two supposed predecessors. At this stage, the state of affairs will be thus:—The right hand, presumably empty, contains one marble; the left hand contains presumably three, but in reality only one marble; the mouth, presumably empty, contains two marbles. The performer then proceeds as follows: Allow the marble in the left hand to sink until it is in the position for concealing at the roots of the fingers. If with the tips of the second or third fingers it can be pressed firmly home, so much the better, for the command to vanish can at once be given, and the hand opened—palm downwards, of course. If the marble cannot be secured in this way, the thumb must be brought into use in the usual way; but the hand must be waved about a little so as to cover the movement. The three marbles are now supposed to be non est. The performer can proceed to find the first of them in whatever manner he pleases. He may pretend to pick it from the table cloth, break it from the end of his wand, or find it in the possession of one of the audience; how, is quite immaterial. As each hand conceals a marble, it is also immaterial which one is used. This first marble is placed on the table, and another one found. This second one, instead of placing on the table, the performer affects to pass into his ear, concealing it as before, and after a few seconds, it appears at his lips, the one thence protruding being, of course, one of the two concealed in the mouth. Allow it to fall from the mouth, and then proceed to find the third marble, which pass, say, through the top of the head. The remaining marble in the mouth is then exhibited, and the three wanderers are recovered. If the marbles or ivory balls are not small, their presence in the mouth, when they are not supposed to be there, will be discovered. I always conceal one on each side of the mouth, between the lower gums and the cheek. Ivory balls are in every way preferable, as they do not strike cold to the teeth, and do not rattle much, both of which disagreeable properties are possessed by marbles. Any ivory-turner will supply the little balls very cheaply. The performer must study to execute this trick with the greatest possible delicacy, or—especially before ladies—it will become repulsive. The method of finding the balls after vanishing them should be varied, each one being found in a different way. The portion of the trick requiring the most practice is that in which the left hand is opened. The knack of concealing the ball held in it unobserved requires some little address.

Fire-eating.—This was another trick performed remarkably well by my Chinese. It is, I should think, one of the best-known in England, for every country fair has its fire-eater; but it is not everyone who knows how it is performed. In the first place, prepare some thick, soft string, by either boiling or soaking it in a solution of nitre (saltpetre). Take a piece, from 1in. to 2in. in length, and, after lighting it, wrap it in a piece of tow as large as an ordinary walnut. Conceal this piece under a heap of loose tow, the whole of which is put on a plate, and so exhibited to the audience. The string will burn very slowly indeed, and the very little smoke issuing from it will be quite smothered by the tow. Show the mouth empty, and then put a little tow into it. Commence chewing this, and, after a little time, put in some more. Repeat this three or four times, taking the chewed portion secretly away each time you put any fresh tow into the mouth, and in one of the bunches include the piece containing the burning string. Do not chew this about at all, in reality, although you will make great gestures as if so doing. Take a fan, and fan the ears, and presently take in a good breath at the nostrils, blowing it out at the mouth. This will cause some smoke to be ejected, the volume of which will increase as the breathings are kept up. Always be careful to draw in at the nostrils, and eject at the mouth; otherwise you will be choked. Renew the fannings (merely for effect), and, by continued breathings, the tow in the mouth will be brought into a glow, and one or two sparks will issue from the mouth. When this has continued sufficiently long, take in more tow, and so smother the burning string again, extracting the piece containing it under cover of a loose bunch. There need be no fear of burning the mouth, as, directly it is closed, the light becomes a mere spark. The trick causes great effect, not to say alarm on many occasions.

A very pretty and laughable termination to the above trick is to pass, unperceived, into the mouth (under cover of a piece of tow, as usual) a little ball composed of a long band of coloured paper, about half an inch or so wide. Take this by the end, and draw it out through the teeth. Tightly rolled up, a ball may contain several yards of paper. It should be composed of three or four different colours, in lengths, each pasted to the other, for there must be no break. The end should have a piece of cotton attached to it, or it will be next to impossible to find it in the mouth. The cotton will adhere to some portion of the mouth, and so be easily found. These balls of paper are supplied at all conjuring shops, as is also an article known as the Barber's Pole. This consists of a spiral of paper, which shuts up into a very small compass, but assumes a great length on being merely twisted. A long pole appears to come out of the performer's mouth.

The Butterfly Trick.—Invisible at a short distance, very fine silk and hair are invaluable adjuncts to the conjurer's repertory, both in the drawing-room and on the stage. The celebrated and fascinating Japanese butterfly trick is performed with the aid of a piece of fine black silk or horsehair. The former is, in my opinion, immeasurably the superior of the two. Hair is most difficult to manipulate, from its springy nature, and requires a great deal of coaxing before it will condescend to be tied in a knot. In the butterfly trick, the performer sustains one or more butterflies, made from rice (or tissue) paper, in the air, by means of the current caused by the motions of a fan. When this trick was first brought out, "all the world wondered," for no one, even after long practice, could keep the paper butterfly hovering in a given space for a single moment. I tremble to think of the number of fans I destroyed in my early days over this trick, before I knew the secret of it. The fan used should be a very strong and large one, of the old shape—not the circular—and be composed of paper and wood only, so as to be free from superfluous weight. Affixed to the top waistcoat button, or any other convenient spot, have from 3ft. to 4ft. of the finest black silk floss or hair, with a knot at the free end. Have, also, a piece of crisp tissue (or rice) paper, and a pair of scissors. Let the audience examine the paper, and then proceed to cut out the rough form of a butterfly, explaining your action as you go on, giving the centre a twist or two, for the double purpose of forming a body to the insect, and concealing the knotted end of the silk or hair, which it is as well to have between the fingers before commencing operations, as it is not allowable to grope about for it in view of the audience. When finished, the butterfly's wings should have the appearance of being three parts extended, and should be slightly concave from beneath. A little care bestowed on its formation will be repaid by an increased steadiness when in the air. When all is ready, hold the butterfly in the air at the full stretch of the connecting medium, and fan pretty briskly with the other hand, not immediately underneath the paper, but from the body, and along the silk or hair, which must always be kept at a stretch, or nearly so, or control over the butterfly will be lost.

Notwithstanding the aid of a connecting medium, there is more skill required to perform this trick really neatly than is generally supposed. After a time, practice will enable the performer to cause the butterfly to settle on a flower or on the edge of another fan, and also to sustain two in the air at one time, which has a very pretty effect indeed. When two butterflies are used, it will be found almost necessary to have two fans, one in each hand, and each insect must, of course, have a separate thread. Some use wax at the end of the connecting medium, but this is a bad plan, as it deters the performer from giving round the butterfly to be examined after performing the trick. Whilst cutting out and twisting up the paper, it is as well to call attention to the fact that the trick is performed by some people with the aid of a thread—an assistance which you will say you utterly despise, as will be perceived. This will totally disarm those people who may have bought the trick (it is sold universally), and are yet only tyros at performing it.

There is a second method, in which two butterflies are joined by a thread or hair a few inches long. These do not require to be attached to the performer's person, the partnership being sufficient to enable him to keep them in mid-air.

Speaking of the Chinese, it is a most noticeable thing that their methods of vanishing and concealing articles are the same as those practised by ourselves, which fully demonstrates the fact that there is only one proper way; for there is only one thing more highly improbable than that we learnt the minutiæ of the art of conjuring, practised by us for centuries, from the Chinese, and that is that the Chinese learnt from us. It is only during the present century that we have been sufficiently familiar with the Chinese to borrow their ideas on magic, did we wish to do so.

[CHAPTER VII.]
TRICKS AT TABLE.

HOW TO CAUSE A WINEGLASS WITH WINE IN IT TO VANISH—ITS STARTLING REPRODUCTION—FILTER TUMBLERS—HOW TO CAUSE A PLATE OR OTHER LARGE ARTICLE TO VANISH—HOW TO PERFORM THE CUP AND BALL TRICK WITH PLATES AND BREAD PELLETS—A DIE TRICK—MAGICAL SURGERY—A DESSERT OF CORKS—KNIFE-SWALLOWING MADE EASY: TWO METHODS.

To Vanish a Glass of Sherry.—When invited out to a dinner party, one usually leaves one's conjuring tricks at home; but in some instances, where, perhaps, one's fame has gone before, an unexpected call is made for an exhibition of skill. "Come, So-and-so, let us see some tricks," says the host, and "Hear, hear!" say the guests. You are, of course, quite unprepared, and beg to be excused, but in vain. You must acquiesce, or be voted a boor. In an absent manner, you place a glass of sherry to your lips, as though bracing yourself for the fray. The glass is half emptied (be careful about this), when a sudden movement is made as though you threw it up at the ceiling; but nothing is seen to ascend, though the glass, with the wine in it, has disappeared. After a short pause, to allow the general astonishment to take full effect, the missing article is discovered inside the coat of your immediate neighbour, with the wine in it unspilt. This startling effect is thus managed: Open the legs just a few inches, and in the disengaged hand hold a napkin or handkerchief. When the feigned movement of throwing the glass upwards is made, the article itself is left between the legs, and immediately covered with the napkin. It is, however, of the highest importance that the hand does not dwell an instant in leaving the glass behind, otherwise the movement will be discovered. The action must be swift, clean, and noiseless. To find the glass on the person of your neighbour, take it up, with the napkin with which you have covered it, with one hand, and, bringing yourself quite close to the party to be operated upon, whip it inside his coat with the other. Produce it very slowly from its supposed place of concealment, for extra effect. The success of the trick is greatly enhanced by its total unexpectedness, and the performer must take care not to reveal, by any word or gesture, what he is about to do. He should, however, immediately preceding the vanish, draw attention to himself by addressing the host, or otherwise engaging the conversation, lest he perform the trick and afterwards discover that no one saw it, for it is a trick that will not bear repetition. A tea or coffee cup, small size, can be treated after the same manner.

To Vanish a Plate.—This is considerably more ambitious than the preceding, and requires some confidence in one's powers. There are two methods, each differing only slightly from the other. In the one, the plate, which should be small, is taken in the hand, and apparently thrown up to the ceiling, but, instead, adroitly grasped by one leg, purposely extended, behind the knee, between the calf and the thigh. In the other method, the performer rises slightly from his seat, as if to make an extra vigorous throw, and the plate is slipped beneath him. Both methods are good; but it is essential to the success of either that the performer sits on the extreme outside of everyone else. Under any other circumstances, the requisite freedom of action cannot be obtained. So soon as the plate has disappeared, the conjuror should seize a napkin, wave it about, and find the plate in it. It must be distinctly understood that the leg which is to hold the plate during its concealment must be first brought round to the side of the chair on which the performer is sitting, and there doubled up slightly, so that there is just room to pass the plate between the calf and the thigh, which will then hold it tight. The learner must not expect to execute this vanish at the first attempt, but will require to practise considerably before arriving at anything like perfection of execution.

A primitive method for vanishing a plate is to place the left hand slightly behind the body, and with it receive the plate from the right hand. In this method, which can only be used when the performer is standing, the plate must immediately be found in someone's coat. Books, straw mats, knives, and other large articles can be made to disappear by any of the foregoing methods.

To Pass a Fork or Spoon through a Tumbler.—The foregoing successfully performed, take up a tumbler carelessly, and remark to the host that you notice that he has some of the "patent filter tumblers." Ignorance of the fact will, of course, be expressed, and you then proceed to show that the tumbler you hold has a hole through the bottom, by apparently passing the handle of a spoon or fork, or any other suitable article, through it. This diverting optical illusion is thus performed: Take the tumbler (empty) in the left hand, near the bottom, not in the ordinary way, as if about to drink from it, but in such a manner that it lies along the hand, the mouth towards the wrist. Take the article to be passed through the tumbler in the right hand, and, after thrusting it once or twice against the bottom, pass it between the hand and the outside of the glass, allowing two or three inches to protrude beyond the ends of the fingers. This simple action causes it to appear that the spoon handle, skewer, &c., has been passed through the bottom of the tumbler.

Permeable Plates.—Following up the idea of the patent filter tumblers, you can mention that you notice that the host has also the last new plate. Hold up a plate to the light and say, "Yes, I can distinctly see through it." Laughter will, of course, ensue, and you will offer to prove your assertion. To do this, make up three bread-paste balls about the size of those used in the cup and ball trick, of which this one is, indeed, only a variety. You will have an extra one concealed in the fingers, of course. Now take two plates, one in each hand, upside down, and held in such a manner that the ball in the fingers is concealed. Place them on the table, about a foot apart, and, by opening the fingers, allow the concealed ball to remain under one plate. Vanish a ball as in the cups and balls, and find it under the plate, repeating the process with all three balls, the one concealed being dropped each time the plate is replaced after raising it to show the one just passed through it. Now say that it is as easy to perform the feat with another plate, and take up the second one in the hand containing the concealed ball. Supposing this to be, as it generally will be, the right hand, it will now be taking up the plate on your left. Cross the arms, and, with the left hand, take hold of the plate on your right hand, allowing the fingers to extend well beneath it. Call attention to the fact that under the left-hand plate there is nothing, whilst under the right-hand one there are three balls; and then place the left-hand plate upon the table, with concealed ball under it. Then command one ball from the right-hand plate to pass under the left-hand one. With the fingers seize one ball of the three, and raise both plates. Now bring back the arms to their original positions, in order that the left hand, which contains one ball concealed, may be brought to the single ball, which is supposed to have been transferred from the right-hand side. Replace both plates, allowing concealed ball to fall from the left hand, and take up another, in the fingers of the right hand. Command a ball to pass, and raise plates as before. Re-cross the arms, and repeat the operation, when all three balls will have apparently passed from one side to the other. Without crossing the hands this would not be possible, and the reason you give for so doing is to show that it does not matter which plate is used, both being equally permeable. The learner must bear in mind that in this, the second phase of the trick, the two plates are never relinquished simultaneously. The hand picking up a ball cannot quite quit all hold on the plate, or detection would ensue. The plate having a ball passed beneath it can be released for the time from the hand entirely. The ball remaining concealed at the end can be dropped in the lap under cover of the plate. It is always as well to have one's handkerchief lying carelessly in one's lap, as it comes in very useful for concealing small things. By taking some cork balls in his pocket, the conjuror will avoid the necessity for using balls made of bread.

Such occasions as the one I have now assumed are the ones favourable for the introduction of the previously mentioned tricks with sugar and knives; and, if the performer has taken my advice, he will be provided with his disc of glass for the performance of the glass of water trick, also previously described.

Changing Dice.—It is also useful, on such occasions, to have in the pocket a pair of dice, rather smaller than those in general use, for the performance of the following trick. Place the dice, side by side, between the finger and thumb. This will leave two sides, back and front, open to view. Ask the spectators to note the numbers at the front, and then those at the back. Show each side two or three times, turning the hand over each time, and then give a slight twist with the finger and thumb, just sufficient to cause the dice to revolve the extent of one square only. This will bring different numbers to the back, whilst the front ones have apparently remained unaltered, as you will show, taking care to twist the dice back again to their original positions. The twist must be given as the hand is turned over, when it will be quite imperceptible to anyone. This is the first and simple phase of the trick; the second is more convincing still. It very frequently happens that someone says, "Ah! of course you turn them over." This you stoutly deny, and proceed at once to prove the fallacy of the idea that the dice move in your fingers. To do this, give the twist backward and forward each time the hand is turned over in what the spectators consider to be merely the preliminary to the actual trick. Then say, "Now, I will turn my hand over as slowly as possible, and ask some one to hold my fingers firmly so as to render it utterly impossible for me to move them." Of course, as the positions of the dice have been changed each time you turned your hand over, you have now only to keep them still to effect an alteration. This ruse invariably silences sceptics.

The trick is also capable of further development if the dice be properly arranged. By placing the two fives face to face, the numbers will read one-three, three-one, six-four, four-six. Hold the dice in the fingers so as to cover one three-one and one six-four. The visible numbers will then be six-four and three-one. Suppose the six-four is on the top, the twist of the fingers will expose the hidden six-four at the bottom, and the hidden three-one at the top. The two numbers will then appear to have completely changed places. The fact that, in one instance, the four and the one are where the six and the three were previously will not be noticed if the performer is careful to always call the numbers the same, viz., "Here we have six-four on the top and three-one at the bottom; six-four" (turn over), "three-one" (turn back), "change" (turn over), "three-one on the top, six-four on the bottom." A fresh combination can at once be obtained by placing any other numbers face to face, so that they be the same unit. This variation will be found very effective and dumbfounding.

To Cut a Person's Arm with a Knife, through the Coat, without Injuring the Cloth.—Turning to his next-door neighbour, who, I need scarcely say, must not be a lady, the performer seizes a knife and asks him whether he would like to have his arm cut. A bloodthirsty slash in the air will add emphasis to the question. The person questioned will invariably decline, with thanks, and the performer then affects to think that the reason for the negative is an objection to having the coat cut, and not on the score of any pain to be inflicted. He assures his neighbour, with great emphasis and earnestness, that any injury necessarily done to the cloth will be immediately remedied, and that no traces of a cut will remain. When it is begun to be realised that the cloth is not to be cut, a joke is anticipated, and consent to the operation will soon be obtained, especially if the performer alters his manner, and becomes persuasive. It is necessary, in order to invest the trick with interest, to work up a state of apprehension to begin with, as it is but a small thing in execution, and requires filling out. When the necessary consent has been obtained, the performer places a napkin or handkerchief over the biceps of his neighbour, and, introducing the knife underneath, commences to saw away at the arm. Presently the patient will give a sudden start, and, if at all weak-minded, he will shout "Oh!" as well. On being questioned, he will explain that he distinctly felt the knife cut into his arm, which is, indeed, precisely the feeling communicated to him. The secret of the trick is simply a common pin, which, under cover of the napkin or handkerchief, the performer takes from his vest, or wherever it may be concealed, in the left hand. Both hands are introduced under the napkin, the right hand sawing away with the knife, with the blunt side against the coat. Great care must be taken to employ a new knife, as old ones frequently have their backs rather sharp, and the cloth might be cut in reality. Press pretty firmly with the knife, sufficiently to make the patient feel it, and then gradually push the pin through close beside it, pushing only when pressure is put upon the knife. In time it will work through the clothing—a quantity of which rather assists the illusion—and, entering the flesh slightly, will cause a sensation precisely as though the arm really were cut. The performer at once stops, and either sticks the pin into the napkin or in its former place of concealment, or else drops it on the floor. The trick may be repeated upon other patients; indeed, it is not easy to appreciate it unless it has been actually performed upon one. The pin need only be dropped when the performer notices looks of suspicion directed at his fingers. He has others concealed about him, naturally. Black pins should be used as being less likely to be seen, especially when dropped; although so common an object as a pin upon the floor, even if noticed, would scarcely excite suspicion. Still, it is always best to think of every contingency, and provide for it, or, haply, experience may teach the lesson in a harsh manner.

Corks are generally handy at a dinner table (at set dinners tricks would scarcely be introduced), and, being easily palmed, form excellent media for small conjuring. The cork should be held by the tips of the first and fourth fingers, lengthwise, and it then palms right across the hand, the sharp edges (do not choose a ragged edged cork) giving a splendid hold, especially as the article is so light. Corks are very easily swallowed, being either placed (apparently) in the mouth by the hand palming them, or else put into the other hand first. Houdin used to regale himself at friends' houses by a dessert of corks, brought on in a sauce-boat or soup tureen, especially chosen because it concealed the hand when thrust in. The performer continually took out corks, dropping the ones palmed as he did so, until he had apparently eaten a dozen. A good deal of natural chewing should be indulged in, and the changes continually rung upon the various palms and passes taught in this book. Finally, the performer says he can eat no more, as he is full up. As evidence of this, he extracts from his ear the last cork he ate, and, after (apparently) replacing this in the bowl, he is taken with a spasm, and another cork is taken out of his mouth, the supposition being that it had been unable to find room below. It is, of course, rolled into the partially opened lips from the palm. It is quite open to the performer to reproduce a number of corks from his person in this way, when the company will imagine that he really secreted those he pretended to swallow. This effect will be heightened if the performer has gone to the dinner with half-a-dozen corks in his pocket. As a finale, he says: "The rest are here in my pocket," and produces them all at once, throwing them carelessly into the bowl. If he has performed the rest of the trick properly, the company will think him quite capable of secreting half-a-dozen corks in his pocket without being observed, no one dreaming for a moment of any previous arrangement.

Swallowing a Knife.—Performed after the following method, this illusion can be carried out most effectively: Taking a large knife—a carving-knife is not too large—the performer lays it in front of him, right and left. He turns up his coat sleeves, as far as they will go, and then, squaring his elbows, so as to bring the forearms across his body, he places his hands along the knife, one hand overlapping the other, so as to completely hide the knife from view. In the case of a large knife, some parts of it—the ends—will be hidden by the wrists. Nipping it with the thumbs, or with one thumb only, it is raised from the table, the hands keeping their somewhat constrained position upon it. One hand is now brought to the mouth, the other being raised, and an apparent attempt made to swallow, the hands appearing to tilt the knife down the throat. The performer, however, suddenly begins to choke, and the attempt is relinquished, the knife being laid upon the table again. It is, however, immediately raised again, as before, but the second attempt is no more successful than the first. The knife is once more taken in the hands, and, in the act of picking it up, is brought just beyond the edge of the table, and allowed to fall into the lap. It must be barely raised from the table, or else the drop will be observed. The hands are, for the third time, brought to the mouth, as before, when, of course, the swallowing is successfully accomplished. The performer has taken the precaution to have a napkin lying loosely upon his lap, in which the knife at once becomes hidden. The illusion is a very complete one, especially if the performer takes care to make each of his three movements of the hands to the mouth precisely the same, the knife being brought beyond the edge of the table at each abortive attempt, and not at the last one only. If the performer pleases, he may refrain from turning up his coat sleeves, and, when the trick is finished, show them to be empty. Everyone will suppose that the knife has gone down the sleeve, and it, perhaps, provides an extra effect to show that it has not done so. As the position of the hands is somewhat unusual, the performer should be explaining, during the performance of the trick, that the true secret of knife-swallowing lies in the steadiness with which the knife is passed down the throat, this steadiness being better given with two hands than with one. As soon as the trick is safely accomplished, the performer should get his legs well under the table, and, taking the knife with one hand, place it under his knees, where it must be gripped, or else stick it in his boot. The hand is supposed to be placed below merely to procure the napkin, which is instantly produced, and the performer's lips carelessly wiped with it. He can then push his chair away from the table, and, leaning back, so as to expose his lap, join in the conversation, or, better still, at once commence a fresh trick. The thoughts of the company diverted, the knife may presently be brought to light from under someone's coat, or the performer may simply secrete it in his napkin, and place them together upon the table.

A smaller knife can be very effectively swallowed as follows: A cheese-knife is placed on the table, edge downwards, the left hand retaining it in that position by holding it near the point of the blade. It is then picked up by the right hand, the first and second fingers of which nip the back of the blade, close to the point, about half an inch of which is purposely left visible. The rest of the knife lies along the inside of the hand, the handle being concealed by the wrist. The handle is brought to the mouth, the knife being held upright, and the left hand, by means of gentle taps, thrusts it gradually downwards, until it wholly disappears down the throat. This illusion is managed within an inch or so of the end of a precisely similar knife to that supposed to be swallowed. This the performer has concealed between two fingers, and, when the knife is picked up, it is brought into position at the ends by means of the left hand, which is all the time busy helping the right one. The knife is, of course, at once dropped into the lap, the eyes of the company being fixed upon the little piece visible, which they naturally take to be the actual point of the knife. With the palm of the hand a few taps should be given the fragment, so as to cause it to slide out of sight, but still held between the fingers. The tapping is continued with the left hand, although it is performing upon nothing, the throat of the performer giving forth choking sounds, to assist the deception, until the knife may be fairly supposed to be swallowed. The fragment of knife is treated precisely as a coin held by the finger palm, and may be placed in the vest pocket, under the plea of getting out a toothpick. It should have its ragged edge nicely smoothed, so as not to cut the fingers.

[CHAPTER VIII.]
TRICKS WITH CARDS.

THE VALUE OF CARD TRICKS—THE CARDS—WHERE TO PROCURE THEM—THE DOUBLE-HANDED PASS—SINGLE-HANDED PASSES—THE DIAGONAL PASS—THE FALSE SHUFFLE—TRICKS WITH PASS AND FALSE SHUFFLE—TO CAUSE A CARD TO SHOW ITSELF—THE ATTACHED CARD—THE CONGENIAL ACES—THE REVERSED CARD—THE TRAVELLING CARD—THE LADY'S OWN TRICK—A RAPID CHANGE PASS—METHODS FOR USING SAME—THE CHANGE—ITS USES—THE PALM—ON PALMING A SINGLE CARD—ON PALMING MANY CARDS—ON VANISHING A PACK—METHODS FOR USING THE PALM—TRICKS COMBINING PALM AND CHANGE PASS—THE SLIDE—ITS USES—THE FORCE—ON FORCING PACKS—LA CARTE GÉNÉRALE—SYMPATHETIC CARDS, OR "HOLD THEM TIGHT!"—HOW TO PASS A CARD THROUGH A PERSON—TO DIVINE A CARD THOUGHT OF—METHOD OF MAKING A CHOOSER THINK OF A CERTAIN CARD—A CARD MADE TO APPEAR ANYWHERE IN THE PACK—CARD BOXES—TRICKS WITH SAME—HOW TO THROW CARDS—THE REVOLUTION—PREPARED CARDS—CUT PACKS—LONG AND BROAD CARDS—PRICKED CARDS—CHAMELEON CARDS—METHODS AFFECTED BY BUATIER AND HOUDIN—HOUDIN'S SUPERIORITY—THE TRAVELLING CARDS—THE ASSEMBLY: METHODS FOR PALM, PASS AND CHANGE—THOUGHT-READING EXTRAORDINARY—GAME AT NAPOLEON—LIGHTNING CHANGE—CONCLUSION.

Having shown the beginner what can be done with the ordinary objects of everyday use, I will now endeavour to instruct him in the skilful manipulation of cards. By his success or failure in this particular branch of legerdemain will his reputation as a conjuror be made or marred. Card tricks, more than anything else, demand sleight of hand pure and simple, and success with them can only be attained by assiduous practice. To the learner some of the following directions will at first appear impossible of execution, owing to the unaccustomed positions in which the fingers have to be placed; but a little resolution will soon overcome all obstacles, and when once success, however trifling, has been achieved, greater results will speedily follow. In conjuring, as in most things, everything that is at all worthy of accomplishment requires some little trouble; and the learner must, therefore, not be disheartened if his early efforts are not crowned with success commensurate with his wishes. There is no disguising the fact that card tricks which owe their accomplishment to sleight of hand (and they are the only ones worthy of the conjuror's consideration) are difficult—in many cases exceedingly so; but this fact ought only to make one extra energetic in mastering them. Amateur conjurors of every grade I have met with, but those skilful with cards I can count upon the fingers of one hand.

Before everything, let me inform the reader of one fact, not by any means universally known, which is that the cards generally used by conjurors are considerably smaller than those in ordinary use.[A] I will not say that it is impossible to conjure successfully with ordinary cards, because I know of very clever conjurors who use the full-sized card, but they have strong hands; but the advantage of using smaller ones is so marked that anyone thinking seriously of practising sleight of hand should provide himself with some small-sized packs. Many use the French cards, but I find them far too flimsy for many things. The best are those made by nearly all the large English card manufacturers for conjuring purposes. Bancks Brothers, Glasshouse-street, London, are, perhaps, as good as anyone. Should the reader be unable to procure these small cards, he can provide very fair substitutes by having an ordinary pack shaved at the edges, and so reduced in size.

To enumerate every card trick individually would necessitate a separate volume, so numerous are the varieties of changes capable of being introduced. All the teacher can do is to instruct in the general principles, by means of which the results are brought about, and to give illustrations of the actions of the same. Accident or design will enable the performer to vary his tricks in hundreds of ways.

The chief things to be learnt at first are:

1. The pass.
2. The false shuffle.
3. The palm.
4. The change.
5. The slide.
6. The force.

The Pass.

With the foremost of these, as the most important, I will first deal. The use of the pass is to transfer a given card from one portion of the pack to another. In nine tricks out of ten, a card is chosen and replaced in the centre of the pack, which is then shuffled. If this were in reality done without any previous interference on the performer's part, he would be at sea as to the position of the chosen card, and so rendered totally unable to find it when he wanted to do so. To avoid this contretemps he, by means of the pass, brings the card either to the top or the bottom of the pack, and executes a shuffle which, although it appears to mingle all the cards, in reality leaves the chosen one in its original position. If a chosen card is placed in the centre of a pack, it divides it into two portions, and the effect of the pass is to reverse the positions of these portions, the upper one becoming the lower, and vice versâ. It will therefore be seen that if the card is to go to the top of the pack it must, when replaced, and before the pass is made, form the uppermost card of the lower portion, and when it is to go to the bottom it must form the bottom card of the upper portion. Except in very special instances, the card is usually required at the top, and this, for the sake of uniformity, I shall assume in my examples to be the case.

Fig. 26.

Fig. 27.

For the purpose of learning the pass, it will not be necessary to assume that a card has been chosen, but let the learner take the pack in the left hand. The little finger is inserted in the centre of the pack, thereby dividing it into two portions, the upper one of which must be held by the fingers as securely as the unusual circumstance will admit ([Fig. 26]).[B] The right hand is now brought across the left hand, as in [Fig. 27], the lower portion of the pack being held between the thumb at one end and the second and third fingers at the other. The state of affairs is now this: The upper hand holds the lower portion and the lower hand the upper. Now, in order to alter the positions of the two halves of the pack, the left hand must draw off, under cover of the right hand, the upper portion, and, working as though it were a hinge, replace it beneath the lower one, which is slightly raised by the right hand during the operation, so as to facilitate its execution. The cards should not be held in a horizontal position, but at an angle of fully 45 deg., or even more, the declension being towards the right hand. The movement should first be practised as slowly as possible, and with a few cards only. It will be time enough to increase the speed when a good action has been secured. One little point must be borne in mind, and that is that that half of the pack which was originally the lower one, and therefore held by the right hand, must always be kept hard against the root of the thumb of the left hand whilst the pass is being made, it working there as if hinged. At first the two halves, in passing each other, will make a scraping noise, sometimes very loud. This noise must be studiously avoided, as the pass must be noiseless as well as invisible. When making the pass before an audience, move the hands up and down or from side to side, to cover the movement. It is sometimes required to pass a single card from the very top of the pack to the very bottom. This can, of course, be done in the foregoing manner, but the quickest way is to simply press the fingers of the left hand (the hands being in position for the pass without the little finger inserted) on the top card, and then execute the hinge movement. This will pull the top card off and slip it to the bottom; but it is hopeless to expect to do this without some slight noise, although that can be almost nullified by immediately running the thumb sharply across the edges of the cards, and so causing a similar sound to be made. Such is the double-handed pass.

Fig. 28.

Fig. 29.

Fig. 30.

There are also various single-handed passes, one or two of which, at times, come in very handy. They are very difficult to master, and are best learnt with two cards only at the very commencement. The neatest, and in every way most effective, is the following: Hold the pack by the ends of the fingers and thumb, the first and fourth fingers acting as supports, by being slightly bent under ([Fig. 28]), and allow a portion of the cards to drop from below ([Fig. 29]). This portion push back towards the thumb by means of the first and fourth fingers, until it will permit of the upper portion dropping down, and so becoming the lower ([Fig. 30]). The asterisk denotes the chosen card, which is passed from the centre to the top of the pack. Although three positions are here shown, in order to make the action of the pass clear, it must by no means be thought that there should be three distinct movements. When the beginner can execute from thirty to forty passes in the minute, he may consider himself tolerably proficient. It will assist the action if the fingers are well raised and the thumb held a little low, thereby causing a better fall to be made; also considerable swing should be given to the hand, to cover the shifting which takes place. With practice this pass can be made without detection.

Fig. 31.

Fig. 32.

The pass shown at [Figs. 31] and [32] is a fairly good one, but much more difficult than any other. The middle and third fingers are inserted in the pack, the bottom portion of which is held by the four fingers, two above and two below. The upper portion is held between the roots of the thumb and forefinger. The fingers draw out the lower portion and place it upon the upper one. This pass is useful when it is required to pass a card from the bottom to the top. Under most circumstances, the pass first described ([Figs. 28], [29], and [30]) is preferable, except when the top card has to be passed to the bottom, when the following method is sometimes adopted. Push off the top card, which is the one to be passed, by means of the thumb, until it lies well over the ends of the fingers. Stretch the fingers out straight, and the card will be drawn completely off the rest of the pack, which is quickly raised by means of the forefinger, and placed over the card. A good backward and forward swing will assist the action considerably.

Experience has taught me, however, that the pass shown at [Fig. 31], &c., is the best one for getting a card from the top to the bottom single-handed. The cards are so firmly gripped by the fingers that the pass may be executed, no matter what position the pack is held in, whether end on, sideways, or upside down. The beginner will find that the thumb has but little difficulty in dragging off the top card, especially if very slight pressure indeed be put upon it to commence with. If an examination is made of the root of the thumb, a line will be found to run half way round it, joining other lines on the inside, where the flesh is loosest. The card should be held just there. Matters will be greatly facilitated if the right hand, whilst placing the pack in the left, holds it for an instant. The thumb of the left hand then draws the card off an eighth of an inch, which will be quite sufficient to enable the card to be seized by it at the root. But the aid of the right hand should be dispensed with as soon as possible. The passing of cards by means of one hand only is not suspected by the general run of spectators, who are, however, always suspicious directly the two hands are brought together.

Fig. 33.

The learner should always use the double-handed pass, practising the single-handed ones in private, until he has attained that confidence in his skill which is afforded by frequent exhibitions before his friends, &c.

An easy, but somewhat clumsy, single-handed pass is depicted at [Fig. 33]. The third finger is inserted in the pack, and the top portion held between it and the middle finger, the rest of the pack being between the first finger and thumb. The top portion is then twisted round in a semi-circle in the direction of the arrow, and so brought beneath what was originally the lower one. The objection to this pass is that it disarranges the cards a good deal. The best way of avoiding this is to move the hand towards the table whilst making the pass, so that the edges of the cards can be set square at once on its surface. The motion must be made as if it were merely intended to place the pack upon the table.

The Diagonal Pass.

This is a very useful variety of the two-handed pass, by means of which cards placed simultaneously in different parts of the pack are at once brought together. Say, three cards have been selected by various spectators. The performer presents the pack to each in turn, requesting to have the card chosen placed in any portion of it. The chooser thereupon pushes the card between the others, which are not opened out by the performer, but merely presented in a compact body. The card is not permitted to be pushed quite home, the performer withdrawing the pack in time to prevent this. The pack is presented to the two other selectors of cards, and, when the three have all been placed in it, the performer apparently pushes them home with the right hand. What he actually does is thus described: Nip the three cards by the still protruding portions between the thumb and middle finger, across their width, and, in the act of pushing them into the pack, turn them obliquely sideways sufficiently to cause the right-hand top corners to project a quarter of an inch from the pack. The length of this projecting portion will be rather more than an inch, and is easily hidden from the spectators by means of the first and second fingers of the left hand. The top left-hand corner must be pushed down out of sight, and it will then be found that there are two considerable projections on the side and bottom of the pack. The right-hand one is hidden by the palm of the hand, and the lower one by the little finger. The pack, as it appears at this stage of the trick, held in the left hand (the right hand being removed for the sake of clearness), is shown at [Fig. 34].

Fig. 34.

As the cards are supposed to be pushed home along with the rest of the pack, it is advisable to actually remove the right hand for a short time, the performer commencing to say what he is about to do with the cards. When he subsequently brings the hands together again, for the purpose of making the pass, the thumb and second finger of the right hand should again nip the upper end of the pack. A simultaneous twisting movement is made with both hands, the right hand turning the pack to the right, whilst the left turns the three cards to the left, until they are clear of one another, when the motions are reversed, the three cards being placed either on the top or at the bottom, as the performer may desire. He will find it easier to place them at the bottom, as they come more naturally there. The position of the left hand remains the same throughout, the three cards being held in position by the pressure of the little finger at the lower right-hand corner. The making of the pass must be covered by a slight swinging movement of the two hands in any direction. Some performers, finding it rather difficult to push home several cards into the desired position simultaneously and neatly, make the pass each time a card is placed in the pack. It is open to the learner to adopt this method if he so pleases, but he is more liable to detection; besides which, the feature of the pass is the showing the cards all in different parts of the pack, and then apparently pushing them home at one and the same time.

An alternative method is to push the cards down, with the projecting corner on the thumb side of the left hand, and then, by straightening the cards at once, leave half an inch or more of the whole width of the chosen cards projecting from the bottom of the pack, instead of having them diagonally across the pack, as is shown in illustration. A trial will show the learner that this method is an expeditious one, but my reasons against its use are twofold. Firstly, too much of the cards to be passed is exposed, and, secondly, the act of pushing them down is extremely likely to carry along with them indifferent cards intervening between two of them. This is especially likely to be the case with cards that are at all worn. The reason for this is that there is no stop to the body of the cards, which stop is provided, in the method shown at [Fig. 34], by the little finger, during the whole of the operation. The act of pushing the cards transversely down, from the opposite side of the pack to that depicted, renders it impossible that the little finger can be in position on the lower side of the cards at the most critical time, the commencement, to prevent any but the desired ones from being pushed down. Its presence just at the corner seems to me to be very essential to the effective performance of the pass, combined with security from mishap.

The False Shuffle.

This the conjuror will find a very useful adjunct to the pass. There is nothing very difficult about it, but it is necessary to be somewhat bold in executing it. The two methods of shuffling in ordinary use are the perpendicular and the horizontal. The perpendicular is the most business-like, and I have no doubt that it is used by most of my male readers who are card-players. Ladies, I am aware, mostly patronise the horizontal shuffle, in which the cards are passed from right to left, or vice versâ, alternately over and under. To illustrate the perpendicular method, suppose the card to be at the bottom of the pack, just passed there, and it is desired to keep it in that position. By applying pressure with the fingers and thumb, the top and bottom cards will be retained in the left hand when the right hand draws away the rest of the pack, which is then shuffled over the two. The operation can be repeated hundreds of times without fear of a mistake. With the card at the top, the action is more complicated, though not difficult. The pressure with thumb and fingers must be made as before. This will bring the chosen card from the top to second from the bottom. Commence the shuffle a second time, and the card will be the bottom one of those held in the right hand, the one recently beneath it having been drawn off by the fingers of the left hand. It now remains to continue shuffling vigorously until the chosen card alone remains in the right hand, which then leaves it on the top of the pack in its original position. For this shuffle, which I prefer to any other, I have to thank myself. It is utterly impossible for the eye of anyone, be he the most practised conjuror, to follow the positions of the one card, even supposing that an opportunity for minute investigation were allowed, which it scarcely would be during a performance. When exhibiting before a select company of extra sharp people who have vague notions of false shuffles and passes, it is sometimes advisable to bring the chosen card to the top, with one card or more above it. You can then say, "Now, it is utterly impossible for me to know where the card is. You see it is neither at the bottom nor next to the bottom" (throw bottom card off), "nor is it at the top" (throw as many cards off the top as are above the chosen card). More than this the spectators can hardly expect you to do. In the horizontal shuffle, with the card at the top, draw the card off between the first and second fingers, and put all cards which are shuffled above it between the first finger and thumb. This will form two packs, divided by the first finger. The final movement in the shuffle is the replacing the lower half on the upper; but I prefer bringing this about by means of the pass. With the card at the bottom, one has merely to shuffle the cards in the ordinary way, just taking care that the bottom card is shuffled last by itself to the top, where it may be left; or it may equally easily be shuffled to the bottom again by simply retaining it in the hand last. This is the simplest shuffle of all, but it will not deceive enlightened people. I find it an excellent method to combine two methods of shuffling. Great rapidity of action should be studied; everything, however, being practised very slowly at first, until the proper method is secured. The false shuffle is very useful in covering the pass. The pass should be made, and the shuffle at once proceeded with, without allowing a fraction of a second to elapse.

Leaving the beginner to overcome at his leisure the various difficulties connected with the mastery of single-handed passes, I will describe some tricks performed by the aid of the pass, assisted by the false shuffle alone, commencing with the most simple. Lest the reader should say, "Oh! but no person in his senses would be deceived by that simple thing," I will observe that he should endeavour to suit his audience to his skill. The learner should commence by allowing a card to be selected from the pack, which he then cuts near the centre, and requests the person who selected the card to place it upon the lower portion. He then replaces the upper portion, taking care to allow the little finger to intervene between the two, so as to be ready for the pass, which must be made on the first opportunity, and the pack handed to a spectator to hold. Now say that you will cause the card chosen to rise from the centre of the pack, where it is supposed to be, to the top, and then let the holder of the pack show that such has actually been done. By inserting the finger beneath the card before making the pass, it will be brought to the bottom of the pack, whither you can afterwards command it to go. In these instances the effect will be spoilt if any shuffling takes place; but, in most of the following, false shuffling should be resorted to, attention being called to the fact that the cards are well mingled, and that you, therefore, cannot possibly know the position of the chosen card in the pack.

To Cause a Card to Show itself on the Top of the Pack.—Bring the card to the top, and, holding the pack in the right hand, push it off with the thumb of the left hand about half an inch, and then throw the pack violently on the table or floor. The resistance of the air will cause the uppermost card (the chosen one) to turn completely over, without losing its position. The effect is very good indeed.

The Attached Card.—Bring the chosen card to the top, and give the pack to be held by one corner tolerably firmly, between the finger, and thumb. See that it is held neither too tightly nor too loosely, and then suddenly strike the cards upwards with the hand. Give a good strong blow, and all the cards, with the exception of the top one, will fly into the air, the chosen card remaining in the fingers. If the card is brought to the bottom, the cards must be struck downwards to the floor, which method certainly has the advantage of causing less litter. The effect is increased if two cards are chosen, one being brought to the top and the other to the bottom. The cards are then struck—only moderately hard in this instance—sideways, when the top and bottom cards will remain in the holder's fingers.

To Catch Two Cards in the Air, out from the Pack.—A better way with two cards is, after bringing one card to the top and one to the bottom, to take the pack firmly between your own thumb and fingers, and jerk it upwards. This will cause all the cards to fly towards the ceiling, except the top and bottom ones, in a bunch. Before the cards fall, you make a dash at them, and affect to catch the two chosen cards in the air out from the rest. This is a very finished illusion. The audience, having their eyes upon the pack, do not notice the two cards between the performer's fingers, but the dash at the pack must be made immediately.

The Congenial Aces.—Select from the pack the four aces (four cards of any other denomination would serve equally well, but aces are best for effect), and allow the pack to be thoroughly examined for the purpose of showing that there are no others contained in it. Give one ace to one person, another to a second person, and the remaining two to a third. Have the first ace placed at the top of the pack, the second at the bottom, and the third and fourth in what the audience will suppose to be the middle of the pack, but in reality between the top and bottom cards brought together by means of the pass. As you turn to the third person holding aces you pretend to open the pack in the middle, but in reality make the pass, but without bringing the two portions together again. The two remaining aces are thus innocently placed between the two already restored to the pack, which you instantly close up, whilst calling particular attention to the fact that you do so with all possible deliberation and slowness. Now command all four aces to join company in the centre of the pack. On the pack being opened, the command will be found to have been obeyed. The trick can be varied by placing a red ace in the centre and a black one on the top or bottom, and then causing them to change places by means of the pass. But the most startling change of all is when two aces of one colour are placed in the centre, and the two of the other colour, one on the top and one at the bottom, and then made to change places. The company cannot realise that this can possibly be accomplished in so brief a space of time; but it is simple enough. It should always be produced as a final effect, the performer saying, "Now I will show you something more remarkable still." He then places, say, the two red aces in the centre of the pack, and one black ace on the top and the other at the bottom. In order to convince the company thoroughly that things are as stated, the pack is turned over and opened slightly, fanwise. In showing the cards thus, it will be very easy to insert the little finger between the two red aces unperceived, and the double-handed pass is made in the act of turning the pack over. It is instantly placed in the hands of one of the company, who may be asked to blow upon it, or to perform any other operation equally unlikely to bring about any magical change, and then the cards can be examined without the performer approaching them again. But, in such cases, much depends upon how the pack is examined, and it should always be done under the performer's directions. For instance, he would say, "On the top was a black ace; will you please look at the top card now?—you will see that it is a red one. At the bottom was also a black ace; turn the pack over, please, and you will find a red one there also. In the centre were two red aces; kindly look there, and you will find the black ones." By this means, the whole of the company are informed of what has taken place, which would only be unsatisfactorily done if it were left in the hands of the temporary holder of the cards, who only thinks of satisfying his own curiosity.

The single-handed pass ([Fig. 28], &c.) may be employed in this trick to great advantage, whenever it is required to bring cards from the outsides to the centre. Where cards, already in the centre, have to be brought to the top or bottom, the insertion of the little finger is necessary, and so the double-handed pass has to be employed. In such cases, the employment of the pass depicted at [Fig. 33] would be possible; but the performer would have to execute it in a more masterly manner than I have yet seen exhibited. For the first phase described, the single-handed pass ([Fig. 28], &c.) is perfect. Two aces are placed, one at the top and the other at the bottom of the pack, and as the performer turns to the holder of the two others, he executes the pass, leaving the cards open, precisely as depicted at [Fig. 30], turning the hand slightly downwards, so that the ace in the middle shall not be visible. It then appears to the spectators as if he had merely opened the cards slightly; and, when the two aces are inserted, the top half is allowed to fall to, and the pack given there and then into the hands of one of the audience.

The Reversed Card.—This is not at all a bad termination to a trick. Bring the chosen card to the top, and then pass it to the bottom with the two-handed slip pass previously described; but, in passing, cause it to turn upside down. This, it will be found on trial, is very easily managed by keeping the face of the card always against the pack. Now make the ordinary pass, and so bring the card to the middle, and then throw the pack along the table, when the chosen card will appear in the middle, face upwards. If you like, you may ask the audience whether the pack shall be reversed and the chosen card found face downwards, or vice versâ. It does not matter which is selected, as it is only necessary to turn the pack over before spreading it out, in order to bring about a reversal of affairs.

The Travelling Card.—By attaching a hair to a waistcoat button, and affixing the other end, by means of a tiny bead of wax, unperceived, to the chosen card, it can be made to walk out of the pack at the performer's command by a slight motion of the body. The cards should be spread face upwards upon the table, and the effect of one card disengaging itself from the rest is a very comical one. The waxed end of the hair should be held in a finger nail, so as to be at hand. Another method is to bring the card to the top, and then, holding the pack upright in one hand, with the faces of the cards towards the audience, pretend to pluck a hair from the head, and then to wind it rapidly round the pack with the disengaged hand. Pretend to pull at the imaginary hair, and, with the first and second fingers of the hand which holds the cards, work up the chosen card from the back. The effect is very comical. Two or three cards, selected by different people, may be treated in the same manner, when it is as well to come forward, after the first card has risen, and, making the pass, show that the chosen cards are not on the top. Before continuing, the pass must be again made to bring the cards back, the little finger having, of course, all the while divided the two halves of the pack. The trick should be practised before a looking-glass to ensure that the working of the fingers is not observed. It will be found necessary to allow the cards to well cover the finger roots. The performer should stand well away from the audience, and be certain that no one has a side view of his hand.

The Lady's Own Trick.—Say that you have now done quite sufficient yourself, and think it time someone else had a turn. Bring the card to any portion of the pack you please, so long as you know where it is. Take sixteen cards from various portions of the pack (you may have them selected if you please), taking care that the chosen card is included in the number, and arrange them in four divisions. Now, say that this trick must be done solely by a lady, and, giving your wand to one of the fair sex, ask her to point to any two divisions. The exact words you will use are, "Kindly tell me which two divisions I shall take." The word "take" is intentionally ambiguous, as, if one of the two divisions pointed at contains the chosen card, on which you are, of course, keeping a sharp eye, you will understand it to mean that you are to take those two and continue with them. If, on the other hand, they do not contain the card, you will assume that they are to be removed, and throw them aside accordingly. Two divisions will now remain, and you ask the lady to point to one of them, using the words, "Now, which do you prefer of the two?" This is, again, ambiguous, and you can do as you wish about taking or leaving the division pointed at. Four cards now remain, and you ask that two of them shall be selected, and, on two cards remaining, you repeat the request. If the chosen card is then pointed at, you allow it to be taken up; if the other, remove it, leaving the chosen card to be picked up by the chooser. You must endeavour to impress spectators with the idea that it is all sleight-of-hand, and never do it twice. Some tricks (not very many, though) will bear repetition, although it should always be avoided if possible. If there is no help for it, endeavour to vary the method as much as possible.

Fig. 35.

Another very rapid single-handed pass is depicted at [Fig. 35]. As it is only useful for passing one or more cards from the top to the bottom, or, rather, from back to front, it is not in general use, but forms almost a separate trick by itself. The cards, which should not exceed twelve or fifteen in number, should be held at the top corners by the first finger and thumb, and the third finger inserted beneath the card to be brought to the front. This card is then, by means of the middle, third, and little fingers, which hold it, brought from behind and passed round the others, care being taken to bring all together evenly. In executing this pass, the pack is first held up with the faces of the cards towards the audience, and is then turned downwards for a moment. When the pack is again held up, it is seen that the front card (the bottom one) has changed. The trick can be thus worked: Place secretly at the back of the pack three of any denomination of card, say, the fours. At the front, place the other four, which suppose to be the four of clubs, and request one of the audience to say into which other suite the card shall change. You will know the order in which the three fours at the back are placed, so you will only have to place the third finger beneath the one named and pass it to the front. If it is the actual top card, you will bring it forward alone; but if it is the second or third, those above it must come forward as well. As this pass cannot be effected without noise, it is always best to pretend to pass the card chosen as the one into which the original four is to change from some cards held in the other hand. Ruffle these cards with the thumb and say, "Did you not hear it go?" The slight noise heard will be accounted for by the cards passing from one pack to the other. If a duplicate four of clubs is held at the bottom of the second pack, it can be exhibited as the one changed in the other pack. But the best trick performed by means of this pass is by the aid of two duplicate cards, say, the knave of clubs and the ace of hearts. A pack must be held in each hand. At the top of the right-hand pack put the ace, and at the bottom the knave. At the top of the left-hand pack put the knave, and at the bottom the ace. The cards at the top are placed there secretly; those at the bottom openly before the audience. Hold the faces of the packs towards the audience, and, calling particular attention to the positions of the cards, say that you will make them change places. Turn the packs face downwards, with a flourish, executing the pass with both hands, saying, "Presto! pass. Did you not see them go?" On holding the cards up again, it will be seen that the knave has gone over to the left-hand pack, and the ace to the right-hand one. This is very effective indeed.

The Change.

This, as a sleight-of-hand feat with cards, takes precedence, for bare-faced daring, of, perhaps, any other. It consists in deliberately exchanging a card held in one hand for another in the pack held in the other hand, and this in full view of the audience. Such a feat may appear at first sight impossible, but, with a little attention and practice, it will become as easy as any other, although it will always demand some care and address in execution. There are various methods by means of which the change is effected, of which the following three are perhaps the best. For simplification of description we will suppose that the ace of diamonds is to be exchanged for the ace of clubs.

First method: Hold the pack, with the ace of clubs on the top, in the left hand, between the first finger and thumb. The other fingers should be so disposed under the pack as to leave a space between the first and middle fingers. This space, is for the reception of the card to be exchanged, in this instance the ace of diamonds, which is held between the first and middle finger of the right hand. To effect the change, bring the hands momentarily together, and place the ace of diamonds between the first and middle fingers of the left hand; the thumb and first finger of the right hand taking, at the same time, the ace of clubs from off the top of the pack. Just before executing the change, the thumb of the left hand should push the ace of clubs slightly off the pack, so that it may be in a favourable position for the finger and thumb of the right hand to seize. The action must, of course, be instantaneous and unaccompanied by the slightest hesitation or bungling. There must also be an auxiliary movement of the body from right to left, without which it is exceedingly difficult, if not impossible, to execute the change unperceived. The left hand must also be taken away from the other, at the same moment, the feat being practised until it can be accomplished in one movement, the hands not dwelling together for the most infinitesimal period of time. The learner should first practise by saying to himself, "Now here I have the ace of diamonds, and, by simply rubbing it on this table" (here give the body a half turn from right to left, and execute change), "I will transform it into the ace of clubs." This form of address should be used when exhibiting the change in this its most simple form before spectators. The chief principle to be engrafted on the mind is, that the first half of the change is performed with the right hand and the second half with the left—the two movements being interwoven, as it were, with the body swing. On no account must the hands be brought suddenly together and then parted as if something had been snatched away. This method is the one in general use, and, for ordinary purposes, I can scarcely recommend any other. By its means, it is as easy to exchange two, three, or more cards for others as a single card. The cut ([Fig. 36]) illustrating this change shows the two hands in actual contact. It will be seen that the actions of leaving the one card and taking the other are simultaneous.

Fig. 36.

Fig. 37.

Second Method: By the first method it will be seen that the card first shown is left, after the change, at the bottom of the pack. This result is not always desirable. When the cards have to be, as is sometimes the case, changed back into their former positions, the card must be left at the top at each change. In this instance, the ace of diamonds must be held between the thumb and first finger of the right hand; the ace of clubs being, as before, at the top of the pack, and slightly pushed off by means of the thumb. On the hands being brought momentarily together, the ace of clubs is seized between the first and middle fingers of the right hand, the ace of diamonds being left on the top of the pack. The thumb of the left hand is utilised in detaining the ace of diamonds, which, without its use, would probably fall on the floor. The first finger of the left hand must be kept well out of the way, or it will interfere with the smooth passage of the cards. [Fig. 37] represents this change just as the hands are brought together. Noise is more likely to be made by this change than by the preceding one, so care must be taken to avoid it as much as possible. The "three card trick," so much in vogue amongst card-sharpers in wheedling money out of the pockets of greenhorns, becomes very amusing when worked by means of this change. The usual shifting about of the cards upon the table must be executed in the most childishly simple manner, which will not much matter, as you will take care to speedily change the card to be found, for one on the top of the pack. When the spectators have amused themselves for some time in endeavouring to find out a card which is not there at all, you will change it back again.