Chapter XVI: Miscellaneous Tricks (2)

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.