Chapter 30

Fig. 233.

The only other matter which will require explanation is the construction of the omelet pan. This is a shallow pan of brass or tin, about ten inches in diameter, by two and a half in depth. Within this is an inner pan, also of brass or tin, fitting tightly within it, but about half an inch less in depth. The lid is made with a very deep rim or shoulder all round, and just fits within the lining, though less tightly than the latter fits within the pan. (SeeFig. 233, in whicharepresents the pan,bthe lining, andcthe lid.) The assistant, as soon as he gets behind the scenes, loops the borrowed rings to theribbons, which are already tied round the necks of the three doves, and places the latter inb, immediately putting onc(the two together having the appearance of a simple cover), and brings forward the pan and cover. The performer now makes his omelet, and drops the substitute rings into it. In bringing forward the pan to show that the rings are really there, he takes care to avoid the owners of them, who would alone be likely to detect the substitution. When he claps on the cover, the trick is really done, the firing of the pistol being merely for effect. When the cover is again removed, the lining remains in the pan, concealing the omelet beneath it, and revealing the doves, with the rings attached to their necks.

The Rose in the Glass Vase.—The ingenious piece of apparatus which we are about to describe was, we believe, the invention of Robert-Houdin. It consists of a glass vase, on a foot, and with a glass lid, standing altogether eight to ten inches in height. This is placed on a square box-like plinth or pedestal, of wood covered with morocco, and measuring about eight inches square by six in height. The lid is placed upon the vase, which, being transparent, is clearly seen to be empty. A borrowed handkerchief is for a moment thrown over the whole, and again removed, when a handsome rose (natural or artificial) is seen to have mysteriously found its way into the vase; whence it is removed, and handed to the company for inspection.

Fig. 234.

The secret of this mysterious appearance is twofold, lying partly in the vase and partly in the pedestal. The vase, which at a little distance appears as simple and commonplace as any in a confectioner’s window, has a segment cutoff one side, leaving an opening of about five inches in height by three and a half in width. (SeeFig. 234.) This opening is kept turned away from the audience. The pedestal, like the vase, is closed on every side except the side remote from the spectators, which is open. A curved wire arm, with a “clip” at the end to receive the stalk of the rose, works up and down, describing a quarter of a circle, in this open space. A spring hinge, on which this arm works, impels it to assume the position shown in the figure, thus lifting the rose through the opening into the vase. The apparatus is set by forcing down the arm with the rose into the position indicated by the dotted lines, in which position it is retained by a little catch, until the performer, in the act of covering the vase with the handkerchief, presses a stud at the upper side of the pedestal. This withdraws the catch, and allows the rose to rise into the vase. Of course, the performer in taking out the flower does so from the top, and with proper precautions not to disclose the existence of the opening at the back of the vase.

The ingenuity of the reader will probably suggest to him combinations to make the trick more effective. To those who have not such ready invention, we may remark that the trick may be very effectively combined with that of the ball that changes to a rose, andvice versâ(seepage300), or a duplicate rose may be placed in themouchoir du diable(described at page195), and thence ordered to pass to the vase.

Fig. 235.

The Chinese Rings.—These are rings of brass or steel, in diameter from five to nine inches, and in thickness varying from a quarter to three-eighths of an inch. The effect of the trick to the spectator is as follows:—The rings are given for examination, and found to be solid and separate; but at the will of the operator they are linked together in chains of two, three, or more, becoming connected and disconnected in a moment, and being continually offered for examination. Finally, after the rings have become involved in an apparently inextricable mass, a slight shake suffices to disentangle them, and to cause them to fall singly upon the stage.

Fig. 236.

The sets of rings sold at the conjuring depôts vary in number, ranging from six to twelve. The set of eight, which is perhaps the most usual number, consists of one “key” ring, two single rings, a set of two linked together, and a set of three linked together. The “key” ring (seeFig. 235), in which lies the secret of the trick, is simply a ring with a cut or opening,a, in it. For use upon a public stage, where the performer is at a considerable distance from his audience, there may be a gap of an eighth of an inch between the ends, but for drawing-room use, they should just touch each other. Some rings are made to “clip” like an ear-ring, and some have the opening cut diagonally instead of square, but the simple square cut is, in our own opinion, the best.

Fig. 237.

We shall, in the first place, describe the trick as performed with the set of eight rings above mentioned, afterwards noticing the more elaborate performance with twelve. We must premise, however, that the manipulation of the rings admits of almost infinite variation, and that the practice of performers differs greatly as to the mode of working them.

Fig. 238.

Fig. 239.

Fig. 240.

Fig. 241.

The performer comes forward holding the eight rings in his left hand, arranged as follows. First (i.e., innermost), comes the set of three; then the “key” ring (the opening uppermost in the hand),then the set of two; and, lastly, the two single rings. Taking the first of these, he hands it to a spectator for examination; passing it when returned to another person, and carelessly handing a second ring to be examined in like manner. This should be done without any appearance of haste, and with an air of being perfectly indifferent as to how many of the rings are examined. The two “singles” having been duly inspected, the performer requests one of the spectators to take them both in his right hand, at the same time taking in his own right hand the next two rings, which, it will be remembered, are the set of two, though the audience naturally believe them to be, like the first, separate. “Now, sir,” the professor continues, “will you be good enough to link one of the rings which you hold into the other.” The person addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says the performer, in pretended surprise. “My dear sir, nothing is easier. You have only to do as I do. See!” Laying down the rest of the rings, he holds the two as inFig. 236, and makes a gentle rubbing motion with the thumb upon the rings, and then lets fall one of them, which naturally drops to the position shown inFig. 237. He now hands these two rings for examination. The spectators seek for some joint or opening, but none is found; and meanwhile the performertransfers the next ring (the “key”) to his right hand, keeping the opening under the thumb. He now takes back with the left hand the two single rings, immediately transferring one of them to the right hand, and with the ball of the thumb presses it through the opening in the key ring, into which it falls, with exactly the same effect as the apparent joining of the two linked rings a moment before. Again he separates and again joins the two rings. The second single ring is now made to pass through in like manner, making the combination shown inFig. 238. The performer remarks, “We now have three joined together. Here are three more, as you see (shaking those in the left hand), all solid and separate, and yet at my will they will join like the others.” Making a rubbing motion with the thumb as before, he drops two of the three, one by one, from the hand, when they will appear as a chain of three. These he hands for examination, taking back the set of two, and linking them one after the other into the key ring, to which now four rings are attached. Again taking back the set of three, he links these also one by one into the key ring, which thus has seven rings inserted in it. (SeeFig. 239.) Using both hands, but always keeping the opening of the key ring under one or the other thumb, he now takes off these seven rings, commencing with the two single ones, and again offering them for examination; then taking off the set of two. Last of all, he unlinks the set of three, and then, holding them at length in his left hand, joins the upper one to the key ring, thus making a chain of four, of which the key ring is the uppermost. He next takes the lowermost ring of the four, and links that into the key ring, bringing the four rings into a diamond shape, as shown inFig. 240. Again unlinking the lower ring, he takes up the set of two, and connectsthem with the key ring, holding them up above it, thus making a chain of six, the key ring being third from the top. (SeeFig. 241.) Taking the upper ring between his teeth, he links the two single rings into the key ring on either side, making the figure of a cross, as shown inFig. 242. As the hands are now occupied in holding the single rings forming the arms of the cross, he can no longer keep the opening of the key ring concealed by the thumb, but it is extremely unlikely that among so many rings, so slight a mark in one of them will attract notice. Regaining possession of the key ring, he links all one by one into it, so as again to bring them into the condition depicted inFig. 239. Then, holding the key ring with both hands, and with the opening downwards, about a couple of feet from the floor (seeFig. 243), he shakes the rings violently, at the same time gently straining open the key ring, when the seven rings will all in succession drop through the slit, and scatter themselves about the floor, the general impression being that they all fall separate, though the grouped sets, of course, remain still united.

It is not an uncommon thing to see a performer commit thegaucherieof handingallthe rings, save only the key ring, to be examined in the first instance; the key ring being hidden under the breast or under the tail of the coat, and being added to the set in returning to the table. The spectators are thus needlessly made acquainted with the fact that certain of the rings are already linked together, and this once admitted, the trick loses nine-tenths of its effect.

Fig. 242.

Fig. 243.

The set of twelve rings is less frequently seen, and is rather more complicated to manage, though in good hands it is capable of much more brilliant effects than the smaller number. The set consists of five single rings, a group of two, a group of three, and two key rings. These are held in the hands of the performer in the following order. First (i.e., innermost) a key ring, then the group of three, then the second key ring, then the group of two, and lastly the five single rings. The latter are distributed for examination. While they are still in the possession of the audience, the performer requests one of the spectators to link two of them together, and himself taking in his right hand the group of two, pretends to link the latter, as already described, and hands them for examination. The performer meanwhile takes in his right hand one of the key rings, and collects the single rings in his left. As soon as the group of two are handed back, he links one of them to the key ring in his right hand, thus forming a chain of three, with the key ring uppermost. Next linking the lowest ring into the key ring, he formsFig. 238, which, by holding the two lower rings apart, assumes the shape of a triangle. Again disengaging the lower ring, passing one of the single rings from the left hand to the right, and laying down on the table all the rings remaining in that hand (the group of threeuppermost) he joins the single ring to the key ring, thus making a chain of four, of which the key ring is second from the top. These he lays, still linked, upon the table, and takes up from the heap already lying there the three uppermost (which, it will be remembered, are the group of three), and holding them for a moment together in the hand, lets them fall one by one to form a second chain of three. Taking the next ring of the heap (the second key ring) in his disengaged hand, he steps forward, and requests some one to take hold of either of the three rings, and to pull against him, in order to prove their solidity. This ascertained, he passes the upper ring of the three into the hand which already holds the key ring, and links it into the key ring, thus forming a second chain of four, of which in this case the key is the uppermost. Linking the lowermost into the key ring, he shows the rings as inFig. 240. Once more unlinking the lower ring, so that the four again appear as a single chain, he proceeds (apparently) to link all the twelve together. This is effected asfollows:—

Taking two of the single rings, the performer links them into the key ring of the chain which he holds. He next links one of these same single rings into the key ring of the other chain, thus linking the two chains together at a distance of one ring from the end of the chain. He thus has ten rings joined. He now takes the two chains one in each hand by the ends remotest from the point of juncture, immediately after picking up and holding (one in each hand) the two remainingsingle rings. These, of course, he does not and cannot link with the rings adjoining them, but the audience seeing that all the rest are linked together, readily believe that these also form part of the chain. The precise arrangement of the rings will be readily understood from an inspection ofFig. 244.M

MThe numbers 1, 2, 3, in the centre of the various rings inFigs. 240–244, indicate whether the ring in question is a “single” or forms part of the group of two or of three, as the case may be.

Fig. 244.

The feat may either end here, the rings, still linked, being gathered together and carried off by the assistant, or the performer may link all one by one into either of the key rings, and then shake them out and scatter them on the floor in the manner already described as to the eight rings. The performance may be elaborated to any extent, the two key rings giving a wonderful facility of combination, but whatever be the passes adopted they should not be too numerous, as the trick, however skilfully worked, consists only of repetitions of the same primary elements, and the interest of the spectators will quickly diminish.

The performer should, in manipulating the rings, study neatness and lightness, rather than rapidity. The effect should be as though the ringsmeltedinto and out of one another, and the smallest appearance of force or exertion should be avoided. It has a very good effect in disengaging the rings one from another, to hold them together for a moment or two after they are actually disconnected, and then holding them parallel to each other, to draw them very slowly apart.The precise moment of their separation is thus left uncertain, the illusion being thereby materially heightened. A single ring may in this way be drawn along a chain of three or four, the effect being as if the disengaged ring passedthroughthe whole length of the chain.

The Charmed Bullet.—As a rule, people object to being shot at, and the least nervous person might fairly demur at facing the muzzle of a loaded pistol at six paces’ distance; but the magician is superior to such weakness, and will face a bullet with as little compunction as he would stop a ball at cricket. Neither must it be imagined that there is any “deception,” at any rate in the quality of the articles employed. The pistol is a real pistol, the powder is genuine powder, and the bullet—an ordinary leaden bullet—is chosen and marked by one of the audience, fairly placed in the pistol, and fairly rammed home. The pistol is fired with deliberate aim by a disinterested spectator; but no sooner has the smoke cleared away than the performer is seen standing unharmed, with the marked bullet caught between his teeth.

So much for the effect of the trick; now for the explanation. The pistol (seeFig. 245) is, as already stated, an ordinary weapon, and the only speciality of the bullets is that they are a size or two smaller than the bore of the pistol. The ramrod,b, is a plain cylinder of wood or metal, tapering very slightly at each end. The secret lies in the use of a little metal tubea, about two inches in length, open at one end, but closed at the other. This tube, which is of such a size as to fit loosely within the barrel of the pistol, but tightly upon either end of the ramrod, is placed in the right-handpochetteof the performer, and a small bag of bullets in thepochetteon the other side.

Fig. 245.

The performer comes forward with the pistol in one hand and the ramrod in the other, and having a small charge of gunpowder, screwed up in a bit of soft paper, concealed between the second and third fingers of his right hand. He hands the pistol and ramrod for inspection.While they are under examination, he asks, “Can any lady or gentleman oblige me with a little gunpowder?” Nobody answers, and he continues, addressing some mild elderly gentleman, “Perhaps you can accommodate me, sir?” The elderly gentleman naturally replies that he is not in the habit of carrying gunpowder about with him. “Excuse me,” says the performer, “but I fancy you have a small packet of powder under your coat-collar. Permit me!” and drawing his hand gently down beneath the collar, he produces the little packet. This he hands to the person who is holding the pistol, with a request that he will load it. While he puts in the powder, the performer drops his left hand to thepochette, and palms the little bag of bullets, which he forthwith produces from a gentleman’s hat, or a lady’s muff.NFrom among the bullets he requests the person who put in the powder to select and mark one. While this is done, he himself takes the pistol in his left hand, holding it muzzle upwards, and in the act of transferring it with apparent carelessness to the other hand, secretly drops into it the little tube, the open end upwards. The spectator having chosen and marked the bullet, is requested, for greater certainty, to place it in the pistol himself. A very minute portion of paper is added by way of wad, and the performer then takes the pistol, and rams it down. The bullet, of course, has fallen into the little tube, and as the ramrod fits tightly within the latter, it naturally, when withdrawn, brings out tube and ball with it. The tube and ramrod are made to match (generally black, but sometimes of brass or silver-plated); and therefore the tube, when on the rod, even if exposed, would not be likely to attract attention. The performer, however, prevents the possibility of its doing so, by holding the rod by that end, thereby concealing the tube with his hand. He now hands the pistol to a spectator, requesting him, for fear of accidents, to hold it muzzle upwards until the word to fire is given. The performer now takes up his position at thefurthest part of the stage, and during his short journey gains possession of the bullet. This is effected by sharply drawing away the ramrod with the left hand, thereby leaving the tube open in the right, and allowing the ball to roll out into the palm. The tube, having served its purpose, is got rid of into theprofonde, and the ball is either slipped into the mouth or retained in the hand, according to the mode in which it is intended to be produced.

NA muff, being open at each end, is an excellent thing whence to produce any small article—e.g., a borrowed watch, a ball, etc. For this purpose the performer should take hold of one end of the muff with the hand in which is palmed the article in question, which is immediately allowed to slide gently through the muff, and is stopped by the other hand. If this is neatly done, the keenest eye cannot detect the deception.

Some performers use several small bullets. In our own opinion, a single ball of tolerable size is not only more manageable, but more effective. The mode of producing the bullet also varies. Some, instead of producing it in the mouth, hold up a china plate by way of target, the bullet being held under the two first fingers against the front of the plate. When the pistol is fired, the plate is turned horizontally, and the bullet released from the fingers. This plan is sometimes to be preferred, inasmuch as it creates an excuse for leaving the stage for a moment to fetch the plate, an opportunity which is valuable in the event, which sometimes happens, of the ball, from an excess of wadding or any other cause, not dropping readily from the tube into the hand. To meet this possible difficulty, some tubes have (to use an Irishism) a small hole through theclosedend, so that the performer, on leaving the stage, can, by pushing a piece of wire through the hole, instantly force out the bullet.

Fig. 246.

The Birth of Flowers.—There are two or three different tricks which go by this name. Of one of them we may dispose in a very few words. It is purely a mechanical trick, having neither ingenuity of construction nor dexterity of manipulation to recommend it. The apparatus consists of a covera(seeFig. 246), a basec, and an intermediate portionb, connected withaby means of a bayonet-catch;cis beforehand partially filled with earth, and inb, the top of which is perforated with small holes, is inserted a natural or artificial plant, or bouquet of flowers. The coverais placed overb, and the apparatus is ready. The performer, drawing attention toc, pretends to sow some magic seed therein. He then placesaover it, and pretending to warm it with his hands, commands the seeds to germinate. Releasing the bayonet-catch, he removes the cover, and shows the flowers apparently just springing from the earthinc. In some of the smaller sizes of this apparatus the bayonet-catch is dispensed with, the mere pressure of the fingers on the sides ofabeing sufficient to lift offbwith it.

The trick which we are about to describe under the same title is one of a composite nature, and one which, proceeding from marvel to marvel, produces in good hands a great effect. It is divided into three portions—first, the production of a single flower, then of a handsome bouquet, and lastly, of a large basket of flowers. The performer comes forward with his wand in one hand, and in the other a little box, in reality quite empty, but containing, as he asserts, magic seeds, capable of producing on the instant the choicest flowers. “I will first show you, ladies and gentlemen, their effect in the simplest form. In the hurry of coming here this evening, I omitted to provide a flower for my button-hole. You will see how easily, by the aid of the magic seed, I can supply the deficiency. What shall it be? Clematis, rose, geranium? Suppose we say a rose. I take a single seed from my box—ah, here is a rose-seed—and place it in my button-hole.” (He applies the supposed seed to the button-hole.) “I breathe on it to supply the necessary warmth. I wave my wand—Once! twice! thrice! The seed has blossomed, you see, into a handsome rose.”

The explanation of this pretty little trick is exceedingly simple. The preliminary preparation is made as follows:—Through the centre of an artificial rose, without stalk, a short piece (about ten inches) of thin black elastic is passed, and secured by a knot on the inside of the flower. The other end is passed through the button-hole (from the outside), and thence through an eyelet-hole made for the purpose inthe breast of the coat, immediately under the button-hole. The extreme end is looped over a button sewn on the waistcoat about the region of the waistband. The tension of the elastic naturally draws the flower close against the button-hole, while yet allowing it, when necessary, to be drawn away from it to a distance of several inches. The performer, before coming forward to perform the trick, draws the rose away from the button-hole, and places it under the left armpit, whence, so long as the arm is kept close to the side, it cannot escape. When he waves his wand, with the words, “Once, twice, thrice!” he makes the first motion facing to the right, the second fronting the audience, and the third facing slightly to the left, at the same time striking the button-hole with the wand, and throwing up the left arm, when the flower, released, instantly springs to the button-hole, the slight turn to the left completely covering the manner of its appearance.

Fig. 247.

But the trick is not yet over. “You see, ladies and gentlemen, that I am not dependent on Covent Garden for a rose for my button-hole; but you will naturally say, ‘Ah! the magic seed may be all very well for a single flower, but what if you wanted a complete bouquet?’ I hasten to show you that this is equally within my power. Will some one oblige me with the loan of a hat by way of hothouse? Thank you. Here; you observe, is an ordinary drinking-glass” (this has, meanwhile, been placed on the table by the assistant), “in which I will drop, haphazard, a pinch of the magic seed.” This he does with the left hand, the right being occupied with the hat, and then, with the glass in the left hand and the hat in the right, comes forward to the audience, requesting a lady spectator to breathe upon the glass, which he immediately afterwards covers with the hat. He now requests the same or another spectator to count ten, to allow the mesmeric influence time to operate, and then, removing the hat, shows a handsome bouquet (natural or artificial) in the glass. Returning the hat, and handing the glass and flowers for inspection, he borrows a silk pocket-handkerchief, or,in default of procuring one from the audience, uses one of his own, brought forward by the assistant. Drawing it ropewise through his hands to show that it is empty, he spreads it before him, holding it by two of its corners. Having exhibited one side of it, he spreads the other, when the shape of something solid is seen to define itself beneath it, and the handkerchief being removed, a large round basket of flowers (seeFig. 247), ten or more inches in diameter by two deep, is revealed.

The reader, with his present knowledge, will probably have already conjectured the mode in which the bouquet is brought into the glass. It is beforehand placed at the left hand corner of theservante, the stem slanting upwards at an angle of about 45°. When the performer, standing at the left hand side of the table, drops the imaginary seed into the glass with his left hand, his right, holding the hat, drops for a moment to the level of the table, and clips between the second and third fingers the stem of the bouquet, when, by simply bending the fingers, the bouquet is brought into the hat after the manner of the cannon-ball. (Seepage305.) When the hat is placed over the glass, the bouquet is naturally brought into the latter.

We may here mention that there are bouquets of a special and rather ingenious construction, enabling the performer, in the act of producing the bouquet from a hat in the above or any similar trick, to cause it suddenly to expand to three or four times its original size. The bouquet is in this case made of artificial flowers, stitched on a framework forming a kind of miniature parasol, with a very short handle. The bouquet, when introduced into the hat, has a slightly conical shape, but the performer in withdrawing it puts up the parasol, so to speak, thereby spreading it to twelve or fourteen inches’ diameter.

Fig. 248.

Fig. 249.

The production of the basket of flowers from the handkerchief is produced by wholly different means, and will require a somewhat minute explanation. In the first place, the flowers are secured to the sides of the baskets by silk or wires, so that they cannot fall out, in whatever position the basket is placed. To the basket are attached two black silk threads. The one (which we will calla) is about eighteen inches in length, and is attached to a button on the performer’swaistband, immediately above the front of the left thigh. Obviously, therefore, the basket, if fastened by this thread alone, would hang down loosely in front of the performer’s left knee. The second thread (which we will callb, and which is attached to the edge of the basket at a few inches’ distance from the first) is only three or four inches in length, and serves to suspend the basket behind the back of the performer (concealed by his coat) until the proper moment for its appearance. For this purpose it has a small loop or ring at the loose end, and this is attached by means of a strong short needle, after the manner shown inFigs. 248and249(the latter representing a slightly enlarged view of the attachment), to the waistband of the performer. The needle carries a third threadc, which, passing through the cloth of the trousers, is brought round and attached to the centre button of the waistband, being concealed by the edge of the waistcoat. Themodus operandiwill now be easily understood. The basket is in the first instance suspended by the threadb. The performer, while spreading the handkerchief before him, ostensibly to show that it is empty, crooks the little finger under the edge of his waistcoat, and pullsc, thereby withdrawing the needle, and detachingb. The basket, being no longer held back byb,falls, but is compelled byato swing round in front of the performer, who, while lifting it, still covered by the handkerchief, breaksa, and thus altogether releases it. The object of passing the needle through the cloth of the trousers is that it may not fall forward and be seen whencis pulled.

The contrivance last above described is the invention of Robert-Houdin, slightly simplified, however, inasmuch as he employed, in place of the needle, a little wire bolt working on a metal plate attached to the back of the waistcoat; but the principle in either case is precisely the same.

Fig. 250.

The Mysterious Salver.—This is a tin tray (seeFig. 250), ornamentally japanned, and of about twelve inches in diameter. There is a space of about three-quarters of an inch between the upper and under surfaces of the tray, at one side of which, under cover of the curled rim, is an opening of about three inches in width. Within this opening, so placed as to be within easy reach of the fingers of any person holding the tray, are two wire hooks, markedaandbin the figure. On gently pulling hooka, a little hammercrises up at right angles to the surface of the tray, again falling back by the action of a spring as soon as the pull is relaxed. On pullingb, a similar movement is communicated to a sort of ladled, sunk in the surface of the tray, and rising up in a direction parallel to that of the little hammer already mentioned. This ladle has a flat tin cover, hinged very loosely upon its outer edge (so as to open of its own accord when the ladle passes the perpendicular position), and japanned in such manner as to represent one of a circle of medallions formingpart of the pattern of the tray, and therefore little likely to attract attention. If any small article be beforehand placed in the ladle, andbbe pulled, the article will naturally be flung out upon the surface of the tray. In practice, however, the salver is always used in conjunction with a little glass tumbler, about three inches in height, which, being placed upon the medallion opposite to that which forms the cover of the ladle, the contents of the latter fall into the glass instead of upon the tray.

The salver is generally used somewhat after the following fashion:—A little round brass box, say an inch and a half in diameter and an inch deep, is handed to the audience, with a request that they will place any small article (such as a coin, a ring, a watch-key) in it. All necessary precautions are taken to prevent the performer knowing what the articles in question are, and the box is, for still greater security on this point, wrapped by the performer in a handkerchief, and handed to one of the audience to hold. The reader, with his present knowledge of the little faith that is to be put in the acts of magicians, however apparently straightforward, will readily conjecture that at this point there is a substitution. The performer, apparently wrapping up the box which has just been handed to him, really substitutes another of similar appearance, sewn in one corner of the handkerchief. This latter, which contains two or three metal buttons, or other objects adapted to cause a rattling when shaken, is so arranged that when the lid is pushed home a piece of cork within is pressed down upon the buttons, and they are made silent; but if the lid be raised ever so little, and the box shaken, they rattle. This latter is the condition in which the box is wrapped in the handkerchief.

The performer, leaving the dummy box, wrapped up as above, with the spectator, retires for a moment in order to fetch the salver. This gives him the opportunity to take the articles out of the box, to note what they are (we will suppose a ring, a florin, and a locket), and place them in the “ladle” of the salver. The empty box he places in one of hispochettes. He now brings forward the glass and salver, together with a paper lamp-shade (similar to those placed over the lights of a billiard table), wherewith to cover the salver while the supposed flight of the objects takes place. He firstshows that there is nothing in his hands, on the salver, or in the glass, and then places the latter in its proper position, and covers the whole with the paper shade. His assistant holds the salver, using both hands, with his right in such a position as to have control of the hooksaandb. The performer requests the person holding the box to shake it, in order to show that the articles are still there. He then addresses the company to the following effect:—“Ladies and gentlemen, allow me to remind you of the position of affairs. Some articles, unknown to me, have been placed by yourselves in a box. That box has not been in my possession, even for a moment, but has remained ever since in the hands of the gentleman who is now holding it. Here, as you see, is a little glass” (he raises the shade with the left hand), “perfectly empty. I shall now, by virtue of my magic power, order the articles in the box, whatever they may be, to leave the box, and fall into this little glass, and I will tell you by the sound of each as it falls what the article is. Let us try the experiment. First article, pass!” The assistant pullsa, and the little hammercforthwith strikes the glass, simulating to some extent the sound of a small article falling therein. “That, by the sound, should be a coin, I should say a florin. Hold tight, sir, please. Second article, pass!” Again the assistant causes the hammer to strike the glass. “That, ladies and gentlemen, is a ring. You must hold tighter yet, sir, if you mean to defy my power. Third article, pass!” This time the assistant pullsb, causing the ladledto rise, and to shoot out the three articles together into the glass. “That, I should say, was a lady’s locket. Fourth article, pass!” (This is a mere blind, and elicits no response.) “Ladies and gentlemen, there were three articles placed in the box, a ring, a florin, and a locket, and you will find that they have now all passed into the glass.” (He removes the shade, and shows that they have done so.) “May I trouble you once more to shake the box?” The repeated injunctions to hold tighter have naturally caused the holder to press the lid home, and the box is therefore silent, corroborating the assertion that the articles have departed. “Now, ladies and gentlemen, having conjured away the contents, I shall now proceed to conjure away the box; but this time, by way of variety, I will do it visibly. Attention!” He takes one corner of the handkerchief with his right hand.“Now, sir, when I say ‘Three,’ will you please drop the handkerchief. One, two,three!” The performer shakes the handkerchief and pulls it rapidly through his hands till the corner containing the box comes into the left hand, the box having apparently vanished. “The box has gone, you see, but where? that is the question. Pardon me, sir, you have it in your pocket, I think,” addressing some elderly gentleman of innocent aspect. With the handkerchief still dangling from his left hand, the performer thrusts the other hand into the waistcoat or breast-pocket of the individual in question, and produces from thence the missing box, which he has a moment previously palmed from thepochette.

The weak point of the trick, as above performed, is the sound of the hammer on the glass, which is but a poor imitation of that of coins, or the like, falling into it. In some trays the hammer is altogether dispensed with, the performer himself holding the tray, and the necessary sound being produced by the assistant actually dropping a coin into a glass behind the scenes, as near the standing place of the performer as possible. This latter plan is much to be preferred.

A further improvement consists in the use, in place of the salver, of a small round table, orguéridon, made on the same principle (without the hammer), and worked by pulling a string from behind the scenes. With a little dexterity, the articles may be introduced into the “ladle,” while in the act of placing the glass upon the table, or of moving the latter to the front of the stage, though it is more usual to do this behind the scenes, and then to bring the table forward, as described in the case of the salver.

The trick may be varied by borrowing four half-crowns or florins, duly marked, which, being exchanged, and their substitutes placed in the half-crown casket (seepage202), are thence made to pass one by one into the glass.

The Vanishing Die.—The effect of this trick, in its simplest shape, is merely to make a die, some three inches square, pass through the crown of a hat, and be found inside. The trick in this form is but a poor and transparent affair, but it is sometimes useful as affording a pretext for borrowing a hat which you design to make use offor some other purpose; and it furnishes the germ of two or three really effective illusions. The apparatus consists of three portions—a solid wooden die, generally painted black with white spots, a tin counterpart thereof,—fitting loosely over it, and exactly similar in appearance, but with one side open,—and an ornamental cover of thin pasteboard (sometimes this also is of tin), fitting in like manner over the hollow die. The trick is worked very much after the manner of the “cone,” recently described. The performer comes forward, having the solid die in the one hand, and the cover, with the tin counterpart within it, in the other. Placing these on the table, he borrows two hats, which he likewise places on the table, mouth upwards. “Ladies and gentlemen,” he commences, “I have here a block of wood” (he lets it fall on the floor, the sound sufficiently indicating its solidity, and again picks it up), “and a cover of simple pasteboard.” He places the cover over it, as if merely suiting the action to the word, and in again removing it, leaves the tin die over the solid one. “If any one would like to examine it, he is perfectly welcome to do so. I have here also two hats, borrowed haphazard from the audience, and, as you can all see, perfectly empty, and not prepared in any way. Now I propose to make this solid die” (he tosses it carelessly into one of the hats, and again apparently takes it out, but really takes out the hollow shell only) “pass right through the crown of one of these hats, and fall into the other.” He places the hats one upon the other, mouth to mouth, and the tin shell, with the opening downwards, upon the uppermost. “Here is the die, which I cover, thus. Now, at my command it shall pass downwards through the hat. One, two, three! Pass! See, the cover is empty” (taking it up with gentle pressure, so as to lift the shell with it, and placing both on the end of his wand, proving, apparently, that the cover is empty), “and here, in the lower hat, is the die. Let us try the experiment again. I will replace the die in the lower hat. One, two, three! Pass!” He lifts the cover, without pressure, leaving the hollow die on the upper hat. “It has obeyed, you see. Once more. One, two, three! Pass!” Again the cover is empty, and again the die has passed into the lower hat.

The Die Dissolving in a Pocket Handkerchief.—The tricklast described has two drawbacks—first, that it is very generally known, and, second, that the principle is rather too obvious, the secret being very easily guessed, even by persons not endowed with special sagacity. There is, however, an improved form of the same trick, in which an additional element is introduced, whereby these disadvantages are, to a great extent, removed.

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