Figs. 192, 193, 194.
Figs. 192, 193, 194.
The Changing Ladle.—This is a piece of apparatus designed for secretly obtaining possession of a chosen card or piece of writing. The bowl, so to speak, of the ladle is in the form of a segment of a cylinder (seeFig. 192), the size of its opening being about four inches by two and a half, and its depth three inches. It is made of tin, with a thin, cylindrical handle. The edges of the bowl are turned inwards all round to the extent of about a sixteenth of an inch, thereby serving to disguise a moveable slab of tin,a, which moves backwards and forwards like the leaf of a book within the ladle, working upon a hinge at its lower edge. This is made to work backwards and forwards by a wire rod passing through the whole length of the handle, and terminating in a little knob or cap at its outer end. The normal position ofais to lie against the inner or handle side of the bowl (seeFig. 193), being retained in that position by the effect of a spiral spring in the handle, which draws the wire back. If, however, pressure be applied to the knob or cap at the end of the handle, the wire is forced downwards, thereby bringing the moveable leafaagainst the outer side of the bowl, as shown inFig. 194.
There are various modes in which the changing ladle may be made useful. For example, it may be used to burn and restore a card. For this purpose, the ladle is prepared by placing in it beforehand any indifferent card of similar pattern to the pack in use, and is in this condition placed on the performer’s table, in such manner that the spectators may not observe that there is already a card in it. The performer then comes forward and hands to one of the company a pack of cards, with a request that he will select any one he pleases. While he is making his selection, the performer or his assistant places on the table and sets fire to some spirits of wine on a bowl or plate. A card having been chosen, the performer requests the drawer to return it to him, and, in order to exclude the possibility of any exchange or sleight-of-hand, volunteers to receive it at arm’s length in the ladle, which he brings forward for that purpose, holding it by the extreme end of the handle, and pressing with his palm the knob at the top, thereby bringing the moveable leaf into the position shown inFig. 194, with the card already in it pressed flat against the outer side of the bowl, and thus completely hidden. The chosen card being placed in the ladle, the performer, in returning to his table, relaxes the pressure of his palm, thereby bringing the moveable leaf back into the position ofFig. 193, releasing the dummy card, and concealing that chosen against the inner side of the bowl. He then drops apparently the chosen, butreally the substitute, card into the flames, taking care as he does so not to turn the face of the card toward the audience. The ladle, with the genuine card in it, is carried off by the assistant as having served its purpose, and the chosen card is subsequently restored after any fashion which the fancy of the operator may dictate.
The ladle may also be used to apparently burn and restore a paper on which one of the company has written any words or figures. In this case a blank half-sheet of note-paper, folded in four, is beforehand placed in the ladle, and a piece of paper folded in the same way is handed to one of the audience, with a request that he will write what he pleases upon it, again fold it, and place it in the ladle. It is then either apparently burnt (as in the case of the card), or placed in some other apparatus, the operator making a great point of the fact that he does not touch the paper. As the genuine paper remains in the ladle, it is, of course, very easy for the performer to ascertain what is written upon it, and having displayed his knowledge, to ultimately reproduce the paper under any circumstance which he thinks fit. Sometimes the trick is varied by requesting a spectator to write a question upon the paper, which is subsequently reproduced with an appropriate answer written beneath the question.
Fig. 195.
Fig. 195.
Fig. 196.
Fig. 196.
The Cone, or Skittle.(La quille).—This is a block of polished boxwood, of the shape shown inFig. 195, with a thin shell of the same material exactly covering it, and so closely resembling it in appearance, that the solid block and the hollow shell, seen apart, cannot be distinguished the one from the other. The cone is made in various sizes, from three inches in height by one and a half at the base, to seven inches in height by three at the base. It is worked with a paper cover, consisting of an open tube of cartridge paper about double the height of the cone, and tapering in such manner that its larger end shall fit loosely over the cone. The performer brings forward this paper tube in his right hand, and the cone (with the hollow shell upon it) in his left, taking care to hold his fingers beneath it in such manner that the solid cone cannot fall out. He first calls attention to the paper tube, which the audienceare allowed to examine at pleasure. When it is returned to him, he says, “You are now quite satisfied that there is no preparation about this tube, which is, in fact, simply a cover for this block of wood.” As if merely suiting the action to the word, he covers the block with the tube, immediately removing it again, and carelessly laying the cover on the table. In removing it, however, he grasps it with a gentle pressure, and so takes off with it the hollow shell (seeFig. 196), of whose existence the audience have no suspicion. He continues, “Perhaps you would also like to examine the block, which you will find to be a plain, solid piece of wood, without mechanism or preparation of any kind.” The block having been duly examined, the supposed empty cover is placed upright upon the table; and the solid block having been disposed of by any means in the performer’s power, is ordered to pass invisibly under the cover, which being raised, the hollow shell is seen, appearing to the eye of the audience to be the block itself, and to have found its way there in obedience to the performer’s command.
The above is the working of the “cone” in its simplest and barest form, but no skilled performer would dream of presenting the illusion in such a common-place way. To make the trick effective, it should be so arranged as to make the cone apparently change places with some other article. There are many combinations which might be suggested, but we shall content ourselves with describing one or two of those in most general use. The smaller sized cones may be worked in conjunction with a goblet and ball (the same as those used for theCups and Balls), in manner following:—Having tendered for inspection the cone and cover as already described, and placed them on the table, the performer offers the goblet and ball in like manner for inspection. When they are returned, he places them also upon the table, a little distance apart, and meanwhile palms asecond ball, which should be in readiness either on theservante, or in one of hispochettes. He now places the paper cover (which, it will be remembered, contains the hollow shell) over the first ball on the table. “Pray observe,” he remarks, “that I have fairly covered over the ball” (here he raises and replaces the cover, pressing so as to lift the shell with it, and showing that the ball is still there). “The goblet, as you have seen, is perfectly empty.” (Here he raises the goblet, and, in replacing it, introduces the second ball under it, as described in the chapter devoted to theCups and Balls.) “I shall now order the ball to pass from the cover under the goblet.” He waves his wand from the one to the other. “Presto! Prestissimo! Pass!” (He raises the goblet, and shows that the ball has (apparently) passed under it.) The first ball still remaining under the paper tube, he cannot at present raise it, so proceeds rapidly to the next stage of the trick, that the omission may not be noticed. “So far,” he remarks, “the trick is mere child’s play. The real difficulty is to pass the cone under the cover in place of the ball. However, I will make the attempt.” So saying, he picks up the cone with his right hand, and apparently transfers it to his left, really palming it, and immediately afterwards dropping his right hand to his side, and getting rid of the cone into theprofonde. Then, taking two or three steps away from the table, still holding the left hand as if containing the cone, and looking towards the cover, he says, “One, two, three, Pass!” with a motion of the hand as if throwing something; immediately showing the hands empty, and lifting up the cover (but this time by the top, so as not to exert any pressure against its sides), and showing the hollow shell, which now conceals the ball, and is taken by the spectators to be the genuine cone. “We have succeeded pretty well so far, ladies and gentlemen,” he remarks; “it remains to be seen whether I shall be equally successful in bringing back the cone and ball to their original positions. I dare say you would all like to know how the trick is done, and therefore this time I will vary the mode of operation, and make the transposition visibly.” (Here he drops his right hand to theprofonde, and secretly palms the solid cone.) “First the cone” (he passes his right hand, keeping the back towards the audience, upwards along the cover, and, as it reaches the top, brings the cone into view). “Pray once more assure yourselves thatit is fair and solid. Now for the ball.” He picks up the ball with the left hand, and holding it between the finger and thumb, apparently transfers it, by the pass called thetourniquet(seepage150), to the right, forthwith getting rid of it into theprofondeon the left side. “Pray observe that it does not leave your sight even for a moment.” Then holding his hand high above the paper cover, he makes a “crumbling” movement with it, immediately showing it empty, and lifting the cover with a slight pressure, so as to carry the shell with it, shows the ball beneath. The attention of the spectators being naturally attracted to the ball, it is an easy matter to let the hollow shell slip out of the paper cover upon theservante, and again to hand the cover for examination.
Some performers, instead of using the goblet, work the small cone with the “ball-box” (seepage296).
It is obvious that the directions above given will apply only where the cone is of a size so small as to be readily palmed, in which case it is hardly conspicuous enough to be used before a large audience. Where a cone of larger dimensions is employed, it is necessary to vary the mode of operation. We shall therefore proceed to describe the trick in its stage form, as worked by Herrmann and other public performers.
The cone in this case is about seven inches high, and is worked in conjunction with a “drawer-box” of such a size as to contain it easily. Having handed round for inspection the cover and cone, as already described, the performer suddenly remembers that he requires an orange, which he forthwith produces from his wand. (It is hardly necessary to observe that the orange is beforehand placed in readiness in one of thepochettes, and is produced from the wand in the manner described for producing a ball.Seepage276). Laying down the orange on the table, he next exhibits the drawer-box, taking the drawer completely out, and, after showing it on all sides, replacing it. He then covers the orange on the table with the paper cover (containing the hollow shell), and places the solid cone in the drawer-box, which being of the kind described at page345, he turns upon its side, with its top toward the audience. He meanwhile palms in his right hand, from his pocket or theservante, a second orange. He now announces that he is about to take the orange back again, which he does by passing his wand up the side of the cover, and immediatelyproducing therefrom the second orange. He places this upon another table at a little distance, and covers it with a borrowed hat, making as he does so a feint of removing it, and slipping it into his tail pocket. He hears, or pretends to hear, some one remark that he took away the orange, and answers accordingly. “Oh! you think I took away the orange. Allow me to assure you that I did nothing of the kind.” (He lifts up the hat, and shows the orange in its place.) “I will cover it again; or, still better, to prove that I do not take it away, I won’t cover it at all, but leave it here in full view on the table.” He replaces it on the table, but this time places it on what is called a “wrist-trap,” in readiness for a subsequent disappearance. “Having taken the orange from under the cover,” he continues, “I have now to make the solid block vanish from the drawer, and take its place; but I shall do it this time invisibly. See, I have only to wave my wand from the one to the other, and the thing is done. The drawer is empty” (pulling out the false drawer only), “and here is the block” (he lifts the paper cover, and shows the hollow shell). “Now I come to the most difficult part of the trick, which is to bring both articles back to their original position. First, I will take the block of wood.” He covers the shell with the paper tube, and makes a movement of his wand from the cover to the drawer. “Pass! Let us see whether it has obeyed.” He this time pulls the drawer completely out, and lets the block fall heavily on the stage. “Now for the orange.” He places both hands round it, as if picking it up between them, and presses as he does so the spring of the trap, which opening, lets the orange fall through into the table. Bringing the hands, still together, immediately above the paper cover, he rubs them together as if compressing the orange, finally separating them and showing them empty, and immediately afterwards lifting the cover with the hollow shell, and showing the first orange beneath it.
It will be observed that the trick above described is, in some of its parts, very similar to that described at page337. The mechanism of the wrist-trap will be found explained in the next chapter. In the meantime the student may produce the same effect without using a trap at all, by means of the sleight described at page294.
Fig. 197.
Fig. 197.
Fig. 198.
Fig. 198.
The Cone and Bouquet.—This is another form of the conetrick, involving the use of rather more elaborate apparatus. The cone in this case is about five inches in height by three at the base, and tapers very slightly. It may be either of boxwood, as in the trick last described, or the block may be of any hard wood, and the hollow shell of tin to fit, each blacked and polished, so as to look exactly alike. It is used in conjunction with a paper cover as before, and two little bunches of flowers, exactly alike, and of such a size as to be just covered by the hollow shell. Each of these little bouquets is made upon a tin framework, consisting of a wire arch springing from a flat saucer-like base. (SeeFig. 197.) A pedestal and cover complete the apparatus. The pedestala(seeFig. 198) is cylindrical; and about six inches in height, by four across the top. Its upper surface consists of a circular plate of tin, working up and down piston-wise in the pedestal. This is forced upwards by a spiral spring, but yields to pressure, sinking vertically to a depth of four or five inches when necessary. The upper edge of the pedestal is slightly turned in all round, so that the top may not be pressed out altogether by the force of the spring. An outer casing of tin,b, fits overa, just so tightly as to resist the upward pressure of the spring when forced down by any object between the pedestal and this casing. The cover,c, is about double the height ofa, and by means of a bayonet catch (seepage352) may be lifted off either with or withoutbat pleasure.
Fig. 199.
Fig. 199.
Fig. 200.
Fig. 200.
The pedestal is prepared for use by removingb, and placing one of the little bouquets on the top ofa; then again putting onb, and forcing it down into its place, when the condition of the apparatus will be as shown (in section) inFig. 199. The wire arch prevents the flowers being crushed out of shape by the pressure of the spring. The pedestal and cover are now brought forward and placed on the table; also the cone (with the shell on), the paper tube to cover it, and the remaining bunch of flowers. The paper tube is first exhibited, placed over the cone, and removed with the hollow cone within it, as in the last trick. The solid cone is then offered for examination, and having been duly inspected, is placed upon the pedestal. The performer makes a movement as if about to place over it the coverc, but checks himself in the act, and shows that this cover is empty and hollow throughout. He then puts on the cover, and reverting to the bunch of flowers on the table, covers it with the paper tube. He next announces that in obedience to his command, the block and the bunch of flowers will change places. He raises the paper tube, holding it by the top, and thus leaves behind the hollow shell, covering and concealing the bunch of flowers. He next takes off the cover of the pedestal, first, however, turning the bayonet catch, so as to lift off with the cover the casingb. The solid cone is carried off between the casing and the cover (seeFig. 200), while the action of the spring, the casing being removed, brings the concealed bunch of flowers to the top ofthe pedestal, in the position lately occupied by the cone. Having shown that the cone and the flowers have changed places, the performer next undertakes to bring them back to their original situation, which, by reversing the process, he does without difficulty.
The pedestal above described is a very useful piece of apparatus, being available either to produce, change, or vanish any article of appropriate size. A very effective trick may be performed therewith by causing an empty tumbler to appear full, orvice versâ. In this case, however, it should by no means be admitted that anexchangetakes place, as the supposed filling of an empty glass with water by covering it with an evidently unsophisticated cover, is rather the more surprising phenomenon.
The Flying Glass of Water.—This capital trick was, we believe, first introduced to the public by Colonel Stodare, to whom the profession is indebted for many first-class illusions. The necessary apparatus consists of a couple of ordinary glass tumblers, exactly alike, with an india-rubber cover just fitting the mouth of one of them, and a coloured handkerchief of silk or cotton made double (i.e., consisting of two similar handkerchiefs sewn together at the edges), with a wire ring (of the size of the rim of one of the tumblers, or a fraction larger) stitched loosely between them, in such manner that when the handkerchief is spread out the ring shall be in the middle.
Fig. 201.
Fig. 201.
Fig. 202.
Fig. 202.
The performer, beforehand, nearly fills one of the tumblers with water, and then puts on the india-rubber cover, which, fitting closely all round the edge, effectually prevents the water escaping (seeFig. 201). The glass, thus prepared, he places in theprofondeon his right side. He then brings forward the other glass and a decanter of water, and the prepared handkerchief, and in full view of the audience fills the glass with water up to the same height as he has already filled the one in his pocket, and hands round glass and water for inspection. When they are returned, he places the glass upon the table, a few inches from its hinder edge, and standing behind it,covers it with the handkerchief, first spreading out and showing both sides of the latter, proving, to all appearance, that there is no preparation about it. In placing the handkerchief over the glass, he draws it across in such manner as to bring the hidden ring as exactly as possible over the top of the glass. Then placing the left hand over the handkerchief, as shown inFig. 202, he raises, apparently, the glass within the handkerchief, but really the empty handkerchief only, which is kept distended by the ring, and, at the same time, under cover of the handkerchief, gently lowers the glass of water with the other hand on to theservante. This is by no means difficult, as the pretended carefulness of the operator not to spill the water allows him to make the upward movement of the left hand as deliberate as he pleases. All that is really necessary is to take careto follow with his eyes the movement of the left hand, which will infallibly draw the eyes and the minds of the audience in the same direction. Having raised the supposed tumbler to a height of about two feet from the table, the performer brings it forward to the audience, and requests that some gentleman with a steady hand will favour him with his assistance. A volunteer having been found, and having given satisfactory replies as to the steadiness of his nerves, and the strength of his constitution generally, is requested to place his hand under the handkerchief and take the glass. As he proceeds to obey, the performer lets go of the handkerchief with the left hand, still retaining one corner with the right, and lets the right arm with the handkerchief drop to his side. Pretending to believe that the gentleman has taken the glass, and not to notice its disappearance, he turns carelessly aside, and brings forward a small table or chair, saying, “Put it here, please.” Looking, generally, somewhat foolish, the victim repliesthat he has not got it. If the performer is a good actor, he may here make some fun by pretending to believe that the victim has concealed the glass, and pressing him to return it. At last he says, “Well, if you won’t give it to me, I must find it for myself,” and he proceeds to tap with his wand the sleeves and pockets of the unfortunate individual, but without success, till, on touching him between the shoulders, he pretends to tell by the sound that the glass is there. “Yes, here it is,” he remarks. “I am sorry to be obliged to ask you to turn your back on the company, but to show them that there is no deception on my part, I am compelled to do so. Will you please turn round for one minute.” On his doing so, the performer, again shaking out the handkerchief, and showing both sides of it to prove it empty, spreads it over the back of the victim. Again he taps with his wand, which, striking the ring through the handkerchief, causes an unmistakeable hard sound to be heard; and then grasping the ring as before through the handkerchief, he deliberately raises it up in a horizontal position, the effect being as if the glass had again returned to the handkerchief. He then says, “I don’t think I will trouble this gentleman again; he is too much of a conjuror himself;” then turning rapidly to the audience, he says, “Catch, ladies and gentlemen,” and “flicks” the handkerchief quickly towards the spectators, who duck their heads in expectation of a shower. “Pardon me, ladies, I fear I alarmed you; but you need not have been afraid; I never miss my aim. That gentleman has the glass” (designating anyone he pleases). “May I trouble you to step forward one moment, sir?” On the person indicated doing so, the performer places him facing the audience, and under cover of his body takes the second glass out of theprofonde, and throws the handkerchief over it, remarking, “Yes, ladies and gentlemen, here it is, in this gentleman’s tail pocket.” Then taking hold of the glass with the left hand beneath the handkerchief, he clips with the first finger and thumb, through the handkerchief, the edge of the india-rubber cover, and thus drawing off the cover inside the handkerchief, hands round the glass and water for inspection.
Fig. 203.
Fig. 203.
Two improvements have recently been made in this trick, which, though trifles in themselves, greatly heighten the effect. Upon a performance of the trick as already described, it is not uncommon tofind some person, more acute than the average, guess that there is a ring in the handkerchief. The first of the improvements we have mentioned is designed to make the ring no longer a fixture, and yet to insure bringing it into the right position when necessary. This is effected by stitching the two handkerchiefs together, not only round the edge, as already explained, but also as shown by the dotted line inFig. 203. This confines the ring to the triangular enclosure,a e d, within which, however, it is allowed to move freely, not being attached to the handkerchief in any way. If the handkerchief is held by the two cornersad(which should be distinguished by a mark of coloured silk or worsted, so as to be readily identified by the performer) the ring will take its proper place in the middle, as shown in the figure. If, on the other hand, the handkerchief be held by either the cornersaborcd, the ring will forthwith run into the anglea d eord a e, as the case may be, and the handkerchief, if grasped a little below this particular corner, may be twisted or pulled through the hands ropewise, proving, with apparent conclusiveness, that there is no ring or shape concealed in it.
The second improvement is to have ready on theservantea small piece of sponge, recently dipped in water. This is picked up by the right hand of the performer as he places the genuine glass on theservante. When he has moved away from his table, at the moment of requesting his volunteer assistant to take the glass, he places the right hand for a moment under cover of the handkerchief, and squeezes the sponge, the water that immediately pours from it being, apparently, accidentally spilt, and so negativing any possible doubton the part of the spectators that the glass is really in the handkerchief. With these two additions the trick is one of the most effective that can possibly be performed, whether in a drawing-room or on the public stage.
The Bowls of Water and Bowls of Fire produced from a Shawl.—After the explanation of the last trick, the reader will form a tolerably good guess at the means of performing this, which has puzzled thousands, and is still one of the most popular feats in therépertoireof the conjuror.
The performer comes forward with a shawl in his hand, which he spreads out and exhibits on both sides, to show (as is really the fact) that there is no preparation about it. The spectators being satisfied on this point, and the orchestra playing the “Ghost Melody” or other appropriate accompaniment, he swings the shawl about in time to the music, finally throwing it over his left shoulder and arm, the arm being held square before him. The arm now gradually sinks down, and the form of some solid object is seen defined beneath the shawl, which, being removed, reveals a glass bowl brimming with water, and with gold fish swimming about in it. This is repeated a second and a third time, the performer sometimes discarding the shawl, and borrowing a pocket-handkerchief among the audience for the production of the last bowl.
The bowls used are saucer-shaped, measuring six to eight inches in diameter, and one and a half to two inches in depth. Each is closed by an india-rubber cover, after the manner of the tumbler in the last trick. Thus secured, they are concealed about the person of the performer. The precise mode of concealment varies a little. Where three bowls are to be produced, one is generally carried beneath the coat-tails, in a sort of bag open at the sides, suspended from the waist, and the other two in pockets, opening perpendicularly, inside the breast of the coat or waistcoat, one on each side.
Sometimes, by way of variation, bowls of fire are produced. The bowls are in this case of thin brass. They have no covers, but the inflammable material (tow moistened with spirits of wine) is kept in position by wires crossing the bowl at about half its depth, and is ignited by a wax match, struck against the inside of the bowl undercover of the shawl and immediately dropped into the bowl, when the contents instantly burst into a blaze. Some bowls have a mechanical arrangement for igniting the tow, but we ourselves much prefer the simple bowls above described.
It was originally the practice to throw the shawl over a small round table, immediately removing it, and exhibiting the bowl upon the table. Modern performers discard the table, and produce the bowls in the midst of the audience.
The Bowl of Ink changed to clear Water, with Gold Fish Swimming in it.—The performer brings forward a goblet-shaped glass vase, six or eight inches in height, nearly full of ink. To prove that the ink is genuine, he dips a playing-card into it, and brings it up with the lower half stained a deep black. Next, taking a ladle, he ladles out a portion of the liquid, and pours it on a plate, which is handed round for inspection. He next borrows a handkerchief from one of the audience, and covering the vase with it, announces that, by the exercise of his magic power, he will transform the ink in the vase to water. On removing the handkerchief, this transformation is found to be accomplished, while a couple of gold fish, placidly swimming about in the bowl, sufficiently prove that the trick is not performed, as might be imagined, by means of some chemical reagent.
The explanation, though by no means obvious, is very simple. The liquid in the vase is plain water; but a bottomless black silk lining, fitting the vase, and kept in shape by a wire ring round its upper edge, gives it the appearance of ink to a spectator at a little distance. In removing the handkerchief, the performer clips with it the wire ring, bringing away the lining within the handkerchief, and revealing the clear water in the glass.
But the reader will naturally inquire, “How, then, are the blackened card and the genuine ink ladled out on the plate accounted for?”
Fig. 204.
Fig. 204.
The blackened card, though apparently an ordinary one, has the same figure, say a knave of diamonds, on both its sides; but the lower half of the one side is beforehand stained with ink. The performer dips it in with the unsoiled side toward the audience; butgiving it a half-turn as he removes it, thereby brings the blackened side in front. The ink poured on the plate is accounted for with equal simplicity. The ladle (seeFig. 204) is of tin, having a hollow handle of the same metal, with a minute hole opening therefrom into the bowl. There is a similar small hole near to the top of the handle. The bowl is beforehand filled with ink, which is thence allowed to run into the handle; after which the upper hole is stopped with a little pellet of wax, or a small piece of paper is pasted over it. By reason of a well-known natural law, the liquid will not run out of the lower hole until the upper one is opened. As the performer dips the ladle apparently into the ink in the bowl, he scrapes off with his nail the wax or paper with which the upper hole is stopped, and the ink immediately runs into the bowl, whence it is poured upon the plate.
Fig. 205.
Fig. 205.
The Inexhaustible Bottle.—The same natural principle which prevents the ink from flowing into the bowl of the ladle until the upper hole is opened, is the basis of this old but still popular trick. The inexhaustible bottle, though in appearance an ordinary glass bottle, is in reality of tin, japanned black. Internally it is divided into three, four, or five separate compartments, ranged round a central space, and each tapering to a narrow-mouthed tube, which terminates about an inch within the neck of the bottle. A small pinhole is drilled through the outer surface of the bottle into each compartment, theholes being so placed that when the bottle is grasped by the hand in the ordinary way (seeFig. 205), each hole may be covered by one or other of the fingers or thumb. The central space is left empty, but the surrounding compartments are filled, by means of a funnel with a very tapering nozzle, with the wines or liquids expected to be most in demand, or to which it is intended to limit the spectators’ choice. A tray full of glasses, made specially of very thick glass, so as to contain in reality much less than they appear to do, completes the apparatus.
The performer comes forward with the magic bottle, followed by an attendant bearing the tray of glasses. He commences by openly pouring water into the bottle, and out again, so as indirectly to raise the inference that the bottle must be perfectly empty. The water, in truth, really passes into the centre space only, and thence runs out again as soon as the bottle is tilted. The fingers, meanwhile, are tightly pressed on the different holes, and thus excluding the air, effectually prevent any premature flow of wine from the various compartments. The performer, still holding the bottle mouth downwards, says, “You observe, ladies and gentlemen, that the bottle is now perfectly empty, and yet, by my magic art, I shall compel it to refill itself for your benefit.” He then, addressing various individuals, asks each whether he prefers port, sherry, gin, etc., and when the answer is given, has only to raise the finger stopping the air-hole of that particular compartment to cause the liquid named to flow from the bottle, stopping as soon as the finger is again pressed on the hole. It is a good plan, in order to prevent confusion, to place the liquors in the bottle in alphabetical order, commencing from the hole stopped by the thumb. Some performers increase the variety of the liquors produced, by placing beforehand in certain of the glasses a few drops of various flavouring essences. By this means a compartment filled with plain spirits of wine may be made to do duty for brandy, whiskey, etc., at pleasure, according to the glass into which the liquid is poured.
Fig. 206.
Fig. 206.
The trick is sometimes elaborated by the performer, by way of conclusion, apparently breaking the bottle, and producing therefrom a borrowed handkerchief or other article which has been made to disappear in some previous trick. This is effected by means of anadditional speciality in the construction of the bottle. The compartments containing the liquids in this case terminate a couple of inches above the bottom of the bottle, and the part below this, which has a wavy edge, like fractured glass, is made to slip on and off. (SeeFig. 206.) The performer, having produced the wines, pretends to crack the bottle all round by rapping it with his wand, and, having apparently cracked it, pulls the bottom off, and exhibits the handkerchief, which was beforehand placed in readiness therein. The two parts of the bottle joining with great nicety, there is little fear that the pretended crack will prematurely attract attention.
Where the trick is performed before a very large audience, a single bottle would not contain sufficient liquor to answer all the demands upon it. In this case it is necessary to change the bottle, sometimes more than once in the course of the trick. This is most frequently done under cover of a chair or table; but where the trick is performed on the stage, a more elaborate expedient is sometimes employed. The bottle used has in this case an outer shell or casing of tin, open at the bottom, the actual receptacle for the liquids being within this. When the bottle is exhausted, the performer with apparent carelessness places it upon a small table, standing against the side scene, pending the arrival of more glasses, or under any other convenient pretext. The bottle is, in truth, placed immediately over a small round trap, the performer being guided as to its proper position by a couple of small pins projecting upwards from the surface of the table, against which pins he pushes the bottle. The moment it is so placed, the assistant behind the scenes, who has his eye to a hole in the partition, and his arm extended within the table, opens the trap, pulls down the empty interior of the bottle, and instantly replaces it with a full one, which he holds in readiness, and at the moment when the performer again grasps the bottle to continue the trick (and thereby furnishes the necessary resistance), pushes it sharply up into its place.
Fig. 207.Fig. 208.
Fig. 207.Fig. 208.
The Bottle and Ribbons.—This is another favourite bottle trick. The bottle is in this case also of tin, with an enclosed space round the sides to contain wine, commencing about an inch and a half from the lower end, and terminating just within the mouth. (SeeFig. 207.) The bottle has no bottom, and there is thus a passage, in the shape of an inverted funnel, extending through its whole length. A cylindrical base or stopper (seeFig. 208) just fits into the space at the bottom of the bottle, and on this are fixed six or eight small reels or bobbins. On each of these is wound a yard or so of ribbon, each of a different colour. An upright wire rod springs from the centre of this base, terminating just within the neck of the bottle in a little flat piece of metal, perforated with as many holes as there are ribbons; and one end of each of the ribbons is brought up through one of these holes, and a little knot made upon it to prevent its slipping back again.
The ribbons being in position, and the space in the bottle duly filled with wine, the performer brings it forward, and, after pouring out a glass or two, asks some lady present which is her favourite colour, and on receiving an answer, gently taps the bottle with his wand, and immediately draws out with the tip of his forefinger from the neck, and presents to her, a ribbon of the desired colour. More wine is produced, alternately with fresh ribbons, until all are exhausted.
The above is the drawing-room form of the trick. Upon the stage, it is slightly varied. The same kind of bottle is used, but the internal provision of reels and ribbons is removed, so that the bottle remains a simple tin bottle, open at the bottom, with the funnel-shaped passage already mentioned extending through its entire length. The performer, having poured out a glass or two of wine, places the bottle on a stool or table, through the pillar of which is a hole or passage communicating with a corresponding hole in the stage. Beneaththis is stationed the performer’s assistant, who is provided with a large number of various coloured ribbons, and a thin rod of three or four feet in length, with a small point or blunt pin at the top. The performer takes care always to repeat in an audible voice the name of the colour called for. This is a signal to the assistant to hitch one end of the ribbon in question on the top of the rod, and hold it in readiness beneath the stage. He does not, however, push it up through the bottle until warned by the sound of the tap of the wand on the bottle that the performer is ready to receive it. The performer, on his part, takes care, before tapping the bottle, to place his thumb upon the mouth, so as to prevent the rod passing too far. Sometimes a combination of colours is asked for, as, for instance, the tricolour, or any other national group of colours.
Alter having produced a reasonable number of ribbons, an effective finish may be made as follows:—A last colour or combination of colours having been demanded, the performer does not draw the ribbons, as hitherto, completely out of the bottle, but leaves them hanging down loosely on each side of it. He now announces that, at the word of command, the ribbons shall, of their own accord, return into the bottle. The assistant takes his cue accordingly, and at the third tap of the wand draws the ribbons smartly down again; their instantaneous disappearance within the bottle being exceedingly effective.
The New Pyramids of Egypt, or the Wine and Water Trick.—This trick may be very well worked in conjunction with either of the bottle tricks already described, and we therefore notice it in this place. Its effect is as follows:—The performer pours out a glass of wine and a glass of water, finally transferring both to a small decanter. Placing the decanter on a small round stand, and the empty glasses on similar stands on either side of it, he covers each with a pyramidal cover, and announces that at his command the mixed wine and water will again separate, and pass into the empty glasses, the spectators being allowed to choose into which of the glasses each element shall pass. The choice having been made, he fastens a tape or ribbon to the centre pyramid, and thence to each of the side ones, giving the audience to understand that, by a mysterious kind ofcapillary attraction, the wine and water will travel along this ribbon to their respective destinations. A few moments having elapsed, the ribbons are untied and the covers removed. The decanter is found to be empty, and the wine and water to have respectively returned to the glasses designated by the audience.