Chapter III: Preface (3)

If the young conjuror is desirous of appearing in the character of a fire-eater, it is very easily managed. He must prepare a piece of thick string, by soaking it in a solution of niter, and then drying it. He cuts off a piece about an inch in length, lights one end, and wraps it up in a piece of tow which he holds in his left hand. The trifling smoke will be concealed by a huge bundle of loose tow also carried in the left hand.

He takes a handful of tow in his right hand, puts it into his mouth, chews it up, and appears to swallow it. He then takes another handful, and with it the piece in which is the string. As he puts this into his mouth, he takes out the piece which he has already chewed. By taking breath through the nostrils, and breathing it out through the mouth, smoke begins to issue forth, and the whole interior of the mouth is soon lighted up with a glow. When the mouth is shut, and the tow pressed together, the fire goes out, except the piece of prepared string. More tow is then taken into the mouth, and treated in the same manner.

64. THE EGG-BOX.

A, the egg-box; B, the upper shell; C, the inner shell, covered over with the shell of an egg; D, the lower part of the box. To do the trick, call for an egg, then bid all the by-standers look at it, and see that it is a real egg, set the box on the table, take off the upper part, with your fore finger and thumb, then placing the egg in the box, say, "You see it fairly in," and uncovering it again, likewise say, "You shall see me take it out, and put it in my pocket in your sight;" open your box again and say, "There is nothing," close your hand about the middle of your box, and taking B by the bottom, say, "There is the egg again," which it appears to the spectators to be, so clapping that in again, and taking the lid of C in your finger and thumb, say, "There it is gone again."

55. THE GLOBE-BOX.

This trick is not inferior to the best that is shown with boxes. It is done with a box made of four pieces, and a ball as big as may be conveniently contained therein; the ball serves as the egg does in the egg-box, to deceive the hand and eyes of spectators. This ball, made of wood or ivory, is thrown out of the box upon the table, for every one to see that it is substantial; then put the ball into the box, which close up with all the pieces one within another; remove the upper shell with your fore finger and thumb, and there will appear another of a different color, red, blue, yellow, or any other color you may fancy; this will seem to be another ball, though, in fact, it is no more than a shell of wood, ingeniously turned and fitted to the box, as you may perceive by the cuts. L is the outer shell of the globe, taken off the figure M, the top of which represents the ball; N is an inner shell; O, the cover of the same; P another inner shell; Q, the cover of the same; R, a third shell; S, that which covers it. These globes may be made with more or less varieties, according to the desire of the practitioner.

56. THE COFFEE AND HANDKERCHIEF TRICKS.

One of the greatest means of wonder-working is that of _ingenious contrivance_. We will illustrate this by two popular feats. A number of handkerchiefs taken from the audience by more than one popular performer, were placed in a small washing tub, into which water was poured, and they were washed for a few minutes. They were then placed in a vessel like the figure (*) on the next page, and immediately afterwards the performer said to the persons in front: "I will give you these;" and taking off the top, when he was expected to throw out the wet handkerchiefs, all that fell was a number of flowers. He now brought out a box, which he opened, and showed it to be empty; then shutting it, and uttering a few cabalistic words, he opened it again, and there were the handkerchiefs, all dry, folded, and scented, which he distributed to their respective claimants.

Another experiment of a popular performer was called "coffee for the million." Producing a vessel like the diagram A, the performer filled it with unground coffee, and placing it under a cover B, he said, "There, when you have done that, let it simmer for three quarters of an hour; but, perhaps, you will not like to wait so long; here then it is;" and on removing the cover, the vessel appeared full of hot liquid coffee. In another vessel of the same kind he obtained lump-sugar from rape-seed; and in a third, warm milk from horse-beans; and pouring out the coffee into cups, sent them round to regale his auditory, amidst their loud and approving shouts at so great a transformation.

These feats are the result of considerable ingenuity. It is probable that the devices employed would not readily occur to spectators in general, while they would utterly escape those whose object is merely amusement, and who, if they thought at all, would be likely to describe the result as supernatural. We proceed, then, to the unraveling of the mystery. Let it be observed, in reference to the first experiment, that a number of handkerchiefs are collected in the early part of the evening for various illusions, and that many of them appear for a time on the performer's table. Provided with a collection of these articles, from the handsome silk handkerchief to one trimmed with lace, used by a fashionable lady, he could easily substitute his own of the same kind for those of his auditory, as the curtain falls, according to the arrangements of the evening, between the collection of the handkerchiefs and the subsequent processes. His own handkerchiefs, therefore, are washed and placed in the vase already described; and the so-called change into flowers is nothing more than the retention of the handkerchiefs in the lower part of the apparatus, which the figure illustrates, while the upper part holds the flowers till they are scattered among the spectators. Meanwhile, all that is required is done to their handkerchiefs. It is not absolutely necessary that they should be washed; for folding, pressing, and a little eau-de-Cologne, would complete the preparation; but granting that they are washed, there is still no difficulty, though this mystifies the spectators, who have the idea that drying is a long affair; for it may be effected in a minute or two by a machine that is readily obtained. The box brought out has them deposited in it, but as it is double, one interior is first shown, which, of course, contains nothing, for the inner drawer holding the handkerchiefs remains in the case; but when a few sounds are uttered, and the professor touches a secret spring behind, which disengages the inner box, he draws it out with the outer one, and presents the handkerchiefs to the audience. In the diagram A, the box is shown as empty. At B, we have a representation of the box containing the handkerchiefs. It is only necessary to add that the box is very nicely made; the part within the other drawn out to the end, defies detection. _See Trick No._ 65.

The preparation of coffee, milk, and sugar, may be easily explained; for if the vessels containing respectively the unground coffee, the rape-seed, and the horse-beans, always placed under a cover, be put on a part of the table having a circular trap-door--and for this there is full provision in the cover of the table extending to the floor--a confederate may readily substitute one for the other.

57. THE MAGIC FUNNEL.

This favorite and simple trick is carried out by the assistance of a double funnel, that is to say, one funnel soldered into the other so as to leave a space between them for water, and communicating with the hollow of the funnel by a hole in the tube. Our drawing will assist the explanation.

N, a pin-hole at the top, which is covered with the finger. When the funnel is prepared for use, every time the finger is withdrawn water flows out from tube T.]

The funnel is always prepared before the audience by pouring in water, occasionally stopping the end of the pipe T with the finger, so that the inner space may be filled; whilst this is being effected the conjuror must fill up the time with a philosophical disquisition on funnels, all ending, however, in the fact, that if there is a hole in a vessel the water will flow out. One of the audience is now requested to step up to the table, and you proceed to draw water from his hair, ears, eyes, &c., as every time the finger is withdrawn from the hole N the pressure of the air is admitted, and the water flows out.

58. THE MAGIC BOTTLE.

This trick, if well managed, is one of the most wonderful that can be performed in a drawing-room without apparatus; but it requires dexterity at the conclusion.

The person performing the trick offers to pour from a common wine bottle, port wine, sherry, milk, and champagne in succession, and in any order.

To accomplish the trick, you must make solutions of the following chemicals, and label the bottles with numbers, thus:

1. A saturated solution of the sulphocyanate of potash.

2. A diluted solution of the above--one part of the solution to four of water.

3. A saturated solution of nitrate of lead.

4. A saturated solution of perchloride of iron.

5. A saturated solution of bicarbonate of potash.

6. Sulphuric acid.

7. A clear solution of gum-arabic.

Procure a champagne bottle, and wash it out well, then pour three teaspoonfuls of No. 4 into it. As the quantity is very small, it will not be observed, especially if you are quick in your movements. Pour some distilled or rain water into a common water-bottle or jug, and add a tablespoonful of No. 7 to it; then set it aside ready for use.

Provide some wine glasses of four different patterns, and into one pattern pour the solution marked No. 1, into another that marked No. 2, and so on for Nos. 3 and 5. Return the solutions to their respective bottles, and arrange the glasses on a small tray, remembering the solutions that were poured into each pattern.

Everything being ready, take the champagne bottle that you have prepared, from two or three others, and holding it up to show the company that it is clear and empty, you must desire some person to hand you the water bottle or jug, and then fill up the bottle with the water.

Pour some of the contents of the bottle into an unprepared glass, in order to show that it is water; then say, "change to champagne," and pour the liquid from the bottle into one of the glasses rinsed with No. 5; then pour into a glass rinsed with No. 1, and it will change to port wine; but if poured into No. 3, it will change to milk, and if into No. 2, it will produce sherry. Be careful in pouring the fluid from the bottle, not to hold it high above the glasses, but to keep the mouth of it close to the edges of the glasses, otherwise persons will observe that it undergoes change of color after it is poured into the wine glasses, and on this account the glasses should be held rather high.

∵ As the solutions used in the above trick are deleterious, they must not be left about in the way of children, and of course the fluid in the wine glasses must not even be tasted; but if any of the company wish to drink the wines you have made, then the tray must be adroitly exchanged for another with the proper wines placed on it.

This is an excellent parlor trick if well managed, and is not difficult to comprehend.

59. THE BOTTLE TRICK.

The chemical method of performing this delusion has been already explained, the mechanical one will be easily understood from the "Magic Funnel Trick." It is usually carried out with a bottle, the body of which is constructed of tin, the neck of glass; the body is divided into sundry compartments, three of which are sufficient, with a center one, for ordinary use: by cutting the bottle in two, the arrangement will be understood as shown beneath.

1, 2, 3, compartments holding port, sherry, and alcohol.]

It must be understood that little tubes from each compartment terminate in the neck, and they are filled with their respective liquids by the pear-shaped vessel already explained. Each compartment is perforated with a little hole at the top, so that when the fingers are placed over them (as on the holes of a flute) the liquid cannot run out on inverting the bottle.

On showing the trick, the performer alludes to his wonderful bottle full of the milk of human kindness, which he pours out carefully from the center compartment, keeping the three holes tight with his fingers, the center being filled and emptied in the ordinary manner; after pouring out and handing round a few glasses of milk, he may pour the rest into a jug, in the bottom of which some milk has been already placed, so that the company may believe the bottle was originally filled with it; he may now wash out the bottle (that is to say, the center compartment), still keeping his fingers over the holes, and for the sake of a little mystification put the bottle upright under a hat, commanding the bottle to change its temperance habits. He may now ask the company to call for port, sherry, gin, brandy, noyeau, &c.

The sherry and port are poured from their compartments, the spirit supplies the others, as a number of wine-glasses can be prepared with drops of burnt sugar for brandy, syrup and juniper for gin. A small drop of oil of almonds or other flavoring materials may be used for the different liquors. A thick wine-glass must be employed, holding a very small quantity of fluid.

A magic coffee-pot may be arranged in a similar manner, with three compartments to hold hot tea, coffee, and punch; the middle compartment may hold the tea and coffee berries, into which the assistant may pour by mistake the contents of the bottle labeled "_Ink_." The performer, after scratching his head, as if in deep thought, will take a lump of whiting and powder up, placing it in the center compartment, which can be fastened up with a cork or proper lid. Then, if the holes from the compartments terminate in the handle and the pipes in the spout, when the fingers are removed the three liquids pour out separately, as in the Bottle Trick. This mode of showing the trick is good, because, however large your audience, you can provide everybody with something to drink, and it is displayed with great effect by Signor Blitz, and Wyman.

60. THE MAGIC QUARTER.

Procure a small round box, about one inch deep, to which fit accurately a quarter or cent: line the box with any dark paper (crimson, for instance), and paste some of it on one side of the coin, so that when it lies in the lower part of the box it shall appear like the real box. This quarter or cent is concealed in the hand, and before performing the trick, it will heighten the effect if a number of single quarters or cents are hidden about the room, in places known to yourself. Having borrowed a coin, you dexterously place this on one side, and substitute the prepared one; and putting it gravely into the box, ask all to be sure they have seen it enter: when the lid is on, shake up and down--the noise betrays the metal; now command it to disappear, and shake laterally from side to side; as the quarter is made to fit accurately, no noise is apparent--the coin seems to be gone; in proof of which you open the box, and display the interior; the paper on the coin conceals it, whilst you direct the audience to look into a book, or a pair of slippers, for the missing quarter; the prepared coin can be slipped out, and the box handed round for examination, in which, of course, nothing will be found. This trick may be repeated two or three times with the greatest success, and is so simple that nobody guesses the manner of performance.

61. TO CHANGE A DIME TO A QUARTER.

This is quite a simple parlor trick, but when performed with dexterity is calculated to produce much astonishment at an evening party. In fact, it surprises on account of its very simplicity. Procure two pieces of marbled paper about seven inches square, and having put the marble backs of the paper together, cut them the shape of diagram Fig. 1. Be very careful to have them exactly the same size, as the success of the trick depends in a great measure upon the regularity of the paper. After cutting the paper in the manner described, place a dime in the center of one of the pieces at the place marked A, then fold it carefully over at the crease on the side marked B, and also again at the side marked C. When you have done this turn down the end marked D upon the center A, and again fold over on E. When this is accomplished, you will discover that you have formed a small parcel the same shape as Fig. 2, with a dime in the center. You must then place a quarter of a dollar in the center of the other piece of paper, and fold it up exactly the same size and shape as the first piece. When you have done this, gum the two parcels together at the back of the ends marked F, in Fig. 2, and the sides will be so even that both parcels will appear as one. You can then open the side of the paper containing the dime and show it to your audience, at the same time informing them that you are going to open a mint on a small plan, and coin a quarter from a dime. Having done this, mutter some cabalistic words and dexterously turn over the side containing the quarter, and upon opening the paper, to the astonishment of the company, instead of a dime they will behold a genuine quarter. I have seen much merriment created by this excellent feat.

62. DESCRIPTION OF THE MAGICIAN'S TABLE.

When a secret confederate is required, have a table four and a half feet long, two feet eight inches high, two feet nine inches wide, with a curtain round it, twenty-two inches deep. In the top of this table are several secret square holes, of different sizes, from three to five inches across; these having covers which exactly fit, and hung upon concealed hinges, so that they may be let down; but when lying flat, the top of the table appears to present a perfect surface. Under this surface are buttons, which prevent those lids from falling down when not made use of. Under the top of the table is fastened a box, or drawer, open at the top, and at the side which is farthest from the spectators. This box is about twenty inches deep, and concealed by the curtain; and in this box is placed the secret agent who assists the performer.

63. WYMAN'S GUN TRICK.

Having provided yourself with a fowling-piece, permit any person to load it, retaining for yourself the privilege of putting in the ball, to the evident satisfaction of the company, but instead of which you must provide yourself with an artificial one made of black lead, which may be easily concealed between your fingers, and retain the real ball in your possession, producing it after the gun has been discharged; and a mark having been previously put upon it, it will instantly be acknowledged. This trick is quite simple, as the artificial ball is easily reduced to a powder on the application of the ramrod; besides the smallness of the balls preclude all discovery of the deception.

64. THE HATCHED BIRD.

Separate an egg in the middle as nearly as possible, empty it, and then, with a fine piece of paper and a little glue, join the two halves together, having first put a live canary bird inside it, which will continue unhurt in it for some time, provided you make a small pinhole in the shell to supply the bird with air; have, also, a whole egg in readiness. Present the two eggs for one to be chosen; put the egg, which contains the bird, next to the person who is to choose, and for this purpose be sure to select a lady; she naturally chooses the nearest to her, because, having no idea of the trick to be performed, there, is no apparent reason to take the further one; at any rate, if the wrong one be taken, you do not fail in the trick, for you break the egg, and say, "You see that this egg is fair and fresh madam; so you would have found the other, if you had chosen it. Now, do you choose to find in it a mouse, or a canary bird?" She naturally declares for the bird; nevertheless, if she ask for the mouse, there are means to escape; you ask the same question of several ladies, and gather the majority of votes, which, in all probability, will be in favour of the bird which you then produce.

65. THE APPLE AND ORANGE TRICK.

Have a box made with a drawer fitted to it as in the figure No. 2, marked A. The back part of the drawer B, which slides into the box A, has no end piece; then have another drawer made, marked C, open at the top, that will fit the drawer B rather easy, when put into it the sides and ends of the drawer C, made of rather thin wood, with their end and sides sloping towards the sides of the drawer B, so that when it is in the drawer B, it cannot be discovered without minute examination; then push them both into the box A, and have a small hole bored through the top of the box A, in which you put a small pin with a flat top, as marked D in the plate; this pin is so long that it will just catch drawer C, inside of the box A, to prevent it from coming out with the drawer B, when not necessary to be exposed. It is now ready to perform experiments with. You are aware, as has already been described, that the drawer B is open at the inner end, consequently, when that with the loose drawer C is pushed into the box A, and you put the pin D in its place, the drawer B may be pulled out, or pushed back, without interruption; but if you remove the pin out of the box, C will come out inside of the drawer B without the trick being discovered; it being understood that the false drawer C is invariably concealed from the spectator. When the drawer C is in the box A, and the drawer B has been drawn out, the end of the drawer C will then appear as if it was the end of the drawer B as represented in the plate. You can then show it to the company, and you may also measure the inside of the drawer B, and the outside of the box A, and convince them that, apparently, nothing is concealed. Care must be taken in pulling the drawer C out alone, that the drawer C will not slip from the bottom of the drawer B, which otherwise would prevent it from being pushed back. A little catch may be affixed in the bottom of the drawer C, so as to prevent the same from slipping out of its place.

_To Perform the Experiment._--Fill, privately, the drawer C with fruit, close the drawer B, and exhibit it; then pull the drawer B out, alone, as represented in the plate, figure 2, which will convince the spectators that it is empty. When you have satisfied them on that point, slide back the drawer B, then place the left hand on the secret pin D, and take it out; then with the right hand pull out the drawer B, with the secret drawer C, which is full of fruit, to the great astonishment of the company; take the fruit out and present it to the spectators. This concludes the performance.

66. ENCHANTED COIN, AS PERFORMED BY PROFESSOR WYMAN.

Put fifteen pieces of money into a hat, take out five and mysteriously pass them back into the hat and it covered. To do this trick you must have in your left hand a plate, and under the plate and in your left hand have previously placed five pieces of coin such as you will have placed in the hat; after you have counted the fifteen pieces into the hat, you then ask the person whom you have selected from the audience to assist you in performing the tricks, to count the money out of the hat into the plate, to see that there is no mistake, after which you turn the money out of the plate into the hat, and at the same time let fall the five pieces you have secreted in your hand under the plate; you then ask him to draw out five pieces, which will still leave fifteen, you take the five that is drawn out and place them in a drawer (see the orange and apple trick), then you go through the magic words, _Presto_, _Pacillo_, _Pass_; you then open the drawer, (after placing your finger on the spring to hold the inside drawer in which the five pieces were placed,) and show the audience that the five pieces are gone; you then tell him to get the hat and see how many pieces are in it; he gets the hat, and to the surprise of all, he counts the original number, fifteen.

67. MYSTERIOUS COIN, OR HOW TO MAKE DOLLARS PASS THROUGH A WINE GLASS, A CHINA PLATE, A TABLE, AND FALL INTO THE HAND.

After performing trick 40, (p. 27,) you may address the company again, and say: "I will show you the nature of this trick, if you will only look sharp enough to see how it is done. Therefore, watch closely, and if you have _very_ penetrating eyes, you may see the money go through this glass and fall upon the plate, and from that through the table into my hand. I will do it deliberately, so that you may have every opportunity of detecting the deception, which will make you as wise as myself."

Now you take a plate and place it on the table, place upon that a wine glass upside down, and take the empty leathern case and hold it before the audience, to convince them that nothing is inside. Place it, in a careless manner, over the riveted money, which you had before put a little aside from the view of the spectators. Place a small ball on the bottom of the glass, then take the case with the concealed coins therein, and place them over the ball, which will be secreted therein. Now tell the company to keep a sharp look out, and they may discover the whole process. Take the loose coins and throw them on the table; bring them again under the table, and exchange them for a ball previously deposited on the shelf, and lay the same upon the table. Remove the case alone, which, of course, will leave the money exposed on the top of the glass. "Now," says the performer, "I presume that you have discovered the whole mystery; but if not, I will give you another opportunity, and will return the money whence it came." Cover the money with the case, and bring the ball which you previously exposed to the spectator under the table, and exchange it for the money on the shelf, which you again toss upon the table. Remove the case with the coins concealed therein, and the ball will appear on the top of the glass, as at first. Our performer makes the following concluding speech: "Now, as you have, I suppose, discovered the whole mystery, I hope, ladies, that _you_ will not set up an opposition line against me; since, if you do, you will very seriously injure my pockets, and, of course, _attract_ all the company, and leave me in an empty house with empty pockets."

68. PROFESSOR WYMAN'S GREAT TRICK OF THE EGYPTIAN FLUIDS, OR IMPOSSIBILITIES ACCOMPLISHED.

Mix wine and water together, then separate them by means of a red and white tape. To perform this trick you must have three covers (tin) made, of an obeliatic form, terminating at about one inch and a half on top, upon the top of two of these covers is soldered a piece of thick brass, copper, or lead, say about a quarter of an inch in thickness, in the center make a hole about the same in diameter, about two inches from the top, and on the inside will be a partition or floor, through the center of which make a small a hole, (this partition must be water tight.) Previous to performing the trick fill the two covers (the tops of them) one with water, the other with wine, then cork them well which excludes the air, consequently keeps the liquid from coming out at the small hole made in the center of the partition, then take two sound tumblers and put about as much water in one as there is water in one of the covers, place the cover over that, the tumbler that has the water, then put about the same quantity of wine in the other tumbler, as there is in the other cover, and place that cover over it; now have a tumbler with a hole through the center of the bottom (made with a drill), have this hole closed with a long peg from the under side, then through your trick table have a small auger hole made to admit the peg, this tumbler must also be covered with a similar cover in external appearance; you then take the covers off the tumblers containing water and wine, and in presence of the audience mix the two liquids, then pour both into the tumbler that has the hole through the bottom, place the tumblers back and cover them over, now lift the tumbler up containing the mixture that the audience may see it, (keeping your hand in front of the peg,) place it back with peg through the hole, cover it over, then take a red and white tape string that has previously been fastened to a small stick, and place it in the top of the cover that is over the false tumbler, then take the end of the red tape, which has a small wire to it, and after removing the cork from the cover over the wine, drop the end of the wire into the whole; the air is then let into the wine, which lets it run down into the tumblers underneath, do likewise with the white tape, then reach your hand under the table and draw the peg out of the tumbler and let the mixture run down into a tumbler or cup secreted there for that purpose; now remove the covers and show the audience that the tumbler you poured the mixture into is empty, and the one you poured it out of contains it again, which will greatly astonish them. That accomplished magician, Professor Wyman, has astonished applauding and delighted thousands in every city in the United States and Canada, by the performance of this wonderful experiment.

69. THE MAGICIAN'S SNOW BALL. ONE OF THE FAKER OF AVA'S FEATS.

Take a cup and fill it with rice, then change it into a handkerchief. To do this trick you have two cups (tin) made to fit one within the other, but let the outside cup be about two inches deeper than the inside one, let the rims be turned square down all round, but let that of the inside cup be a trifle larger than the outside one, so that when the tin cover (which you must also have) is put over them it will fit sufficiently tight to lift out the inside cup when it is taken off. Previous to performing this trick you must place in the bottom of the deep cup a white pocket handkerchief, then place the other cup in it, after which bring it out in presence of the audience, then fill the inside cup (which to the audience appears to be the only cup) with rice, place the cover over it, after which repeat the mystic words _Presto_, _Pacillo_, _Pass_, then remove the cover and the inside cup will have stuck to it and be concealed from view, now take out the handkerchief, and it will greatly astonish those who see it.

70. THE MAGNETIZED CANE.

Is a very surprising little fancy, and is calculated to create much astonishment in the parlor or drawing room. To perform this trick, take a piece of black silk thread or horse hair, about two feet long, and fasten to each end of the same bent hooks of a similar color. When unobserved, fasten the hooks in the back part of your pantaloon-legs, about two inches below the bend of the knees. Then place the cane (it should be a dark one and not too heavy), within the inner part of the thread, as represented in the engraving, and by a simple movement of the legs, you can make the cane dance about, and perform a great variety of fantastic movements. At night your audience cannot perceive the thread, and apparently the cane will have no support whatever. The performer should inform the company before commencing this trick, that he intends to magnetize the cane, and by moving his hands as professors of magnetism do, the motion of the legs will not be noticed.

71. PROFESSOR WYMAN'S MODE OF PERFORMING THE EGG BAG TRICK.

Take a bag and exhibit it to the audience, turn the bag inside out, then back again, after which take several eggs out of it. To perform this trick, have you a bag about a half yard wide, and about five eighths deep, made of black cambric, then take strips of the same cloth about three inches wide and sew them on each side of the strip lengthwise of the bag, these are called cells, it is in these that the eggs are placed; let the end of the cells be closed at the mouth of the large bag, so that the mouth of the cells will be the reverse of that of the large bag, these are filled with eggs made of wood, with the exception of one or two natural eggs, which you take out first, and break, to convince the audience that they are genuine. When you turn the bag you keep these cells next to you, and as the large bag is turned upside down, the eggs are in the bottom of the cells at the mouth of the large bag. The performer will then catch the bag just above the eggs, and give it a few wraps across the other hand, to convince the audience that there is nothing in it, after which he turns the bag again and takes out several eggs, which to the audience is a great mystery.

* * * * *

In this account of conjuring, I have purposely avoided such tricks as require expensive apparatus. Such apparatus is either entirely beyond a boy's reach, or at all events he ought not to be encouraged in the notion of spending much money on objects of no real use. A boy of any ingenuity will make the greater part of the apparatus himself, or at least he can do the painting and polishing of his machinery. I have mentioned no machinery that need cost more than a dollar at the outside, and not that, if a boy is acquainted with the use of tools. It has also been my especial care to introduce only such experiments as are adapted for performance at the parlor or drawing-room table or fireside, and by imparting interesting facts, to stimulate the young experimentalist to inquire into the laws that regulate them; by aiding him to acquire dexterity of practice, to smoothe the road to the development of principles; and, above all, to enable him to escape an imputation which every boy of spirit would consider the depth of disgrace--that of being

"No Conjuror!"

FOOTNOTES:

[Footnote 1: That is, make two bags and sew the edges together, so that actually there will be a third bag between the two.]

TRICKS WITH CARDS.

Although proficiency in games with cards, is, in our opinion, a most pernicious accomplishment for youth, and one which cannot be too severely reprobated, we do not consider SLEIGHT-OF-HAND TRICKS with a pack of cards, at all objectionable, but rather a source of much harmless amusement; and, under this impression, we do not hesitate to insert the following series of excellent deceptions and sleight-of-hand tricks.

Playing cards are believed to have been invented in Spain as early as the fourteenth century; for, in 1378, John the First, king of Castile, forbade card-playing in his dominions, in an edict which is anterior to any similar legislative measure in other parts of Europe. The figures upon the cards themselves, add to the strength of the supposition; for the suits answering to those of spades and clubs have not the same inverted heart and trefoil shape which ours of the present day display, but _espadas_, or swords, and _bastos_, or cudgels, or clubs; so that in fact we retain their names, though we have altered the figures. At the present time, too, cards are a favorite diversion of the Spaniards, and the monopoly of selling them is vested in the hands of the sovereign.

In the reign of Henry the Seventh, card-playing was a very fashionable court amusement in England. The cards then used, differed materially in their figures from those now in vogue, as instead of clubs, spades, diamonds, and hearts, they had rabbits, pinks, roses, and the flowers called columbines, upon them; as also bells, hearts, leaves, acorns, deer, &c. Let us now turn to the tricks that can be played with cards.

In accordance with my rule, I shall lay the principal stress on card tricks that require no apparatus, and may be performed with ordinary cards.

1. TO MAKE THE PASS.

This is a necessary beginning for card tricks. "Making the pass," is the technical term for shifting either the top or the bottom card to any place in the pack that you like. It is almost impossible to describe it, and I can only say that it will be learned better in five minutes from a friend, than in as many hours from a book. As, however, a friend is not always to be found who can perform the pass, I will endeavor to describe it.

The cards are held in both hands, right hand underneath and left above, as in the engraving, where, as the _bottom_ card is to be raised to the top, the little finger is seen between that card and those above it. By a quick movement of the right hand, the bottom card is slipped away towards the left, and is placed upon the top card, under shadow of the left hand, which is raised for the moment to allow of its passage.

This movement must be assiduously practiced before it is exhibited in public, as nothing looks more awkward than to see it clumsily performed, in which case two or three cards generally tumble on the floor.

2. TO TELL A CARD BY ITS BACK.

While shuffling the pack, cast a glance at the bottom card, make the pass, and bring it to the top. Continue to shuffle, and lay upon it by degrees as many cards as you like, say six. Then lay the pack on the table, face downwards, and divide it into seven heaps, beginning at the bottom, and leave the seventh heap larger than any of the others.

When you have done this, take one card from the top of the seventh heap, appear to calculate, and lay it, face upwards, on one of the other heaps. Do so with five more cards, thus leaving your slipped card at the top of the seventh heap. You then announce that by the aid of the six cards you will name the seventh. You name it accordingly, after carefully studying the other cards, and on asking a spectator to take it up, it will be seen that you are right.

If you place five cards above the slipped card, you will lay out six heaps, and if eight cards, there will of course be nine heaps.

3. THE CARD NAMED WITHOUT BEING SEEN.

As in the last trick, cast a glance at the bottom card, say the ace of spades. Lay out the pack in as many heaps as you like, noting where that one is laid which contains that bottom card. Ask any one to take up the top card of any heap, look at it, and replace it. You then gather up the heaps apparently by chance, but you take care to put the heap containing the bottom card upon the card which has been chosen. You then give any one the cards to cut, and on counting them over, the card that immediately follows the ace of spades is the card chosen.

If by any accident the two cards should be separated when cut, the upper card of the pack is the chosen one, and can be picked out with seeming care.

4. THE CARD TOLD BY THE OPERA GLASS.

Make out a table, such as is given in Fig. 1, and place it in an opera-glass, so that the figures will be visible when you look through it. For convenience, I have made mine as seen in Fig. 2, the numbers 1, 2, 3 in each series being understood. The best plan is to write the numbers, or cut them out of a book, and paste them on a circular piece of cardboard, which must then be soaked in oil, so as to make it semi-transparent. The light will then easily pierce through it, and the figures will be better visible than if it were opaque.

It will be seen that Fig. 2 contains as much matter as Fig. 1, and that two thirds of the figures are saved by it.

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

Fig. 1.]

+---------+---------+
| 1. 31. | 10. 32. |
| | |
| 4. 21. | 13. 22. |
| | |
| 7. 11. | 16. 12. |
+---+-----+-----+---+
| 19. 33. |
| |
| 22. 23. |
| |
| 25. 13. |
+-----------+

Fig. 2.]

These preliminaries being arranged, tell any one to take any twenty-seven cards out of a pack, and to think of any one of them. Deal them into three heaps, and ask him in which heap it is, and what number from the top he would like it to come after the third deal. Suppose he chooses it to be the twenty-sixth card, you take up your opera-glass and look for the number 26. This you will find last but one, arranged thus--26 213 The meaning is, that if the chosen card is to be the twenty-sixth, the heap in which it was found must be for the first time placed second, the second time first, and the last time third. So you pick up the cards, taking care to keep that heap number two. You again deal them in three heaps, and this time you place the heap in which is the chosen card at the top, being number one. Deal them a third time, and on gathering up the heaps, place it at the bottom.

Then, on counting from the top, the chosen card will be found to be the twenty-sixth.

5. THE FOUR KINGS.

Take the four kings out of a pack of cards, and also two other court cards, which are not to be shown. Spread out the kings before the spectators, but conceal the two court cards between the third and fourth kings. Lay the cards face downwards on the table. Take off the bottom card, which is, of course one of the kings; show it as if by accident, and place it on the top. Take the next card, (which is one of the court cards,) and place that in the middle of the pack. Take the third card, (i. e., the second court card,) and place that also near the middle of the pack. There will then be one king at the top and three at the bottom. Ask any one to cut the cards, and to examine them, when he will find all four kings together in the middle of the pack.

It is better to use court cards to place between the third and fourth kings, because if the cards should slip aside, they would not be so readily distinguished as common cards.

6. THE FOUR ACCOMPLICES.

Let a person draw four cards from the pack, and tell him to think of one of them. When he returns you the four cards, dexterously place two of them under the pack, and two on the top. Under those at the bottom you place four cards of any sort, and then, taking eight or ten from the bottom cards, you spread them on the table, and ask the person if the card he fixed on be among them. If he say no, you are sure it is one of the two cards on the top. You then pass two cards to the bottom, and drawing off the lowest of them, you ask if that be not his card. If he again say no, you take that card up, and bid him draw his card from the bottom of the pack. If the person say his card is among those you first drew from the bottom, you must dexterously take up the four cards that you put under them, and placing those on the top, let the other two be the bottom cards of the pack, which draw in the manner before described.

7. TO TELL THE CARD THOUGHT OF IN A CIRCLE OF TEN.

Place the first ten cards of any suit in a circular form, as in the annexed figure; the ace being counted as one. Request a person to think of a number or card, and to touch also any other number or card; desire him to add to the number of the card he touched the number of the cards laid out, that is, ten; then bid him count that sum backward, beginning at the card he touched, and reckoning that card at the number he thought of; when he will thus end it at the card or number he first thought of, and thereby enable you to ascertain what that was. For example, suppose he thought of the number three, and touched the sixth card, if ten be added to six, it will of course make sixteen; and if he count that number from the sixth card, the one touched, in a retrograde order, reckoning three on the sixth, four on the fifth, five on the fourth, six on the third cards, and so on; it will be found to terminate on the third card, which will therefore show you the number the person thought of. When the person is counting the numbers, he should not, of course, call them out aloud.

8. TO GUESS THE CARD THOUGHT OF.

To perform this trick, the number of cards must be divisible by 3, and it is more convenient that the number should be odd. Desire a person to think of a card; place the cards on the table with their faces downward, and, taking them up in order, arrange them in three heaps, with their faces upward, and in such a manner that the first card of the pack shall be first in the first heap, the second the first in the second heap, and the third the first of the third; the fourth the second of the first, and so on. When the heaps are completed, ask the person in which heap the card he thought of is, and when he tells you, place that heap in the middle; then turning up the packet, form three heaps, as before, and again inquire in which heap the card thought of is; form the three heaps afresh, place the heap containing the card thought of again in the center, and ask which of them contains the card. When this is known, place it as before, between the other two, and again form three heaps, asking the same question. Then take up the heaps for the last time, put that containing the card thought of in the middle, and place the packet on the table with the faces downward, turn up the cards till you count half the number of those contained in the packet; twelve, for example, if there be twenty-four, in which case the twelfth card will be the one the person thought of. If the number of the cards be at the same time odd, and divisible by three, such as fifteen, twenty-one, twenty-seven, &c., the trick will be much easier, for the card thought of will always be that in the middle of the heap in which it is found the third time, so that it may be easily distinguished without counting the cards; in reality, nothing is necessary but to remember, while you are arranging the heap for the third time, the card which is the middle one of each. Suppose, for example, that the middle card of the first heap be the ace of spades; that the second be the king of hearts; and that the third be the knave of hearts: if you are told that the heap containing the required card is the third, that card must be the knave of hearts. You may therefore have the cards shuffled, without troubling them any more; and then, looking them over for form's sake, may name the knave of hearts when it occurs.

9. TO TELL THE NUMBER OF CARDS BY THE WEIGHT.

Take a pack of cards, say forty, and privately insert among them two cards rather larger than the others; let the first be the fifteenth, and the other the twenty-sixth, from the top. Seem to shuffle the cards, and cut them at the first long card; poise those you have taken off in your hand, and say, "There must be fifteen cards here;" then cut them at the second long card, and say, "There are but eleven here;" and poising the remainder, exclaim, "And here are fourteen cards." On counting them, the spectators will find your calculations correct.

AUDACITY.

Several tricks may be successfully played by sheer audacity. I once astonished a whole party by holding a pack of cards over my head, and naming each. The fact was, that I was standing exactly opposite a large mirror, in which the cards were reflected, while the spectators, having their backs to the mirror, suspected nothing.

I will give one or two tricks that depend on audacity for success.

10. THE CARD FOUND AT THE SECOND GUESS.