Chapter 27

Fig. 164.

Fig. 165.

The apparatus in this case consists of three japanned tin cones, about ten inches in height by five at the base, and each having a brass knob at the top—and an ornamental vase of tin or zinc, standing about the same height as the cones, and having a simple metal cover,or top. Of the cones (all of which are open at the bottom), two are hollow throughout, but the third has a flap or moveable partition halfway down, inclosing the upper half of the internal space. This flap works on a hinge, and is kept shut by a little catch, which is withdrawn by pressure on a little button outside the cone, when the flap drops down, and lets fall whatever has been placed in the enclosed space. (SeeFig. 164.) The cone is prepared for the trick by filling this space with rice, and closing the flap; and the three cones are then placed in a row on the performer’s table, the prepared one being in the middle. The vase (seeFig. 165) is constructed as follows:—Its depth inside is less by about an inch than its depth outside, leaving, therefore, between its true and false bottoms, an empty space,a. A circular hole is cut in the inner or false bottom, but this hole, in the normal condition of the vase, is kept closed by a circular disc of metal,b, exactly fitting it. This disc is soldered upon an upright wire rod, passing through the foot of the apparatus, and terminating in another disc,c, somewhat smaller in size. Round this rod is a spiral spring, whose action tends to press it down, and thereby to keep the disc or valve normally closed, though it rises, and thereby opens the valve (as shown by the dotted lines in the figure), whenever upward pressure is applied toc. The face of the upper disc,b, is slightly concave, corresponding with the rest of the interior of the vase. The vase is prepared for the trick by placing an orange in it, and in this condition it is brought forward and placed on the table by the performer or his assistant. A small paper bag full of rice is brought in at the same time, and completes the preparations.

With this introduction, we proceed to describe the trick as worked by Herrmann.

The performer begins by borrowing two hats, and places them one on the other, the mouths together, on a chair or table. He then (by palming) produces an orange from the hair or whiskers of a spectator, and places this on another table. He next brings forward and exhibits the vase, filling it as he advances with rice from the paper bag, and thus concealing the orange which is already placed therein. He calls attention to the genuineness of the rice and the simplicity of the cover, and finally putting on the latter, places the vase on the ground, or elsewhere, in view of the audience. He pretends a momentary hesitation as to where to place it, and in the slight interval during which he is making up his mind he presses up the button within the foot. This opens the valve, allowing the rice to escape into the spacea, and leaving the orange again uncovered. The audience is, of course, unaware that such a change has taken place.

Leaving the vase for the moment, he requests the audience to choose one or other of the three cones on the table. The choice almost always falls on the middle one (which, it will be remembered, contains the concealed rice). This he places on the top of the upper hat. He next asks the audience to select one or other of the remaining cones, and places this over the orange upon the table, showing by rattling his wand within it that it is hollow throughout, and, if desired, handing round the remaining one for inspection.

At this point we hasten to anticipate an objection which will probably occur to the reader. We have said that the audience, when called upon to choose one of the three cones,almostalways select the middle one, and we have proceeded on the assumption that they do so. “But suppose,” says the acute reader, “that theydon’tchoose the middle one, but select one of the end ones; the trick is spoilt, as neither of the others will produce the rice.” By no means, O acute reader! If we had requested the audience to choose which of the cones should be placed upon the hat, there might have been a little difficulty, no doubt; but we did nothing of the kind. We merely asked them to choose one of the cones. If their first choice falls on one of the end ones, we hand it round for examination, and finally place itover the orange. Then, standing behind the table, we ask the audience to maketheir choice between the two remaining cones, right or left. Whichever is chosen, we are safe; for as we have already had occasion to explain in connection with the trick of the half-crown in the orange (seepage171), the right of the audience is our left, andvice versâ, so that by taking their reply in the sense which suits our purpose we are certain to be right. We therefore, in any case, take the cone containing the rice as being the one designated, and place this on the hat, sending round the other for inspection. As the audience have, to all appearance, been allowed perfect freedom of choice, and have actually examined two out of the three cones, they are very unlikely to suspect any preparation about the remaining one.

The trick is now all but complete. Once more the performer raises the cone placed on the hat, to show that there is nothing underneath it; and as he replaces it presses the button, thereby letting the flap fall, and the rice pour out upon the hat, though it remains still concealed by the cone. He next lifts up the cone under which is the orange, and holding the latter up, replaces it, but in again covering it with the cone, makes a feint of removing and slipping it into his pocket. Then noticing, or pretending to notice, a murmur on the part of the company, he says, “Oh, you think I took away the orange, but I assure you I did not.” The company being still incredulous, he again lifts the cone and shows the orange. “Here it is, you see, but as you are so suspicious, I won’t use the cover at all, but leave the orange here in full view on the table.” He again lays the orange on the table, but this time on what is called a “wrist trap.” Leaving it for the moment, he advances to the vase, and holding his hands together cup-fashion over it, but without touching it, he says, “I take out the rice, so, and pass it under this cover” (walking towards the cone on the hat, and making a motion of passing something into it). “Let us see whether it has passed.” He raises the cover, and the rice is seen. “Perhaps you think, as you did not see it, that I did not actually pass the rice from the vase to the cover. At any rate, you will not be able to say the same about the orange. I take it up, before your eyes, so!” He places his hands round it on the table, and at the same moment presses the lever of the trap, which opens, and lets it fall through into the table, closing again instantly. Keeping his hands together, as though containing the orange, he advancesto the vase, and holding his hands over it, says, “Here is the orange which has not left your sight even for a single moment. I gently press it, so” (bringing the hands closer and closer together) “and make it smaller and smaller, till it is reduced to an invisible powder, in which state it passes into the vase.” He separates his hands, and shows them empty, and then opening the vase, rolls out the orange, and shows the vase empty, all the rice having disappeared.

The mechanism of the Wrist Trap will be explained in the next Chapter. If the performer does not possess a trap table, he can cause the orange to disappear in the manner referred to at page337.

Fig. 166.

The Magic Whistle.—The student will not have proceeded far in his magical experience before he meets with an often-recurring nuisance, in the person of some individual, old or young, who knows, or pretends to know, the secret of all his tricks, and whose greatest delight it is, by somemal-à-proposquestion or suggestion, to cause the performer embarrassment. The magic whistle is specially designed to punish, and, if possible, to silence, an individual of this kind. It is of turned boxwood, and of the shape shown inFig. 166, and yields a shrill and piercing note. The performer, bringing it forward and blowing through it, announces that this little whistle, so simple in appearance, has the singular faculty of obeying his will, and of sounding or not sounding at his command alone. The loquacious gentleman is pretty sure to question the fact, or is on some pretence selected to make trial of its truth. The performer places him directly facing the audience, and after himself once more sounding the whistle, hands it to him in order to try his skill. He blows vigorously, but in vain; not a sound can he produce, but his mouth and lips gradually become obscured with a white or black dust. He finally retires to his seat amid the laughter of the audience, and generally much less disposed to make himself prominent during the remainder of the evening.

The secret lies in the fact that there are two whistles—one is a perfectly ordinary instrument, but the other, though similar in appearance, does not sound, but is perforated round the inner side of thehead (seethe Figure) with a number of small holes. The head unscrews, and is beforehand filled with finely powdered chalk or charcoal, which, when the whistle is blown, is forced through the holes, and settles round the mouth of the victim.

With the present knowledge of the reader, the necessary exchange of the two whistles will not be regarded as offering any difficulty.

There is a larger appliance for the same purpose in the shape of a flageolet. Another apparatus of like effect, though differing a little in detail, is called

Fig. 167.Fig. 168.

The Magic Mill.—This is a little Mill of the form shown inFig. 167, and five or six inches in height. It is made of zinc or tin, and consists of two portions—the upper part A, and the base B (seeFig. 168), the former sliding over the latter (as shown by the dotted lines inFig. 167), and fitting easily upon it. A is hollow throughout;aandb bare hollow tubes open at each end, a third little tubecspringing at right angles froma. The base, B, is a hollow chamber, closed on all sides save at the openingsdande e. This chamber is beforehand fitted with powdered chalk or charcoal; after which A is placed in position over it. If, under these circumstances, any person blows smartly through the tubea, the effect will vary according to the position of B within A. If B be so turned that the three holesdande ecorrespond with the tubesaandb b, the breath entering atdwill force out the contents of B through the tubesb b, and powder the lips of the person blowing, as in the case of the magic whistle. But if, on the contrary, B be turned ever so little to the right or left, the three openings in B nolonger corresponding with the tubes, the latter will be closed, and the breath having no other outlet, will be forced upwards through the upright tubec, thereby setting the little vanefin rapid motion. The latter is the condition in which the apparatus is brought forward by the performer. Blowing througha, he sets the mill in motion, and invites others to do likewise, in which, of course, they succeed without difficulty; but when the turn of the intended victim arrives, the performer gives A a slight twist round, in such manner as to bring the openings of B in correspondence with the three tubes, with the result already explained. We have omitted to mention that there is on the under surface of B a little raised point, corresponding in position with the openingd, so that the performer is able to tell instantly by feel whether B is or is not in the required position.

As a matter of convenience, we shall, before proceeding further with the explanation of individual tricks, describe two or three pieces of apparatus of general utility, to one or other of which we shall have frequent occasion to subsequently refer.

The Drawer-Box.—This is a piece of apparatus of very frequent use in the magic art. In appearance it is an ordinary drawer, with an outer box or case of walnut or mahogany (seeFig. 169), and is made of various dimensions, according to the size of the articles with which it is intended to be used, and which may range from a pack of cards to a live rabbit. Its use is to produce or to cause the disappearance of a given article; the drawer having the faculty of appearing full or empty at pleasure.

Fig. 169.Fig. 170.

Fig. 171.

The first step towards the comprehension of the apparatus will be to completely take out the drawer, which, however, even when removed, does not at first sight indicate any speciality. On a closer examination, it will be found that the drawer is in reality double (seeFig. 170), consisting of two parts,aandb, the latter sliding backwards and forwards freely within the former, which is, in fact, a mere case or shell, open at one end. If any object, suppose an orange, be placed inb, andaandbtogether be placed in the outer case, it is obvious that, upon drawing outa,bwill come with it, and the orange will be seen; but ifbbe held back,awill be drawn out alone, and the apparatus will be apparently empty. For the means of retainingaat pleasure, it will be necessary to examine the outer case, which will be found to have a groove or mortice cut in its under surface (seeFig. 171), along which lies a spring or tongue of wood, fixed by a screw at one end, the other, or free end, being provided with a catch or studc, which, upon pressure, is forced through an opening in the bottom of the outer case, and made to sink into a little hole or notch in the bottom ofb, being again withdrawn by the action of the spring as soon as the pressure is removed. The bottom of the outer case is covered with velvet, ostensibly as a finish, but really to conceal the wooden tongue. When it is desired to draw outawithoutb, the apparatus is held as shown inFig. 171, and a gentle pressure applied by the finger through the velvet upon the free end of the wooden tongue, thus forcing the catch upwards, and keepingbback. Ifabe drawn out without this pressure,bwill come with it. The upper edge ofais turned over all round, so that a casual observer is not likely to detect any difference in the thickness of the sides of the drawer, whether it is drawn out with or without its inner casing.

Fig. 172.Fig. 173.

Some drawer-boxes have a different arrangement for holding backthe inner drawer, consisting of a little wire bolt lying loosely in a cylindrical cavity in the hinder end ofb, corresponding with a similar cavity in the side of the outer case. As long as the drawer-box is kept in its normal position, this pin offers no obstacle to the withdrawal ofbwitha; but if the box be turned over on the side in which is the bolt, the latter drops partially into the hole in the outer case, thus boltingbto it, until, by again turning over the apparatus, the bolt is made to drop back again into its original position. The arrangement is rather difficult to explain in writing, but will become quite clear upon an examination ofFigs. 172 and 173, both representing a section of the hinder end of the drawer-box, the one in its upright and the one in its turned-over position. The necessary turning over of the box is plausibly accounted for by the performer’s desire that the audience shall, for greater fairness, have a full view of the top of the apparatus.

Fig. 174.Fig. 175.

There is an ingenious addition sometimes found in drawer-boxes of French make, wherebybmay be at pleasure bolted toa, and the two may thus be handed for examination, with little chance of their secret being detected. The bolting and unbolting is effected by a slight movement up or down of the knob in front, thereby raising or depressing a kind of hook of bent tin, working in the thickness of the front ofa.Fig. 174shows this hook in its raised or unhooked, andFig. 175in its depressed or hooked condition.

The drawer-box, as above described, is available to produce or disappear,but not to change articles. With a slight modification, however, it may be made available for changing also. The inner drawerbis in this case made only half the depth ofa, or even less; and thus, when closed, there is left between the bottom ofband that ofaa considerable space, so thataandbmay in this case each be made to hold a given object, and an apparent transformation be effected. Thus, for instance,bmay be filled with bran, and any small article, such as a borrowed pocket-handkerchief, be placed ina. The drawer is first pulled out withb, and shown filled to the brim with bran; but on being closed and again opened (withoutb), the bran is apparently transformed into the handkerchief.

Another modification of the drawer-box is known as

Fig. 176.

The Dissecting Drawer-Box.—This is, in general appearance, not unlike the ordinary drawer-box already described, but with this difference, that the outer case has a raised top, somewhat of a sarcophagus shape. (SeeFig. 176). The drawer is partially drawn out to show that it is empty, is again closed, and on being once more drawn out, proves to be full to the brim with flowers. These having been distributed, the performer, to prove the perfect emptiness of the apparatus, not only takes the drawer completely out, but takes the outer case (which is constructed accordingly, the sides, top, and bottom being hinged to the back) apart, as shown inFig. 177. Notwithstanding this, upon again reconstructing the case, and replacing and reopening the drawer, it is once more found filled with flowers.

Fig. 177.

The reader, being acquainted with the ordinary drawer-box, will have no difficulty in accounting for the first harvest of flowers, but the second may possibly puzzle him a little. The secret lies in the top of the outer case, which, as we have already mentioned, is slightlypyramidal in form, allowing a considerable space between its inner and outer surface, and in this space is packed the second supply of flowers. This space is closed on its under side by a flat wooden slaba, of the same area as the inside of the drawer, held in position by a thin wooden slip or bead at either end. The hindmost of these beads,b, is so arranged as to yield to pressure, and, when the drawer is pushed slightly in, gives way just enough to release the slab before mentioned, which thereupon falls flat upon the bottom of the drawer, and upon it the hitherto concealed flowers, which, spreading as they fall, completely fill the drawer.

The Changing Card-Drawer.—This is a smaller variety of the drawer-box, designed specially for use in card tricks. The inner drawer is just large enough to contain a pack of cards, which may thus be produced or vanished by its means. Between the bottoms of the true and false or outer drawer, is a space of about an eighth of an inch. This makes the apparatus available not only to produce or vanish as above mentioned, but to transform one card into another. The card to be changed is for this purpose placed in the outer drawer, which, when closed, carries it under the bottom of the inner drawer, and in this latter is placed the card for which it is to be changed, orvice versâ.

There is an improved form of the card-drawer, with a double change, effected on the principle of the dissecting drawer-box. This is just as above described, with the addition that when the two drawers are pressed smartly home, the action releases a thin slab of woodforming apparently part of the inner surface of the case, and exactly equal in area to the bottom of the inner drawer, into which it falls. When required for use, a card is placed above this slab, which, falling when required, covers the card already in the box, and exhibits instead that which had been concealed above it, as in the case of the changing card-boxes, described in the chapter devoted to card tricks. The uses of such an apparatus will be obvious; but we will describe, by way of illustration, one very good trick which may be performed with it.

The apparatus is prepared beforehand by placing a given card (say the knave of spades) above the moveable slab, and another (say the eight of diamonds) in the outer drawer. The performer invites two persons to each draw a card, and “forces” upon them the knave of spades and eight of diamonds. The cards being replaced in the pack, he, if he has used an ordinary pack, brings them to the top by the “pass,” and palms them, or if he has used a forcing pack, exchanges that pack for an ordinary one from which those two cards have been removed. Leaving the pack on the table, he exhibits the card-drawer, taking out both drawers together, and showing, apparently, that case and drawer are absolutely empty. Closing the drawer, he announces that he will make the drawn cards leave the pack, and pass into the drawer. One of the cards (the eight of diamonds) is named, and pulling out this time the outer drawer only, he shows that it contains that card, which is taken out, and handed to the person who drew it. Again the drawer is closed, being this time pushed sharply home. The second card, the knave, being now named, the drawer is again opened, and this card shown; the drawer being again taken wholly out, and the drawer and case turned in all directions for inspection, as before, the operator only taking care to hold the drawer with one finger inside, that the moveable slab may not, by falling out, betray its presence.

Fig. 178.

Changing Caddies.—These are of various kinds. We will begin with the simplest, thence proceeding to the more complicated. The conjurors caddy, in its most elementary form, is an oblong box, about six inches in length by five in height and four in width. (SeeFig. 178.) One-half of its interior, which is divided into two compartmentsby a transverse bar across the top, is occupied by a drawer, or moveable compartment, so arranged as to slide freely backwards and forwards from end to end, according as the caddy is allowed to slope in the one direction or the other. (SeeFigs. 179 and 180.) Each compartment has its own lid, the caddy sometimes, but not always, having an outer lid in addition.

Fig. 179.Fig. 180.

We will suppose that it is desired to produce any article from the caddy, first shown empty. The article in question (say an egg, hard-boiled for safety) is beforehand placed in the moveable compartment, which we will suppose to occupy for the time being the space under lida, as shown inFig. 179. The performer takes off the opposite lidb, and shows the space beneath empty. Before removing the second lid, he slopes the caddy in the opposite direction, so as to bring the moveable compartment under lidb(seeFig. 180), and thus is enabled to show the space underaalso empty. He then proceeds with the trick, and at the right moment produces the article from the caddy.

Fig. 181.

It is obvious that the caddy above described is only available for appearances and disappearances, and not for transformations. Toobviate this defect, the majority of caddies are now made withthreecompartments (seeFig. 181), with a sliding drawer occupying two of them. The caddy in this form may be used to “change” objects in manner following:—The sliding drawer being as shown inFig. 181, the article to be ultimately produced (say an orange) is placed inb. The three compartments are now shown empty, beginning withc, and allowing the sliding drawer to assume the position shown inFig. 182, before in turn uncoveringaandb. The article to be changed (say a watch) is now placed openly in compartmentb. The performer closes the lid, and, after a moment’s interval, reopens it, but in that interval slopes the caddy so as to again bring the sliding drawer into the position shown inFig. 181, when the orange is again brought underb, and, on removing the lid, is disclosed. To show that the watch has really disappeared, the caddy may again be shown (apparently) empty, in the same manner as at first.

Fig. 182.

There are a good many varieties of caddies made. One is known as the “skeleton” caddy, from the fact that the bottom is made to take out, so that the company can look through all three compartments. The sliding drawer in this case is bottomless, and is soarranged as only to slide when the performer releases it by pressing upon a particular spot in the ornamental moulding round the bottom of the caddy. This pressure withdraws a little pin, which normally rests in a little hole in the side of the sliding drawer, and thus renders it for the time being a fixture. In some caddies, again, the sliding drawer does not run up and down by its own weight, but is moved backwards and forwards from below by means of a projecting pin passing through a slit in the bottom of the caddy. The caddy in this case does not require to be inclined one way or the other, and is on this account preferred by many to the other make.

The trick next described will introduce to the reader a changing caddy of another and special construction.

Fig. 183.

The Magic Vase and Caddy.(To make peas change places with a handkerchief.)—For this trick two special pieces of apparatus are necessary. The first is a tin vase, of the shape shown inFig. 183, and generally of about ten inches in height. It consists of three parts, the vase propera, the coverb, and a moveable compartment or well,c, which is constructed upon a principle which we have had frequent occasion to notice, the cylindrical portion ofapassing between the inner and outer wall of this moveable compartment. It is coloured exactly similar to that portion ofawhich it covers, which therefore looks exactly the same to the ordinary spectator, whethercbe in its place or removed. The internal depth, however, ofcis little more than half as deep as that of the actual vase,a. The coverbexactly fits overc, and by means of a little appliancecalled a “bayonet-catch,” will either liftcwith it when removed, or releasecand leave it upona.

Fig. 184.

As this “bayonet-catch” is of constant use in magical apparatus, it will be desirable to describe it somewhat minutely. A rectangular cut or slit (seethe enlarged view inFig. 184) is made in the lower edge of the coverb. Its perpendicular arm is about a quarter of an inch in length, and its width about an eighth of an inch. A small pin or stud, about an eighth of an inch in length, projects perpendicularly from the lower edge ofc, at such a height that whenbis placed overc, the upper or horizontal arm of the slit shall be just level with it. If the upright arm of the slit be brought immediately over this pin, the latter will, as the cover sinks down, travel upward along the opening as far as the junction with the transverse portion of the slit. If the cover be now again lifted, the pin will, of course, offer no obstruction to its removal; but if the cover be first slightly turned to the right, the pin will become engaged in the transverse portion of the slit, and upon then lifting the cover, it will carry with it the pin, and all connected with it. When it is desired to lift off the coveralone, it will only be necessary to turn the cover a little to the left, thus bringing the pin again over the upright portion of the slit.

Fig. 185.

The second piece of apparatus is a caddy (Fig. 185), in appearance not unlike an ordinary tea caddy, with three equal-sized compartments, each having its own lid. Upon close inspection it will be discovered that the internal depth of these compartments is somewhat shallow in comparison with the external measurement of the caddy,leaving a space about an inch deep between the inner and outer bottoms. A sliding drawer, working from end to end of the caddy, as already explained, occupies the space of two compartments. Supposing this for the moment removed, it would be found that the external caddy, in the space occupied by the two end compartments,aandc, has a false bottom covering the hollow space we have already mentioned, but that the space occupied by the middle compartmentbhas none. Of the two moveable compartments, which together constitute the sliding tray already mentioned (seeFig. 186), the onedhas a bottom, the otherehas not.

Fig. 186.

When the sliding drawer is in its proper position in the caddy, and is pushed as far as it will go towards the one or the other end, the result is as follows:—If it is pushed to the right, the bottomless compartmenteoccupies the space at that end, under lidc, while the opening in the false bottom of the caddy is, for the time being, closed by the bottom ofd, which now occupies the middle space. If the sliding tray is pushed to the opposite end (i.e., to the left),dwill occupy the spaceaat that end, while the bottomless compartmente, being over the opening, gives access to the space beneath.

The caddy is prepared for the purpose of the trick by placing in the space between the true and false bottoms a white handkerchief, and the sliding tray is then pushed to the right, so as to bring compartmentdto the middle, and thus close the opening. The vase is prepared by filling both divisions with peas. The two pieces of apparatus having been placed on the table by the assistant, the performer opens the caddy, and taking off the lids of the three divisions, and holding it with his fingers inside the right hand end (thereby preventing any possibility of the tray shifting), brings it forward to the audience, and passing rapidly in front of them, begs to introduce to their notice an old tea caddy, in which he has accidentally discovered some curious magical properties. In the present condition of the caddy all three compartments appear exactly alike, and of equal depth; and the interior being of a dead black, the spectators are not likely to notice that they are somewhat shallow. Again closing thelids, and replacing the caddy on the table, he next draws attention to the vase. Taking off the cover without the moveable compartment, and holding it upside down, he pours the peas contained in the upper compartment (which should not bequitefull) into the cover, and back again two or three times, finally offering a handful for inspection. He then borrows a lady’s handkerchief, which should as nearly as possible resemble the substitute hidden in the caddy. He asks permission to place it, for the purpose of the trick, in the vase. This is, of course, readily granted, but the peas are in the way. After a moment’s pretended hesitation, he says, “Well, I will put them in the caddy. Pray observe that I really do so.” So saying, he pours them intod(which, it will be remembered, is for the time being the centre compartment), leaving that compartment uncovered, so that they may remain visible to all. He then places the handkerchief in the apparently empty vase, which he closes and places on the table. He continues, “You have all seen me place the handkerchief in the vase, and the peas in the caddy. Now I will show you a very curious experiment. Perhaps some scientific gentleman among the audience will explain how the effect is produced; for I confess that though I have performed this trick some scores of times, I am not quite certain myself as to the reason of the phenomenon. Let me beg you once more to assure yourselves that these are genuine peas, real common-place peas at twopence a pint, with no nonsense about them.” As he says this, he passes along the front rank of the spectators, exhibiting the peas in the caddy, and occasionally taking out a handful, and offering them for closer inspection. As he reaches the end of the line, he says, “You are all thoroughly satisfied that these are genuine peas, and that the lady’s handkerchief is in the vase upon the table. Quite right. Now observe, I don’t even touch the vase, and yet, at the word of command, the handkerchief will pass into the caddy which I hold in my hand. Pass!” During the last few words, and holding the caddy for an instant with the lid towards the audience, so as to screen his hand, he has pushed the sliding tray to the left, so thatd, containing the peas, now occupies the end space, while the bottomless compartmentehas taken its place in the middle. Dipping down through this compartment into the hollow space beneath, he takes out the substitute handkerchief. “My commandsare obeyed. Here is the handkerchief. But where are the peas? Probably, as the handkerchief has taken the place of the peas, the peas have taken the place of the handkerchief. Let us see.” He uncovers the vase, lifting this time with the cover the moveable compartment containing the real handkerchief. “Yes, here are the peas, right enough,” shaking the vase, and taking them up by handfuls to show them. He continues, “Now I dare say this seems very surprising to you, but in truth it is comparatively simple. The real difficulty begins when you try to make the handkerchief and the peas travel back again to their original situation. This part of the experiment is so difficult, that I always feel a little nervous over it, but I must make the attempt.” Pushing the substitute handkerchief openly down to the position it originally occupied, he takes the opportunity, in carrying the caddy back to the table, to slide back the tray as at first, and, after a little more talk, shows that the peas have returned to the caddy, and lifting the cover alone from the vase, produces therefrom the genuine handkerchief.

Fig. 187.

The Cover, to pick up any Article.—This (called in French “ramasse-tout”) is a brass cover of six to ten inches in height, and of the shape shown inFig. 187. Within it works backwards and forwards on a spring hinge, a kind of scoop, pressing, when at rest, against the side of the cover, as inFig. 188, but moving into the position shown inFig. 189whenever pressure is applied to the buttona, again returning to its original position when such pressure is removed. The manner of using it is as follows:—The performer, we will suppose, desires to cause the disappearance of an orange, in order that it (or a counterpart) may be subsequently produced in some other quarter. Placing the orange upon the table, he places the cover over it, pressing, as he does so, the buttona, so as to draw back the scoop. As his hand quits the cover, the pressure being removed, the return of the springcauses the scoop to clip the orange tightly against the side of the cover; and if the cover be now lifted without pressing the button, it will carry the orange with it. If it is desired again to produce the orange, the button is pressed in the act of lifting the cover, which then leaves the orange on the table.

It is hardly necessary to observe that the cover is always lifted perpendicularly, so that the spectator cannot see the interior.

Fig. 188.Fig. 189.

It is well to be provided with a second cover similar in external appearance, but without any mechanism. This may be handed round for inspection, and afterwards secretly exchanged for the mechanical cover.

The Changing Cover.—This cover is available not only, as in the last case, to produce or vanish, but also to change one article for another. It is somewhat of the pattern of an ordinary round dish cover, with a metal knob on the top. (SeeFig. 190.) It is divided by a vertical tin partitiona(seeFig. 191), into two equal compartments,bandc. The lower, or open side of each of these compartments is of course semicircular. A flat tin plate,d, also semicircular, works on an upright axis,e, passing upwards through the centre of the cover, and terminating in the knob on the top. By turning, therefore,this knob halfway round to the right or left, the performer is enabled to close whichever of the compartments happens for the time being to be open, at the same time opening that which was previously shut. There is a little point or stop on the upper side of the semicircular plate, which meeting resistance from the vertical partition, prevents the plate making more than the necessary half-turn either way.

Fig. 190.Fig. 191.

The apparatus is prepared by placing the article representing the result of the supposed transformation (say an apple) in either compartment, and turning the knob so as to close that compartment, and open the other. The article to be changed (say an orange) is placed upon the table, and the performer places the cover upon it, taking care that the open compartment for the time being shall come fairly over it. He then gives a half turn to the knob, thereby closing the compartment which has hitherto been open, and securing the orange within it, and at the same time releasing the apple, into which, on the cover being again raised, the orange appears to be transformed. In this case, as in the last, it is well to have a plain counterpart cover to hand round for inspection if necessary.

The uses to which the changing cover may be put are very numerous. The following is an instance of a rather original application of it, which produces a capital effect. We will suppose that the performer has executed a trick in which he has availed himself of the assistance of some juvenile member of the audience, and that an apple has been one of the “properties” of the trick. The trick being concluded, the professor asks his temporary assistant whether he wouldlike to have the apple, and is of course eagerly answered in the affirmative. “Very well,” says the professor, “you shall have it; but you must first earn it by a little display of dexterity. I will put it under this cover.” He suits the action to the word. “Now I am going to say, One, two, three! At the word ‘Three’ I shall raise the cover, and you must try to snatch the apple before I replace it. If you can catch the apple in this manner three times in succession, it is yours; but on one further condition, that you eat it at once here upon the stage.” The conditions are readily accepted. “One, two, three!” cries the professor, raising the cover and disclosing the apple, which is instantly snatched up. A second time the process is gone through, with a like result. “You mean to win, I can see,” remarks the performer. “Now, once more, and the apple will be yours; but I warn you I shall be rather quicker this time. One! two!! three!!!” The eager boy springs forward, and clutches—not the apple, but a Spanish onion, which had been placed in the second compartment of the cover. “You have won, sir,” says the professor, pretending not to notice the change; “but don’t forget the second part of your bargain. You are to eat it at once, before leaving the stage.” We will leave to the imagination of the reader the discomfiture of the victim, and the amusement of the spectators; also the subsequent magical processes by which the transformed apple may be restored to its original and more fragrant condition.

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