CHAPTER XVI.

MISCELLANEOUS TRICKS.

Under this head we propose to describe such tricks as do not come within either of the preceding categories. We shall make no attempt at classifying them, save that we shall, as far as practicable, describe the best known and simplest feats first, and thence proceed to the more complicated. Stage tricks, _i.e._, tricks adapted to the stage only, will be treated in the Chapter next following. We will begin with

THE CUT STRING RESTORED.--This is a trick of such venerable antiquity, that we should not have ventured to allude to it, were it not that the mode of working which we are about to describe, though old in principle, is new in detail, and much superior in neatness to the generally known methods.

After having offered the string, which should be about four feet in length, for examination, the performer takes the ends (pointing upwards) between the first and second finger and thumb of the left hand, and the first finger and thumb of the right hand, letting the remainder of the string hang down in a loop between them. Now bringing the right hand close to the left, he draws that portion of the string which is held in the right hand towards himself between the first and second fingers of the left hand (thus crossing at right angles that end of the cord which is held in the left hand), continuing to pull until half the length of the string has passed the left hand, and at the same time slipping the third finger of the left hand between the two parts of the string, which will thus be as shown in Fig. 152, in which, for convenience of reference, the three lines in which the string now hangs are marked _a_, _b_, and _c_, and one-half of the string is shown black, and the other half white, though of course there would be no such difference of colour in the original.[L] The first finger and thumb of the right hand, still retaining the end which they already hold, seize the portion _b_ at the point marked with that letter, the third finger of the left hand at the same time drawing back the portion _a_ towards the palm of the hand. The string will thus be brought into the position shown in Figs. 153 and 154, (in the latter of which, for the sake of clearness, the thumbs are made transparent), the part now held horizontally between the two hands, which appears to be the middle of the string, really being only the immediate continuation of the end held in the left hand. The whole operation of arranging the string in proper position, though tedious to describe, does not take half a second in practice.

[L] It should be mentioned that, in order to economize space in the diagrams, the actual length of the string is represented as much shortened.

The performer next requests some person to cut the string, thus arranged, in half, and this being (apparently) done, he transfers the string altogether to the right hand, keeping the point of junction of the crossed pieces hidden between the finger and thumb. (_See_ Fig. 155.) He now gives either end to some one to hold, and, placing his open left hand near to the end thus held, winds the string rapidly round it, sliding off as he does so the short piece, which, as soon as it is clear of the longer portion, he presses with his thumb between the second and third fingers of the same hand. On again unwinding the string from the left hand, it is found apparently whole as at first.

The principle of the trick being very generally known, you will frequently find some one of the audience proclaim his acquaintance with it, and declare that you have merely cut a short piece off the end of the string. “Pardon me,” you reply, “my dear sir; that method of performing the trick has long since been exploded. I will at once show you that I do not make use of any such shabby expedient. Of course, if a piece was, as you suggest, cut off the end, the string would be that much shorter after the operation. Will some one be kind enough to measure it?” While this is being done, you secretly double in a loop the little piece which was cut off on the former occasion, and which has still remained in your right hand. When the string is returned to you, you double it in half, and allow it to hang down between the first finger and thumb of the right hand, drawing up immediately above it the little loop you have just formed. (_See_ Fig. 156.) You now ask some one again to cut the string, which he apparently does, in reality merely dividing the little loop. You go through any magical gesticulations you please, and ultimately again conceal the cut ends between the fingers, and produce the string once more restored. On being measured, it is found to have lost nothing of its length.

The trick in this second form being performed by wholly different means, the repetition will puzzle even those who knew, or believed they knew, the _modus operandi_ in the first case.

MY GRANDMOTHER’S NECKLACE.--The trick which bears this title is also a very old one, but is little known in the improved form we are about to describe. In its older shape it is performed with three perforated wooden balls or beads, threaded on a couple of tapes, whose ends are held securely by two of the spectators. The problem is to detach the beads without breaking the tapes, and this is effected as follows:--The tapes, which should be from four to six feet in length, are beforehand doubled in the middle, and slightly joined at the bend of each with fine cotton or silk of the same colour. The tapes are thus really middle to middle, though to a casual observer they appear to be merely laid side by side. The performer comes forward with the tapes, thus prepared, thrown over his left arm (taking care that the point of junction shall be on the side towards his body, and therefore concealed), and with the beads in his hands. These latter, which are mere wooden balls, from one to two inches in diameter, perforated so as to freely admit the tapes, he hands for examination. When they are returned, he threads them one after another upon the tapes, holding the latter in a loop, so that the balls may sink down to the middle, and so cover the point of junction. He next requests two of the company to come forward and hold the tapes, and hands two ends to the one and two to the other. Each person believes that he holds one end of each tape, though, in reality, each has both ends of the same tape. The performer now takes from each one of the ends which he holds, and crossing the tapes in the manner shown in Fig. 157, gives to each the end which the other previously held. Holding a hat below the balls, he requests each person to pull smartly at the word “three.” The word of command is given, “One, two, Three!” and the thread breaking, the balls fall into the hat, though the ends of the tapes still remain in the hands of the holders.

The improvement to which we have alluded consists in the use of _six_ balls, three red and three black. The red balls having been first threaded on the tapes, and the two ends having been crossed and returned to the holders in manner already described, the black balls are in turn threaded on the tapes at either end, and the performer, holding the hat beneath, and addressing one of the persons who hold the tapes, says, “Which will you have, sir, the red balls or the black?” Whichever the answer, the result is the same, for the red balls only can come off the tapes, the black remaining still upon them; but in either case the performer is able to satisfy the choice which has been made. If the red balls have been chosen, he says on their falling, “You chose the red, I think. You see that your commands are at once obeyed.” If, on the other hand, the black are chosen, the performer says, “You prefer the black? Then _I_ will take the red,” which he does accordingly. The audience, having heard the choice freely offered, and not being aware of the subterfuge by which the implied undertaking is fulfilled, naturally believe that the performer was able to take off or leave on the tape whichever group of balls he pleased.

THE “BONUS GENIUS,” OR VANISHING DOLL.--While upon the subject of old-fashioned tricks, we may briefly notice that known under the name of the Bonus Genius, which has puzzled many generations of our forefathers, and, though now rarely exhibited by professional performers, is still a great favourite with juvenile audiences. The Bonus Genius is a little wooden figure of a man, four to six inches in height, and more or less grotesque in colour and design. A little cloak, made small above and full below, like the skirt of a doll’s dress, and with no opening save where the head of the figure passes through, completes the apparatus. There are, however, two points about the doll and his cloak which are unknown to the spectators. First, the head of the doll is moveable, a wooden peg forming the neck, and fitting, somewhat tightly, into a corresponding hole in the body; secondly, there is stitched on the inside of the cloak, just below the opening for the neck, a little pocket, of the description known among tailors as a “patch” pocket, and of such a size as to contain the head easily. The performer, holding up the figure, and introducing it to the company as his flying messenger, warranted to outstrip the electric telegraph, covers it with the cloak, so that nothing but the head is seen. Grasping the figure under the cloak with his right hand, the performer holds a burlesque conversation with him, finally entrusting him with a message to be immediately delivered to the President of the United States, the Shah, or any other individual at a distance. The figure does not move. “Well, sir, are you not going?” asks the performer. The figure shakes his head from side to side, an effect easily produced by turning the body backwards and forwards under the cloak. “You won’t, eh? Why not, I should like to know? Oh! I see what you mean. I haven’t given you your travelling expenses.” As he says the last words, he grasps the figure and cloak from the outside round the neck with the left hand, and draws away the right from beneath the cloak, secretly carrying with it the body, and putting his hand in his pocket, as though in search of money. He leaves the body of the figure in his pocket, and brings out the hand again empty, but in the position of holding a coin between the finger and thumb. “There, sir,” he says, “there is a shilling for you,” making the gesture of giving it. “You don’t see the coin, ladies and gentlemen; but the fact is, what I have just given him is fairy money; the weight of the ordinary coinage would interfere with the rapidity of his flight. Now, sir, make haste; you have nothing to wait for now.”

The performer has, meanwhile, again put the right hand under the cloak, and with two fingers holds the little pocket open for the reception of the head. As he says the last words, he gives the head a sharp downward rap with the fingers of the left hand, and lets it fall into the little pocket, the effect being as if the figure had suddenly vanished. The performer shakes the cloak, and turns it inside out to show that it is empty, taking care always to grasp it by that part which contains the head, when all other portions of the cloak may be shown freely; and as the audience are not aware that the figure is divisible, and supposing it to be indivisible, it would be clearly much too large to be concealed in the closed hand, there is nothing to lead them to guess the secret. If it is desired to make the doll reappear, the head is pushed up again through the opening of the cloak, the hand beneath supporting it by the peg which forms the neck, and it may thus be made to vanish and return any number of times.

With tolerable skill in “palming,” the little pocket may be dispensed with, the head being simply held in the hand. This mode of working is, in our own opinion, to be preferred, as the cloak may then be handed for examination without giving even the infinitesimal clue which the pocket might suggest. Some performers, to still further hoodwink the spectators, make use of two figures--the first, which is handed round for inspection, being solid, and being afterwards secretly changed for its counterpart with the moveable head. Others again use only one figure, which is solid throughout, but are provided with a separate head (whose existence is, of course, not suspected by the spectators), and having handed round the solid figure for examination, conceal this, and work the trick with the head only.

THE DANCING SAILOR.--The Dancing Sailor is a figure cut out of cardboard, eight or nine inches in height, and with its arms and legs cut out separately, and attached to the trunk with thread in such a manner as to hang perfectly free. The mode of exhibiting it is as follows:--The performer, taking a seat facing the company, with his legs slightly apart, places the figure on the ground between them. As might be expected, it falls flat and lifeless, but after a few mesmeric passes it is induced to stand upright, though without visible support, and on a lively piece of music being played, dances to it, keeping time, and ceasing as soon as the music ceases.

The secret lies in the fact that, from leg to leg of the performer, at about the height of the figure from the ground, is fixed (generally by means of a couple of bent pins), a fine black silk thread, of eighteen or twenty inches in length. This allows him to move about without any hindrance. On each side of the head of the figure is a little slanting cut, tending in a perpendicular direction, and about half an inch in length. The divided portions of the cardboard are bent back a little, thus forming two “hooks,” so to speak, at the sides of the head. When the performer takes his seat as before mentioned, the separation of his legs draws the silk comparatively taut, though, against a moderately dark background, it remains wholly invisible. When he first places the figure on the ground, he does so simply, and the figure naturally falls. He makes a few sham mesmeric passes over it, but still it falls. At the third or fourth attempt, however, he places it so that the little hooks already mentioned just catch the thread (_see_ Fig. 158, showing the arrangement of the head), and the figure is thus kept upright. When the music commences, the smallest motion, or pretence of keeping time with the feet, is enough to start the sailor in a vigorous hornpipe.

THE BOTTLE IMPS.--These are miniature black bottles, about two inches in height, with rounded bottoms, and so weighted that, like “tumbler” dolls, they rise of their own accord to the perpendicular, and will not rest in any other position. The proprietor, however, has a charm by which he is able to conquer their obstinate uprightness. For him, and for him only, they will consent to be laid down, and even to stand at an angle of 45°, though they again rebel if any other person attempts to make them do the same.

The little bottles are made of _papier maché_, or some other very light material, varnished black, the bottom of each being a half bullet, spherical side downwards. The centre of gravity is therefore at the bottom of the bottle, which is thus compelled always to stand upright. The performer, however, is provided with one or two little pieces of iron wire, of such a size and length as just to slip easily into the bottle. One of these being held concealed between the finger and thumb, it is a very easy matter, in picking up the bottle, to slip it in, and this slight additional weight neutralizing the effect of the half bullet at the foot, causes the bottle to lie still in any position. Having shown that the bottle is obedient to the word of command, the performer again picks it up with the neck between the first and second fingers and thumb, carelessly turning it bottom upwards, and thus allowing the bit of wire to slip out again into the palm of his hand, when he is able to again tender the bottle for experiment. Partaking of the nature of a puzzle as well as a conjuring trick, this little toy has amused thousands, and if neatly manipulated, may be repeatedly exhibited, even before the same spectators, with little fear of detection.

THE VANISHING GLOVES.--This is a capital trick with which to commence an entertainment; when coming, as it should do, unannounced, and before the performance proper has commenced, it has an air of improvisation which greatly enhances its effect, and at once awakens the attention of the audience.

The performer comes forward in full evening dress. While saying a few words by way of introduction to his entertainment, he begins to take off his gloves, commencing with that on his right hand. As soon as it is fairly off, he takes it in the right hand, waves the hand with a careless gesture, and the glove is gone. He begins to take off the other, walking as he does so behind his table, whereon his wand is laid. The left hand glove being removed, is rolled up into a ball, and transferred from the right hand to the left, which is immediately closed. The right hand picks up the wand, and with it touches the left, which being slowly opened, the second glove is found to have also disappeared.

The disappearance of the first glove is effected by means of a piece of cord elastic, attached to the back of the waistcoat, and thence passing down the sleeve. This should be of such a length as to allow the glove to be drawn down and put on the hand, and yet to pull it smartly up the sleeve and out of sight when released. It is desirable to have a hem round the wrist of the glove, and to pass the elastic through this like the cord of a bag, as it thereby draws the wrist portion of the glove together, and causes it to offer less hindrance to its passage up the sleeve. Upon taking off the glove, the performer retains it in his hand, and lets it go when he pleases. He must, however, take care to straighten his arm before letting it slip, as otherwise the elastic will remain comparatively slack, and the glove will, instead of disappearing with a flash, dangle ignominiously from the coat-cuff.

The left hand glove is got rid of by palming. The performer, standing behind his table as already mentioned, rolling the glove between his hands, and quickly twisting the fingers inside, so as to bring it into more manageable form, pretends to place it in his left hand, but really palms it in his right. He now lowers the right hand to pick up his wand, and as the hand reaches the table, drops the glove on the _servante_. He now touches the left hand with the wand, in due course opening the hand and showing that the glove has departed.

Some performers vanish both gloves by means of elastic, one up the right sleeve, the other up the left, but in doing so they offend against one of the cardinal precepts of the art, viz., never to perform the same trick twice in succession by the same means. The audience having seen the manner of the first disappearance, are all on the alert, and are not unlikely on the second occasion to guess the means employed. If, on the other hand, the performer adopts the plan indicated above, the two modes of producing the effect being different, each renders it more difficult to discover the secret of the other.

THE EGG-BAG.--This is a very old-fashioned trick, but, if performed with address, is by no means ineffective. It was exhibited in a modified form by the Japanese jugglers who visited London a few years ago. We shall first describe it in the simple form adopted by them, and shall then proceed to explain the older and more elaborate version.

The Japanese egg-bag is about eight inches in depth and six in breadth, and made of alpaca, tammy, or some similar opaque material. Its only peculiarity is that one of its sides is double, the stuff being folded down inwards from the mouth of the bag to about two-thirds of its depth, and stitched at the sides, but left open at its lower edge. The effect of this arrangement is to make a sort of pocket, mouth downwards, inside the bag. If any small article, such as an egg, be placed within the bag, and the bag be turned upside down, the article will not fall out, but will fall into the pocket, which, in the reversed position of the bag, will be mouth upwards. This will enable you to conceal the presence of any article in the bag, as you may turn it upside down, and even inside out, without any fear of the article falling; and so long as you take care to keep the “pocket” side of the bag towards yourself, the spectators have not the least reason for suspecting that the bag is otherwise than empty. The uses to which this little bag may be put are various. Amongst others, it is available either to produce or cause the disappearance of an egg, and may thus, in combination with other apparatus, be made useful for many tricks. We shall content ourselves with describing one only of the modes of using it.

The performer comes forward, having in his hand the bag, in which is beforehand placed a small egg. He turns the bag upside down and inside out, thus proving, to all appearance, that it is perfectly empty. Holding the bag for a moment with his teeth, he pulls back his coat cuffs, to prove that he has nothing concealed in that quarter, taking care as he does so to show clearly that his hands are empty. Taking the bag in his left hand, and imitating (if he can) the clucking of a hen, he dips his right hand into it, and produces an egg (or rather _the_ egg). This he places in his mouth, letting all see that he does so, then making a gesture of swallowing, he again dips his hand in the bag, and produces a second egg, of which he disposes in the same way, repeating the operation until a dozen or more have been apparently produced and swallowed. With the reader’s present knowledge, it is hardly necessary to suggest to him that the egg, though fairly placed in the mouth, is, under cover of the hand, instantly pushed out again with the tongue, and palmed, rendering it a very simple matter to produce (apparently) another egg from the bag. Although so absurdly simple, the trick is effective, and if neatly performed, produces a complete illusion.

The bag which is more generally known as the “egg-bag” is a much larger affair, measuring eighteen to twenty inches in width, by fourteen or fifteen in depth. In its most approved form, one side of the bag is made double, the double side being stitched all round, save for about four inches at one corner of the bottom of the bag. The little opening thus left affords therefore the sole access to the space between the double sides. Between these double sides, and immediately below their upper edge, is stitched a broad band, with a row of a dozen or more little pockets, each capable of holding an egg, end upwards. Each pocket covers about two-thirds of the egg, which is prevented from falling out spontaneously by a little piece of elastic round the edge of the pocket, though it will slip out and fall into the space between the double sides on the slightest pressure being applied to it.

The bag is prepared for use by placing an egg in each of the little pockets we have mentioned. The eggs used are either blown shells or imitation eggs of wood or tin, with one real one for the performer to break as a specimen, and so lead the audience to the belief that all are equally genuine. The bag being brought forward is turned upside down--of course nothing falling from it. The performer then, thrusting his arms down to the bottom, and seizing the bag by the corners inside, turns it inside out, taking care, however, to keep the double side towards himself. Having thus conclusively proved its emptiness, he again brings back the bag to its normal condition, and in the act of doing so, squeezes with his finger and thumb (through the stuff) the genuine egg out of its pocket. It falls into the space between the double sides, and by gently sloping the bag downwards in the direction of the opening at the corner, he brings the egg into the outer bag, whence he produces it, and breaks it to show its genuineness, as already mentioned. Again he turns the bag inside out, shaking and twisting it, and again produces an egg from it as before, repeating the operation until the supply of eggs is exhausted. Sometimes he varies his proceedings by trampling or jumping on the bag, which he lays for that purpose on the floor, with its lower edge towards the audience. The eggs are thus on the side remote from the spectators, and in trampling on the bag it is very easy for the performer to avoid the particular line in which he knows them to be.

It was formerly the fashion, after bringing out a number of eggs as above described, to finish by producing the hen which is supposed to have laid them. This was done by an adroit exchange of the bag just used for another containing a hen, hung in readiness behind a chair, or some other convenient cover. This latter bag having no double side, or other preparation, might safely be abandoned to the inspection of the most curious spectator. Where it is not intended to produce the bird, it will still be well to have the second bag, so as to be able to make an exchange, and to hand the bag for inspection.

It is a great improvement to the egg-bag to have the lower portion, say the last three inches of its depth, made of network, so that the spectators can at once see each egg as it falls to the bottom of the bag. It is hardly necessary to observe that in this case the inner lining of the double side must terminate where the network commences.

TO PRODUCE EGGS FROM A PERSON’S MOUTH.--While upon the subject of eggs, we may notice this, though it has always appeared to us a rather disagreeable trick. It is rarely exhibited as a separate feat, but generally as a prelude to some other illusion, for the performance of which three or four eggs are necessary.

The performer, requiring eggs, sends his assistant to fetch a plate. On his return, he places him, holding the plate with both hands in front of him, facing the company. The performer standing beside him, and gently patting him on the head, an egg is seen to appear between his lips. This is taken from him, and placed on the plate. The performer, passing behind him, now stands on his other side, and again patting his head, another egg is produced in like manner. This is repeated until the requisite number of eggs is procured, the assistant, as each fresh one is produced, simulating increasing difficulty, as though the eggs were forced up from the stomach by a powerful muscular effort.

This effect is produced as follows: We will suppose that five eggs are to be produced. One is placed beforehand in the mouth of the assistant, and four more are placed in the _pochettes_, or tucked under the waistband of the performer, two on each side. Having placed his assistant in position, the performer secretly takes one of these latter into his right hand, and palms it. Patting the assistant on the head with his left hand, he waits until the egg appears between the teeth, and immediately on its appearance, raises his right hand as if to receive it, thus bringing up the palmed egg opposite the mouth, while the egg that is already in the mouth slips back, under cover of the hand, out of sight. The palmed egg is laid on the plate, and the performer, in the act of passing behind his assistant, palms a second egg in his left hand. The same pantomime is again gone through, save that in this case the right hand pats the head, and the left hand is held to the mouth to receive the egg. After four eggs have been produced in this manner, the fifth, which has been all along in the mouth, is produced apparently in like manner, but the performer takes care that in this instance it shall be seen beyond a doubt that the egg really does come from the mouth; which being manifestly the case in this instance, the audience are pretty sure to jump to the conclusion that all were produced in an equally _bonâ fide_ manner.

THE PILLARS OF SOLOMON, AND THE MAGIC BRADAWL.--There is a very old-fashioned apparatus, sometimes called the Pillars of Solomon, for apparently uniting a piece of cut string. It consists of two slips of wood, each about four inches in length by five-eighths of an inch square, laid side by side. At about an inch from one end of each, a transverse hole is bored, and through this, passing through both slips, a string is passed, and may be drawn backwards and forwards from side to side. (_See_ Fig. 159.) The apparatus having been shown in this condition, the performer passes a knife between the two slips, thus apparently dividing the string; but the string is notwithstanding still drawn backward and forwards through the holes, as sound as ever.

The secret lies in the fact that the string does not, in reality, go straight through the two slips of wood from side to side. A glance at Fig. 160 will enlighten the reader as to its real course. Instead of passing straight through from _a_ to _d_, as it appears to do when the two pillars are laid side by side (which is the condition in which they are first exhibited to the spectators), it passes down the length of the first pillar from _a_ to _b_, out at _b_, and into the second pillar at _c_, whence it passes upwards, and emerges at _d_. The passing of the knife between the two points _a_ and _d_ does not therefore affect the string in the least.

It is obvious that in this form of the apparatus the two pillars, being joined by the cords at the points _b c_, cannot be completely separated, and the fact of their always being kept close together at the lower end is quite sufficient to betray to an acute observer the principle of the trick. There is, however, an improved form of the same apparatus, in which, after the apparent cutting of the cord, the two pillars are held wide apart, one in each hand of the performer, and yet, when they are again placed side by side, the string runs backwards and forwards merrily as ever. The pillars are, in this instance, of the form shown in Fig. 161. They are about six inches in length, of light and elegant shape, having at each end a ball or knob of about an inch and a quarter in diameter, flattened on one face to allow of the pillars being laid closely side by side. The cord, as in the former case, passes down the first pillar from _a_ to _b_, but instead of passing out at _b_, it is rolled round a little pulley working in the lower knob of that pillar. (_See_ Fig. 162, which gives a sectional view of the lower portion of each pillar.) A similar cord is passed down from _d_ in the second pillar to _c_, and is there rolled round a second pulley, but in the opposite direction to that of the first cord; so that, if both pulleys move in the same direction, the cord on the one will be wound, and the cord on the other unwound. Each pulley is of one piece with its axis, the axis of the one terminating in a little square tenon or nut, and that of the other in a corresponding mortice or hollow, so that when the two pillars are placed side by side, their axes fit the one into the other, and whichever of the two pulleys is set in motion, the like movement is communicated to the other. The effect of this is as follows: If the cord at _a_ be pulled, it unwinds that portion of the cord which is wound on the pulley at _b_, and by the same movement winds up the cord on the other pulley; and _vice versâ_. We have omitted to mention that there is glued into a little hole on the flat side of each of the upper knobs, exactly opposite the points _a_ and _b_, a very minute piece, say an eighth of an inch in length, of similar cord; these greatly heightening the appearance of reality upon the apparent cutting of the cord.

The pillars are brought forward side by side, the nut of the one pulley fitting strictly into the hollow of the other. The performer shows, by drawing the cord backwards and forwards, that it fairly traverses the two pillars from side to side. Taking a knife, he passes it between the two pillars, and to all appearance cuts the cord, immediately taking the pillars one in each hand, and showing the cut ends (really the short bits on the inside) to prove that it is fairly cut through. Again bringing the pillars together, taking care that the mortice and the nut correspond as before, he commands the cord to be restored, and again pulls it backwards and forwards as at first.

Some little fun may be created by placing the upper knobs of the pillars pincer-fashion, one on each side of a person’s nose, the cord being thus apparently made to run right through the nose. An air of greater probability may be given to this curious effect by first piercing the nose with the magic bradawl. This is in appearance an ordinary bradawl, but the blade is so arranged as to recede into the handle on the slightest pressure, again reappearing (being, in fact, forced forward by a spiral spring in the handle) as soon as the pressure is removed. A duplicate bradawl of ordinary make is first handed round for examination, and the trick bradawl being adroitly substituted, the performer proceeds therewith to bore a hole through the nose of any juvenile volunteer who will submit to the operation. Holding a piece of cork on one side of the nose, he apparently thrusts the awl through the nose, the sinking of the blade into the handle exactly simulating the effect of a genuine perforation. (Some performers make use of a sponge moistened with some liquid resembling blood, which by a little pressure is made to trickle down from the imaginary wound; but this is a piece of realism which we think is better omitted.) The nose being thus apparently pierced, the imagination of the spectators is in a measure prepared to accept the phenomenon of the restored cord running through it as already described.

THE MAGIC COFFERS.--These are round tin boxes, japanned to taste, and made generally about five inches in depth by three in diameter, though they are sometimes larger. (_See_ Fig. 163.) The only speciality about them is a moveable portion _a_, which may either be removed with the lid or left upon the box, according as the lid is lifted with or without lateral pressure. This moveable portion is bottomed with a grating of parallel wires, an eighth of an inch apart. The coffers are generally worked in pairs, the effect produced by them being the apparent transmission of the contents of the one to the other, and _vice versâ_. They may be worked with various articles. For our present purpose we will suppose that the performer desires to change white haricot beans to coffee-berries, both of which suit the apparatus very well. He beforehand fills the one coffer with beans, and the moveable compartment belonging to it with coffee-berries, doing exactly the reverse as to the second coffer. The coffers are now brought forward, and the performer, removing the lids (_with_ the moveable compartments), allows the spectators to satisfy themselves that each coffer is full to the bottom, and that the contents are nothing more or less than what they appear to be. This being established, he returns to his table, and again puts the lids on the coffers, taking care that that which contains the beans shall be placed on the coffer containing the coffee-berries, and _vice versâ_. He now requests two of the younger spectators to step forward, and assist him with the trick. A couple of volunteers having been procured, they are made to salute the audience, and are then seated upon chairs at each side of the stage, each being entrusted with one of the coffers, which, that all may see, they are requested to hold with both hands above their heads. The performer, standing between them, says, “Now, young gentlemen, I must caution you to hold tight, or the electrical forces which are rapidly generating in these magic coffers will carry them clean away, and possibly you along with them. Now, first please tell me, just to start fair, which coffer is it that you have got, sir, the one with the beans, or the one with the coffee-berries?” The chances are ten to one against the _extempore_ assistants remembering which was which, and the majority of the audience will be equally uncertain. The professor pretends surprise and disappointment. “Ladies and gentlemen, you cannot possibly appreciate the beauty of these philosophical experiments unless you follow them carefully from the commencement. I will open the coffers once more.” So saying, he opens first the one coffer and then the other, taking care, however, to lift the lids only, so that the one which really contains the coffee-berries shows the layer of beans, and that which contains the beans the layer of coffee-berries. In each case he takes up a handful, and lets them flow back from his hand into the coffer, the better to impress upon the audience the contents of each, finally placing a bean in the hands of the youth who holds the supposed coffer of beans, and a berry in the hands of the holder of the supposed coffee-berries. Again closing the lids, he requests the person holding the bean to throw it into the closed coffer held by the other. The juvenile, looking foolish, replies that it can’t be done; and a similar reply is received from the youth holding the other coffer. The performer, addressing the company, asks some one else to make the attempt, but equally without success. He continues, “Gentlemen, among this large and brilliant audience not one person can be found who will undertake to throw this little bean into one of those coffers. Imagine, then, the difficulty of passing the whole of the beans which this coffer contains into the other, not dropping even one on the way, and at the same moment transferring the whole of the berries in this coffer into that which, a moment before, was full to the brim with the beans. But it must be done. Young gentlemen, will you be kind enough to repeat with me, One, two, three! At the word ‘three,’ by the way, you had better close your eyes, or they might possibly be injured by the shower of beans and berries. Are you ready, Mr. Beans? Are you ready, Mr. Berries? Now, then, One! two! _three!!!_ Did you feel them pass? I hope they did not hurt you. Now let us once more open the coffers. I have kept my word, you see--Mr. Beans has the coffee-berries, and Mr. Berries has the beans. Will you please step forward, and show the company that the coffers are, as at first, full to the very bottom.” The lids, containing the moveable compartments, he meanwhile places carelessly upon his table.

Some performers make the change more than once, and it is obvious that the contents of the coffers may be made to apparently change places any number of times. If this is done, however, the secret of the false tops is apt to be suspected; whereas, in the method above described, the audience have, as they believe, proved the coffers full to the bottom, both before and after the trick; and this greatly increases the difficulty of accounting for the transposition.

The object of having the false tops bottomed with open wirework, instead of with tin, is to be prepared for the expression of a suspicion on the part of the audience as to the existence of a false top. In such case the performer, borrowing a penknife, passes it well down through the upper layer of beans, etc., and through the wirework, thus proving (apparently) that the coffer is open to the bottom. In the trick as above described, however, the expression of such a suspicion is a very remote contingency.

The trick is sometimes performed with sweetmeats in one or both of the coffers, and in this form has an added charm for a juvenile audience, who complete the trick by swallowing that portion of the apparatus.

THE BRAN AND ORANGE TRICK.--This trick is performed with a single coffer, in appearance very similar to those used in the last trick, but slightly different in construction. The false top is, in this case, bottomed with plain tin. The bottom of the coffer is moveable, being soldered to a circular rim or shoulder of tin about a quarter of an inch in depth, over which the coffer fits pretty tightly, though the projecting edge of the bottom enables the performer to remove it without difficulty. The performer must also be provided with an ordinary oblong wooden box. Its precise dimensions are unimportant, save that it should be a good deal larger than the coffer, but about an inch or so less in height. This box is filled with bran, as also is the false top of the coffer. A couple of oranges, as much alike as possible, must also be provided. One only of these is produced to the audience, the other being beforehand placed on the _servante_ of the table.

The performer begins by placing upon the table the coffer and the box of bran. Removing the lid (with the false top), he brings forward the coffer, and shows that it is perfectly empty. In returning to his table, he loosens (though without removing) the moveable bottom, and replaces the coffer on the table. He next brings forward the box of bran, showing that there is no preparation about it, and in replacing it on the table, places it in front of the coffer, which, however, being the taller, remains visible behind it. He next introduces the orange, either palming it (from one of his _pochettes_), and magically producing it from some person’s nose or whiskers, or by the more prosaic method of having it brought in by his assistant. He now returns to his table, and, standing behind it, proceeds to fill the coffer with bran. This he does by placing the coffer upright in the box, holding it with one hand and ostentatiously pouring in bran with the other until it is full. In placing the coffer in the box, however, he takes it up quite _without_ the bottom, so that he is, in reality, only filling an open tube. Meanwhile, he secretly picks up, with his disengaged hand, the second orange from the _servante_, and places it upon the bottom, which remains behind the box. Having filled the coffer, and remarking, “Pray observe that it is quite full,” he (before removing it from the box) covers it with the lid, and then lifting it out, again places it behind the box in such manner as to go neatly over the bottom and the orange upon it. (Of course, in the act of lifting the coffer, all the contents run back again into the box.) Having now got the second orange within the coffer, and having, by a gentle pressure, again settled the bottom in its place, the performer places the coffer on a second table or a chair close in front of the audience. He then says, “I am about to order the bran with which this coffer is filled” (here he raises the lid without the false top, and the coffer therefore appears full of bran) “to pass back again into the box from which it was taken, and this orange” (here he passes behind his table, and holding up the orange, replaces it six or eight inches from the hinder edge) “to pass into the coffer in place of it. Now, first for the bran. One, two, three! Pass! Did you see it fly from the coffer into the box? You didn’t? Well, at any rate, you shall see the orange pass. I take it up _so_” (here he places his two hands round it, and rolls it on to the _servante_ in manner described at page 294, coming forward with the hands together, as though still containing it, and holding them over the coffer at a few inches’ distance), “and squeeze it smaller and smaller, in this manner, till it becomes small enough to pass right into the coffer, as you see.” Here he separates his hands, showing them empty, and immediately taking off the cover _with_ the false top, rolls out the orange, and shows that the coffer is otherwise empty.

The trick as above described is susceptible of a good many variations. If the performer uses a trap-table, the orange may be made to pass through a trap instead of being rolled off at the back of the table, though the latter method, if neatly executed, can hardly be surpassed in illusive effect. A more substantial improvement may be made by causing the bran, instead of simply disappearing as above mentioned, to reappear in some other quarter. There are many pieces of apparatus which may be used for this purpose, perhaps as good as any being the improved sweet-bag (_see_ page 248). This should be previously filled with bran, and hooked to the back of the table. The performer in this case borrows a handkerchief, which he carelessly spreads on the table, and a gentleman’s hat, which he places mouth upwards beside it. Instead of announcing that the bran will return from the coffer to the box from whence it was taken, he states that it will, at command, pass into the handkerchief which he holds, and which as he speaks he picks up, with the bag beneath it, holding it, without apparent intention, just above the hat. At the word “Pass!” he slightly turns his wrist, thereby releasing the flap of the bag, and a shower of bran is instantly seen to pour down into the hat. This little addition greatly enhances the effect of the trick.

THE RICE AND ORANGE TRICK.--In this feat rice and an orange are made to change places, but by wholly different means from those last above described.

The apparatus in this case consists of three japanned tin cones, about ten inches in height by five at the base, and each having a brass knob at the top--and an ornamental vase of tin or zinc, standing about the same height as the cones, and having a simple metal cover, or top. Of the cones (all of which are open at the bottom), two are hollow throughout, but the third has a flap or moveable partition halfway down, inclosing the upper half of the internal space. This flap works on a hinge, and is kept shut by a little catch, which is withdrawn by pressure on a little button outside the cone, when the flap drops down, and lets fall whatever has been placed in the enclosed space. (_See_ Fig. 164.) The cone is prepared for the trick by filling this space with rice, and closing the flap; and the three cones are then placed in a row on the performer’s table, the prepared one being in the middle. The vase (_see_ Fig. 165) is constructed as follows:--Its depth inside is less by about an inch than its depth outside, leaving, therefore, between its true and false bottoms, an empty space, _a_. A circular hole is cut in the inner or false bottom, but this hole, in the normal condition of the vase, is kept closed by a circular disc of metal, _b_, exactly fitting it. This disc is soldered upon an upright wire rod, passing through the foot of the apparatus, and terminating in another disc, _c_, somewhat smaller in size. Round this rod is a spiral spring, whose action tends to press it down, and thereby to keep the disc or valve normally closed, though it rises, and thereby opens the valve (as shown by the dotted lines in the figure), whenever upward pressure is applied to _c_. The face of the upper disc, _b_, is slightly concave, corresponding with the rest of the interior of the vase. The vase is prepared for the trick by placing an orange in it, and in this condition it is brought forward and placed on the table by the performer or his assistant. A small paper bag full of rice is brought in at the same time, and completes the preparations.

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

The performer begins by borrowing two hats, and places them one on the other, the mouths together, on a chair or table. He then (by palming) produces an orange from the hair or whiskers of a spectator, and places this on another table. He next brings forward and exhibits the vase, filling it as he advances with rice from the paper bag, and thus concealing the orange which is already placed therein. He calls attention to the genuineness of the rice and the simplicity of the cover, and finally putting on the latter, places the vase on the ground, or elsewhere, in view of the audience. He pretends a momentary hesitation as to where to place it, and in the slight interval during which he is making up his mind he presses up the button within the foot. This opens the valve, allowing the rice to escape into the space _a_, and leaving the orange again uncovered. The audience is, of course, unaware that such a change has taken place.

Leaving the vase for the moment, he requests the audience to choose one or other of the three cones on the table. The choice almost always falls on the middle one (which, it will be remembered, contains the concealed rice). This he places on the top of the upper hat. He next asks the audience to select one or other of the remaining cones, and places this over the orange upon the table, showing by rattling his wand within it that it is hollow throughout, and, if desired, handing round the remaining one for inspection.

At this point we hasten to anticipate an objection which will probably occur to the reader. We have said that the audience, when called upon to choose one of the three cones, _almost_ always select the middle one, and we have proceeded on the assumption that they do so. “But suppose,” says the acute reader, “that they _don’t_ choose the middle one, but select one of the end ones; the trick is spoilt, as neither of the others will produce the rice.” By no means, O acute reader! If we had requested the audience to choose which of the cones should be placed upon the hat, there might have been a little difficulty, no doubt; but we did nothing of the kind. We merely asked them to choose one of the cones. If their first choice falls on one of the end ones, we hand it round for examination, and finally place it _over the orange_. Then, standing behind the table, we ask the audience to make their choice between the two remaining cones, right or left. Whichever is chosen, we are safe; for as we have already had occasion to explain in connection with the trick of the half-crown in the orange (_see_ page 171), the right of the audience is our left, and _vice versâ_, so that by taking their reply in the sense which suits our purpose we are certain to be right. We therefore, in any case, take the cone containing the rice as being the one designated, and place this on the hat, sending round the other for inspection. As the audience have, to all appearance, been allowed perfect freedom of choice, and have actually examined two out of the three cones, they are very unlikely to suspect any preparation about the remaining one.

The trick is now all but complete. Once more the performer raises the cone placed on the hat, to show that there is nothing underneath it; and as he replaces it presses the button, thereby letting the flap fall, and the rice pour out upon the hat, though it remains still concealed by the cone. He next lifts up the cone under which is the orange, and holding the latter up, replaces it, but in again covering it with the cone, makes a feint of removing and slipping it into his pocket. Then noticing, or pretending to notice, a murmur on the part of the company, he says, “Oh, you think I took away the orange, but I assure you I did not.” The company being still incredulous, he again lifts the cone and shows the orange. “Here it is, you see, but as you are so suspicious, I won’t use the cover at all, but leave the orange here in full view on the table.” He again lays the orange on the table, but this time on what is called a “wrist trap.” Leaving it for the moment, he advances to the vase, and holding his hands together cup-fashion over it, but without touching it, he says, “I take out the rice, so, and pass it under this cover” (walking towards the cone on the hat, and making a motion of passing something into it). “Let us see whether it has passed.” He raises the cover, and the rice is seen. “Perhaps you think, as you did not see it, that I did not actually pass the rice from the vase to the cover. At any rate, you will not be able to say the same about the orange. I take it up, before your eyes, so!” He places his hands round it on the table, and at the same moment presses the lever of the trap, which opens, and lets it fall through into the table, closing again instantly. Keeping his hands together, as though containing the orange, he advances to the vase, and holding his hands over it, says, “Here is the orange which has not left your sight even for a single moment. I gently press it, so” (bringing the hands closer and closer together) “and make it smaller and smaller, till it is reduced to an invisible powder, in which state it passes into the vase.” He separates his hands, and shows them empty, and then opening the vase, rolls out the orange, and shows the vase empty, all the rice having disappeared.

The mechanism of the Wrist Trap will be explained in the next Chapter. If the performer does not possess a trap table, he can cause the orange to disappear in the manner referred to at page 337.

THE MAGIC WHISTLE.--The student will not have proceeded far in his magical experience before he meets with an often-recurring nuisance, in the person of some individual, old or young, who knows, or pretends to know, the secret of all his tricks, and whose greatest delight it is, by some _mal-à-propos_ question or suggestion, to cause the performer embarrassment. The magic whistle is specially designed to punish, and, if possible, to silence, an individual of this kind. It is of turned boxwood, and of the shape shown in Fig. 166, and yields a shrill and piercing note. The performer, bringing it forward and blowing through it, announces that this little whistle, so simple in appearance, has the singular faculty of obeying his will, and of sounding or not sounding at his command alone. The loquacious gentleman is pretty sure to question the fact, or is on some pretence selected to make trial of its truth. The performer places him directly facing the audience, and after himself once more sounding the whistle, hands it to him in order to try his skill. He blows vigorously, but in vain; not a sound can he produce, but his mouth and lips gradually become obscured with a white or black dust. He finally retires to his seat amid the laughter of the audience, and generally much less disposed to make himself prominent during the remainder of the evening.

The secret lies in the fact that there are two whistles--one is a perfectly ordinary instrument, but the other, though similar in appearance, does not sound, but is perforated round the inner side of the head (_see_ the Figure) with a number of small holes. The head unscrews, and is beforehand filled with finely powdered chalk or charcoal, which, when the whistle is blown, is forced through the holes, and settles round the mouth of the victim.

With the present knowledge of the reader, the necessary exchange of the two whistles will not be regarded as offering any difficulty.

There is a larger appliance for the same purpose in the shape of a flageolet. Another apparatus of like effect, though differing a little in detail, is called

THE MAGIC MILL.--This is a little Mill of the form shown in Fig. 167, and five or six inches in height. It is made of zinc or tin, and consists of two portions--the upper part A, and the base B (_see_ Fig. 168), the former sliding over the latter (as shown by the dotted lines in Fig. 167), and fitting easily upon it. A is hollow throughout; _a_ and _b b_ are hollow tubes open at each end, a third little tube _c_ springing at right angles from _a_. The base, B, is a hollow chamber, closed on all sides save at the openings _d_ and _e e_. This chamber is beforehand fitted with powdered chalk or charcoal; after which A is placed in position over it. If, under these circumstances, any person blows smartly through the tube _a_, the effect will vary according to the position of B within A. If B be so turned that the three holes _d_ and _e e_ correspond with the tubes _a_ and _b b_, the breath entering at _d_ will force out the contents of B through the tubes _b b_, and powder the lips of the person blowing, as in the case of the magic whistle. But if, on the contrary, B be turned ever so little to the right or left, the three openings in B no longer corresponding with the tubes, the latter will be closed, and the breath having no other outlet, will be forced upwards through the upright tube _c_, thereby setting the little vane _f_ in rapid motion. The latter is the condition in which the apparatus is brought forward by the performer. Blowing through _a_, he sets the mill in motion, and invites others to do likewise, in which, of course, they succeed without difficulty; but when the turn of the intended victim arrives, the performer gives A a slight twist round, in such manner as to bring the openings of B in correspondence with the three tubes, with the result already explained. We have omitted to mention that there is on the under surface of B a little raised point, corresponding in position with the opening _d_, so that the performer is able to tell instantly by feel whether B is or is not in the required position.

As a matter of convenience, we shall, before proceeding further with the explanation of individual tricks, describe two or three pieces of apparatus of general utility, to one or other of which we shall have frequent occasion to subsequently refer.

THE DRAWER-BOX.--This is a piece of apparatus of very frequent use in the magic art. In appearance it is an ordinary drawer, with an outer box or case of walnut or mahogany (_see_ Fig. 169), and is made of various dimensions, according to the size of the articles with which it is intended to be used, and which may range from a pack of cards to a live rabbit. Its use is to produce or to cause the disappearance of a given article; the drawer having the faculty of appearing full or empty at pleasure.

The first step towards the comprehension of the apparatus will be to completely take out the drawer, which, however, even when removed, does not at first sight indicate any speciality. On a closer examination, it will be found that the drawer is in reality double (_see_ Fig. 170), consisting of two parts, _a_ and _b_, the latter sliding backwards and forwards freely within the former, which is, in fact, a mere case or shell, open at one end. If any object, suppose an orange, be placed in _b_, and _a_ and _b_ together be placed in the outer case, it is obvious that, upon drawing out _a_, _b_ will come with it, and the orange will be seen; but if _b_ be held back, _a_ will be drawn out alone, and the apparatus will be apparently empty. For the means of retaining _a_ at pleasure, it will be necessary to examine the outer case, which will be found to have a groove or mortice cut in its under surface (_see_ Fig. 171), along which lies a spring or tongue of wood, fixed by a screw at one end, the other, or free end, being provided with a catch or stud _c_, which, upon pressure, is forced through an opening in the bottom of the outer case, and made to sink into a little hole or notch in the bottom of _b_, being again withdrawn by the action of the spring as soon as the pressure is removed. The bottom of the outer case is covered with velvet, ostensibly as a finish, but really to conceal the wooden tongue. When it is desired to draw out _a_ without _b_, the apparatus is held as shown in Fig. 171, and a gentle pressure applied by the finger through the velvet upon the free end of the wooden tongue, thus forcing the catch upwards, and keeping _b_ back. If _a_ be drawn out without this pressure, _b_ will come with it. The upper edge of _a_ is turned over all round, so that a casual observer is not likely to detect any difference in the thickness of the sides of the drawer, whether it is drawn out with or without its inner casing.

Some drawer-boxes have a different arrangement for holding back the inner drawer, consisting of a little wire bolt lying loosely in a cylindrical cavity in the hinder end of _b_, corresponding with a similar cavity in the side of the outer case. As long as the drawer-box is kept in its normal position, this pin offers no obstacle to the withdrawal of _b_ with _a_; but if the box be turned over on the side in which is the bolt, the latter drops partially into the hole in the outer case, thus bolting _b_ to it, until, by again turning over the apparatus, the bolt is made to drop back again into its original position. The arrangement is rather difficult to explain in writing, but will become quite clear upon an examination of Figs. 172 and 173, both representing a section of the hinder end of the drawer-box, the one in its upright and the one in its turned-over position. The necessary turning over of the box is plausibly accounted for by the performer’s desire that the audience shall, for greater fairness, have a full view of the top of the apparatus.

There is an ingenious addition sometimes found in drawer-boxes of French make, whereby _b_ may be at pleasure bolted to _a_, and the two may thus be handed for examination, with little chance of their secret being detected. The bolting and unbolting is effected by a slight movement up or down of the knob in front, thereby raising or depressing a kind of hook of bent tin, working in the thickness of the front of _a_. Fig. 174 shows this hook in its raised or unhooked, and Fig. 175 in its depressed or hooked condition.

The drawer-box, as above described, is available to produce or disappear, but not to change articles. With a slight modification, however, it may be made available for changing also. The inner drawer _b_ is in this case made only half the depth of _a_, or even less; and thus, when closed, there is left between the bottom of _b_ and that of _a_ a considerable space, so that _a_ and _b_ may in this case each be made to hold a given object, and an apparent transformation be effected. Thus, for instance, _b_ may be filled with bran, and any small article, such as a borrowed pocket-handkerchief, be placed in _a_. The drawer is first pulled out with _b_, and shown filled to the brim with bran; but on being closed and again opened (without _b_), the bran is apparently transformed into the handkerchief.

Another modification of the drawer-box is known as

THE DISSECTING DRAWER-BOX.--This is, in general appearance, not unlike the ordinary drawer-box already described, but with this difference, that the outer case has a raised top, somewhat of a sarcophagus shape. (_See_ Fig. 176). The drawer is partially drawn out to show that it is empty, is again closed, and on being once more drawn out, proves to be full to the brim with flowers. These having been distributed, the performer, to prove the perfect emptiness of the apparatus, not only takes the drawer completely out, but takes the outer case (which is constructed accordingly, the sides, top, and bottom being hinged to the back) apart, as shown in Fig. 177. Notwithstanding this, upon again reconstructing the case, and replacing and reopening the drawer, it is once more found filled with flowers.

The reader, being acquainted with the ordinary drawer-box, will have no difficulty in accounting for the first harvest of flowers, but the second may possibly puzzle him a little. The secret lies in the top of the outer case, which, as we have already mentioned, is slightly pyramidal in form, allowing a considerable space between its inner and outer surface, and in this space is packed the second supply of flowers. This space is closed on its under side by a flat wooden slab _a_, of the same area as the inside of the drawer, held in position by a thin wooden slip or bead at either end. The hindmost of these beads, _b_, is so arranged as to yield to pressure, and, when the drawer is pushed slightly in, gives way just enough to release the slab before mentioned, which thereupon falls flat upon the bottom of the drawer, and upon it the hitherto concealed flowers, which, spreading as they fall, completely fill the drawer.

THE CHANGING CARD-DRAWER.--This is a smaller variety of the drawer-box, designed specially for use in card tricks. The inner drawer is just large enough to contain a pack of cards, which may thus be produced or vanished by its means. Between the bottoms of the true and false or outer drawer, is a space of about an eighth of an inch. This makes the apparatus available not only to produce or vanish as above mentioned, but to transform one card into another. The card to be changed is for this purpose placed in the outer drawer, which, when closed, carries it under the bottom of the inner drawer, and in this latter is placed the card for which it is to be changed, or _vice versâ_.

There is an improved form of the card-drawer, with a double change, effected on the principle of the dissecting drawer-box. This is just as above described, with the addition that when the two drawers are pressed smartly home, the action releases a thin slab of wood forming apparently part of the inner surface of the case, and exactly equal in area to the bottom of the inner drawer, into which it falls. When required for use, a card is placed above this slab, which, falling when required, covers the card already in the box, and exhibits instead that which had been concealed above it, as in the case of the changing card-boxes, described in the chapter devoted to card tricks. The uses of such an apparatus will be obvious; but we will describe, by way of illustration, one very good trick which may be performed with it.

The apparatus is prepared beforehand by placing a given card (say the knave of spades) above the moveable slab, and another (say the eight of diamonds) in the outer drawer. The performer invites two persons to each draw a card, and “forces” upon them the knave of spades and eight of diamonds. The cards being replaced in the pack, he, if he has used an ordinary pack, brings them to the top by the “pass,” and palms them, or if he has used a forcing pack, exchanges that pack for an ordinary one from which those two cards have been removed. Leaving the pack on the table, he exhibits the card-drawer, taking out both drawers together, and showing, apparently, that case and drawer are absolutely empty. Closing the drawer, he announces that he will make the drawn cards leave the pack, and pass into the drawer. One of the cards (the eight of diamonds) is named, and pulling out this time the outer drawer only, he shows that it contains that card, which is taken out, and handed to the person who drew it. Again the drawer is closed, being this time pushed sharply home. The second card, the knave, being now named, the drawer is again opened, and this card shown; the drawer being again taken wholly out, and the drawer and case turned in all directions for inspection, as before, the operator only taking care to hold the drawer with one finger inside, that the moveable slab may not, by falling out, betray its presence.

CHANGING CADDIES.--These are of various kinds. We will begin with the simplest, thence proceeding to the more complicated. The conjurors caddy, in its most elementary form, is an oblong box, about six inches in length by five in height and four in width. (_See_ Fig. 178.) One-half of its interior, which is divided into two compartments by a transverse bar across the top, is occupied by a drawer, or moveable compartment, so arranged as to slide freely backwards and forwards from end to end, according as the caddy is allowed to slope in the one direction or the other. (_See_ Figs. 179 and 180.) Each compartment has its own lid, the caddy sometimes, but not always, having an outer lid in addition.

We will suppose that it is desired to produce any article from the caddy, first shown empty. The article in question (say an egg, hard-boiled for safety) is beforehand placed in the moveable compartment, which we will suppose to occupy for the time being the space under lid _a_, as shown in Fig. 179. The performer takes off the opposite lid _b_, and shows the space beneath empty. Before removing the second lid, he slopes the caddy in the opposite direction, so as to bring the moveable compartment under lid _b_ (_see_ Fig. 180), and thus is enabled to show the space under _a_ also empty. He then proceeds with the trick, and at the right moment produces the article from the caddy.

It is obvious that the caddy above described is only available for appearances and disappearances, and not for transformations. To obviate this defect, the majority of caddies are now made with _three_ compartments (_see_ Fig. 181), with a sliding drawer occupying two of them. The caddy in this form may be used to “change” objects in manner following:--The sliding drawer being as shown in Fig. 181, the article to be ultimately produced (say an orange) is placed in _b_. The three compartments are now shown empty, beginning with _c_, and allowing the sliding drawer to assume the position shown in Fig. 182, before in turn uncovering _a_ and _b_. The article to be changed (say a watch) is now placed openly in compartment _b_. The performer closes the lid, and, after a moment’s interval, reopens it, but in that interval slopes the caddy so as to again bring the sliding drawer into the position shown in Fig. 181, when the orange is again brought under _b_, and, on removing the lid, is disclosed. To show that the watch has really disappeared, the caddy may again be shown (apparently) empty, in the same manner as at first.

There are a good many varieties of caddies made. One is known as the “skeleton” caddy, from the fact that the bottom is made to take out, so that the company can look through all three compartments. The sliding drawer in this case is bottomless, and is so arranged as only to slide when the performer releases it by pressing upon a particular spot in the ornamental moulding round the bottom of the caddy. This pressure withdraws a little pin, which normally rests in a little hole in the side of the sliding drawer, and thus renders it for the time being a fixture. In some caddies, again, the sliding drawer does not run up and down by its own weight, but is moved backwards and forwards from below by means of a projecting pin passing through a slit in the bottom of the caddy. The caddy in this case does not require to be inclined one way or the other, and is on this account preferred by many to the other make.

The trick next described will introduce to the reader a changing caddy of another and special construction.

THE MAGIC VASE AND CADDY. (To make peas change places with a handkerchief.)--For this trick two special pieces of apparatus are necessary. The first is a tin vase, of the shape shown in Fig. 183, and generally of about ten inches in height. It consists of three parts, the vase proper _a_, the cover _b_, and a moveable compartment or well, _c_, which is constructed upon a principle which we have had frequent occasion to notice, the cylindrical portion of _a_ passing between the inner and outer wall of this moveable compartment. It is coloured exactly similar to that portion of _a_ which it covers, which therefore looks exactly the same to the ordinary spectator, whether _c_ be in its place or removed. The internal depth, however, of _c_ is little more than half as deep as that of the actual vase, _a_. The cover _b_ exactly fits over _c_, and by means of a little appliance called a “bayonet-catch,” will either lift _c_ with it when removed, or release _c_ and leave it upon _a_.

As this “bayonet-catch” is of constant use in magical apparatus, it will be desirable to describe it somewhat minutely. A rectangular cut or slit (_see_ the enlarged view in Fig. 184) is made in the lower edge of the cover _b_. Its perpendicular arm is about a quarter of an inch in length, and its width about an eighth of an inch. A small pin or stud, about an eighth of an inch in length, projects perpendicularly from the lower edge of _c_, at such a height that when _b_ is placed over _c_, the upper or horizontal arm of the slit shall be just level with it. If the upright arm of the slit be brought immediately over this pin, the latter will, as the cover sinks down, travel upward along the opening as far as the junction with the transverse portion of the slit. If the cover be now again lifted, the pin will, of course, offer no obstruction to its removal; but if the cover be first slightly turned to the right, the pin will become engaged in the transverse portion of the slit, and upon then lifting the cover, it will carry with it the pin, and all connected with it. When it is desired to lift off the cover _alone_, it will only be necessary to turn the cover a little to the left, thus bringing the pin again over the upright portion of the slit.

The second piece of apparatus is a caddy (Fig. 185), in appearance not unlike an ordinary tea caddy, with three equal-sized compartments, each having its own lid. Upon close inspection it will be discovered that the internal depth of these compartments is somewhat shallow in comparison with the external measurement of the caddy, leaving a space about an inch deep between the inner and outer bottoms. A sliding drawer, working from end to end of the caddy, as already explained, occupies the space of two compartments. Supposing this for the moment removed, it would be found that the external caddy, in the space occupied by the two end compartments, _a_ and _c_, has a false bottom covering the hollow space we have already mentioned, but that the space occupied by the middle compartment _b_ has none. Of the two moveable compartments, which together constitute the sliding tray already mentioned (_see_ Fig. 186), the one _d_ has a bottom, the other _e_ has not.

When the sliding drawer is in its proper position in the caddy, and is pushed as far as it will go towards the one or the other end, the result is as follows:--If it is pushed to the right, the bottomless compartment _e_ occupies the space at that end, under lid _c_, while the opening in the false bottom of the caddy is, for the time being, closed by the bottom of _d_, which now occupies the middle space. If the sliding tray is pushed to the opposite end (_i.e._, to the left), _d_ will occupy the space _a_ at that end, while the bottomless compartment _e_, being over the opening, gives access to the space beneath.

The caddy is prepared for the purpose of the trick by placing in the space between the true and false bottoms a white handkerchief, and the sliding tray is then pushed to the right, so as to bring compartment _d_ to the middle, and thus close the opening. The vase is prepared by filling both divisions with peas. The two pieces of apparatus having been placed on the table by the assistant, the performer opens the caddy, and taking off the lids of the three divisions, and holding it with his fingers inside the right hand end (thereby preventing any possibility of the tray shifting), brings it forward to the audience, and passing rapidly in front of them, begs to introduce to their notice an old tea caddy, in which he has accidentally discovered some curious magical properties. In the present condition of the caddy all three compartments appear exactly alike, and of equal depth; and the interior being of a dead black, the spectators are not likely to notice that they are somewhat shallow. Again closing the lids, and replacing the caddy on the table, he next draws attention to the vase. Taking off the cover without the moveable compartment, and holding it upside down, he pours the peas contained in the upper compartment (which should not be _quite_ full) into the cover, and back again two or three times, finally offering a handful for inspection. He then borrows a lady’s handkerchief, which should as nearly as possible resemble the substitute hidden in the caddy. He asks permission to place it, for the purpose of the trick, in the vase. This is, of course, readily granted, but the peas are in the way. After a moment’s pretended hesitation, he says, “Well, I will put them in the caddy. Pray observe that I really do so.” So saying, he pours them into _d_ (which, it will be remembered, is for the time being the centre compartment), leaving that compartment uncovered, so that they may remain visible to all. He then places the handkerchief in the apparently empty vase, which he closes and places on the table. He continues, “You have all seen me place the handkerchief in the vase, and the peas in the caddy. Now I will show you a very curious experiment. Perhaps some scientific gentleman among the audience will explain how the effect is produced; for I confess that though I have performed this trick some scores of times, I am not quite certain myself as to the reason of the phenomenon. Let me beg you once more to assure yourselves that these are genuine peas, real common-place peas at twopence a pint, with no nonsense about them.” As he says this, he passes along the front rank of the spectators, exhibiting the peas in the caddy, and occasionally taking out a handful, and offering them for closer inspection. As he reaches the end of the line, he says, “You are all thoroughly satisfied that these are genuine peas, and that the lady’s handkerchief is in the vase upon the table. Quite right. Now observe, I don’t even touch the vase, and yet, at the word of command, the handkerchief will pass into the caddy which I hold in my hand. Pass!” During the last few words, and holding the caddy for an instant with the lid towards the audience, so as to screen his hand, he has pushed the sliding tray to the left, so that _d_, containing the peas, now occupies the end space, while the bottomless compartment _e_ has taken its place in the middle. Dipping down through this compartment into the hollow space beneath, he takes out the substitute handkerchief. “My commands are obeyed. Here is the handkerchief. But where are the peas? Probably, as the handkerchief has taken the place of the peas, the peas have taken the place of the handkerchief. Let us see.” He uncovers the vase, lifting this time with the cover the moveable compartment containing the real handkerchief. “Yes, here are the peas, right enough,” shaking the vase, and taking them up by handfuls to show them. He continues, “Now I dare say this seems very surprising to you, but in truth it is comparatively simple. The real difficulty begins when you try to make the handkerchief and the peas travel back again to their original situation. This part of the experiment is so difficult, that I always feel a little nervous over it, but I must make the attempt.” Pushing the substitute handkerchief openly down to the position it originally occupied, he takes the opportunity, in carrying the caddy back to the table, to slide back the tray as at first, and, after a little more talk, shows that the peas have returned to the caddy, and lifting the cover alone from the vase, produces therefrom the genuine handkerchief.

THE COVER, TO PICK UP ANY ARTICLE.--This (called in French “_ramasse-tout_”) is a brass cover of six to ten inches in height, and of the shape shown in Fig. 187. Within it works backwards and forwards on a spring hinge, a kind of scoop, pressing, when at rest, against the side of the cover, as in Fig. 188, but moving into the position shown in Fig. 189 whenever pressure is applied to the button _a_, again returning to its original position when such pressure is removed. The manner of using it is as follows:--The performer, we will suppose, desires to cause the disappearance of an orange, in order that it (or a counterpart) may be subsequently produced in some other quarter. Placing the orange upon the table, he places the cover over it, pressing, as he does so, the button _a_, so as to draw back the scoop. As his hand quits the cover, the pressure being removed, the return of the spring causes the scoop to clip the orange tightly against the side of the cover; and if the cover be now lifted without pressing the button, it will carry the orange with it. If it is desired again to produce the orange, the button is pressed in the act of lifting the cover, which then leaves the orange on the table.

It is hardly necessary to observe that the cover is always lifted perpendicularly, so that the spectator cannot see the interior.

It is well to be provided with a second cover similar in external appearance, but without any mechanism. This may be handed round for inspection, and afterwards secretly exchanged for the mechanical cover.

THE CHANGING COVER.--This cover is available not only, as in the last case, to produce or vanish, but also to change one article for another. It is somewhat of the pattern of an ordinary round dish cover, with a metal knob on the top. (_See_ Fig. 190.) It is divided by a vertical tin partition _a_ (_see_ Fig. 191), into two equal compartments, _b_ and _c_. The lower, or open side of each of these compartments is of course semicircular. A flat tin plate, _d_, also semicircular, works on an upright axis, _e_, passing upwards through the centre of the cover, and terminating in the knob on the top. By turning, therefore, this knob halfway round to the right or left, the performer is enabled to close whichever of the compartments happens for the time being to be open, at the same time opening that which was previously shut. There is a little point or stop on the upper side of the semicircular plate, which meeting resistance from the vertical partition, prevents the plate making more than the necessary half-turn either way.

The apparatus is prepared by placing the article representing the result of the supposed transformation (say an apple) in either compartment, and turning the knob so as to close that compartment, and open the other. The article to be changed (say an orange) is placed upon the table, and the performer places the cover upon it, taking care that the open compartment for the time being shall come fairly over it. He then gives a half turn to the knob, thereby closing the compartment which has hitherto been open, and securing the orange within it, and at the same time releasing the apple, into which, on the cover being again raised, the orange appears to be transformed. In this case, as in the last, it is well to have a plain counterpart cover to hand round for inspection if necessary.

The uses to which the changing cover may be put are very numerous. The following is an instance of a rather original application of it, which produces a capital effect. We will suppose that the performer has executed a trick in which he has availed himself of the assistance of some juvenile member of the audience, and that an apple has been one of the “properties” of the trick. The trick being concluded, the professor asks his temporary assistant whether he would like to have the apple, and is of course eagerly answered in the affirmative. “Very well,” says the professor, “you shall have it; but you must first earn it by a little display of dexterity. I will put it under this cover.” He suits the action to the word. “Now I am going to say, One, two, three! At the word ‘Three’ I shall raise the cover, and you must try to snatch the apple before I replace it. If you can catch the apple in this manner three times in succession, it is yours; but on one further condition, that you eat it at once here upon the stage.” The conditions are readily accepted. “One, two, three!” cries the professor, raising the cover and disclosing the apple, which is instantly snatched up. A second time the process is gone through, with a like result. “You mean to win, I can see,” remarks the performer. “Now, once more, and the apple will be yours; but I warn you I shall be rather quicker this time. One! two!! three!!!” The eager boy springs forward, and clutches--not the apple, but a Spanish onion, which had been placed in the second compartment of the cover. “You have won, sir,” says the professor, pretending not to notice the change; “but don’t forget the second part of your bargain. You are to eat it at once, before leaving the stage.” We will leave to the imagination of the reader the discomfiture of the victim, and the amusement of the spectators; also the subsequent magical processes by which the transformed apple may be restored to its original and more fragrant condition.

THE CHANGING LADLE.--This is a piece of apparatus designed for secretly obtaining possession of a chosen card or piece of writing. The bowl, so to speak, of the ladle is in the form of a segment of a cylinder (_see_ Fig. 192), the size of its opening being about four inches by two and a half, and its depth three inches. It is made of tin, with a thin, cylindrical handle. The edges of the bowl are turned inwards all round to the extent of about a sixteenth of an inch, thereby serving to disguise a moveable slab of tin, _a_, which moves backwards and forwards like the leaf of a book within the ladle, working upon a hinge at its lower edge. This is made to work backwards and forwards by a wire rod passing through the whole length of the handle, and terminating in a little knob or cap at its outer end. The normal position of _a_ is to lie against the inner or handle side of the bowl (_see_ Fig. 193), being retained in that position by the effect of a spiral spring in the handle, which draws the wire back. If, however, pressure be applied to the knob or cap at the end of the handle, the wire is forced downwards, thereby bringing the moveable leaf _a_ against the outer side of the bowl, as shown in Fig. 194.

There are various modes in which the changing ladle may be made useful. For example, it may be used to burn and restore a card. For this purpose, the ladle is prepared by placing in it beforehand any indifferent card of similar pattern to the pack in use, and is in this condition placed on the performer’s table, in such manner that the spectators may not observe that there is already a card in it. The performer then comes forward and hands to one of the company a pack of cards, with a request that he will select any one he pleases. While he is making his selection, the performer or his assistant places on the table and sets fire to some spirits of wine on a bowl or plate. A card having been chosen, the performer requests the drawer to return it to him, and, in order to exclude the possibility of any exchange or sleight-of-hand, volunteers to receive it at arm’s length in the ladle, which he brings forward for that purpose, holding it by the extreme end of the handle, and pressing with his palm the knob at the top, thereby bringing the moveable leaf into the position shown in Fig. 194, with the card already in it pressed flat against the outer side of the bowl, and thus completely hidden. The chosen card being placed in the ladle, the performer, in returning to his table, relaxes the pressure of his palm, thereby bringing the moveable leaf back into the position of Fig. 193, releasing the dummy card, and concealing that chosen against the inner side of the bowl. He then drops apparently the chosen, but really the substitute, card into the flames, taking care as he does so not to turn the face of the card toward the audience. The ladle, with the genuine card in it, is carried off by the assistant as having served its purpose, and the chosen card is subsequently restored after any fashion which the fancy of the operator may dictate.

The ladle may also be used to apparently burn and restore a paper on which one of the company has written any words or figures. In this case a blank half-sheet of note-paper, folded in four, is beforehand placed in the ladle, and a piece of paper folded in the same way is handed to one of the audience, with a request that he will write what he pleases upon it, again fold it, and place it in the ladle. It is then either apparently burnt (as in the case of the card), or placed in some other apparatus, the operator making a great point of the fact that he does not touch the paper. As the genuine paper remains in the ladle, it is, of course, very easy for the performer to ascertain what is written upon it, and having displayed his knowledge, to ultimately reproduce the paper under any circumstance which he thinks fit. Sometimes the trick is varied by requesting a spectator to write a question upon the paper, which is subsequently reproduced with an appropriate answer written beneath the question.

THE CONE, OR SKITTLE. (_La quille_).--This is a block of polished boxwood, of the shape shown in Fig. 195, with a thin shell of the same material exactly covering it, and so closely resembling it in appearance, that the solid block and the hollow shell, seen apart, cannot be distinguished the one from the other. The cone is made in various sizes, from three inches in height by one and a half at the base, to seven inches in height by three at the base. It is worked with a paper cover, consisting of an open tube of cartridge paper about double the height of the cone, and tapering in such manner that its larger end shall fit loosely over the cone. The performer brings forward this paper tube in his right hand, and the cone (with the hollow shell upon it) in his left, taking care to hold his fingers beneath it in such manner that the solid cone cannot fall out. He first calls attention to the paper tube, which the audience are allowed to examine at pleasure. When it is returned to him, he says, “You are now quite satisfied that there is no preparation about this tube, which is, in fact, simply a cover for this block of wood.” As if merely suiting the action to the word, he covers the block with the tube, immediately removing it again, and carelessly laying the cover on the table. In removing it, however, he grasps it with a gentle pressure, and so takes off with it the hollow shell (_see_ Fig. 196), of whose existence the audience have no suspicion. He continues, “Perhaps you would also like to examine the block, which you will find to be a plain, solid piece of wood, without mechanism or preparation of any kind.” The block having been duly examined, the supposed empty cover is placed upright upon the table; and the solid block having been disposed of by any means in the performer’s power, is ordered to pass invisibly under the cover, which being raised, the hollow shell is seen, appearing to the eye of the audience to be the block itself, and to have found its way there in obedience to the performer’s command.

The above is the working of the “cone” in its simplest and barest form, but no skilled performer would dream of presenting the illusion in such a common-place way. To make the trick effective, it should be so arranged as to make the cone apparently change places with some other article. There are many combinations which might be suggested, but we shall content ourselves with describing one or two of those in most general use. The smaller sized cones may be worked in conjunction with a goblet and ball (the same as those used for the Cups and Balls), in manner following:--Having tendered for inspection the cone and cover as already described, and placed them on the table, the performer offers the goblet and ball in like manner for inspection. When they are returned, he places them also upon the table, a little distance apart, and meanwhile palms a second ball, which should be in readiness either on the _servante_, or in one of his _pochettes_. He now places the paper cover (which, it will be remembered, contains the hollow shell) over the first ball on the table. “Pray observe,” he remarks, “that I have fairly covered over the ball” (here he raises and replaces the cover, pressing so as to lift the shell with it, and showing that the ball is still there). “The goblet, as you have seen, is perfectly empty.” (Here he raises the goblet, and, in replacing it, introduces the second ball under it, as described in the chapter devoted to the Cups and Balls.) “I shall now order the ball to pass from the cover under the goblet.” He waves his wand from the one to the other. “Presto! Prestissimo! Pass!” (He raises the goblet, and shows that the ball has (apparently) passed under it.) The first ball still remaining under the paper tube, he cannot at present raise it, so proceeds rapidly to the next stage of the trick, that the omission may not be noticed. “So far,” he remarks, “the trick is mere child’s play. The real difficulty is to pass the cone under the cover in place of the ball. However, I will make the attempt.” So saying, he picks up the cone with his right hand, and apparently transfers it to his left, really palming it, and immediately afterwards dropping his right hand to his side, and getting rid of the cone into the _profonde_. Then, taking two or three steps away from the table, still holding the left hand as if containing the cone, and looking towards the cover, he says, “One, two, three, Pass!” with a motion of the hand as if throwing something; immediately showing the hands empty, and lifting up the cover (but this time by the top, so as not to exert any pressure against its sides), and showing the hollow shell, which now conceals the ball, and is taken by the spectators to be the genuine cone. “We have succeeded pretty well so far, ladies and gentlemen,” he remarks; “it remains to be seen whether I shall be equally successful in bringing back the cone and ball to their original positions. I dare say you would all like to know how the trick is done, and therefore this time I will vary the mode of operation, and make the transposition visibly.” (Here he drops his right hand to the _profonde_, and secretly palms the solid cone.) “First the cone” (he passes his right hand, keeping the back towards the audience, upwards along the cover, and, as it reaches the top, brings the cone into view). “Pray once more assure yourselves that it is fair and solid. Now for the ball.” He picks up the ball with the left hand, and holding it between the finger and thumb, apparently transfers it, by the pass called the _tourniquet_ (_see_ page 150), to the right, forthwith getting rid of it into the _profonde_ on the left side. “Pray observe that it does not leave your sight even for a moment.” Then holding his hand high above the paper cover, he makes a “crumbling” movement with it, immediately showing it empty, and lifting the cover with a slight pressure, so as to carry the shell with it, shows the ball beneath. The attention of the spectators being naturally attracted to the ball, it is an easy matter to let the hollow shell slip out of the paper cover upon the _servante_, and again to hand the cover for examination.

Some performers, instead of using the goblet, work the small cone with the “ball-box” (_see_ page 296).

It is obvious that the directions above given will apply only where the cone is of a size so small as to be readily palmed, in which case it is hardly conspicuous enough to be used before a large audience. Where a cone of larger dimensions is employed, it is necessary to vary the mode of operation. We shall therefore proceed to describe the trick in its stage form, as worked by Herrmann and other public performers.

The cone in this case is about seven inches high, and is worked in conjunction with a “drawer-box” of such a size as to contain it easily. Having handed round for inspection the cover and cone, as already described, the performer suddenly remembers that he requires an orange, which he forthwith produces from his wand. (It is hardly necessary to observe that the orange is beforehand placed in readiness in one of the _pochettes_, and is produced from the wand in the manner described for producing a ball. _See_ page 276). Laying down the orange on the table, he next exhibits the drawer-box, taking the drawer completely out, and, after showing it on all sides, replacing it. He then covers the orange on the table with the paper cover (containing the hollow shell), and places the solid cone in the drawer-box, which being of the kind described at page 345, he turns upon its side, with its top toward the audience. He meanwhile palms in his right hand, from his pocket or the _servante_, a second orange. He now announces that he is about to take the orange back again, which he does by passing his wand up the side of the cover, and immediately producing therefrom the second orange. He places this upon another table at a little distance, and covers it with a borrowed hat, making as he does so a feint of removing it, and slipping it into his tail pocket. He hears, or pretends to hear, some one remark that he took away the orange, and answers accordingly. “Oh! you think I took away the orange. Allow me to assure you that I did nothing of the kind.” (He lifts up the hat, and shows the orange in its place.) “I will cover it again; or, still better, to prove that I do not take it away, I won’t cover it at all, but leave it here in full view on the table.” He replaces it on the table, but this time places it on what is called a “wrist-trap,” in readiness for a subsequent disappearance. “Having taken the orange from under the cover,” he continues, “I have now to make the solid block vanish from the drawer, and take its place; but I shall do it this time invisibly. See, I have only to wave my wand from the one to the other, and the thing is done. The drawer is empty” (pulling out the false drawer only), “and here is the block” (he lifts the paper cover, and shows the hollow shell). “Now I come to the most difficult part of the trick, which is to bring both articles back to their original position. First, I will take the block of wood.” He covers the shell with the paper tube, and makes a movement of his wand from the cover to the drawer. “Pass! Let us see whether it has obeyed.” He this time pulls the drawer completely out, and lets the block fall heavily on the stage. “Now for the orange.” He places both hands round it, as if picking it up between them, and presses as he does so the spring of the trap, which opening, lets the orange fall through into the table. Bringing the hands, still together, immediately above the paper cover, he rubs them together as if compressing the orange, finally separating them and showing them empty, and immediately afterwards lifting the cover with the hollow shell, and showing the first orange beneath it.

It will be observed that the trick above described is, in some of its parts, very similar to that described at page 337. The mechanism of the wrist-trap will be found explained in the next chapter. In the meantime the student may produce the same effect without using a trap at all, by means of the sleight described at page 294.

THE CONE AND BOUQUET.--This is another form of the cone trick, involving the use of rather more elaborate apparatus. The cone in this case is about five inches in height by three at the base, and tapers very slightly. It may be either of boxwood, as in the trick last described, or the block may be of any hard wood, and the hollow shell of tin to fit, each blacked and polished, so as to look exactly alike. It is used in conjunction with a paper cover as before, and two little bunches of flowers, exactly alike, and of such a size as to be just covered by the hollow shell. Each of these little bouquets is made upon a tin framework, consisting of a wire arch springing from a flat saucer-like base. (_See_ Fig. 197.) A pedestal and cover complete the apparatus. The pedestal _a_ (_see_ Fig. 198) is cylindrical; and about six inches in height, by four across the top. Its upper surface consists of a circular plate of tin, working up and down piston-wise in the pedestal. This is forced upwards by a spiral spring, but yields to pressure, sinking vertically to a depth of four or five inches when necessary. The upper edge of the pedestal is slightly turned in all round, so that the top may not be pressed out altogether by the force of the spring. An outer casing of tin, _b_, fits over _a_, just so tightly as to resist the upward pressure of the spring when forced down by any object between the pedestal and this casing. The cover, _c_, is about double the height of _a_, and by means of a bayonet catch (_see_ page 352) may be lifted off either with or without _b_ at pleasure.

The pedestal is prepared for use by removing _b_, and placing one of the little bouquets on the top of _a_; then again putting on _b_, and forcing it down into its place, when the condition of the apparatus will be as shown (in section) in Fig. 199. The wire arch prevents the flowers being crushed out of shape by the pressure of the spring. The pedestal and cover are now brought forward and placed on the table; also the cone (with the shell on), the paper tube to cover it, and the remaining bunch of flowers. The paper tube is first exhibited, placed over the cone, and removed with the hollow cone within it, as in the last trick. The solid cone is then offered for examination, and having been duly inspected, is placed upon the pedestal. The performer makes a movement as if about to place over it the cover _c_, but checks himself in the act, and shows that this cover is empty and hollow throughout. He then puts on the cover, and reverting to the bunch of flowers on the table, covers it with the paper tube. He next announces that in obedience to his command, the block and the bunch of flowers will change places. He raises the paper tube, holding it by the top, and thus leaves behind the hollow shell, covering and concealing the bunch of flowers. He next takes off the cover of the pedestal, first, however, turning the bayonet catch, so as to lift off with the cover the casing _b_. The solid cone is carried off between the casing and the cover (_see_ Fig. 200), while the action of the spring, the casing being removed, brings the concealed bunch of flowers to the top of the pedestal, in the position lately occupied by the cone. Having shown that the cone and the flowers have changed places, the performer next undertakes to bring them back to their original situation, which, by reversing the process, he does without difficulty.

The pedestal above described is a very useful piece of apparatus, being available either to produce, change, or vanish any article of appropriate size. A very effective trick may be performed therewith by causing an empty tumbler to appear full, or _vice versâ_. In this case, however, it should by no means be admitted that an _exchange_ takes place, as the supposed filling of an empty glass with water by covering it with an evidently unsophisticated cover, is rather the more surprising phenomenon.

THE FLYING GLASS OF WATER.--This capital trick was, we believe, first introduced to the public by Colonel Stodare, to whom the profession is indebted for many first-class illusions. The necessary apparatus consists of a couple of ordinary glass tumblers, exactly alike, with an india-rubber cover just fitting the mouth of one of them, and a coloured handkerchief of silk or cotton made double (_i.e._, consisting of two similar handkerchiefs sewn together at the edges), with a wire ring (of the size of the rim of one of the tumblers, or a fraction larger) stitched loosely between them, in such manner that when the handkerchief is spread out the ring shall be in the middle.

The performer, beforehand, nearly fills one of the tumblers with water, and then puts on the india-rubber cover, which, fitting closely all round the edge, effectually prevents the water escaping (_see_ Fig. 201). The glass, thus prepared, he places in the _profonde_ on his right side. He then brings forward the other glass and a decanter of water, and the prepared handkerchief, and in full view of the audience fills the glass with water up to the same height as he has already filled the one in his pocket, and hands round glass and water for inspection. When they are returned, he places the glass upon the table, a few inches from its hinder edge, and standing behind it, covers it with the handkerchief, first spreading out and showing both sides of the latter, proving, to all appearance, that there is no preparation about it. In placing the handkerchief over the glass, he draws it across in such manner as to bring the hidden ring as exactly as possible over the top of the glass. Then placing the left hand over the handkerchief, as shown in Fig. 202, he raises, apparently, the glass within the handkerchief, but really the empty handkerchief only, which is kept distended by the ring, and, at the same time, under cover of the handkerchief, gently lowers the glass of water with the other hand on to the _servante_. This is by no means difficult, as the pretended carefulness of the operator not to spill the water allows him to make the upward movement of the left hand as deliberate as he pleases. All that is really necessary is to take care _to follow with his eyes the movement of the left hand_, which will infallibly draw the eyes and the minds of the audience in the same direction. Having raised the supposed tumbler to a height of about two feet from the table, the performer brings it forward to the audience, and requests that some gentleman with a steady hand will favour him with his assistance. A volunteer having been found, and having given satisfactory replies as to the steadiness of his nerves, and the strength of his constitution generally, is requested to place his hand under the handkerchief and take the glass. As he proceeds to obey, the performer lets go of the handkerchief with the left hand, still retaining one corner with the right, and lets the right arm with the handkerchief drop to his side. Pretending to believe that the gentleman has taken the glass, and not to notice its disappearance, he turns carelessly aside, and brings forward a small table or chair, saying, “Put it here, please.” Looking, generally, somewhat foolish, the victim replies that he has not got it. If the performer is a good actor, he may here make some fun by pretending to believe that the victim has concealed the glass, and pressing him to return it. At last he says, “Well, if you won’t give it to me, I must find it for myself,” and he proceeds to tap with his wand the sleeves and pockets of the unfortunate individual, but without success, till, on touching him between the shoulders, he pretends to tell by the sound that the glass is there. “Yes, here it is,” he remarks. “I am sorry to be obliged to ask you to turn your back on the company, but to show them that there is no deception on my part, I am compelled to do so. Will you please turn round for one minute.” On his doing so, the performer, again shaking out the handkerchief, and showing both sides of it to prove it empty, spreads it over the back of the victim. Again he taps with his wand, which, striking the ring through the handkerchief, causes an unmistakeable hard sound to be heard; and then grasping the ring as before through the handkerchief, he deliberately raises it up in a horizontal position, the effect being as if the glass had again returned to the handkerchief. He then says, “I don’t think I will trouble this gentleman again; he is too much of a conjuror himself;” then turning rapidly to the audience, he says, “Catch, ladies and gentlemen,” and “flicks” the handkerchief quickly towards the spectators, who duck their heads in expectation of a shower. “Pardon me, ladies, I fear I alarmed you; but you need not have been afraid; I never miss my aim. That gentleman has the glass” (designating anyone he pleases). “May I trouble you to step forward one moment, sir?” On the person indicated doing so, the performer places him facing the audience, and under cover of his body takes the second glass out of the _profonde_, and throws the handkerchief over it, remarking, “Yes, ladies and gentlemen, here it is, in this gentleman’s tail pocket.” Then taking hold of the glass with the left hand beneath the handkerchief, he clips with the first finger and thumb, through the handkerchief, the edge of the india-rubber cover, and thus drawing off the cover inside the handkerchief, hands round the glass and water for inspection.

Two improvements have recently been made in this trick, which, though trifles in themselves, greatly heighten the effect. Upon a performance of the trick as already described, it is not uncommon to find some person, more acute than the average, guess that there is a ring in the handkerchief. The first of the improvements we have mentioned is designed to make the ring no longer a fixture, and yet to insure bringing it into the right position when necessary. This is effected by stitching the two handkerchiefs together, not only round the edge, as already explained, but also as shown by the dotted line in Fig. 203. This confines the ring to the triangular enclosure, _a e d_, within which, however, it is allowed to move freely, not being attached to the handkerchief in any way. If the handkerchief is held by the two corners _a_ _d_ (which should be distinguished by a mark of coloured silk or worsted, so as to be readily identified by the performer) the ring will take its proper place in the middle, as shown in the figure. If, on the other hand, the handkerchief be held by either the corners _a_ _b_ or _c_ _d_, the ring will forthwith run into the angle _a d e_ or _d a e_, as the case may be, and the handkerchief, if grasped a little below this particular corner, may be twisted or pulled through the hands ropewise, proving, with apparent conclusiveness, that there is no ring or shape concealed in it.

The second improvement is to have ready on the _servante_ a small piece of sponge, recently dipped in water. This is picked up by the right hand of the performer as he places the genuine glass on the _servante_. When he has moved away from his table, at the moment of requesting his volunteer assistant to take the glass, he places the right hand for a moment under cover of the handkerchief, and squeezes the sponge, the water that immediately pours from it being, apparently, accidentally spilt, and so negativing any possible doubt on the part of the spectators that the glass is really in the handkerchief. With these two additions the trick is one of the most effective that can possibly be performed, whether in a drawing-room or on the public stage.

THE BOWLS OF WATER AND BOWLS OF FIRE PRODUCED FROM A SHAWL.--After the explanation of the last trick, the reader will form a tolerably good guess at the means of performing this, which has puzzled thousands, and is still one of the most popular feats in the _répertoire_ of the conjuror.

The performer comes forward with a shawl in his hand, which he spreads out and exhibits on both sides, to show (as is really the fact) that there is no preparation about it. The spectators being satisfied on this point, and the orchestra playing the “Ghost Melody” or other appropriate accompaniment, he swings the shawl about in time to the music, finally throwing it over his left shoulder and arm, the arm being held square before him. The arm now gradually sinks down, and the form of some solid object is seen defined beneath the shawl, which, being removed, reveals a glass bowl brimming with water, and with gold fish swimming about in it. This is repeated a second and a third time, the performer sometimes discarding the shawl, and borrowing a pocket-handkerchief among the audience for the production of the last bowl.

The bowls used are saucer-shaped, measuring six to eight inches in diameter, and one and a half to two inches in depth. Each is closed by an india-rubber cover, after the manner of the tumbler in the last trick. Thus secured, they are concealed about the person of the performer. The precise mode of concealment varies a little. Where three bowls are to be produced, one is generally carried beneath the coat-tails, in a sort of bag open at the sides, suspended from the waist, and the other two in pockets, opening perpendicularly, inside the breast of the coat or waistcoat, one on each side.

Sometimes, by way of variation, bowls of fire are produced. The bowls are in this case of thin brass. They have no covers, but the inflammable material (tow moistened with spirits of wine) is kept in position by wires crossing the bowl at about half its depth, and is ignited by a wax match, struck against the inside of the bowl under cover of the shawl and immediately dropped into the bowl, when the contents instantly burst into a blaze. Some bowls have a mechanical arrangement for igniting the tow, but we ourselves much prefer the simple bowls above described.

It was originally the practice to throw the shawl over a small round table, immediately removing it, and exhibiting the bowl upon the table. Modern performers discard the table, and produce the bowls in the midst of the audience.

THE BOWL OF INK CHANGED TO CLEAR WATER, WITH GOLD FISH SWIMMING IN IT.--The performer brings forward a goblet-shaped glass vase, six or eight inches in height, nearly full of ink. To prove that the ink is genuine, he dips a playing-card into it, and brings it up with the lower half stained a deep black. Next, taking a ladle, he ladles out a portion of the liquid, and pours it on a plate, which is handed round for inspection. He next borrows a handkerchief from one of the audience, and covering the vase with it, announces that, by the exercise of his magic power, he will transform the ink in the vase to water. On removing the handkerchief, this transformation is found to be accomplished, while a couple of gold fish, placidly swimming about in the bowl, sufficiently prove that the trick is not performed, as might be imagined, by means of some chemical reagent.

The explanation, though by no means obvious, is very simple. The liquid in the vase is plain water; but a bottomless black silk lining, fitting the vase, and kept in shape by a wire ring round its upper edge, gives it the appearance of ink to a spectator at a little distance. In removing the handkerchief, the performer clips with it the wire ring, bringing away the lining within the handkerchief, and revealing the clear water in the glass.

But the reader will naturally inquire, “How, then, are the blackened card and the genuine ink ladled out on the plate accounted for?”

The blackened card, though apparently an ordinary one, has the same figure, say a knave of diamonds, on both its sides; but the lower half of the one side is beforehand stained with ink. The performer dips it in with the unsoiled side toward the audience; but giving it a half-turn as he removes it, thereby brings the blackened side in front. The ink poured on the plate is accounted for with equal simplicity. The ladle (_see_ Fig. 204) is of tin, having a hollow handle of the same metal, with a minute hole opening therefrom into the bowl. There is a similar small hole near to the top of the handle. The bowl is beforehand filled with ink, which is thence allowed to run into the handle; after which the upper hole is stopped with a little pellet of wax, or a small piece of paper is pasted over it. By reason of a well-known natural law, the liquid will not run out of the lower hole until the upper one is opened. As the performer dips the ladle apparently into the ink in the bowl, he scrapes off with his nail the wax or paper with which the upper hole is stopped, and the ink immediately runs into the bowl, whence it is poured upon the plate.

THE INEXHAUSTIBLE BOTTLE.--The same natural principle which prevents the ink from flowing into the bowl of the ladle until the upper hole is opened, is the basis of this old but still popular trick. The inexhaustible bottle, though in appearance an ordinary glass bottle, is in reality of tin, japanned black. Internally it is divided into three, four, or five separate compartments, ranged round a central space, and each tapering to a narrow-mouthed tube, which terminates about an inch within the neck of the bottle. A small pinhole is drilled through the outer surface of the bottle into each compartment, the holes being so placed that when the bottle is grasped by the hand in the ordinary way (_see_ Fig. 205), each hole may be covered by one or other of the fingers or thumb. The central space is left empty, but the surrounding compartments are filled, by means of a funnel with a very tapering nozzle, with the wines or liquids expected to be most in demand, or to which it is intended to limit the spectators’ choice. A tray full of glasses, made specially of very thick glass, so as to contain in reality much less than they appear to do, completes the apparatus.

The performer comes forward with the magic bottle, followed by an attendant bearing the tray of glasses. He commences by openly pouring water into the bottle, and out again, so as indirectly to raise the inference that the bottle must be perfectly empty. The water, in truth, really passes into the centre space only, and thence runs out again as soon as the bottle is tilted. The fingers, meanwhile, are tightly pressed on the different holes, and thus excluding the air, effectually prevent any premature flow of wine from the various compartments. The performer, still holding the bottle mouth downwards, says, “You observe, ladies and gentlemen, that the bottle is now perfectly empty, and yet, by my magic art, I shall compel it to refill itself for your benefit.” He then, addressing various individuals, asks each whether he prefers port, sherry, gin, etc., and when the answer is given, has only to raise the finger stopping the air-hole of that particular compartment to cause the liquid named to flow from the bottle, stopping as soon as the finger is again pressed on the hole. It is a good plan, in order to prevent confusion, to place the liquors in the bottle in alphabetical order, commencing from the hole stopped by the thumb. Some performers increase the variety of the liquors produced, by placing beforehand in certain of the glasses a few drops of various flavouring essences. By this means a compartment filled with plain spirits of wine may be made to do duty for brandy, whiskey, etc., at pleasure, according to the glass into which the liquid is poured.

The trick is sometimes elaborated by the performer, by way of conclusion, apparently breaking the bottle, and producing therefrom a borrowed handkerchief or other article which has been made to disappear in some previous trick. This is effected by means of an additional speciality in the construction of the bottle. The compartments containing the liquids in this case terminate a couple of inches above the bottom of the bottle, and the part below this, which has a wavy edge, like fractured glass, is made to slip on and off. (_See_ Fig. 206.) The performer, having produced the wines, pretends to crack the bottle all round by rapping it with his wand, and, having apparently cracked it, pulls the bottom off, and exhibits the handkerchief, which was beforehand placed in readiness therein. The two parts of the bottle joining with great nicety, there is little fear that the pretended crack will prematurely attract attention.

Where the trick is performed before a very large audience, a single bottle would not contain sufficient liquor to answer all the demands upon it. In this case it is necessary to change the bottle, sometimes more than once in the course of the trick. This is most frequently done under cover of a chair or table; but where the trick is performed on the stage, a more elaborate expedient is sometimes employed. The bottle used has in this case an outer shell or casing of tin, open at the bottom, the actual receptacle for the liquids being within this. When the bottle is exhausted, the performer with apparent carelessness places it upon a small table, standing against the side scene, pending the arrival of more glasses, or under any other convenient pretext. The bottle is, in truth, placed immediately over a small round trap, the performer being guided as to its proper position by a couple of small pins projecting upwards from the surface of the table, against which pins he pushes the bottle. The moment it is so placed, the assistant behind the scenes, who has his eye to a hole in the partition, and his arm extended within the table, opens the trap, pulls down the empty interior of the bottle, and instantly replaces it with a full one, which he holds in readiness, and at the moment when the performer again grasps the bottle to continue the trick (and thereby furnishes the necessary resistance), pushes it sharply up into its place.

THE BOTTLE AND RIBBONS.--This is another favourite bottle trick. The bottle is in this case also of tin, with an enclosed space round the sides to contain wine, commencing about an inch and a half from the lower end, and terminating just within the mouth. (_See_ Fig. 207.) The bottle has no bottom, and there is thus a passage, in the shape of an inverted funnel, extending through its whole length. A cylindrical base or stopper (_see_ Fig. 208) just fits into the space at the bottom of the bottle, and on this are fixed six or eight small reels or bobbins. On each of these is wound a yard or so of ribbon, each of a different colour. An upright wire rod springs from the centre of this base, terminating just within the neck of the bottle in a little flat piece of metal, perforated with as many holes as there are ribbons; and one end of each of the ribbons is brought up through one of these holes, and a little knot made upon it to prevent its slipping back again.

The ribbons being in position, and the space in the bottle duly filled with wine, the performer brings it forward, and, after pouring out a glass or two, asks some lady present which is her favourite colour, and on receiving an answer, gently taps the bottle with his wand, and immediately draws out with the tip of his forefinger from the neck, and presents to her, a ribbon of the desired colour. More wine is produced, alternately with fresh ribbons, until all are exhausted.

The above is the drawing-room form of the trick. Upon the stage, it is slightly varied. The same kind of bottle is used, but the internal provision of reels and ribbons is removed, so that the bottle remains a simple tin bottle, open at the bottom, with the funnel-shaped passage already mentioned extending through its entire length. The performer, having poured out a glass or two of wine, places the bottle on a stool or table, through the pillar of which is a hole or passage communicating with a corresponding hole in the stage. Beneath this is stationed the performer’s assistant, who is provided with a large number of various coloured ribbons, and a thin rod of three or four feet in length, with a small point or blunt pin at the top. The performer takes care always to repeat in an audible voice the name of the colour called for. This is a signal to the assistant to hitch one end of the ribbon in question on the top of the rod, and hold it in readiness beneath the stage. He does not, however, push it up through the bottle until warned by the sound of the tap of the wand on the bottle that the performer is ready to receive it. The performer, on his part, takes care, before tapping the bottle, to place his thumb upon the mouth, so as to prevent the rod passing too far. Sometimes a combination of colours is asked for, as, for instance, the tricolour, or any other national group of colours.

Alter having produced a reasonable number of ribbons, an effective finish may be made as follows:--A last colour or combination of colours having been demanded, the performer does not draw the ribbons, as hitherto, completely out of the bottle, but leaves them hanging down loosely on each side of it. He now announces that, at the word of command, the ribbons shall, of their own accord, return into the bottle. The assistant takes his cue accordingly, and at the third tap of the wand draws the ribbons smartly down again; their instantaneous disappearance within the bottle being exceedingly effective.

THE NEW PYRAMIDS OF EGYPT, OR THE WINE AND WATER TRICK.--This trick may be very well worked in conjunction with either of the bottle tricks already described, and we therefore notice it in this place. Its effect is as follows:--The performer pours out a glass of wine and a glass of water, finally transferring both to a small decanter. Placing the decanter on a small round stand, and the empty glasses on similar stands on either side of it, he covers each with a pyramidal cover, and announces that at his command the mixed wine and water will again separate, and pass into the empty glasses, the spectators being allowed to choose into which of the glasses each element shall pass. The choice having been made, he fastens a tape or ribbon to the centre pyramid, and thence to each of the side ones, giving the audience to understand that, by a mysterious kind of capillary attraction, the wine and water will travel along this ribbon to their respective destinations. A few moments having elapsed, the ribbons are untied and the covers removed. The decanter is found to be empty, and the wine and water to have respectively returned to the glasses designated by the audience.

The glasses used have no speciality, but the decanter has a small hole in its under side. This is plugged with a pellet of wax, which, however, is instantly removeable at pleasure. Of the three stands, two (those on which the glasses stand) have no preparation, being mere raised shapes of tin. The third is similar in appearance, but is, in fact, a hollow box, with three or four little holes drilled in its upper side, for a purpose that will presently appear. Of the three covers, the centre one is hollow throughout, but the other two have each its upper portion occupied by a hollow chamber or reservoir, divided in two by a vertical partition, and tapering down to a tube with a very small opening. Each of these compartments has an air-hole at the top. (_See_ Fig. 209.)

These two covers are beforehand prepared for the trick by filling the two compartments of each, one with wine, and the other with water. The air-holes are stopped with pellets of wax, but for the sake of distinction the “wine” compartment of each is plugged with red wax, and the “water” compartment with white wax. Any other distinguishing mark is, of course, equally good. So long as the air-holes are thus stopped, there is no fear of the liquid running out. The performer, having filled the glasses as already described, mixes the contents in the decanter, and in placing the latter on the stand, removes the wax plug from the bottom, thus allowing the wine to run out, and to percolate through the above-mentioned holes into the stand, where it remains. He next places the empty glasses on their respective stands, and places the covers over them. He then asks the audience into which of the glasses they desire that the wine shall travel, and into which the water. When they have made their decision, he has only to remove the red pellet from the cover which is over the glass into which the wine is to pass, and the white pellet from the opposite cover. The tying of the tape from cover to cover is merely designed to give time for the liquids to reach their respective destinations, and is, indeed, altogether dispensed with by many performers. The air-holes may be stopped by means of tinfoil pasted over them, instead of the wax, if preferred. The foil is instantly removeable by scraping with the nail.

THE MYSTERIOUS FUNNEL.--This is a little appliance on the same principle, which may be incidentally introduced with good effect in the course of a wine trick. It is a tin funnel, made double throughout, with a space of half-an-inch or so between its inner and outer sides. It is, in fact, a funnel within a funnel, joined at the upper edges. (_See_ Fig. 210.) It has an air-hole, _a_, generally on the under side of the handle. When required for use, the hidden space is filled with wine. The simplest way of doing this is to stop the spout of the funnel with the finger, and then to fill it with wine, which, seeking its own level, will gradually rise to the same height in the outer space as it stands at inside the funnel. This must, of course, be done with the air-hole open. When the space is filled, the air-hole is stopped, and the wine remaining inside the funnel allowed to run out. The funnel will now appear perfectly empty, and may be used as a funnel in the ordinary way.

The mode of using the funnel is somewhat after the following manner, subject, of course, to variation, according to the taste and invention of the performer:--

A juvenile is invited to take a glass of wine, the produce of either of the preceding tricks. When he has imbibed it, the performer asks a second juvenile whether he would like a glass also. The reply is pretty sure to be in the affirmative, but the performer pretends to find, when about to oblige him, that his store is exhausted. He begins to apologize for the supposed disappointment, but as if suddenly bethinking himself, says, “However, you shan’t be disappointed. If I can’t supply you in the natural way, I must do so in a supernatural way. Suppose we take back the wine this young gentleman has just drunk. I don’t suppose it will be any the worse. Let me see, where is my magic funnel. Oh, here it is. Let us make sure first that it is quite clean.” He pours water through it, and then holds it up to the light in such a manner that the audience can see right through, thus indirectly showing them that it is empty. “Now, sir” (addressing the youngster who has drunk the glass of wine), “I am going to take back that glass of wine. Be kind enough to bend your elbow, and hold it over the mouth of the funnel, so. And you, sir” (addressing the expectant), “perhaps you will be kind enough to take this young gentleman’s other arm, and work it gently up and down. In fact, we are going to transform him into a pump. Now, sir.” The performer holds the glass under the funnel, and as soon as the pretended pumping begins, opens the air-hole, when the wine runs into the glass, and is handed to the second young gentleman as a reward for his exertions.

Acted with spirit, this little interlude is sure of an uproarious reception from the juvenile portion of the audience, particularly if the operator possesses the magic bradawl described at page 332, and makes use of it to bore a small hole in the victim’s elbow before beginning to pump the wine from it.

THE BOX OF BRAN TRANSFORMED TO A BOTTLE OF WINE.--While upon the subject of wine tricks we may mention this, which is by no means the least surprising of the illusions to which “the bottle” gives birth. The necessary apparatus consists of four pieces. First, a plain cylindrical tin box A (_see_ Fig. 211), japanned to taste, and about six inches high by three in diameter. Secondly, B, a similar box, so far as external appearance is concerned, but materially different in its internal construction. This latter is bottomless, but has a horizontal tin partition at about three-quarters of an inch from the top. These two boxes have but one lid, which fits either indifferently. The third article is a cylindrical pasteboard cover (Fig. 212), closed at the top, and of such a size as to fit loosely over B, but an inch or two taller. The fourth item is a bottle, made of tin, japanned black, and of somewhat peculiar construction. (_See_ Fig. 213.) As a measure of capacity, it terminates just below the shoulder, the remainder, or body of the bottle, being, in fact, merely a tube closed at the bottom, in which this upper portion works. A spiral spring within the body presses the neck portion upward into its proper position; but if pressure be applied, the neck portion will sink downward into the body, as shown in Fig. 214, in which condition it just fits into B. A small point projects from the lower part of the bottle, and corresponds with a bayonet catch at the bottom of B, which is in fact designed as a case or cover for the bottle.

For the performance of the trick the operator will require, in addition to the apparatus above mentioned, an oblong deal box, half full of bran. (Rice is sometimes used, but is not so good.) Any box will answer the purpose, so long as it is not less than fifteen inches or so in length, and nine in breadth and depth. In preparing for the trick, the first step is to fill the bottle, or the “fillable” portion thereof, with wine or some other liquid. The bottle is then corked; B is placed over it and pressed down, and the bayonet-catch fastened. In this condition, but without a lid, B is placed in the deal box, and buried in the bran. The box of bran being now brought forward and placed on the table, the performer is ready to begin the trick. He first draws attention to A, which he hands round for inspection, as also the pasteboard cover. When they are returned, he brings forward the box of bran, moving his hand backwards and forwards in it, and distributing a few handfuls to show its genuineness. Replacing the box on the table, he proceeds to fill A with bran. This he does by dipping A completely in the box, and scooping up the necessary quantity. As if to show all fair, he pours the bran out again into the box, and then makes a second dip to refill it. This time, however, he makes an exchange, and instead of bringing up A, brings up B, filling as he does so the shallow space at the top of the latter, which thus appears to be full to the brim. Placing it on the table, and putting the lid on, he places the pasteboard cover over it, and, addressing the company, volunteers to teach them how to extract wine from bran, and wine bottles from tin boxes. After a moment’s pause, and the orthodox touch with the wand, he removes the cover, giving it at the same time a slight twist, thus releasing the catch, and removing B within the cover. The spring within the bottle now meeting no resistance, presses the neck portion upwards into its proper position, with all the appearance of a genuine bottle; and as it, in its present condition, is considerably taller than B, it can hardly be suspected that it was a moment ago concealed in the latter, particularly as the performer immediately proceeds to give a further proof of its genuineness by pouring a glass of wine from it.

In connection with the above trick we may describe another useful piece of apparatus, known as

THE BRAN BOTTLE.--This is a bottle, which, being covered over for an instant, vanishes, leaving in its place a heap of bran. The bottle is, like that last described, of tin, with a false bottom or partition, about an inch below the shoulder, so that it holds about a glassful of wine. The place of the ordinary bottom is supplied by a disc of tin, with a raised shoulder round it, fitting loosely within the bottle, so as to drop out by its own weight, unless kept in place by some external pressure. The cover is a mere cylinder of pasteboard, closed at the top. The bottle is prepared for use by filling the lower portion with bran, and putting the bottom in place (where it is retained by the pressure of the fingers), then filling the upper part with wine. The performer first pours wine from the bottle, and then places it on a plate, ostensibly to show that it does not pass through any opening in the table, but really for a reason which will presently appear. He now places the cover over the bottle, and on again lifting it presses the sides slightly, and so lifts the bottle with it. The loose bottom, having no longer anything to hold it, remains on the plate, concealed by the bran which pours from the bottle, and into which the bottle is apparently transformed. Meanwhile, all eyes being drawn to the heap of bran, the performer lowers his hand, containing the cover, for an instant behind the table, and relaxing the pressure of his fingers, lets the bottle slip out on the _servante_, immediately coming forward with the cover, and carelessly showing that it is empty.

In combination with the Bran Bottle, the trick last above described is greatly heightened in effect, the bottle appearing under the cover which has just been placed over the tin box--the bran from the latter being found under the cover which a moment previously concealed the bottle, and the tin box being found to have passed into the large box of bran. The Bran Bottle may also be worked with great effect in combination with the trick of the “Bran and Orange,” described at page 335.

THE BRAN GLASS.--This is an ingenious and very useful piece of apparatus. It is made in all sizes, from that of an ordinary wine-glass to a goblet large enough to hold a rabbit. Its effect is as follows:--The glass is brought forward apparently filled with bran to the brim. The performer proves its genuineness by taking up a handful of it, and scattering it over the stage. A brass cover is now placed over the glass, and instantly removed, when every particle of bran is found to have disappeared, and in place of it is found some article which had been conjured away at some earlier period of the trick. The explanation is very simple. The glass is shaped as shown in Fig. 215, with straight sides, tapering outwards. The supposed bran is really a hollow shape of tin, _a_, closed at the top, but open at the bottom, with bran gummed all over it, and a handful of loose bran spread on the top. At each side of its upper edge is a little wire point, just overpassing the edge of the glass. The cover (_see_ Fig. 216), which is of such a size as to cover the glass as far as the upper part of its stem, has no speciality about it, save a shallow groove running round its upper edge on the inside, as shown by the dotted line. When the cover is placed on the glass, and pressed smartly down, the two points already mentioned are forced into this groove, which thus grips the tin shape, and when again removed, lifts it out of the glass, leaving behind whatever article may have been beforehand placed within.

Where the bran glass is of large size, the metal cover is indispensable; but for glasses not exceeding the ordinary tumbler size, it is preferable to cover the glass with a borrowed handkerchief only, the hollow shape being in this case made, not of tin, but of thin cardboard. The two points are dispensed with, but in place of them there should be a piece of thread, in length about double the diameter of the glass, fastened from side to side of the shape. This, hanging down on the side of the glass which is toward the performer, is caught hold of through the handkerchief, and thus handkerchief and shape are lifted together.

The Bran Glass may be made available in a variety of ways; the trick next following will afford a good practical illustration of its use.

TO FIRE BORROWED RINGS FROM A PISTOL, AND MAKE THEM PASS INTO A GOBLET FILLED WITH BRAN AND COVERED WITH A HANDKERCHIEF, THE BRAN DISAPPEARING, AND BEING FOUND ELSEWHERE.--The glass used in this instance is of ordinary tumbler size. It is not brought forward as above, with the bran shape already in place, but empty, and may therefore be freely offered for inspection. With it is brought forward a wooden box, of any size and shape, filled with bran, and in this, ready to hand, is concealed the bran shape. We have already had occasion to describe the magic pistol, or rather pistol tube; but the tube used in this instance (_see_ Fig. 217) has an additional peculiarity. It is of comparatively small size, being about two inches wide at the mouth. Within this mouth fits easily a tin cup, _a_, about an inch and three-quarters in depth, and having its edge turned over outwards all round, so as to afford a ready grip to the palm when it may be necessary to remove it. The pistol is beforehand loaded with powder, and the cup above described is placed in the mouth of the tube.

The performer begins by asking the loan of three rings, to be fired from his magic pistol. To preclude the possibility of their being exchanged, he requests the owners to drop them into the pistol themselves. First, however, by way of wad, he takes a small piece of white paper, and presses its centre portion into the mouth of the pistol tube, its edges projecting all round, and forming a sort of cup to receive the rings. Three rings having been offered, and dropped into the pistol, the performer closes over the edges of the paper, and presses them down with his wand, the effect being as if the rings were fairly rammed down into the pistol, though they really remain in the cup, just within the mouth. He now hands the pistol to one of the spectators, requesting him to hold it muzzle upwards above his head. In handing it to him, he places for a moment his own right hand over the mouth of the tube, his palm being flat upon it, and in again removing the hand lifts out and palms the cup (which the projecting edge enables him to do with perfect ease). He has thus obtained possession of the rings. (As the holder of the pistol has been instructed to hold it above his head, he is not very likely to look into it; but lest he should do so, and discover that the rings are already removed, it is well to place in the tube beforehand a piece of crumpled white paper, to represent that which contained the rings.)

The performer now hands round the glass for examination, and subsequently draws attention to the box of bran. While doing this he has little difficulty in getting the rings out of the cup and paper into his right hand. He then, holding the glass in his left hand, dips it into the box, and fills it with bran, which he forthwith pours slowly back again to prove its genuineness. Meanwhile, his right hand is engaged in fishing up the bran shape among the bran, placing it mouth upwards in the box, and dropping the rings into it. When he again dips the glass into the box, he slips it mouth downwards over the shape, immediately turning it into the natural position, and bringing it up, to all appearance, full of bran. As the rings were in the shape, they are, of course, now in the glass. He brushes the loose bran off the top, and then covers the glass with a borrowed handkerchief, taking particular notice on which side hangs the loop of thread. The person holding the pistol is now requested to take good aim, and fire at the glass. He does so, and the performer, lifting the handkerchief with the shape within it, lets the latter drop on the _servante_, and advancing with the glass, requests the owners to identify their rings.

The trick may either end here, upon the supposition that the bran has been blown away altogether by the explosion, or the bran may be shown to have passed to some other place. There are numerous methods of effecting this latter transposition. For instance, the pea vase (_see_ page 351), first shown empty, may be used, or the bran may be made to fall out of a second borrowed handkerchief, by means of the bag shown at page 248, or may be found in the apparatus next described.

THE “DOMINO-BOX” (SOMETIMES CALLED THE “GLOVE-BOX”).--This is a little oblong box of walnut or rosewood, measuring about four inches in length by two inches in width, and an inch and a quarter in depth. It has a sliding lid, drawing out in the ordinary manner, but the whole box has a tightly-fitting inner lining, which may be pulled out, drawer fashion, with the lid. (_See_ Fig. 218.) It is used as follows:--Any small article, say a glove or a lady’s handkerchief, is secretly placed inside this inner lining. The performer exhibits the box to the company, and to show that it is empty, turns it over towards them, and draws the lid nearly out, drawing out with it at the same time the inner lining or drawer also. (_See_ Fig. 219.) From the position of the box, the drawer is, at a very short distance, completely hidden by the lid. The box is, of course, seen to be perfectly empty. The performer now closes it, and turning its right side upwards, places it on the table. He then proceeds with the next stage of the trick, and at the right moment again opens the box, or invites some one else to do so. This time the lid alone is drawn out, and the hidden article is found in the box.

There is another speciality about the Domino-box, which renders it available to cause the disappearance of a coin placed in it; though, as in the case of the “Rattle-box,” described in the chapter devoted to coin tricks, the coin is heard to rattle within it till the very moment of its disappearance. This is effected as follows:--Between the bottom of the drawer and that of the box proper is a very small space, just large enough to allow a shilling to lie between the true and false bottom. On the under side of the drawer, however (_see_ Fig. 220, showing the under side of the drawer portion), are glued two thin slips of wood, gradually approaching each other, and thereby narrowing this space to a width of about half an inch. If when the lid is withdrawn _with_ the drawer, as already explained, a shilling or sovereign is dropped into the box, and the box again closed, the coin will have plenty of room to rattle about as long as it remains at the end _a_, but if shaken down with a sharp jerk in the direction of the end _b_, it will become caught in the narrower portion of the opening, and will thenceforth be silent, unless it may suit the purpose of the performer to release it again, which he can do by a sharp downward jerk in the direction of _a_. Of course, as the coin is below the false bottom, it will appear to have vanished when the box is opened in the ordinary way.

The Domino-box is sometimes used to change a sovereign to its equivalent in silver, the “change” being beforehand wrapped in paper, and concealed in the drawer. It is sometimes also caused to fill itself with bonbons, in place of a coin deposited in it.

These boxes are usually made in pairs, alike in appearance, but the one is a simple box without any speciality, and may therefore be handed round for examination, the mechanical box being adroitly substituted at the right moment. The fact that _two_ boxes are used is, of course, carefully concealed.

THE COFFEE TRICK. (COFFEE BERRIES CHANGED TO HOT COFFEE, WHITE BEANS TO SUGAR, AND BRAN TO HOT MILK).--The pieces of apparatus used in this trick are of brass or japanned tin, and are three in number, two being tall cylindrical vases, standing eighteen to twenty inches in height, the third a goblet-shaped vase, of about half that height. The latter is made upon the principle of the “bran glass,” above described, consisting of three portions (_see_ Fig. 221), the goblet _a_, the cover _c_, and a shallow tray _b_, which fits into the goblet, and which, if the cover is pressed down smartly, and again removed, is lifted off with it. It differs, however, from the “bran shape” in the fact that _b_ is open at top instead of at bottom, and is only about one-fifth the depth of the goblet, leaving therefore considerable space below it. This portion of the apparatus is prepared for use by placing in the goblet a quantity of hot milk, putting _b_ in position above it, and finally filling _b_ with loose bran.

The construction of the other two vases will be quickly understood upon an inspection of Figs. 222, 223. _a_ is the vase, and _c_ the cover fitting loosely over it, but between these two is a well, _b_, made double, so as to fit at once into and outside of _a_, after a mode of construction which we have more than once had occasion to notice. There is a bayonet-catch at the lower edge of _c_, corresponding with a pin or stud at the lower edge of _b_, so that _c_ may be lifted off either with or without _b_. There is a similar catch at the lower edge of _b_, corresponding with a stud at the bottom of _a_, but cut in the opposite direction to the other catch, so that the action of unlocking _a_ from _b_ locks _b_ to _c_, and _vice versâ_.

The vase a requires a special description. A shallow saucer of tin, _d_, just fits the interior of the vase, working up and down therein piston-fashion, but prevented from coming out altogether by the fact that the upper edge of _a_ is slightly turned inwards all round. Below _d_ is a spiral spring, whose action tends to force _d_ to the top of the vase, as shown in Fig. 222. From the centre of _d_, however, there extends downwards through the spiral spring a piece of stiff wire _e_, with a crook, _f_, at the end. The foot of the vase is hollow throughout. If the saucer _d_ is forced down by pressure from within, this wire, as soon as it reaches the position shown in Fig. 223, will hook itself within the foot of the vase, and so keep down _d_, until the crook is again released, when the whole will instantly return to the condition shown in Fig. 222. The bottom of the foot is open, so that the fingers can without difficulty find and release the crook when necessary.

The vases are prepared by pressing down _d_ in each as shown by the dotted lines in Fig. 223, and filling the well of the one with hot coffee, and that of the other with loaf-sugar. Their respective covers are then placed over them. The attention of the audience is first directed to a couple of wooden boxes, each about half as long again as the vases, and ten or twelve inches in depth, one of which is filled with coffee-berries, and the other with white haricot beans. The performer now uncovers the vase which contains the coffee, first turning the bayonet-catch so as to lift off the well _b_ with the cover, and shows, by holding the vase upside down and rattling his wand within it, that it is perfectly empty. He now fills it with coffee-berries, laying it down in the box to do so, and holding it by the foot with one hand while he shovels the berries into it with the other. Having completely filled it with the berries, he holds it aloft, and, to show that there is “no deception,” tilts it, and lets them run back again into the box. Again he dips it into the box, but, as he does so, releases the crook (which the fingers of the hand holding the vase are just in position to do), and thus lets _d_ fly up to the top of the vase. Again he brings up the vase, apparently full as before, but really having only a mere layer of berries, of the depth of _d_, at the top. He now puts on the cover, the well in which again forces _d_ and the superposed layer of coffee-berries down to make way for it, and causes the crook again to catch beneath the hollow of the foot. The same operation is now gone through with the vase whose well contains the sugar, and the box of white beans. The performer lastly takes from the third vase a handful of bran, which he scatters to show its genuineness, and then places the cover over it. The trick is now really completed. On removing the respective covers (taking care of course, first to turn the bayonet-catches in the right direction), the wells are released from the covers and locked to the vases, which are thus found full respectively of hot coffee and sugar, and, on removing the cover of the third vase, the bran is lifted off with it, and the milk is revealed.

Some coffee vases, and more particularly those of French make, dispense with the bayonet-catch, replacing it by a peculiar arrangement inside the top of the cover. The upper edge of the well is slightly turned in all round, and the turning of the knob at the top of the cover causes three flat bolts or catches to shoot out circularly from the edges of a hollow disc, soldered to the top of the cover inside, and insert themselves under this projecting edge. (_See_ Figs. 224, 225.) The mechanical arrangement by which this is effected is almost impossible to explain in writing, though it becomes readily intelligible upon an actual inspection of the apparatus, and will be understood without much difficulty after a slight study of the above diagrams, the arrow in each case indicating the direction in which the knob must be turned, in order to bring the bolts into the condition shown in the opposite diagram.

THE INEXHAUSTIBLE BOX.--The inexhaustible box is, to all outward appearance, a plain wooden box, of walnut, mahogany, or rosewood, in length from twelve to twenty inches, and in depth and width from nine to fifteen inches. Whatever its dimensions, its width and depth, exclusive of the lid, must be alike. To prove that it is without preparation within, the performer turns it over on the table towards the spectators, and, lifting the lid, shows that it is perfectly empty. Again he closes it, and, turning it right side upwards, opens it once more, and instantly proceeds to take from it a variety of different articles. At any moment the box is again turned over towards the audience, and shown to be empty; but it is no sooner replaced, than the performer recommences taking from it toys, bonbons, etc., the supply being many times larger than could possibly be contained at one time in the box.

The bottom _a b_ of the box (_see_ Fig. 226) is moveable, working on a hinge _b_ extending along its front. When the box is turned over to the front, this bottom piece does not turn over with it, but remains flat upon the table as before. A piece of wood _b c_, of exactly similar size and shape, is glued to _a b_ at right angles. When the box stands right side upwards, this piece lies flat against the front of the box, whose upper edge is made with a slight “return,” so as to conceal it. When the box is turned over to the front, this piece, like the bottom, retains its position, while any object which had previously been placed in the box remains undisturbed, but hidden by this latter piece. (_See_ Figs. 226, 227.) It is, of course, necessary that such object should be of such a size as not to overpass the arc which the edge of the box describes in its change of position, and the length from _b_ to _c_ must be exactly the same as that from _a_ to _b_.

The mode of using the box will require little explanation. Any number of objects, not overpassing the limits we have mentioned, may be placed in the box, which, being then turned over, can be shown apparently empty. The box being replaced in its normal position, the articles are again within it, and can be produced at pleasure. The effect of “inexhaustibility” is produced as follows:--Each time that the performer turns over the box to show that it is empty, he takes from the _servante_, or from his pockets, and places upon _a b_, a fresh supply of articles, to be produced as soon as the box is again right side upwards.

It should be mentioned that the hinge at _b_ is made to act freely, so that the bottom may by its own weight retain its position when the box is turned over, and not turn over with the box. Some boxes are made with a catch or pin at some part of _a_, so as to prevent _a b_ falling prematurely while the box is being placed on the table, or while the performer carries round the box, and shows that, inside and out, it is without preparation. This, however, the performer may safely do, even without the use of any catch or fastening, by taking care to grasp the box, when carrying it, by its front edge, with his fingers inside it. The fingers will thus press _b c_ closely against the front of the box, and will thereby effectually prevent _a b_ from shifting its position. The box is, of course, in the case supposed, really empty. The performer has therefore to make an opportunity for introducing what may be needful into it; this he may do by remarking as he replaces it on his table, “You are by this time, ladies and gentlemen, tolerably well satisfied that there is nothing in this box; but for the greater satisfaction of those who may not have been able to see the interior as I carried it round, I will once more show you that it is absolutely empty.” So saying, he turns it over, and once more shows the interior, at the same time placing on _a b_ whatever article he designs to produce.

THE JAPANESE INEXHAUSTIBLE BOXES.--This is a form of the same apparatus, in which an additional element of mystery is produced by the use of a box within a box. The inner box is an ordinary inexhaustible box, as last described, but made with a flat wooden lid, instead of the hollow or “box” lid used in the older form of the trick. The outer box just fits over the inner, and is, in fact, a mere cover for it, being an ordinary wooden box, save that it has no front. The two are brought on one within the other. The performer begins by taking the smaller box (which is ready filled with the objects to be produced) completely out of the larger, and shows that the latter is absolutely empty. He then places the two boxes together, as shown in Fig. 228, turning over the smaller box to show its interior, as already described. After this has been done, the smaller box is tilted back to its normal position within the larger, the lid of the latter being slightly lifted to allow it to pass, and then both lids being opened together, the production of the contents commences. The function of the larger box is, in fact, merely to act as a screen to the hinder part of the smaller, when turned over towards the audience. The only advantage of the Japanese over the ordinary box is that it may be worked on any table, and with spectators on all sides, but this advantage is counterbalanced by the drawback that nothing can be produced save what was originally in the box, neither can the smaller box be carried round, and shown empty. This, however, may be met by beginning the trick with the two boxes together, and then, after having brought to light the whole of the original contents, offering (for the pretended purpose of heightening the effect) to continue the trick without the aid of the outer box. The inner box may thenceforth be replenished from behind in the same way as the ordinary Inexhaustible Box.

The Inexhaustible Box is frequently made the vehicle for those distributions of bonbons, toys, etc., which to the juvenile mind form by no means the least attractive feature of a magical performance. It is also available for the production of flowers, multiplying balls (_see_ page 307), goblets, bird-cages, and the miscellaneous assortment of articles generally associated with “hat” tricks. One of the most effective modes of using it is in connection with the very pretty trick next following.

THE FEAST OF LANTERNS.--The performer, having exhibited the box empty, as already described, turns it over again, and instantly produces from it a paper lantern of many colours, with a lighted candle in it. This he hands to his assistant or one of the company to hang up at some convenient part of the stage or room, and returning to the box produces another, and yet another, till ten or twelve, or even a larger number, have been produced, the box being every now and then turned over to prove it empty. The effect of a number of lanterns thus mysteriously produced from an empty box, and hung about the stage in all directions, is most brilliant. As the candles do not burn very long, and there may be some risk of the lanterns catching fire, it is well to make this trick the _finale_ of the entertainment, and to allow the curtain to fall before the illumination has had time to lose its effect.

A great part of the effect of the trick lies in the very considerable bulk of the lanterns, three or four of which would apparently be more than sufficient to fill a box from which a dozen or so are produced. This arises from the construction of the lanterns themselves, which are of the kind used for Christmas-trees and illuminations, and when open offer a considerable cylindrical surface (_see_ Fig. 229), though when closed they are little more than flat discs (_see_ Fig. 230). They are placed in the box in the condition shown in the last-mentioned figure; but when lifted out by the wire at top, at once expand, concertina-fashion, and assume the shape shown in Fig. 229. They are lighted in sundry ways, one method being as follows:--Each lantern contains about three-quarters of an inch of candle, from which the wick has been removed, and a wax match inserted in its stead. Against the front of the box, or rather against the wooden flap _b c_ (_see_ Fig. 227), is glued a tablet _d_ of sandpaper upon which to strike the match, and a gentle rub against this instantly lights the candle, when the lantern is immediately lifted out, as already explained. There is, however, an improvement whereby the lanterns are not only made to occupy much less space, but may be lighted simultaneously. In this case the little cylinder which forms the socket for the candle, and which should be about half an inch in diameter, instead of occupying the middle of the space at the bottom of the lantern, is placed at one side of such space. One of the lanterns, viz., that which is to be undermost when they are grouped together, has no further preparation; but the second, by the side of its own socket, has a round hole in the bottom, just large enough to give room for the socket of the first. The next, or third lantern, has two holes, allowing the passage of the sockets of the first and second. The fourth has three holes, the fifth four, the sixth five, the seventh six, and the eighth seven, so that when the lanterns are placed one upon another in proper order, the sockets of the lower lanterns come up in a circle through the holes in the bottom of the uppermost one. The tops and bottoms are made of tin, which is not only safe from catching fire, but occupies very little space. In this case the original wicks of the candles are retained, but are slightly moistened with turpentine to render them instantly inflammable, and are lighted by a lucifer or wax match struck in the ordinary way, the merest touch sufficing to ignite them. They may then be lifted out in rapid succession with great effect. A group of six or eight lanterns thus prepared may be produced from a borrowed hat, being previously concealed in the breast or tail-pocket of the performer, and “loaded” into the hat at any convenient opportunity. It is desirable in this case to have a friction tablet glued upon the top of the uppermost lantern to strike the match upon, as the hat lining is hardly adapted for that purpose.

The lanterns above described are the most generally used, and are by much the easiest to manipulate. There is, however, a spherical lantern also obtainable at the toy-shops, which has a decidedly prettier effect. This form of lantern is, when shut up, as shown in Fig. 231. To develop it, the wires _a_ and _b_ are each made to describe a semi-circle, as shown by the dotted line, bringing the whole into the condition shown in Fig. 232, in which condition it is maintained by slipping the loop of _a_ under _b_. The best plan for lighting in this case is to have a separate small piece of candle, prepared with a match wick, as above-mentioned, placed in readiness on the _servante_, and a small pin or sharp nail projecting upwards from the bottom of the box to act as a candlestick. The candles in the lantern will in this case need no special preparation. The performer first lights the prepared candle by rubbing it against the tablet, and then presses it down upon the upright pin we have mentioned. The other candles are in turn lighted from this, each lantern being put into shape before being lifted out of the box, which must in this case be of tolerable size, in order to admit of their ready development.

THE BUTTERFLY TRICK.--This is a trick of Japanese origin, which became very popular two or three years since. In effect it is as follows:--The performer brings forward an ordinary fan, and a couple of bits of tissue-paper, each torn into a fanciful likeness of a butterfly. Taking these upon his hand, he gently fans them, the motion of the air speedily causing them to rise above his head. Still gently fanning them, he causes them to hover, now high, now low, now fluttering along the wall, now descending into a gentleman’s hat, whence they presently emerge to again flutter hither and thither at his pleasure.

The point that most strikes an attentive observer is the fact that, whether they fly high or low, the butterflies always keep _together_. Sometimes they may be a couple of feet apart, sometimes only a few inches, but they never exceed the above limit; and the spectator naturally concludes that an extraordinary degree of dexterity must be necessary to enable the performer to keep them from diverging more widely. Here, however, in truth lies the secret of the trick, which is, that the so-called butterflies are connected by a piece of very fine silk a couple of feet in length, which, when the butterflies are in motion, is absolutely invisible to the spectators. The remainder of the trick is a matter of practice, though it is less difficult than would be imagined by any one who had never attempted it.

Some performers have the silk thread attached to one of the buttons of the coat. This arrangement will be found greatly to facilitate the working of the trick.

The paper for the butterflies is better torn than cut, and should be as nearly as possible of the shape of a St. George’s cross, and about two inches square.

THE WIZARD’S OMELET. (BORROWED RINGS AND LIVE DOVES PRODUCED FROM AN OMELET.)--This is a trick which always produces a great sensation, whether performed upon the stage or in the drawing-room. Its effect is as follows: The performer produces either naturally or magically (_e.g._, from the egg-bag, or from the mouth of his assistant, as described at page 329) three eggs, which he hands round for examination. His assistant next borrows from the audience three ladies’ rings, receiving them, in order to prove that he does not tamper with them in any way, on the performer’s wand instead of in his hands. The wand, with the rings still upon it, is laid upon the table. The assistant next brings in an omelet pan, and places it, with its lid beside it, on the table. The performer breaks the eggs into it, dropping in shells and all--then pours some spirits over it, to which he sets fire, and while it is still blazing drops the rings from the wand into it. He brings it forward to show that the rings are really in the flames; and on returning to his table, claps the cover on the pan, and fires a pistol (any ordinary pistol) over it. Without a moment’s interval, he again removes the cover. All traces of the omelet and egg-shells have vanished, but in their place are found three live doves, each with a ribbon round its neck, to which is attached one of the borrowed rings.

The explanation of this surprising result is simplicity itself. The reader, with his present knowledge, will readily conjecture that, as to the rings, a substitution is effected; but he may not so easily guess the manner of such substitution. It will be remembered that the rings were collected by the assistant on the performer’s wand. This arrangement, which is ostensibly adopted to prevent, in reality facilitates an exchange. The assistant makes his collection with three dummy rings placed beforehand on the lower end of the wand, and concealed by the hand in which he holds it; which, we will suppose, is the right hand. In returning to the stage, he takes hold with the left hand of the opposite end of the wand, and allows the borrowed rings to run down into that hand, at the same moment releasing the dummy rings from the right hand, and allowing them to run upon the middle of the wand in place of the others. He now has the borrowed rings in his left hand, and (laying the wand with the substitutes on the table) carries them off with him to prepare for the _dénouement_ of the trick.

The only other matter which will require explanation is the construction of the omelet pan. This is a shallow pan of brass or tin, about ten inches in diameter, by two and a half in depth. Within this is an inner pan, also of brass or tin, fitting tightly within it, but about half an inch less in depth. The lid is made with a very deep rim or shoulder all round, and just fits within the lining, though less tightly than the latter fits within the pan. (_See_ Fig. 233, in which _a_ represents the pan, _b_ the lining, and _c_ the lid.) The assistant, as soon as he gets behind the scenes, loops the borrowed rings to the ribbons, which are already tied round the necks of the three doves, and places the latter in _b_, immediately putting on _c_ (the two together having the appearance of a simple cover), and brings forward the pan and cover. The performer now makes his omelet, and drops the substitute rings into it. In bringing forward the pan to show that the rings are really there, he takes care to avoid the owners of them, who would alone be likely to detect the substitution. When he claps on the cover, the trick is really done, the firing of the pistol being merely for effect. When the cover is again removed, the lining remains in the pan, concealing the omelet beneath it, and revealing the doves, with the rings attached to their necks.

THE ROSE IN THE GLASS VASE.--The ingenious piece of apparatus which we are about to describe was, we believe, the invention of Robert-Houdin. It consists of a glass vase, on a foot, and with a glass lid, standing altogether eight to ten inches in height. This is placed on a square box-like plinth or pedestal, of wood covered with morocco, and measuring about eight inches square by six in height. The lid is placed upon the vase, which, being transparent, is clearly seen to be empty. A borrowed handkerchief is for a moment thrown over the whole, and again removed, when a handsome rose (natural or artificial) is seen to have mysteriously found its way into the vase; whence it is removed, and handed to the company for inspection.

The secret of this mysterious appearance is twofold, lying partly in the vase and partly in the pedestal. The vase, which at a little distance appears as simple and commonplace as any in a confectioner’s window, has a segment cut off one side, leaving an opening of about five inches in height by three and a half in width. (_See_ Fig. 234.) This opening is kept turned away from the audience. The pedestal, like the vase, is closed on every side except the side remote from the spectators, which is open. A curved wire arm, with a “clip” at the end to receive the stalk of the rose, works up and down, describing a quarter of a circle, in this open space. A spring hinge, on which this arm works, impels it to assume the position shown in the figure, thus lifting the rose through the opening into the vase. The apparatus is set by forcing down the arm with the rose into the position indicated by the dotted lines, in which position it is retained by a little catch, until the performer, in the act of covering the vase with the handkerchief, presses a stud at the upper side of the pedestal. This withdraws the catch, and allows the rose to rise into the vase. Of course, the performer in taking out the flower does so from the top, and with proper precautions not to disclose the existence of the opening at the back of the vase.

The ingenuity of the reader will probably suggest to him combinations to make the trick more effective. To those who have not such ready invention, we may remark that the trick may be very effectively combined with that of the ball that changes to a rose, and _vice versâ_ (_see_ page 300), or a duplicate rose may be placed in the _mouchoir du diable_ (described at page 195), and thence ordered to pass to the vase.

THE CHINESE RINGS.--These are rings of brass or steel, in diameter from five to nine inches, and in thickness varying from a quarter to three-eighths of an inch. The effect of the trick to the spectator is as follows:--The rings are given for examination, and found to be solid and separate; but at the will of the operator they are linked together in chains of two, three, or more, becoming connected and disconnected in a moment, and being continually offered for examination. Finally, after the rings have become involved in an apparently inextricable mass, a slight shake suffices to disentangle them, and to cause them to fall singly upon the stage.

The sets of rings sold at the conjuring depôts vary in number, ranging from six to twelve. The set of eight, which is perhaps the most usual number, consists of one “key” ring, two single rings, a set of two linked together, and a set of three linked together. The “key” ring (_see_ Fig. 235), in which lies the secret of the trick, is simply a ring with a cut or opening, _a_, in it. For use upon a public stage, where the performer is at a considerable distance from his audience, there may be a gap of an eighth of an inch between the ends, but for drawing-room use, they should just touch each other. Some rings are made to “clip” like an ear-ring, and some have the opening cut diagonally instead of square, but the simple square cut is, in our own opinion, the best.

We shall, in the first place, describe the trick as performed with the set of eight rings above mentioned, afterwards noticing the more elaborate performance with twelve. We must premise, however, that the manipulation of the rings admits of almost infinite variation, and that the practice of performers differs greatly as to the mode of working them.

The performer comes forward holding the eight rings in his left hand, arranged as follows. First (_i.e._, innermost), comes the set of three; then the “key” ring (the opening uppermost in the hand), then the set of two; and, lastly, the two single rings. Taking the first of these, he hands it to a spectator for examination; passing it when returned to another person, and carelessly handing a second ring to be examined in like manner. This should be done without any appearance of haste, and with an air of being perfectly indifferent as to how many of the rings are examined. The two “singles” having been duly inspected, the performer requests one of the spectators to take them both in his right hand, at the same time taking in his own right hand the next two rings, which, it will be remembered, are the set of two, though the audience naturally believe them to be, like the first, separate. “Now, sir,” the professor continues, “will you be good enough to link one of the rings which you hold into the other.” The person addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says the performer, in pretended surprise. “My dear sir, nothing is easier. You have only to do as I do. See!” Laying down the rest of the rings, he holds the two as in Fig. 236, and makes a gentle rubbing motion with the thumb upon the rings, and then lets fall one of them, which naturally drops to the position shown in Fig. 237. He now hands these two rings for examination. The spectators seek for some joint or opening, but none is found; and meanwhile the performer transfers the next ring (the “key”) to his right hand, keeping the opening under the thumb. He now takes back with the left hand the two single rings, immediately transferring one of them to the right hand, and with the ball of the thumb presses it through the opening in the key ring, into which it falls, with exactly the same effect as the apparent joining of the two linked rings a moment before. Again he separates and again joins the two rings. The second single ring is now made to pass through in like manner, making the combination shown in Fig. 238. The performer remarks, “We now have three joined together. Here are three more, as you see (shaking those in the left hand), all solid and separate, and yet at my will they will join like the others.” Making a rubbing motion with the thumb as before, he drops two of the three, one by one, from the hand, when they will appear as a chain of three. These he hands for examination, taking back the set of two, and linking them one after the other into the key ring, to which now four rings are attached. Again taking back the set of three, he links these also one by one into the key ring, which thus has seven rings inserted in it. (_See_ Fig. 239.) Using both hands, but always keeping the opening of the key ring under one or the other thumb, he now takes off these seven rings, commencing with the two single ones, and again offering them for examination; then taking off the set of two. Last of all, he unlinks the set of three, and then, holding them at length in his left hand, joins the upper one to the key ring, thus making a chain of four, of which the key ring is the uppermost. He next takes the lowermost ring of the four, and links that into the key ring, bringing the four rings into a diamond shape, as shown in Fig. 240. Again unlinking the lower ring, he takes up the set of two, and connects them with the key ring, holding them up above it, thus making a chain of six, the key ring being third from the top. (_See_ Fig. 241.) Taking the upper ring between his teeth, he links the two single rings into the key ring on either side, making the figure of a cross, as shown in Fig. 242. As the hands are now occupied in holding the single rings forming the arms of the cross, he can no longer keep the opening of the key ring concealed by the thumb, but it is extremely unlikely that among so many rings, so slight a mark in one of them will attract notice. Regaining possession of the key ring, he links all one by one into it, so as again to bring them into the condition depicted in Fig. 239. Then, holding the key ring with both hands, and with the opening downwards, about a couple of feet from the floor (_see_ Fig. 243), he shakes the rings violently, at the same time gently straining open the key ring, when the seven rings will all in succession drop through the slit, and scatter themselves about the floor, the general impression being that they all fall separate, though the grouped sets, of course, remain still united.

It is not an uncommon thing to see a performer commit the _gaucherie_ of handing _all_ the rings, save only the key ring, to be examined in the first instance; the key ring being hidden under the breast or under the tail of the coat, and being added to the set in returning to the table. The spectators are thus needlessly made acquainted with the fact that certain of the rings are already linked together, and this once admitted, the trick loses nine-tenths of its effect.

The set of twelve rings is less frequently seen, and is rather more complicated to manage, though in good hands it is capable of much more brilliant effects than the smaller number. The set consists of five single rings, a group of two, a group of three, and two key rings. These are held in the hands of the performer in the following order. First (_i.e._, innermost) a key ring, then the group of three, then the second key ring, then the group of two, and lastly the five single rings. The latter are distributed for examination. While they are still in the possession of the audience, the performer requests one of the spectators to link two of them together, and himself taking in his right hand the group of two, pretends to link the latter, as already described, and hands them for examination. The performer meanwhile takes in his right hand one of the key rings, and collects the single rings in his left. As soon as the group of two are handed back, he links one of them to the key ring in his right hand, thus forming a chain of three, with the key ring uppermost. Next linking the lowest ring into the key ring, he forms Fig. 238, which, by holding the two lower rings apart, assumes the shape of a triangle. Again disengaging the lower ring, passing one of the single rings from the left hand to the right, and laying down on the table all the rings remaining in that hand (the group of three uppermost) he joins the single ring to the key ring, thus making a chain of four, of which the key ring is second from the top. These he lays, still linked, upon the table, and takes up from the heap already lying there the three uppermost (which, it will be remembered, are the group of three), and holding them for a moment together in the hand, lets them fall one by one to form a second chain of three. Taking the next ring of the heap (the second key ring) in his disengaged hand, he steps forward, and requests some one to take hold of either of the three rings, and to pull against him, in order to prove their solidity. This ascertained, he passes the upper ring of the three into the hand which already holds the key ring, and links it into the key ring, thus forming a second chain of four, of which in this case the key is the uppermost. Linking the lowermost into the key ring, he shows the rings as in Fig. 240. Once more unlinking the lower ring, so that the four again appear as a single chain, he proceeds (apparently) to link all the twelve together. This is effected as follows:--

Taking two of the single rings, the performer links them into the key ring of the chain which he holds. He next links one of these same single rings into the key ring of the other chain, thus linking the two chains together at a distance of one ring from the end of the chain. He thus has ten rings joined. He now takes the two chains one in each hand by the ends remotest from the point of juncture, immediately after picking up and holding (one in each hand) the two remaining single rings. These, of course, he does not and cannot link with the rings adjoining them, but the audience seeing that all the rest are linked together, readily believe that these also form part of the chain. The precise arrangement of the rings will be readily understood from an inspection of Fig. 244.[M]

[M] The numbers 1, 2, 3, in the centre of the various rings in Figs. 240–244, indicate whether the ring in question is a “single” or forms part of the group of two or of three, as the case may be.

The feat may either end here, the rings, still linked, being gathered together and carried off by the assistant, or the performer may link all one by one into either of the key rings, and then shake them out and scatter them on the floor in the manner already described as to the eight rings. The performance may be elaborated to any extent, the two key rings giving a wonderful facility of combination, but whatever be the passes adopted they should not be too numerous, as the trick, however skilfully worked, consists only of repetitions of the same primary elements, and the interest of the spectators will quickly diminish.

The performer should, in manipulating the rings, study neatness and lightness, rather than rapidity. The effect should be as though the rings _melted_ into and out of one another, and the smallest appearance of force or exertion should be avoided. It has a very good effect in disengaging the rings one from another, to hold them together for a moment or two after they are actually disconnected, and then holding them parallel to each other, to draw them very slowly apart. The precise moment of their separation is thus left uncertain, the illusion being thereby materially heightened. A single ring may in this way be drawn along a chain of three or four, the effect being as if the disengaged ring passed _through_ the whole length of the chain.

THE CHARMED BULLET.--As a rule, people object to being shot at, and the least nervous person might fairly demur at facing the muzzle of a loaded pistol at six paces’ distance; but the magician is superior to such weakness, and will face a bullet with as little compunction as he would stop a ball at cricket. Neither must it be imagined that there is any “deception,” at any rate in the quality of the articles employed. The pistol is a real pistol, the powder is genuine powder, and the bullet--an ordinary leaden bullet--is chosen and marked by one of the audience, fairly placed in the pistol, and fairly rammed home. The pistol is fired with deliberate aim by a disinterested spectator; but no sooner has the smoke cleared away than the performer is seen standing unharmed, with the marked bullet caught between his teeth.

So much for the effect of the trick; now for the explanation. The pistol (_see_ Fig. 245) is, as already stated, an ordinary weapon, and the only speciality of the bullets is that they are a size or two smaller than the bore of the pistol. The ramrod, _b_, is a plain cylinder of wood or metal, tapering very slightly at each end. The secret lies in the use of a little metal tube _a_, about two inches in length, open at one end, but closed at the other. This tube, which is of such a size as to fit loosely within the barrel of the pistol, but tightly upon either end of the ramrod, is placed in the right-hand _pochette_ of the performer, and a small bag of bullets in the _pochette_ on the other side.

The performer comes forward with the pistol in one hand and the ramrod in the other, and having a small charge of gunpowder, screwed up in a bit of soft paper, concealed between the second and third fingers of his right hand. He hands the pistol and ramrod for inspection. While they are under examination, he asks, “Can any lady or gentleman oblige me with a little gunpowder?” Nobody answers, and he continues, addressing some mild elderly gentleman, “Perhaps you can accommodate me, sir?” The elderly gentleman naturally replies that he is not in the habit of carrying gunpowder about with him. “Excuse me,” says the performer, “but I fancy you have a small packet of powder under your coat-collar. Permit me!” and drawing his hand gently down beneath the collar, he produces the little packet. This he hands to the person who is holding the pistol, with a request that he will load it. While he puts in the powder, the performer drops his left hand to the _pochette_, and palms the little bag of bullets, which he forthwith produces from a gentleman’s hat, or a lady’s muff.[N] From among the bullets he requests the person who put in the powder to select and mark one. While this is done, he himself takes the pistol in his left hand, holding it muzzle upwards, and in the act of transferring it with apparent carelessness to the other hand, secretly drops into it the little tube, the open end upwards. The spectator having chosen and marked the bullet, is requested, for greater certainty, to place it in the pistol himself. A very minute portion of paper is added by way of wad, and the performer then takes the pistol, and rams it down. The bullet, of course, has fallen into the little tube, and as the ramrod fits tightly within the latter, it naturally, when withdrawn, brings out tube and ball with it. The tube and ramrod are made to match (generally black, but sometimes of brass or silver-plated); and therefore the tube, when on the rod, even if exposed, would not be likely to attract attention. The performer, however, prevents the possibility of its doing so, by holding the rod by that end, thereby concealing the tube with his hand. He now hands the pistol to a spectator, requesting him, for fear of accidents, to hold it muzzle upwards until the word to fire is given. The performer now takes up his position at the furthest part of the stage, and during his short journey gains possession of the bullet. This is effected by sharply drawing away the ramrod with the left hand, thereby leaving the tube open in the right, and allowing the ball to roll out into the palm. The tube, having served its purpose, is got rid of into the _profonde_, and the ball is either slipped into the mouth or retained in the hand, according to the mode in which it is intended to be produced.

[N] A muff, being open at each end, is an excellent thing whence to produce any small article--_e.g._, a borrowed watch, a ball, etc. For this purpose the performer should take hold of one end of the muff with the hand in which is palmed the article in question, which is immediately allowed to slide gently through the muff, and is stopped by the other hand. If this is neatly done, the keenest eye cannot detect the deception.

Some performers use several small bullets. In our own opinion, a single ball of tolerable size is not only more manageable, but more effective. The mode of producing the bullet also varies. Some, instead of producing it in the mouth, hold up a china plate by way of target, the bullet being held under the two first fingers against the front of the plate. When the pistol is fired, the plate is turned horizontally, and the bullet released from the fingers. This plan is sometimes to be preferred, inasmuch as it creates an excuse for leaving the stage for a moment to fetch the plate, an opportunity which is valuable in the event, which sometimes happens, of the ball, from an excess of wadding or any other cause, not dropping readily from the tube into the hand. To meet this possible difficulty, some tubes have (to use an Irishism) a small hole through the _closed_ end, so that the performer, on leaving the stage, can, by pushing a piece of wire through the hole, instantly force out the bullet.

THE BIRTH OF FLOWERS.--There are two or three different tricks which go by this name. Of one of them we may dispose in a very few words. It is purely a mechanical trick, having neither ingenuity of construction nor dexterity of manipulation to recommend it. The apparatus consists of a cover _a_ (_see_ Fig. 246), a base _c_, and an intermediate portion _b_, connected with _a_ by means of a bayonet-catch; _c_ is beforehand partially filled with earth, and in _b_, the top of which is perforated with small holes, is inserted a natural or artificial plant, or bouquet of flowers. The cover _a_ is placed over _b_, and the apparatus is ready. The performer, drawing attention to _c_, pretends to sow some magic seed therein. He then places _a_ over it, and pretending to warm it with his hands, commands the seeds to germinate. Releasing the bayonet-catch, he removes the cover, and shows the flowers apparently just springing from the earth in _c_. In some of the smaller sizes of this apparatus the bayonet-catch is dispensed with, the mere pressure of the fingers on the sides of _a_ being sufficient to lift off _b_ with it.

The trick which we are about to describe under the same title is one of a composite nature, and one which, proceeding from marvel to marvel, produces in good hands a great effect. It is divided into three portions--first, the production of a single flower, then of a handsome bouquet, and lastly, of a large basket of flowers. The performer comes forward with his wand in one hand, and in the other a little box, in reality quite empty, but containing, as he asserts, magic seeds, capable of producing on the instant the choicest flowers. “I will first show you, ladies and gentlemen, their effect in the simplest form. In the hurry of coming here this evening, I omitted to provide a flower for my button-hole. You will see how easily, by the aid of the magic seed, I can supply the deficiency. What shall it be? Clematis, rose, geranium? Suppose we say a rose. I take a single seed from my box--ah, here is a rose-seed--and place it in my button-hole.” (He applies the supposed seed to the button-hole.) “I breathe on it to supply the necessary warmth. I wave my wand--Once! twice! thrice! The seed has blossomed, you see, into a handsome rose.”

The explanation of this pretty little trick is exceedingly simple. The preliminary preparation is made as follows:--Through the centre of an artificial rose, without stalk, a short piece (about ten inches) of thin black elastic is passed, and secured by a knot on the inside of the flower. The other end is passed through the button-hole (from the outside), and thence through an eyelet-hole made for the purpose in the breast of the coat, immediately under the button-hole. The extreme end is looped over a button sewn on the waistcoat about the region of the waistband. The tension of the elastic naturally draws the flower close against the button-hole, while yet allowing it, when necessary, to be drawn away from it to a distance of several inches. The performer, before coming forward to perform the trick, draws the rose away from the button-hole, and places it under the left armpit, whence, so long as the arm is kept close to the side, it cannot escape. When he waves his wand, with the words, “Once, twice, thrice!” he makes the first motion facing to the right, the second fronting the audience, and the third facing slightly to the left, at the same time striking the button-hole with the wand, and throwing up the left arm, when the flower, released, instantly springs to the button-hole, the slight turn to the left completely covering the manner of its appearance.

But the trick is not yet over. “You see, ladies and gentlemen, that I am not dependent on Covent Garden for a rose for my button-hole; but you will naturally say, ‘Ah! the magic seed may be all very well for a single flower, but what if you wanted a complete bouquet?’ I hasten to show you that this is equally within my power. Will some one oblige me with the loan of a hat by way of hothouse? Thank you. Here; you observe, is an ordinary drinking-glass” (this has, meanwhile, been placed on the table by the assistant), “in which I will drop, haphazard, a pinch of the magic seed.” This he does with the left hand, the right being occupied with the hat, and then, with the glass in the left hand and the hat in the right, comes forward to the audience, requesting a lady spectator to breathe upon the glass, which he immediately afterwards covers with the hat. He now requests the same or another spectator to count ten, to allow the mesmeric influence time to operate, and then, removing the hat, shows a handsome bouquet (natural or artificial) in the glass. Returning the hat, and handing the glass and flowers for inspection, he borrows a silk pocket-handkerchief, or, in default of procuring one from the audience, uses one of his own, brought forward by the assistant. Drawing it ropewise through his hands to show that it is empty, he spreads it before him, holding it by two of its corners. Having exhibited one side of it, he spreads the other, when the shape of something solid is seen to define itself beneath it, and the handkerchief being removed, a large round basket of flowers (_see_ Fig. 247), ten or more inches in diameter by two deep, is revealed.

The reader, with his present knowledge, will probably have already conjectured the mode in which the bouquet is brought into the glass. It is beforehand placed at the left hand corner of the _servante_, the stem slanting upwards at an angle of about 45°. When the performer, standing at the left hand side of the table, drops the imaginary seed into the glass with his left hand, his right, holding the hat, drops for a moment to the level of the table, and clips between the second and third fingers the stem of the bouquet, when, by simply bending the fingers, the bouquet is brought into the hat after the manner of the cannon-ball. (_See_ page 305.) When the hat is placed over the glass, the bouquet is naturally brought into the latter.

We may here mention that there are bouquets of a special and rather ingenious construction, enabling the performer, in the act of producing the bouquet from a hat in the above or any similar trick, to cause it suddenly to expand to three or four times its original size. The bouquet is in this case made of artificial flowers, stitched on a framework forming a kind of miniature parasol, with a very short handle. The bouquet, when introduced into the hat, has a slightly conical shape, but the performer in withdrawing it puts up the parasol, so to speak, thereby spreading it to twelve or fourteen inches’ diameter.

The production of the basket of flowers from the handkerchief is produced by wholly different means, and will require a somewhat minute explanation. In the first place, the flowers are secured to the sides of the baskets by silk or wires, so that they cannot fall out, in whatever position the basket is placed. To the basket are attached two black silk threads. The one (which we will call _a_) is about eighteen inches in length, and is attached to a button on the performer’s waistband, immediately above the front of the left thigh. Obviously, therefore, the basket, if fastened by this thread alone, would hang down loosely in front of the performer’s left knee. The second thread (which we will call _b_, and which is attached to the edge of the basket at a few inches’ distance from the first) is only three or four inches in length, and serves to suspend the basket behind the back of the performer (concealed by his coat) until the proper moment for its appearance. For this purpose it has a small loop or ring at the loose end, and this is attached by means of a strong short needle, after the manner shown in Figs. 248 and 249 (the latter representing a slightly enlarged view of the attachment), to the waistband of the performer. The needle carries a third thread _c_, which, passing through the cloth of the trousers, is brought round and attached to the centre button of the waistband, being concealed by the edge of the waistcoat. The _modus operandi_ will now be easily understood. The basket is in the first instance suspended by the thread _b_. The performer, while spreading the handkerchief before him, ostensibly to show that it is empty, crooks the little finger under the edge of his waistcoat, and pulls _c_, thereby withdrawing the needle, and detaching _b_. The basket, being no longer held back by _b_, falls, but is compelled by _a_ to swing round in front of the performer, who, while lifting it, still covered by the handkerchief, breaks _a_, and thus altogether releases it. The object of passing the needle through the cloth of the trousers is that it may not fall forward and be seen when _c_ is pulled.

The contrivance last above described is the invention of Robert-Houdin, slightly simplified, however, inasmuch as he employed, in place of the needle, a little wire bolt working on a metal plate attached to the back of the waistcoat; but the principle in either case is precisely the same.

THE MYSTERIOUS SALVER.--This is a tin tray (_see_ Fig. 250), ornamentally japanned, and of about twelve inches in diameter. There is a space of about three-quarters of an inch between the upper and under surfaces of the tray, at one side of which, under cover of the curled rim, is an opening of about three inches in width. Within this opening, so placed as to be within easy reach of the fingers of any person holding the tray, are two wire hooks, marked _a_ and _b_ in the figure. On gently pulling hook _a_, a little hammer _c_ rises up at right angles to the surface of the tray, again falling back by the action of a spring as soon as the pull is relaxed. On pulling _b_, a similar movement is communicated to a sort of ladle _d_, sunk in the surface of the tray, and rising up in a direction parallel to that of the little hammer already mentioned. This ladle has a flat tin cover, hinged very loosely upon its outer edge (so as to open of its own accord when the ladle passes the perpendicular position), and japanned in such manner as to represent one of a circle of medallions forming part of the pattern of the tray, and therefore little likely to attract attention. If any small article be beforehand placed in the ladle, and _b_ be pulled, the article will naturally be flung out upon the surface of the tray. In practice, however, the salver is always used in conjunction with a little glass tumbler, about three inches in height, which, being placed upon the medallion opposite to that which forms the cover of the ladle, the contents of the latter fall into the glass instead of upon the tray.

The salver is generally used somewhat after the following fashion:--A little round brass box, say an inch and a half in diameter and an inch deep, is handed to the audience, with a request that they will place any small article (such as a coin, a ring, a watch-key) in it. All necessary precautions are taken to prevent the performer knowing what the articles in question are, and the box is, for still greater security on this point, wrapped by the performer in a handkerchief, and handed to one of the audience to hold. The reader, with his present knowledge of the little faith that is to be put in the acts of magicians, however apparently straightforward, will readily conjecture that at this point there is a substitution. The performer, apparently wrapping up the box which has just been handed to him, really substitutes another of similar appearance, sewn in one corner of the handkerchief. This latter, which contains two or three metal buttons, or other objects adapted to cause a rattling when shaken, is so arranged that when the lid is pushed home a piece of cork within is pressed down upon the buttons, and they are made silent; but if the lid be raised ever so little, and the box shaken, they rattle. This latter is the condition in which the box is wrapped in the handkerchief.

The performer, leaving the dummy box, wrapped up as above, with the spectator, retires for a moment in order to fetch the salver. This gives him the opportunity to take the articles out of the box, to note what they are (we will suppose a ring, a florin, and a locket), and place them in the “ladle” of the salver. The empty box he places in one of his _pochettes_. He now brings forward the glass and salver, together with a paper lamp-shade (similar to those placed over the lights of a billiard table), wherewith to cover the salver while the supposed flight of the objects takes place. He first shows that there is nothing in his hands, on the salver, or in the glass, and then places the latter in its proper position, and covers the whole with the paper shade. His assistant holds the salver, using both hands, with his right in such a position as to have control of the hooks _a_ and _b_. The performer requests the person holding the box to shake it, in order to show that the articles are still there. He then addresses the company to the following effect:--“Ladies and gentlemen, allow me to remind you of the position of affairs. Some articles, unknown to me, have been placed by yourselves in a box. That box has not been in my possession, even for a moment, but has remained ever since in the hands of the gentleman who is now holding it. Here, as you see, is a little glass” (he raises the shade with the left hand), “perfectly empty. I shall now, by virtue of my magic power, order the articles in the box, whatever they may be, to leave the box, and fall into this little glass, and I will tell you by the sound of each as it falls what the article is. Let us try the experiment. First article, pass!” The assistant pulls _a_, and the little hammer _c_ forthwith strikes the glass, simulating to some extent the sound of a small article falling therein. “That, by the sound, should be a coin, I should say a florin. Hold tight, sir, please. Second article, pass!” Again the assistant causes the hammer to strike the glass. “That, ladies and gentlemen, is a ring. You must hold tighter yet, sir, if you mean to defy my power. Third article, pass!” This time the assistant pulls _b_, causing the ladle _d_ to rise, and to shoot out the three articles together into the glass. “That, I should say, was a lady’s locket. Fourth article, pass!” (This is a mere blind, and elicits no response.) “Ladies and gentlemen, there were three articles placed in the box, a ring, a florin, and a locket, and you will find that they have now all passed into the glass.” (He removes the shade, and shows that they have done so.) “May I trouble you once more to shake the box?” The repeated injunctions to hold tighter have naturally caused the holder to press the lid home, and the box is therefore silent, corroborating the assertion that the articles have departed. “Now, ladies and gentlemen, having conjured away the contents, I shall now proceed to conjure away the box; but this time, by way of variety, I will do it visibly. Attention!” He takes one corner of the handkerchief with his right hand. “Now, sir, when I say ‘Three,’ will you please drop the handkerchief. One, two, _three_!” The performer shakes the handkerchief and pulls it rapidly through his hands till the corner containing the box comes into the left hand, the box having apparently vanished. “The box has gone, you see, but where? that is the question. Pardon me, sir, you have it in your pocket, I think,” addressing some elderly gentleman of innocent aspect. With the handkerchief still dangling from his left hand, the performer thrusts the other hand into the waistcoat or breast-pocket of the individual in question, and produces from thence the missing box, which he has a moment previously palmed from the _pochette_.

The weak point of the trick, as above performed, is the sound of the hammer on the glass, which is but a poor imitation of that of coins, or the like, falling into it. In some trays the hammer is altogether dispensed with, the performer himself holding the tray, and the necessary sound being produced by the assistant actually dropping a coin into a glass behind the scenes, as near the standing place of the performer as possible. This latter plan is much to be preferred.

A further improvement consists in the use, in place of the salver, of a small round table, or _guéridon_, made on the same principle (without the hammer), and worked by pulling a string from behind the scenes. With a little dexterity, the articles may be introduced into the “ladle,” while in the act of placing the glass upon the table, or of moving the latter to the front of the stage, though it is more usual to do this behind the scenes, and then to bring the table forward, as described in the case of the salver.

The trick may be varied by borrowing four half-crowns or florins, duly marked, which, being exchanged, and their substitutes placed in the half-crown casket (_see_ page 202), are thence made to pass one by one into the glass.

THE VANISHING DIE.--The effect of this trick, in its simplest shape, is merely to make a die, some three inches square, pass through the crown of a hat, and be found inside. The trick in this form is but a poor and transparent affair, but it is sometimes useful as affording a pretext for borrowing a hat which you design to make use of for some other purpose; and it furnishes the germ of two or three really effective illusions. The apparatus consists of three portions--a solid wooden die, generally painted black with white spots, a tin counterpart thereof,--fitting loosely over it, and exactly similar in appearance, but with one side open,--and an ornamental cover of thin pasteboard (sometimes this also is of tin), fitting in like manner over the hollow die. The trick is worked very much after the manner of the “cone,” recently described. The performer comes forward, having the solid die in the one hand, and the cover, with the tin counterpart within it, in the other. Placing these on the table, he borrows two hats, which he likewise places on the table, mouth upwards. “Ladies and gentlemen,” he commences, “I have here a block of wood” (he lets it fall on the floor, the sound sufficiently indicating its solidity, and again picks it up), “and a cover of simple pasteboard.” He places the cover over it, as if merely suiting the action to the word, and in again removing it, leaves the tin die over the solid one. “If any one would like to examine it, he is perfectly welcome to do so. I have here also two hats, borrowed haphazard from the audience, and, as you can all see, perfectly empty, and not prepared in any way. Now I propose to make this solid die” (he tosses it carelessly into one of the hats, and again apparently takes it out, but really takes out the hollow shell only) “pass right through the crown of one of these hats, and fall into the other.” He places the hats one upon the other, mouth to mouth, and the tin shell, with the opening downwards, upon the uppermost. “Here is the die, which I cover, thus. Now, at my command it shall pass downwards through the hat. One, two, three! Pass! See, the cover is empty” (taking it up with gentle pressure, so as to lift the shell with it, and placing both on the end of his wand, proving, apparently, that the cover is empty), “and here, in the lower hat, is the die. Let us try the experiment again. I will replace the die in the lower hat. One, two, three! Pass!” He lifts the cover, without pressure, leaving the hollow die on the upper hat. “It has obeyed, you see. Once more. One, two, three! Pass!” Again the cover is empty, and again the die has passed into the lower hat.

THE DIE DISSOLVING IN A POCKET HANDKERCHIEF.--The trick last described has two drawbacks--first, that it is very generally known, and, second, that the principle is rather too obvious, the secret being very easily guessed, even by persons not endowed with special sagacity. There is, however, an improved form of the same trick, in which an additional element is introduced, whereby these disadvantages are, to a great extent, removed.

The apparatus used is the same as in the last case, with the addition of a coloured handkerchief, prepared as follows: Five square pieces of stout pasteboard, each a shade larger than one side of the solid die, are joined together with hinges of tape or cloth, in the form shown by the dotted lines in Fig. 251. The centre piece, _a_, is attached to the middle of the handkerchief, the others being allowed to hang loose upon their respective hinges. A second handkerchief of similar pattern is then laid upon the first, and the edges of the two are stitched together all round.

The performer having exhibited the solid die and cover, as already explained, and having removed the latter (with the hollow die within it), places it upon the table. Spreading the prepared handkerchief beside it, he places the solid die upon the centre of the handkerchief, and gathering up the four corners of the latter, lifts it, bag-fashion, with his left hand, the four loose flaps of pasteboard naturally folding themselves up around the die. He now takes it with his right hand, clipping the solid die within the pasteboard, and turns the whole over as in Fig. 252, thus bringing the die uppermost, with the folds of the handkerchief hanging down around it. He next takes in the left hand a borrowed hat, holding it up for a moment, to show that it is empty. Then, turning it mouth upwards, he remarks, “I will place the die here in the hat.” Suiting the action to the word, he lowers his hand into the hat, but, as if suddenly bethinking himself, he says, “No! I won’t use the hat at all. Perhaps some one will kindly hold the die.” In withdrawing his hand, however, he relaxes the pressure of his fingers, thereby leaving the solid die in the hat, though as the folded pasteboard retains its cubical shape, the handkerchief still appears to contain the die. Grasping it immediately below the folded shape, he gives the handkerchief in charge to one of the spectators, who is directed to hold it in like manner. The hat he places carelessly upon the table. He now once more lifts the cover with the hollow die, rattling his wand within it to show that it is empty. Again replacing it, he commands the die to pass from the handkerchief under the cover. The person holding the handkerchief is asked if he felt it depart, but he naturally maintains that it is still in the handkerchief. “You are mistaken,” says the professor; “what you see is merely the ghost of the die still clinging to the handkerchief. Allow me!” and taking one corner he requests the owner to drop the handkerchief, which he then shakes out, exhibiting both sides to show that the die has vanished. He then lifts the cover, and shows the hollow die, which the spectators take to be the genuine one, and concludes the trick by finally commanding the die thus shown to pass into the hat; which, on being turned over, is found to contain the solid die, while the hollow die is again raised with the cover, and the latter shown apparently empty.

THE DIE AND ORANGE.--The die in this instance is about three and a half inches square. It has the usual ornamental tin or pasteboard cover, but there is an additional item of apparatus employed, a square wooden box, with hinged lid, and of such a size as just to contain the die. The effect of the trick is as follows:--The die is brought forward in the box, the performer holding the square cover in his other hand. The die being then taken out of the box, and placed on the table, the box is shown empty, and the cover placed over the die. The performer, having mysteriously procured an orange from the hair or whiskers of a spectator, drops it into the box, which is then closed. He now asks the spectators, in order to impress the facts on their memory, where they suppose the two articles to be. They naturally answer that they are where they have just seen them placed; or, if they venture to question this, the performer raises the cover and opens the box, and shows that die and orange both remain _in statu quo_. He now commands the two articles to change places. Lifting the cover, the die is found to have disappeared, the orange having taken its place, and, on opening the box, it is seen to contain the die, which is taken out, and exhibited on all sides to the company. The die and orange, being again covered over, at command change places as often as the company please.

The reader will doubtless have conjectured that there are in reality two dice and two oranges. The box when first brought forward contains in reality _two_ hollow dice, one within the other. The smaller and innermost (the one which is afterwards taken out and placed under the cover) is placed in the box with its open side towards the hinges, and contains an orange. The performer takes it out, taking care, of course, that the orange does not fall out, and places it (open side downwards) upon the table. The cover is now placed over it, and, if lifted with pressure, lifts the hollow die with it, and reveals the orange; but if lifted by the button on top, so that the sides are not pressed, it leaves the die covering the orange.

We now return to the box. This contains a second hollow die, so placed that the open side is upwards, and the box therefore appears to be empty. The lid, however, contains a sixth side, exactly fitting the open space, and thus making the die complete. This moveable side is alternately made to form a lining to the lid or to form part of the die, according as a little button on the lid is moved in one or another direction. Both the true lid and this moveable portion of it are lined with looking-glass, so as to show no difference of appearance, whether the box is exhibited empty or as containing the die. When the sixth side is made to form part of the die, the latter may be completely removed from the box, and shown on all its sides without betraying the secret, the orange for the time being remaining enclosed within it.

It is a good plan to have a solid die matching those used in the trick, to be, if necessary, substituted and handed round for inspection. If the performer uses a trap-table, it has a very good effect to conclude the trick by causing the orange under the cover to fall through the trap, and then, lifting the cover and hollow die together, to show by rattling the wand within, that both die and orange have altogether vanished.

THE VANISHING CANARY BIRD AND CAGE.--This is another favourite die trick. The performer exhibits a canary bird in a little oblong brass cage, measuring six inches by four. He next exhibits a die three inches square, showing all sides to prove that it is solid. This he places upon a tray, which is held by the assistant, and covers it with a fancy cover as already described. He now throws a handkerchief over the cage. Bringing it forward thus covered to the company, he orders the cage to vanish, the die to pass into a borrowed hat, and the bird to appear upon the tray in place of the die. No sooner said than done; he waves the handkerchief, which is seen to be empty, and on raising the cover the bird is found under it; while, on turning over the hat, out falls the die.

The disappearance of the cage, which is of the form shown in Fig. 253, will be readily understood by any reader who has followed the description of the “flying glass of water” described at page 367. The handkerchief used is double, and contains in its centre, stitched between the two surfaces, an oblong wire frame, in size and shape exactly corresponding with the top of the cage. When the performer throws the handkerchief over the cage on the table, he takes care to bring this wire shape immediately over the cage. When he apparently lifts the cage under the handkerchief, which he does standing behind his table, he really lifts the handkerchief only, distended by the hidden wire, and with the other hand he gently lowers the cage out of sight upon the _servante_.

So much for the disappearance of the cage; but it yet remains to be explained how the bird comes to be found under the cover in place of the die. This is effected as follows:--There are two dice, the one solid, the other of hollow tin, and having one side wanting, but capable of being closed at pleasure by means of a sliding lid, also of tin, which supplies the missing side, and is painted accordingly. The outer edge of this lid is folded over outwards in a semicircular form. (_See_ Fig. 254). The tray used (_see_ Fig. 255) is of tin, japanned, and of ordinary appearance, but has a square piece of tin, of the same size as one of the sides of the die, soldered upon its centre at about one-sixteenth of an inch above the surface. Three of its sides are soldered to the tray, the fourth being left open. The centre of the tray is ornamentally japanned, in such manner as to conceal this special arrangement.

A duplicate bird is beforehand placed in the hollow die, which is then closed, and placed either upon the _servante_ or in one of the secret pockets of the performer, who, having borrowed a hat, secretly slips the hollow die into it, and places it on the table mouth upwards. He now brings forward and offers for inspection the solid die, the cover, and the birdcage, placing the latter when returned upon his table, rather towards the hinder edge. “The die,” he carelessly remarks, “I will place in this hat” (suiting the action to the word); “or, better still, I will place it upon this tray, so that you may be able to keep sight of it throughout the trick.” So saying, he again takes out apparently the same, but really the hollow die, and places it on the tray with the moveable side downwards, in such manner as to hook the turned-over portion of that side into the open edge of the corresponding square upon the tray, and places the cover over it. Handing the tray to his assistant, he proceeds to cause the disappearance of the birdcage from the handkerchief, as already described. This done, he advances to the tray, and lifts the cover with the hollow die within it, first, however, sliding away cover and die together towards the opposite end of the tray (_see_ Fig. 256), and thereby leaving behind upon the centre of the tray the moveable slide, the interior of which is japanned so as to correspond with the centre pattern of the tray, and thus does not attract any attention.

The solid die, having remained in the hat, may readily be produced when required.

THE DECANTER AND THE CRYSTAL BALLS.--The routine of this trick, as practised by different performers, varies a good deal. We propose to describe it in two forms, the first being as nearly as possible that which was adopted by Robert-Houdin.

_First Method._--The apparatus in this case consists of four glass balls (two of plain glass an inch and a half in diameter, one of ruby-coloured glass of the same size, and one of plain glass, three-quarters of an inch in diameter) and a decanter of clear glass, with a hollow or “kick” underneath it just large enough to admit one of the larger balls. The decanter is two-thirds filled with port or claret, and is brought forward with the red ball beneath it, in the hollow we have mentioned, and is placed on the performer’s table. The remaining balls are disposed as follows: the two large balls in the performer’s left _pochette_, and the small one in the _pochette_ on the other side. Thus provided, the performer comes forward, wand in hand. Taking the wand carelessly in his right hand, he says, “Ladies and gentlemen, I have already given you some proofs of the singular powers of this wand, but I do not know whether I have drawn your attention to one remarkable faculty which it possesses, viz., that if I strike anything with it, at the same time mentally calling for any object, that object is instantly produced from the article touched. Let us put it to the test.” (He pulls back his coat-sleeves, showing indirectly, by a careless gesture, that his hands are empty.) “For the purpose of the trick I am about to show you, I require a crystal ball. Now, observe, I give but one gentle touch, not here upon the table” (he raps the table with his wand), “where you might suspect some mechanism or preparation, but here in my empty hand, and instantly, you see, a ball appears at my bidding.” As he touches the table with the wand, thereby drawing the eyes of the spectators in that direction, he carelessly drops his left hand to his side, and takes from the _pochette_ and palms one of the plain glass balls, which as soon as the wand reaches his hand he produces at the finger-tips. “The ball, as you see, ladies and gentlemen, is of solid crystal, without crack or flaw” (he takes it in the right hand, tosses it up, and catches it again). “The hardest steel would fail to chip it, and yet, by my magic power, I am able instantly to divide it into two equal portions, each round and true as the original.” At the moment of tossing the ball in the air, all eyes are naturally attracted to it, and the performer has ample opportunity to again drop the left hand to his side, and palm the second ball. Keeping this in the palm of the left hand, he transfers the first ball to the finger-tips of the same hand. Drawing the wand across it, he allows it to drop into the palm, and to strike against the ball already there. Rubbing his palms together, as if to mould the divided ball into shape, he shows the two balls, professedly the divided portions of the first. Taking one in each hand, he continues, “I undertook to make the divided portions exactly equal, but I have not succeeded so well as usual. It seems to me that this one is rather the larger, what say you, ladies and gentlemen?” He places the two balls on the table, side by side, as if for comparison, and carelessly dropping the right hand to his side, palms between the second and third fingers (_see_ page 273), the small ball. “Yes, this one is certainly the larger, but I can easily rectify the mistake by pinching a little piece off.” Taking the ball in the left hand, he pretends to pinch off a portion from it with the right, at the same time letting the little ball fall to the finger-tips of the latter. He replaces the large ball on the table, rolling the little ball between the fingers, as though to give it roundness. “No, that one is still the biggest, I haven’t taken quite enough yet. I must take a little more; or, better still, I will add this little piece to the smaller one.” Taking the supposed smaller ball in the left hand, he pretends to squeeze the little one into it, presently letting the latter fall behind it into the palm of the left hand, and replacing the two larger balls side by side on the table, dropping the little ball at the first opportunity into the _pochette_. He continues, “I think they are now about right. The reason why I have been so particular about it is that I am about to pass one of these balls into the other, which I could not have done unless they had been of exactly the same size. Now which of them shall I pass into the other? It is for you to decide.” He has meanwhile moved so as to be behind his table, standing sideways, with his right side to the table. Whichever ball the company decides is to be passed into the other, he takes in his right hand, immediately afterwards taking the other in the left hand, which he holds aloft, following it with his eyes. Stretching back the right arm, as though to give an impetus to the ball, he drops it into a padded box, or basket, placed upon the _servante_ to receive it, immediately afterwards bringing the right hand with a semicircular sweep upon the left, and rolling the ball the latter contains between the palms, as though to press the one ball into the other; and presently showing that the hands now contain one ball only.

The same effect may be produced without the aid of the table, as follows:--Taking both the balls in his right hand, as in Fig. 257, the performer covers them with the left hand, retaining as he does so ball _a_ with the thumb, but allowing ball _b_ to roll down the left sleeve, which, with a little practice, will be found by no means difficult. He now rubs the palms together, as if rubbing the one ball into the other, and then separating them shows that the two balls have become transformed into one only. This he exhibits in the right hand, and while the eyes of the company are attracted to the ball, lowers the left arm, allowing the ball to run down the sleeve into the hand, whence it is immediately dropped into the _pochette_ on that side.

The next step is the supposed colouring of the ball. The performer continues, “Ladies and gentlemen, having proved to you my perfect control over the ball in respect of size, I propose to show you that I have equal mastery over it in respect of colour. This I shall do by passing it into this bottle of wine, which being red, the ball will become red also. Had the bottle contained a blue liquid, you would have found the ball become blue, and so on. The ball” (he takes it in his left hand, and apparently transfers it to his right by the _tourniquet_, keeping the right hand closed as if containing it, and dropping it from the left into the _pochette_ on that side) “is considerably larger than the neck of the bottle. This, in a natural way, would be rather a difficulty, but to a magician it will give very little trouble. I have only to squeeze the ball a little” (he lifts the bottle with the left hand, at the same time slipping the little finger underneath it, to prevent the red ball beneath it falling, and holding the right hand an inch or two above it, works the hand as if compressing the ball), “and it gradually becomes smaller and smaller, till it melts completely into the bottle.” He opens the right hand, and shows it empty, immediately afterwards shaking the bottle, and allowing the ball beneath to rattle slightly. “The ball is now in the bottle, as you see; the next step is to get it out, and it is rather difficult to do this without at the same time allowing the wine to escape. However, we will try. I have no doubt that by a strong effort of will I shall be able to manage it.” He now takes the bottle between his hands, holding it so that the two little fingers are beneath, and after a little shaking, allows the ball to drop, as if through the bottle. This may be varied by holding the bottle with the left hand only, and striking the mouth with the palm of the other, allowing the ball to drop at the third stroke, professedly expelled by the compression of the air.

_Second Method._--The balls used in this instance are five in number, two large, one of each colour; two small, one of each colour, and one (a trifle larger than these latter), of which one half is red, and one half white. The decanter is replaced by an ordinary wine bottle (_see_ Fig. 258), prepared as follows:--A tin tube, _a_, three inches in length, closed at the bottom, but open at the top, is made to fit within the neck (just so tightly, that it cannot fall out of its own accord), its upper edge being turned over all round, and japanned black, so that when placed in the bottle it may be undistinguishable from the actual neck. The cavity at the bottom of the bottle is filled with a resinous cement, in such manner as only to leave room for one of the larger balls. The tube is beforehand filled with port or claret, and placed in the neck. The bottle itself, which, if not naturally opaque, must be rendered so by an interior coating of black japan, should be nearly filled with water. Thus prepared, it is brought forward and placed on the table. The balls are disposed as follows: the two white ones in the left _pochette_ of the performer, the two red ones and the parti-coloured ball in the _pochette_ on the other side.

Coming forward to the audience, the performer produces the large white ball, either as described in the first form of the trick, or from his wand in manner described at page 276. While showing it in his left hand, he drops the right hand to his side, and palms the large red ball. Laying the white ball on his table, he remarks, “I have here a bottle of wine. We will begin by testing its genuineness.” He lifts the bottle by the neck with the left hand, immediately transferring it to the right (which grasps it round the bottom), and introduces beneath it the red ball, which is thenceforth kept in position by the little finger. Taking in the other hand a wine-glass (which should be of such a size as just to contain the contents of the tube), he fills it with wine, and hands it to one of the company. In returning to his table, he secretly withdraws the tube. (This is easily done by grasping the bottle round the neck with the left hand, and gently drawing it downwards with the right, the turned over portion of the tube being clipped by the finger and thumb of the left hand, in which it naturally remains.) As the performer passes behind the table, he gets rid of the tube by dropping it on the _servante_. In placing the bottle on the table, he is of course careful not to expose the red ball underneath it. Taking the white ball in his left hand, he proposes to turn it red, and for that purpose to pass it into the bottle. Pretending to transfer it to the right hand by the _tourniquet_, he drops it from the left hand into the padded tray on the _servante_, and then apparently passes it into the bottle, as above. The routine of getting it out of the bottle again is the same as above described in relation to the first method.

We may, however, here note a variation in practice. Some performers, instead of introducing the red ball under the bottle at the outset of the trick, as above described, make no attempt to bring it under the bottle until after the white ball is supposed to have been passed into the wine, when the performer, raising the bottle with the left hand, transfers it to the right, and brings the ball under it, retaining it there with the little finger until he thinks fit to allow it to drop, pretending to squeeze the bottom of the bottle as if to force it out.

After having produced the red ball, the performer remarks, “Perhaps, ladies and gentlemen, you imagine that I have not really passed the ball through the bottle, and that the effect is, in reality, produced by the substitution of a different coloured ball. Let me assure you that so truly is the wine in the bottle, and nothing else, the cause of the change of colour, that you will find on examination that every particle of colour has left the wine, its whole virtue having been absorbed by the ball. Supposing for a moment that I could have exchanged the ball, you will hardly imagine that I could exchange the liquid in the bottle, which has been proved to be good old wine. Will the same gentleman who tried it before be good enough to taste it now?” Taking another glass, he fills it from the bottle, which is now found to contain nothing but water.

The performer, meanwhile, has again palmed the white ball, which he next produces, as being a new one, from his wand. Comparing the red and the white together, he pretends to discover that the red is the largest, and therefore pinches from it a small portion (the small red ball). He now discovers that he has taken too much, and that the red ball is now the smaller. He therefore pinches a second piece (the small white ball) from the white one, and finally rolls the two little balls thus obtained into one, producing the parti-coloured ball. The mode of producing these last effects will present no difficulty to any one who has attentively studied the description of the first form of the trick.

THE FLAGS OF ALL NATIONS.--This is, in good hands, a very pretty and effective trick, but requires considerable neatness of manipulation. Its effect is as follows:--The performer comes forward with a couple of miniature silk flags, measuring, say, three inches by two. Taking one in each hand, he brings the hands together, and begins to wave them backwards and forwards, when the flags are seen to multiply, the two being suddenly transformed into a dozen, quickly increasing to a still larger number. Not only do the flags increase in number, but in size also, until perhaps a couple of hundred have been produced, ranging in dimensions from one or two inches square to a foot or even larger, and of six or eight different colours.

This seeming marvel rests on a very slight foundation. The flags to be produced are of coloured tissue-paper, with flagstaffs made of wire, or of the “bass” of which scrubbing-brooms are made, so as to occupy very little space. These are rolled up together in little parcels, like with like, according to size. Thus arranged, they are placed, the smaller ones in the sleeve of the performer, and the larger ones about his person, with the ends just inside the breast of his waistcoat. While waving the first two flags backwards and forwards, he gets one of the parcels from the sleeve into his hands, immediately unrolling and developing it, when the two flags appear to have multiplied into fifty. Under cover of these, he draws down from the sleeve another parcel, which he develops in like manner, and after the sleeves are exhausted has recourse to the fresh store within the waistcoat. He all along takes care to retain in his hands a large and widespread bundle of the flags, which, being kept moving backwards and forwards, materially aids in covering the mode of production of the remainder.

THE UMBRELLA TRICK.--The performer comes forward with an umbrella, which may be either the common-place article of every-day life, or a brilliant fancy production, akin to Joseph’s coat of many colours. This he hands for inspection, and meanwhile borrows a lady’s handkerchief. The latter, for safe keeping, he places in an empty vase, which is left in full view of the company. The umbrella, duly examined, he places in a case, which may be either the ordinary glazed oilskin case, or a special apparatus prepared for the purpose. Whichever it be, the result is the same. On again uncovering the vase, the handkerchief has vanished, and in its place is found the silk covering of the umbrella. On removing the umbrella from its case, it is found to have lost its covering; but the handkerchief, torn in several pieces, is found fastened to its naked ribs, one piece to each. These are removed. Again the vase is covered, and the umbrella restored to the case. The torn fragments of the handkerchief are burnt, and their ashes invisibly passed into the vase; and on a new examination the two articles are found uninjured as at first.

With reference to the transformation of the handkerchief in the vase, it will be only necessary to state that the vase employed is either the burning globe (_see_ page 246), or the “pea vase” described at page 351. In either case a duplicate umbrella cover is placed in the second compartment, and thus the vase may be shown to contain either the handkerchief or the umbrella cover at pleasure.

With regard to the umbrella, the reader will readily conjecture that an exchange is effected, but the mode of effecting it varies. If the ordinary glazed case is used, the umbrella is exchanged bodily for another, similarly encased, placed beforehand on the _servante_. This, however, requires some little dexterity, as an umbrella, from its length, is an awkward article to exchange; and this has led to the employment of cases specially constructed to effect the change. That most frequently used is an upright pillar of zinc or tin, oval in form, and open at the top, and so constructed as to stand upright without support (_see_ Fig. 259). It is divided vertically into two compartments, in one of which is placed beforehand the second umbrella. Of course no one can be permitted to examine or even look into the case, which is a serious drawback to the effect of the trick. There is, however, another form of case sometimes employed, which is a trifle less objectionable. This is a wooden tube, about three feet long, and three and a half inches square. (_See_ Fig. 260.) Like the case already described, it is closed at the bottom and open at the top, and divided vertically into two compartments, _a_ and _b_. One or other of these, however, is always closed by the flap _c_, which by virtue of a spring is normally compelled to take the position shown in the figure, thus closing compartment _b_. When required for use, the second umbrella is placed in compartment _a_, and the flap _c_ drawn back (as shown by the dotted line) so as to close _a_, in which position it is held by a little catch. The performer hands the genuine umbrella for inspection to one of the spectators, with a request that he will himself place it in the case. As soon as he has done so, the performer by a movement of his forefinger draws back the catch, and releases _c_, which flying back to the opposite position, shuts in the genuine umbrella, and reveals the substitute. When this apparatus is employed, the supposed restoration of the umbrella is omitted.

Some performers dispense with the use of the vase, and vanish and reproduce the borrowed handkerchief by sleight-of-hand, after one or other of the modes described in relation to handkerchief tricks.

THE “PASSE-PASSE” TRICK.--The trick which is specially designated by this name (which would appear to be equally applicable to about three parts of the tricks we have described) is as follows:--

The performer brings forward a bottle and a small tumbler, which he places side by side upon the table. Producing a couple of tin or pasteboard covers, ornamentally japanned, of a size to just go over the bottle, he places one of them over the bottle, and another over the glass. He now commands the two articles to change places, and on again removing the covers the glass and bottle are found to be transposed. Again he covers them, and again the change takes place; and this he repeats as often as he pleases, occasionally pouring out wine or other liquor, to show that the bottle is a genuine one, and not a mere make-believe.

The reader will already have anticipated that there are in reality two bottles and two glasses. The bottles are of tin, japanned to resemble the ordinary black bottle, but with the bottom only about a couple of inches below the neck, leaving an open space beneath for the reception of the glass. Each bottle has near the bottom, at the side which is kept away from the audience, an oval opening or finger-hole, measuring about an inch and a half by one inch. When it is desired to lift the glass with the bottle, the middle finger is made to press on the glass through this opening, thereby lifting both together with perfect safety. The outer cover just fits easily over the bottles, and if lifted lightly leaves the bottle on the table, but if grasped with some little pressure, carries the bottle with it.

The mode of working the trick will now be readily understood. The bottle which is brought forward has a second glass concealed within it, kept in position, while the bottle is brought in, by the pressure of the finger. The cover which is placed over this bottle is empty. The other cover, which is placed over the glass, contains the second bottle, which, being hollow below, enables the performer to rattle his wand within it, and thus (apparently) to prove the cover empty. Having covered the glass and bottle, he raises the cover of the first very lightly, leaving the glass concealed by the second bottle, but lifts the other with pressure, so carrying the bottle with it, and revealing the glass which has hitherto been concealed within it. By reversing the process, the bottle and glass are again made to appear, each under its original cover. Where it is desired to pour wine from either bottle, the performer takes care, in lifting it, to press the glass through the finger-hole, and thus lifts both together. For obvious reasons the glass into which the wine is poured should be a third glass, and not either of the two which play the principal part in the trick.