Chapter XVI: Miscellaneous Tricks (5)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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