Chapter XV: Miscellaneous (1)

ON APPARATUS, AND ITS USES AND ABUSES--HOUDIN'S
DIE--ADDITIONAL EFFECT--NEW METHOD--THE GOLD-FISH TRICK:
PISCICULTURE EXTRAORDINARY--THE BOWLS AND COVERS--THE
CLOTH--WHERE TO CARRY THE BOWLS--HOW TO PRODUCE
THEM--BAD AND GOOD INNOVATIONS--HOW TO CAUSE THE BOWLS
TO DISAPPEAR--MISHAPS--GOLD FISH AND INK--THE GLOBE--THE
LINING--THE LADLE--HOW TO FILL IT--THE CARD--THE TRICK
IN A SMALL WAY--TRAVELS OF A GLASS OF WATER--GOLD!
GOLD! EVERYWHERE--THE HEN FOR EVERY HOUSEHOLD--THE
BEST BREEDS: NO. 1, NO. 2, AND NO. 3--HOW TO HATCH
YOUR EGGS WITH DESPATCH--DECAPITATION NOT FATAL TO
FOWLS--"KLING, KLANG"--HOW TO STAND FIRE--THE INTERCEPTED
BULLET--THE WANDERING GINGER-BEER BOTTLE--THE PLUME AND
THE SEED--COOKING MADE EASY: HAT VERSUS SAUCEPAN--A
LITTLE ACCIDENT, AND HOW TO RECTIFY IT--THE FLAGS OF
OLD ENGLAND--A NUT FOR BLACKSMITHS TO CRACK--THE DRAWER
BOX--HOW TO MAKE IT--WHEN TO USE IT, AND WHEN NOT--THE
CONE--BACCHUS' DOVECOTE--HOW TO PREPARE THE BOTTLE--HOW
TO MESMERISE AND CAUSE A DOVE TO DISAPPEAR--THE
WINE-DRINKING CRYSTAL BALL--BACCHUS' MAYPOLE--ON PROGRAMMES
AND TITLES--HOW TO MAKE THE BOTTLE--THE ACCOMMODATING
BOTTLE--HOW TO "WORK" IT SUCCESSFULLY--ANOTHER METHOD--THE
MESMERIC SUSPENSION WAND: TWO METHODS--THE MAGI'S BRAZEN
ROD--THE BALLS--HOW TO CHANGE THE RINGS--THE SHOWER OF
PLUMES--THE FAIRY FLOWER--THE VASE.

However great the respect which one may have for sleight of hand pure and simple, it is quite undeniable that a set performance is greatly improved by the occasional introduction of some neat-looking, but not gaudy, apparatus. Under this head need by no means be included self-acting machinery, during the performance of which the performer acts as a mere puppet. All the apparatus mentioned in this work will require adroit handling; and the conjuror will do well to practise as thoroughly with each article as he would towards the acquisition of a feat of sleight of hand. Apparatus seems to have a malicious pleasure in going wrong, always on the most critical occasions, and, for this reason, the majority of skilful performers feel most happy when using very little of it. One thing may be taken for granted, viz., that apparatus, exhibited without the assistance of sleight of hand, and plenty of it, causes the performer to degenerate into a mere showman--opening a box here, and taking off a lid there. In introducing apparatus, the performer must lay a very great deal of stress upon the sleight of hand portion of the business, as though therein lay the whole of the trick, the apparatus being a mere necessary evil in connection with it. By engaging the attention of the company with sleight of hand, it is drawn away from the apparatus, the spectators being so convinced of the performer's skill that they do not so readily accuse him of trusting to gaudy boxes and canisters for his effects.

Some of the apparatus described can be made at home, but, as a general rule, it is cheaper and more satisfactory to buy it at a conjuring repository. Low prices are the order of the day; and, as the articles are made by experienced men, they must be superior to those manufactured by persons new to the business.

_Houdin's Die Trick._--Although this trick, sold everywhere for a shilling, must be as well known as any, I have found it appreciated by certain audiences, which have, by the way, invariably been drawing-room ones. Before a boys' school, or large public audience, it would not be advisable to exhibit it. The trick consists in placing a die upon the uppermost of two hats, covering it with a cover, and causing it to pass through into the lower hat. The secret lies in a hollow false die, which has five sides only, and which fits over the real die like a cover. The actual cover used in the trick fits over the dummy die. The method of performance is extremely easy. Place the dummy die in the breast pocket, in a handy position, and give the real one to be examined with the cover. Whilst this is being done, borrow two hats, and take them to the centre table, slipping the false die from the pocket into one of them when your back is turned. Place the hat containing the dummy on the table, crown downwards, and invert the other one over it. Now take the die and place it upon the uppermost hat, and explain to the audience as follows: "Ladies and gentlemen,--You have all kindly examined the die and cover, and found that both are genuine and free from trickery. I now take this solid die and place it upon this hat; but before doing so I will show you that the hat has no hole through the crown. [Take up hat, and hold it before the light, and bang it about a little, then replace and put die upon it.] The trick I shall perform will be to cover the die with this cover, and, on again removing it, it will be found that the die will have passed through the hat into the one underneath, thus [tilt the top hat so as to cause the die to fall into the lower hat]. Now that I have explained what is to be done, I will proceed to do it." Take the dummy die out of the hat (being careful to keep the open part from the audience, and leaving the real die behind), and place it, with the opening downwards, upon the upper hat, which you have replaced. You can pretend to cut through the hat, all round the die, with a penknife, making a noise with the nail to imitate the sound of cutting, and then, placing the cover over the die, give it a rap with the wand. Grasp the cover very tightly near the bottom, and raise it, bringing away the dummy die as well. Hold it up to the spectators, and rattle the wand inside, and then turn out the real die from the hat on to the floor. Whilst doing this with one hand, the other should be passed behind the table, and the dummy allowed to slide out of the cover on to the shelf. This latter effect is invariably omitted by conjurors, and the trick, in my opinion, spoilt, as attention to it enables the performer to hand round the cover for inspection after the trick is performed, thereby totally upsetting those who, having purchased the trick, fancy they know all about it. I have frequently been asked by such people how I do the trick, they little thinking that the apparatus I use is exactly similar to their own. The die, cover, and dummy can be purchased so cheaply that it is scarcely worth while for the conjuror to manufacture his own. If he wishes to exercise his ingenuity, let him try the following method, which is an improvement on Houdin's old one only inasmuch as it is not so well known.

Procure a die some four inches square, with dummy and cover complete. A smaller size can be used, but I give the most effective for the trick. Now take five pieces of cardboard, each the size of one side of the die, and join them together with hinges of linen, not all in a row, but with one in the centre and the four others on either side of it. Lay these upon the centre of a large coloured handkerchief, and place another handkerchief, of a precisely similar pattern, over it. Sew the two handkerchiefs and cardboard together through the centre piece of card only, and then sew the edges of the handkerchiefs together all round. The two handkerchiefs are made to pass as a single one only. Before commencing, the dummy must be placed, opening downwards, upon the shelf, and the handkerchief should be lying carelessly upon a chair or side table. Show the die and cover round, and borrow two hats. Take the cover and hats to the table, and whilst one hand is placing one hat over the other, as in the first method, the other should place the cover over the dummy die on the shelf, which must thus be picked up. Show the inside of cover (_i.e._, the inside of the dummy), and place it upon the uppermost hat. Now take the die and place it upon the table, a few inches only from the back. Spread the handkerchief over it, and whilst taking hold of the centre piece of card of the internal arrangement across the middle, with one hand, from the outside, pass the other hand underneath the handkerchief, and, under cover of the same, place the die upon the shelf. The hand holding the handkerchief will all the time appear to be holding the die in the air a few inches from off the table. Fold the handkerchief carefully up, and the five pieces of card will give an exact resemblance of a die folded up in a handkerchief, which idea is what you wish to convey to the minds of the audience. Place this carefully upon a side table, and then explain that you are about to pass the die from the handkerchief invisibly under the cover. Raise the cover--and, along with it, the dummy die--once more rattle the wand inside, and replace it. Then take the handkerchief carefully by two corners and suddenly give it a hard shake in the air. The die that is supposed to be inside will not, according to the expectations of the spectators, roll upon the floor, but you will show it to be on the top of the hat by raising the cover only, and revealing the dummy. Remove the dummy from the hat to the table with two hands, as if it were solid, and act as if you were about to return the two hats. You, however, take one of them, opening downwards, and, bringing the brim on a level with the top of the table, but overhanging the shelf considerably, pop the die inside it with the other hand, which instantly takes up the second hat, and you advance with both. Before you have progressed very far, however, you say that, perhaps, after all, the audience would prefer seeing the die back again; and it is very evident that so large an object must be somewhere. Of course, no one will object, and you replace the hats one over the other, the one containing the die being naturally the lower one. The trick then proceeds as before described, the dummy die being carefully lifted with two hands upon the uppermost hat, and the cutting operation gone through. The difficult portion of the trick is getting the die from the shelf into the hat. This should be well practised.

_The Gold-fish Trick._--Of the first three questions asked a conjuror by a new acquaintance, one will infallibly be, "Can you do the gold-fish trick?" When it was first exhibited, it caused intense excitement, and, the secret being fairly well kept, the trick is but little known even now. The performer advances with a shawl or large handkerchief, and, after waving it about, he produces from it a large glass bowl full of water, in which gold-fish are complacently swimming. I have heard the wildest suggestions made in explanation of the trick. One says the bowls of water come up a trap door, regardless of the fact that the cloth does not reach the ground, consequently anything coming up through the floor must infallibly be seen at once. Another explains that the performer has the bowls empty about him, and has an indiarubber reservoir of water up his back, with a pipe coming down the sleeve. Where the fish come from is not explained. No one seems to be able to think of the real secret--an indiarubber cover. The bowls are flat, not more than two inches deep in the centre, resembling gigantic saucers made of glass. The indiarubber covers are made exactly the size of the rim of the bowls, and have a broad turn-under edge besides. The bowls are filled with water, the fish put in, and the covers are then stretched over. To put them on neatly and with dispatch two persons are required, as some force is necessary to pull the indiarubber out sufficiently far to enable it to go on the bowl. Deep, round-bellied bowls should be avoided, as the covers cannot get a good grip upon them. As, with ordinary care, there is no possible chance of a leakage taking place, the bowls can be placed anywhere the performer pleases, and in any position. The favourite places about the person are inside the vest, which will distend sufficiently if prepared with elastic behind, and inside the large breast pockets of the coat. Some conjurors, however, prefer placing the bowls simply under the armpits, inside the coat, and it is surprising how remarkably safe they are in such a position. They are certainly less liable to cause any extraordinary distension of the performer's person, and are far more easily got at. But this is a matter entirely for the consideration of the performer. Some go so far as to put a bowl up the back, which to me seems making the trick as difficult as possible. Wherever the bowls are put, they must be pushed well back, so that all the distension takes place behind, and the performer must necessarily always face the audience during the trick. A bowl is also sometimes placed upon the shelf of the table; but a far better place than this is the back of a chair, made opaque on purpose, where the bowl is held by means of two large wire hooks. As three bowls are generally sufficient for most audiences, one can always manage to carry a sufficient number about one's person. I usually have one in the vest and one in each breast pocket.

To produce the bowls, the performer takes a cloth by two corners, and, after waving it about a short time for effect, he throws it over one shoulder, allowing it to hang well down in front of him. If the bowl is to be taken from the left side, then the cloth must cover that side most, and the left arm must be held out so as to allow the right arm room to work. With the right hand, take the bowl from its hiding place, and hold it horizontally under the cloth, which then draw off the shoulder by means of the other hand, and let it hang over the bowl. Now, with the disengaged hand, grasp the indiarubber cover firmly on the edge of the bowl, through the cloth, and remove it from the bowl with a backward motion. This wants some little doing, as, although it greatly heightens the effect to spill a _little_ water, it looks clumsy to three parts empty the bowl. Lay the cloth carelessly aside and take up a fresh one for each bowl. Some conjurors, Dr. Lynn amongst them, use only one cloth, which is provided with pockets, into which the covers are stowed away; but this is a totally unnecessary innovation, and often obliges the performer to fumble about before he can get the covers into the pockets. The idea that the audience think more of the trick if the bowls are all produced from one cloth is erroneous, for in most instances the fact is not noticed; and when the performer uses a fresh cloth for each bowl the spectators, when they give the subject any thought at all, attribute it to the cloths becoming wet and so disagreeable to use a second time. By using several cloths, greater freedom of action is obtained.

An innovation by Herrmann was calculated to make the trick even more wonderful than it is in its ordinary form. Herrmann, after producing no fewer than four bowls, used to go right amongst the audience, and there, from a borrowed handkerchief, produce a fifth. This bowl was carried either in the vest or in a breast pocket, and its production was the more extraordinary by reason of the handkerchief being held across the performer's breast by one of the spectators. It may be safely asserted that no such feat of daring has ever been performed by any other conjuror. Few men possessed such indomitable pluck and nerve as Herrmann, who, during a performance, was to be deterred by nothing. He took the precaution of using a very shallow bowl with sharp sides and a very thin cover. The instant the cover was off, the handkerchief containing it was rolled up in the hand and carried off along with the bowl as if by accident, to be immediately returned to its owner, _minus the cover_.

The most recent addition to the trick is causing the bowls to disappear after production. The simple method for doing this is to have a double handkerchief, as described in the die trick, with a circular piece of cardboard, the size of the bowl to be made to vanish, inside. The bowl is placed upon the table, and the handkerchief spread over it. As one hand raises the card the other hand places the bowl upon the shelf. The handkerchief is then brought forward with great care, and then shaken out in the midst of the audience. A piece of wet sponge is kept on the shelf, and this is squeezed when the performer goes forward with the supposed bowl. A far better method than this is to use a bowl the top of which is entirely of glass and made in one piece with the bowl, the water and fish being put in through a hole underneath, which is stopped with a cork or plug. It must not be quite filled with water, and when produced the surface must be held a little from the audience, so that the glass top cannot be noticed. When the bowl is to be vanished, all the performer has to do is to cover it with the cloth, and thence quietly put it back into his pocket or vest. It must, of course, be done quickly.

Some ludicrous mishaps have occurred with carelessly covered bowls. One celebrated conjuror produced two bowls with the contents of a third distributed impartially about his person, saturating his clothes and filling his boots. Another performer, a very skilful amateur, accidentally threw the whole of the water from a bowl into a lady's lap, much to the discomfiture of both parties. Had due care been taken, these accidents could never have taken place.

The bowls and covers can only be obtained at conjuring repositories.

_Gold-fish and Ink Trick._--This is another instance of astonishing and inexplicable effect produced by most simple means. A large globe (not a bowl, such as is used in the foregoing trick), full of ink, is produced. The performer ladles out some of the ink and sends it round on a saucer for examination. He also dips a white card into the globe, and brings it out dripping with ink. After this, he merely spreads a handkerchief over the globe, and instantly removes it, when the ink is found to have disappeared and its place supplied by pure water and gold-fish.

The preparation for this trick is as follows: Procure a piece of black silk, in width about four-fifths of the height of the globe, and sufficiently long to go once round it on the inside. Sew the two ends together, so that a broad band is formed. To any part of the top edge fasten a piece of thin wire, which blacken. With this silk line the inside of the globe, and then pour in water exactly to the height of the top of it. The wire must be turned over the edge of the globe a little, so as to be easily found. When the globe thus prepared is brought on, it is impossible to tell it from one full of ink. The ladle, which will be best procured at a conjuring repository, is not an ordinary one, but has a hollow handle communicating with the bowl by means of a tiny hole. This hole is made where the stem joins the bowl, and at the upper end of the handle is another small hole. The hollow handle is filled with ink, and a finger or thumb placed over the uppermost hole, thus preventing the fluid from running out. When the performer puts the ladle into the globe, as if dipping some ink out, the thumb or finger should be removed from the upper hole, and the ink will then flow from the handle into the bowl of the ladle. The methods for filling the handle with ink are various. One way is to fill the bowl of the ladle with ink, and then apply suction to the hole at the other end. This is a very simple method, but, unless the person who applies the suction has a decided taste for ink, it is not a pleasant one to adopt. Another method is to exhaust the air from the handle by means of suction, and then put the ladle in ink; but this is even worse than the other. The way I get over the difficulty is by making the upper hole, which is never seen, large enough to admit the nozzle of a very small syringe, by means of which article the ink can be injected into the handle with cleanliness and dispatch. In purchasing a ladle, care should be taken to procure as plain a one as possible. A fancy ladle excites suspicion. If the conjuror does not mind a little expense, he will possess a most perfect article if he purchase a cheap plated sauce ladle, and then have the handle and stem fitted with a hollow back. This will be entirely free from suspicion. The card which is dipped in the supposed ink is simply a piece of card, about an inch and a half wide and a few inches long, with about half of one side of it blackened with ink or paint. The white side is shown to the audience, and it is then turned over with the peculiar twist illustrated in "Drawing-room Magic," Figs. 19 and 20. It is then actually dipped into the water and brought out with the blackened side towards the audience. The water dripping from it will appear to the audience to be ink, and the deceptive twist can be again given to show that both sides are blackened.

In apparently taking out ink with the ladle, and dipping the card in, care must be taken that the manner of the performer does not too forcibly impress upon the minds of the audience that he is over anxious they should believe there is actually ink in the globe. The ladling out and dipping the card in must be done tolerably briskly; for, if the audience have time, some of the members may suggest, what is only reasonable, that the performer should show the bowl round bodily. The trick is finished by a large, dark-coloured cloth or handkerchief being thrown over the globe, and instantly removed, the performer taking care to grasp the wire, which will, of course, be on his side of the globe, through the cloth, and so cause the silk lining to come away inside the cloth or handkerchief. I do not believe in introducing rock work into the globe, as it gives the audience the idea of something fixed, and they thus obtain a groundwork to start upon. Water and fish are enough to manufacture from ink, in all conscience. The trick is also very effective when performed in a small way with a tumbler.

_The Ubiquitous Glass of Water: First Method._--Procure two small tumblers, exactly similar in size, shape, and appearance. Fill one with water, cover it with a tight-fitting indiarubber cover, and place it in the breast pocket or inside the vest. These little covers are easily procurable, as they are universally sold as covers for jam-pots. They cost about sixpence each. Have a small double handkerchief or cloth, containing a circular piece of card, the size of the mouth of the tumbler, with a few stitches through it to keep it in the centre. Show the empty tumbler, and then fill it with water. Cover it with the handkerchief, and affect to take it up, but place it on the shelf. Advance very carefully with the supposed glass of water, and either stumble on the floor and drop everything, or else pretend to place the glass in someone's hands. If you stumble you must take care to avoid injuring the concealed tumbler. The glass and water vanished, it is now your business to find them again. For this purpose, you call in the aid of a spectator (a youth preferred), whom you request to stoop. Over his back spread the cloth or handkerchief, and, grasping that portion containing the card, raise it gently. Hold it a short time in the air, and then say that you will throw it into someone's pocket, indicating the particular person. Shake out the handkerchief or cloth again and then desire the person indicated to examine his or her pocket. Of course nothing will be found, but you borrow the handkerchief, which will have been taken from the searcher's pocket during the examination, and, waving it about, get the tumbler into it from the pocket, according to the directions given for producing the bowls of water and fish. Remove the cover and produce the glass and water, saying that you knew you had passed them into the indicated pocket. The cover being small, it can be easily removed and the handkerchief returned. It improves the effect a great deal if a small piece of wet sponge can be introduced beneath the cloth whilst the glass, presumably found in the youth's back, is being held, and then squeezed in imitation of the spilling of water from the glass. The sponge can be carried at the mouth of one of the large breast pockets, and, if carefully disposed, need not make the performer uncomfortable by wetting him. I have even seen the sponge attached to the under side of the prepared cloth or handkerchief, which is an excellent plan if the performer is careful not to expose that side, as the sponge is always at hand, and there is no necessity to introduce the hand under the covering, compression from the outside being equally effective in exuding the water.

Some performers think it necessary to go through certain actions for the purpose of convincing the company that the handkerchief does not contain a card or other shape. I must confess that I regard such actions as being decidedly supererogatory, for there is not the least foundation for assuming that the audience suspect the existence of any such thing; and for the performer to do anything indicative of an anticipation on his part that the company are likely to divine what is the true secret of the trick is highly suicidal. However, all are not of my opinion, so, if any beginner thinks he would like to be able to draw the handkerchief through the fingers previous to using, he can easily do so. All he will have to do will be to run a couple of stitches from two adjacent corners to the centre of the handkerchief, and inclose his card in the triangular space thus formed. As it is now loose, when the handkerchief is held by one of the opposite corners, the card falls to the extreme border, and the bulk of the handkerchief may be drawn through the hands. When the handkerchief is held by that side which forms the base of the triangle, the card falls at once into position in the centre. A copper or brass wire ring, being heavier than card, is perhaps more serviceable, as it more readily falls into position.

_Second Method._--For this a special tumbler will be required. It is a large one, with perfectly straight sides, and is furnished with an outside cylindrical shell, also of glass, which is not discernible from the glass itself when in position. This outside shell must be sufficiently large to slip over the hand of the performer, so it will be seen that it is of considerable dimensions. This fact is always of value from the point of view of effectiveness: the larger the article the performer can manage to successfully manipulate, the better. The performer advances with the glass and shell together, and fills the former to the brim with water. He then places the whole on the rear edge of the table, and covers with the cloth. Grasping the shell, from the outside, with one hand, and placing the other hand below, the glass is slid gradually off the table, when it will drop through the shell into the hand of the performer, which places it upon the shelf. The more rapidity there is employed, the better. The performer comes forward with the shell inside the cloth, and allows the audience to feel its shape, and also taps it with the wand, to make the glass ring. He cannot allow the shell to be actually seen, as the absence of any water would be at once noticed; but the satisfying of the senses of touch and hearing will be sufficiently convincing. Retiring to about the centre of the stage, the performer thrusts one of his hands through the shell, from the bottom, and, whilst supporting the card shape with the fingers, allows the shell to glide down the arm, inside the coat sleeve. The handkerchief is then shaken out, and shown to be empty. In this case, the glass is not reproduced, the trick depending for effect upon the apparent bringing of a very large glass, full of water, amongst the audience, and causing it to vanish before their eyes. In the first method, there is no tapping of the sides of the glass when in the handkerchief, or any feeling of its shape, which is, of course, a very great feature of this method. The cuff must be gripped by the third and little fingers, when the arm may be dropped without any fear of the glass shell falling to the ground.

_Third Method._--This method is, in every way, vastly superior to either of the preceding, and, in clever hands, becomes perfectly marvellous to the uninitiated. Only one tumbler is employed. This should be of a substantial character, and requires to be fitted with a flat glass top, exactly the size of the top of the tumbler. To the under side of this should be cemented a slightly smaller circular piece, the size of the interior circumference of the mouth of the tumbler. The glass top cannot now possibly shift from its position. This top the performer has concealed under his vest or in his breast pocket, so that it is readily at hand. Without so much as approaching a table or chair he has the tumbler filled, and, as he covers it with the cloth, he gets out his top and places it into position. With the supposed object of, say, placing the tumbler upon a chair, so that some plea be instituted for bending the body, the tumbler is removed from the cloth and put into the pocket at the bottom of the coat tail. The performer now goes through any performance he pleases with his shape and sponge, and, at the proper moment, produces the tumbler again. In doing this, however, he must get both hands under the cloth, so that he may secrete the top in one of them. It would not do to lift this off from the outside of the cloth, as its extra presence would be noticed. Its size enables it to be readily nipped between the joints of the fingers and root of the thumb.

As the performer does not approach the table, it is impossible for the audience to imagine what has become of the glass, filled, as it is, with water. There is no doubt that this method calls for more skill in execution than does the first, but the effect is immeasurably superior.

_To Invert a Glass of Water._--This is an effect which may either be accomplished separately, or may follow the third method of the preceding trick. The performer places the tumbler upon the table, fills it with water, and, in the act of shifting its position, places the lid, unperceived, upon it. He is provided with a half-sheet of note-paper, which he places upon the tumbler, and then, covering the whole with one hand, inverts the glass upon it. He then addresses the company, remarking that they are, no doubt, familiar with the schoolboy trick of holding an inverted tumbler of water, with merely a sheet of paper to keep the contents from falling to the ground. To illustrate this, the performer holds the tumbler by the base in the disengaged hand, and removes the one below. In the ordinary way the paper would fall to the ground; but the performer has taken care to allow it to become slightly wetted, so that it adheres to the glass top. The performer now proceeds: "This any schoolboy can do; but I dare say you do not think it possible for me to remove this paper and yet retain the water in the tumbler. However, I will show you that such a feat is possible." Taking the paper by an edge, the performer gradually removes it, all the time affecting to hold the tumbler with the greatest steadiness, and keeping his eyes rigidly fixed upon it, as though momentarily anticipating some catastrophe, to avert which a concentration of all his energies is necessary. If he pleases, the performer may swing the tumbler into an upright position and back again, repeating the action three or four times. The paper may be eventually replaced, and the top removed inside it, or that article may be got rid of without the aid of the paper at all.

A slight objection exists in connection with the use of the glass top, from the fact that it is liable to "talk," _i.e._, make a noise, as it is being placed in position. This does not signify on the stage, but, when performing before small audiences, it may be as well to use a piece of mica. As this has no sunken edge, it is not quite as secure as the glass top; but, with ordinary care, no mishap need be apprehended. In removing the paper from beneath, it will be necessary to adopt great caution in avoiding all approach to a sideways sliding movement, which would probably have the effect of shifting the mica, when a deluge would immediately follow. The paper must be boldly peeled off away from the mica. Mica may be purchased in sheets, and the conjuror should cut several sizes, both, for tumblers and wineglasses, and carry them in his pocket-book.

When at a house, if even only for the evening, where he is likely to be called upon, he can soon obtain an opportunity for fitting the various glasses in use, by carrying a mica in the palm. Performed with a wineglass, the trick makes a very valuable addition to the few applicable to the table. In turning the glass back to the upright position, always place the hand beneath first, as, in removing it, it is then an easy matter to take away the mica.

_The Shower of Gold._--The conjuror can perform this trick with the same tumblers and prepared cloth. One tumbler must be filled with imitation sovereigns (which are sold cheaply as whist counters) and placed upon the shelf. The empty tumbler is handed round, and then covered with the cloth, and apparently placed upon the table. It is instead rapidly exchanged, under cover of the prepared cloth--which, when held by the circular card, will sustain the idea that the tumbler is inside it all the time--for the one containing the coins. The performer now goes down to the audience, and continues to find in various ways either single coins or three or four of such at a time, which are "passed" into the distant tumbler by the various methods described in "Drawing-room Magic." As coins thrown from a distance would not in the ordinary way fall into a glass receptacle without causing any sound, it behoves the conjuror to imitate such sound. This is easily accomplished by having an assistant behind the scenes, stationed as close to the table as possible, and provided with a quantity of coins and a tumbler. When the performer "passes" any coins towards the tumbler, the assistant should, after a short lapse of time, allow some to pour into his tumbler. The attention of the audience is so riveted on the covered glass that the deception cannot be detected. Indeed, it is difficult for anyone who knows exactly what is going on behind to notice anything at all suspicious. The deception is a very perfect one, and is used in many ways by the best conjurors. Of course, performer and assistant must be _en rapport_ with each other, the one being careful to state loudly at each "pass" how many coins are being transmitted, and the other paying strict attention to what is going on. Supposing the performer finds a single coin, he will exclaim loudly, "Ah! madam, here is just _one_ coin on the edge of your fan! Permit me." And, on finding several, he will say, "Ah! in your head, sir, quite a quantity of coins. One, two, three, four, _five_!" Sometimes, too, it is as well, for effect, to vary the speed with which the coins perform their imaginary aerial journey. "This one," the performer will say, "is, I see, a very old coin, so will go very slowly indeed;" or, "quite a new one, I declare; see how quickly it will travel." If the assistant be not listening, the effect will be absurd. The tumbler into which he drops the coins should be covered, or the sound will be too sharp. It should be a muffled sound.

_The Egg Bag._--This is a bag which, although repeatedly shown to be quite empty, continues to give forth eggs. In its smallest form, it consists of a square bag, made from chintz, or similar material. One of the sides is double, and thus forms a secret compartment, the mouth of which is at the bottom of the bag, inside. The bag can be taken and turned inside out, to show that it is empty, and yet have an egg inside the compartment. The bag, on being turned back again, can be held upside down and shaken without the egg falling out, for it will still be sustained by the inner lining. To produce the egg, all the performer has to do is to put his hand inside the bag and take the egg out of the compartment. He can then replace it, and cause it to disappear. Sometimes the inner lining covers only about three-fourths of the real side of the bag, but it is best to have it almost the same size. If, in turning the bag inside out, the double side were accidentally shown to the audience, they would infallibly notice the mouth of an inner bag, if it were placed about three-fourths of the way down one side; but if it came on a level with the bottom of the bag itself, it would rarely be noticed.

The larger egg bag, for the production of many eggs, is a very different affair, and requires some making. There are various patterns, the best of which I give: No. 1 is a chintz bag, about two and a half feet long, and of proportionate breadth. There is no double lining to it, but it is barefacedly provided with as many little pockets, each just capable of containing an egg, as one side can be made to take. These pockets have buttons, and the eggs are placed in them, and they are then fastened, their mouths being, of course, downwards when the bag is held in its proper position. The performer brings on the bag; and, after explaining that he has simply an ordinary chintz bag in his hands, proceeds to show that it is quite empty by turning it first upside down and then inside out. In performing the latter operation, that side which is provided with the pockets must, naturally be always turned towards the performer. The bag is then turned back again, and waved about, and, saying that he fancies something has been put into his bag by the fairies, the performer puts his hand inside, opening one of the pockets rapidly as he does so. The egg thus released is produced, and the bag again waved about. The operation of producing the eggs is continued until all are exhausted. It is perhaps better to open the pocket sometimes as the hand is withdrawn with an egg. This will enable the performer to compress the material round the egg, thereby released from the outside, before inserting the hand again to extract it, and exhibit its contour to the audience, who will then see that the egg is not placed into the bag by sleight of hand just previous to being withdrawn. No. 2 is made of any opaque material, a soft one for choice. Besides the ordinary mouth, it has two smaller ones, each some sizes larger than an egg, at the bottom corners. They are best made by simply cutting the corners off. The double lining is very small, it being only of sufficient breadth to take an egg. It is situated at the mouth of the bag and runs along the entire length of it. It has only one opening, a slit across the centre, and the eggs are put in through this. For safety's sake, it is as well to have the opening secured with a button. After the bag has been duly turned inside out and back again, and the slit (if closed) opened, the fingers are run along the top of the bag, where the narrow strip of inside lining is situated, and an egg squeezed out through the slit. This egg falls into the bag proper, which is then tilted sideways over a plate or a basket, or even a hat, and the egg thus caused to roll out of the open corner. No. 3 is similar in principle to No. 2, but has a net underneath, into which the eggs drop with very pretty effect. The corner openings are dispensed with, and the hand is inserted into the bag when an egg is to be taken out.

What puzzles audiences as much as anything is that so many eggs are manipulated and yet not broken. The secret of this is that the eggs used are, with the exception of the one first produced, which is broken on a plate as a specimen, guiltless of the possession of any interior, the performer having taken the precaution of blowing them. This enables the performer to throw the bag carelessly on the floor and then to trample on it. Of course the trampling would be equally fatal to both blown and unblown eggs if the performer did not carefully avoid that portion of the bag which contains them; but the mere act of throwing a bag full of eggs in their original state on the floor would alone be disastrous to many of them. The method for holding a bag for the purpose of taking out an egg is to hold one corner between the teeth and the other in one hand stretched out. This leaves the other hand free for operation. Ordinarily, conjurors do not produce more than eight eggs. If the amateur wishes to perform the trick in really good style, he should have a bag made capable of producing at least two dozen eggs. For this, a large-sized chintz bag is recommended.

_Incubation by Magic._--A very amusing trick can be performed when an entertainment is given in the country, or anywhere where a few very young chickens are procurable. Take four or five of these, and put them in a black alpaca or silk bag, the mouth of which is tied with cotton, and is easy to open. Place the bag on the shelf. Be provided with a blown egg, not too large, which palm. Borrow a hat, and find the egg in any way you please, and then retire to the stage. Place the hat on its side on the table, with the crown towards the audience, and the brim over the back edge, just where the bag is placed on the shelf. Do not place the hat in the desired position at once, but try it in various places first, and finally decide that the position in which you place it is the only secure one. Stand at the end of the table (R), and place the left hand on the brim of the hat, to hold it steady. With the right hand take the egg, and, after one or two feints, make a pass at the crown of the hat with it. Palm the egg and rub the hat, as if the egg had gone through it. This process of palming is not difficult when the egg has been made light, by blowing out the inside; the small end fits nicely between the two fleshy portions of the hand. Find another egg (_i.e._, the same one), in your leg, wand, or elsewhere, and pass it through the hat as before, and repeat the operation as often as you have chickens inside the bag. This bag will have to be introduced into the hat with the left hand, and the best time for doing this is when the right hand is engaged in finding another egg on any part of your person. It is not advisable to do it when the hat is first set down, as the eyes of the audience are full upon it. This is an illustration of misdirection. When you have "passed" the requisite number of eggs through the hat, raise it and bring it forward, remarking that not only have eggs passed through, but they have all become hatched. (The hatching can, of course, be done over a candle.) Great astonishment and amusement will be caused when you produce the chickens one by one. Before removing the last one secure the bag in the hand, for it will never do to allow the audience to see that. The egg you, of course, vest before commencing to reveal the contents of the hat. This trick is but little known, which is a pity, as it is a very simple one, and invariably causes great amusement. It also serves to vary the conventional list of tricks performed with hats.

There is a capital method for collecting the eggs for this trick in place of finding each one with the hand, and "passing" it through the crown of the hat. The hat is loaded, as before, with the chickens in a bag, and placed upon a side table, as being the least suspicious, brim upwards. The performer now takes a handkerchief, which is lying carelessly about, and opens it out. It is then doubled lengthwise, perpendicularly, and, held by opposite ends; one end is tilted over the hat, when an egg slides out. The handkerchief is then opened out to show that it is perfectly empty, is taken up by two corners, folded, and once more emptied of an egg into the hat. This process is repeated as often as necessary, when the handkerchief is put aside and the trick proceeded with, as before described.

The secret of the handkerchief is that on one side is suspended a blown egg, by means of a piece of black silk thread. A very thick, or, at any rate, opaque handkerchief, must be employed, so that by no possible chance can the shape of the egg be seen through it. The length of the thread will require nice adjustment, as will also its position on the handkerchief, for naturally it must not be long enough to allow the egg to appear below the lower margin of the handkerchief, when that article is held up by two corners, but must still have an inch or two to spare, to enable it to fall into the hat without being jerked backwards in the least, for so unnatural a movement imparted to a falling egg would at once undeceive the company. The position for the thread to be sewn to the handkerchief is about half way between the centre and a corner. The folding of the handkerchief must be done in a very easy manner, but without imparting a wavy motion to it, for the least lifting of the lower portion will expose the egg. When the handkerchief is folded the performer may go with it to various parts of the room, seeking where he can magically find an egg. The egg found, one of the company may be allowed to feel its contour through the handkerchief. The opening out of the handkerchief, after the egg has been poured from it, requires some attention. The lower end is released, and then the two upper corners are seized, one by either hand, and the handkerchief thrown wide open, showing the side to which the egg is attached. It is then thrown forward, so as to spread over the hat. By this act it has been turned completely over, the audience having seen both sides of it, whilst the egg has been peacefully resting inside the hat, the thread not being sufficiently prominent to become observed. The two corners nearest the performer, originally those belonging to the lower end of the folded handkerchief as the egg was tilted into the hat, are then taken, and the handkerchief drawn off from the hat towards the performer, with an oblique upward motion. The handkerchief is then in the position for refolding, and right for the discovery of a new egg.

One defect which always struck me as being apparent in this method was the fact that the handkerchief could never be given round for examination. This difficulty I surmounted by the following method: The egg and thread I keep apart from the handkerchief until the actual moment for performing the trick arrives. At the loose end of the thread, the length of which has, of course, been previously adjusted to a nicety, I fasten a bent black pin; that is, a very much bent pin--a hook, in fact--with the head end very short and the pointed end very long. The egg lies in my capacious breast pocket, and the hook is fastened in a convenient position in the edge of the coat flap. The handkerchief is given round for examination, and returned to the performer, who, as he retires to the stage, fastens the hook into it. Before he turns for this purpose, he must have fixed his eye upon the place where the hook should go, and have grasped the handkerchief there, so that afterwards he may be able to conclude his movements without turning his eyes upon the immediate scene of operations; not that this need take very long. The pin hook must not be merely stuck through the handkerchief, such a hold being very insecure, but it must be put through and brought back again immediately. This will effectually prevent its slipping out during the manipulations to which the handkerchief is subjected. So soon as the pin is fixed, the performer faces the audience, if otherwise ready, and, taking the handkerchief by the two upper corners, stretches them out, when, by putting his hands away from him in front, the egg will be drawn out of the side pocket. The trick then proceeds precisely as before. If the performer deems it necessary to allow the handkerchief to be again inspected, which is a matter of fancy, he must, prior to commencing, place a white handkerchief in the hat, "in order that the eggs may fall soft, and not make an omelette," he will explain. When the requisite number of eggs have been found, the pin is unhooked, and the egg allowed to remain in the hat, from whence it is removed, folded in the white handkerchief. If the performer observes a suitable handkerchief amongst the company, he may borrow it, when, of course, the egg must be got rid of; but it is not often that this circumstance will occur. It must be admitted that connected with the whole of this trick there are a style and a neatness which are very different from the general run of conjuring tricks.