CHAPTER XIX.

FINAL INSTRUCTIONS.

Having at length brought the beginner to that point where he will first have to shift for himself in real earnest, I wish to leave him in a position to do credit to my tuition, and, with this object, impart a few hints for his guidance.

On the subject of practice, I would not say any more if I could. By this time, it must have become so evident to everyone that nothing can be brought to any degree at all approaching perfection without assiduous attention to detail, that any repetition of my often-expressed injunctions to practice would become nauseating. But I ought to say something regarding the best method for learning new tricks or sleights from the foregoing text. It is a bad plan to read the description through, and then immediately try to produce the result right away. The whole trick should certainly be read carefully through first, so that the mind fully grasps what is required to be done; but, after that, the hands should be made to follow, step by step, the instructions given, and no progression made until it is certain that all is correct up to each point. It will be readily understood that my instructions have not been written without a large amount of care, or without making a due allowance for the great difference between teaching by word of mouth and by book. In many instances, a single word explains a great deal; so, if the reader scans the page carelessly, it is very possible that he may miss the point altogether, and perhaps conclude, in his own mind, that I am a charlatan and an impostor. With cards, this careful following of the text with the hands is especially essential, and attention to it will save much time, trouble, and annoyance at the outset, when everything new will naturally appear difficult, if not absurd. Thus much for the beginner. When he arrives at the dignity of an actual performer, let him be careful to prepare, and learn by heart, a little set speech to commence with, and also the accompanying talk for each trick. When he has exhibited for a year or two, he will perhaps be able to dispense with such preparation; but, at the commencement, few, if any, can do without it. The first appearance before an audience is in itself sufficiently unnerving, without any additional embarrassment in the shape of a consciousness that you do not know what you are going to say. Notwithstanding the most careful preparation, something is sure to go wrong at first, and unexpected difficulties will crop up on all sides, and to meet these successfully will require all the energies of the performer. It does not signify how superior the individual's natural aptitude or oratory may be--the task is too great for anyone at starting.

For the first few "shows," it is as well to perform such tricks as do not require the assistance of an attendant, for the performer must be entirely master of the situation, and dictate to his assistant at pleasure. This he could not do with freedom if he were uncertain about his own powers. Let it also be borne in mind that assistants are like money, which, when good, is a valuable acquisition, but, when bad, only gets one into trouble. Have no assistant at all rather than a bungler, or, what is, if possible, worse, one who endeavours to attach to himself some degree of consequence in the minds of the audience. Except when it is to assist the trick, he should never open his mouth, and all his work should be done as silently and unobtrusively as possible, without absolutely scurrying away. His presence on the stage should be as brief as possible, and his appearance must always be excused by the performance of some very insignificant and subordinate task. The best assistant to have is one who looks so stupid that the combined efforts of fifty conjurors could not drum into him the method for making the "pass." The worst is the one who conveys by his appearance and actions that he "knows all about it." The spectators at once attribute the greater portion of the results to his agency--not incorrectly, perhaps; but it is unnecessary that they should have any cause to do so. On no account should the attendant attempt to perform any impromptu act, however clever he may be, for he is sure to confuse the performer by so doing, and so lead to awkward results.

On many occasions, it is inconvenient, or, at any rate, highly inadvisable, to take the conjuring table. At the houses of friends it is exceedingly difficult to keep everything secret without being absolutely rude. The host (possibly followed by a friend or two--"men who understand things of this sort, you know, so you needn't be afraid") is nearly certain to take the fullest advantage of his position, and to penetrate into the performer's sanctum with all possible alacrity, and there worm from him valuable secrets. Of course, he wouldn't dream of telling anyone, not he; yet, somehow, if the tricks are exhibited on another occasion, the juveniles display an inexplicable and annoying knowledge of the why and the wherefore of them. It is of no use to say, "Oh! but no one would take the liberty," and such like; my experience teaches me (and I do not think that I, in particular, have fallen among thieves) that they do, so there is an end of it. Such articles as multiplying balls, cups, reticules, &c., are easily put out of sight; but an unwieldy table is quite another thing. Of course, immediately the trap in it is discovered, away goes your reputation for miraculous sleight of hand; and, when you really do exhibit a genuine specimen of it, you will not get credit for it. No, no risks must be run on this head--that is, if the performer cares anything for his reputation.

As an excellent substitute for the table, I have an oblong box, the rough dimensions of which are 18in. × 8in. × 6in. It has a removable sliding lid, and is covered with a dark cloth. In this I carry such of my belongings as will go into it; so, when it is seen during the performance, it is only regarded in the light of an ordinary deal box. One of the 8in. sides, however, has a trap cut in it, with a little bag inside the box for catching articles passed through. The box, _minus_ the lid, and _plus_ such articles as would be ordinarily placed upon the shelf, is brought boldly on, along with some of the articles which the performer will first require, as a "blind." It is placed carelessly down within three or four inches of the back of the table, with the open side, naturally, at the back, and the trap uppermost. The table itself plays the part of the shelf, and articles are now and then placed upon the box, as they would be, in the usual way, upon a table.

Another way, much more deceptive, is to have a trap made in the top of an ordinary high hat. The crown lining should form the bottom of a collapsible bag, so that the inside of the hat can be first shown, but, so soon as it is placed upon the table brim downwards, the bag falls down. The brim should be tolerably flat, as the hat should not rock about. The crown itself will require some strengthening material, such as very thick pasteboard, glued to it before the trap is cut out, or the latter will curl up in an unseemly way. This trap hat serves for vanishing articles only. Its presence is very opportune at times. The presence of the shelf is by no means indispensable; indeed, I may safely say that I do not require it myself, except in important performances. If it be inconvenient to take the table, a programme can easily be arranged so as to dispense with the shelf entirely, but, if it can be used, then, by all means, make the most of it. Young conjurors must avoid the error of adapting their tricks to the shelf, instead of the shelf to the tricks. Experience will show what an astonishing quantity of things can be concealed in the large breast and tail pockets for hat "loading" purposes. The tail pockets will carry a bundle of fifty cups with ease, and without fear of detection; and when these can be introduced, and produced without once leaving the audience, I need hardly say that the effect is considerably enhanced. When you are using a table, be careful never to go behind it without some good reason, and let your stay there be as brief as possible. Stand at the sides as often and as long as you like.

The arrangement of the stage and the seating of the audience are matters of vital importance, and due regard must be paid to angles of vision. One of the greatest bug-bears a performer meets with in private audiences is he (no lady ever sins in this way) who, under pretence of being at hand in case of need, or by means of some even more transparent excuse, plants himself, in close proximity to the stage, between it and the body of the audience. It is all very well for the reader to say, "Oh, but I would never allow that under any circumstances!" If he be young, he will find that people will patronise him, do what he may, or be as clever as he will; and it is in the interest of the young beginner that I am making these remarks. There will generally be somebody who thinks himself a privileged person, and who will put himself just where he is not wanted. We know what mean things people will do for money: to find out the secret of a conjuring trick they will descend almost as low. I am not romancing, but stating plain truths, such as have forced themselves upon me time after time. Under these circumstances, the table should be placed as far back as is possible or convenient, and, if little tables are used, they should be well on one side and not too far forward. But more important than this even is the placing of some large object, such as a vase with flowers on a pedestal, a statue, or such like at each corner, as it is from thence that the best view of the conjuror's secrets can be obtained. A person stationed at a corner can see half of what the performer does in the vesting line, and he has an unfair advantage, which must not be permitted, when avoidable. If a pianoforte be in use, by all means put it close to one of the corners. Curtains are not of much use, as they are easily pulled aside. If he have the opportunity, let the performer arrange the seats himself, and also take the bearings of his table from the corners. Be careful that no looking-glasses are in a position to reflect back to the audience those things which are not meant for them to see, and have the light as evenly distributed as possible; but do not have any candles or lamp on the table. I object even to an upright candelabrum being placed at each front corner. They are in the way.

Programmes are a decided addition, and they should be made as interesting as possible without foreshadowing what is about to follow. The cheapest way is to have a quantity printed, with the performer's complete catalogue upon them, numbered, and then the numbers of the tricks to be performed can be announced in any convenient way. This will only do for private audiences. In performing in public the case is entirely altered.

By all means call in the assistance of a pianoforte; but see that the player of the instrument is one who will not be likely to egotistically launch out into any brilliant fantasia. Waltzes, and such pieces as can be stopped suddenly, should be chosen. The performer must be as quick as he can between tricks; but to a waiting audience one minute seems ten, so it is quite necessary to have a little music when it is obtainable. The player should finish off directly the performer comes on the stage, without waiting for any word or sign. In such a trick as the _Rising Cards_ a little "magic music"--of the gentle trickling order--will be found very effective. The cards would ascend to the music.

The performer should always provide himself with a private programme, to be hung or pasted up behind his screen, or wherever his retiring place may be. On this programme should be detailed every property of each trick, down to the veriest trifle, for on trifles, be it remembered, often depends the whole success of a trick. It is also well to have written down beforehand what articles should be upon the shelf at the commencement of each part, and any preconceived pieces of appropriate wit should be put against the particular trick to which they belong. These precautions will save the performer--the beginner more especially--a world of trouble and anxiety. As a trick once written out is done for ever, it is as well to have each one on a separate card. In this case the writing out of an elaborate programme before each performance would be avoided, besides which the cards are more portable. Have the properties of each trick complete. If a knife be required in three tricks, have three knives, and not one, and let this principle be observed throughout. It is as easy to take three knives as one, and there is, besides, the comforting assurance that one will be at hand when wanted.

Do not perform longer than forty-five or fifty minutes at a stretch. Both performer and audience are the better for a short rest at the end of that period, and an interval of ten minutes or so should be allowed. This will enable the performer to re-arrange his shelf, which should always be kept as clear as possible, and to remove articles from the trap bags, &c.

Above all things, keep the hands warm, and for this purpose be provided with a pair of woollen gloves, which wear indoors as well as out, previous to a performance. No one can palm with a hand like ice.

I do not know that I can say anything more without repeating what has already appeared in connection with such tricks as seemed to me to afford the most appropriate opportunities; so my work is done.

To use the words of Byron, "I have nothing further to add, save a general note of thanksgiving to readers, purchasers, and publishers," and to wish the learner all success--but only according to his deserts--with as much true enjoyment as has been experienced by me in the pursuit of SLEIGHT OF HAND.

INDEX

PAGE A.

Accommodating bottle, 316

Aces, congenial, 102

Action with rapidity, &c., 39

Addressing audience, style of, 60, 153, 161, 393

Animated skull, 390

Anti-gravitation ball, 343

Anti-spiritualistic tricks, 380

Apparatus, its uses and abuses, 258

Apples and ring, 50 And small eggs, palming, 168 In cups, 58

Arm, cutting, with a knife, 83

Arrangement of stage, 398

Article, changing an, 171

Ascending cards, 192

Ascent of articles in spiritualistic tricks, 383

Assembly, 136

Assistant, choosing an, 176, 393

Attached card, 101

Audience, seating the, 396 Style of addressing, 60, 153, 161, 393

B.

Bacchus' dovecot, 306 Maypole, 311

Bag, the egg, 274 Watch, 363

Ball and bottle, 308

Balls and cups, tricks with, 54 And plates, 80 Anti-gravitation, 343

Balls, concealing, 55 From a hat, multiplying, 353 Passing and vanishing, 55 Vanishing, 170 Vesting, 170 Wine-drinking, crystal, 308 Worsted, and coin, 256

Banker, the, 237

Bending watches, 362

Bird and card, 376 Cages produced from a hat, 356

Birds, vanishing small, 173

Blindfold feats, 378

Borrowed rings, exchanging, for dummies, 175

Borrowing handkerchiefs, 17, 63 Watches, 361

Bottle, accommodating, 316 And ball, 308 And dove, 306 And penknife, 44 And ribbons, 311 And tumbler, perambulating, 328 Magic wine, 316 Of ginger beer, 287

Bouquet, spirit, 384

Bowls of fish, 262

Boxes, card, 127 Drawer, 300 For watch, 364 Passing coin into, 21 Watch, 368 With trap, 395

Boxing coins, 21

Brazen rod, magi's, 324, 371

Breaking watches, 362

Broad and long cards, 131

Bundle of firewood produced from hat, 354

Burning a handkerchief, 62

Butterfly trick, Japanese, 74

C.

Cabbage and hat, 349

Cage, flying, 335

Cages, bird, produced from hat, 356

Candle, money-producing, 252 Passing handkerchief over flame of, without burning, 178

Cannon ball and hat, 346

Card and bird, 376 Tricks, value of, 88

Cards, ascending, 192 Assembly, 136 Attached, 101 Boxes, 127 Catching two, in the air, 102 Causing one to appear in any position in the pack, counting from top or bottom, 123 Causing one to show itself on the top of the pack, 101 Chameleon, 132 Changing, 132 Changing two, 108 Clairvoyance, 379 Congenial aces, 102 Conjurors', 89 Cut packs, 130 Diagonal, 96 Egyptian pocket, 187 False shuffle, 99 Forcing, 117 Hatched, 205 La carte générale, 119 Lady's own trick, 105 Lightning change, 146 Long and broad, 131 Marking, 177 Missing link, 190 Napoleon, a game at, 143 Obliging bouquet, 202 Palming, 112 Passes with, 90, 106 Permeating, 122 Prepared, 130, 179 Pricked, 131 Reversed, 104 Revolution, the, 129 Royal marriages, 115 Salamander, 197 Sliding, 116 Sympathetic, 120 Thought-reading, 140 Throwing, 129 Travelling, 135 Tricks with, 88, 186 Universal, 119 Vanishing a pack, 186

Catching coins in the air, 14 Two cards in the air, 102

Causing a card to appear in any position in the pack, counting from top or bottom, 123 A card to show itself on the top of the pack, 101 A stick or poker to stand on end, 344

Challenges, how to answer, 35

Chameleon card, 132

Changing articles, 171 Cards, 132, 146 Coins, 11, 32 Dice, 81 Two cards, 108

Chinese fire eating, 72 Lanterns produced from a hat, 356 Marbles, 70 Methods of conjuring, 70, 75 Rings, 296 Tricks, 70

Choosing an assistant, 176, 393

Clairvoyance, 378

Climax to the hat of plenty, 358

Coat, cutting person's arm through, 83

Coin and worsted ball, 256 Handkerchief, 183

Coins, banker, the, 237 Best kind for use, 38 Boxing, 21 Catching in the air, 14 Changing, 11, 32 Concealing, 12 Copper superior to silver, 34 Crystal plateau, 250 Dancing, 20 Extracting, from a glass of water, 24 Flight of, 255 Folding penny, 27 Hold them tight!, 242 Invisible transit, 232 Marking, 38 Minor tricks with, 9 Money changer, 247 Money-producing candle, 252 Palm practice with, 9 Passing into a hat, 13, 23 Passing many, 16 Passing or vanishing, 10 Passing through table, 12 Selecting, when blindfolded, 23 Shower of gold, 273 Showing hands empty while still containing, 177 Sleeving, 35 Substituting, 22 Tricks with, 9, 232 Vanishing, from a handkerchief, 17

Coin-vanishing tumbler, 184

Collecting eggs, 278

Common objects, tricks with, 39

Common palm, 5

Company, producing articles from the persons of the, 166

Concealing a ball, 55 Coins, 12

Cone and drawer-box, 304

Congenial aces, 102

Conjuring table, substitute for, 394

Conjuror's shelf, 156, 395

Cooking and making a pudding in a hat, 293 A "Welsh rabbit", 374

Copper coins superior to silver, 34

Cork, false, 30

Corks, Houdin's dessert of, 84

Corks, tricks with, 84

Cornucopian hat, 346

Cotton, cutting up piece of, 46

Crystal ball, wine-drinking, 308 Plateau, 250

Cup, passing one through another, 61

Cups and balls, tricks with, 54 And oranges, apples, &c., 58 From a hat, shower of, 352

Cut packs of cards, 130

Cutting a person's arm with a knife, 83 Up piece of cotton, 46

D.

Dancing coins, 20 Sailor, 339

Decanted handkerchief, 224

Deception and rapidity of action, 39

Dessert of corks, Houdin's, 84

Destroying a watch, 362

Devil's handkerchief, 182

Diagonal pass with cards, 96

Dice, changing, 81

Dictionary trick, great, 336

Die trick, Houdin's, with additional effects, 259

Distribution from a hat, 350

Dolls produced from a hat, 355

Dove and bottle, 306 Mesmerising a, 175

Dovecot, Bacchus', 306

Doves, vanishing, 173

Drawer-box, 300 And cone, 304

Drawing-room magic, 4

Dress for a conjuror, 160

E.

Eating fire, 72

Egg bag, the, 274

Orange, &c., produced from wand, 164

Eggs and small apples, palming, 168 Collecting, 278 Magician's, 183 Productive, 184

Egyptian pocket card trick, 187

Electric touch, 389

England, flags of Old, 295

Exchanging borrowed rings for dummies, 175

Extracting a coin from a glass of water, 24

F.

Fairy flower, 327

False shuffle with cards, 99

Feast of lanterns, Chinese, 356

Fiery hands, writings, &c., 387

Filter tumblers, 79

Final instructions, 392

Finding sweetmeats in a handkerchief, 65

Finger palm, 6

Fire eating, Chinese, 72

Firewood, bundle of, produced from hat, 354

Fish and bowl, 262 And ink, 265

Flags of Old England, 295

Flight of coins, 255

Flower, fairy, 327 Ring in, 183

Flowers produced from hat, 351

Flying cage, 335 Plume and seed, 291

Folding penny, 27

Forcing cards, 117

Fork or spoon through a tumbler, passing, 79

Fowl, resuscitated, 280

G.

Game at Napoleon, 143

Gant de Paris, 228

General instruction and management in stage conjuring, 149 Remarks, 149, 392

Ginger beer, bottle of, 287

Glass of sherry, vanishing, 77 Of water, extracting a coin from, 24 Of water, to invert, 271 Of water, ubiquitous, 267

Glass, talking, 384

Glove, gant de Paris, 228

Gloves suitable for conjurors, 398

Gold-fish and ink, 265 Trick, 262

Gold, shower of, 273

Grand, or stage magic, 149

H.

Half-crown wand, 237

Handkerchief, coin, 183 Decanted, 224 Devil's, 182 Finding sweetmeats in, 65 For egg collecting, 278 Lengthening a, 66 Passing through flame of candle without burning, 178 Restored, 210 Ring and wand, 49 Through the leg, pulling a, 64 Twisting, 69 Tying knot instantaneously, 68 Tying knot on wrist, 69 Untying knot in, by word of command, 65 Vanishing coins from, 17

Handkerchiefs, borrowing, 17, 63 Burning, 62 Knots, 218 Melting, 226 Sun and moon, 215 Tricks with, 62, 210 Vanishing and reproducing, 171

Hands, fiery, 387 To show, empty, while still containing coins, 177

Harmless shot, 282

Hat and cabbage, 349 And cannon-ball, 346 Bird cages produced from, 356 Bundle of firewood produced from, 354 Chinese lanterns produced from, 356 Cornucopian, 346 Distribution of presents from, 350 Dolls produced from, 355 Flowers produced from, 351 Making and cooking a pudding in, 293 Multiplying balls produced from, 353 Of plenty, 346 Of plenty, climax to, 358 Passing coins into, 13, 23 Rabbits produced from, 372 Reticules produced from, 355 Shower of cups from, 352 With trap, 395

Hatched card, 205

Hold them tight!, 242

Houdin's dessert of corks, 84 Die trick, with additional effects, 259

I.

Incubation by magic, 276

Ink and gold-fish, 265

Instruction and general management in stage conjuring, 149

Instructions, final, 392

Intervals during performances, 398

Introduction, 1 Of music in performances, 397

Introductory stage tricks, 161

Inverting glass of water, 271

Invisible transit of coins, 232

J.

Japanese butterfly trick, 74

K.

Kling-klang, 281

Knife and squares of paper, 42 Cutting a person's arm with, 83 Swallowing, 85

Knot on the wrist, tying a, 69 That will not draw tight, tying a, 67 Tying instantaneously, 68 Untying at word of command, 65

Knots in handkerchief, 218

L.

La carte générale, 119

Lady's own trick with cards, 105

Lanterns, Chinese, produced from a hat, 356

Large objects from the hand, vanishing, 167

Leg, pulling a handkerchief through the, 64

Length of time for performance, 398

Lengthening a handkerchief, 66

Live stock and watches, tricks with, 361

Long and broad cards, 131

M.

Magical wine, 337

Magician's eggs, 183

Magic, incubation by, 276 Omelette, 332 Plateau, 185 Wine bottle, 316

Magi's brazen rod, 324, 371

Making and cooking a pudding in a hat, 293

Management and instruction in stage conjuring, general, 149

Manner when performing, 249

Marbles, Chinese, 70

Marking coins, 38

Maypole, Bacchus's, 311

Meddlers, punishment of, 151

Mesmeric suspension wand, 318

Mesmerised poker, 344, 382

Mesmerising a dove, 175

Mesmerism, sham, 378

Misdirection, 40

Missing link, 190

Money changer, 247 Tube, 239

Money-producing candle, 252

Mortar and pestle for watches, 362

Mouth, producing yards of paper from the, 73

Multiplying balls obtained from a hat, 353

Music, introduction of, in performance, 397

N.

Napoleon, a game at, 143

Nest of boxes, 21

Novel "Welsh rabbit", 374

O.

Obliging bouquet card trick, 202

Omelette, magic, 332

Oranges, apples, &c., in cups, 58 Produced from wand, 164 Vanishing, 170 Vesting, 170

P.

Palm practice with coins, 9

Palming cards, 112 Coins, 5 Common, 5 Finger, 6 Proper, 5 Quick, practising, 17 Reverse, 7 Small eggs, apples, &c., 168 Sugar, 40 Thumb, 6 Use of the wand in, 12 With both hands, 22

Paper and knife, 42 From the mouth, producing yards of, 73

Passes with cards, 90, 106

Passing and vanishing a ball, 55 Articles through traps, 158 Coins, 9 Coins into a hat, 13, 23 Coins through a table, 12 Fork or spoon through tumbler, 79 Many coins, 16 Penny into soda-water bottle, 27 Ring into an egg, 334

"Patter", 154

Penknife and bottle, 44

Penny, folding, 27 passing, into soda-water bottle, 27

Perambulating bottle and tumbler, 328 Walking stick, 382

Performance, length of time for, 398 Introduction of music in, 397

Performer's private programme, 397

Performing, manner when, 249 Preparations before, 149 Skill in, 346

Permeable plates, 80

Permeating card, 122

Pestle and mortar for watches, 362

Plateau, magic, 185

Plate, vanishing a, 78

Plates and balls, 80 Permeable, 80

Plenty, hat of, 346

Plume and seed, flying, 291

Plumes, shower of, 326

Pocket, Egyptian, card trick, 187

Poker, mesmerised, 344, 382 Or stick to stand on end, causing, 344, 382

Preparations before performing, 149, 392

Prepared cards, 130, 179

Presents distributed from a hat, 350

Pricked cards, 131

Private programme, performer's, 397

Producing articles from the persons of the company, 166 Yards of paper from the mouth, 73

Productive eggs, 184

Programmes, 397 Performer's private, 397

Properties and sleights for general use, 163

Pudding cooking and making in a hat, 293

Pulling a handkerchief through the leg, 64

Punishment of meddlers, 151

Putty watches, 362

R.

"Rabbit," cooking a, 374 Novel "Welsh", 374

Rabbits produced from hat, 372 Reproducing, 373 Tricks with, 372

Rapidity and deception of action, 39

Remarks, general, 149

Repetition of tricks, 152

Restored handkerchief, 210

Resuscitated fowl, 280

Reticules produced from a hat, 355

Reversed card, 104

Reverse palm, 7

Revolution of cards, 129

Ribbons and bottle, 311

Ring, flying, 183

Rings and apple, 50 And wand, 51 Chinese, 296 Exchanging borrowed for dummies, 175 Handkerchief, and wand, 49 Inside an egg, 335 Palming, 49 Tricks with, 49, 334

Rod, Magi's brazen, 324, 371

Roll, watch in, 178

Royal marriages with cards, 115

S.

Sack trick, 338

Sailor dancing, 339

Salamander card, 197

Seating the audience, 396

Second sight, imitation, 378

Seed and flying plume, 291

Selecting a coin whilst blindfolded, 23

Sham mesmerism, 378

Shelf, the conjuror's, 156, 395

Sherry, vanishing a glass of, 77

Shot, harmless, 282

Shower of cups from a hat, 352 Of gold, 273 Plumes, 326

Shuffling, false, with cards, 99, 179

Skill in performing, 346

Skull, animated, 390

Slate trick, 386

Sleeving coins, 35

Sleights and properties for general use, 163

Sliding cards, 116

Small birds, vanishing, 173

Soda-water bottle, passing penny into, 27

Spirit bouquet, 384

Spiritualistic animated skull, 390 Ascent of articles, 383 Electric touch, 389 Fiery hands, writings, &c., 387 Mesmerised poker, 344, 382 Perambulating walking stick, 382 Slate trick, 386 Spirit bouquet, 384 Talking glass, 384 Tricks, 380 Writings, &c., 387

Spoon or fork passing through a tumbler, 79

Stage, arrangement of, 398 Conjuring, dress for, 160 General instruction and management, 149 Or grand magic, 149 Tables for, 155 Traps for, 156

Stick and poker to stand on end, causing, 344, 382

Style of addressing audience, 60, 153, 161, 393

Substitute for a conjuring table, 394

Substituting coins, 22

Sugar, palming, 40

Sun and moon, 215

Suspension wand, mesmeric, 318

Swallowing a knife, 85 A watch, 368

Sweetmeats, finding in a handkerchief, 65

Sympathetic cards, 120

T.

Table and dress, 156 Tricks at, 72

Tables, passing coins through, 12 Position of, 396 Selecting, 155 substitute for conjuring, 394

Talking glass, 384

Targets for watches, 365

Thought-reading with cards, 141

Throwing a card, 129

Thumb palm, 6

Time for performance, length of, 398

Touch, electric, 389

Transit of coins, invisible, 232

Trap box, 395

Traps for stage conjuring, 156 In high hat, 395 Passing articles through, 158

Travelling cards, 135

Tying a knot instantaneously, 68 A knot on the wrist, 69 A knot that will not draw tight, 67

Tumbler, coin-vanishing, 184 Filter, 79 Passing a fork or spoon through, 79 Perambulating bottle and, 328

U.

Ubiquitous glass of water, 267

Universal card, 119

Untying a knot at word of command, 65

V.

Vanishing and passing a ball, 55 Articles through traps, 158 Coins, 10 Coins from a handkerchief, 17 Doves, 173 Glass of sherry, 77 Handkerchiefs, 171 Large objects from the hands, 167 Oranges, &c., 170 Pack of cards, 186 Plates, 78 Small birds, 173

Vesting, 160, 170

W.

Walking stick, perambulating, 382

Wand and ring, 51 Half-crown, 237 Finding articles in, 305 Mesmeric suspension, 318 Passing down throat, 368 Purchasing, 3 Ring and handkerchief, 49 Use of, in palming, 12

Warm hands, necessity for, 398

Watches, bag for, 363 Bending, 362 Box for, 368 Borrowing, 361 Breaking, 362 Causing to appear on assistant's back, 367 Putty, 362 Reproducing, 364 Swallowing, 368 Targets for, 365 Tricks with, 360

Water, inverting glass of, 271 Ubiquitous glass of, 267

"Welsh rabbit," novel, 374

Wine bottle, magic, 316 Magical, 337

Wine-drinking crystal ball, 308

Worsted ball and coin, 256

Wrist, tying a knot on the, 69

Writings, fiery, 387

* * * * *

Transcriber's Notes

Minor punctuation errors have been silently corrected. Some illustrations have been relocated. Part I and Part II have been added to the Table of Contents.

Page 26: Changed "Alway" to "Always." (Orig: Alway obtain possession of the wineglass)

Page 78: Changed "immmediately" to "immediately." (Orig: between the legs, and immmediately covered with the napkin.)

Page 106: Removed duplicate "in." (Orig: it is not in in general use, but forms almost a separate)

Page 164: "description" is probably a typo for "descriptions." (Orig: one of the most wonder-inspiring description.)

Page 187: Changed "maufacture" to "manufacture." (Orig: he was told to maufacture the card,)

Page 197: Possibly missing "be" before "burnt." (Orig: half of the card which is to burnt doubled up and placed)

Page 220: Changed "hankerchief" to "handkerchief." (Orig: and the body of the same hankerchief on the other side)

Page 264: Changed "that" to "than." (Orig: trick even more wonderful that it is in its ordinary form.)

Page 314: Changed "fron" to "from." (Orig: and pour out some liquid fron it,)

Page 314: Changed "unexpresed" to "unexpressed." (Orig: for the unexpresed purpose of showing that it is glass,)

Page 349: Changed "unvailing" to "unavailing." (Orig: great, but unvailing, efforts are made to extract the ball.)

Page 353: Changed "neccessary" to "necessary." (Orig: great care being neccessary to prevent any of them falling)

Page 370: Changed "when" to "then." (Orig: for a few seconds, when open it, showing, of course, nothing)