CHAPTER XVI.Miscellaneous Tricks.

Underthis head we propose to describe such tricks as do not come within either of the preceding categories. We shall make no attempt at classifying them, save that we shall, as far as practicable, describe the best known and simplest feats first, and thence proceed to the more complicated. Stage tricks,i.e., tricks adapted to the stage only, will be treated in the Chapter next following. We will begin with

The Cut String Restored.—This is a trick of such venerable antiquity, that we should not have ventured to allude to it, were it not that the mode of working which we are about to describe, though old in principle, is new in detail, and much superior in neatness to the generally known methods.

Fig. 152.

After having offered the string, which should be about four feet in length, for examination, the performer takes the ends (pointing upwards) between the first and second finger and thumb of the left hand, and the first finger and thumb of the right hand, letting the remainder of the string hang down in a loop between them. Now bringing the right hand close to the left, he draws that portion of the string which is held in the right hand towards himself between the first and second fingers of the left hand (thus crossing at right angles that end of the cord which is held in the left hand), continuing to pull until half the length of the string has passed the left hand, and at the same time slipping the third finger of the left hand between the two parts of the string, which will thus be as shown inFig. 152, in which, for convenience of reference, the three lines in which thestring now hangs are markeda,b, andc, and one-half of the string is shown black, and the other half white, though of course there would be no such difference of colour in the original.LThe first finger and thumb of the right hand, still retaining the end which they already hold, seize the portionbat the point marked with that letter, the third finger of the left hand at the same time drawing back the portionatowards the palm of the hand. The string will thus be brought into the position shown inFigs. 153and154, (in the latter of which, for the sake of clearness, the thumbs are made transparent), the part now held horizontally between the two hands, which appears to be the middle of the string, really being only the immediate continuation of the end held in the left hand. The whole operation of arranging the string in proper position, though tedious to describe, does not take half a second in practice.

LIt should be mentioned that, in order to economize space in the diagrams, the actual length of the string is represented as much shortened.

Fig. 153.

The performer next requests some person to cut the string, thus arranged, in half, and this being (apparently) done, he transfers thestring altogether to the right hand, keeping the point of junction of the crossed pieces hidden between the finger and thumb. (SeeFig. 155.) He now gives either end to some one to hold, and, placing his open left hand near to the end thus held, winds the string rapidly round it, sliding off as he does so the short piece, which, as soon as it is clear of the longer portion, he presses with his thumb between the second and third fingers of the same hand. On again unwinding the string from the left hand, it is found apparently whole as at first.

Fig. 154.Fig. 155.Fig. 156.

The principle of the trick being very generally known, you will frequently find some one of the audience proclaim his acquaintance with it, and declare that you have merely cut a short piece off the end of the string. “Pardon me,” you reply, “my dear sir; that method of performing the trick has long since been exploded. I will at once show you that I do not make use of any such shabby expedient. Of course, if a piece was, as you suggest, cut off the end, the string would be that much shorter after the operation. Will some one be kind enough to measure it?” While this is being done, you secretly double in a loop the little piece which was cut off on the former occasion, and which has still remained in your right hand. When the string is returned to you, you double it in half, and allow it to hang down between the first finger and thumb of the right hand, drawing up immediately above it the little loop you have just formed. (SeeFig. 156.) You now ask some one again to cut the string, which he apparently does, in reality merely dividing the little loop. You go through any magical gesticulations you please, and ultimately again conceal the cut ends between the fingers, and produce the stringonce more restored. On being measured, it is found to have lost nothing of its length.

The trick in this second form being performed by wholly different means, the repetition will puzzle even those who knew, or believed they knew, themodus operandiin the first case.

Fig. 157.

My Grandmother’s Necklace.—The trick which bears this title is also a very old one, but is little known in the improved form we are about to describe. In its older shape it is performed with three perforated wooden balls or beads, threaded on a couple of tapes, whose ends are held securely by two of the spectators. The problem is to detach the beads without breaking the tapes, and this is effected as follows:—The tapes, which should be from four to six feet in length, are beforehand doubled in the middle, and slightly joined at the bend of each with fine cotton or silk of the same colour. The tapes are thus really middle to middle, though to a casual observer they appear to be merely laid side by side. The performer comes forward with the tapes, thus prepared, thrown over his left arm (taking care that the point of junction shall be on the side towards his body, and therefore concealed), and with the beads in his hands. These latter, which are mere wooden balls, from one to two inches in diameter, perforated so as to freely admit the tapes, he hands for examination. When they are returned, he threads them one after another upon the tapes, holding the latter in a loop, so that the balls may sink down to the middle, and so cover the point of junction. He next requests two of the company to come forward and hold the tapes, and hands two ends to the one and two to the other. Each person believes that he holds one end of each tape, though, in reality, each has both ends of the same tape. The performer now takes from each one of the ends which he holds, and crossing the tapes in the manner shown inFig. 157, gives to each the end which the other previously held. Holding a hat below the balls, he requests each person to pull smartly at theword “three.” The word of command is given, “One, two, Three!” and the thread breaking, the balls fall into the hat, though the ends of the tapes still remain in the hands of the holders.

The improvement to which we have alluded consists in the use ofsixballs, three red and three black. The red balls having been first threaded on the tapes, and the two ends having been crossed and returned to the holders in manner already described, the black balls are in turn threaded on the tapes at either end, and the performer, holding the hat beneath, and addressing one of the persons who hold the tapes, says, “Which will you have, sir, the red balls or the black?” Whichever the answer, the result is the same, for the red balls only can come off the tapes, the black remaining still upon them; but in either case the performer is able to satisfy the choice which has been made. If the red balls have been chosen, he says on their falling, “You chose the red, I think. You see that your commands are at once obeyed.” If, on the other hand, the black are chosen, the performer says, “You prefer the black? ThenIwill take the red,” which he does accordingly. The audience, having heard the choice freely offered, and not being aware of the subterfuge by which the implied undertaking is fulfilled, naturally believe that the performer was able to take off or leave on the tape whichever group of balls he pleased.

The “Bonus Genius,” or Vanishing Doll.—While upon the subject of old-fashioned tricks, we may briefly notice that known under the name of the Bonus Genius, which has puzzled many generations of our forefathers, and, though now rarely exhibited by professional performers, is still a great favourite with juvenile audiences. The Bonus Genius is a little wooden figure of a man, four to six inches in height, and more or less grotesque in colour and design. A little cloak, made small above and full below, like the skirt of a doll’s dress, and with no opening save where the head of the figure passes through, completes the apparatus. There are, however, two points about the doll and his cloak which are unknown to the spectators. First, the head of the doll is moveable, a wooden peg forming the neck, and fitting, somewhat tightly, into a corresponding hole in the body; secondly, there is stitched on the inside of thecloak, just below the opening for the neck, a little pocket, of the description known among tailors as a “patch” pocket, and of such a size as to contain the head easily. The performer, holding up the figure, and introducing it to the company as his flying messenger, warranted to outstrip the electric telegraph, covers it with the cloak, so that nothing but the head is seen. Grasping the figure under the cloak with his right hand, the performer holds a burlesque conversation with him, finally entrusting him with a message to be immediately delivered to the President of the United States, the Shah, or any other individual at a distance. The figure does not move. “Well, sir, are you not going?” asks the performer. The figure shakes his head from side to side, an effect easily produced by turning the body backwards and forwards under the cloak. “You won’t, eh? Why not, I should like to know? Oh! I see what you mean. I haven’t given you your travelling expenses.” As he says the last words, he grasps the figure and cloak from the outside round the neck with the left hand, and draws away the right from beneath the cloak, secretly carrying with it the body, and putting his hand in his pocket, as though in search of money. He leaves the body of the figure in his pocket, and brings out the hand again empty, but in the position of holding a coin between the finger and thumb. “There, sir,” he says, “there is a shilling for you,” making the gesture of giving it. “You don’t see the coin, ladies and gentlemen; but the fact is, what I have just given him is fairy money; the weight of the ordinary coinage would interfere with the rapidity of his flight. Now, sir, make haste; you have nothing to wait for now.”

The performer has, meanwhile, again put the right hand under the cloak, and with two fingers holds the little pocket open for the reception of the head. As he says the last words, he gives the head a sharp downward rap with the fingers of the left hand, and lets it fall into the little pocket, the effect being as if the figure had suddenly vanished. The performer shakes the cloak, and turns it inside out to show that it is empty, taking care always to grasp it by that part which contains the head, when all other portions of the cloak may be shown freely; and as the audience are not aware that the figure is divisible, and supposing it to be indivisible, it would beclearly much too large to be concealed in the closed hand, there is nothing to lead them to guess the secret. If it is desired to make the doll reappear, the head is pushed up again through the opening of the cloak, the hand beneath supporting it by the peg which forms the neck, and it may thus be made to vanish and return any number of times.

With tolerable skill in “palming,” the little pocket may be dispensed with, the head being simply held in the hand. This mode of working is, in our own opinion, to be preferred, as the cloak may then be handed for examination without giving even the infinitesimal clue which the pocket might suggest. Some performers, to still further hoodwink the spectators, make use of two figures—the first, which is handed round for inspection, being solid, and being afterwards secretly changed for its counterpart with the moveable head. Others again use only one figure, which is solid throughout, but are provided with a separate head (whose existence is, of course, not suspected by the spectators), and having handed round the solid figure for examination, conceal this, and work the trick with the head only.

The Dancing Sailor.—The Dancing Sailor is a figure cut out of cardboard, eight or nine inches in height, and with its arms and legs cut out separately, and attached to the trunk with thread in such a manner as to hang perfectly free. The mode of exhibiting it is as follows:—The performer, taking a seat facing the company, with his legs slightly apart, places the figure on the ground between them. As might be expected, it falls flat and lifeless, but after a few mesmeric passes it is induced to stand upright, though without visible support, and on a lively piece of music being played, dances to it, keeping time, and ceasing as soon as the music ceases.

Fig. 158.

The secret lies in the fact that, from leg to leg of the performer, at about the height of the figure from the ground, is fixed (generally by means of a couple of bent pins), a fine black silk thread, of eighteen or twenty inches in length. This allows him to move about without any hindrance. On each side of the head of the figure is a little slanting cut, tending in a perpendicular direction, and about half an inch in length. The divided portions of the cardboard are bent back a little, thus forming two “hooks,” so to speak, at the sides of thehead. When the performer takes his seat as before mentioned, the separation of his legs draws the silk comparatively taut, though, against a moderately dark background, it remains wholly invisible. When he first places the figure on the ground, he does so simply, and the figure naturally falls. He makes a few sham mesmeric passes over it, but still it falls. At the third or fourth attempt, however, he places it so that the little hooks already mentioned just catch the thread (seeFig. 158, showing the arrangement of the head), and the figure is thus kept upright. When the music commences, the smallest motion, or pretence of keeping time with the feet, is enough to start the sailor in a vigorous hornpipe.

The Bottle Imps.—These are miniature black bottles, about two inches in height, with rounded bottoms, and so weighted that, like “tumbler” dolls, they rise of their own accord to the perpendicular, and will not rest in any other position. The proprietor, however, has a charm by which he is able to conquer their obstinate uprightness. For him, and for him only, they will consent to be laid down, and even to stand at an angle of 45°, though they again rebel if any other person attempts to make them do the same.

The little bottles are made ofpapier maché, or some other very light material, varnished black, the bottom of each being a half bullet, spherical side downwards. The centre of gravity is therefore at the bottom of the bottle, which is thus compelled always to stand upright. The performer, however, is provided with one or two little pieces of iron wire, of such a size and length as just to slip easily into the bottle. One of these being held concealed between the finger and thumb, it is a very easy matter, in picking up the bottle, to slip it in, and this slight additional weight neutralizing the effect of the half bullet at the foot, causes the bottle to lie still in any position. Having shown that the bottle is obedient to the word of command, the performer again picks it up with the neck between the first and second fingers and thumb, carelessly turning it bottom upwards, andthus allowing the bit of wire to slip out again into the palm of his hand, when he is able to again tender the bottle for experiment. Partaking of the nature of a puzzle as well as a conjuring trick, this little toy has amused thousands, and if neatly manipulated, may be repeatedly exhibited, even before the same spectators, with little fear of detection.

The Vanishing Gloves.—This is a capital trick with which to commence an entertainment; when coming, as it should do, unannounced, and before the performance proper has commenced, it has an air of improvisation which greatly enhances its effect, and at once awakens the attention of the audience.

The performer comes forward in full evening dress. While saying a few words by way of introduction to his entertainment, he begins to take off his gloves, commencing with that on his right hand. As soon as it is fairly off, he takes it in the right hand, waves the hand with a careless gesture, and the glove is gone. He begins to take off the other, walking as he does so behind his table, whereon his wand is laid. The left hand glove being removed, is rolled up into a ball, and transferred from the right hand to the left, which is immediately closed. The right hand picks up the wand, and with it touches the left, which being slowly opened, the second glove is found to have also disappeared.

The disappearance of the first glove is effected by means of a piece of cord elastic, attached to the back of the waistcoat, and thence passing down the sleeve. This should be of such a length as to allow the glove to be drawn down and put on the hand, and yet to pull it smartly up the sleeve and out of sight when released. It is desirable to have a hem round the wrist of the glove, and to pass the elastic through this like the cord of a bag, as it thereby draws the wrist portion of the glove together, and causes it to offer less hindrance to its passage up the sleeve. Upon taking off the glove, the performer retains it in his hand, and lets it go when he pleases. He must, however, take care to straighten his arm before letting it slip, as otherwise the elastic will remain comparatively slack, and the glove will, instead of disappearing with a flash, dangle ignominiously from the coat-cuff.

The left hand glove is got rid of by palming. The performer, standing behind his table as already mentioned, rolling the glove between his hands, and quickly twisting the fingers inside, so as to bring it into more manageable form, pretends to place it in his left hand, but really palms it in his right. He now lowers the right hand to pick up his wand, and as the hand reaches the table, drops the glove on theservante. He now touches the left hand with the wand, in due course opening the hand and showing that the glove has departed.

Some performers vanish both gloves by means of elastic, one up the right sleeve, the other up the left, but in doing so they offend against one of the cardinal precepts of the art, viz., never to perform the same trick twice in succession by the same means. The audience having seen the manner of the first disappearance, are all on the alert, and are not unlikely on the second occasion to guess the means employed. If, on the other hand, the performer adopts the plan indicated above, the two modes of producing the effect being different, each renders it more difficult to discover the secret of the other.

The Egg-Bag.—This is a very old-fashioned trick, but, if performed with address, is by no means ineffective. It was exhibited in a modified form by the Japanese jugglers who visited London a few years ago. We shall first describe it in the simple form adopted by them, and shall then proceed to explain the older and more elaborate version.

The Japanese egg-bag is about eight inches in depth and six in breadth, and made of alpaca, tammy, or some similar opaque material. Its only peculiarity is that one of its sides is double, the stuff being folded down inwards from the mouth of the bag to about two-thirds of its depth, and stitched at the sides, but left open at its lower edge. The effect of this arrangement is to make a sort of pocket, mouth downwards, inside the bag. If any small article, such as an egg, be placed within the bag, and the bag be turned upside down, the article will not fall out, but will fall into the pocket, which, in the reversed position of the bag, will be mouth upwards. This will enable you to conceal the presence of any article in the bag, as you may turn it upside down, and even inside out,without any fear of the article falling; and so long as you take care to keep the “pocket” side of the bag towards yourself, the spectators have not the least reason for suspecting that the bag is otherwise than empty. The uses to which this little bag may be put are various. Amongst others, it is available either to produce or cause the disappearance of an egg, and may thus, in combination with other apparatus, be made useful for many tricks. We shall content ourselves with describing one only of the modes of using it.

The performer comes forward, having in his hand the bag, in which is beforehand placed a small egg. He turns the bag upside down and inside out, thus proving, to all appearance, that it is perfectly empty. Holding the bag for a moment with his teeth, he pulls back his coat cuffs, to prove that he has nothing concealed in that quarter, taking care as he does so to show clearly that his hands are empty. Taking the bag in his left hand, and imitating (if he can) the clucking of a hen, he dips his right hand into it, and produces an egg (or rathertheegg). This he places in his mouth, letting all see that he does so, then making a gesture of swallowing, he again dips his hand in the bag, and produces a second egg, of which he disposes in the same way, repeating the operation until a dozen or more have been apparently produced and swallowed. With the reader’s present knowledge, it is hardly necessary to suggest to him that the egg, though fairly placed in the mouth, is, under cover of the hand, instantly pushed out again with the tongue, and palmed, rendering it a very simple matter to produce (apparently) another egg from the bag. Although so absurdly simple, the trick is effective, and if neatly performed, produces a complete illusion.

The bag which is more generally known as the “egg-bag” is a much larger affair, measuring eighteen to twenty inches in width, by fourteen or fifteen in depth. In its most approved form, one side of the bag is made double, the double side being stitched all round, save for about four inches at one corner of the bottom of the bag. The little opening thus left affords therefore the sole access to the space between the double sides. Between these double sides, and immediately below their upper edge, is stitched a broad band, with a row of a dozen or more little pockets, each capable of holding an egg, end upwards. Each pocket covers about two-thirds of the egg, which isprevented from falling out spontaneously by a little piece of elastic round the edge of the pocket, though it will slip out and fall into the space between the double sides on the slightest pressure being applied to it.

The bag is prepared for use by placing an egg in each of the little pockets we have mentioned. The eggs used are either blown shells or imitation eggs of wood or tin, with one real one for the performer to break as a specimen, and so lead the audience to the belief that all are equally genuine. The bag being brought forward is turned upside down—of course nothing falling from it. The performer then, thrusting his arms down to the bottom, and seizing the bag by the corners inside, turns it inside out, taking care, however, to keep the double side towards himself. Having thus conclusively proved its emptiness, he again brings back the bag to its normal condition, and in the act of doing so, squeezes with his finger and thumb (through the stuff) the genuine egg out of its pocket. It falls into the space between the double sides, and by gently sloping the bag downwards in the direction of the opening at the corner, he brings the egg into the outer bag, whence he produces it, and breaks it to show its genuineness, as already mentioned. Again he turns the bag inside out, shaking and twisting it, and again produces an egg from it as before, repeating the operation until the supply of eggs is exhausted. Sometimes he varies his proceedings by trampling or jumping on the bag, which he lays for that purpose on the floor, with its lower edge towards the audience. The eggs are thus on the side remote from the spectators, and in trampling on the bag it is very easy for the performer to avoid the particular line in which he knows them to be.

It was formerly the fashion, after bringing out a number of eggs as above described, to finish by producing the hen which is supposed to have laid them. This was done by an adroit exchange of the bag just used for another containing a hen, hung in readiness behind a chair, or some other convenient cover. This latter bag having no double side, or other preparation, might safely be abandoned to the inspection of the most curious spectator. Where it is not intended to produce the bird, it will still be well to have the second bag, so as to be able to make an exchange, and to hand the bag for inspection.

It is a great improvement to the egg-bag to have the lower portion, say the last three inches of its depth, made of network, so that the spectators can at once see each egg as it falls to the bottom of the bag. It is hardly necessary to observe that in this case the inner lining of the double side must terminate where the network commences.

To Produce Eggs from a Person’s Mouth.—While upon the subject of eggs, we may notice this, though it has always appeared to us a rather disagreeable trick. It is rarely exhibited as a separate feat, but generally as a prelude to some other illusion, for the performance of which three or four eggs are necessary.

The performer, requiring eggs, sends his assistant to fetch a plate. On his return, he places him, holding the plate with both hands in front of him, facing the company. The performer standing beside him, and gently patting him on the head, an egg is seen to appear between his lips. This is taken from him, and placed on the plate. The performer, passing behind him, now stands on his other side, and again patting his head, another egg is produced in like manner. This is repeated until the requisite number of eggs is procured, the assistant, as each fresh one is produced, simulating increasing difficulty, as though the eggs were forced up from the stomach by a powerful muscular effort.

This effect is produced as follows: We will suppose that five eggs are to be produced. One is placed beforehand in the mouth of the assistant, and four more are placed in thepochettes, or tucked under the waistband of the performer, two on each side. Having placed his assistant in position, the performer secretly takes one of these latter into his right hand, and palms it. Patting the assistant on the head with his left hand, he waits until the egg appears between the teeth, and immediately on its appearance, raises his right hand as if to receive it, thus bringing up the palmed egg opposite the mouth, while the egg that is already in the mouth slips back, under cover of the hand, out of sight. The palmed egg is laid on the plate, and the performer, in the act of passing behind his assistant, palms a second egg in his left hand. The same pantomime is again gone through, save that in this case the right hand pats the head, and the left hand is held tothe mouth to receive the egg. After four eggs have been produced in this manner, the fifth, which has been all along in the mouth, is produced apparently in like manner, but the performer takes care that in this instance it shall be seen beyond a doubt that the egg really does come from the mouth; which being manifestly the case in this instance, the audience are pretty sure to jump to the conclusion that all were produced in an equallybonâ fidemanner.

Fig. 159.Fig. 160.

The Pillars of Solomon, and the Magic Bradawl.—There is a very old-fashioned apparatus, sometimes called the Pillars of Solomon, for apparently uniting a piece of cut string. It consists of two slips of wood, each about four inches in length by five-eighths of an inch square, laid side by side. At about an inch from one end of each, a transverse hole is bored, and through this, passing through both slips, a string is passed, and may be drawn backwards and forwards from side to side. (SeeFig. 159.) The apparatus having been shown in this condition, the performer passes a knife between the two slips, thus apparently dividing the string; but the string is notwithstanding still drawn backward and forwards through the holes, as sound as ever.

The secret lies in the fact that the string does not, in reality, go straight through the two slips of wood from side to side. A glance atFig. 160will enlighten the reader as to its real course. Instead of passing straight through fromatod, as it appears to do when the two pillars are laid side by side (which is the condition in which they are first exhibited to the spectators), it passes down the length of the first pillar fromatob, out atb, and into the second pillar atc, whence it passes upwards, and emerges atd. The passing of the knife between the two pointsaandddoes not therefore affect the string in the least.

Fig. 161.Fig. 162.

It is obvious that in this form of the apparatus the two pillars, being joined by the cords at the pointsb c, cannot be completely separated, and the fact of their always being kept close together at the lower end is quite sufficient to betray to an acute observer the principle of the trick. There is, however, an improved form of the same apparatus, in which, after the apparent cutting of the cord, the two pillars are held wide apart, one in each hand of the performer, and yet, when they are again placed side by side, the string runs backwards and forwards merrily as ever. The pillars are, in this instance, of the form shown inFig. 161. They are about six inches in length, of light and elegant shape, having at each end a ball or knob of about an inch and a quarter in diameter, flattened on one face to allow of the pillars being laid closely side by side. The cord, as in the former case, passes down the first pillar fromatob, but instead of passing out atb, it is rolled round a little pulley working in the lower knob of that pillar. (SeeFig. 162, which gives a sectional view of the lower portion of each pillar.) A similar cord is passed down fromdin the second pillar toc, and is there rolled round a second pulley, but in the opposite direction to that of the first cord; so that, if both pulleys move in the same direction, the cord on the one will be wound, and the cord on the other unwound. Each pulley is of one piece with its axis, the axis of the one terminating in a little square tenon or nut, and that of the other in a corresponding mortice or hollow, so that when the two pillars are placed side by side, their axes fit the one into the other, and whichever of the two pulleys is set in motion, the like movement is communicated to the other. The effect of this is as follows: If the cord atabe pulled, it unwinds that portion of the cord which is wound on the pulley atb, and by the same movement winds upthe cord on the other pulley; andvice versâ. We have omitted to mention that there is glued into a little hole on the flat side of each of the upper knobs, exactly opposite the pointsaandb, a very minute piece, say an eighth of an inch in length, of similar cord; these greatly heightening the appearance of reality upon the apparent cutting of the cord.

The pillars are brought forward side by side, the nut of the one pulley fitting strictly into the hollow of the other. The performer shows, by drawing the cord backwards and forwards, that it fairly traverses the two pillars from side to side. Taking a knife, he passes it between the two pillars, and to all appearance cuts the cord, immediately taking the pillars one in each hand, and showing the cut ends (really the short bits on the inside) to prove that it is fairly cut through. Again bringing the pillars together, taking care that the mortice and the nut correspond as before, he commands the cord to be restored, and again pulls it backwards and forwards as at first.

Some little fun may be created by placing the upper knobs of the pillars pincer-fashion, one on each side of a person’s nose, the cord being thus apparently made to run right through the nose. An air of greater probability may be given to this curious effect by first piercing the nose with the magic bradawl. This is in appearance an ordinary bradawl, but the blade is so arranged as to recede into the handle on the slightest pressure, again reappearing (being, in fact, forced forward by a spiral spring in the handle) as soon as the pressure is removed. A duplicate bradawl of ordinary make is first handed round for examination, and the trick bradawl being adroitly substituted, the performer proceeds therewith to bore a hole through the nose of any juvenile volunteer who will submit to the operation. Holding a piece of cork on one side of the nose, he apparently thrusts the awl through the nose, the sinking of the blade into the handle exactly simulating the effect of a genuine perforation. (Some performers make use of a sponge moistened with some liquid resembling blood, which by a little pressure is made to trickle down from the imaginary wound; but this is a piece of realism which we think is better omitted.) The nose being thus apparently pierced, the imagination of the spectators is in a measure prepared to accept thephenomenon of the restored cord running through it as already described.

Fig. 163.

The Magic Coffers.—These are round tin boxes, japanned to taste, and made generally about five inches in depth by three in diameter, though they are sometimes larger. (SeeFig. 163.) The only speciality about them is a moveable portiona, which may either be removed with the lid or left upon the box, according as the lid is lifted with or without lateral pressure. This moveable portion is bottomed with a grating of parallel wires, an eighth of an inch apart. The coffers are generally worked in pairs, the effect produced by them being the apparent transmission of the contents of the one to the other, andvice versâ. They may be worked with various articles. For our present purpose we will suppose that the performer desires to change white haricot beans to coffee-berries, both of which suit the apparatus very well. He beforehand fills the one coffer with beans, and the moveable compartment belonging to it with coffee-berries, doing exactly the reverse as to the second coffer. The coffers are now brought forward, and the performer, removing the lids (withthe moveable compartments), allows the spectators to satisfy themselves that each coffer is full to the bottom, and that the contents are nothing more or less than what they appear to be. This being established, he returns to his table, and again puts the lids on the coffers, taking care that that which contains the beans shall be placed on the coffer containing the coffee-berries, andvice versâ. He now requests two of the younger spectators to step forward, and assist him with the trick. A couple of volunteers having been procured, they are made to salute the audience, and are then seated upon chairs at each side of the stage, each being entrusted with one of the coffers, which, that all may see, they are requested to hold with both hands above their heads. The performer, standing between them, says, “Now, young gentlemen, I must caution you tohold tight, or the electrical forces which are rapidly generating in these magic coffers will carry them clean away, and possibly you along with them. Now, first please tell me, just to start fair, which coffer is it that you have got, sir, the one with the beans, or the one with the coffee-berries?” The chances are ten to one against theextemporeassistants remembering which was which, and the majority of the audience will be equally uncertain. The professor pretends surprise and disappointment. “Ladies and gentlemen, you cannot possibly appreciate the beauty of these philosophical experiments unless you follow them carefully from the commencement. I will open the coffers once more.” So saying, he opens first the one coffer and then the other, taking care, however, to lift the lids only, so that the one which really contains the coffee-berries shows the layer of beans, and that which contains the beans the layer of coffee-berries. In each case he takes up a handful, and lets them flow back from his hand into the coffer, the better to impress upon the audience the contents of each, finally placing a bean in the hands of the youth who holds the supposed coffer of beans, and a berry in the hands of the holder of the supposed coffee-berries. Again closing the lids, he requests the person holding the bean to throw it into the closed coffer held by the other. The juvenile, looking foolish, replies that it can’t be done; and a similar reply is received from the youth holding the other coffer. The performer, addressing the company, asks some one else to make the attempt, but equally without success. He continues, “Gentlemen, among this large and brilliant audience not one person can be found who will undertake to throw this little bean into one of those coffers. Imagine, then, the difficulty of passing the whole of the beans which this coffer contains into the other, not dropping even one on the way, and at the same moment transferring the whole of the berries in this coffer into that which, a moment before, was full to the brim with the beans. But it must be done. Young gentlemen, will you be kind enough to repeat with me, One, two, three! At the word ‘three,’ by the way, you had better close your eyes, or they might possibly be injured by the shower of beans and berries. Are you ready, Mr. Beans? Are you ready, Mr. Berries? Now, then, One! two!three!!!Did you feel them pass? I hope they did not hurt you. Now let us once more open the coffers. I have kept myword, you see—Mr. Beans has the coffee-berries, and Mr. Berries has the beans. Will you please step forward, and show the company that the coffers are, as at first, full to the very bottom.” The lids, containing the moveable compartments, he meanwhile places carelessly upon his table.

Some performers make the change more than once, and it is obvious that the contents of the coffers may be made to apparently change places any number of times. If this is done, however, the secret of the false tops is apt to be suspected; whereas, in the method above described, the audience have, as they believe, proved the coffers full to the bottom, both before and after the trick; and this greatly increases the difficulty of accounting for the transposition.

The object of having the false tops bottomed with open wirework, instead of with tin, is to be prepared for the expression of a suspicion on the part of the audience as to the existence of a false top. In such case the performer, borrowing a penknife, passes it well down through the upper layer of beans, etc., and through the wirework, thus proving (apparently) that the coffer is open to the bottom. In the trick as above described, however, the expression of such a suspicion is a very remote contingency.

The trick is sometimes performed with sweetmeats in one or both of the coffers, and in this form has an added charm for a juvenile audience, who complete the trick by swallowing that portion of the apparatus.

The Bran and Orange Trick.—This trick is performed with a single coffer, in appearance very similar to those used in the last trick, but slightly different in construction. The false top is, in this case, bottomed with plain tin. The bottom of the coffer is moveable, being soldered to a circular rim or shoulder of tin about a quarter of an inch in depth, over which the coffer fits pretty tightly, though the projecting edge of the bottom enables the performer to remove it without difficulty. The performer must also be provided with an ordinary oblong wooden box. Its precise dimensions are unimportant, save that it should be a good deal larger than the coffer, but about an inch or so less in height. This box is filled with bran, as also is the false top of the coffer. A couple of oranges, as much alike as possible, must also be provided. One only of these is producedto the audience, the other being beforehand placed on theservanteof the table.

The performer begins by placing upon the table the coffer and the box of bran. Removing the lid (with the false top), he brings forward the coffer, and shows that it is perfectly empty. In returning to his table, he loosens (though without removing) the moveable bottom, and replaces the coffer on the table. He next brings forward the box of bran, showing that there is no preparation about it, and in replacing it on the table, places it in front of the coffer, which, however, being the taller, remains visible behind it. He next introduces the orange, either palming it (from one of hispochettes), and magically producing it from some person’s nose or whiskers, or by the more prosaic method of having it brought in by his assistant. He now returns to his table, and, standing behind it, proceeds to fill the coffer with bran. This he does by placing the coffer upright in the box, holding it with one hand and ostentatiously pouring in bran with the other until it is full. In placing the coffer in the box, however, he takes it up quitewithoutthe bottom, so that he is, in reality, only filling an open tube. Meanwhile, he secretly picks up, with his disengaged hand, the second orange from theservante, and places it upon the bottom, which remains behind the box. Having filled the coffer, and remarking, “Pray observe that it is quite full,” he (before removing it from the box) covers it with the lid, and then lifting it out, again places it behind the box in such manner as to go neatly over the bottom and the orange upon it. (Of course, in the act of lifting the coffer, all the contents run back again into the box.) Having now got the second orange within the coffer, and having, by a gentle pressure, again settled the bottom in its place, the performer places the coffer on a second table or a chair close in front of the audience. He then says, “I am about to order the bran with which this coffer is filled” (here he raises the lid without the false top, and the coffer therefore appears full of bran) “to pass back again into the box from which it was taken, and this orange” (here he passes behind his table, and holding up the orange, replaces it six or eight inches from the hinder edge) “to pass into the coffer in place of it. Now, first for the bran. One, two, three! Pass! Did you see it fly from the coffer into the box? You didn’t? Well, at any rate, you shall see the orange pass. Itake it upso” (here he places his two hands round it, and rolls it on to theservantein manner described at page294, coming forward with the hands together, as though still containing it, and holding them over the coffer at a few inches’ distance), “and squeeze it smaller and smaller, in this manner, till it becomes small enough to pass right into the coffer, as you see.” Here he separates his hands, showing them empty, and immediately taking off the coverwiththe false top, rolls out the orange, and shows that the coffer is otherwise empty.

The trick as above described is susceptible of a good many variations. If the performer uses a trap-table, the orange may be made to pass through a trap instead of being rolled off at the back of the table, though the latter method, if neatly executed, can hardly be surpassed in illusive effect. A more substantial improvement may be made by causing the bran, instead of simply disappearing as above mentioned, to reappear in some other quarter. There are many pieces of apparatus which may be used for this purpose, perhaps as good as any being the improved sweet-bag (seepage248). This should be previously filled with bran, and hooked to the back of the table. The performer in this case borrows a handkerchief, which he carelessly spreads on the table, and a gentleman’s hat, which he places mouth upwards beside it. Instead of announcing that the bran will return from the coffer to the box from whence it was taken, he states that it will, at command, pass into the handkerchief which he holds, and which as he speaks he picks up, with the bag beneath it, holding it, without apparent intention, just above the hat. At the word “Pass!” he slightly turns his wrist, thereby releasing the flap of the bag, and a shower of bran is instantly seen to pour down into the hat. This little addition greatly enhances the effect of the trick.

The Rice and Orange Trick.—In this feat rice and an orange are made to change places, but by wholly different means from those last above described.

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