Chapter XVI: Miscellaneous Tricks (4)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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