Chapter 29

Fig. 209.

The glasses used have no speciality, but the decanter has a small hole in its under side. This is plugged with a pellet of wax, which, however, is instantly removeable at pleasure. Of the three stands, two (those on which the glasses stand) have no preparation, being mere raised shapes of tin. The third is similar in appearance, but is, in fact, a hollow box, with three or four little holes drilled in its upper side, for a purpose that will presently appear. Of the three covers, the centre one is hollow throughout, but the other two have each its upper portion occupied by a hollow chamber or reservoir, divided in two by a vertical partition, and tapering down to a tube with a very small opening. Each of these compartments has an air-hole at the top. (SeeFig. 209.)

These two covers are beforehand prepared for the trick by filling the two compartments of each, one with wine, and the other with water. The air-holes are stopped with pellets of wax, but for the sake of distinction the “wine” compartment of each is plugged with red wax, and the “water” compartment with white wax. Any other distinguishing mark is, of course, equally good. So long as the air-holes are thus stopped, there is no fear of the liquid running out. The performer, having filled the glasses as already described, mixes the contents in the decanter, and in placing the latter on the stand, removes the wax plug from the bottom, thus allowing the wine to run out, and to percolate through the above-mentioned holes into thestand, where it remains. He next places the empty glasses on their respective stands, and places the covers over them. He then asks the audience into which of the glasses they desire that the wine shall travel, and into which the water. When they have made their decision, he has only to remove the red pellet from the cover which is over the glass into which the wine is to pass, and the white pellet from the opposite cover. The tying of the tape from cover to cover is merely designed to give time for the liquids to reach their respective destinations, and is, indeed, altogether dispensed with by many performers. The air-holes may be stopped by means of tinfoil pasted over them, instead of the wax, if preferred. The foil is instantly removeable by scraping with the nail.

Fig. 210.

The Mysterious Funnel.—This is a little appliance on the same principle, which may be incidentally introduced with good effect in the course of a wine trick. It is a tin funnel, made double throughout, with a space of half-an-inch or so between its inner and outer sides. It is, in fact, a funnel within a funnel, joined at the upper edges. (SeeFig. 210.) It has an air-hole,a, generally on the under side of the handle. When required for use, the hidden space is filled with wine. The simplest way of doing this is to stop the spout of the funnel with the finger, and then to fill it with wine, which, seeking its own level, will gradually rise to the same height in the outer space as it stands at inside the funnel. This must, of course, be done with the air-hole open. When the space is filled, the air-hole is stopped, and the wine remaining inside the funnel allowed to run out. The funnel will now appear perfectly empty, and may be used as a funnel in the ordinary way.

The mode of using the funnel is somewhat after the following manner, subject, of course, to variation, according to the taste and invention of theperformer:—

A juvenile is invited to take a glass of wine, the produce of either of the preceding tricks. When he has imbibed it, the performerasks a second juvenile whether he would like a glass also. The reply is pretty sure to be in the affirmative, but the performer pretends to find, when about to oblige him, that his store is exhausted. He begins to apologize for the supposed disappointment, but as if suddenly bethinking himself, says, “However, you shan’t be disappointed. If I can’t supply you in the natural way, I must do so in a supernatural way. Suppose we take back the wine this young gentleman has just drunk. I don’t suppose it will be any the worse. Let me see, where is my magic funnel. Oh, here it is. Let us make sure first that it is quite clean.” He pours water through it, and then holds it up to the light in such a manner that the audience can see right through, thus indirectly showing them that it is empty. “Now, sir” (addressing the youngster who has drunk the glass of wine), “I am going to take back that glass of wine. Be kind enough to bend your elbow, and hold it over the mouth of the funnel, so. And you, sir” (addressing the expectant), “perhaps you will be kind enough to take this young gentleman’s other arm, and work it gently up and down. In fact, we are going to transform him into a pump. Now, sir.” The performer holds the glass under the funnel, and as soon as the pretended pumping begins, opens the air-hole, when the wine runs into the glass, and is handed to the second young gentleman as a reward for his exertions.

Acted with spirit, this little interlude is sure of an uproarious reception from the juvenile portion of the audience, particularly if the operator possesses the magic bradawl described at page332, and makes use of it to bore a small hole in the victim’s elbow before beginning to pump the wine from it.

Fig. 211.

The Box of Bran transformed to a Bottle of Wine.—While upon the subject of wine tricks we may mention this, which is by no means the least surprising of the illusions to which “the bottle” gives birth. The necessary apparatus consists of four pieces. First, a plain cylindrical tin box A (seeFig. 211), japanned to taste, and about six inches high by three in diameter. Secondly, B, a similar box, so far as external appearance is concerned, but materially different in its internal construction. This latter is bottomless, but has a horizontal tin partition at about three-quarters of an inch fromthe top. These two boxes have but one lid, which fits either indifferently. The third article is a cylindrical pasteboard cover (Fig. 212), closed at the top, and of such a size as to fit loosely over B, but an inch or two taller. The fourth item is a bottle, made of tin, japanned black, and of somewhat peculiar construction. (SeeFig. 213.) As a measure of capacity, it terminates just below the shoulder, the remainder, or body of the bottle, being, in fact, merely a tube closed at the bottom, in which this upper portion works. A spiral spring within the body presses the neck portion upward into its proper position; but if pressure be applied, the neck portion will sink downward into the body, as shown inFig. 214, in which condition it just fits into B. A small point projects from the lower part of the bottle, and corresponds with a bayonet catch at the bottom of B, which is in fact designed as a case or cover for the bottle.

Fig. 212.

Fig. 213.

Fig. 214.

For the performance of the trick the operator will require, in addition to the apparatus above mentioned, an oblong deal box, half full of bran. (Rice is sometimes used, but is not so good.) Any box will answer the purpose, so long as it is not less than fifteen inches or so in length, and nine in breadth and depth. In preparing for the trick, the first step is to fill the bottle, or the “fillable” portion thereof, with wine or some other liquid. The bottle is then corked; B is placed over it and pressed down, and the bayonet-catch fastened. In this condition, but without a lid, B is placed in the deal box, and buried in the bran. The box of bran being now brought forward and placed on the table, the performer is ready to begin the trick. He first draws attention to A, which he hands round for inspection, as alsothe pasteboard cover. When they are returned, he brings forward the box of bran, moving his hand backwards and forwards in it, and distributing a few handfuls to show its genuineness. Replacing the box on the table, he proceeds to fill A with bran. This he does by dipping A completely in the box, and scooping up the necessary quantity. As if to show all fair, he pours the bran out again into the box, and then makes a second dip to refill it. This time, however, he makes an exchange, and instead of bringing up A, brings up B, filling as he does so the shallow space at the top of the latter, which thus appears to be full to the brim. Placing it on the table, and putting the lid on, he places the pasteboard cover over it, and, addressing the company, volunteers to teach them how to extract wine from bran, and wine bottles from tin boxes. After a moment’s pause, and the orthodox touch with the wand, he removes the cover, giving it at the same time a slight twist, thus releasing the catch, and removing B within the cover. The spring within the bottle now meeting no resistance, presses the neck portion upwards into its proper position, with all the appearance of a genuine bottle; and as it, in its present condition, is considerably taller than B, it can hardly be suspected that it was a moment ago concealed in the latter, particularly as the performer immediately proceeds to give a further proof of its genuineness by pouring a glass of wine from it.

In connection with the above trick we may describe another useful piece of apparatus, known as

The Bran Bottle.—This is a bottle, which, being covered over for an instant, vanishes, leaving in its place a heap of bran. The bottle is, like that last described, of tin, with a false bottom or partition, about an inch below the shoulder, so that it holds about a glassful of wine. The place of the ordinary bottom is supplied by a disc of tin, with a raised shoulder round it, fitting loosely within thebottle, so as to drop out by its own weight, unless kept in place by some external pressure. The cover is a mere cylinder of pasteboard, closed at the top. The bottle is prepared for use by filling the lower portion with bran, and putting the bottom in place (where it is retained by the pressure of the fingers), then filling the upper part with wine. The performer first pours wine from the bottle, and then places it on a plate, ostensibly to show that it does not pass through any opening in the table, but really for a reason which will presently appear. He now places the cover over the bottle, and on again lifting it presses the sides slightly, and so lifts the bottle with it. The loose bottom, having no longer anything to hold it, remains on the plate, concealed by the bran which pours from the bottle, and into which the bottle is apparently transformed. Meanwhile, all eyes being drawn to the heap of bran, the performer lowers his hand, containing the cover, for an instant behind the table, and relaxing the pressure of his fingers, lets the bottle slip out on theservante, immediately coming forward with the cover, and carelessly showing that it is empty.

In combination with the Bran Bottle, the trick last above described is greatly heightened in effect, the bottle appearing under the cover which has just been placed over the tin box—the bran from the latter being found under the cover which a moment previously concealed the bottle, and the tin box being found to have passed into the large box of bran. The Bran Bottle may also be worked with great effect in combination with the trick of the “Bran and Orange,” described at page335.

Fig. 215.

Fig. 216.

The Bran Glass.—This is an ingenious and very useful piece of apparatus. It is made in all sizes, from that of an ordinary wine-glass to a goblet large enough to hold a rabbit. Its effect is as follows:—The glass is brought forward apparently filled with bran to the brim. The performer proves its genuineness by taking up a handful of it, and scattering it over the stage. A brass cover is now placed over the glass, and instantly removed, when every particle of bran is found to have disappeared, and in place of it is found some article which had been conjured away at some earlier period of the trick. The explanation is very simple. The glass is shaped asshown inFig. 215, with straight sides, tapering outwards. The supposed bran is really a hollow shape of tin,a, closed at the top, but open at the bottom, with bran gummed all over it, and a handful of loose bran spread on the top. At each side of its upper edge is a little wire point, just overpassing the edge of the glass. The cover (seeFig. 216), which is of such a size as to cover the glass as far as the upper part of its stem, has no speciality about it, save a shallow groove running round its upper edge on the inside, as shown by the dotted line. When the cover is placed on the glass, and pressed smartly down, the two points already mentioned are forced into this groove, which thus grips the tin shape, and when again removed, lifts it out of the glass, leaving behind whatever article may have been beforehand placed within.

Where the bran glass is of large size, the metal cover is indispensable; but for glasses not exceeding the ordinary tumbler size, it is preferable to cover the glass with a borrowed handkerchief only, the hollow shape being in this case made, not of tin, but of thin cardboard. The two points are dispensed with, but in place of them there should be a piece of thread, in length about double the diameter of the glass, fastened from side to side of the shape. This, hanging down on the side of the glass which is toward the performer, is caught hold of through the handkerchief, and thus handkerchief and shape are lifted together.

The Bran Glass may be made available in a variety of ways; the trick next following will afford a good practical illustration of its use.

Fig. 217.

To Fire Borrowed Rings from a Pistol, and make themPass into a Goblet filled with Bran and covered with a Handkerchief, the Bran Disappearing, and being found elsewhere.—The glass used in this instance is of ordinary tumbler size. It is not brought forward as above, with the bran shape already in place, but empty, and may therefore be freely offered for inspection. With it is brought forward a wooden box, of any size and shape, filled with bran, and in this, ready to hand, is concealed the bran shape. We have already had occasion to describe the magic pistol, or rather pistol tube; but the tube used in this instance (seeFig. 217) has an additional peculiarity. It is of comparatively small size, being about two inches wide at the mouth. Within this mouth fits easily a tin cup,a, about an inch and three-quarters in depth, and having its edge turned over outwards all round, so as to afford a ready grip to the palm when it may be necessary to remove it. The pistol is beforehand loaded with powder, and the cup above described is placed in the mouth of the tube.

The performer begins by asking the loan of three rings, to be fired from his magic pistol. To preclude the possibility of their being exchanged, he requests the owners to drop them into the pistol themselves. First, however, by way of wad, he takes a small piece of white paper, and presses its centre portion into the mouth of the pistol tube, its edges projecting all round, and forming a sort of cup to receive the rings. Three rings having been offered, and dropped into the pistol, the performer closes over the edges of the paper, and presses them down with his wand, the effect being as if the rings were fairly rammed down into the pistol, though they really remain in the cup, just within the mouth. He now hands the pistol to one of the spectators, requesting him to hold it muzzle upwards above his head. In handing it to him, he places for a moment his own right hand over the mouth of the tube, his palm being flat upon it, and in again removing the hand lifts out and palms the cup (which the projecting edge enables him to do with perfect ease). He has thusobtained possession of the rings. (As the holder of the pistol has been instructed to hold it above his head, he is not very likely to look into it; but lest he should do so, and discover that the rings are already removed, it is well to place in the tube beforehand a piece of crumpled white paper, to represent that which contained the rings.)

The performer now hands round the glass for examination, and subsequently draws attention to the box of bran. While doing this he has little difficulty in getting the rings out of the cup and paper into his right hand. He then, holding the glass in his left hand, dips it into the box, and fills it with bran, which he forthwith pours slowly back again to prove its genuineness. Meanwhile, his right hand is engaged in fishing up the bran shape among the bran, placing it mouth upwards in the box, and dropping the rings into it. When he again dips the glass into the box, he slips it mouth downwards over the shape, immediately turning it into the natural position, and bringing it up, to all appearance, full of bran. As the rings were in the shape, they are, of course, now in the glass. He brushes the loose bran off the top, and then covers the glass with a borrowed handkerchief, taking particular notice on which side hangs the loop of thread. The person holding the pistol is now requested to take good aim, and fire at the glass. He does so, and the performer, lifting the handkerchief with the shape within it, lets the latter drop on theservante, and advancing with the glass, requests the owners to identify their rings.

The trick may either end here, upon the supposition that the bran has been blown away altogether by the explosion, or the bran may be shown to have passed to some other place. There are numerous methods of effecting this latter transposition. For instance, the pea vase (seepage351), first shown empty, may be used, or the bran may be made to fall out of a second borrowed handkerchief, by means of the bag shown at page248, or may be found in the apparatus next described.

Fig. 218.

Fig. 219.

The “Domino-Box” (sometimes called the “Glove-Box”).—This is a little oblong box of walnut or rosewood, measuring about four inches in length by two inches in width, and an inch and a quarter in depth. It has a sliding lid, drawing out in the ordinary manner, but the whole box has a tightly-fitting inner lining, which may be pulled out, drawer fashion, with the lid. (SeeFig. 218.) Itis used as follows:—Any small article, say a glove or a lady’s handkerchief, is secretly placed inside this inner lining. The performer exhibits the box to the company, and to show that it is empty, turns it over towards them, and draws the lid nearly out, drawing out with it at the same time the inner lining or drawer also. (SeeFig. 219.) From the position of the box, the drawer is, at a very short distance, completely hidden by the lid. The box is, of course, seen to be perfectly empty. The performer now closes it, and turning its right side upwards, places it on the table. He then proceeds with the next stage of the trick, and at the right moment again opens the box, or invites some one else to do so. This time the lid alone is drawn out, and the hidden article is found in the box.

Fig. 220.

There is another speciality about the Domino-box, which renders it available to cause the disappearance of a coin placed in it; though, as in the case of the “Rattle-box,” described in the chapter devoted to coin tricks, the coin is heard to rattle within it till the very moment of its disappearance. This is effected as follows:—Between the bottom of the drawer and that of the box proper is a very small space, just large enough to allow a shilling to lie between the true and false bottom. On the under side of the drawer, however (seeFig. 220, showing the under side of the drawer portion), are glued two thin slips of wood, gradually approaching each other, and thereby narrowing this space to a width of about half an inch. If when the lid is withdrawnwiththe drawer, as already explained, a shilling or sovereign is dropped into the box, and the box again closed, the coin will have plenty of room to rattle about as long as it remainsat the enda, but if shaken down with a sharp jerk in the direction of the endb, it will become caught in the narrower portion of the opening, and will thenceforth be silent, unless it may suit the purpose of the performer to release it again, which he can do by a sharp downward jerk in the direction ofa. Of course, as the coin is below the false bottom, it will appear to have vanished when the box is opened in the ordinary way.

The Domino-box is sometimes used to change a sovereign to its equivalent in silver, the “change” being beforehand wrapped in paper, and concealed in the drawer. It is sometimes also caused to fill itself with bonbons, in place of a coin deposited in it.

These boxes are usually made in pairs, alike in appearance, but the one is a simple box without any speciality, and may therefore be handed round for examination, the mechanical box being adroitly substituted at the right moment. The fact thattwoboxes are used is, of course, carefully concealed.

Fig. 221.

The Coffee Trick. (Coffee Berries changed to Hot Coffee, White Beans to Sugar, and Bran to Hot Milk).—The pieces of apparatus used in this trick are of brass or japanned tin, and are three in number, two being tall cylindrical vases, standing eighteen to twenty inches in height, the third a goblet-shaped vase, of about half that height. The latter is made upon the principle of the “bran glass,” above described, consisting of three portions (seeFig. 221), the gobleta, the coverc, and a shallow trayb, which fits into the goblet, and which, if the cover is pressed down smartly, and again removed, is lifted off with it. It differs, however, from the “bran shape” in the fact thatbis open at top instead of at bottom, and is only about one-fifth the depth of the goblet, leaving therefore considerable space below it. This portion of the apparatus is prepared for use by placing in the goblet a quantity of hot milk, puttingbin position above it, and finally fillingbwith loose bran.

Fig. 222.

The construction of the other two vases will be quickly understood upon an inspection ofFigs. 222,223.ais the vase, andcthe cover fitting loosely over it, but between these two is a well,b, made double, so as to fit at once into and outside ofa, after a mode of construction which we have more than once had occasion to notice. There is a bayonet-catch at the lower edge ofc, corresponding with a pin or stud at the lower edge ofb, so thatcmay be lifted off either with or withoutb. There is a similar catch at the lower edge ofb, corresponding with a stud at the bottom ofa, but cut in the opposite direction to the other catch, so that the action of unlockingafromblocksbtoc, andvice versâ.

Fig. 223.

The vase a requires a special description. A shallow saucer of tin,d, just fits the interior of the vase, working up and down therein piston-fashion, but prevented from coming out altogether by the fact that the upper edge ofais slightly turned inwards all round. Belowdis a spiral spring, whose action tends to forcedto the top of the vase, as shown inFig. 222. From the centre ofd, however, there extends downwards through the spiralspring a piece of stiff wiree, with a crook,f, at the end. The foot of the vase is hollow throughout. If the saucerdis forced down by pressure from within, this wire, as soon as it reaches the position shown inFig. 223, will hook itself within the foot of the vase, and so keep downd, until the crook is again released, when the whole will instantly return to the condition shown inFig. 222. The bottom of the foot is open, so that the fingers can without difficulty find and release the crook when necessary.

The vases are prepared by pressing downdin each as shown by the dotted lines inFig. 223, and filling the well of the one with hot coffee, and that of the other with loaf-sugar. Their respective covers are then placed over them. The attention of the audience is first directed to a couple of wooden boxes, each about half as long again as the vases, and ten or twelve inches in depth, one of which is filled with coffee-berries, and the other with white haricot beans. The performer now uncovers the vase which contains the coffee, first turning the bayonet-catch so as to lift off the wellbwith the cover, and shows, by holding the vase upside down and rattling his wand within it, that it is perfectly empty. He now fills it with coffee-berries, laying it down in the box to do so, and holding it by the foot with one hand while he shovels the berries into it with the other. Having completely filled it with the berries, he holds it aloft, and, to show that there is “no deception,” tilts it, and lets them run back again into the box. Again he dips it into the box, but, as he does so, releases the crook (which the fingers of the hand holding the vase are just in position to do), and thus letsdfly up to the top of the vase. Again he brings up the vase, apparently full as before, but really having only a mere layer of berries, of the depth ofd, at the top. He now puts on the cover, the well in which again forcesdand the superposed layer of coffee-berries down to make way for it, and causes the crook again to catch beneath the hollow of the foot. The same operation is now gone through with the vase whose well contains the sugar, and the box of white beans. The performer lastly takes from the third vase a handful of bran, which he scatters to show its genuineness, and then places the cover over it. The trick is now really completed. On removing the respective covers (taking care of course, first to turn the bayonet-catches in the right direction),the wells are released from the covers and locked to the vases, which are thus found full respectively of hot coffee and sugar, and, on removing the cover of the third vase, the bran is lifted off with it, and the milk is revealed.

Fig. 224.Fig. 225.

Some coffee vases, and more particularly those of French make, dispense with the bayonet-catch, replacing it by a peculiar arrangement inside the top of the cover. The upper edge of the well is slightly turned in all round, and the turning of the knob at the top of the cover causes three flat bolts or catches to shoot out circularly from the edges of a hollow disc, soldered to the top of the cover inside, and insert themselves under this projecting edge. (SeeFigs. 224, 225.) The mechanical arrangement by which this is effected is almost impossible to explain in writing, though it becomes readily intelligible upon an actual inspection of the apparatus, and will be understood without much difficulty after a slight study of the above diagrams, the arrow in each case indicating the direction in which the knob must be turned, in order to bring the bolts into the condition shown in the opposite diagram.

The Inexhaustible Box.—The inexhaustible box is, to all outward appearance, a plain wooden box, of walnut, mahogany, or rosewood, in length from twelve to twenty inches, and in depth and width from nine to fifteen inches. Whatever its dimensions, its width and depth, exclusive of the lid, must be alike. To prove that it is without preparation within, the performer turns it over on the table towards the spectators, and, lifting the lid, shows that it is perfectly empty. Again he closes it, and, turning it right side upwards, opens it once more, and instantly proceeds to take from it a variety of different articles. At any moment the box is again turned over towards the audience, and shown to be empty; but it is no sooner replaced, than the performer recommences taking from it toys, bonbons,etc., the supply being many times larger than could possibly be contained at one time in the box.

Fig. 226.

The bottoma bof the box (seeFig. 226) is moveable, working on a hingebextending along its front. When the box is turned over to the front, this bottom piece does not turn over with it, but remains flat upon the table as before. A piece of woodb c, of exactly similar size and shape, is glued toa bat right angles. When the box stands right side upwards, this piece lies flat against the front of the box, whose upper edge is made with a slight “return,” so as to conceal it. When the box is turned over to the front, this piece, like the bottom, retains its position, while any object which had previously been placed in the box remains undisturbed, but hidden by this latter piece. (SeeFigs. 226, 227.) It is, of course, necessary that such object should be of such a size as not to overpass the arc which the edge of the box describes in its change of position, and the length frombtocmust be exactly the same as that fromatob.

The mode of using the box will require little explanation. Any number of objects, not overpassing the limits we have mentioned, may be placed in the box, which, being then turned over, can be shown apparently empty. The box being replaced in its normal position, the articles are again within it, and can be produced at pleasure. The effect of “inexhaustibility” is produced as follows:—Each time that the performer turns over the box to show that it is empty, he takes from theservante, or from his pockets, and places upona b, a fresh supply of articles, to be produced as soon as the box is again right side upwards.

Fig. 227.

It should be mentioned that the hinge atbis made to act freely,so that the bottom may by its own weight retain its position when the box is turned over, and not turn over with the box. Some boxes are made with a catch or pin at some part ofa, so as to preventa bfalling prematurely while the box is being placed on the table, or while the performer carries round the box, and shows that, inside and out, it is without preparation. This, however, the performer may safely do, even without the use of any catch or fastening, by taking care to grasp the box, when carrying it, by its front edge, with his fingers inside it. The fingers will thus pressb cclosely against the front of the box, and will thereby effectually preventa bfrom shifting its position. The box is, of course, in the case supposed, really empty. The performer has therefore to make an opportunity for introducing what may be needful into it; this he may do by remarking as he replaces it on his table, “You are by this time, ladies and gentlemen, tolerably well satisfied that there is nothing in this box; but for the greater satisfaction of those who may not have been able to see the interior as I carried it round, I will once more show you that it is absolutely empty.” So saying, he turns it over, and once more shows the interior, at the same time placing ona bwhatever article he designs to produce.

Fig. 228.

The Japanese Inexhaustible Boxes.—This is a form of the same apparatus, in which an additional element of mystery is produced by the use of a box within a box. The inner box is an ordinary inexhaustible box, as last described, but made with a flat wooden lid, instead of the hollow or “box” lid used in the older form of the trick.The outer box just fits over the inner, and is, in fact, a mere cover for it, being an ordinary wooden box, save that it has no front. The two are brought on one within the other. The performer begins by taking the smaller box (which is ready filled with the objects to be produced) completely out of the larger, and shows that the latter is absolutely empty. He then places the two boxes together, as shown inFig. 228, turning over the smaller box to show its interior, as already described. After this has been done, the smaller box is tilted back to its normal position within the larger, the lid of the latter being slightly lifted to allow it to pass, and then both lids being opened together, the production of the contents commences. The function of the larger box is, in fact, merely to act as a screen to the hinder part of the smaller, when turned over towards the audience. The only advantage of the Japanese over the ordinary box is that it may be worked on any table, and with spectators on all sides, but this advantage is counterbalanced by the drawback that nothing can be produced save what was originally in the box, neither can the smaller box be carried round, and shown empty. This, however, may be met by beginning the trick with the two boxes together, and then, after having brought to light the whole of the original contents, offering (for the pretended purpose of heightening the effect) to continue the trick without the aid of the outer box. The inner box may thenceforth be replenished from behind in the same way as the ordinary Inexhaustible Box.

The Inexhaustible Box is frequently made the vehicle for those distributions of bonbons, toys, etc., which to the juvenile mind formby no means the least attractive feature of a magical performance. It is also available for the production of flowers, multiplying balls (seepage307), goblets, bird-cages, and the miscellaneous assortment of articles generally associated with “hat” tricks. One of the most effective modes of using it is in connection with the very pretty trick next following.

The Feast of Lanterns.—The performer, having exhibited the box empty, as already described, turns it over again, and instantly produces from it a paper lantern of many colours, with a lighted candle in it. This he hands to his assistant or one of the company to hang up at some convenient part of the stage or room, and returning to the box produces another, and yet another, till ten or twelve, or even a larger number, have been produced, the box being every now and then turned over to prove it empty. The effect of a number of lanterns thus mysteriously produced from an empty box, and hung about the stage in all directions, is most brilliant. As the candles do not burn very long, and there may be some risk of the lanterns catching fire, it is well to make this trick thefinaleof the entertainment, and to allow the curtain to fall before the illumination has had time to lose its effect.

Fig. 229.

Fig. 230.

A great part of the effect of the trick lies in the very considerable bulk of the lanterns, three or four of which would apparently be more than sufficient to fill a box from which a dozen or so are produced. This arises from the construction of the lanterns themselves, which are of the kind used for Christmas-trees and illuminations, and when open offer a considerable cylindrical surface (seeFig. 229), though when closed they are little more than flat discs (seeFig. 230). They are placed in the box in the condition shown in the last-mentioned figure; but when lifted out by the wire at top, at once expand, concertina-fashion, and assume the shape shown inFig. 229. They are lighted in sundry ways, one method being as follows:—Each lantern contains about three-quarters of an inch ofcandle, from which the wick has been removed, and a wax match inserted in its stead. Against the front of the box, or rather against the wooden flapb c(seeFig. 227), is glued a tabletdof sandpaper upon which to strike the match, and a gentle rub against this instantly lights the candle, when the lantern is immediately lifted out, as already explained. There is, however, an improvement whereby the lanterns are not only made to occupy much less space, but may be lighted simultaneously. In this case the little cylinder which forms the socket for the candle, and which should be about half an inch in diameter, instead of occupying the middle of the space at the bottom of the lantern, is placed at one side of such space. One of the lanterns, viz., that which is to be undermost when they are grouped together, has no further preparation; but the second, by the side of its own socket, has a round hole in the bottom, just large enough to give room for the socket of the first. The next, or third lantern, has two holes, allowing the passage of the sockets of the first and second. The fourth has three holes, the fifth four, the sixth five, the seventh six, and the eighth seven, so that when the lanterns are placed one upon another in proper order, the sockets of the lower lanterns come up in a circle through the holes in the bottom of the uppermost one. The tops and bottoms are made of tin, which is not only safe from catching fire, but occupies very little space. In this case the original wicks of the candles are retained, but are slightly moistened with turpentine to render them instantly inflammable, and are lighted by a lucifer or wax match struck in the ordinary way, the merest touch sufficing to ignite them. They may then be lifted out in rapid succession with great effect. A group of six or eight lanterns thus prepared may be produced from a borrowed hat, being previously concealed in the breast or tail-pocket of the performer, and “loaded” into the hat at any convenient opportunity. It is desirable in this case to have a friction tablet glued upon the top of the uppermost lantern to strike the match upon, as the hat lining is hardly adapted for that purpose.

Fig. 231.Fig. 232.

The lanterns above described are the most generally used, and are by much the easiest to manipulate. There is, however, a spherical lantern also obtainable at the toy-shops, which has a decidedly prettier effect. This form of lantern is, when shut up, as shown inFig. 231.To develop it, the wiresaandbare each made to describe a semi-circle, as shown by the dotted line, bringing the whole into the condition shown inFig. 232, in which condition it is maintained by slipping the loop ofaunderb. The best plan for lighting in this case is to have a separate small piece of candle, prepared with a match wick, as above-mentioned, placed in readiness on theservante, and a small pin or sharp nail projecting upwards from the bottom of the box to act as a candlestick. The candles in the lantern will in this case need no special preparation. The performer first lights the prepared candle by rubbing it against the tablet, and then presses it down upon the upright pin we have mentioned. The other candles are in turn lighted from this, each lantern being put into shape before being lifted out of the box, which must in this case be of tolerable size, in order to admit of their ready development.

The Butterfly Trick.—This is a trick of Japanese origin, which became very popular two or three years since. In effect it is as follows:—The performer brings forward an ordinary fan, and a couple of bits of tissue-paper, each torn into a fanciful likeness of a butterfly. Taking these upon his hand, he gently fans them, the motion of the air speedily causing them to rise above his head. Still gently fanning them, he causes them to hover, now high, now low, now fluttering along the wall, now descending into a gentleman’s hat, whence they presently emerge to again flutter hither and thither at his pleasure.

The point that most strikes an attentive observer is the fact that, whether they fly high or low, the butterflies always keeptogether. Sometimes they may be a couple of feet apart, sometimes only a few inches, but they never exceed the above limit; and the spectatornaturally concludes that an extraordinary degree of dexterity must be necessary to enable the performer to keep them from diverging more widely. Here, however, in truth lies the secret of the trick, which is, that the so-called butterflies are connected by a piece of very fine silk a couple of feet in length, which, when the butterflies are in motion, is absolutely invisible to the spectators. The remainder of the trick is a matter of practice, though it is less difficult than would be imagined by any one who had never attempted it.

Some performers have the silk thread attached to one of the buttons of the coat. This arrangement will be found greatly to facilitate the working of the trick.

The paper for the butterflies is better torn than cut, and should be as nearly as possible of the shape of a St. George’s cross, and about two inches square.

The Wizard’s Omelet.(Borrowed Rings and Live Doves produced from an Omelet.)—This is a trick which always produces a great sensation, whether performed upon the stage or in the drawing-room. Its effect is as follows: The performer produces either naturally or magically (e.g., from the egg-bag, or from the mouth of his assistant, as described at page329) three eggs, which he hands round for examination. His assistant next borrows from the audience three ladies’ rings, receiving them, in order to prove that he does not tamper with them in any way, on the performer’s wand instead of in his hands. The wand, with the rings still upon it, is laid upon the table. The assistant next brings in an omelet pan, and places it, with its lid beside it, on the table. The performer breaks the eggs into it, dropping in shells and all—then pours some spirits over it, to which he sets fire, and while it is still blazing drops the rings from the wand into it. He brings it forward to show that the rings are really in the flames; and on returning to his table, claps the cover on the pan, and fires a pistol (any ordinary pistol) over it. Without a moment’s interval, he again removes the cover. All traces of the omelet and egg-shells have vanished, but in their place are found three live doves, each with a ribbon round its neck, to which is attached one of the borrowed rings.

The explanation of this surprising result is simplicity itself. Thereader, with his present knowledge, will readily conjecture that, as to the rings, a substitution is effected; but he may not so easily guess the manner of such substitution. It will be remembered that the rings were collected by the assistant on the performer’s wand. This arrangement, which is ostensibly adopted to prevent, in reality facilitates an exchange. The assistant makes his collection with three dummy rings placed beforehand on the lower end of the wand, and concealed by the hand in which he holds it; which, we will suppose, is the right hand. In returning to the stage, he takes hold with the left hand of the opposite end of the wand, and allows the borrowed rings to run down into that hand, at the same moment releasing the dummy rings from the right hand, and allowing them to run upon the middle of the wand in place of the others. He now has the borrowed rings in his left hand, and (laying the wand with the substitutes on the table) carries them off with him to prepare for thedénouementof the trick.

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