Chapter I: N D R O M a C U S (1)

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On ten other cards write the same names, with this restriction, that the first name on every card must be taken from the first of the other cards, whose last name begins with I; the second name must be taken from that whose last name begins with N; and so of the rest. Then let any person choose a card out of the first ten, and after he has fixed on a name, give it to you again, when you carefully note the last name, by which you know the number of that card. You then take the other ten cards, and, after shuffling them, show them to the person, and ask if he sees the name he chose, and when he answers in the affirmative, you look to that name which is the same in number from the top with the number of the card he took from the other parcel, and that will be the name he fixed on.

Instead of ten cards there may be twenty to each parcel, by adding duplicates to each card; which will make it appear more mysterious, and will not at all embarrass it, as you have only to remember the last name on each card. Instead of names you may write questions on one of the parcels, and answers on the other.

_Several different Cards being fixed on by different Persons, to name that on which each Person fixed._

There must be as many different cards shown to _each person_, as there are cards to choose; so that, if there are three persons, you must show three cards to each person, telling the first to retain _one_ in his memory. You then lay those three cards down, and show three others to the second person, and three others to the third. Next take up the first person's cards, and lay them down separately, one by one, with their faces upwards; place the second person's cards over the first, and the third over the second's, so that there will be one card in each parcel belonging to each person. You then ask each of them in which parcel his card is, and by the answer you immediately know which card it is; for the first person's will always be the first, the second person's the second, and the third person's the third in that parcel where each says his card is.

This amusement may be performed with a single person, by letting him fix on three, four, or more cards. In this case you must show him as many parcels as he is to choose cards, and every parcel must consist of that number, out of which he is to fix on one; and you then proceed as before, he telling you the parcel that contains each of his cards.

_To name the Rank of a Card that a Person has drawn from a Piquet Pack._

The rank of a card means whether it be an ace, king, queen, &c. You therefore first fix a certain number to each card; thus you call the king four, the queen three, the knave two, the ace one, and the others according to the number of their pips.

You then shuffle the cards, and let a person draw any one of them; then turning up the remaining cards, you add the number of the first to that of the second, the second to the third, and so on, till it amounts to ten, which you then reject, and begin again; or if it be more, reject the ten, and carry the remainder to the next card, and so on to the last; and to the last amount add four, and subtract that sum from ten, if it be less, or from twenty, if it be more than ten, and the remainder will be the number of the card that was drawn; as for example, if the remainder be two, the card drawn was a knave; if three, a queen, and so on.

_To tell the Amount of the Numbers of any two Cards drawn from a common Pack._

Each court card in this amusement counts for ten, and the other cards according to the number of their pips. Let the person who draws the cards add as many more cards to each of those he has drawn as will make each of their numbers twenty-five. Then take the remaining cards in your hand, and, seeming to search for some card among them, tell them over to yourself, and their number will be the amount of the two cards drawn.

For example.--Suppose the person has drawn a ten and a seven, then he must add fifteen cards to the first, to make the number twenty-five, and eighteen to the last, for the same reason; now fifteen and eighteen make thirty-three, and the two cards themselves make thirty-five, which deducted from fifty-two, leave seventeen, which must be the number of the remaining cards, and also of the two cards drawn.

You may perform this amusement without touching the cards, thus:

Let the person who has drawn the two cards deduct the number of each of them from twenty-six, which is half the number of the pack, and after adding the remainders together, let him tell you the amount, which you privately deduct from fifty-two, the total number of all the cards, and the remainder will be the amount of the two cards.

_Example._--Suppose the two cards to be as before, ten and seven; then the person deducting ten from twenty-six, there remain sixteen, and deducting seven from twenty-six, there remain nineteen; these two remainders added together make thirty-five, which you subtract from fifty-two; and there must remain seventeen for the amount of the two cards, as before.

_To tell the Amount of the Numbers of any Three Cards that a Person shall draw from the Pack._

After the person has drawn his three cards, draw one yourself and lay it aside, for it is necessary that the number of the remaining cards be divisible by three, which they will not be in a pack of fifty-two cards, if only three be drawn. The card you draw, you may call the confederate, and pretend it is by the aid of that card you discover the amount of the others. Then tell the party to add as many more to each of his cards as will make its number sixteen, which is the third part of the remaining forty-eight cards; therefore, suppose he has drawn a ten, a seven, and a six; then, to the first he must add six cards, to the second nine, and to the third ten, which together make twenty-five, and the four cards drawn being added to them make twenty-nine. You then take the remaining cards, and, telling them over, as in the last amusement, you find their number to be twenty-three, the amount of the three cards the person drew.

This amusement may also be performed without touching the cards, thus:--When the party has drawn his three cards, and you have drawn one, let him deduct the number of each of the cards he has drawn from seventeen, which is one-third of the pack after you have drawn your card; and let him tell you the amount of the several remainders, to which you privately add one to the card you drew, and, deducting that amount from fifty-two, (the whole number of the cards,) the remainder will be the amount of the three cards drawn.

_Example._--Suppose the three cards to be ten, seven, and six, as before; then, each of those numbers subtracted from seventeen, the remainders will be respectively, seven, ten, and eleven, which, added together, make twenty-eight, to which the single card you drew being reckoned as one, and added, makes twenty-nine; and that number deducted from fifty-two, leaves twenty-three, which is the amount of the three cards the party drew.

* * * * *

The following amusements principally depend on dexterity of hand; and, as what is termed _making the pass_, will be necessary to be acquired, to enable the operator to perform many of them, we subjoin the following explanation of this term:

_How to make the Pass._--Hold the pack of cards in your right hand, so that the palm of your hand may be under the cards: place the thumb of that hand on one side of the pack; the first, second, and third fingers on the other side, and your little finger between those cards that are to be brought to the top, and the rest of the pack. Then place your left hand over the cards in such a manner that the thumb may be at C, the fore-finger at A, and the other fingers at B, as in the following figure:

+----------------+ +----------------+
| _Bottom._ | | _Top._ |
| | | |
| 2 | | |
| | | |
| _Thumb._ | | |
| 3 | | |
| 4 | | |
| | | |
| | | |
|_Little Finger._| | |
+----------------+ +----------------+
C

The hands and the two parts of the cards being thus disposed, you draw off the lower cards, confined by the little finger and the other parts of the right hand, and place them, with an imperceptible motion, on the top of the pack.

But before you attempt any of the tricks that depend on _making the pass_, you must have great practice, and be able to perform it so dexterously and expeditiously, that the eye cannot detect the movement of the hand; or you may, instead of deceiving others, expose yourself.

_The Long Card._--Another stratagem, connected with the performance of many of the following tricks, is what is termed the _Long Card_; that is, a card, either a trifle longer or wider than the other cards, not perceptible to the eye of the spectator, but easily to be distinguished by the touch of the operator.

_The Divining Card._

Provide a pack in which there is a long card; open it at that part where the long card is, and present the pack to a person in such a manner that he will naturally draw that card. You then tell him to put it into any part of the pack, and shuffle the cards. You take the pack, and offer the same card in like manner to a second or third person, taking care that they do not stand near enough to see the card each other draws.

You then draw several cards yourself, among which is the long card, and ask each of the parties if his card be among those cards, and he will naturally say _yes_, as they have all drawn the same card. You then shuffle all the cards together, and, cutting them at the long card, you hold it before the first person, so that the others may not see it, and tell him that is his card. You then put it in the pack, shuffle it, cut it again at the same card, and hold it to the second person.

You can perform this recreation without the long card, in the following manner:

Let a person draw any card, and replace it in the pack. You then _make the pass_, (see p. 107,) and bring that card to the top of the pack, and shuffle them, without losing sight of that card. You then offer that card to a second person, that he may draw it, and put it in the middle of the pack. You _make the pass_, and shuffle the cards a second time in the same manner, and offer the card to a third person, and so again to a fourth or fifth.

_The Four Confederate Cards._

A person draws four cards from the pack, and you tell him to remember one of them. He then returns them to the pack, and you dexterously place two under and two on the top of the pack. Under the bottom ones you place four cards of any sort, and then, taking eight or ten from the bottom cards, you spread them on the table, and ask the person if the card he fixed on be among them. If he say _no_, you are sure it is one of the two cards on the top. You then pass those two cards to the bottom and, drawing off the lowest of them, you ask if that is not his card. If he again say _no_, you take up that card, and bid him draw his card from the bottom of the pack. If, on the contrary, he say his cards _are_ among those you _first_ drew from the bottom, you must dexterously take up the four cards you put under them, and, placing those on the top, let the other two be the bottom cards of the pack, which you are to draw in the manner before described.

_The Numerical Cards._

Let the long card be the sixteenth in the pack of piquet cards. Take ten or twelve cards from the top of the pack, and, spreading them on the table, desire a person to think on any one of them, and to observe the number it is from the first card. Make the pass at the long card, which will then be at the bottom. Then ask the party the number his card was at, and, counting to yourself from that number to sixteen, turn the cards up, one by one, from the bottom. Then stop at the seventeenth card, and ask the person if he has seen his card, when he will say _no_. You then ask him how many more cards you shall draw before his card appears; and when he has named the number, you draw the card aside with your finger, turn up the number of cards he proposed, and throw down the card he fixed on.

_The Card found out by the Point of the Sword._

When a card has been drawn, you place it under the long card, and by shuffling them dexterously, you bring it to the top of the pack. Then lay or throw the pack on the ground, observing where the top card lies. A handkerchief is then bound round your eyes, which ought to be done by a confederate, in such a way that you can see the ground. A sword is put into your hand, with which you touch several of the cards, as if in doubt, but never losing sight of the top card, in which at last you fix the point of the sword, and present it to the party who drew it.

_The Card hit upon by the Guess._

Spread part of the pack before a person, in such way that only one court card is visible; and so arrange it, that it shall appear the most prominent and striking card. You desire him to think on one; and observe if he fix his eye on the court card. When he tells you he has determined on one, shuffle the cards, and, turning them up one by one, when you come to the court card tell him that is the one.

If he does not seem to fix his eye on the court card, you should not hazard the experiment; but frame an excuse for performing some other amusement; neither should it be attempted with those who are conversant with these sort of deceptions.

_The Card changed by Word of Command._

You must have two cards of the same sort in the pack, (say the king of spades.) Place one next the bottom card, (say seven of hearts,) and the other at top. Shuffle the cards without displacing those three, and show a person that the bottom card is the seven of hearts. This card you dexterously slip aside with your finger, which you have previously wetted, and, taking the king of spades from the bottom, which the person supposes to be the seven of hearts, lay it on the table, telling him to cover it with his hand.

Shuffle the cards again, without displacing the first and last card, and, shifting the other king of spades from the top to the bottom, show it to another person. You then draw that privately away, and, taking the bottom card, which will then be the seven of hearts, you lay that on the table, and tell the second person (who believes it to be the king of spades) to cover it with his hand.

You then command the cards to change places; and when the two parties take off their hands and turn up the cards, they will see, to their great astonishment, that your commands are obeyed.

_The Three Magical Parties._

Offer the long card to a person, that he may draw it, and replace it in any part of the pack he pleases. _Make the pass_, and bring that card to the top. Next divide the pack in three parcels, putting the long card in the middle heap. You then ask the person which of the three heaps his card shall be in. He will, probably, say the middle; in which case you immediately show it to him. But if he say either of the others, you take all the cards in your hand, placing the parcel he has named over the other two, and observing to put your little finger between that and the middle heap, at the top of which is the card he drew. You then ask at what number in that heap he will have his card appear. If, for example, he say the sixth, you tell down five cards from the top of the pack, and then, dexterously making the pass, you bring the long card to the top, and tell it down as the sixth.

_The Magic Vase._

Construct a vase of wood, or pasteboard, see Fig. 20. On the inside let there be five divisions; two of them, _c d_, to be large enough to admit a pack of cards each; and the other three, _e f g_, only large enough to contain a single card. Place this vase on a bracket, L, which is fastened to the partition M. Fix a silken thread at H, the other end of which passes down the division _d_, and, over the pulley I, runs along the bracket L, and goes out behind the partition M.

Take three cards from the piquet pack, and place one of them in each of the divisions _e f g_, making the silk thread or line go under each of them. In the division _c_ put the remainder of the pack.

You then get another pack of cards, at the top of which are to be three cards, the same as those in the three small divisions: and, making the pass, bring them to the middle of the pack. Let them be drawn by three persons; let them shuffle all the cards; after which place the pack in the division _d_, and tell the parties that the cards they drew will rise at their command, separately, from the vase.

A confederate behind the partition then gently drawing the line, the three cards will then gradually appear from the vase; then taking the cards from _c_, you show that those three are gone from the pack.

The vase must be placed so high that the company cannot see the inside.

_The Divining Perspective Glass._

Procure a small perspective-glass, wide enough, where the object-glass is placed, to hold the following table:

+-------+--------+--------+
| 1,131 | 10,132 | 19,133 |
| 2,231 | 11,232 | 20,233 |
| 3,331 | 12,332 | 21,333 |
+-------+--------+--------+
| 4,121 | 13,122 | 22,123 |
| 5,221 | 14,222 | 23,223 |
| 6,321 | 15,322 | 24,323 |
+-------+--------+--------+
| 7,111 | 16,112 | 25,113 |
| 8,211 | 17,212 | 26,213 |
| 9,311 | 18,312 | 27,313 |
+-------+--------+--------+

Take a pack of twenty-seven cards; give them to a person, bid him fix, on one, shuffle them, and return them to you. Arrange the twenty-seven cards in three parcels, by laying one down, alternately, on each parcel; but before you lay each card down, show it to the person, without seeing it yourself. When you have completed the three parcels, ask him at what number, from one to twenty-seven, he will have his card appear, and in which heap it then is. You then look at the heap through your glass; and if the first of the three numbers, which stands against the number it is to appear at, be one, put that heap at top; if the number be at two, put it in the middle; and if it be three, put it at the bottom. Next divide the cards into three heaps, in the same manner, a second and third time, and his card will be at the number he chose.

_Example._--Suppose the person wishes his card to be the twentieth from the top; and the first time of making the heaps, he says it is in the third heap; you then look at the table in the perspective, and you see that the first figure is two; you, therefore, put that heap in the middle of the pack. The second and third times, you in like manner put the heap in which he says it is, at bottom; the number each time being three. Then looking at the pack with your glass, as if to discover which the card was, you lay the cards down, one by one, and the twentieth will be the card fixed on.

_The Card in the Ring._

Get a ring, made of any metal, in which is set a large transparent stone or piece of glass, to the bottom of which is fastened a small piece of black silk; under the silk is to be the figure of a small card; and the silk must be so constructed that it may be either drawn aside or spread, by turning the stone round.

You then cause a person to draw the same sort of card as that at the bottom of the ring; and tell him to burn it in the candle. Now, the ring being so constructed that the silk conceals the card underneath it, you first show him the ring, that he may see it is not there, and tell him you will make it appear; then rubbing the ashes of the card on the ring, you manage to turn the stone or glass dexterously round, and exhibit to him the small card at the bottom.

_The Card in the Mirror._

Provide a mirror, either round or oval, the frame of which must be at least as wide as a card, and the glass must be wider than the distance between the frame, by at least the width of a card. The glass in the middle must be made to move in two grooves, and so much of the quicksilver must be scraped off, as is equal to the size of a common card. You then paste over the part where the quicksilver is rubbed off, a piece of pasteboard, on which is a cord, that must exactly fit the space, which must at first be placed behind the frame.

Fix this mirror against a partition, through which two strings are to go, by which an assistant in an adjoining room can easily move the glass in the grooves, and make the card appear or disappear at pleasure. Or it may be done without an assistant, if a table be placed against the partition, and a string from the glass be made to pass through a leg of it, and communicate with a small trigger, which you may easily push down with your foot, and at the same time wiping the glass with your handkerchief, under the pretence that the card may appear more conspicuous; which will also serve most effectually to disguise the operation.

Having every thing thus arranged, you contrive to make a person draw the same sort of card as that fixed to the mirror; if you do not succeed in this with a stranger, make some pretence for shuffling the cards again, and present the pack to a confederate, who, of course, will draw the card you wish, and who is to show it to two or three persons next to him, under the pretence that it might slip his memory. This card you place in the middle of the pack, then _make the pass_, and bring it to the bottom. Direct the person to look for his card in the mirror, which the confederate behind the partition is to draw slowly forward; or if you perform the operation yourself, press the trigger with your foot, and the card will appear as if placed between the glass and the quicksilver. While the glass is drawing forward, you slide off the card from the bottom of the pack, and convey it away.

_The Card in the Opera Glass._

Procure an opera-glass, two inches and a half long; the tube to be made of ivory, so thin that it may appear transparent. Place it in a magnifying glass, of such a power, and at such a distance, that a card, three-quarters of an inch long, may appear like a common-sized card. At the bottom of the tube lay a circle of black pasteboard, to which fasten a small card, with the pips, or figures, on both sides, and in such a manner, that by turning the table, either side of the glass may be visible.

You then offer two cards to two persons, similar to the double card in the glass. You put them in the pack again, or convey them to your pocket; and after a few flourishing motions you tell the persons you have conveyed their cards into the glass; then you show each person his card in the glass, by turning it in the proper position.

You may easily induce the parties to draw the two cards you wish, by placing them first on the top of the pack, and then, by making the pass, bringing them to the middle.

When you can make the pass in a dexterous manner, it is preferable to the long card, which obliges the operator to change the pack frequently, as, if the same card is always drawn, it may excite suspicion.

_To separate the two Colours of a Pack of Cards by one Cut._

To perform this amusement, all the cards of one colour must be cut something narrower at one end than the other. You show the cards, and give them to any one, that he may shuffle them; then holding them between your hands, one hand being at each extremity, with one motion you separate the hearts and diamonds from the spades and clubs.

_The Metamorphosed Cards._

In the middle of a pack place a card that is something wider than the rest, which we will suppose to be the knave of spades, under which place the seven of diamonds, and under that the ten of clubs. On the top of the pack put cards similar to these, and others on which are painted different objects, _viz._:

First card A bird
Second A seven of diamonds
Third A flower
Fourth Another seven of diamonds
Fifth A bird
Sixth A ten of clubs
Seventh A flower
Eighth Another ten of clubs;

then seven or eight indifferent cards, the knave of spades, which is the wide card, the seven of diamonds, the ten of clubs, and the rest any indifferent cards.

Two persons are to draw the two cards that are under the wide card, which are the seven of diamonds and the ten of clubs. You take the pack in your left hand, and open it at the wide end, as you open a book, and tell the person who drew the seven of diamonds to place it in that opening. You then blow on the cards, and, without closing them, instantly bring the card which is at top, and on which a bird is painted, over that seven of diamonds. To do this dexterously, you must wet the middle finger of your left hand, with which you are to bring the card to the middle of the pack. You then bid the person look at his card, and when he has remarked the change, to place it where it was before. Then blow on the cards a second time, and, bringing the seven of diamonds, which is at the top of the pack, to the opening, you bid him look at his card again, when he will see it is that which he drew. You may do the same with all the other painted cards, either with the same person, or with him who drew the ten of clubs.

The whole artifice consists in bringing the card at the top of the pack to the opening in the middle, by the wet finger, which requires no great practice. Observe, not to let the pack go out of your hands.

_To discover the Card which is drawn, by the Throw of a Die._

Prepare a pack of cards, in which there are only six sorts of cards. Dispose these cards in such manner that each of the six different cards shall follow each other, and let the last of each suite be a long card. The cards being thus disposed, it follows, that if you divide them into six parcels, by cutting at each of the long cards, those parcels will all consist of similar cards.

Let a person draw a card from the pack, and let him replace it in the parcel from whence it was drawn, by dexterously offering that part. Cut the cards several times, so that a long card be always at bottom. Divide the cards in this manner into six heaps, and giving a die to the person who drew the card, tell him that the point he throws shall indicate the parcel in which is the card he drew; then take up the parcel and show him the card.

_To tell the Number of the Cards by their Weight._

Take a parcel of cards, suppose forty, among which insert two long cards; let the first be, for example, the fifteenth, and the other the twenty-sixth from the top. Seem to shuffle the cards, and then cutting them at the first long card, poise those you have cut off in your left hand, and say, "There should be here fifteen cards." Cut them again at the second long card, and say, "There are here only eleven cards." Then poising the remainder, you say, "Here are fourteen cards."

_The Four Inseparable Kings._

Take the four kings, and behind the last of them place two other cards, so that they may not be seen. Then spread open the four kings to the company, and put the six cards at the bottom of the pack. Draw one of the kings, and put it at the top of the pack. Draw one of the two cards at the bottom, and put it towards the middle. Draw the other, and put it at some distance from the last, and then show that there remains a king at bottom. Then let any one cut the cards, and as there remains three kings at bottom, they will then be altogether in the middle of the pack.

_To change the Cards which several Persons have drawn from the Pack._

On the top of the pack put any card you please--suppose the queen of clubs; make the pass, bring that card to the middle of the pack, and offer it to a person to draw. Then, by cutting the cards, bring the queen again to the middle of the pack. Make the pass a second time, bring it to the top, and shuffle the cards without displacing those on the top. Make the pass a third time, bring it to the middle of the pack and offer it to a second person to draw, who must be at a proper distance from the first person, that he may not perceive it is the same card. After the like manner let five persons draw the same card.

Shuffle the pack without losing sight of the queen of clubs, and, laying down four other cards with the queen, ask each person if he see his card there? They will all reply, "Yes," as they all drew the queen of clubs. Place four of those cards on the pack, and, drawing the queen privately away, you approach the first person, and showing him that card, so that the others cannot see it, ask if that be his card; then patting it on the top of the pack, blow on it, or give it a stroke with your hand, and show it in the same manner to the second person, and so of the rest.

_The Card discovered under the Handkerchief._

Let a person draw any card from the rest, and put it in the middle of the pack; you make the pass at that place, and the card will consequently be at top; then placing the pack on the table, cover it with a handkerchief; and, putting your hand under it, take off the top card, and after seeming to search among the cards for some time, draw it out.

This amusement may be performed by putting the cards in another person's pocket, after the pass is made. Several cards may also be drawn and placed together in the middle of the pack, and the pass then made.

_The Convertible Aces._

On the ace of spades fix, with soap, a heart, and on the ace of hearts a spade, in such a manner that they will easily slip off.

Show these two aces to the company; then, taking the ace of spades, you desire a person to put his foot upon it, and as you place it on the ground, draw away the spade. In like manner you place the seeming ace of hearts under the foot of another person. You then command the two cards to change their places; and that they obey your command, the two persons, on taking up their cards, will have ocular demonstration.

A deception similar to this is sometimes practised with one card, suppose the ace of spades, over which a heart is pasted lightly. After showing a person the card, you let him hold one end of it, and you hold the other, and while you amuse him with discourse, you slide off the heart. Then laying the card on the table, you bid him cover it with his hand; you then knock under the table, and command the heart to turn into the ace of spades.

_To tell the Card that a Person has touched with his Finger._

This amusement is to be performed by confederacy. You previously agree with your confederate on certain signs, by which he is to denote the suite, and the particular card of each suite; thus: if he touch the first button of his coat, it signifies an ace; if the second, a king, &c.; and then again, if he take out his handkerchief, it denotes the suite to be hearts; if he take snuff, diamonds, &c. These preliminaries being settled, you give the pack to a person who is near your confederate, and tell him to separate any one card from the rest, while you are absent, and draw his finger once over it. He is then to return you the pack, and while you are shuffling the cards, you carefully note the signals made by your confederate; then turning the cards over one by one, you directly fix on the card he touched.

_The Card in the Pocket-book._

A confederate is previously to know the card you have taken from the pack, and put into your pocket-book. You then present the pack to him, and desire him to fix on a card, (which we will suppose to be the queen of diamonds,) and place the pack on the table. You then ask him the name of the card, and when he says the queen of diamonds, you ask him if he be not mistaken, and if he be sure that the card is in the pack: when he replies in the affirmative, you say, "It might be there when you looked over the cards, but I believe it is now in my pocket;" then desire a third person to put his hand in your pocket, and take out your book, and when it is opened the card will appear.

_The Card in the Egg._

Take a card, the same as your long card, and, rolling it up very close, put it in an egg, by making a hole as small as possible, and which you are to fill up carefully with white wax. You then offer the long card to be drawn, and when it is replaced in the pack, you shuffle the cards several times, giving the egg to the person who drew the card, and while he is breaking it, you privately withdraw the long card, that it may appear, upon examining the cards, to have gone from the pack into the egg. This may be rendered more surprising by having several eggs, in each of which is placed a card of the same sort, and then giving the person the liberty to choose which egg he thinks fit.

This deception may be still further diversified, by having, as most public performers have, a confederate, who is previously to know the egg in which the card is placed; for you may then break the other eggs, and show that the only one that contains a card is that in which you directed it to be.

_The Card discovered by the Touch or Smell._

You offer the long card, or any other that you know, and as the person who has drawn it holds it in his hand, you pretend to feel the pips or figure on the under side, by your fore-finger; or you sagaciously smell to it, and then pronounce what card it is.

If it be the long card, you may give the pack to the person who drew it, and leave him at liberty either to replace it or not. Then taking the pack, you feel immediately whether it be there or not, and, shuffling the cards in a careless manner, without looking at them, you pronounce accordingly.

_The Inverted Cards._

Prepare a pack of cards, by cutting one end of them about one-tenth of an inch narrower than the other; then offer the pack to any one, that he may draw a card; place the pack on the table, and observe carefully if he turn the card while he is looking at it; if he do not, when you take the pack from the table, you offer the other end of it for him to insert that card; but if he turn the card, you then offer him the same end of the pack. You afterwards offer the cards to a second or third person, for them to draw or replace a card in the same manner. You then let any one shuffle the cards, and, taking them again into your own hand, as you turn them up one by one, you easily perceive by the touch which are those cards that have been inverted, and, laying the first of them down on the table, you ask the person if that card be his; and if he say _no_, you ask the same of the second person; and if he say _no_, you tell the third person it is his card; and so of the second or third cards. You shall lay the pack on the table after each person has drawn his card, and turn it dexterously in taking it up, when it is to be turned, that the experiment may not appear to depend on the cards being inverted.

_The Transmuted Cards._

In a common pack of cards let the ace of hearts and nine of spades be something larger than the rest. With the juice of lemon draw over the ace of hearts a spade, large enough to cover it entirely, and on each side draw four other spades.

Present the pack to two persons, so adroitly, that one of them shall draw the ace of hearts, and the other the nine of spades, and tell him who draws the latter, to burn it on a chafing-dish. You then take the ashes of that card, put them into a small metal box, and give it to him that has the ace of hearts, that he may himself put that card into the box and fasten it. Then put the box for a short time on the chafing-dish, and let the person who put the card in it take it off, and take out the card, which he will see is changed into the nine of spades.

_The Convertible Cards._

To perform this amusement you must observe, that there are several letters which may be changed into others, without any appearance of the alteration, as the _a_ into _d_, the _c_ into _a_, _e_, _d_, _g_, _o_, or _q_; the _i_ into _b_, _d_, or _l_; the _l_ into _t_; the _o_ into _a_, _d_, _g_, or _q_; the _v_ into _y_, &c.

Take a parcel of cards, suppose twenty, and on one of them write with juice of lemon or onion, or vitriol and water, the word law, (these letters should not be joined;) and on the other, with the same ink, the words _old woman_; then holding them to the fire, they both become visible. Now, you will observe, that by altering the _a_ in the word _law_ into _d_, and adding _o_ before the _l_, and _oman_ after the _w_, it becomes _old woman_. Therefore you make those alterations with the invisible ink, and let it remain so. On the rest of the cards you write any words you think fit.

Present the cards in such manner to two persons, that one of them shall draw the word _law_, and the other the words _old woman_. You then tell the person who drew the word _law_, that it shall disappear, and the words on the other card shall be written in its place; and, that you may not change the cards, desire each of the parties to write his name on his card. Then putting the cards together, and holding them before the fire, as if to dry the names just written, the word _law_ will presently change into _old woman_.

_The Enchanted Palace._

On the six-sided plane A B C D E F, Fig. 21, draw six semi-diameters; and on each of these place perpendicularly two plane mirrors, which must join exactly at the centre, and which, placed back to back, must be as thin as possible. Decorate the exterior boundary of this piece, (which is at the extremity of the angles of the hexagon,) with six columns, that at the same time serve to support the mirrors by grooves formed on their inner sides. Add to these columns their entablatures, and cover the edifice in whatever manner you please. In each one of these six triangular spaces, contained between two mirrors, place little figures of pasteboard, in relief, representing such subjects, as, when seen in an hexagonal form, will produce an agreeable effect. To these add small figures of enamel, and take particular care to conceal by some object that has no relation to the subject, the place where the mirrors join, which, as before observed, all meet in the common centre.

When you look into any one of the six openings of this palace, the objects there contained, being reflected six times, will seem entirely to fill up the whole of the building. This illusion will appear very remarkable, especially if the objects chosen are properly adapted to the effect which the mirrors are intended to produce.

If you place between two of these mirrors part of a fortification, as a curtain, and two demi-bastions, you will see an entire citadel with six bastions; or if you place part of a ball-room, ornamented with chandeliers and figures, all these objects being here multiplied, will afford a very pleasing prospect.

_Opaque Bodies seemingly Transparent._

Within the case A B C D, place four mirrors O P Q R, Fig. 22, so disposed, that they may each make an angle of 45 degrees, that is, that they may be half-way inclined from the perpendicular, as in the figure. In each of the two extremities A B, make a circular overture; in one of which fix the tube G L, in the other the tube M F, and observe, that in each of these is to be inserted another tube, as H and I. [_Observe._ These four tubes must terminate in the substance of the case, and not enter the inside, that they may not hinder the effect of the mirrors. The four-fold reflection of the rays of light from the mirrors, darkens in some degree the brightness of the object; some light is also lost by the magnifying power of the perspective. If, therefore, instead of the object-glass at G, and concave eye-glass at F, plain glasses were substituted, the magnifying power of the perspective will be taken away, and the object appear brighter.]

Furnish the first of these tubes with an object-glass at G, and a concave eye-glass at F. You are to observe, that in regulating the focus of these glasses with regard to the length of the tube, you are to suppose it equal to the line G, or visual pointed ray, which entering at the aperture G is reflected by the four mirrors, and goes out at the other aperture F, where the eye-glass is placed. Put any glass you please into the two ends of the moveable tubes H and L; and lastly, place the machine on stand E, moveable at the point S, that it may be elevated or lowered at pleasure.

When the eye is placed at F, and you look through the tube, the rays of light that proceed from the object T, passing through the glass G, are successively reflected by the mirrors O P Q and R to the eye at F, and there point the object T in its proper situation, and these rays appear to proceed directly from that object.

The two moveable tubes H and I, at the extremity of which a glass is placed, serve only to disguise the illusion, for they have no communication with the interior of the machine. This instrument being moveable on the stand E, may be directed to any object; and if furnished with proper glasses, will answer the purpose of common perspective.

The two moveable tubes, H and I, being brought together, the machine is directed towards any object; and, desiring a person to look at the end F, you ask him if he sees that object distinctly. You then separate the two moveable tubes, and, leaving space between them sufficiently wide to place your hand or any other solid body, you tell him that the machine has the power of making objects visible through the most opaque body; and as a proof, you desire him to look at the same object, when to his great surprise he will see it as distinctly as if no solid body interposed.

This experiment is the more extraordinary as it is very difficult to conceive how the effect is produced; the two arms of the case appearing to be made for the purpose of supporting the perspective-glass; and to whatever object it be directed, the effect is still the same.

_The Deforming Mirrors._

If a person look in a concave mirror placed perpendicularly to another, (that is, supposing one mirror to be laid on the floor, and the other attached to the ceiling,) his face will appear entirely deformed. If the mirror be a little inclined, so as to make an angle of 80 degrees, (that is, one-ninth part from the perpendicular,) he will then see all the parts of his face, except the nose and forehead. If it be inclined to 60 degrees; (that is, one-third part,) he will appear with three noses and six eyes: in short, the apparent deformity will vary at each degree of inclination, and when the glass comes to 45 degrees, (that is, half-way down,) the face will vanish. If, instead of placing the two mirrors in this situation, they are so disposed that their junction may be vertical, then different inclinations will produce other effects, as the situation of the object relative is quite different.

_The Magic Tube._

Procure a small tube of glass, whose canal is extremely narrow, and open at both ends; let one end of it be plunged in water, and the water within the tube will rise to a considerable height above the external surface: or if two or more tubes be immersed in the same fluid, the one with a narrow canal, and the other wider, the water will ascend higher in the former than the latter.

_The Magician's Mirror._

Construct a box of wood, of a cubical shape, A B C D, Fig. 23, of about fifteen inches every way. Let it be fixed to the pedestal P, at the usual height of a man's head. In each side of this box let there be an opening, of an oval form, ten inches high, and seven wide. In this box place two mirrors, A D, with their backs against each other. Let them cross the box in a diagonal line, and in a vertical position. Decorate the openings in the side of this box with four oval frames and transparent glasses, and cover each with a curtain so contrived as all to draw up together.

Place four persons in front of the four sides, and at equal distances from the box, and then draw them up that they may see themselves in the mirrors, when each of them, instead of his own figure, will see that of the person next to him, but who will appear to him to be placed on the opposite side. Their confusion will be the greater, as it will be very difficult, if not impossible, for them to discover the mirrors concealed in the box. The reason of this phenomenon is evident; for though the rays of light may be turned aside by a mirror, yet they always _appear_ to proceed in right lines.

_The Perspective Mirror._

Provide a box, A B C D, Fig. 24, of about two feet long, 15 inches wide, and 12 inches high. At the end A C, place the concave mirror, the focus of whose parallel rays is 18 inches from the reflecting surface. At I L place a pasteboard, blacked, in which a hole is cut, sufficiently large to see on the mirror H the object placed at B E F D. Cover the top of the box, from A to I, close, that the mirror H may be entirely darkened. The other part, I B, must be covered with glass, under which is placed a gauze, or oiled paper, to prevent the inside from being seen. Make an aperture at G, near the top of the side E B, beneath which, on the inside, place in succession, paintings of vistas, landscapes, figures, &c., so that they may be in front of the mirror H. Let the box be placed that the objects may be strongly illuminated by the sun, or by wax-lights placed under the enclosed part of the box A I. By this simple construction, the objects placed at G D will be thrown into their natural perspective, and if the subjects be properly chosen and well executed, the appearance will be both wonderful and pleasing.

_Gunpowder Exploded by Reflection._

Place two concave mirrors at about 12 or 15 feet distance from each other, and let the axis of each be in the same line. In the focus of one of them place a live coal, and in the focus of the other place some gunpowder. With a pair of double bellows, which make a continual blast, keep constantly blowing the coal, and notwithstanding the distance between them, the powder will presently take fire.

_The Igniting Mirrors._

The rays of a luminous body placed in the focus of concave mirror, being reflected in parallel lines, and a second mirror being placed diametrically opposite to the first, will set fire to a combustible body, by collecting those rays in the focus.

_The Armed Apparition._

If a person with a drawn sword place himself before a large concave mirror, but further from it than its focus, he will see an inverted image of himself in the air, between him and the mirror, of a less size than himself. If he steadily present the sword towards the centre of the mirror, an image of the sword will come out from it, point to point, as if to fence with him; and by his pushing the sword nearer, the image will appear to come nearer to him, and almost to touch his breast. If the mirror be turned 45 degrees, or one-eighth round, the reflected image will go out perpendicularly to the direction of the sword presented, and apparently come to another person placed in the direction of the motion of the image, who, if he be unacquainted with the experiment, and does not see the original sword, will be much surprised and alarmed.

_The Phantom._