1

2

Magic And Magicians

r. Ellis Stanyon published his

so

o

MAGIC hide what

l

on

ced that the study of

me, so

Mmonumental MAGIC magazine from 1900 to 1914. Publication was interrupted by the First World War, that terrible confrontation which changedmany things in Europe. After the war, MAGIC was again published, sadly, for a short span: from September 1919 tJune 1920.

The pages of even today we might term a veritable treasure of Magical Knowledge. Here you can findfrom the smallest of pocket tricks to the biggest illusions of the day, passing through the whole spectrum of magic: card and coin tricks, mental effects, silk and ball tricks, magic with liquids, chemical and fire tricks, and still a lot more.

But besides the tricks and secrets, Stanyon's MAGIC is also a priceless bibliographicaand historical reference.

In this latter context, Stanypublished what he termed "Explanatory Programmes" being the sequence of tricks inthe acts of the Magic Stars of his time which he commented upon, adding his own explanation of the effects in question.

I am convinmagicians' programs in general is a valuable learning tool. Old magicians' programs in particular, offer us many ideas, mostly unknown in our ti

Explanatory Programmes All the following programs have Mr. Stanyon's explanations to the tricks described. Hyperlinks to other references and explanations have been added.

Nicola (Lahore, India--February 1911)

Carl Hertz (Empire--December, 1903)

Carl Hertz (Hippodrome, August, 1904)

Horace Goldin (Palace Theatre--June, 1900)

Horace Goldin (Palace Theatre--July, 1901)

Horace Goldin (Palace Theatre--May, 1907)

More to come!

3

much so that we might even categorize them as "original."

For the reason stated above, I have de

essary,

al. More hat

allow re of

cided to begin publishing these programmes here, adding, when neclinks to Mr. Stanyon's references. I hope this job meets with your approvthan that.... my purpose is tby placing this information at the reach of all TLPP's members it serves as an educational tool that willall of us to further the fututhe Art of Magic by gaining a better understanding of its past.

Marko

Stanyon's Explanatory Programmes Taken from the pages of his MAGIC magazine (1900-1914 and 1919-1920)

Nicola and Company of Sensational

April-June 1911

Mystifiers Lahore, India, February, 1911 Published in Stanyon's Magic,

4

Particulars of this programme very kindly communicated to me by Lieut. R.S.H. Townshend. The following : stage assistants are used

1. A Burlesque Conjur2. An assistant about the sa mer,

with a moustache. 3. A short lady assistant. 4. A lady assistant of medi

istan

For convenience the assistants above-named are hereafter refe d

4) then enter and stand one on either side of stage.

f the assistants who places

it aside on table for use in the umbrella trick which follows.

former covers candle with handkerchief, then raising the latter reveals

d

reast

n up in a piece of cloth and given to assistant

(3) to hold. Performer now produces, magically, eight pieces

red

A very young Nicola on a photograph published

in 1905.

er and Juggler, Prof. Dossky. me height as the perfor

um height. 5. A third lady ass t, duplicate of No. 4.

rre to by their respective numbers.

Curtain rises revealing stage set with various magical paraphernalia. Two lady assistants (3 and

Tree from Walking Stick.--Performer enters carrying stickand hat, handing the latter to one o

He then stands the stick, provided with a point for the purpose, upright in centre of stage; a moment later he raises the stick revealing a tree. Coloured features arranged on steelred previously concealed in hollow stick.

Candle Changed to Bouquet, &c.--Lady assistant (3) brings on candle in holder, also handkerchief. Per

feather bouquet, candle having disappeared; same method as tree from stick, dummy candle being laid aside in handkerchief. He then takes bouquet from candlestick, ancauses it to multiply into two bouquets, handing one to each lady assistant. Second bouquet obtained from left bpocket in left hand, the two placed together surreptitiously then separated.

Umbrella and Ribbons.--Umbrella opened and shown, theclosed and rolled

of silk ribbon these are rolled up and placed in the hat aforementioned which is held by assistant No. 4, pistol, umbrella pulled from roll of cloth and found minus cover, but with a piece of ribbon hanging from each rib. Umbrellaclosed and replaced in roll cf cloth, and its cover discove

5

in the hat in place of the ribbons. Cover replaced in hat, pistol, when the umbrella is once more pulled cut of the and found restored, and the ribbons are discovered in the hat shown otherwise empty. Trick hat with division hinged acentre to fold over to either side would be best for this trick, but I have already given a

roll

cross

full explanation of two methods of performing it, in MAGIC for July, 1907.

Umbrella Changes to Table.--Umbrella brought on and stuck upright in the floor changes to small table; the usual mechanical piece.

s to conjuring pistol and shoots same on to

point of sword held some distance away by an attendant. The

at

length of stout black thread and place it in a pocket; pass the free end of the thread through a small eyelet at the

ck

er the muzzle. The centre of the silk is pressed over a hook held in position by a mechanical

l

r

Handkerchief Shot on to Point of Sword.--Performer loadsilk handkerchief in

silk loaded into pistol either remains in same in separate barrel, or is palmed out by means of the well-known loose cup; the duplicate is released at the right moment from the hand of assistant, being drawn to the point of sword by tension of a length of elastic, the opposite end of which hasbeen previously passed down inside the blade and fastened the hilt.

Another method is as follows: Tie the handkerchief to one end of a

point of the sword; then grasp it firmly in the left hand, holding the sword in the right hand. Extending the right arm will then pull the handkerchief out of the pocket on to the point of sword when the whole may be placed aside. Blaeye glass cord is perhaps better than thread, and the length is best found by experiment.

N.B.--There is another form of pistol arranged to vanish a handkerchief laid visibly ov

device and attached to a length of elastic passing down the barrel, out at the lower end, and down the side of the butt to the extreme end of which it is fixed at high tension. On a pulbeing imparted to the trigger the hook is released and forthwith flies to the opposite end of the barrel carrying the silk along with it. The barrel is specially made of brass tubing, 8-1/4 inches in length, and of the same diametethroughout. Percussion caps only are used with this pistol.

Up to this point the performance conducted in silence.

6

Chinese Rings.--Performer introduces eight or nine rings, telling their history with a strong American accent, then going

examination.

cloth from nd bows; throws cloth over table, then raises it,

and shows candle gone out; again throws cloth over the

on ith

hands a wooden ball with a hole through it for inspection; taking back the ball drops it over rod, when it

," t

th

ling "load" hanging on front of person. Body of drum placed behind front

r

;

a and

ub uced

amongst audience offering each and every ring for

During the examination assistant (1) enters with small table on which is lighted candle in holder on cloth; jerks under candle a

whole, then raises it and shows that candle has vanished--taken away in cloth--and retreats.

Performer returns to stage, changing the examined rings the way for the usual trick set of twelve. Usual business wthe rings.

Rising and falling Ball on upright rod.--Shows a nickel-plated rod which he screws to an iron base and places on table. Next

rises and falls at command. It is further made to reply to questions, rising and failing, once for "Yes," twice for "Noand three times for doubtful," Funny business for this effecexplained at length in last issue of Magic in connection withe talking hand. (Thread tied to top of rod).

Drum Trick.--The usual nickel-plated band and two rings made up, apparently empty, in front of audience, Assistant comes on carrying two sheets of paper concea

sheet of paper and ring pushed on to make paper end. The paper is then taken from assistant and reversed, showing drum empty. Returned to assistant in this position, and reapaper then removed and pressed over open end of drum with the remaining ring, the "load "made up similarly being pushed into drum through rear paper end at the same timethis leaves both ends apparently intact. Paper end of drum now broken and quantity of small flags produced and placed on tray brought on for the purpose and containing pagodlarge U.S.A flag on telescopic staff. Bundle of flags lifted from tray, and pagoda produced from same (hung up), followed by flag on staff--performer retires. Ribbon running from pagoda is caught in tub held by assistant; my correspondent does not say, but I presume this is the trick tto release ducks or pigeons and which appear to be prodfrom the ribbons.

7

Trick with Borrowed Rings.--Performer reappearsborrows four finger rings, receiving same on a short stick, change in usual manner and dummy rings dropped on plate, He proceeds to dro

and

p three of the rings, one at a time, down the barrel of a rifle, forcing each down with a heavy ramrod

t go

ll

ght

he

rium,

to the consternation cf the owners; the fourth ring will noin the rifle, and is forthwith made tractable by means of a hammer. The hammer is brought on by assistant (3) who receives the borrowed rings and retires to attach them by ribbon, one to each of a like number of the performer's business cards; they are then placed in a small box suspended behind side table to be taken on stage as required, Rifle is then fired at a nest of boxes which has been hanging in fuview from the outset. Box opened, and another one discovered inside, removed and placed on the table brouon at this moment, for the purpose. Several other boxes discovered, the last one being minus a bottom to admit of tprepared one being loaded into it from servante. Removing the last box the performer takes same into the auditoallowing the owners to open it and remove their property.

N.B.--A more interesting form of this trick, and explained in greater detail will be found in Magic for July, 1910, page 76

Rising Cards.--Four persons each call out the name of a ca

.

rd the performer removing each from the pack then handing the

the pack in the left hand, the right hand being held aloft. The

ght

ic

whole for inspection, and allowing any person to shuffle the chosen cards with the rest. He then returns to stage, holding

chosen cards then rise from the pack one after the other and pass upwards into the right hand. The fourth card started rising rather fast, and was told to return and rise slowly, which it did; then when it had reached the right hand, the performer walked away, leaving it suspended in mid-air. He then signed to the card to come down, which it did, sinking towithin a few inches of the floor; it then rose again to a heiof about five feet when the performer took it, and at onceshowed it back and front.

As the cards are called out an assistant behind scenes takes duplicates from another pack, every card of which is providedwith a "lip" on its back, as explained and illustrated in Magfor February, 1901. The duplicate cards are placed on the top of another duplicate pack, Which is then placed on the

; servante of a small side table, and carried on by the assistantall this is done while the chosen cards are being shuffled into

8

the pack by a spectator. Returning to stage performer walks behind table and changes the pack for the prepared one.

The cards are caused to rise by means of a thread stretched right across the stage from either wing, and at a height where the performer can just reach it with the extended right hand. The thread passes over bright nails driven into each wing and to both ends, which should reach nearly to the floor, are tied a

st card. The right hand is then passed across, above, and below the pack, and seeming

the of

r y explained the

few cards to act as counterweights.

The right hand is first raised (to secure the thread), and a cardcommanded to rise, This failing, the hand is lowered and squares the pack together at the same time the thread is passed under the "lip" of the rearmo

all round it, in order to prove the absence of any connection, the card meanwhile being kept from rising by pressure of left thumb. The right hand is then raised again, pressure left thumb relaxed, and up goes the card; it is brought down again, and placed in front of the pack in the left hand, the same action sufficing to place the thread under the "lip" of the next card to rise. Repeated for the remaining cards. The effect of the suspended card will be managed by attendants in eachwing manipulating the ends of the thread as required. This trick was well executed and well applauded.

Cards Jump from Glass Tumbler.--Another pack of cards placed in glass tumbler when every card jumps out with the exception of one. My correspondent does not say whether onot this was a selected card. But I have alreadtrick at great length and with variations in Magic for February and May, I904.

Throwing Cards to all parts of the House.--A full explanation, illustrated, of this skilful trick will be found in my "Conjuring with Cards," pp. 15-17, q.v. In this case the cards so distributed bore the photograph of the performer.

Chinese Rice Bowls.--Fully explained in MAGIC for1904, in conjunction with a new method of vanishing a glassof water, the water reappearing in the bowls in place of the rice.

March,

Collapsible Table.--The above trick concluded the Rice Bowls were carried off on tray by an assistant, The performer then snatched up the table, which folded up very rapidly into

9

the form of a gladstone bag, carrying which in one hand he bowed and retired.

dy.--The second part of the programme is opened by Prof. Dossky, who comes on attired as a tramp juggler, followed b ooden cow-atcher in front; this comes on by itself, travelling from the

right hand rear corner of stage to centre of footlights. Sloping

it

a, with

ts

man e

oy pistol at the fisherman, who

disappears. He then walks over to one of the hens, which lays

er

that

, then the whole ship disappeared.

The disappearance of the fisherman was effected in a similar

End of Part I. Curtain.

Juggling and Come

y a perambulator with a wc

stage and front wheels set to describe the quarter circle wouldaccount for the movements. Performer pushes the perambulator back the same way behind the wings, whenonce more rolls down the stage to the footlights. He then takes three bails from the perambulator and juggles with them; then with four balls; also tricks with cigars, hats, plates, coin on umbrella, etc. Back scene represents the sesome rocks on one side, beyond which is some pasture land. There is a cock, 2 hens and a cow on the land, a fisherman on the rock and a man o' war on the sea. Suddenly loud reporare heard and puffs of smoke come from the side of the man o' war; then a shell comes on from the side and hits the performer on the head, then two more shells arrive with a crash on the stage. First shell rubber ball painted; the other two made of wood.

The performer here produces a toy pistol and fires at theo' war, which sinks slowly. The fisherman is then seen to bstruggling with his rod and line, having apparently hooked alarge fish. Performer fires the t

an egg in his hand; the other then does likewise. Then suddenly noticing the cock, he advances towards it, and placing his hand near, receives another egg. He then seizes the cow's tail, which he works up and down like a pump handle, at the same time holding a glass under its udder. The glass is rapidly filled with milk, with which the performretires to refresh himself.

The sinking of the man o' war is accounted for by the factthere is a slit in the scene through which it is pulled (downwards). The sinking was most realistic, the bow sankfirst, followed by the stern

manner. The eggs were dropped through small slits in the

10

scene, and the milk was poured through a small holeaid of a funnel. The cow's tail was made of a piece of cloth, filled with some soft material, and was sewn to the scene in a manner to enable the performer to work it about as described.

The third and last part of the programme as follows:

Spiritualistic Cabinet.--Low narrow oblong platform on six

with the

short legs wheeled to centre of stage; on the platform is a creen-like arrangement which is then unfolded and arranged

roufront, a separate piece put on afterwards, consists of a

ed

s, nd the

(via a secret door in the back), after the same had been shown d and

d to admit of all parts of outside being once more inspected. Other methods are a run-down

made

Handcuff Tricks.--The usual business, a full explanation of

snd back and sides of platform to form a Cabinet. The

framework having two doors each with the usual diamond shape opening with blind hanging inside each. Doors opento show the interior empty, then closed and the cabinet wheeled round to show all sides. Sticks, bells, tambourine&c., were then placed inside the cabinet, doors closed ausual manifestations took place.

Evidently done with the aid of an assistant, probably concealed at the outset behind the screen-like arrangement onthe platform when this was placed in position he would be standing on a small step at the rear, ready to enter the cabinet

empty and closed, and to admit of it being turned rouninspected as described.

In conclusion the assistant would again pass through the secret panel on to step at rear. Cabinet opened and pushed to rear of stage (to admit of assistant escaping through trap in scene), then turned roun

shot from trap in rear scene to rear of cabinet, folding mirror inside cabinet, &c.; or the several methods worked in conjunction with one another, arrangement and timing of thevarious movements, &c.

The Multiplying Chair.--The performer snatches up a chair, and, pulling it quickly apart, there are two chairs. One to telescope over the other.

which I have already given in MAGIC, for November and December, 1902, and January, February and March, 1903; sealso my No. 13 Serial,

e t Handcuff Tricks.""Grea Nicola issues

11

a handbill bearing a friendly challenge to the police and others to bring their own handcuffs (regulation), and try to secure him. He came to the front of the stage and asked if anyone had brought any handcuffs. About six people walked, up and took chairs on the stage, each having pair of handor leg-irons--evidently planted. He proceeded to have these placed on one or two at a time, then went under canopy, ancame out again with his hands free and the handcuffs open. One pair of ordinary English regulation cuffs, he said, looked so easy he would take them off in front of the audience. Thishe proceeded to do--evidently faked.

Handcuff, Sack and Box Illusion.--I have already given a

cuffs

d

full explanation of this in MAGIC for October, 1903, q.v. A later method of escape from the sack in the box, is for the performer to be genuinely tied up by anybody in an ordinary

.

he

, yet effects his escape, as is necessary under the circumstances, in

,

sack and to cut this open at the bottom from corner to cornerThe performer gets out and the lady gets in via this rough opening. Then, in conclusion, and when the box is opened,the lady stands on the bottom of the sack so that it cannot be inadvertently raised. The committee then examine the seals and finally open the sack, which the lady pushes down intothe bottom of the box, then steps out and closes the lid. As tsack was carefully examined in the first place no one wants tolook at it now; all the same if they do--they don't.

Milk Can Escape.--For my explanation of this illusion, where the performer, completely immersed in water, milk or other fluid, is locked in a large galvanised iron can

less than a minute, see MAGIC, for January and February1909.

A Topsy-Turvey Illusion.--A lady is strapped to an iron frame, which is then bolted to the back of a narrow upright cabinet, only just large enough to hold the lady in this position. Cabinet closed-pistol---opened, and lady found

sed up on

ng the r of

upside down, i.e., standing on her head. The two lady assistants, Nos. 4 and 5 (doubles) are necessary for this illusion. The one, fixed to a duplicate iron frame, is pasthrough the stage upside down, and fixed in such positionthe back of the cabinet; this is done under cover of fixiother lady in position at the same time. Then, under coveclosing the doors in front, a hand is placed on the back of the cabinet, which is turned round, being pivotted top and bottom, and the trick is done.

12

N.B.--A detailed explanation of the above illusion will be found in MAGIC for November, 1906.

Doll Changed to Lady.--Box on low stand wheeled round by attendants, that all parts may be inspected. Lid and front

ox tol fired, then box

opened and found to contain lady dressed like the doll. See

opened to show empty, then a small doll placed in a little band put inside the larger one--closed. Pis

my explanation of the Beau Brocade Illusion, in MAGIC for October, 1909, and which applies.

Production of Diogenes from Glass Lined Trunk.--Trunkshown empty and lined all over with pieces of plate glass, then closed, apparently empty. Pistol fired, then trunk openedrevealing Diogenes inside. Evidentl

y another version of the

Beau Brocade Illusion referred to above.

ed to float upwards and continued so to move slowly until it reached the

the e

respect

. Varma, I.S.C., of Paina, India.

Novel Suspension.--Nicola laid himself down flat on the table, his hands stretched back. Dossky from behind then joined his hands together and placed his finger tips on the performer's nose. His body then commenc

perpendicular, heels in the air, and apparently balanced byfinger tips on the performer's nose. Invisible wires seem thonly solution.

N.B.--In addition to the valuable help rendered me in to the above programme by Lieut. R. S. H. Townshend, I have also received similar assistance from my esteemed subscriber, R. P

The above explanations are my own, i.e., they are not necessarily the methods employed by Mr. Nicola.

13

Carl Hertz Empire, Dec., 1903 Published in Stanyon's Magic, January 1904

al evening attire, white gloves aking short introductory

other and vanishing ball in the act of giving it

containing two canariand placed in paper b ed up, and suspended on brass stand made for the purpose. Blows paper bag to bits with revolver, and

Enters, conventionand wand, and while mspeech, removes gloves, rolling one up inside the

stage attendant (pass I. from L. H., wand, and left tail pocket).

long brass bird cage, on mahogany base, es. Both birds are openly removed from cage, ag, which is screw

Next introduces an ob

birds reappear in the same cage held by stage attendant. I have already explained, in a recent issue, the methods employed in re to the bag. The cage, in this case, was separated from the wooden base, and both parts twisted about for examination, then put together again. The base is simply a wooden frame about 2-1/2 in. deep. There is a spring blind roller at one end upon which is rolled a black blind. This is pulled out

14

and the free end is attached to the opposite end of cage. This is the normal condition of the cage. There is now a rod running across the centre of cloth bottom, from side to side, and to the centre of this rod isfixed a ring; if now the blind be pulled still further out, and this ring behooked on to the end of a moveable lever on end of cage, a bag of cloth will be left hanging down, but concealed by the depth of the wooden base. It is into this bag that the duplicate birds are put; and it will now be seen that a touch of the lever will cause the "blind" to run back to its normal position setting free the birds.

Next follows the Noah's Ark Illusion, in connection with which MdllD'Alton plays her part extremely well, and with much dispatch.

e An

explanation of this illusion will be found in "Magic and Stage Illusions" (Hopkins).

al stops esire (no confederates); also tells the number

thrown by a pair of dice. The dice have, doubtless, the same number oh quests

Crystal Clock Dial suspended on brass stand. The pointer is removable, and both parts examined. Pointer set spinning on diat any hour audience d

each of their six sides, as after the throw is made, performer rethat they be not uncovered until the the pointer stops; when therefore the pointer stops and the cover is removed all attention is rivetted onthe upper side of the dice to check them with the clock. Performer quickly picks up the dice, and probably changes them for a different pair when handing them to another spectator. The clock then tells the number that will be thrown, which is, of course, equally simple. To prove the absence of wires, threads, or electricity, the clock is next held by member of audience, and stops at any hour called. The construction of the clock, to stop as required, will be found explained on p. 11 of this Volume.

Vanity Fair Illusion (see "Magic" by Hopkins), follows next inMddle D'Alton again takes part.

which

Performer next introduces a six sided bowl about 12 inches diameter.

ecial stand, in line to make as much display as possible. Performer next shakes bowl which drops into the

l ropped

The bowl appears empty, but from it are drawn six boquet streamers, each of which are hung upon a sp

form of a six sided pagoda; this is also hung up on stand in front of boquets, and a large quantity of paper ribbon is spun out from bottom of pagoda. One rabbit is produced from ribbon, and the one rabbit is multiplied into two rabbits in the bare hands (usual methods).

The two rabbits are now placed on centre table, and one rubbed into the other (rabbit trap); the remaining rabbit is thrown in the air severatimes in the vicinity of servante at rear of centre table, finally d

15

into servante as other hand fires pistol at rabbit supposed to be in midair. The vanished rabbit is next produced from collar of gent's coat in audience (performer gets close up to gent and introduces with his right hand duplicate rabbit from his own pocket, under gent's coat. He then thrusts bis left hand down back of gent's coat to meet the right hand; the rabbit being passed from the right to left hand and forthwith drawn from the collar. It seemed to me the gent was a trifle ruffled, and I am pretty sure the rabbit came in for its share of the treatment.

A small oblong tub was next placed on a stool and filled (by the performer) with the ribbons extracted from the pagoda. Thre

-

e live ducks then made their appearance out of the ribbons, or what is more

bons.

meantime are arranged at rear of stage, one on each side, a couple of

e n

floor to ceiling.

ried unts the steps and takes up her

position in the right hand cabinet as you face the stage. The door of

is

ried on to stage by attendants;

she is most perfectly disguised in Chinese robes, wig., etc., and

et on

ouble (presumably performer)

likely from the trick interior of tub, and into view, through the rib

Chinese Pagoda Illusion. Performer next openly attires himself in a loose fitting silk chinese costume, trousers, coat and wig: and in the

small cabinets, each cabinet being mounted on a skeleton scaffolding and accessible only by a pair of steps. Each cabinet is square with ondoor in front and only large enough to contain comfortably, one persoin a sitting posture.

The interiors of cabinets are lined with a sombre fancy design, the patterns running from

A lady attired chinese costume and seated in sedan chair is now caron to stage by attendants. This lady mo

cabinet is shut. The performer next takes up his position in the opposite cabinet, door is shut and steps removed, pistol is fired, No. 1 cabinet isopened and found empty, No. 2 is opened and in place of performer found the lady from No. 1, while the performer discovers himself in the guise of one of the stage attendants.

Here is an explanation of the Chinese Pagoda Illusion. The lady stepsout of the sedan chair in which she is car

consequently it is difficult if not impossible to distinguish her from her"double" especially as the two are never seen together for comparison. This lady mounts the steps and takes up her position in the cabinthe right of stage probably sits on half-round shelf attached to bottom of revolving back of cabinet, which carries her to the outside at rear so that cabinet may be shown empty.

Performer gets clear away under the pretext of pushing attendants with sedan chair off stage at wings. His d

16

instantly reappearing and taking up his position in cabinet on opposite side of stage, at the rear of which is now duplicate lady on half rounshelf (this lady was previously inside cabinet when it was turned about to show all sides). Spring is again released which brings duplicate performer to outside at rear and lady to inside of cabinet.

In the meantime performer has donned the attire of stage a

d

ttendant and now appears as one of several of these functionaries, fires pistol and

ed

the wooden structures supporting cabinet is considerably wider than the top, evidently necessary to obtain the

Carl Hertz ust, 1904 yon's Magic, September

Wine Trick.--One side of stage set with lady at bar. Hertz comes on dressed as swell,

f

assists in placing steps against the scaffolding supporting cabinets, doors of which are now opened and No. 1 cabinet is seen empty, the lady is found in No. 2 in place of performer (having apparently passfrom one cabinet to the other)while performer pulls off his stage attendant's coat, etc., and thus discovers himself to the astonishment of an appreciative audience.

N.B.--The base of each of

desired stability of the structure for working the illusion on these lines.

Hippodrome, AugPublished in Stan1904

Novel

goes to bar and orders drinks, &c., &c. (very much &c., &c.). He eventually receives a jug owater and several tumblers, and proceeds to perform the trick described in our "New Fire Magic" as Tricks and Chemical Stanyon's Crystal Water Mystery, put he uses red wine. For the red effect,

age 11, only instead of sto es see pag9 and 10 of the book referred to above.

Eggs from the Mouth.--A couple of attendants come on, and each removes a tray used in the above trick. As they go to leave the stage

performer stops them, and proceeds to remove a number of eggs fromtheir mouths, taking an egg from the mouth of each alternately. The

17

turning about from the one to the other giving the necessary cover for obtaining the eggs.

Ribbons from Bottle.--Lady leaves bar and takes a seat at small round table with performer, who proceeds to pour out wine from bottle, then

" Illusion, the working of which

to take out of bottle a length of coloured ribbon (about two yards long), and continuing to remove wine and ribbon (perfectly dry the ribbon--the wine is wet), removing in all some six lengths of ribbon, which are handed to lady. In the midst of the revel a policeman rushes in, presumably to clear the house, and performer disposes of lady by means of the

"Vanity Fair will, doubtless, be known to most of our readers. Policeman pulls down screen from

-Performer dons long, loose robe, cap, and whiskers, completely disguising

a

le

f o

s on at

Six boquet garlands are produced from bowl about couple Of inches deep. Bowl changes into pagoda with paper

ed

placed on small Indian box table, ribbons (taken from pagoda pushed into tub, and three ducks and two pigeons

mirror expecting to find lady hidden behind it, but she has vanishedcompletely. A little later she reappears at the "wings."

Cabinet and Vanishing Lady (from Table) Illusion.-

himself as a monk. Meanwhile lady (employed in previous illusion)goes into the cabinet to change her costume, handing out to monkportion at a time, her dress, stays, petticoat--well--&c., &c. The monkcarries off the lady's attire, portion at a time, and eventually, and whimomentarily out of sight at the "wing," is changed for his "double," lady comes out of cabinet attired in tight-fitting costume. This done, she takes her seat on chair set on rear end of oblong table (front end otable faces audience, and table is covered with cloth reaching almost tstage. Lady is covered with red cloth by an assistant and it appears that the chair is of similar construction to that employed in the old vanishing lady trick. The monk (the "double") now goes into cabinet; lady disappears from chair and is found in cabinet. Monk come"wings," and, divesting himself of his robes, reveals Hertz. Work it out!!

Bowl and Pagoda.--

ribbons running from the bottom. Garlands and pagoda are hung onspecial brass stand. One rabbit is produced from ribbon, and multipliinto two rabbits. One rabbit rubbed into the other (trap on table), andother rabbit thrown into air several times, and fired at with pistol and vanishes, dropped on to the servante in last throw. Table forthwith removed by assistant.

Duck Tub.--Small tub

come out of tub.

18

I don't know what to call the next. Call it a

Spectacular Patriotic Display, it is scarcely an illusion, A large three-Each panel is about (I am

guessing; only seen it once) 5 ft. by 3 ft. The centre panel represents a

d

s

ce.

panelled framework is seen at rear of stage,

map of the world, the panels to the right and left, respectively, the Stars and Stripes and Union Jack. Performer calls attention to the map,and proceeds to pull out from different portions of it--the different countries--flags of the particular country. Much applause was noticeable on the production of the Japanese flag. Having produced some dozen or more flags the map flies open (star trap principle), an"Britannia" (lady assistant) is seen seated on a swing. Britanniadescends, shows herself at her best, and retires. As already stated, thiis scarcely an illusion, but it is nevertheless an exceedingly pretty and interesting display, and secured the plaudits of a delighted audien

Chinese Rice Bowls.--Explained in a recent issue of this journal.

Indian Basket and Basket Cabinet Illusion.--Performer dons Indian

features), &c., &c. To remove a certain portion of his attire he, without

ens

costume, loose coat, trousers, turban (which effectually masks the

raising suspicion, goes behind portable screen, set close to drop scene, and here he is doubtless changed by means of trap in scene for his "double." To add realism to this ruse the certain portion of his attire is thrown over screen and "double" appears. "Double" gets into basket (the usual big bottom affair) and out again presumably to show it isempty. The basket is placed on table. Opens cabinet (this is made in straw painted green matching basket) and finds lady therein. Takes lady from cabinet and puts her into basket and covers basket with cloth. Next takes up bis position in the cabinet, and door closed. Policeman comes rushing on, removes cloth from basket and jumps into it, presumably to indicate lady has vanished, but rather, lady isthere all the time curled round the big bottom. Policeman next opcabinet and finds lady therein; then forth with divests himself of his policeman's garb, revealing Hertz.

19

Horace Goldin Palace Theatre, June 1900

Magic, August 1904

sting

enough, for snatching a cloth he

breast high, and G

Published in Stanyon's

Performer comes on with a rush as usual, suggenothing so much as a fire, and fire there is sure

ld in readiness by one of his several assistants, he produces a bowl of fire from its folds (for how to produce the fire bowl in the most effective manner see our issue for June last).

ck.--Assistant holds up a whole sheet of newspaper, oldin shows a nickle-plated band (drum), about 6

Novel Drum Tri

inches diameter (the diameter must be such that the performer can span it without difficulty) by 4 or 5 inches deep; also a N.P. band about 1 inch deep and large enough to pass readily over the drum. Passing the drum behind the paper anti the band in front, he presses them together, the paper thus forming one end of the drum: taking the the paper from the assistant, he shows it on all sides, returning it to assistant with the open side of drum facing audience. Taking another, and smaller piece

20

of paper, and another N.P. band he presses them on to the open end of drum to complete it: this movement neces. sitates pressure from behind, so behind goes the disengaged hand (now, not having been behind the paper, I am only supposing) to first remove from under the assistant's coat, a duplicate drum (but a trifle smaller) made up inexactly the same manner as above described and containing a load oflags of all sizes and nations, and secondly, and in the act of bringing the hand on to rear of drum to secretly force the second drum throuthe paper into the interior of the first. Taking all from assistant, performer tears off surplus paper and attaches the drum (with the aid orings on its sides) to the ends of cords (brought from wings by assistants) leaving it suspended in the air in centre of stage.

Flags are now produced from drum one by one and laid over thoutstretched arm of assistant who stands side on to audience,

f

gh

f

e when all

are out the drum is removed by assistants and cords are handed to from

f

gs.

jug

off table without moving or upsetting anything. Observe that the

see our issues for March and May last

performer who apparently attaches them to bundle of flags taken man's arm--he really attaches them to the outside corners of a pair of very large flags (Ensign & U.S.A.) joined together and taken from inside of man's coat under cover of the others, the smaller ones he grabs into a compact bundle which is hidden (as he is himself for that matter) behind the larger flags rising as the pull is put on the cords. When both large flags are fully extended performer drops bundle osmall flags behind one of them to be instantly carried away by an assistant, at same time he himself emerges between the two large fla

Trick of inertia.--Goes to table, takes some refreshment, replaces and glass on table, then takes two front corners of cloth and snatches it

objects are placed on a tray and that the cloth does not overhang the rear corners of table.

Rice Bowl and Vanishing Water,--followed next, for a full explanation of which . Performer worked the usual amusing sleight with the paper bag that had

a flower

tre , on the platform is placed a light

paper cube in size about a couple of feet, the cube suddenly changes to

e

contained the rice. The water found in bowls was poured into pot, over which a handkerchief was waved when a tree, some 12 inches high, shot up out of pot.

Illusion No. 1--A small platform on four short legs is run over centrap on stage close to drop scene

one double the size, platform is wheeled to the front and a lady jumps out of cube. A nickel-plated stave of music is now lowered from th"flies" (stretching nearly across stage) covered with N.P. notes; to this stave is suspended at regular interval an octave of "top" hats each hat

21

containing bells of a different tone. Lady produced from cube, dancesin time to band and at the same time plays the accompaniment of bells by kicking the hats as required, a very good exhibition of high kickingsure, as the hats hang about on a level with the lady's shoulders.

Weighing Machine Illusion.--This is drawn to centre of stage, The pans are some 3ft. in the air, the whole being mounted on a sort o

f box arrangement in centre. Box steps on wheels are run up to one of the

e

d

pans (the steps stand over sheet of paper spread on the floor) to enabla lady to take her position in the pan. When she is in position a curtain is dropped from beam all round her and weights ? are placed into theopposite pan to produce the supposed balance. I say supposed, because no sooner is lady covered than she must pass from pan into box steps to be wheeled away. When the balance trick is obtained a pistol is fireand pan occupied by lady goes up, while the lady or her double appears in body of hall calling out "Here I am." The curtains and skirt part of the trick are, doubtless, managed exactly similar to the illusion Escape from Sing Sing, explained and illustrated in Vol. II of "Mp. 4. The way the "balance" is really effected will be found explained and illustrated at pp. 143--6 of "Robinson's Spirit Slate Writing."

Production of Flowers in Pots on Special Tables.--See "Leaves fromConjurer's Scrap Books" (Burlingame) which besides an explanati

agic"

on

and illustrations, gives excellent "patter" for the trick, pp. 86-90.

er

smacks it heavily on the top to prove solidity, then quickly takes it by

Canary and Cage.--Explained in same artiste's programme given at p.

Trick Table.--This is an oblong ordinary looking table (about 3 ft. by2 ft.) but capable of producing an extraordinary surprise. Perform

the ends in each hand and it is instantly closed up into a compact little parcel no larger than an ordinary dress suit case and carried off in thehand by the handle as the case would be.

Aga illusion.--Latest floating lady from box in centre of stage in full light.

Eggs and Duck Tub followed next.

4, Vol. II of "Magic."

Eggs on Tray.--An explanation of this trick of Inertia will be found in "Magic" for November, 1903; see also the additional effect suggested to me by Mr. Thorn and given at p. 87 of this volume.

The Lion's Bride Illusion.--A raised cage is seen in centre of stage,

22

one half of which contains what appeared to be a lion, it may be a lion but the hind quarters rather suggested "poodle" to me; he was rather

ilar effects, so as I am getting "held up" for space will omit any explanation of this part. The cage out of the

e

ned. em.

e

electric lights, is seen suspended in centre at rear of stage, quite close to special drop scene. Ropes from the ship

a

d, down at

closely packed not at all ferocious or even demonstrative, and I couldnot get a good look at his head. (I am not attempting to under-rate the illusion, merely to explain it--use a full grown, 'forest bred LION if you like--and to cart him about, mind, and KEEP him, but that is not necessary for the illusion). The cage, for effect, is guarded by an outer cage, probably wood, but it looks like iron; the lady is introduced andhaving taken up her position in her part of the cage, the outer cage is removed in sections by the attendants and so quickly that no indication of weight is given. Blinds are drawn round the cage with the lion and his bride, the indispensable pistol is fired, curtains are raised and cageis seen empty and is forthwith pushed back (on wheels) into a special recess at rear (centre) of stage.

The disappearance from cage may be effected by three or four of the usual methods employed for sim

way a large trunk is seen in process of being lowered front the flies. Trunk comes down on slanting wire from front to rear of stage. The trunk is locked and corded and on being opened a second trunk is found within also locked and corded, in the second trunk is a third onalso locked and corded, this is carried to footlights and on being opened the bride is discovered within. The second trunk on being removed from first is doubtless placed over the trap so that lady can enter the two via the bottoms while the second trunk is being opeThe ropes on the last two trunks need not necessarily pass under thThe lion was not reproduced, which rather disappointed me, as I was anxious to get another look at him, if not to pat him or shake hands--htroubled me somewhat.

New Air Ship Illusion.--A beautiful model ,of an air ship, covered all over with various colored

attach to basket, which appears to be an imitation of a basket painted or fixed on a board, the bottom of the board touching the stage. Goldin appears in evening dress and proceeds to disguise himself by donninglong loose coat and slouch hat (I was not aware that aeronauts favoured such attire) then disappears momentarily behind 'basket,' rather altogether through trap in scene, while his double, hitherto concealed behind 'basket,' climbs into the ropes. A pistol is firecome the blind, while almost at the same moment Goldin rushes onthe wing and tearing off his disguise, speaks eloquently, though indumb show, the words, "Here I am."

The above lengthy programme is got through in something like 20

23

minutes, which goes to prove, that, whatever conjurers as a body may think, the "Show" is unique of its kind. It is certainly the most costly

al

Horace Goldin Palace Theatre, July 26, 1901

Magic, October 1901

ening attire, and

throughout in dumb-show) proceeds to produce from l

handkerchief wh a not over dangerous looking gun. Performer, by signs, indicates to audience that

ing drawn

conjuring "Show" I have ever known staged in this country. To equit, without any attempt to surpass it, one must certainly work hard and spend much money. That the performer received the curtain nightly goes to show how much the "show" was appreciated by the audience, which after all is where, to the performer at any rate, the satisfaction lies.

Published in Stanyon's

Goldin enters, in conventional evwithout speaking (the entertainment is carried on

a good sized neck-handkerchief, respectively a bowof fire (ordinary small sized bowl) and a bouquet, (ordinary Sized folding feather bouquet).

w ordinary sleights with a small sized silk ich is eventually placed over the muzzle of

Next follows a fe

he is about to shoot the silk into their midst, it disappears, beinto barrel by a spring released by pulling the trigger--(no explosion) duplicate silk, ostensibly that fired from gun, is now taken from collar.

24

Goldin next goes to a small, but firm, square table, on his right, covered small cloth and containing sundry articles as glass jug of water, tumblers, etc, etc. Taking hold of two corners of the cloth he,

and

all

t Tricks

with a quick jerk, removes it bodily from table leaving articles undisturbed. This is merely an illustration of the property of inertiamay be accomplished with but little practice. To ensure success, however, observe to place any small articles i.e. articles with smbottoms, on trays not less than 8 in. square

The next trick is that entitled New Vanishing Water, and described alength at page 4 of our "New Miscellaneous " the only exception being that a glass jug, instead of a china one, is employed.

ut 4 ft. high. Goldin standing a few paces from stand fires revolver at bag,

t a k of

be e re-

r four tumblers each partly filled with water, on the surface of the tray near the corners are placed four metal rings,

ed an

on small round top table, performer covers the lamp with a special cover leaving only about 1 in. of top

r a

A couple of canaries are now removed from a cage and placed in a paper bag. The bag is suspended on a slender wire stand abo

Whereupon the birds are seen to reappear in cage held by assistant asimilar distance on opposite side of stand. The weak point of the tricis that the birds are never seen in the hand of performer, as a matter fact they never leave the cage, but are pressed through a kind of trap bottom under cover of the forearm of assistant who is holding cage. Performer must rehearse to hold his hand and shape the bag in a manner to induce the belief that all is fair and above board. Assistant still holding cage has but to release trap when birds reappear. It may found more convenient to have a second cage, duly loaded, for thappearance of the birds.

Here follows another example of the property of inertia. A small oblong tray is placed ove

one exactly over each of the tumblers. On each of the rings is placegg small end down. All ready, performer gives the edge of tray a smart blow with the flat of the hand sending it flying into the hands of assistant--the eggs fall, into each of the four tumblers:--This experiment forms a finale to a series of Juggling Tricks in throwingand catching the eggs (see explanatory programme on page 91, also our "New Juggling Tricks").

Vanishing Lamp. A Small lamp, about 15 in. high, fitted glass globe and chimney, is seen burning

part of glass chimney visible (cover rests on top of globe). In this condition the lamp is removed by assistant, and placed on seat of atricky looking chair. Goldin holds a handkerchief in front of lamp fofew seconds, then, appearing dissatisfied with the arrangements, replaces the lamp still covered on table. A revolver is now fired at

25

lamp which collapses on table, its prototype appearing simultaneously on small shelf in centre of an elegant frame, mounted on brass supports, and standing at rear of stage. The trick is spoiled by the necessity of removing the lamp from table to chair for the purpose of ringing the changes, this is accomplished under cover of the handkerchief and with the aid of a chair provided with a revolvingback. The lamp replaced on the table is but an upright rod and a ring surmounted with a piece of talc, the pull of a thread causes thfall into the hollow centre support of table, the ring failing flat on thtable top. A second genuine lamp would be placed in readiness on small shelf at rear of revolving piece in centre of frame or if screens were placed in convenient positions, as is the case in the show under consideration, the lamp might be secretly removed by assistant fromback of chairr to back of frame.

Next in order follows the now familiar Fish Catching Trick--if the wathese fish make their presence fel

e rod to e

y t is anything to go by, they must be

real indeed.

The conjuring and sleight of hand portion of this programme was given in our last issue. Respecting the trick in which figure several canaries, a cage, a paper bag etc., and which we endeavoured to explain, a

outh

.

ttom of

reader informs us that the exact method employed is probably as follows:--One cage only is used and this contains several canaries (visible), also a duplicate set of birds concealed in a trap. In the mof the paper bag shown is gummed a smaller bag, perhaps incombustible, reaching about one third the length of the larger bagThe birds are actually removed from the cage and placed in the bag i.e., the small bag, in which they remain uninjured when thethe larger bag is blown away by the explosion from pistol.

bo

Fig. 1.

26

Second Part of Programme--Illusions. Throughout the entire show the rear of the stage represents a garden wall with an opening in the centre (see fig. 1). This wall plays an important part in the following sketch. XX is a trap and AA a couple of metal arms about two feet long. On one side of the stage at C.T.C., are a table and two chairs. Behind the table at T, and out of the way for the moment, the disappearing cabinet, originated, we believe, in the illusion known as the Escape fram Sing Sing. In centre of stage a carpet with trap XX corresponding to trap in stage. Cabinet is attached to rope passing over pulley wheel in "flies" that it may be readily moved about stage with a little help at the "wings."

,

enters canopy, the curtains of which are

g

hief, throws it up under curtain of canopy--it catches on a

s A

es

e

Goldin enters, receives a letter, and is soon afterwards joined by a ladyboth take seat at table and indulge freely in wine, eventually becomingexcited. Goldin looks at watch and twirling it round at full length of chain, it flies back into his vest pocket. Lady dances and kicks tray held high in air by Goldin. This high kicking is made for the purposeof dispelling the idea that a "trick" skirt is used by the illusion whichfollows.

A man appears at garden gate and startles the lovers, lady rushes off stage (for the purpose of changing the skirt she is wearing for the" trick" skirt), and Goldin pulls canopy into centre of carpet over trap. Lady rushes on stage and lowered to leave the bottom half of the skirt visible. Rope lowered from "flies" is attached to top of canopy, which is now raised about a yard from the floor and swung to opposite side of stage (Fig. 1). (The time taken to attach the rope to canopy corresponds to the time required, by the lady to disappear through trap on stage, her egress being hidden by the still visible skirt she had attached to cords hanginfrom the top of the curtains.) Here, performer, having made use of a handkerchook, but the supposition is that it is caught by lady.

Curtains of canopy are lowered completely hiding skirt. Performer rushes over to garden wall, and standing in front of trap, holds up lady's opera cloak to hide himself. He really hangs cloak on the armA, and disappears through trap to change his attire to that of an inspector of police.

Ordinary policeman enters, and raising curtains of canopy a trifle, sethe trick skirt, which he supposes (with the audience) to be the lady; he also looks behind cloak, and gives impression that his prisoner is there.

Three more policemen enter, one an inspector (Goldin), and enact th

27

same business.

Now for the arrest. Cloak snatched away, Goldin has disappeared, canopy lowered, curtains dropped from the top, and with them the skirt--lady has disappeared. Lady appears in auditorium. Inspector of police removes his cap and bows to audience as Goldin.

trick

A Cage Illusion.--A tall cage sufficiently large to hold a person and to

himself from view. Party dressed as Mephisto, who has been roaming

screen at side of stage (change) for revolver. Mephisto rushes forward, fires revolver, curtains drop revealing a lady

as

ks, a rather unusual proceeding, as follows:-

k of chair--paper crumbled up and duck non est. Duck was dropped behind chair.

h water some dozen pailsful being required; attendant fires a pistol, and at the same time pulls a cord

s

allow for the necessary movements is now placed in centre of carpet over trap. Cage stands on trick pedestal apparently isolating it from the floor. Goldin enters cage and pulls down curtains all round hiding

about stage, fastens down curtains to gain time, openly puts on masks, then goes behind

in cage. Mephisto throws off cloak and mask and bows to audienceGoldin.

The programme is concluded a with another series of tric

Performer fashions, from a sheet of newspaper, a conical bag from which he produces a rabbit. A large bowl is next placed on table and covered with newspaper, paper is raised and a number of ducks putinto bowl (apparently; trick table, &c.); bowl is now removed, from table, and placed on low stool and a quantity of water poured into it--water emptied out and ducks vanished.

A duck is now seemingly wrapped in a large sheet of newspaper taken from bac

A large wash-tub is next filled wit

which releases a number of ducks, previously confined in tub, and which now jump out of the water and run about stage.

The entertainment as a whole is novel and well carried out, and meritthe applause it obtains.

28

Horace Goldin Palace Theatre, May 1907 Published in Stanyon's Magic, June 1907

Curtain goes up and no less than five attendants, in uniform, are in readiness on the stage. The show is what is known as a "dumb" show, the tricks being presented-well, hardly in silence owing to the noise created by tons of apparatus in motion--but without any verbal accompaniment.

ire Bowl.--Performer comes on and taking cloth from an attendant roduces bowl of fire from same.

Water Bowl.--Large black cloth stretched between performer and one attendant, gathered up in hands to prove empty; "shape" suddenly appears under cloth and performer carries cloth over to table--cloth removed and large glass bowl of water, about 12 to 15 inches in diameter, seen on table.

Fish Catching.--Several live gold fish appear in net (not unlike a landing net) waved about in the air. Fish tipped out of net into bowl of

Fp

29

water above mentioned.

d.--Handkerchief hung over barrel of pistol ger goes to opposite side of stage and draws

Pistol and Swor iven to attendant; perform sword; attendant fires an

The Drum Trick

d handkerchief caught on sword.

.--See our "Original Explanatory Programmes" just

ive Ducks.--Small tub shown empty, placed on low and covered newspaper-sever

published.

Production of Lhexagonal stand al live ducks appear in

of Water.--See my explanation of

tub.

Rice Bowls and Vanishing Glassthe trick in MAGIC for March, 1904.

Growth of Flowers.--Instantaneous growth of flowers in empty pot stood in centre of. glass top table on slender nickel stem.

Vanishing Lamp.--Attendant comes on with lamp on wooden tray; ntre performer, standing behind tray, covers lamp with cloth (hole in ce

of cloth for chimney), lifts lamp from tray, comes forward and lamp vanishes, cloth falling to floor, Attendant retires with tray.

Trick of Inertia.--With four eggs on tray over four glasses. See our No, 16 serial.

Bridal Chamber Illusion.--Large four-posted canopy raised from

sed to enable attendant to reach to pull down blinds. t

ding two red handkerchiefs (tied together) change to two blue s

, and both get out of canopy.

ts (man and

floor on four short feet. Right hand end blind drawn down, then back blind, then blind down at opposite end, and lastly front blind down. Box steps uAttendant, pulling down front blind, left inside canopy. Pistol and fronblind goes up and canopy found Set as bridal chamber with lady in bed. Performer gets into canopy and makes several smaller tricks, incluones; also watch hung on end of barrel of pistol vanishes when pistol ifired. Pistol wakes lady, who gets up, throws sundry garments aside, dresses, with the help of the performer

Both make merry at table, take wine, wine changes to confetti, and production of bouquet. Lady dances with tray. Salvationiswoman with drum) cross stage.

Weighing Machine Illusion.--Lady disappears from pair of scales and performer from screen at rear. Woman Salvationist returns, uncovers,

30

and proves to be lady; photographer uncovers and proves to be performer.

Growth of Flowers in Pots on Table.---Collapsible Table. Made toclose up quickly to be carried off as a box, size of a 24 inch hand bag.

Aga Illusion.--Effect as described in

Magic, November 1904. Glfront of box falls down, bouquet handed to lady, back bar removed, and hoop passed over once only, i.e., attendant holding hoop at the outset probably puts it over gear before connection is made. Perforusing large magnet for effect.

Cannon and Triple Box Illusion.--

ass

mer

See our No. 16 serial.

Two new canopy illusions, effect of which we are unable to describe in m

arge tub, into which pails of water had been poured.

this issue for want of space, concluding with production of rabbit froconical Paper bag; duck pail; vanish of rabbit in paper at chair, and production of four ducks out of l

Probably the biggest and most expensive magic show yet staged.

The Chang Archives

Review of

"Un Viaje al Infierno" (A Trip to Hades)

Details of Chang's N°1 Show, "Un Viaje al Infierno" (A Trip to Hades) as given in Teatro Calderón, Barcelona, Spain, 1948. Freely translated from notes kindly provided by Mr. Angel Bellsolá Rey of Girona, Spain, to whom I am most grateful.

~ First Part ~

1. Overture. House dark. Orchestra plays.

2. The Infernal Caves. The curtain opens and the ballet dances dressed as

31

devils. Costumes glow in "Black Light" (Ultra Violet Light). Suddenly a big devil mask appe e flash and Chang ars center stage. There is a smokappears magically. cers leave the stage. A spotlight picks him and the danChang walks downstage towards the audience while a backdrop falls and all stage lights go full up. Chang talks to the audience and the show is on.

A posed photograph of Chang's "The Infernal Caves" opening.

3. The Fishbowls Jar. The double cylider trick often called "Kuma Tubes" where two cylinders are shown empty and passed one through the other and a production of silks and fishbowls follow. At the end a big jar is produced from which water is poured. Finally, Chang shows that the big jar is bigger than the cylinders from which it came and it cannot be put back in.

4. The Chinese Lamp. A square chinese box about 10x10x10 inches is shown empty and a big silk production is made. The silks are piled on the floor and finally,from the silks, a big Chinese Lamp is produced. The lamp is fully lighted.

5. Alladin's Jewels. A series of effects using rings and other jewels from the audience. At the end they appear in a nest of three boxes.

6. Tea from China. The Coffee and Milk Trick (two metal tumblers filled with confetti. The confetti magically changes into coffee and milk) plus other effects.

7. It can't b g e Done Faster. A series of productions and vanishes usinbowls, liquids and various other articles.

8. Where did it go? Vanish of a lady in a hanging cage and her

32

reappearance inside a glass tank filled with water which is in center stage.

Reappearance of the lady in the water tank

9. Paper Metamorphosis. The Egg in Fan trick.

10. From a Little House to the Mirror of Illusion. Doll's House Illusion. In the presentation Chang places a small doll inside the empty house and it turns into a real ballerina which comes out dancing, stands before a mirror and segues into the next dance number with the whole ballet.

11. The Fan Dance. Dance by the whole ballet where the girls open and close fans which change colors several times. (Color Changing Fans.)

12. Where did They Come From? Production of a huge bowl of water, Chinese style, complete with ducks swimming in the water. Then the Aerial Doves. (Catching doves with net.)

13. Where did They Go? Vanish of the doves in a breakaway box using the gag where some feathers are seen under the table and they finally prove to be a feather duster. Chang is almost alone on stage and throws all the pieces off stage to unseen assistants.

14. Walking on the A tage. She also venue. A girl with a parasol comes on s has a handbag. There is a short dialog with Chang and then he presents the Parasol Trick.

33

Chang performs the Parasol Trick

15. Behind the Scenes. The backdrop represents the front of the stage with an audience painted on it. Two of these painted spectators applaud (assistants who pass their arms through holes on the scenery). There is a production box center stage. A girl is hiding "behind" it, that is, in full view of the real audience. She enters the box through a door on the side but then another different person comes out of the box.

16. The Clown that Lost his Memory. A comedy dialog with a clown to introduce a juggler.

17. The Technicolor Circus. Chinese juggling with yo-yos (by a Chinese juggler, not by Chang).

18. The Hindu Rope. Tarbell Cut and Restored Rope Trick.

19. Lemon, Canary and er bag and it Egg. Vanish of a canary in a papreappears inside an egg which is inside a lemon.

20. A Cabaret in New York. Dance by the ballet to introduce the next trick.

21. Chang's Magic Cocktail Shaker. Any drink called for is magically produced from a chrome plated cocktail shaker. Many assistants with trays and glasses. Very well performed with a lot of details in the choosing of the drinks (beer: lager? stout?; milk: hot? cold?). He never lets go of the shaker.

22. Television. The card between glass plates, jumbo version. TV wasn't yet implanted and this gave Chang his patter theme about the possibility of transmitting the image of a chosen jumbo card.

34

23. Cha. Dance number by the ballet including The Palace of Fu Yungseveral tricks like The Levitation.

* Chang performs the levitation

24. The Dream of the Prince. Dance by the ballet.

25. The Oldest Trick in Magic, but will you see? The Chinese Linking Rings with a superb presentation ending with all the rings clanging to the floor.

26. The Skeleton Rumba Dance. Chang comes on stage, in one. He's wearing a stethoscope and announces that he is going to present a macabre dance by skeletons and flying nebulas and that persons that are especially sensible can leave the the auditorium if they want but that normally there is no accident because all measures have been taken. Lights go off and luminous skeletons begin to appear and they walk through the audience while strange luminous forms fly overhead. At the end, lights come on and the stage is bare. Chang comes out to announce the end of the first part of the show and says he is happy he didn't have to use the stethoscope.

~ Second Part ~

27. Canaries Everywhere. Production and vanish of cages with canaries.

28. Chang walks towards a lady spectator to give her a A Canary for a Lady.

35

cage with a canary and it visibly turns into a flower.

29. The Modern Mata-Hari. Shooting a Ribbon Through a Girl.

30. Chinese Music. Vanishing Radio.

31. Wong Mow Ting. Chinese Juggler using two sticks.

32. Time Flies. Six alarm clocks placed on a board. They are made to ring and vanish one by one as Chang picks them and makes the motion of magically throwing them to the other side of the stage where they magically appear one by one hanging on cords from a frame.

33. Chang, the Jeweller. The Nest of Boxes but using baskets. Several pieces of jewelry from the audience are wrapped in a handkerchief (which is then exchanged for a similar parcel in a Change Bag). The handkerchief is opened and just confetti comes out.

34. In the Ruins of Ancient Greece. A dance by the ballet wearing classic Greek costumes. The have silk scarves and Chang presents the Sympathetic Silks.

35. Marno Brothers. Circus act.

36. The Theft of the White Jade. A glass disk with a hole in the center is placed inside a holder with a nickel-plated base and a ribbon is passed through it. The ends of the ribbon are held by two assistants so it's impossible to take the glass disk out. Chang announces that he is going to show the audience how to magically make it penetrate the ribbon. Suddenly two spectators (man and woman) begin to argue in a box near the stage. As everybody looks up, Chang extracts the disk from the ribbon magically so when the audience again looks at him, he has it in his hand and says "And that's how you take the disk out of the ribbon," and then something about paying attention in magic and misdirection.

37. Restored Strip of Paper with sucker A Lesson in Fooling. The Torn and explanation.

38. r A Surprise for Chang. The Topsy Turvy Bottles Trick. Asks fosomebody from the audience to come on stage to learn a trick. A little boy comes up (stooge) and Chang has him stand behind a tripod stand in which there is a bottle and a tube. Chang stands behind a similar stand with another bottle and tube. Chang covers the bottle and asks the kid to do the same as him and turns the tube with the bottle upside down several times. At the end Chang's bottle is always right-side up while the kid's is upside down. Finally, in a moment in which Chang is not looking, the kid

36

turns his bottle around... but at the end, it's still upside down.

39. Scherezade, a Tale from the Thousand and One Nights. Dance by the ballet.

40. Magical Scenification of the Great Ballet, produced and conceived byChang with the assistance of the whole company. Grand Finale with music and dancing combining several big illusions (Cremation, Production of two men from an empty box) with small tricks (production of flower bouquets, Cut and Restored Turban). The scene begins by showing a trunk, rigging it and raising it so it hangs over the stage during the whole number. At the end the trunk is lowered on stage and from it a second trunk is taken and from it comes the girl that was just cremated. There is a grand scene with more music and dance and some final words by Chang. (Actually this last scene had a plot line justifying all the tricks.)

The Chang Archives

Review of

"El Segundo Viaje al Infierno" (The Second Trip to Hades)

Details of Chang's N°2 Show, "El Segundo Viaje al Infierno" (The Second Trip to Hades) as given in Teatro Calderón, Barcelona, Spain, 1948. Freely translated from notes kindly provided by Mr. Angel Bellsolá Rey of Girona, Spain, to whom

37

I am most grateful.

~ First Part ~

1. Devils. This is the s ow. (The ame opening number used in Chang's first shcurtain opens and th glow in e ballet dances dressed as devils. Costumes "Black Light" (Ultr denly a big devil mask appears a Violet Light). Sudcenter stage. There ars magically. A is a smoke flash and Chang appespotlight picks him hang walks and the dance s leave the stage. Crdownstage towards the audience while a backdrop falls and all stage lights go full up. Chang talks to the audience and the show is on.)

Chang repeated the "Infernal Caves" opening from his main show.

2. The Inexhaustible Tube. Production of silk handkerchiefs from a big Genii Tube (same as the Phantom Tube, only it split opens in half lenghtwise to show empty). After the production Chang performs The Sympathetic Silks.

3. Something to Eat. The Rice Bowls Trick followed by The Growing Orange Bush: Chang shows an orange bush bare of fruit and then oranges begin to grow on the branches which he cuts and throws into the audience. A very effective apparatus trick.

4. Rapid Flight. Two ducks vanished in a break-apart box. 5. Shangai Dye Store. The trick of dyeing silk handkerchiefs by passing

them through a paper tube, here combined with the dance movements of the ballet.

6. A Feast in Brazil. Production of a girl from a Tip-Over Trunk, followed

38

by a Samba dance by the ballet.

7. A Clumsy Jeweler. Chang borrows a ring and saying it has a minor flaw, pretends to fix it with a hammer. Then he performs the old omelette in Dove Pan in which a dove appears with a ribbon tied to its neck and tied to the ribbon is the restored ring.

8. The Magic Canary. Mr. Bellsolá doesn't remember what this trick was. He says it was probably a combination of effects linked to the last trick.

9. The Latest News. An actor comes onstage reading a newspaper. Chang has a funny dialogue with him and finally performs the Torn and Restored Newspaper.

10. Mexican Dance. Dance by the ballet.

11. to Drink Comedy sketch including the Egg in Hat trick. Something

12. Solid by Solid Mr. Bellsolá doesn't remember this trick.

13. Coffee, Coffee. Chang stuffs some silk handkerchiefs inside a coffee pot from which he then pours hot coffee for a spectector he has on stage.

14. Hindu Dance. Dance by the ballet.

15. The Marvellous Egg. The Broken and Restored Egg trick performed in-one.

16. The Skeleton Rumba Dance. Same presentation as in first show. (Chang comes on stage, in one. He's wearing a stethoscope and announces that he is going to present a macabre dance by skeletons and flying nebulas and that persons that are especially sensible can leave the the auditorium if they want but that normally there is no accident because all measures have been taken. Lights go off and luminous skeletons begin to appear and they walk through the audience while strange luminous forms fly overhead. At the end, lights come on and the stage is bare. Chang comes out to announce the end of the first part of the show and says he is happy he didn't have to use the stethoscope.)

~ Second Part ~

17. The Great Comedy Bull-Fight in Technicolor. Dance by the ballet under ultra-violet lights.

39

18. Wine and Water. Chemical trick of pouring water into glasses and having it turn into wine and back to water again.

19. Music, Maestro. The Vanishing Radio.

20. Wong. Chinese Juggler using two sticks and a third one between them.

21. The Guillotine. The head-chopper trick.

22. in which many beer glasses are filled Barrel Beer. The Beer Barrel Trickfrom an empty casket. The b audience. eer is passed to the

23. The Cards. The Rising Cards Trick, using giant cards and many funny gags.

24. The Ball and Magnetism. An excellent presentation by Chang of the Floating Ball Trick.

25. The Invisible Mysteries. A black-light (ultra-violet) number combining a dance by the ballet with mysterious movements of several objects and the introduction of other pseudo-spiritualistic effects.

26. A Meeting of the Spirits. Continuation of the above, introducing the Spirit Floating Table.

27. Marno Brothers. The same circus act as presented in Chang's first show.

28. Well Tied. The Thumb Tie Trick.

29. The Little Paper. Mr. Bellsolá doesn't remember this trick.

30. zade and the Sultan. The same magical presentation used in the Scherefirst show. (Magical Scenification of the Great Ballet, produced and conceived by Chang with the assistance of the whole company. Grand Finale with music and dancing combining several big illusions (Cremation, Production of two men from an empty box) with small tricks (production of flower bouquets, Cut and Restored Turban). The scene begins by showing a trunk, rigging it and raising it so it hangs over the stage during the whole number. At the end the trunk is lowered on stage and from it a second trunk is taken and from it comes the girl that was just cremated. There is a grand scene with more music and dance and some final words by Chang. (Actually this last scene had a plot line justifying all the tricks.))

No cts in his show and usually he didn't te: Chang performed many magical effefollow the printed program memory by Mr. . These notes were written fromBellsolá in 1997, almost 30 years after he saw the Chang Show in Barcelona,

40

Spa n Chang's in so, even though they give us an idea of the sequence of tricks imarvellous spectacle, these notes are not complete. For example, Mr. Bellsolá remembers Chang performed the Aerial Fishing Trick in the second part but he doesn't d remember exactly where because this trick was not listed in the printeprogram.

hing Ling Foo. Chinese Conjurer. rom Stanyon's Magic, March, 1905

urtain goes up and we find the performer, with no less than ten assistants, ready on the stage. All are standing to attention, and all are prettily ressed in native attire. Most of the assistants are performers for that atter, and several take their "turn," an excellent ruse for covering up the me taken by chief performer in his preparations for several tricks.

roduction of plate of oranges. All leave stage with exception of erformer and one assistant. Performer shakes out an Oriental cloth as large a small counterpane and shows it both sides--he is attired in the flowing bes of his country. Both performer and assistant next get well under the oth and after some fumbling about produce a dinner plate piled up full of ranges. All things considered I think that is sufficient explanation; I really uld not tell from whose person the plate was produced for reasons above

ated. The apparatus for the above trick could be readily constructed with

CF

Caldmti

Ppasroclocost

41

the aid of the rubber imitation oranges, glued or otherwiseordinary china soup-plate, and one loose ordinary orange of pile to give the impression all loose. T

, fixed on to an to lay on the top

he assistant having his arm and

e

ss top

wing l hs

ll saucers (tea

shoulder entirely under cloth may place this loose orange in position.

With the aid of another cloth, equally large, and a reversal of the abovproceedings the plate of oranges is caused to disappear; the plate is once more produced from this cloth, followed by a large china basin full of water, a la Fish Bowl production, only basin perhaps ten inches acroand shape of a pudding basin. Performer leaves stage.

Juggling. Another of the company comes on and spins a small basin (size of the rice bowls) upside clown on end of stick, i.e., stick is inside basin. The momentum is obtained by performer hitting side of basin with his fingers. Basin is thrown from stick in left hand to stick in right hand. Basin is next thrown very high in the air and caught on stick; thrown under leg and caught on same stick. When spinning on stick in left hand, stick is passed behind back and basin thrown across to stick in right hand. Back to stick in left hand. The prettiest effect is where performer throws basin fromstick, hits it on side and catches it on same stick; this is done quickly and repeated, basin ringing like a bell. This basin, doubtless, has prepared conical centre inside. Same performer next does some very clever throand catching of a very large and heavy flower bowl, finally throwing bowand catching it on his forehead, where he causes it to alter its position andto spin round by a simple movement of the head. Should think bowl weigbetween eight and ten pounds.

Two little girls next do some clever spinning with smasaucers) on end of sticks. Stick on outside (bottom) of saucers. Saucers are wobbling all the time, never centred on stick. The one child next takes the stick from her companion, with her disengaged hand and keeps both saucers wobbling, this is a very clever feat as any juggler knows who has tried to pass a plate, wobbling on stick from his right to his left hand, and keep it going without a fall. But this is not all, the child crosses her arms, kneels down, turns head over heels, and gets up again, the two saucers still wobbling merrily on the top of their respective sticks.

A child acrobat next appears and does some very funny and original business. The greatest fun is produced with the aid of a dummy head (good imitation of her own) which is attached to the bottom of her back. When she is walking on her hands, for instance, her skirts fall and hide her own head, exposing dummy at same time, while the actions of her legs are as arms. Some excruciatingly funny poses on a chair are obtained with the aid of this dummy head.

42

Another little girl next sings, most prettily, two old time songs "Because I love you" and "Just one Girl," for which she receives much and well deserved applause.

Man acrobat next appears, made up as a Chinese Gollywog, (if you knowwhat that is) and does some very clever bending and balancing on bench and chair.

Ching Ling Foo appears next and with the aid of a counterpane and his of a

r or

ing such a basin, full of water, behind the body from a waistbelt: the basin to hang down low so that when performer stoops it

it from its support--cover, retaining water in basin

removed under cover of cloth.

w thing concealed on person, prepares to conjure again. He

understands however that audience are not satisfied, so divests himself of

tely the

to

movements can be made; top running up cord, jumping over foot placed on centre of cord, &c., &e. I have, one of

assistant, on lines as before, produces a very large china basin (patternwash hand basin only much larger) full of water. A card is displayed marked 85 lbs. in big letters, weight of bowl and water I suppose. Performer leaves stage and several assistants, with small ladles, ladle wateout of basin, slowly for effect, into pails--there is water sufficient to fill 45 pails, anyway, of the kind used. Our readers are doubtless familiar with the method of suspend

comes to rest on the floor and he has only to take a step backwards to bring it under cloth. The weight removed, when basin touches floor, shouldsuffice to disengage

Performer again appears and after patting himself all over, in dumb shoproving no

several tunics, and is about to remove, what I suppose is shirt and trousersto a Chinaman, when he thinks better of it and gets to work as he is. Showing cloth empty he suddenly turns head over heels and, immediaon rising, takes a very large bowl, full of water and gold fish, fromcloth. I am of opinion, however, that he had removed the bowl from inside his shirt (I apologise if I have incorrectly named the garment) and into the cloth before the somersault was made. This trick was cleverly performed.

Ching again appears and spins a top, which hums very loud making a terrible noise as it increases speed, on a cord suspended between two sticks held one in each hand The top is really made in the form of an axle treewith a hollow box or top, of equal weight, at each end. It is not difficultmanipulate and some interesting

these tops on the table as I,write, but regret have not had time to get it illustrated here, in this issue, as I had intended.

There is not much Conjuring in this programme, but it is nevertheless very interesting, amusing and clever.

43

The embroidery in stage setting and hangings was superb.

Around the World with the Great Nicola

y Charles Vance and The Roberts B

harles Vance and Eddie and Lucille Roberts traveled with Nicola for sixteen months. hey toured many well-known countries, and also tramped into many remote regions. hey played modern metropolitan areas, and visited exotic lands whose fabulous istories are steeped in legendary antiquity. Their memories are stored with a number of rilling and exciting adventures, as well as many fascinating and amusing experiences.

CTThth

44

We have been asked to pen our impressclose association with him, and to tell ha traveling co

ions of Nicola after our ow he appears to us as

mpanion, as a boss, and as a showman. We'll

eat wealth of information of

complete without our pers ing to admire a man for his showmanship a personality off the stage. W traits of character are an inspirathonesty and fairness in all

As pleasant as it was trav h Nicola the guide, it was of course necessary that we neve e prim with

ies, curtains and various other illusion and

"

he was the captain of a team, a team which had a difficult job

Mrs. Nicola and The Great Nicola

take them up in that order.

We had been warned by Nicola not to consider joining his company if we entertained any thoughts of its being a "Cook's Tour." There would be plenty of hard work, we had been advised, and unless we could absorb that in large quantities, we were certainly looking for the wrong job.

Traveling with Nicola around the world is especially interesting because of his grconcerning each place visited, and because of his vast storefascinating experiences culled from the memory of former tours.

No mention of Nicola as a traveling companion would be onal tribute to his qualities as a man. It is one thon the stage; it is quite another thing to respect him as

e sincerely respect Nicola as a friend whose admirableion to those who work with him. We admire his sincerity, his dealings.

ling witer lose sight of th ary purpose of the trip--our responsibilities in connection

the show. In this regard we come to Nicola the boss.

The Nicola show, crated, consisted of over fifty tons of equipment. It required two long baggage cars to accommodate the equipment, and each of these was loaded to the roof. Upon stages which were adequate to set up the entire production, 54 sets of lines wererequired to fly the large number of draperscenery effects. In many theatres additional lines had to be added, and unless the back stage room was unusually ample, it was not infrequent that we had to move the crates down stairs or even out of the theatre after unpacking them, in order to have sufficient room for all the illusions.

As one might judge, it was no small undertaking to set-up a show of this magnitude and complexity. There could be no compromise with efficiency or such a production could never have operated successfully. When Nicola the boss walked through the door of thetheatre, Nicola the traveling companion remained outside.

There is a quiet dignity about Nicola the boss which commands respect. The term "bossis not quite correct, as we always felt we were working with him, rather than merely for him. It was more as though

45

to perform and of which he confidently expected perfect co-operation to achieve our common objective.

This air of dignity and quiet confidence earned our devotion to the task before us. Nicola is exacting and a stickler for detail. Laxity could not be tolerated. Without these qualities

et that perfection was our eternal goal, and that we were expected to

achieve it at every performance.

s were solved in the most efficient manner

possible Each individual in the show had his own list of duties to perform, illusions to

It took a full day, working at top speed, to set up the entire show. Sometimes, in the

f

ivable

e

ndle the responsibilities which

Marion cheerfully shouldered, and it was his confidence in her and the realization that

e

s

ic.

his huge, elaborate show could never have operated at the amazing speed which was marveled at by every newspaper reviewer.

The success of the Nicola organization can be stated in one word--Precision. We werenever allowed to forg

Nicola inspired his team, as every good captain should, by setting the example of what was expected of them. Every theatre and every stage presented different problems. Hewas always on hand to see that these problem

help prepare, and properties to set. These each of us was to carry out without any checking from Nicola; and the responsibility for every detail was solely ours.

smaller theatres of small towns, the amount of stage space would not permit us to use some of the more elaborate illusions, and the time required would be less. Whatever thesituation, Nicola was always on hand, checking the many details that did not fall to any ous in particular. Now he would be in the orchestra, now in the gallery, again he would pop up in the boxes, or perhaps in the wings--analyzing and checking every conceangle of many things we are not at liberty to divulge.

We feel that a word should be said at this point about Mrs. Nicola. Marion has been Nicola's leading lady on several tours, and it is not detracting one bit from the credit duNicola to say that a great deal of the success of his show is accounted for by the presenceof his charming wife. Marion was a constant source of inspiration to all of us because of her almost unbelievable efficiency in handling and preparing an enormous number of small properties, and we found ourselves constantly endeavoring to emulate her excellentexample. It seemed impossible for any one person to ha

she always had everything under control which permitted Nicola to avoid any worry about the situation backstage and to concentrate his efforts exclusively to the showmanship of his presentation. In all parts of the world her hosts of friends rival in number those of Nicola. She has been the toast of Princes and Potentates Sultans and Maharajas. No woman in the field of magic can approach Marion's extensive knowledgof the art of magic and the principles of showmanship-and there are relatively few magicians even among the men who can top her in this category, for that matter. For thireason, as well as for her gracious personality, her beauty, and her charm of manner, wesincerely believe Marion Nicola merits the distinction of being the First Lady of Mag

46

In discussing Nicola as a showman it is probably best that we "look at the record." Sinour owl, personal opinions might conceivably be a bit partisan because of our great regard for Nicola, we're willing to leave the verdict to the impartial record as foundcold black type of the newspaper reviewer, and in the irrefutable evidence of box office statistics.

ce

in the

Nicola with the late Ching Ling Foo in the latter's carriage

in front of the Fun Ming Theater in Tientsin, China

Everywhere he went Nicola broke box-office records of long standing. Time and again the S.R.O. sign was out in front of the theatre long before curtain time. It seemed funny to us, when leaving the theatre in late afternoon after the matinee, to see the queue already forming for the evening performance! Only the earliest comers stood a chance of gaining admittance tmanagement ran, in the public apology for his inability to seat all of the people who sought to gain admission to his theatre!

ty

tic

s their reactions.

o the relatively small section of unreserved seats. In several cities the advertisement columns of the newspapers, a

In one area of about a million inhabitants, where we encountered the stiffest kind of competition in many other fields of entertainment, the Nicola Show played for twenconsecutive weeks. Five months! This would be the equivalent of a forty month season in New York, where there are eight times as many people or a run lasting over three years! This makes an interesting comparison with the maximum runs other magicians have hadin New York.

Everywhere the show merited newspaper reviews which frequently ran one or more columns in length. Through all of these the same theme was apparent--one of enthusiasbewilderment. These reviewers, as exacting in every respect as the New York and London critics whom they emulate, and accustomed as they are to seeing only the finest purveyors of the mystical art, thumbed desperately through their mental dictionaries for words to expres

47

We come now to a review of the extravaganza which ran for nearly three hours, operwith a speed and precision which was the result of years of planning and preparation.

As the last notes of the overture die away, a fanfare from the orchestra builds to a crashing climax--and the Great Nicola steps through the curtains. Briefly, he introduces his gorgeous "Revue of Magic of t

ating

he Universe," in which he will impersonate some of the famous conjurers he has met on his tours around the world. First, he announces, he

e steps

y one of Oriental splendor. All of the scenery, including the borders and leg curtains, are of the finest embroidered Chinese design and

In rapid succession Nicola performs "The Elastic Lady," "Aerial Fishing," "The Chinese

nce e

.

scene in Hyderabad, India. Again, all of the curtains blend into the Indian scene, and all the costumes are likewise Indian.

ss into mid-air, the curtains once more whip together for an instant as Nicola, at the footlights, turns the Magic Carpet in the

e rer.

The entire stage has again changed, and this time the scene is laid in the interior of an

will take his audience with him to the Emperor's Royal Court in Pekin, China, and impersonate an eminent Chinese wizard.

Nicola had appeared in full evening dress and cape for his introductory remarks. Hmomentarily into the Wings, the dazzling silver curtains open, the orchestra has struck upa Chinese medley, and Nicola steps immediately onto the stage, clothed in the costume of the Chinese necromancer.

The scene which greets the audience is trul

material. All the assistants who appear on the stage in this scene are likewise clad in luxurious Oriental garb. And the illusions blend unmistakably into the Chinese setting, having been designed to do just that.

Water Jar," and the "Dream of the Chinese Chop Suey Restaurant Keeper"--this latter being a bewildering series of related effects which bring the scene to a startling climax, and as Nicola steps to the footlights the silver trailer closes in behind him as the audiebefore him invariably pays thunderous tribute. The show has started rapidly--but the pacincreases.

Announcing that he now proposes to take his spectators to India, Nicola again steps momentarily into the wings, the silver curtains part, and Nicola steps back on the stageHe is now dressed as a Hindu Fakir, the orchestra is contributing Indian music--but moststartling of all, the entire stage setting has been changed from China to India. The close-in had been but a matter of seconds, yet the Royal Court of China has been transformed into a street

Nicola's own version of the famous "Indian Basket Trick" opens this scene. Introducing several new principles, Nicola has made it a new trick entirely, in everything except name. "The Indestructable Turban" follows, and the scene closes with the "Levitation of the Princess of Karachi."

After the inexplicable disappearance of the Prince

direction of Egypt. In the twinkling of any eye the curtains part, and Nicola is back on thstage almost simultaneously-this time in the native dress of the Royal Egyptian Sorce

48

Egyptian temple. All the costumes are Egyptian, as is the music, and of course so are the illusions. "The Priest, the Mysterious Shawls and the Beautiful Maidens," is a lightning-like series of transformation effects, and this is followed by the "Egyptian Mummy

is nical pig eight feet in height,

which promptly goes into a dance and brings down the house. As a climax to the act s,

n

ic. Again the audience is treated to a change of scene each time the curtains open, and all of these scenic effects are different

esignated by the audience comes to life right before the eyes of the spectators. In our humble. opinion this is -one of the finest

er,"

o.

sible Cloak" Nicola

Mystery," a somber and weird ritual with an unusual twist.

For the fourth time the scene changes almost instantly, as do all the settings, costumes and the music. This time Nicola appears as a burlesque magician from the Argentine. A series of small feats all have a comedy twist, interjecting the lighter vein to relieve the array of miracles which have paraded so rapidly before the eyes of the audience.

Into this series of Hobo Hocum rabbits and ducks appear and disappear, gravitation defied, and the Wonder Screen produces a huge semi mecha

Nicola, by way of explanation to show how his costume changes are effected, appears athree different people in three different parts of the stage at almost one and the same timeand he turns up at the finish at the place he would least likely be expected, a situation which brings the biggest laugh of the entire show.

This concludes the review of magic, and by this time the audience is a little breathless itrying to keep pace with the rapidity of the extravaganza. The brilliant settings, contrast of costumes and subtle blending of illusions has provided the first act which literally overwhelms the audience. But this is only a start. A specialty follows in which the antics of a comedian divert the attention of the audience sufficiently so as to bring them back with brains relatively cleared for the second act. This can be described more briefly because it is Nicola's presentation of American mag

from those they saw in the first act. It is not necessary to go into these in detail. Each scene also finds all the girls in different costumes.

Nicola is first produced magically in his "A-B-C Blocks" illusion which is followed by anunique comedy mystery, "The Vanishing Chocolates." The "Pillory Escape," a rice effect, and the billiard balls precede one of Nicola's newest and greatest achievements-- "Masterpieces." In this unusual and magnificent illusion, which fills the entire stage with one of the most beautiful scenes in the whole show, the illusion evolves around sixteen large scale reproductions of famous paintings by the old masters. At the finish of the series of bewildering changes, one of the paintings d

and most beautiful illusions ever invented.

"My Lady's Birthday Presents," the "Traveling Salesman and the Farmer's Daught"Furnishing a Flat," and the "Rising Cards" brings us up to the feature of the closing illusion of the second act. This Is the famous "Prison Escape Mystery" which has long been one of Nicola's most baffling illusions, not only for laymen but for magicians als

The setting is the reproduction of a real prison, with three cells, (all elevated from the floor, of course) occupying the entire stage. Introducing the "Invi

49

twice performs before the very eyes of the audience a miracle which approaches the absolute limit of magical ingenuity and effectiveness.

An interval follows the Prison Escape, and to begin the final portion of the performance Miss Lucille Roberts demonstrates her remarkable mind-reading powers in a featured

how nd dreamed of several great

mysteries which had been thought by magicians impossible to perform. The "Dream" is

d

s well

y the "Borrowed Rings."

covering of any sort. And there is no flash of flame or smoke. At the command of the "Wizard," the boy disappears and the rope, always completely in view, falls to the

s. It

ts

e sentry h

ead and feet but the middle section of her anatomy has disappeared. The back of this middle section is completely

the at the

specialty act. This is followed by Nicola's elaborate "Wizard's Dream."

In this sequence, which opens upon yet another unique stage setting, Nicola explains he fell asleep one evening while working in his studio a

reproduced in its entirety, complete with the performance of the "impossibilities." Because of its unusual conception and its dramatic development, the "Wizard's Dream" was especially praised by newspapers everywhere it was performed.

Next came the "Eggs from the Hat," and this was followed by Nicola's 20th Century version of "Noah's Ark." At this point Nicola takes the audience behind the scenes andemonstrates just how it is done-but of course the ending works out differently than any one had imagined. Nicola's version of the "Chinese Rings" followed and was alwayreceived. A "Spirit Cabinet," with Manifestations and materialization of spirits, providesgood background for both mystery and comedy, and this is followed b

"The Indian Rope Trick" is the feature which fills the next part of the program. It is difficult to describe the effect this amazing feat has upon the audience. In Nicola's version, the "Wizard" throws the rope into the air and it remains suspended. The boy climbs the rope almost to the top but not quite. Both rope and boy are out in the middle ofthe stage, away from all curtains, and the top of the rope is in plain view. At no time is there any

ground. That is exactly the way it looks to the audience nothing more and nothing lesembodies several principles never before used by magicians. As one of the large metropolitan newspaper reviewers exclaimed, "It is an illusion which in all its elemenhas never been equalled on the stage in this country."

After a giant "Three-card Monte" effect Nicola nears the end of his performance by presenting his unique "Seeing through a Woman." Although this effect has -- been attempted by some other stage magicians, Nicola is still the only magician who allows a legitimate committee from the audience to come up on the stage and sit behind thbox before the young lady is mutilated. When the vicious blades have been thrust througher neck and thighs, the doors are opened to show her h

removed, and the committee is asked to "look right through the young woman" fromback. The young lady's torso is recovered and returned to her at the conclusion so thcommittee returns to the audience relieved, but just as bewildered as those out front.

50

The "Human Pincushion," or "Iron Maiden," is presented just before the closing numHere is another exclusive Nicola miracle which has been victimized by various copyistsbut no one has as yet successfully duplicated the Nicola version. It is by far the most effective and convincing spike illusion, and the various original features of its presentation render it a classic of magic in every aspect.

ber. ,

any ble

until you've seen Nicola do it.

d

had wished it. Originally, the plans had been for the world tour to be climaxed by a

climax it would have been, too. For The Great Nicola--the man who has set box-office records all over the world, the man who has had more command performances

,

ard bearer of fine magic wanted nothing more than to conclude his greatest tour before his fellow-countrymen in his native land.

Carter the Great early full-evening show

At an early time in his career Charles Carter wrote down the sequence of his full-evening show including the patter he used. This was done as an attempt to legally protect his material because the complete scritp of the show could be

The performance is brought to a conclusion by Nicola's inimitable "Substitution Trunk Mystery." It has been many years since Nicola first became associated with this illusion when, as a small boy, he assisted his father in performing it. Since those early days mmagicians have used the substitution effect in one form or another. Yet our humopinion is that you've -- never seen this transposition done

Now that it's all over we can say that not only did the tour come up to what we had hopeit would be, but that it actually surpassed our fondest expectations--and that's saying something!

It is naturally a disappointment that The Great Nicola's tour could not have ended as he

triumphal swing through the United States.

And a fitting

before kings, queens, emperors, maharajas and sultans, than any other performer on earththe man whose name is, in 58 countries, synonymous with magic and all things mysterious--this quiet and unassuming stand

registered

51

ay he had a copyright st, stop any magician f

I don't knoor if anyboscript (now

The first p that Carter

odern Miracles Introducing a series of weird and fascinating digital manipulations and pace with the latest discoveries and innovations of science,

led in this or any other time.

1. Rapid Transit.

piece - The latest word in Illusion building. Levitation.

iss Evelyn Maxwell - A student in hypnotism.

astute, bewildering, and hazardous illusion and without any question, the ne like

tian sorcerers, and rendering ables in A Thousand and One Nights.

as a stage play and its authorship credited to Carter. In this won his patter and sequence of tricks and could, in theory at learom copying his patter and show.

w if this scheme worked or stopped anybody from copying from Carter's show, dy attempted to copy, in the first place, but because of the existence of this in the public domain) we can have an idea of Carter's performance.

art of the script is a synopsis of the complete show and after describes the complete sequence in more detail, even including his patter.

ACT I

Scene I Moriginal conjuring conceits inunparalle

Tableau Tableau 2. Enchanted Cone and Orange. Tableau 3. Characteristic Shuffles. Tableau 4. Aerial Cards. Tableau 5. Metamorphosis. Tableau 6. Astral Hand.

Scene II

Tableau 1. Carter's master

M

The most plus ultra de l'art magique. Original, new and novel in principle and confounding athe minds of scientists and philosophers. A dream in midair of a dainty princess, surpassing in effect the reputed marvels of the ancient Egypinsignificant by comparison, a description of the fThe idea for levitation germinated in India (crude imitations of which have been shownbefore) carries one back, in fancy, to the banks of the sacred Ganges, where in Benares,Mr. Carter mingled with the high caste and faithful fakirs who spend their lives in deep study, peering into space and concentrating, garbed only in sackcloth and ashes. After patient research and profound study, the subtle magical achievement has been evolved. Its perfection represents fifteen years of abstruse thought and diligent experimenting and

52

as a result, levitation remains the fin du siècle miracle and the crowning creation of Mr. Carter's long and brilliant career.

Tableau 2. A conjuring effect from Luxor.

Tableau 3. The Inexhaustible Bottle. The closer you watch, the less you see.

Scene III

The Magical Divorce - which is literally and metaphorically "Out of Sight." A novel onceit in which a human being is made to instantly vanish. c

Scene I - The Seance of Simla

In which the pet theories of Theosophists and Spiritualists are exploited. A departure ccepted regime of latter-day miracle expositions, perplexing and uncanny.

"Can such things be and o'ercome us like a summer cloud?"

Corinne Carter - the Psychic Phenomenon.

ple seems certain.

ering and bewitching illusion entitled:

An experiment in which the propulsion of the astral body seems possible. Space

obfuscating the will and confounding the senses.

ACT II

from the a

A chapter from the supernatural. Grave doubts are raised in the minds of thinking peoby this strange performance. An affinity with unseen powers

The second part to conclude with the bewild

Flyto

annihilated, time decimated and the laws of nature set aside. A pretty illusion, quite

Scene I - A Night In China Carter impersonating the famous Chinese Court magicians. n exposition of ancient Oriental necromancy, wherein the wonderful sorcerers of China

are imitated and impersonated. Immense objects produced from nothingness.

ACT III

A

53

"And for ways that are dark and tricks that are vain, the heathen Chinese is peculiar."

ACT I

(Lights full on scene, a palace hung in rich plushes, attendants, liveried assistants. Carter enters, a young man prematurely gray, in evening dress.)

Carter: Ladies and gentlemen, with your permission I will endeavor to mystify you with eriments in legerdemain. For my first experiment I shall call your attention to

this decanter. (Picking up decanter)

e bottles, as you will observe, are empty. I will stand on the far corner of the stage and place inside this bottle a red

se the piece of silk to disappear from this bottle and reappear immediately after in that one on the table. Watch closely, and if you have sharp

(Handkerchief instantly vanishes from the bottle held by Carter and at the same time

perfectly empty and as innocent of any deception as I am. (Music)

a few exp

On my table to the left I have a similar bottle, both of thes

piece of silk. (Put silk in bottle)

On my word of command I shall cau

eyes you will see the handkerchief disappear from one decanter and appear in the other. One two-pass!

reappears, without any covering in the bottle on the table. Handkerchief removed and both bottles shown empty)

Both bottles are

54

For my second experiment I have number three bottle partially filled with water. I shall place this bottle on the stand to my left and around its exterior I will place this piece of silk.

(Covering bottle with handkerchief) To my right you will observe a vase filled to the brim with ink. In order to convince you that the liquid is really ink I shah dip into it this playing card. You will notice that the lower haft of the card is black as the darkness of night proving the liquid genuine. It will be my object to cause the ink and the water to change places visibly. Both of these liquids will meet and pass each other in midair about here. One-two-change!

(Ink instantly changed to water without any cover. Water changed to ink) (Music)

A magician's entertainment would be considered incomplete unless t e magician were to

r le; the third shuffle the London Shuffle and the fourth shuffle the Brixton Shuffle.

fall purposely to give you an illustration of the spray of the falls.

manner) (Music)

lected ones will make their appearance consecutively.

hdo something with a pack of cards. Therefore, to be in order, I will manipulate this deck in a manner peculiarly my own, presenting first a series of shuffles. The first of these shuffles is called the Liverpool or Waterfall Shuffle. The second shuffle, the ManchesteShuff

(Carter causes cards to fly from one hand to the other imitating a waterfall)

This is the Liverpool or Waterfall Shuffle which I shah repeat. (Allowing a few cards tofall from the pack to the floor)

I allowed these cards to The next shuffle is the Manchester Shuffle.

(Running cards up his left arm) You see how they line them up in Manchester. The third shuffle will be the London Shuffle or the Whist Player's Shuffle. A friend of mine showed me this recently and said that whenever he wanted to look at his cards, he turned them over thus.

(Running cards up coat sleeve in a line and then by a dexterous movement of the left hand causing the cards to flop over entirely on the coat sleeve)

And the fourth shuffle - the Brixton Shuffle.

(Shuffling cards in the ordinary

I shall now trouble the audience to select three or four cards from the deck.

(Cards handed to audience who select some from pack afterwards replacing them)

I shall now call your attention to a glass goblet, perfectly empty, merely an ordinary glass, a beer glass, very familiar to me. In this glass I shall place the deck of cards, and onmy behest the se

55

(Placing deck in glass and placing glass on a crystal top table)First card arise!

(Card slowly rises out of the deck which is acknowledged by the auditor who selected it)

Second card arise! Third card arise!

(Third card appears with the back to the audience)

Would you like to have the Jack jump entirely out of the deck? Yes. Jack jump out of the

s card will kindly tear it into small fragments after which we shall have the fragments put inside my old

select one of the pieces as a sort of memento for the identification of your card. I will now direct

this revolver at the hat and the gentleman's card will appear thereon nailed to the crown which the gentleman holds. One-two-go!

the crown of the old hat on the table, minus the corner which the auditor holds. This corner is subsequently fitted to the card

ed) (Music)

nickel plated cups. These cups are empty as the sound will indicate. I shall pass one of these cups through the other thus.

e

r

ings of white paper, the second box clippings of different colored papers and the third box a

one with white paper from box number one)

(Filling cup number two from box number two with different colored paper)

pack!

(Card jumps out of pack) (Music)

One more card still remains to be called for. The gentleman who has thi

magical blunderbuss. Thank you. Did you keep one of the pieces? No? Kindly

your attention to an old hat which you see upon the table to the left of the stage. I will fire

of the hat, minus, of course, the piece

(Firing revolver and card instantly appears nailed on

which has appeared and is found to fit correctly proving it to be the same card just destroy

For my next experiment I have two

(Holding one cup at arms length and dropping the other cup inside, releasing at the samtime number one cup which creates the illusion of one cup appearing to pass through the other.) I shall explain this trick. Hold number one cup so, drop number two into numbeone. By doing this quickly one appears to slide through the other. This is a very nice trick for the children. I shall place these cups on my table and direct your attention to three boxes. Each one of these boxes contains a different substance: the first box clipp

small quantity of bran. From each of these boxes I shall fill the receptive apparatus on my stand. Cup number one I shall fill from box number one.

(Filling cup number

Cup number two I shall fill from box number two.

Lastly I shall ifil the other cup with bran. (Filling cup with bran)

56

I shall cover the first cup with a square of velvet, number two cup with a second square of velvet, and the glass with a piece of paper. I desire now to call your special attention to this feat of magic as I consider it to be one of the most mysterious deceptions you haveever seen. At my word of command I shall transform the bran in the glass to sugar, the white paper in cup number one to pure milk, and the different colored paper in cup number two to hot smoking coffee right before your eyes and with the rapidity of thought. One-two-change!

oaf sugar, which is passed out for examination)

You will notice that in place of the different colored paper we have smoking hot coffee. I

e by

ever you please. I would not have you suspect, however, that I am about to ridicule Spiritualism. On the contrary, you are at liberty to infer whatever

ou may do so, or hypnotism, mesmerism, magnetism, mechanism or rheumatism. I shall place these chairs here in the center of the stage where

ny other material to prove the absence of electricity, as glass is a non-conductor, a perfect insulator for electrical apparatus or appliances, and

that you may see through the trick.

ur

now. I

urse,

(Pouring instead of paper and bran milk, steaming hot coffee and l

had that up my sleeve. (Music)

(Taking down two chairs to center of footlights.)

I spent ten years investigating spiritualism and among the great mediums I had the honorof becoming acquainted with Dr. Slade, the old Davenport Brothers, the King Sisters, Anna Eva Fay and many other remarkable personages who claimed to be assisted by a supernatural power in that which they presented. I am now about to show you a manifestation I saw done some years ago by Miss Fay, and claimed by her to be donthe aid of spirit power. After you have seen it, of course you may draw your own conclusions and call it what

you please after having seen the deception, if it may be called so. If you desire to designate it as SPiritualism, y

all may see them and on the top thereof I will place this pane of glass which you can see through. I use glass rather than a

consequently innocent of fraud. I also use glass so

(Turns back to audience and arranges glass on top of the backs of the two chairs)

In my hand I have a piece of wood carved, painted and made to represent, as nearly as possible, a lady's hand. This hand possesses the remarkable faculty of reading yominds. It will tell you how old you are, where you were born, how much money you havein your pockets, where you are going, your age, in fact anything that you care to kshall pass the hand to the audience for their examination and you will oblige me by looking at it carefully, shaking hands with it and forming its acquaintance, after which return it to me and then we shall see what results may be obtained, assuming, of cothat all conditions are favorable.

(Passes hand to a member of the audience)

57

I might inform you I performed the trick not long ago in one of the principal cities in Egypt, and while I was doing it a gentleman in the audience arose and maintained that I was a spiritualist. He said, "I understand very well how you do this sort of thing. You are

it." I told the gentleman that I had nothing to do with spirits that night and then he claimed that

d reby

with

(Hand is returned to Carter)

I shall now place the hand upon the glass but before doing so I might remark that perhaps . It

f

One

stance)

ladies what you mean or how you signify "No." (Hand taps once on the glass) Now say "Yes." (Hand taps twice)

u

how old you are. Would any lady like to know how old she is? Thank you Madame. Miss Hand, kindly tell

a genuine medium and have some affiliation with spirits and yon are not aware of

I could have a mechanical clockwork arrangement concealed in the wrist of the hand anthat by touching one of these brass ornamentations it set the clock in motion and thethe hand attained some sort of animation and performed a rhythmical tapping which might be effected by clockwork. I can assure you, however, that there is no clockwork in the hand and even though we assume, for the sake of argument that the hand is filledmachinery it would not account for its intelligence. If you have examined it to your satisfaction I shall be obliged if you will please return it.

you would be curious to know the history of the hand. I will tell you how I came by itwas carved for me ten years ago on the beach at Atlantic City by a very devoted leader oSpiritualism, a gentleman of the name of Bingham. He claimed that it was impossible to reproduce a spiritualistic manifestation of the astral hand and challenged me to do so. While we were talking, he whittled out of a block of wood this hand. I performed the trick for him, much of course to his consternation, and then he made me a present of the hand. It has been with me ever since in my travels around the world, Wales and Ireland. I shall now place the hand on the glass and I will have the hand tap out its vocabulary. tap signifies "No," two taps mean "Yes" and three taps "I do not know." Miss Hand, are you prepared to answer questions this evening?

(The hand taps twice on the glass without any visible assi

Yes, quite so, kindly tell the

Now say "I do not know."

(Hand taps three times)

If you will kindly ask the hand any questions which may be answered by no or yes, yomay do so and the hand will instantly respond. Anything political, spiritual, personal, horizontal or otherwise.

(At this juncture the auditors ask different questions, which are answered by the hand by taps on the glass in the manner described.)

If any of you would like to know your ages, the hand will tell you

58

us how old the lady is with her hand up. Two and three. Twenty-three Madame. Thank you, is that correct? Yes. Is the young lady married?

(Hand taps "No")

Is she willing to be?

(Hand taps very quickly "Yes")

I will now have the hand come down the glass and shake hands with you. First of aH, I want to convince all present that if I do succeed in deceiving you, it must be done

e down and shake hands as naturally as if it were a pleasure...or a politician.

udience. Replacing it and then commanding it to come down and shake hands)

Miss Hand, come down the glass and shake hands.

(Hand slides down the surface of the glass into Carter's hand and apparently shakes of the stage with the lights turned up fully)

stage)

erely wishing to employ them for the experiment.

(The boy is secured and Carter returns to the stage with the boy, holding him by the hand)

Now, my young man, you have never been on a stage before?

(Putting his hand on the back of the boy and assisting him to bow)

remarkably quick. I will place the hand on the glass, and the very instant it touches the glass it will begin tapping, and then it will com

(Hand taps instantly upon the glass and Carter walks over and waves his hand round about the hand on the glass to prove the absence of any concealed mechanism, and then removes the hand from the glass and shows it to the a

hands. This is done in the center

Two chairs, a piece of wood, and a pane of glass constitute the entire apparatus for this remarkable so-called spiritualistic enigma. (Music) (Assistant enters and clears the

I should like to borrow from some ladies in the audience four finger rings and I shall be glad to return them in a few moments m

(Goes among the audience and borrows four rings)

The assistance of a little boy from the audience is required.

BOY: "No."

Whenever you come on the stage it is always customary to make a nice polite bow.

59

Thanks. Now if you will please hold these rings in your hand I will tie them with a ribbon in order that you may not lose them, after which I should like to have you repeat a few

Ah well, then I'll have you run through them in French. Thank you. Say, "Ladies and Gentlemen."

BOY: "Ladies and Gentlemen."

I am about to place myself in the hands...

BOY: "I am about to place myself in the hands."

Of a prestidigitator.

BOY: "Of a pres..."

, very good indeed. Now swell your chest out.(Boy swells out his chest)

Now repeat the remainder. To learn the art...

BOY: "To learn the art."

Of...

BOY: "Of."

Transan...

BOY: "Transan."

inecromancy.

magic words after me in Spanish. You don't speak Spanish!

Ah, you cannot get that eh. Well try it again. Of a pres...

BOY: "Of a pres."

Te.

BOY: "Te."

Digitator.

BOY: "Pigitator."

Ah, that is very good

Dabans

(Boy smiles and fails to repeat it)

60

(Carter breaks up ladies' finger rings and loads them into a revolver)

my young man, if you will stand on this side of the stage and open your mouth wide I will fire the revolver at you and you will get the ladies' rings in your cheeks.

(Boy shows signs of fear)

You have never been shot, have you?

BOY: "No."

Then your misery will soon be over. (Boy stands on the other side of the stage with his of firing revolver at boy)

tting into his mouth. This is repeated twice.)

olver from Carter. Carter withdrawing the proffered weapon, smiles)

Ah, ah, you wish to shoot me. Well, I'll have you hold my magic wand instead. (Hands

(Boy with a look of sternness holding wand in his right hand and looking at Carter)

at's right. If you get tired of holding it here, you can hold it up there.

(Carter pushes boys arm up higher) I will now call your attention to a box which has been

ck. I will fire the revolver at the box, the ladies' rings will mysteriously leave the pistol and appear inside the box.

volver at box and takes down box from tripod. Opens it and finds inside another box, opens this and finds inside another box, opens this and finds inside a fourth

h the boy aids in opening. Inside are three of the ladies' rings, each one tied to a posy. Rings are

gne bottle)

Now,

mouth open. Carter in the attitude

(Boy puts his hand up to his mouth to prevent the bullet or powder ge

Well, I will compromise the matter with you. You take the revolver and shoot me.

(Boy is anxious to take rev

wand to boy)

Hold this tight. If you should happen to relieve me of it you will disappear.

Hold it a little higher. Th

hanging before the curtains all the evening. This box was put into position this afternoon at 4 o'clo

(Carter fires re

box, all locked. Inside the fourth box another box, also securely locked whic

returned to owners, whereupon one auditor complains that her ring is still missing)

We shall find it directly. (Carter returns to the stage and dismisses the boy and obtains achampa

61

I have here an inexhaustible bottle and from this bottle I can supply the audience with any sort of drink, anything from a glass of water to a pint of Champagne. What would you like? A little port, sherry, whisky, old Mountain Dew, Piper Heidsic, Mum's Extra Dry, Cliquot, milk,

lady's ring.

I will make you a present of this guinea pig, Madame, and will wrap him up in the paper

(Opens the newspaper and discovers a bouquet of real roses in place of the live guinea

Scene II

d gentlemen, our very pretty illusion which we call Levitation. In India there are two kinds of fakirs or fakeers, as they are called in Calcutta.

usiness a matter of a religious ceremony. The high caste fakirs live in the Himalayas and come down to thc low lands but seldom. The low caste

kir is often times met with in India by Europeans traveling through the country but the high caste fakir is rarely seen except in his native heath. During the celebration of the

daughter's marriage a year ago I was fortunate in meeting with a high caste fakir in Choringee in Calcutta. For the Maiden, he hypnotized the boy and after making his body perfectly rigid he placed him on the points of two swords, the hilts of which rested in the earth. He allowed the boy to remain in this position quite passively for perhaps fifteen minutes, defying the laws of gravity.

sarsaparilla, Ginger Ale, a glass of water, anything that you desire. Thank you, you will have a little whisky. You'll try a glass of sherry. And you? Champagne.

(Carter pours different liquors from the one bottle)

I shall now smash this bottle, and inside you will fred the

(Smashes the bottle and discovers inside a live guinea pig around whose neck the lady's ring is found. Carter returns the ring to the lady in the audience and allows the guinea pig to be inspected. Returning to stage he proceeds to wrap the guinea pig up in a newspaper)

so that you may with more facility carry him home.

(Carter pretends that the lady does not want the guinea pig)

Ah, you don't care for the guinea pig. Very well, I will change the guinea pig into something more appropriate.

pig and hands them to lady)

I will now introduce, ladies an

One is known as the high caste fakir, the other is the low caste. One will perform for money, the other makes his b

fa

Viceroy' s

Coming up the Red Sea from B

62

Mohammedans making their p see the sarcophagus of MahomTonight, I shall illustrate the thsuspend animation and make th thereafter we shall cause her topassed about her recumbent fo s pretty illusion Levitation, the o

(To Fakir) Salaam, Sahib. (Car looks at and gradually falls intoof the standing fakir. A third ascarry her to a couch in the centcouch, holds up his arms and lo

FAKIR (assistant): Il Mahomet. (Young lady gradually rises from couch into the air to a er

nd Carter standing upon a chair, slowly passes the hoop twice around the young lady and then drops it on to the

s

ind a windlass which you will see. By means of this machinery, we will hoist her in the air,

ombay to Port Said, one often meets with the faithful ilgrimages to Mecca where it is said they are permitted toet raised in midair without any visible means of support. eory of the Brahmins which is to the effect that they may e body like thin ether. I shall hypnotize a young lady and defy the laws of gravity and sleep in air. A hoop will be rm to prove the absence of solid mechanism. We call thipposite of gravitation. (Music)

ter hypnotizes young lady by means of a crystal which she a hypnotic condition, tumbling backwards into the arms sistant picks up the young lady by the feet and these two er of the stage. Lights all turned up. Carter stands behind oks into the air exclaiming:)

Il, il, aloo razoo il Mahomet il!

height of about seven feet whereupon the couch is removed and Carter passes under hbody waving his hand. At the same time approaching the footlights and leaving the younglady laying in midair without anyone near her and the couch entirely removed)

The young lady rests in air and could remain in this position for hours, if necessary. We shall now pass the hoop about her, as I have previously described.

(Hands hoop to audience to examine after which it is returned a

stage where it rolls to the audience. Carter descends from chair and chair is removed and the couch replaced and the body of the young lady gradually descends to the couch. She is picked up by the two assistants in a rigid state and is brought to the footlights, whereupon Carter makes a few passes over her eyes and brings her back to consciousnesand she bows and exits. (Music)

Scene III

I will now present for your notice an illusion which we call the Magical Divorce or Out of Sight. I will introduce Mrs. Carter herein who will be seated upon a chair beh

then I shall fire a revolver at her and send her out of sight. This is the quickest way to getrid of a troublesome wife.

63

(Lights slightly lowered. Curtains open disclosing a huge windlass which has the appearance of a guillotine. Mrs. Carter is introduced and is seen sitting on a chair behind the windlass to which ropes are attached and an assistant and Carter wind her up to a height of six feet in the air. Carter approaches footlights with pistol and fires point blank three times at Mrs. Carter who instantly vanishes and the chair she sat upon falls to the stage empty. Carter picks up the chair and brings it to the footlights)

(Lights, curtain, music)

ACT II

Scene I

tion of

lds up like a screen on a platform with legs and rollers. After the cabinet is built, two doors in the front are

three or four tambourines and bells are laid. The doors are

I will introduce next, ladies and gentlemen, the Seance of Simla. This is an exposispiritualistic manifestation done without the necessity of the magician or medium entering the cabinet and having the cabinet built directly in front of your eyes. After having built the cabinet very startling materializations will take place. (Music)

(Carter and assistant construct before the audience a cabinet which fo

opened and upon a chair

64

slammed whereupon the bells are heard to ring and the tambourines are seen through the windows in the doors being played and thumped upon)

Spiritualists tell us that whenever a spirit returns to this world they manifest themselves s of taps; therefore I shall place this cane in the cabinet, close the door and if we

have any of our friends hovering near the earth they will begin by tapping on the door

, a noise is heard in the cabinet as of a man rapping, and instantly a cane is seen pushed through

e

d then is withdrawn into the cabinet and disappears. At the sallie time the doors are thrown open quickly and disclose an empty

irits, I

ASSISTANT: Very well, when you tell me to run, I shall run to the doors. I am ready.

(Carter approaches cabinet with hands on two knobs and while the noise is at its height he are seen to fall to the floor but

the cabinet remains perfectly empty. Assistant at the same time runs to the cabinet, and

he

It is said amongst theosophists that if you possess mediumnistic power and also have any token which might have belonged at one time to a

ave the ghost of Cagliostro come back and he will take his place in this handkerchief and do an Irish jig for us across the stage.

(Handkerchief passed to audience for examination and then placed on a chair inside the

by a serie

with the cane, I shall run my hand up and down the cane two or three times to magnetize it and place it here where you may see it.

(Puts cane in the cabinet, shuts doors and immediately after the doors are closed

one of the windows of the door. This taps on the door outside in full view of the audience. Then it is thrown out of the cabinet by some invisible power and caught by Carter)

ASSISTANT: Ah, that cane has some string on it.

No, there is no string attached to it. You may examine it.

(Hands cane to assistant who is standing directly in front of one of the doors. At the samtime takes the cane, a hand mysteriously projects itself through the window and slaps the assistant on the head two or three times an

cabinet. Consternation of assistant)

When I tell you to run, you run to the doors and open them and if you catch the spwill make you a present of a shilling.

quickly throws open the two doors. Tambourines and bells

afterwards looks much surprised and discomfited)

During my recent visit to Rome I was presented with this muffler by the keeper of tCastle of San Angelo who said that the muffler at one time was the property of Cagliostro, the old French charlatan.

medium since departed this world, it is possible to call back at will the shade of that particular individual. Tonight, I shall h

cabinet with the doors left wide open) (Music)

65

(Handkerchief at the command of Carter jumps out of cabinet and alights on the floor. Carter commands the handkerchief to arise and then in French addresses it thusly)

gated Spiritualism for years and had the ghost of Katie King materialized in his own house.

ll have Katie King come to the window. You may recognize her charming features.

, Katie King.

Away Katie King.

ines be thumped upon.

e bells are heard ringing and tambourines played as heretofore. In the midst of this pandemonium the doors are once

nd tambourines are seen to fall to the floor and the cabinet otherwise is shown empty. The cabinet is thereupon wheeled about and taken

usic)

en by her)

ill

Danse Cagliostro!

(Handkerchief dances off the stage) Descendez! Approche, monsieur! (Handkerchief is seen walking on its tail on one corner and goes to Carter. Carter picks up handkerchief and walks to audience with it proving that nothing is connected thereto)

I shall now introduce the ghost of Katie King. Sir William Crooke has investi

Tonight I will attempt to refute the theory of spiritualists that says it is impossible to materialize a welldefined spirit in the light. I wi

(Cabinet is closed and curtains are arranged in the window)

Come to the window

(Music)(A ghostly face of a woman is seen at the window of the cabinet. She nods yes and no)

(Doors opened quickly by Carter disclosing an empty cabinet)

We shall have the cabinet turned about now to prove that it is perfectly empty and for thelast time the bells will ring and the tambour

(Cabinet is turned around. Doors opened and slammed and th

more thrown open when the bells a

apart in much the same manner as it was built, and in pieces wheeled off the stage)(M

Scene II

(Corinne Carter describes articles held by auditors. Reads written questions, sealed letters, business and calling cards of auditors without them being se

CORINNE: I see a young lady who had written a question and she asks, "Will I ever be a great singer?" Yes you will be a great singer some day. Keep right on practicing and never mind what the neighbors say. Another young lady wishes to know whether she w

66

take a trip this year. Yes you will take a long sea journey. You are going to Calais. A gentleman who signs himself "Dr. Jones" wants to know who has the larger hor a woman? A

ead, a man man has the larger head but have no fear Doctor, in 30% of cases, while a

man has the larger head his brain is nearly as good as a woman's.

(Lines of this sort throughout, business, comedy and so forth)

Scene III

(A hexagonal cage made of wood is discovered in the center of the stage with green curtains behind)

I will now introduce a very pretty illusion which we call Flyto. I have a young woman by the name of Princess Karnac who will illustrate the possibilities of her astral entity. She will take her place inside this cage or pagoda and at will change her entity and appear in three of four different places in the theatre at the same time. This young lady comes from Lhassa, a county of Tibet, and she is a student of theosophy. Princess Karnac.

(Enter Princess made up as an Egyptian priestess. She enters cabinet with red curtains pulled down, doors being closed by Carter)(Music)

(Open doors of cage. Discover instead of the Princess a young soldier who marches out to the tune of "When Johnny Comes Marching Home." The cabinet is now hoisted in the air by a chain, shown empty and the doors closed. Another cage or cabinet, nearly of the same size, is pushed out from the side to the centre of stage)

We have a little prison all ready for the prisoner but we have no prisoner. Where is the little prisoner?

67

Voice from audience: Here I am.

(A young lady rushes down the centre aisle of stalls, up on to the stage and is then ushered in the cage which is opened on the stage. The doors are closed)

r cage to the upper one. One-two-go!

the

ACT III

Scene I

p as a Chinese Mandarin enters with three other assistants also costumed and made up to impersonate

Chinese to audience after which a cloth is given him about six feet square. While talking

rom

cloth in the air again over a pan which rests on a tabourette and produces therefrom three live geese or ducks)

(A trunk on legs about one foot from the ground hauled on. This trunk is turned about to nothing is concealed around it and then the top is opened from which a tray is

removed and the front let down disclosing the interior of the trunk empty. This trunk is with four sheets of plate glass, one in front, one at each end and one at the

back, the tray being replaced)

(One of the assistants produces flowers from a cornucopia and raises table in the air by

I will now cause the young lady to fly from the lowe

(Curtains flung up and cage seen hanging in the air disclosing the young lady who was first seen. An assistant opens the doors of the lower cage showing that it is perfectly empty. The upper cage is lowered to the stage by means of the chain and windlass andyoung lady steps out smiling)

(A scene is shown of an exterior garden in China) (Music) Carter made u

Chinese sing-song girls, assistants and so forth. Carter mumbles an introduction in broken

what is known as pigeon English, he shakes the cloth on the stage and produces a huge bowl of water weighing over eight stone (119 pounds). Two assistants get the water fbowl by buckets. Carter once more showing his gown to be free from any contrivances or secret pockets, waves the same

show that

now lined

I shall now show the young lady who lives in a glass trunk in contradistinction to the fairy tale old woman who lived in a shoe.

(Slamming up trunk and locking it and dropping the lid. Turning the trunk around entirely and opening it up as heretofore, whereupon a young lady is discovered inside the trunk, the glasses remaining in the position in which they were placed, the young lady being assisted from the trunk by Carter)

merely laying hands on the top of the table. In this scene Chinese jugglers, magicians, acrobats and gymnasts appear) (Music)

68

THE END

Frederick Bancroft, Conjurer His Career By H.J. Burlingame

riginally published in Tricks in Magic, lusions and Mental Phenomena (1898)

rederick Bancroft was born in Rochester, N. Y., in January, 1867. His real name was rederick Bronson. He died in Charleston, South Carolina, September 26th, 1897, of phoid fever. Some of his friends claim that he contracted the germs of this disease hile stopping in his hotel in New York City. The street in front of this hotel was torn up,

OIl

FFtyw

so much so t

success an

69

hat it caused considerable miasma in the neighborhood. Others claim that the sudden change from a cool to a warm climate brought on the disease in a constitution already weakened by a large amount of exertion, and found an easy victim in a person suffering to a great extent from nervous prostration caused by his failure to win the

Mr. Banc

tricks. He afterward became a dentist, and

ch money Mr. Herrmann took in in his tours.

, he procured the most elaborate

ann; especially so when

d recognition he had anticipated.

roft lived for a number of years in central New York, at Rochester and Syracuse. About 1878 and 1879 he was in Chicago for some time and made his first appearance as a boy magician under the name of De Castro, on the stage of what is now the Olympic theatre, doing only a few small when the boom in real estate business came on in St. Paul and Minneapolis, he was acting as a life insurance agent in those cities. He succeeded very well in this business, and made some money speculating in real estate at that time.

While living in those cities he took quite an interest in magic and often appeared in amateur entertainments, church societies and benefits and club entertainments. He became intimately acquainted with the late Alexander Herrmann, and traveled with him in a friendly way for some time. It was principally through his association with the late Mr. Herrmann that Bancroft decided to adopt the stage, and he frequently remarked to his friends that he was surprised to see how muAfter considering the matter for some time, Bancroft, finally decided to enter the business professionally and to surround himself with the most magnificent scenic productions that any magician had ever used. He had ample means to purchase everything he desired, but instead of purchasing a good outlay of new or original tricks, he confined himself entirely to small, antiquated tricks known by nearly every school boy, and imitated the performance of Mr. Herrmann as closely as possible.

To offset the lack of attraction in this part of his programstage accessories possible, and lavished a large amount of money in these expensive fittings. He claimed his outfit to have cost in the neighborhood of $30,000, and he frequently stated to his friends, when they suggested that he ought to change his program and put in better tricks, that it was his plan to introduce and perform the same old tricks, but with elaborate and expensive accessories, and carry out this plan for four or five years, even if he lost $20,000 or $30,000, expecting to come around and play over the same routes the third or fourth time, and after he had done so for a number of years, to then be able to travel on his reputation alone, and make up in a couple of years all he would have lost and enough more to allow him to retire on a competency. He could not be persuaded that this was the wrong policy. His untimely end and his failure to secure proper recognition in the amusement world proved that his friends were correct and his plans were wrong. Any such plan as that in the present age is certain to fail. American audiences will not tolerate an imitation of a performer like Herrmthe artist is a young man. After the first year's experience he felt the need of an extended rest, and after conferring with his friends, decided to make a trip to Europe and the East Indies. He intended, while in Europe, to call on the leading manufacturers and inventors of conjuring apparatus in those countries and to learn if there was anything he could bring back from India. He did not call on any of the manufacturers or inventors of conjuring

70

apparatus in Europe, but went right through to India. It is needless to say that he did not find anything in those countries that he could make use of. East Indian magic is a myth, and all their marvelous feats have been fully exploded and are now satisfactorily explained.

After his return Mr. Bancroft secured as manager Mr. E. L. Bloom, former manager of the late Alexander Herrmann. Of course, this was done with the belief that Mr. Bloom would succeed in placing Mr. Bancroft in the best theatres of the larger cities, where he could have a better chance for financial success. Unfortunately, right at the beginning of this tour he was taken sick and died. Many believe that the mortification and nervousness brought on by his failure were instrumental in causing his death. Mr. Bloom was left in a position where he secured the Bancroft outfit, and took up his old friend, Henry Dixey, as the man he thought most capable to continue with the paraphernalia. It is very peculiar that at the time Bancroft was playing at McVicker's theatre in Chicago, Amy Leslie, the well-known theatrical critic of the Daily News, in speaking of his performance, made the remark that Henry Dixey was the only man available who might make a great new success, and add, by his own invention, to the field of magic. Of course, she knew very well that Mr. Dixey would never be an inventor of any conjuring tricks, but that he might be a successful entertainer there was no question. In this connection experience teaches that any person who copies a well-known and public performer, using his patter or imitating his tricks, is certain to fail. While there is no doubt that imitation is the sincerest flattery, yet a conjurer without any originality or original tricks had better stay out of the profession entirely, because by his failure, which is inevitable, he only makes it unpleasant and difficult for those who follow after him, however original they may be.

71

A New Star aken from Mahatma, July 1895)

A new magician will be on the road next season with a show that means a new departure the magic business. Frederick Bancroft, a magician who has had nineteen years perience as an amateur, is putting on a magnificent "Spectacular Production of Magic," hich is replete with new ideas, and marks a new era in the development of magic as an t.

ancroft has plenty of capital to carry out his decidedly extravagant ideas, and his arvelous skill and fascinating powers of entertainment will be supported by the finest enery and most beautiful spectacular effects that money can buy, and he will be sisted by a large company of talented specialty artists, including many beautiful

women. Everything pertaining to the entertainment is new and original and on the same and artistic excellence. Most of the arrangements have already been

e

The main attraction in this show was the magnificent scenic accessories which probably surpassed anything produced in modern times. The opening scene represented a Palace with a large winding stairway in the rear, down which Bancroft came. At the foot of the stairs he was met by two lady attendants attired in male court Costume of lavender coloured satin and large white wigs who relieved him of his large black cloak. He was dressed in black court costume. The stage setting consisted of one large centre table, the

(T

inexwar

Bmscas

scale of costliness completed.

Mr. Bancroft's manager is Clarence Fleming, well known for many years as the manager of high class attractions in this country and Europe. Mr. Bancroft's bookings are now being completed. He will play only in the best theatres and most of the contracts already closed are for week engagements in the larger cities.

Originally published in Stanyon's Magic, February to June, 1902 For more Bancroft material see link at bottom of pag

Frederick Bancroft, (Conjurer). Bancroft died of Typhoid Fever at Charleston, S.C., Sept. 25th, 1897. Aged 31 years

72

feet of which were imitation devils. One large square yellowed like elephant heads. A large sq

with four legs of serf two traps in side scene, were two es, and in the extreme left front corner

bronze side table, on four legs shap uare maroon colored side table, pentine shape. On the right of stage, in front ostands, apparently side tabl was an upholstered gilt chair with trap in seat. Ban,croft introduced himself in the following simple manner:-- "I have the pleasure to introduce a few illusions, sare not of my invention."

Rapid Transit or the Tranin separate vessels. A caraf held by coloured assistant who drops in the ink pellet as Bancroft covers the carafe

n old

s

p of a broom stick. Three cards forced, returned, and pack shuffled and laid on table. Houlette introduced

er he eyes of

the knowing ones, would appear a dreadful fiasco. Picking up the

of up at

ome of my own invention and others that

sposition of Ink and Water contained e of clear water is

with a handkerchief. The vase, resting on the centre table, is astyle one; it is full of clean water, with gold fish, but lined black silk to make it appear a vase of ink. The silk lining is secretly taken out when removing handkerchief with which the vase was covered. Water in the hands of assistant is found changed to ink.

(A better way is to have a decanter fitted stopper ground out to receive a small portion of pyro-gallic acid. The decanter contains amuch powdered sulphate of iron as will lay on a six-pence. Clean water contained in a glass jug and passed for examination is now poured into decanter and stopper is placed in position. The performer now commands the water to change to ink, shakes decanter, and the trick is done--no covering. This method is smart and dispenses with the assistant.--Ed.).

Enchanted Cards.-- This was the Rising Cards where the skeleton Houlelte is fixed on the to

and examined. Finally a pack of cards, prepared with the thread, is taken from table, in place of the shuffled pack, and placed in Houlette, and the trick is practically done.

(I would suggest a better "change" than the above. Performer to pick up the original shuffled pack from table and, in going towards Houlette held by assistant, to stumble, apparently by accident, ovleg of a chair and to drop the cards on the floor--this, in t

cards, and in the act of moving the chair a little out of the way performer would change the cards for the prepared pack by means of our special Card Changing 8ervante for back of chair. The free end of the thread in this case might well be attached to the handle a fan lying on seat of chair and which performer would picksame time. The pack is placed in Houlette, the thread being

73

tightened as required under cover of the natural movements of the fan the draught from which is supposed to cause the chosen cards to rise.--Ed.).

The Magic Orange.--This was Herrmann's favourite trick with Orange Cone and Hat, exactly as explained in Modern Magic.

Illusion Diablo was the talking skull on a sheet of glass, whicthe page, number of line, and number of wo

h told rds in line, selected from

any book by one of audience. As the skull rapped out the numbers,

abet,

to page

Boxes.-- Borrowed rings loaded in pistol and shot into a nest of boxes held on a rod-by the two lady assistants on the stage.

ble had

done duty as a console.

,

to hold. Bancroft shoots at him, breaks the paper in

two, finds handkerchief in it, turns colored man around and candle

Then a large bronze urn, 3 feet high, was brought on from the back

Bancroft wrote them down on a black-board, for the word the skull nodded at each letter of the word as Bancroft called off the alphthus working "Kellar's great Book Act," as usually worked with a lady medium.

When Bancroft introduced the skull the recess at back of stage became dark and lightning flashed. The result of the numbers whenadded up and placed on black-board was 1410, and the gentleman holding book was told to turn to that page, but could not find it as the book was not large, enough. Bancroft then said the cipher was not necessary, and erased it, and then had the gentleman turn14t. This little by-play was taking.

The Nest of

The last box was produced from the shelf of the side table, the tabeing brought on from its position in front of the scene where it

Several Surprises.-- Two candles; lighted and placed on centre table. Small basket, supposed to be full of eggs, but upon opening itit is found empty. Colored man says he ate them. Colored man's handkerchief, borrowed by Bancroft, loaded into pistol. One of the candles taken from its candle-stick, wrapped in paper, and handed colored man to

is seen hanging down his back, as Bancroft said 'instead of his golden hair.'

Stew pan now introduced, eggs produced from the darkey's mouth,cooked in the stew pan, change to three large ordinary barn yard pigeons.

of stage. Top of it consists of a very large burnished copper

74

receptacle, like a chafing dish with a thin cover, which was removed, and the receptacle shown full of artificial flowers and wreaths which were scattered around on the floor of the stage. On command of Bancroft an imp came down the stairs with a rabbit,

h

as d. This act is as follows:--

y a tre, &c.

t.

be

can

occupied with "important affairs of State," but slave explains they desire to present him with a cask of

ld wine, which, of course, is another thing, and the Sultan samples the wine and says he will at once see the Ambassadors. He retires;

ld being entertained with a little harmless amusement, and tells him he can be shown in while

n

which he places in this large dish. Then a fairy brought on two birds, one in each hand, which were also placed in the dish. Then another fairy brought a couple of birds, and still another a large crow. Then the cover was placed on and Mephisto appeared with a goblet, which, on taking off the cover, produced flames; and on the cover of the urn being removed, it was found full of flowers, whicflew up in great quantities, overflowing on the floor. All the objectsplaced in the urn remain there.

Then followed Part II., in which the act of The Sultan's Visitor wintroduce

The scenery is magnificent, and represents the inside of the Sultan's Palace. Seated in the centre of the stage on what is apparentlsofa, is the Sultan, with his usual make up,--long beard, scepAt his left are two ladies reclining on couches,--same on his righBehind each is a boy in oriental costume with long fan. Slave approaches and salutes, saying there is an old juggler at the outer door of the Palace who desires admission. Sultan orders him to thrown into the sea, as he does not wish to be annoyed; but as the slave says he appears to be as old as the world, he is told that he wait. Slave retires, and the Sultan calls for Scheherazade who introduces club swinging. After her act, slave returns bearing a glassof wine on a salver. After saluting, says the Royal Ambassadors from Persia are at the outer gate and desire admission. Sultan says he can not receive them as he is

o

slave calls his attention to the old juggler and Sultan says he has no objection to the ladies of his househo

he is out.

Bancroft comes on disguised as an old man. He sees the four fan boys. Calls them all up in a row, pretends to give each one some magic seed, and tells them to run out and plant this in the gardeand watch it grow up into a tree which will bear gold dollars, and they can pick them!!! As soon as they depart he pretends to mesmerize all the ladies present except Scheherazade, the slave

75

standing in centre back of stage. He then speaks to Scheherazade and says: "You have dreamed three nights that a young man wcome and save you and help you make your escape." She says:-- "How did you know that?" Bancroft says:-- "I can read minds eveat a distance." She says:-- "But the one I dreamed of is a young man." Bancroft says:-- "I am he," and throws off his disguise, being in his conjurer's attire of evening court dress. Produces inevitable paper from his pocket and says he has here a permit to remove a boxof old clothes outside of the castle walls, and that she can escape inthe box, and will be received by friends on the outside, and that the slave is in his employ, whom he now calls upon to help him makebox. They remove the cushions from the pedestal on which the Sultan was

ould

n

a

sitting, and disclose a box about the size of a casket.

n t

hrough e

he

sides and ends and finds it empty. Bancroft then says "Would you ft

ief,

The lid of the box is removed and some cushions placed in box; then Scheherazade lies down on these cushions, then the back, thethe front, then the two ends of the box are raised up and the lid puon. Of course a mirror arrangement underneath the box, and a trapin the bottom of the box allows her to go through same and tthe stage. While she is doing this, the two men make considerablnoise by taking two antique foot stools and thumping them about tstage, while placing them in the centre of the stage, and then they lift the box and place it on these two stools. Bancroft says "Let usremove this," and as they are about to take hold of it, the Sultan enters with the remark:-- "What are you doing with that box?" Bancroft says in an aside "I am discovered!" Then produces his paper and remarks that he has a permit to remove a box of old clothes. Sultan says "It is false! You have my Scheherazade in that box. You shall not remove it. I shall kill her!" Bancroft says:-- "Thatis right. You can not take a man of your equality, but have to make war on a defenceless woman. You shall not kill her. I shall cause herto vanish and go." Says the Sultan "Where." Bancroft says "To paradise." Sultan removes the cover from the top, lets down the

like to see her?" Sultan answers "Yes." "Then look!" and Bancropoints to the centre back of stage when scene rolls away and tableau of Scheherazade, apparently ascending into Heaven, is seen.

Part III.--The Fairy Flowers.-- Two uprights on centre table, suspended from which is a good sized wreath of artificial flowers. The two girl assistants are this time in costumes of white satin; colored man also assists. Three cards forced. Two gold watches without chains are borrowed, and each wrapped in a handkerch

76

of a short stick. Cards are replaced in pack, which is placed in aholder at the back of the wreath of flowers. Duplicate watches are emptied out of the little sack and loaded into blunderbuss, assistant walking off with the borrowed watches in the sack. On shooting at the wreath, the three drawn cards appear on top of it and dummy gold watches are hanging underneath. Assistant brings on the ordinary watch and plate frame and places it on table over a pistowhile performer takes watches off wreath, and puts them on a platehanding it to colored man to return to owners. He stumbles, falls, and drops plate and watches, smashing them. Comedy business. Remnants all wrapped in a newspaper, loaded into blunderbu

n

ss and shot into frame in which watches and plate appear. Watches taken ff and returned to owners on the plate.

rd,

n

o

Cage and Bird.-- A live canary produced from gentleman's beaand placed in a small round cage. Small canister, in which cage fitsis now shown, cover removed, and it is found filled with bon-boand nuts. The bon-bon are distributed to audience and the nuts poured into a glass dish and placed aside. Canister also contains oneorange which is placed on trap in the chair. The cage is then placed in the canister, which is handed to assistant and reversed in doingso. The orange is then trapped, ostensibly passed into canister, which, on being opened, is found to contain a large number of flags,some baby's clothes, and a good sized United States silk flag, whichmeets with the usual applause.

Coffee, Bean and Sugar Trick.-- Introduced exactly in the mannerused by Herrmann, and explained in Modern Magic, the coffee afterwards being distributed to the audience.

Card Tricks.-- Hands a pack of cards to a gentleman in audience and asks him to take one card from the middle of it, look at same, replace in pack and shuffle pack. The cards were then taken to centre of stage, and gentlemen told to think of any number under 13,

,

ards

s

ich he held while it was being shot at by one of the assistants. This took well with the audience.

and Bancroft would take one card at a time from the top of the packcounting them on to table, face down, and requesting gent to say "stop" at the required number, which would be the drawn card. Bancroft exposed this trick by showing that the entire pack of cwas of one suit. In this instance all the cards were the deuce of clubs.

The Dissolving Pack of Cards was next introduced, the variou"palms" being dropped on to the Shelf of table. Then the Ball Box and Glass Casket, balls going through box into table top and re-appearing in the glass casket wh

77

Catching Money in the Air and multiplying coins from the plate into the hat exactly as introduced by Herrmann. Hat "rung" on stby assistants, and when darkey goes to return

age it, he falls on it.

Comedy business. While Bancroft explained darkey put his foot

an of the silk worm, while he turns up his sleeves, the while

letting it be seen that his hands are empty; then finds a number of k

d

e ball is finally left in the bend of the elbow and concealed by the shirt in a

s

,

e, I see it,"--this is dirty white. (Conjurers can now use up their soiled silks).

es d

e" hen placing last handkerchief on table,

through the hat, which created a laugh. Pieces were wrapped up in newspaper, which was "rung" while wrapping in more paper for another bundle from shelf, with a small hole in the end of the package. Bancroft said, "the hat leaks" opens package, and finds a large negro doll. Calls for Mephisto. Scene opens at rear of stage, and under red fire and tableau, Mephisto is seen in all his glory, handing out the hat to Bancroft who returns it to owner.

Handkerchief Manipulation.-- Performer talks of the old Germlegend

handkerchiefs in the air. We give a method of performing this tricin another part of this issue. The above introductory can be manageby having the first ball of handkerchiefs hidden just inside the leftcuff, then, when unbuttoning cuff, ball is finger palmed in right hand; the hand, still holding the ball, rolls up the sleeve and th

manner familiar to Conjurers. Both hands are now free and the rightsleeve is turned up. The ball is again secured in the right hand in the act of putting the finishing touches to the left sleeve, and undercover of the "patter."

First, six handkerchiefs are produced from the air and dropped onfloor of stage. Then any special colour asked for by audience iproduced--in all another half dozen which are likewise dropped on stage. Again, more handkerchiefs are produced, and amongst themone, "pure white, only spotted all over,"--this is full of holes; another one "doubtful white, gets more doubtful every tim

Vanish red, white and blue handkerchiefs, separately, and producthem tied together in a string. For this effect you will doubtless finuse once more for one or more of the hollow brass balls.

The One Handed Colour Change, white to red:-- Use a red handkerchief prepared with a tube, (same construction as our handkerchief for "Dyeing Handkerchief Trick,") and pick this up from table under cover of the white handkerchief. This trick can be repeated if you have another set of handkerchiefs ready on the table.

To produce any number of handkerchiefs. Force the number "ninin usual manner, and w

78

secure another "ball" from left pochette, which ball is loaded with nine handkerchiefs in sets of three, so that three can be producedone and the same time; produce and count, three! six!! nine!!! Theseare cut in half, diagonally, as explained elsewhere in this issue, so that they may all be held in the one ball. By way of variation tnine may be produced altogether, the counting being the same, butyou making out the handkerchiefs are invisible, and then, finally

at

he

undertaking to make them visible.

Under cover of these nine you now produce fifty, sixty a hundred, oreven more, from tbe vest showering them on the stage.

79

The Master System Card Trick

his is no ordinary card trick, this is the mother of all card icks, and once learned you will be able to perform many ifferent card tricks that defy all logic, because you will know e position of every card in the pack.!!! The cards must not

e shuffled or disturbed in any way, but the performer can cut e cards and have several spectators do a straight cut. This ill not disturb the order of the cards. This master system rangement of the cards is far more impressive than just ranging them in numerical order in the suits i.e 2,3,4,5,6, t.c. as this sequence looks completely random to the ectator who will not suspect that the cards have been pre ranged.

he cards must be stacked as shown in the table below, by rst placing the ace of clubs on to a table face up, then the

hearts and so on until the whole pack is set in the aster system order. This order is also known as the Si tebbins order

Ttrdthbthwarare.spar

Tfifour ofmS

Clubs Hearts Spades Diamonds Ace 4 7 10 King 3 6 9

Queen 2 5 8 Jack Ace 4 7 10 King 3 6 9 Queen 2 5 8 Jack Ace 4 7 10 King 3 6 9 Queen 2 5 8 Jack Ace 4 7 10 King 3 6 9 Queen 2 5 8 Jack

etc. but a

Master System trick 1: Fan out the cards, ask a spectator to pick a card, separate the pack a hat point, cing the top half on to the bottom of the pack while secretly glancing at the bo d, you instantly know the spectator's card. Sim d 3 to ttom car alue and l the following

Rule 1 Each card has a numerical value, Ace=1, jack=11, queen=12 and king=13. Rule 2 Each card is THREE numbers apart, Ace, 4, 7, 10,Rule 3 Every thirteenth card is a card of the same value,different suit.

t t pla

ttom c raply ad

w l the bo

ild v cal

80

suit. You now know the card value so you can improvise your own tricks from

Master System Trick 2: A spectator cuts the pack, you take them and secretly glance at card as you put them behin our back, k the spe to nam ndom card, you then pull it from the pack. Simply add three to the bottom card and increment the next suit, this is t of the top card. Now just count through the cards un come to their

is is the value of the top card. Ask them to cut

ed to the spectator.

,

ir card.

is

here.

the bottomd y as cta ort e a ra

h ee valutil you

card, where you pull it out and show them.

Master System trick 3: Cut the pack a couple of times, then secretly glance at the bottom card as you pass the pack to a spectator, mentally add three to the bottom card and increment the next suit, ththe pack into four piles. Announce you are going to predict thetop card off of each of the four packs. You already know the card on the first pack, so start from the opposite end and name card you already know, then when you pick up the card youwill then be able to see its true value, then you name that cardbefore you pick up the second card and continue to do this until you have named all four cards. Then simply show the cards you have just nam

Master System trick 4 : Hold the pack of cards in your right hand and slowly let them drop into the palm of your left handasking your spectator to say "stop" where ever they want. Secretly look at the bottom card of the remaining pack in your right hand and ask the spectator to take the top card of the pack in your left hand and memorize it. Tell them they must concentrate on their card, you then name the

Master System trick 5: Tell the spectator that you can tell themhow many cards down the pack their chosen card is and ask them to choose any card, number and suit. Then locate the card with the same suit as the one named by the spectator, which is nearest to the bottom. Subtract the number of the card chosen from the card of the same suit near est the bottom of the pack. Then multiply the answer by four and then subtract the number of cards that were below the bottom suit card, the result will be how many cards down from the pack you must count to reach the spectator's chosen card. If the chosen carda higher value than the suit card on or nearest the bottom of the pack, just add 13 and proceed as above. For example: if the spectator chooses the 9 of diamonds and the card with the same suit nearest the bottom is a 5 of

81

diamonds, you will need to add 13 to the 5 of diamonds, making a total of 18. Now subtract their card, the 9 of diamonds from 18, this leaves the number 9, multiply 9 by 4, which equals 36, then subtract the number 2 (which is the number of cards below the bottom suit card). This totals 34, sthe 9 of diamonds is 34 cards down from the top of th

o e pack.

ged

Thoroughly learn this Master System and practice it well, you will then be able to improvise and create your own tricks based on The Master System, this is one of those tricks thatonce you have mastered it, you will wonder how you manawithout it.

Hint: To remember the order of the card suits, it is useful to think of the word CHASED i.e C H aSeD

82

The Nest of Boxes

On the stage stands a chair with a cane back. This back is lined with a piece of stuff of the same material and color as that of the curtain or screen at the back of the stage.

Hanging on the back of the chair is a bag the mouth of which is held open by a ring of tempered wire that does not bend readily, and lying over the back of the chair is an open newspaper. From the "flies," or the ceiling, hangs a nest of four boxes, the outer one being about 12 × 14 × 20 inches. In the smallest or innermost box is a small, white rabbit. Around its neck is tied one end of a ribbon, six or seven inches long, and on the other end is a snap-hook, such as is used on the end of a watch-chain. In closing the boxes, care is taken always to keep this ribbon hanging outside, so that when the largest box is reached at least two inches of ribbon will remain outside. Fastened to the front side of the box, over which the ribbon hangs, is a small hook. This side is kept away from the audience. Finally, the boxes have small holes bored in many places, so as to give the rabbit air. These preliminaries are, of course, arranged before the curtain goes up, and the audience knows nothing of them.

When the performer comes on the stage, he begins by asking for a watch, and as he steps down among his audience to borrow one, he stops before some gentleman and, excusing himself, takes from under the man's coat a rabbit, exactly like, in size and color, the one in the box. This rabbit the performer has concealed under the front of his waistcoat. As he steps up to the man from whom he is to take it, he seizes the lapel of the man's coat with his left hand and, stooping slightly, takes the hidden rabbit with his right hand, thrusts it under the man's coat for an instant and withdraws it almost immediately, holding the rabbit high in the air. Then he borrows the watch, and returns to the stage. When the stage is reached, the rabbit is placed on the seat of the chair. Turning toward the audience, the performer comments on the watch:

"I see our watch is a second-hand affair. Most watches to-day are made that way." Here he looks at the watch. "I've seen better—now don't misunderstand me—I've seen better tricks done with watches than with any other small article. Now watch this." He throws the watch in the air once or twice, and finally makes a motion of throwing, but retains it in his hand, holding it there by clasping the ring between the thumb and fore-finger, and as he stands with his right side to the audience, and only the back of the hand is seen, they imagine it has disappeared. Afterward he slips the watch into his vest pocket.

"Now for the rabbit," he says. Picking it up by its ears, he remarks: "Plucky little creature! It never complains, no matter how much you hurt its feelings. An American, I should say from its pluck. No Welsh rabbit about that." Standing at one side of the chair, the rabbit in his left hand, he opens the newspaper over the back of the chair, and laying the rabbit on it draws the front of the paper toward the left hand so as to cover the rabbit, and as he reaches down as if to take up the overhanging part of the sheet at the back of the chair, the rabbit is dropped into the bag. See Fig. 164. The paper is gathered up in the shape of a bundle, so as to appear as if it held the rabbit, the ends are twisted, and the parcel laid carefully on the seat of the chair. "Now for the crucial

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moment," exclaims the magician. Picking up the bundle he moves it three times toward the box, and then suddenly smashing the ends together throws it on the floor. The box is lowered, and, while the eyes of the audience are fixed on it, the performer takes the watch from his pocket, and as the box nears the table he reaches out, as if to steady it, and hangs the watch on the hook that is on the front side of the box, which is turned toward the back of the stage. The boxes are opened and piled one on top of the other, and when the last one is reached the watch is taken from where it hangs and hung on the end of the dangling ribbon. See Fig. 165. The last box is opened, and as the rabbit is taken out the ribbon is twisted once or twice around its neck. The squirming creature is then carried down to the owner of the borrowed watch, who identifies his property.

Fig. 164

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Fig. 165 When this trick is exhibited on the stage the performer generally ends it in a very striking way. When he returns to the stage he places the rabbit on a large table at the back of which is an open bag or box. Picking up a pistol, he stands behind the table, his right side turned in the direction of the audience. Catching hold of the rabbit, he tosses it twice in the air, and the third time makes a motion as if to throw it, and at the same moment discharges the pistol. The audience are startled by the report, and before they recover from the shock the rabbit has been thrown into the bag at the back of the table. The rabbit has, apparently, disappeared in midair, and the performer walks toward the footlights bowing his acknowledgments of the applause he is sure to receive. The trick is not yet quite done. Suddenly stopping, the performer smiles and points at a man in the audience, some one seated near the stage. "Ah! sir," he says, "you are trying to play a trick on

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me, I see. You have something hidden under your coat." Hurrying toward the man on whom all eyes are now turned, the performer pulls open the innocent man's coat as if searching for something. Abandoning the breast, however, after a moment, the performer runs his right arm down the neck of the coat. This gives him the opportunity to get close to the man, and as his (the performer's) body is thus concealed he takes with his left hand a rabbit from a large pocket in the tail of his coat, and thrusts it up the back of the man's coat as far as possible. "Will you help me, sir?" the performer asks some one seated near; and as the audience look at the new assistant, the performer reaches down the back of the first man's coat and pulls out the rabbit. It is not very polite to the rabbit, but as for the performer—well, the audience applaud and shout with laughter. Of course, the performer apologizes to the man who has been somewhat roughly handled.

There is another popular form of the Nest of Boxes, which to an audience seems almost identical with the one just described, but is entirely different in its manipulation.

A large box hangs from a support of some kind from the moment the curtain goes up. When the performer reaches the trick in his program, he goes down among the audience holding in his right hand, by one end, a little stick, the wand of the conjurer, and asks for the loan of four or five finger-rings from some ladies. As they are offered he extends the wand with the request that the rings be slipped on it, "so that I do not handle them." When he has borrowed the required number he returns to the stage, and on his way, grasping the other end of the wand with his left hand, he tilts the borrowed rings into it and allows a number of brass rings, which have been concealed in his right hand, to take their place on the stick. These rings he drops on a plate from the stick. The plate lies on the stage near the footlights, and directly under it is a hole. See Fig. 166. The performer immediately picks up the plate with his left hand, and as he stoops to do this he drops the borrowed rings into the hole in the stage, where they are received by one of his assistants, who hurries off to place them in the little box in which they are finally found

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Fig. 166 Picking up an old-fashioned horse-pistol,—which he informs the audience was originally a Colt's,—the performer drops one of the rings into the barrel and rams it down. He pretends to find the next ring too large and batters it with a hammer, to the delight of every one in the audience except the owners of the rings. "There, that will go in now," he says, and rams it down. So he continues, until all the rings are in the pistol. Pointing at the box that is hanging in full sight, he remarks, "This is one of my aims in life. Let us hope it will succeed," and bang! goes the pistol. As the barrel of this particular pistol is disconnected from the hammer and the trigger, merely a cap explodes, but that answers every purpose.

While the attention of the audience was directed to the performer during the loading of the rings into the pistol, a small table was run on the stage from the wings. In the top of this table is an opening of a size to admit a small box, which rests on a shelf under the table top. When in position, the top of this box comes flush with the top of the table. When the performer takes down the box at which he fired the pistol, he places it on this table, unlocks it, for effect, and takes from it a second box. So he goes on, taking one box from another until he has three or four stacked up. Finally he reaches a box that is bottomless. This he places over the opening in the table top, unlocks the box, and reaching down takes up the box that is in the opening and walks toward the footlights, box in hand. He unlocks this and finds still another box which, when opened, reveals the borrowed rings, each attached to a small nosegay. He carries these to the owners, who identify their property.

Returning to his stage, the performer picks up a champagne-bottle, with the remark: "As some slight return for your kindness in lending me your rings, I am going to ask you to have a glass of wine with me. What shall it be? Anything you please. My bottle here will supply all kinds." Just then he pretends to hear a call from the audience. "What is that? One of the rings has not been returned? Too bad, too bad! But I'll see about it after I have satisfied the thirst of our friends here. Now then, what shall it be? Wine, brandy, whisky, Old Crow, forty-rod, Jersey lightning, instant death? What you like." Holding a tiny wine-glass, filled with water, in one hand and the bottle in the other, he asks the first person he comes to what he will have. Pretending to hear a call for water, he says, "Water? Certainly, sir; pure Adam's ale," as he goes through the motions of filling the glass, but covering the mouth of the bottle with his fingers so that nothing comes out. "The real article, is it not?" and he throws what is left on the floor. He passes rapidly from one to another and gives each one, serving, perhaps, half a dozen, some sweetened whisky—the same to all, no matter what is asked for, but calling out the name of a different liquor each time. He serves only a sip at a time, for it is only the neck of the bottle, which is plugged at the bottom, that contains the liquor. When through with this farce, the performer returns to the stage and, calling for a hammer and a tray, breaks the bottle, and behold! inside is a wriggling little guinea-pig with a ribbon round its neck, to which is attached the missing ring and a tiny bouquet.

For a simple trick nothing is more effective than this one. To prepare the bottle, the bottom is first removed. This may be done by tapping it gently with a hammer or it may be cut off by a glass-worker. In the first case, which is the better, a false bottom of wood or tin is used; in the second, the bottle is cemented together with a little shellac varnish, colored with lampblack. Here and there a hole is drilled in the sides of the bottle to give air to the pig. While the bottom is off, a plug

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is fitted tightly inside the bottle near the neck, and melted paraffin is poured over it to prevent any leak. It is in the space between this plug and the mouth of the bottle that the liquor is held. In the lower part of the bottle the guinea-pig, with the ring attached to it, is placed by the performer's assistant, who closes the bottle and hands it to the performer.

In a later method of preparing the bottle much time, trouble and expense are saved. The upper part of the bottle, including the neck and about a quarter of the body, is of copper. Inside, a little below the neck, is a solid bottom, and to this is soldered the metal cover of a fruit-preserving glass jar (the kind known as a "Mason Jar"). Through this cover, leading to the outside of the metal bottle, where it ends in a hole, is a metal tube, to afford air to the guinea-pig. Into this cover, the jar itself, which is painted black inside, is screwed. It fits well up into the metal body and completes its form. With a wine label on the outside, its appearance is most deceptive. The pig is put into the jar before it is screwed in place. In exhibiting the trick the jar is broken with a hammer. To replace it is less than half the cost of a champagne bottle, and is no trouble.

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The Indian basket

Description A wicker basket, long and narrow, is used for this trick (if only to make the name authentic). An assistant is placed in the basket and it is covered with a blanket, and the whole has a leather strap buckled around it. The performer takes his magic sword and stabs the basket here and there, and the sword comes out dripping with blood. The basket is then opened, revealing that is empty and there's no blood — and the assistant (whole and uninjured) sneaks up behind the performer and taps him on the shoulder. Startlement and giggles!

Execution

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As the first diagram shows, the basket has a double bottom-front side combination — ABC in the diagram. This is moveable — that's to say it isn't attached to the rest of the basket. When the basket is rolled over, a quarter-turn towards the audience, the double bottom remains as it is, held in place by the weight of the assistant — as in the second diagram. Thus the assistant is left outside the basket and can leave the stage: the basket is then rolled back. The side AB must be identical in appearance to the rest of the basket. The blood is supplied by a few small sponges soaked in any red liquid.

Comments This trick is difficult to stage. The stage must be set so that there is sufficient clutter that the assistance can exit unseen from behind the basket: or the back of the stage must be sufficiently dark for the same reason. Finding a good reason to tip the basket towards the audience and then back requires imagination. And arranging things so that the basket can be covered with the blanket and then strapped up, without impeding the false bottom, requires careful execution.

This trick, originally seen by Western travelers in India (thus the name), was always performed out of doors, with lots of people, assistants, and distractions of all sorts around. The assistant was a small child, who could hide in the magician's robes while the basket was tipped forward, and then slip away when assistants gathered round for distraction. And there was always lots of shouting and unnecessary acting by the magician and the assistant, to divert the spectators' attention from the important instants of the performance.

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Cotton

Take a piece of any colour, 12in. to 15in. long, and see that one of the audience is provided with a very sharp penknife. Double the cotton once, and have the bend cut quite through. Double again and have it cut, and repeat the operation until it is nothing but pieces, each barely a third of an inch long. Rub the pieces together in the fingers, and, after a short time, quietly draw out the cotton again as it was in the first instance. That is what you must ostensibly do: now for how to do it. First of all, have concealed between your finger and thumb a piece of cotton about the length above mentioned. This you must roll up small, and deliberately hold between your finger and thumb, or, better still, if the fingers be sufficiently large, between the tips of any two fingers, as they are more naturally kept together. Nobody will notice it if the hand is engaged in negligently holding the lappel of your coat, the wand, &c. I need hardly mention that the concealed piece must be of the same colour as that operated upon, as the production of a white in place of a black piece would scarcely be satisfactory. To ensure the success of this preliminary, some considerable manœuvring has often to be gone through, and no small amount of tact exhibited. Where you are showing the trick for the first time, you can of course ask for any coloured cotton you please (always choose black when you have a choice), but it is such a fascinating trick that you will be called upon to perform it over and over again in the same house, or before the same people—which is quite as bad—and you will find that all kinds of ingenious devices will be brought to bear upon you. As a commencement, always carry in the corners of your waistcoat pockets two black and two white pieces, ready for emergencies. Each pocket will contain two pieces of the same colour, but differing in thickness, one in each corner. It is useless to carry other colours on the mere chance, as you are sure to be unprovided with the exact one required at the moment. When coloured cotton is produced, you must, by some means or other, get at the reel from which the cotton is taken. If driven right into a corner, you must go so far as to ask someone (always let it be the master or mistress of the house) to secretly obtain a piece for you; but this you will have to resort to on rare occasions only. Make all sorts of excuses so as to cause a delay, even going so far as to postpone the performance of the trick, but not before you have seen what colour you are likely to be favoured with. Your wits must do the rest. The reader must remember that I have taken extreme cases, and such as but rarely occur; but still they do occur, and if I did not warn the beginner of pitfalls ahead, he would not think much of my teaching. In the ordinary way, he will be able to ask for any colour he pleases, which will of course be similar to that with which he is provided. We will suppose that everything has progressed favourably. Take the cotton to be cut between the thumb and forefinger of each hand, by the extreme ends, and, doubling it, let one hand hold the loop to be cut, the fingers of the other hand holding the ends. As soon as the knife has passed through the cotton, give it a "twitch," and bring the ends, of which there will now be four, quickly together, as if you had performed some very intricate manœuvre. Of course, you have really done nothing at all, the movement being only a deceptive one to lead the spectators to believe that the secret of the trick consists in the way in which you twist or double the cotton. Have this in mind all through the trick, and keep up the deception. Continue to double the cotton, taking the greatest care that the ends all come neatly together, and that all the loops are cut through. Do everything with the greatest deliberation (except the delusive "twitch"), for there is no occasion for any hurry. When the cotton is cut so small that it will not double any

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more, commence to knead in the fingers, and gradually work the fragments behind the concealed piece, which must be brought to the front. This you will do without once removing the hands from the full view of the audience—in fact, under their very eyes. When you feel quite sure that everything is snug and secure, commence to unravel the whole piece, which will pass for the resuscitated original.

People who have seen the trick performed before will sometimes suggest that the piece of cotton should be measured before being cut up. Allow this to be done with all the grace in the world (when you find that you cannot do otherwise), but, before operating upon it, roll it up in the fingers, either absently, whilst engaging the audience in conversation, or for the purpose of seeing if it is of the proper dimensions, and exchange it, unperceived, for the concealed piece, which will be cut up instead. Although it is not advisable to have the cotton measured first, yet, when it is done, it invariably adds lustre to the feat. The pieces must never be carelessly thrown away, but secreted in a pocket on the first opportunity that presents itself, and afterwards burnt.

Rings can be made use of in many tricks, both in the drawing-room and on the stage. The following will be found very neat and effective: Procure a metal imitation of a wedding-ring, and have it cut neatly through. Pass this ring under a single thread of your handkerchief near one of the corners. Borrow a lady's ring, which palm, under pretence of putting it in the handkerchief. (The best method for palming a ring is to hold it between two fingers at the roots.) This you will appear to have done if you give the false ring (under cover of the handkerchief) to be held by someone who is not the owner of the borrowed article. It is immaterial whether the genuine ring has a fancy head or not, as the back of it will usually be about the width of a wedding-ring. Take the wand in the hand, and, unperceived, slip the ring in your palm over it until it reaches the middle, still covered by the hand. Now ask two persons to hold the wand, one at either end, and lay the handkerchief containing the false ring (still held from the outside by the original holder) over it. If you now remove your hand, you will leave the ring on the wand still concealed by the handkerchief (Fig. 22). Take hold of the end of th handkerchief which hangs down below the wand, and instruct the person holding the false ring to leave go when you count "three." As soon as you are obeyed, draw the handkerchief smartly across the wand. This will cause the ring to spin round, and assist materially in inducing the audience to believe that it was actually conjured from the handkerchief on to the wand whilst the latter article was being held at either end by two people. A slight jerk will detach the false ring from the handkerchief, which you can send round to be examined. A hint I can give the learner is, never to ask a lady to lend you her wedding-ring or keeper. Many ladies are exceedingly superstitious, and feel embarrassed when asked, from not liking to refuse, and yet being unwilling to take their rings from their fingers. Always borrow a ring the back of which nearly, if not quite, matches your false article in substance.

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Fig. 22. Procure a metal ring, similar to the one used in the last trick, of very soft brass, and, when you have cut it through, sharpen up the two ends to points with a file, or any other way you please. Borrow a lady's ring, and exchange it, as in last trick, putting the false one in a handkerchief, which have tied with tape or string in such a manner that the ring is contained in a bag. If the borrowed ring is narrow all round, you may make use of your nest of boxes, if it has not been previously utilised in some other trick; it being a golden rule among conjurors never to use the same apparatus twice during the same evening. An apple (a potato, small loaf, &c., will do as well) can be used instead with effect, if a goodly slit be made in it, and the ring pushed in while you are taking it from your bag or from behind the screen. Show the apple round, boldly saying that everyone can see that there is no preparation about it, at the same time taking care that no one has time to decide either one way or the other from the rapidity with which you pass it about. Place it in a prominent position, and then take the handkerchief containing the false ring by the bag, allowing the ends to fall over and conceal your hands. Quickly unbend the ring, and, working one of the pointed ends through the handkerchief, draw it out, and rub the place of exit between your fingers, so as to obliterate all traces of it. All this you must do very quickly, and, dropping the handkerchief on the floor, say, "Without untying the string, I have abstracted the ring, which I now pass into that apple." Here make a pass. Take a knife in the hand holding the false ring (unless you have been clever enough to get rid of that article), and, showing the audience that the other hand is quite empty, proceed to cut open the apple slowly. When the knife touches the ring, allow it to "clink" upon it as much as possible, and call attention to the fact, as it is a great feature in the trick. Do not cut the apple completely through, but, taking it forward (on a plate is the best way), allow the owner of the ring to take it out with her own hand. Of course, the audience must not be allowed to handle the apple, and so discover the old slit. This trick should not be performed with the preceding one, but on another evening. The principal effect of the trick is the apparent abstraction of the borrowed ring from its confinement in the handkerchief in an incomprehensible manner, and you must, therefore, allow the audience to see that the ring undoubtedly is tied up securely in the first instance.

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Another trick with a ring is performed by aid of the wand only. Borrow a good stout ring, a signet for example, and, holding it near the roots of the fingers of the right hand, pretend to pass it over the wand, but, in reality, let it slide along on the outside of it, and still keep it in the hand. The deception is assisted if the ring be first carelessly placed upon the wand, and taken off again, two or three times. Say to one of the audience, "Will you be so kind as to hold one end of the wand with either hand?" and, in stretching the wand out towards him, allow the left hand momentarily to pass close under the right, and let the ring fall into it—of course, unperceived. If you look at your hands whilst doing this, you are a lost man. You must look the addressee boldly in the face, and thereby divert attention to him—not that there is the slightest excuse for exposing the ring during its passage from one hand to the other. When the wand is firmly held at both ends, say something about the futility of strength in certain cases, and eventually show the ring in the left hand, and remove the right from the wand to show that it is empty. If relinquished at this stage, the trick is very incomplete, as the audience usually divine, or affect to divine, that the ring never was put upon the wand at all. It is a peculiarity of this trick that this remark is almost invariably made, so the conjuror must be prepared with something still more "staggering." Return the ring to its owner, and call attention to the fact that you have not cut it in any way (not that anyone will ever think that you would do so, but you must assume that this idea is prevailing in the minds of the audience), and secretly take from your pocket, or wherever it may be concealed, a thick metal (or gold) ring, which keep in the left hand. Borrow the ring again, and slide it over the wand with precisely the same movement which you used in the first instance, when you did not put the ring on. This time you must appear to be very clumsy, and let the two hands come together so that everyone can see the action clearly, and snatch the left hand away sharply as if it contained the ring. You will doubtless see a number of heads lean towards each other, and hear a good deal of loud whispering, in which the words "left hand" will be conspicuous. Take no notice of this beyond looking as confused as possible, and the audience will think they have bowled you out at last. The strange part of it is that, in a trick of this kind, a spectator who fancies, rightly or wrongly, that he has discovered something, never attributes the fact to your want of skill, but to his own remarkable powers of perception. The effect of the ruse will be heightened if you allow a tiny portion of the false ring to catch the eye of one or more of the audience; or resort to any other artifice to induce them to believe that you really have the borrowed ring in the left hand, and have allowed the fact to transpire through carelessness. Now say that, the ring being securely on the wand, you mean to take it off as before, and give the two ends of the wand to be held. You will then appear to notice the incredulous looks and remarks of the audience for the first time, and stoutly deny that the ring is in the left hand, which, however, you decline to open. Allow the audience to argue the point with you, and, when one has said that he saw you take the ring in the left hand, and others have made a similar statement, pretend to give in, and say that you must admit that you are discovered; but, at the same time, you feel it incumbent on you to do something to retrieve your character. You will, therefore, pass the ring, now in the left hand, invisibly on to the wand. Make a pass with the left hand, and draw the right smartly away from the wand, causing the ring on it to spin round. The effect may be imagined. At the instant the right hand leaves the wand, the left should place the false ring (supposing one is used) in the pocket, as all manner of questions will be asked afterwards. The trick can be varied in many ways, by confusing the spectators. Peripatetic conjurors make a good deal of money by means of this trick, by betting that the ring is either on or off the wand. Manner has a great deal to do with the success of it.

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Invoking ghosts

Description Two examples of the use of a large sheet of plate glass.

1) A vertical coffin is set up on the stage. A member of the audience is invited to participate: s/he steps into the coffin and steps on to an adjustable platform in it, which is moved up or down so that the top of his/her head is at exactly the right height. S/he is then swathed with a sheet so that only his/her head is visible. The performer makes the appropriate gestures or invocations, and the person fades out to be replaced by a skeleton. The performer repeats the invocation backwards or reverses the sequence of the gestures and the skeleton disappears and the person is back.

2) A table with cloth is set up on the stage. Again, a member of the audience is invited up and seated to the left of the table (as seen from the audience). After appropriate spell-casting, a ghost appears and attempts to interact with the person: offer him/her a glass of wine, perhaps, or flirt, or (shudder) blow smoke in his/her face; but of course the person perceives nothing. At last, in disgust, the ghost gives up and disappears.

In both cases, the performer asks the person what the experience was like; naturally s/he reports that nothing happened, so it's only fair that someone else comes up and repeats the experience.

Execution

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In both illusions, there's a sheet of plate glass (absolutely clean) placed diagonally in front of the coffin or table.

The figure illustrates how the first illusion is created. The coffin is illuminated by lights off to one side, which the audience can't see. The skeleton is suspended off to one side as shown; it's illustrated also by lights that the audience can't see, and of course the invited person can't see the skeleton due to the construction of the set. To begin with, the lights around the skeleton are dark, but to create the illusion they are brought up to full brilliance at the same time as the ones beside the coffin are darkened. As long as the total amount of illumination remains pretty well the same the audience won't perceive any difference; it the set is constructed properly the person in the coffin won't perceive much difference either. The skeleton is reflected onto the glass and completely obliterates sight of the person in the coffin.

The second illusion is similar, except that the scene off to the side (where the "ghosts" appear), is not separately illuminated; lights at the side of the set are turned up and the light level is sufficient to do the reflection. Again, because of the construction of the set, neither the audience or the person can see the "ghosts" and their actions.

Comments In both illusions, the audience members will have to come up in to the stage on their right, so that they can be guided to the coffin or table without perceiving the sheet of glass. Care will also be needed in the construction of the set to ensure that the position of the skeleton or ghost is not visible as the volunteer comes on stage.

In the first illusion, some patter will have to be devised to cover the adjustment of the position of the head: perhaps something like making sure that all the audience can see things properly, or (risky) that the dead can only come through at a particular point in space; the real reason being that as long as the head of the person and the skull pretty closely coincide the illusion will work. Otherwise audience members will see both the head and the skull and that won't do. But it is permissible to change the appearance of the skeleton somewhat between the first and second volunteers.

Likewise, in the second illusion a second assistant can be used: perhaps the ghost can be of the other sex to the volunteer each time.

The original description of these illusions has them as part of a tour: a macabre cafe to begin with, where visitors sit at a coffin and have orders taken by an undertaker; the second and third rooms are the illusions described here. A person dressed in Charon's likeness originally conducted the volunteers to the coffin but these days some better-known personage must be employed. Mournful music and melancholy bells sound as the people proceed. But each of the illusions stand on their own feet and can be performed in isolation — but not in the same show.

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A Silk Handkerchief Placed in a Cornucopia Disappears, and is Found Tied Around a Candle

A candle and candlestick, entirely without preparation, are shown for examination, and, afterward, the candle is placed in the candlestick, which is stood upon a table.

A large handkerchief is then thrown over the candle. A piece of thin wrapping paper, in size about fifteen by twenty inches, is twisted into a cornucopia; a small red silk handkerchief is placed over one end of the performer's wand and is pushed into the cornucopia, which is then closed, and handed to one of the audience to hold, with the request that he assists in the trick.

A pistol is fired and when the assistant is asked to tear open the cornucopia, he finds, to his surprise, that it is empty. The large handkerchief is taken off the candle, and the missing handkerchief is seen to be tied round the candle.

For this novel trick the following "properties" are needed:

An unprepared candle.

A candlestick, also unprepared.

A small pin.

Two red silk handkerchiefs, each about fourteen inches square. Exactly in the center of one of these is sewed a little patch of the same silk, about the size of a quarter-dollar.

A piece of brass tubing, one and an eighth inches long, that fits easily over the candle. It is covered on the outside with a piece of the same silk as the red handkerchiefs. Around this tubing is tied the handkerchief that has no patch on it.

A piece of thin wrapping paper, fifteen by twenty inches large.

A wand, that consists of two parts; one part is a piece of thin brass tubing, nine-sixteenths of an inch in diameter and about sixteen inches long, one end of which is closed. The other part is a heavy, stiff wire, wound around with black tape; at the top is a small piece of wood, painted black; at the bottom, the wire is fitted into a pear-shaped piece of brass, that goes into a piece of brass tubing, three-quarters of an inch long, the same as used for the first part of the wand. This tubing is closed at the lower end. When the wire is placed inside the long tube, and the whole is pushed close, it resembles an ordinary wand. See Fig. 115. Every part of it is black, the outside of a mat or dull color.

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Fig. 115 No. 1 is the wand complete. No. 2 is the long piece of tubing which forms the outside. No. 3 is the wire that goes inside No. 2.

Fig. 116 On one side of the candle, at about the center, is stuck the pin,. so that it projects about a quarter of an inch. Around the silk-covered piece of tubing is tied the red handkerchief, as seen in Fig. 116. The loose ends are brought up and tucked inside the tubing at the top, as shown in Fig. 116. The candle and candlestick, together with the wand, the piece of paper, the red silk handkerchief, with the patch, and the large handkerchief, that is to cover the candle are on a table. Behind the latter and hidden by it is the prepared piece of tubing. This large handkerchief ought to be about eighteen inches square, and of thin green silk with a colored pattern running through it. A white handkerchief is apt to show something of the red handkerchief around the candle, but with the green it is invisible.

98

The Cornucopia. To begin the trick, the performer shows the candlestick and the candle, without allowing them to be handled, being careful to hide the pin. Then he puts the candle in the candlestick, which he places on a table.

Picking up the green handkerchief, he simultaneously palms the prepared tubing in his right hand. The large handkerchief is shown, front and back, and is then thrown over the candle. In doing this the performer's thumbs are about six inches apart and are on top of the handkerchief, with the fingers underneath. See Fig. 117. Under cover of the handkerchief, he seizes the prepared tubing, in the right palm, with the first and third fingers of the left hand, his right hand fingers helping him to hold it. He is careful to keep the tubing erect, with the part into which the ends of the red handkerchief are tucked at the top. As he covers the candle, he slips the tubing over it. See Fig. 118. The ends of the tucked-in in handkerchief are thus pushed out and freed, and the tubing slides down of its own weight, until its lower edge rests on the pin. Then he twists the paper into a cornucopia; when properly made it should be eighteen or twenty inches long, with the open end about four inches in diameter. He turns up the lower end a few inches.

99

Fig. 117 Showing the tubing held between the fingers, with the ends of the handkerchief projecting at the top.

Fig. 118 Showing how the piece of tubing is held when about to slip it over the candle. Picking up the wand, he rattles it inside the cornucopia, as if to show that it is empty. As he does this, his left hand takes hold, from the outside of the cornucopia, of the lower end of the wand, so that it will remain inside, when the outer part of the wand is pulled out. So that the two parts may separate easily, the fake end may be drawn out a trifle beforehand, and, as the whole wand is black, that will not be noticed.

The performer lays the cornucopia on the table and as he places it with the top toward the audience, the fake is not seen.

100

Picking up the red handkerchief, he lays the patch on the open end of the wand and holds it in place with his right hand. Taking the cornucopia in his left hand, he pushes the handkerchief into it in such a way that the end of the wire fake will enter the open end of the wand. He presses the wand down a little way, which causes the handkerchief to enter the tubing, and at the same moment he releases his hold of the handkerchief. It will now expand and fill the top part of the cornucopia, completely concealing the wire fake. At this point the open side of the cornucopia should be toward the audience. The performer's left hand, which is holding the lower end of the cornucopia and keeps the wire fake in position, is far away from his body. He presses the wand down slowly, thus working the handkerchief further into it, and, finally, turns the open end of the cornucopia upward and presses the wand down all the way, close on the fake. As the handkerchief is now out of sight, he removes the wand from the cornucopia, which he closes, by folding over the top, and gives to some one to hold.

Then follows the firing of the pistol, as already described, the tearing apart of the cornucopia, and the revealing of the red handkerchief, apparently tied around the candle, as shown in Fig. 119.

Fig. 119

101

The effect of the trick may be heightened, by allowing the audience, at the beginning of the trick, to select a handkerchief from a lot of four, each of a different color. The selection is made by the cast of a die, as explained here.

A correspondent of L'Illusioniste, M. Caroly's interesting little magazine, suggests an improvement on the "wand" used in his trick, which commends itself by its simplicity. It consists of a tube of black hard rubber, or other material, of the size of the ordinary wand used by the conjurer, with ivory or silver-plated ferrules or caps at the ends, so that it may look as much like a wand as possible. One ferrule is closed at the end, the other is open, giving free access to the interior of the tube. In the center of the closed end is a tiny hole, through which runs a fine, black silk thread about one yard and a half in length, leaving equal lengths at each end of the tube. The end of the silk at the closed end of the wand is fastened to the front edge of the table; the other end is tied to the center of the handkerchief that is to disappear. Both handkerchief and tube lie on the table. When the cornucopia is formed, the performer standing back of the table drops the handkerchief into it, so all may see it, and as if to push it further in he picks up the wand and inserts the open end in the mouth of the cornucopia. Then holding it up with one hand and the wand with the other he walks backward a step or two, when the end of the thread that is fastened to the table will, naturally draw the handkerchief up into the tube.

102

The Transit of Old Glory

This brilliant little trick has the great advantage that it is as well suited for the drawing-room, that is for exhibition in a private house or at a club, as for the stage. The performer comes forward with half a sheet of note-paper in one hand. "I have here," he says, "a piece of paper, the product of that great magician, the paper-maker, who turns beggars' rags into sheets for editors to lie on. There is nothing concealed here, as you may see," he turns the paper, so as to show it back and front. "But see! I roll it up for a moment." Suiting the action to the word, he rolls the paper till it is about the thickness of a finger, "and now, tearing it in two, this little flag appears." He spreads out the flag and crumpling up the paper, throws it aside. "Pretty isn't it? It's small, but it covers a lot of ground." Throwing the flag over the back of a chair, he picks up two silk handkerchiefs, a red and a dark blue, ties a corner of one to a corner of the other, bunches them together, and places them in an empty goblet. "So far, so good," he continues. "Now, let me show you this pocket." He turns out the right side pocket of his trousers. "Empty! like every conjurer's pockets." He puts it back in place, and rolling up his right sleeve, so that nothing can be concealed there, slowly puts the little flag into the empty pocket. "See what I shall do. By simply repeating certain incantations, handed down to us from the days of Nostradamus, I shall cause the flag to leave my pocket and take its place between the handkerchiefs now tied together. And this without hiding the goblet from your sight for one moment. Listen! Chiddy biddy bee, chiddy biddy bi, chiddy biddy bo. (And let us say, parenthetically, that when you are versed in these mysteries, other words may be substituted for these.) And now you will please observe that my pocket is empty."

As he says this, he pulls out the pocket, and to his surprise and mortification the flag comes out with it. "Dear me!" he exclaims, "how very embarrassing. Something has gone wrong. Evidently a misquotation. Ah! how stupid of me. I forgot to give the flag the necessary wherewithal to defray traveling expenses." He replaces the flag in his pocket, and pretending to take a piece of money from his waistcoat pocket he puts it in the pocket that contains the flag. Then with a simple command "Go!" he catches hold of an end of each handkerchief in the goblet, and giving them a sharp jerk and a shake, shows that the flag has taken its place between the handkerchiefs and is firmly tied to them. Again turning his pocket inside out, it is seen to be empty, and the trick is done as promised.

But how is it done? Read attentively and you'll know. First, as to the production of the flag. Taking a piece of saffron-colored tissue-paper, technically known as "Havana color," the performer makes of it a long, narrow bag, as near the shape of a finger as possible, rounded and closed at one end and open at the other. Into this he gently pushes a small sheer silk flag. If this be placed between the second and third fingers of the left hand and the fingers held close to each other it will be a keen-eyed one, indeed, who will detect that the performer has one more finger than he is entitled to. When rolling up the sheet of note-paper, it is folded round the hand and the paper "finger" is left inside. Tearing the note-paper in two, the flag is revealed. The crumpled up paper is then thrown aside for the moment, only to be carefully picked up later, lest some inquisitive body should take a notion to examine it, and finding the yellow paper inside get some inkling of the secret of the trick. A false finger of flesh colored sheer muslin may be substituted for the one of tissue paper, and with it an additional effect may be produced. This finger is rolled in the paper as already described. By giving the paper a fillip with a finger the flag will gradually make its

103

appearance at the open end, crawling up, as it were. When it is entirely out, the performer presses the paper together, keeping the false finger inside. The paper is then crumpled up and disposed of as told. Before the flag is put into the pocket the first time it is rolled into a ball. The second time the performer pushes it with his right thumb into the upper part of the pocket near the band of the trousers, and as far toward the center of the band as possible. The other fingers go down toward the bottom of the pocket. With the flag so stowed away, the pocket may be turned inside out, and will appear to be empty.

Opposite one corner of the blue handkerchief a square of the same silk, measuring three and a half inches, is sewed so as to make a pocket, with the opening toward the corner and about two and a half inches from it. A triangular-shaped piece of the same blue silk, five inches long and three inches wide at its greatest width is sewed to the corner A of the flag, while the corner B is sewed on to the blue handkerchief, between the mouth of the pocket and the corner, as shown in Fig. 113. Into the pocket the flag is tucked, beginning with the corner C, leaving the end of the triangular piece sticking out.

Fig. 113 When these preparations are completed the trick may be shown.

Fig. 114 The dotted lines represent the corner of the blue handkerchief, which is folded into the two knots. Picking up the blue handkerchief with his left hand the performer holds it so that its folds conceal the pocket and its contents. Then taking the red handkerchief in his right hand he, apparently, ties one corner of it to a corner of the other. In reality, however, the actual corner of the blue handkerchief is folded back and held down behind the fingers of the left hand, and in its stead the

104

triangular piece of blue silk that sticks out of the pocket is tied to the red handkerchief with two knots; as soon as the first knot is made, the actual corner of the blue handkerchief is brought up from behind the fingers and the second knot is tied over it (as shown in the illustration, Fig. 114), and tied tightly, thus keeping the flag securely in the pocket. Then the performer wraps the two handkerchiefs together and puts them in a goblet with a corner of each hanging out. At the proper moment he grasps these corners and giving them a quick jerk the flag is pulled out of the pocket and is seen tied, apparently, between the two handkerchiefs.

Instead of a prepared handkerchief and flag, as described, some conjurers rely on an exchange of packages, and when skillfully carried out this is much the more artistic way. For such an exchange, a small shelf is hung at the back of a chair. On this lies a package made up of a red and a blue handkerchief with a flag tied between them, care being taken that the flag is concealed within the folds of the handkerchiefs. Alongside the shelf is a small black bag, its mouth being held open by a wire run round it in a seam. In showing the trick the performer deliberately and actually ties the two handkerchiefs together at one corner and rolls them into a package similar to the one on the shelf. The flag used in the trick is lying on the back of the chair, and as the performer picks it up with his right hand, his left, that holds the original package, passes for a second only behind the chair, but in that time it grips the shelf package and drops the original into the bag. There is no hesitation, no waiting, but in the twinkling of an eye the change is made.

105

Nate Leipzig's Autobiography: Part 1 By Nate Leipzig

Part 1 of the Saga of a Master Magician

went to was Utica, N. Y., and there he met my mother, courted her and married her. My mother's family name is Edloff. They lived in Utica for nearly four years and my two oldest

brothers were born there; then my grandfather died in Stockholm and the family moved back to Sweden, to the city of Malmo where my only sister was born. Later they moved hack to Stockholm where the rest of the boys were born, and lived there for some sixteen years. Later my father failed in business through the shortcomings of a partner and in 1881 my father and my oldest brother Hyman left for America, and shortly after their arrival the latter went to Waxathia, Texas, to work for a relative, Mr. H. Brin. A year later my father sent for us all to join him. I can remember very vividly our trip across. We left the first week in May, 1882 on the S.S. Cassius, the first boat ever to go direct from Stockholm to N. Y. City, and although it was a steamer it took us nearly three weeks to make the journey. My father met us in New York and we spent the night at the house of a friend. The next day we left for Detroit, Michigan, where my father had arranged accommodation and we lived next door to my mother's sister and family, Mrs. M. T. Davis. When things had gone well with us in Stockholm my father was very anxious for the children to have a good education so at least the five older ones had that great advantage of good schooling and particularly in music. We always had good music at home for both my oldest brother and my sister were accomplished pianists and my brother Simon played the violin. Three particular traits ran through our family, drawing, music and magic, and

Nate Leipzig in 1904

I was born in Stockholm, Sweden, on May 31, 1873. My full name is Nathan Leipziger. I was the third youngest of a family of eight children, seven boys and one girl. My father was born in Russia and my mother in Utica, N. Y. As I have been told, my grandfather, whom I never saw, left a small town in Russia with my father when the latter was very young, and settled inStockholm, Sweden. My father decided to strike out for himself and came to America. One of the first towns he

106

especially drawing, for when we were small all of us had the inclination to draw. I remember at school that several of my brothers and myself were often called upon to illustrate a subject by drawings on the blackboard. Where this trait came from I don't know, since neither of t way; however, I do remember my brother sayin d one of the finest steel engravers of his day. This talent was exploited only by my brothers Fred and Leo. Years later Fred became famous as a cthe staff of the Detroit Evening News. of the Van Loon Family. This was the first of the fam ce so widely copied, and ran for eighteen years, b With regard to magic, I was really thnever dreamed that it would becomethe pencil, has also become quite pr st also liked to dabble in magic. This I once been with a circus and who somcame from is a mystery to me as I wDetroit. Of course I had to go to school sinceStockholm. The family was not too art work when I was twelve years old aof L. Black & Co., opticians. Aft r a like to go upstairs into the factory and leoptical goods. I agreed to do so and

d the reputation of being the lightning ticket seller of the orld. In the summer he still sold tickets at the baseball park and he was able to

e s

ough I didn't care much for social events. I referred going out with the boys, having a few beers and making a good time by

o a few

ds

I

r at writing parodies and singing omic songs, joined a man called Dick Porter and they became quite well known

my parents were gifted in thag that her uncle was considere

artoonist and for over twenty years was on Later he devised a cartoon called The Doings

ily cartoons, sineing handled by the McClure Syndicate.

e only one to take it up seriously, although I my life work. Leo, who was pretty good with

oficient with tricks. My youngest brother Ern attribute to my mother's oldest brother who had

etimes did some tricks for us. Where the music as only nine years old when we came to

I had had only two seasons at school in prosperous until the boys grew up. I had to sts an errand boy at $1.50 per week with the firm year as errand boy I was asked if I wouldarn how to grind lenses and repair all kinds of so began that kind of work.

The foreman over me was a man named Max Redelsheimer and he was quite a character. Before he became an optician he had been ticket-seller at the Coliseum Theater in Detroit. He hawtake care of the biggest crowds singlehanded. He had an uncanny faculty of detecting a counterfeit bill by simply spreading his hand across it and feeling somalmost imperceptible difference in the paper. He told me once of a match that waarranged between him and Ben Busby, Barnum and Bailey's famous ticket-seller. He claimed that Busby backed out at the last moment. In the meantime I had become quite proficient with a lot of pocket tricks and naturally I was invited out a good deal, thpentertaining strangers. At this time I met a boy named Gunther who could dtricks of a rather crude nature, but he could do no sleights at all. This was easy to understand as he worked in an iron foundry and the work naturally made his hanvery stiff. But what intrigued me was that he had several pieces of magical apparatus and he told me I could use them any time I wanted them. Up to that timehad never played any dates for an audience of more than a dozen people. In the meantime my brother George, who was very clevecthrough taking part in various local shows. In a short time there was quite a call for

e

107

my act and also my brother's. He has become widely known as a raconteur and singer and for many years there was hardly any affair in Detroit where talent was required that a Leipzig wasn't on the bill. Some of these performances were paid fobut most of them, of course, were benefits. We had some funny experiences at a show given by some Polish boys up in what was called Polocktown. I was engaged to entertain as an added attraction, but I wawarned by a friend that most likely I would not be paid. So when I arrived at the hall I went to one of the boys who was running the show, and told him I needed tenhalf dollars as I intended to do the money catching trick and though I was verydshow, before I started and probably it was well that I had for the attendance was nvery good. Another time I booked a date at Clawson Hall where I was to give a halfhour's show for a fee of ten dollars. This was the biggest sum offered to me up to that time so to be prepared I had to borrow a few tricks from Gunther. I had two weeks' time to prepare for the show. So one Sunday morning I jumped on my bicycle to ride to Gunther's place for he lived quite a distance from my home.all dressedoof spirit slates. He tied these together, put them under my arm, and I mountedbicycle and started for home. However, only a block away the tragedy happened. In trying to dodge a tin can lying in the road, the lid caught in the spokes, the bike bucked and shot me over the handlebars. Landing on my head. my hat was smashed, both knees of my new suit were torn away, my shoes were cut as well as my knees and left hand AND the spirit slates were broken to pieces. I wamworry about the slates, that he would fix up an other set for me. He straightenedfront wheel of my bike, which had been badly bent, so I was able to ride home, where my parents soundly scolded me when they found I was not badly hurt. It toome about a week to recover, but my show finally went over very well; in fact I booked several more dates from it.

r

s

oubtful the ruse would succeed, it worked. So I had my five dollars, the fee for my ot

I was up, new light suit, tan shoes and straw hat. On arrival at Gunther's he at

nce agreed to lend me anything I needed, so I borrowed the nest of boxes and a set my

s a sad ess as I went limping back to Gunther. He sympathized with me, told me not to

e

k

th

Nate Leipzig saw Karl Germain Perform in

108

That same Clawson Hall was the scene of two peculiar happenings. About a year later I booked a date for the Montgomery Rifles, a local military organization. I had continued to use the spirit slate trick in my ptrMaine had been blown up in Cuban waters, so I decided to use that for the slate trick. First, however, I will describe the trick in detail: Two ordinary school slates are shown, all four sides are cleaned with a wet sponge, and these are shown to be free from any marks or writing. A small piece of chalput between the slates as they are put one on the other and they are tightly tied together with a piece of tape. Thus secured they are given to some one in the audience to hold. Five blank pieces of paper are now passed to members of the audience with the request for each one to write a question on his slip. It didn't matter what the subject might be, personal, political. or what not. I would then collect the papers, one of the audience would select one to he read and an answwould appear on the slate. On this particular night Lieutenant Henderson, of the Montgomery Rifles, was sitting in the front row. He was a big, husky fellow, weighing about two hundred pounds and had a tremendous crop of thick, curly hair. As I took his slip, he said in a voice that everyone in the hall must have heard, "If you have an answer to this question I'll have my hair cut." When the selected paper was unfolded and thquestion read, it proved to be: "Who blew up the Maine?" Then I had the man who held the slates untie the tape and separate them. On the inside surface of one slatewas written in chalk, "A Spanish torpedo." I was startled by a yell as four soldiers pick up Henderson and carry him out of the hall amid shouts of laughter and applause. He had told them beforehand that he would write that question. Anywahe got a free haircut. I was greatly excited when I heard th

Detroit.

rograms; in fact, I had made it a feature ick and in doing it I would use topical subjects. The date was just a week after the

k is

er

e

y,

at a Professor Stork, a magician who had come to Detroit recently and had opened a magical depot, would give a performance at a local hall. Of course, I made it my business to see his show which was very good, the one trick that was outstanding to me, was that in which he had three men in the front row, draw cards from a deck. The cards were returned to the deck and one of these men was asked to hold the cards in his hands. At that moment a telegraph boy came running into the hall shouting: "A telegram for Professor Stork." The professor opened the telegram and found the three cards that had been drawn by the three spectators and an examination of the pack proved that those three cards were missing from it. The trick impressed me greatly and as I understood the modus operandi I decided to do it at my next performance. Just at this time a young cousin of mine had come from Sweden to live with us. He was about fifteen years of age, quite tall and at the awkward stage, but he was a nice boy and we all liked him and he very soon picked up our language. When I booked another date for the Clawson Hall and was anxious to do this new card trick I enlisted the services of cousin Sam. I carefully coached him in his part, he was tostand in the back of the hall and at my signal he

was to come to the platform and

109

deliver a letter to me. I had to make it a letter ashim. The cue was that as soon as I returnethe trick proceeded all right up to this point and I faced the audience with my afolded but nothing happened. Embarrassed, I held the position until I saw him coming up the aisle towards me with the envelope in his hand, his face as white as a sheet, he looked at me, then at the exit which was right next the stage and, withoword of warning, he dashed out and never stopped runnnme. I think I got through a few more tricks and got out of the hall as quickly as I could, for I couldn't possibly face them. I never attempted that trick again for I never did like to use confederates. A little later came one of the thrills of my life; Herrmann the Great was to appeathe Detroit Opera House. Not having much money in those days I had to be conwith a seat in the gallery. To me it was a marvelous evening, the first full show of magic I had ever seen. There never was anyone to equal Herrmann in his own stylof magic. He held you by hishe showed his wand, ran his fingers along it to the top and there appeared a realorange. He showed so many wonderful effects it would be hard to enumerate themand he kept a vein of humor running thru all his tricks. Altogether it was a memorable night for a lad who had seen very few magicians, mostly second-rater

In later years, however, I did see many more really fine magicians at the same theater . . . Harry and Bessie Houdini, John Schiedler, Guibal the Frenchman, Hornmann, Karl Germain and many others. One day Matt Delkar, who was the fdinterested in tricks. There is a book that has been lying around at the house for years. It's a bit worn and nobody knows where it came from or who it be longed to. If you want it you can have it." Naturally I wanted it. so next day he brought it along. It had no cover but otherwise was complete. Its title was "The Secret Out" and it turned out to be an old English publication, out of print for many years. That book was a revelation to me. There were a thousand tricks explained in it and then I really started to work. I imagine that my card work before that had been somcwas more interested in card tricks than any others, it struck me that any one who had read such a book could easily follow all that I did. So right then I worked hard trying to invent new and original methods and after great efforts I succeeded in this aim. To that alone I attribute my success, since for many years my peculiar meremained unknown and I was able to fool the magicians as well as the public. In fact many years later, when I had become a professional, my brother artists often

o messenger boy's suit for d to the stage, I would fold my arms. Well

rms

ut a ing till he got home. I could

ever remember what happened to me after that. Everything went blank in front of

r at tent

e s appearance alone the moment he stepped onto the

tage. The very first thing he did stumped me completely. Smiling at the audience

s.

oreman of the spectacle epartment, said to me: "I see you are

ewhat crude. After reading the orrect explanation of the rudimentary sleights and after I had mastered them, for I

thods

I had n

The Houdinis were on their way to the top when Leipzig caught their act.

110

called me THE magician. Max Rudelsheimer, under whom I worked, came to me one day and said: "Listen, Nate, I want to open a place of my own, just a small place and I would like to hyou come with me." He offered me a little advance on the salary I was getting and added as a further inducement the fact that he was a bachelor and that if I stuck with him the business would be mine some day. I accepted his offer and he opened a place opposite L. Black & Co. I stayed with him for seventeen years. I continued to accept private engagements but in those days I still had no dress sHowever, I finally got a break. My bthwas approached by one of the tenants who asked him if he knew anyone who wanted to buy a dress suit, a fine suit, silk-lined, but now too small for him. He said the original cost was $100 but that he would sell it for $10. When George told me this, I was greatly excited, for that was the very thing I needed badly. I spoke to my father and my brother Fred and, imagine my delight, they agreed to advance the money to me. The suit fitted me perfectly. so now I could go to any private home without being embarrassed. However, my first experience in the dress suit I shall never forget. I had a pdate, the month was June and the weather was very hot. I couldn't very well wear

ave

uit. rother George, who was the elevator starter in

e Hammond Building, at that time the tallest building in Detroit (ten stories high)

rivate

my winter overcoat and my spring coat was a very short one so that the tails would would fix it up, and she pinned the

een and I set out for my date. When I y call and when it came I walked into

magician. As I stepped in I was greeted by e no little. On looking down I found I had

ed? But the host, who was an old your show." I soon had them all so

ails were quite forgotten.

I knew to be interested in magic. how you." He took an ordinary lead

is hand, and at will made it stand up arefully for a string attachment or a hair,

omp see a . the night

e

show below it. However, my mother said she tails of the dress coat up so they couldn't be sarrived I took off my overcoat and waited mthe room where the company awaited theshrieks of laughter, which disconcerted mforgotten to unpin my coat tails. Was my face rfriend, said: "Never mind, Nate, go ahead and do interested in my tricks that the incongruous t One day I met a young man named Tolsma, whomHe said: "Nate, I have something wonderful to spencil out of his pocket, laid it on the palm of hand lie flat again on his hand. I looked cbut there was nothing but the pencil. I was cwhere he got it. He told me he had been tobefore, a man called Nathoo, the Hindu, and that after the show he had gone aroundto meet him. They got very friendly, he said, and before they parted Nathoo gavhim the trick. I doubted that story very much. He probably bought it, for Hindus as a rule don't give away tricks like that. Tolsma refused to give me the secret, but I followed him around until he relented and showed it to me. That trick remained inmy repertoire for many years. I made a great improvement in it, since I was the firstto do it with a borrowed pencil. Years later I was disgusted to find that it was being sold on the street corners in New York. Once in a great while I have seen a trick which I could not fathom, but usually I

letely mystified and asked him magician at the Y.M.C.A

111

manage to find the solutionclucid explanation of how it was done. I happened to drop into Richter's, a high clasrestaurant and saloon. The time was about noon and the place was quite crowded. Agypsy woman came in and soon after I saw everyone crowding round her. She asked the bartender for a thin beer glass. She took it, showed her handkerchief which, by the way, was none too clean. and threw it over the glass. Then she gathered the folds below the glass so tightly that I thought the handkertestrange thing happened. There was a hissing sound like the effervescing of a Seidlitz powder, but much louder, and the glass began to vibrate violently, when finally the hissing and the vibration stopped she unwound the handkerchief and there was nothing to be seen. The Wonderland Theater where I had seen so many artists work was closed when the owners built a beautiful new vaudeville theatre on Monroe Avenue, the Temple theater. This proved to be a gold mine, it was crowded from Monday morning tillSunday night the whole year round. Othen introduced himself with a flourish by producing his card with a back hand move. The card read: "Bennett, Magician." He was a very well-dressed and nice-appearing young man and I became quite excited for I had not come in to close contact with many magicians. He proceeded to perform some sleights with a silvedollar much better than I had ever seen them done before. He told me he was stopping at the Russell House, which in those days was our finest hotel. He went onto say.'" I give lessons in magic. I charge fifteen dollars for ten good tricks if I can get a class of ten pupils; if, however, I can enlarge my class to twenty I charge only ten dollars. So if you know anyone interested, bring him along and come over to thotel at eight o'clock." I really had no intention of taking lessons but I wanted to see what his work consisted of. That night I went to the hotel half an hour btihis tricks to perfection. When he got through he handed his pack of cards to me with a request that I show him what I could do, so I did a couple of color changes. He gave me a quick look and said: "Do that again." So I did. He laughed and said: "You don't want any lessons from me." We got very friendly after that and he askeme to stay and watch him give lessons to the fifteen pupils he had obtained. He stayed only a day or two. I found that he usually went to college towns where he reaped a harvest. His yearly take varied from five to six thousand dollars and he always stayed at the best hotels. This man showed me one thing that he didn't teach and that was the double lift. I had never seen it before and this was in 1904. The sleight became invaluable to me. It is different from the method so widely used now. He lifted from the left side without getting set for it and only quite recently I changed to the right side. Dr. Jacob Daley, one of New York's outstand Up to that time, with the exception of Bennett, who was good but limited, I had n

later. However, I saw one once that befuddled me ompletely and I have never found anyone in all my travels who could give me a

s

chief would ar. Then she held the glass up by the ends of the handkerchief and in a moment a

ne day a man came in while I was attending to a customer, waited till I was free,

r

he

efore the set me and he went through his program. While he did not have anything new, he did

d

ing amateurs, uses it with great effect.

ot

112

seen anyone who could palm coins cleverly, so I got quite a jolt when I met a yboy named Merrill Day, who showed me some of the prettiest coin work I had eveseen. As he had never seen any of my kind of card work we became very friendly and I firmly believe that meeting him had a great deal to do with my future success. We would meet once a week with the understanding that we were to have something new and original every time. It was at this time that I figured out myeffects which I have been doing ever since. Day, whose forte was coins, as I hsaid, originated some very fine tricks. Here is an instance of how one lights on new effects by accident. One day whholding a vest button in my hand (I always had something in hand to practice withI tossed it in the air and caught it on the back of my hand, which being rounded oone side caused it to roll accidtrhand and by moving my knuckles made it roll over and over. Then I discarded the button and tried it with a five cent piece until I got quite proficient. For a long time, while sitting in a street car, I would become so engrossed in rolling the coin througmy fingers that I would never notice thshow-off; really I was only a youngster. Later I used larger coins, a half dollar becoming my favorite. I never dreamed what an amount of talk the flourish woucreate. I looked upon it then as merely a good exercise for the fingers. In later yeaa sleight of hand artist's repertoire was not considered complete unless he could the coin roll or steeplechase.

oung r

best ave

ile )

n entally across my fingers. I was so surprised that I

ied to do it again but with out success until I actually placed it on the back of my

h how all the other customers were staring at me,

en I'd wake up and stop, quite embarrassed. I was afraid they would think me a

ld rs

do

Thurston presenting his elaborate version of the Water Fountain Spectacle. Nate Leipzip saw Ten Ichi perform the original oriental method, while Thurston was still doing a card act.

Day and I never missed an opportplay in Detroit and we were greatly excited when we learned that Howard Thurston was to play at the Temple Theater. In those days Thurston was doing a card act. He featured his rising card act with which he fooled Herrmann (Leon). It certainly was a very fine effect. We went round to his dressing room and he was very nice to uafter he had seen some of our work. He told us a good deal about Nelson Downs,who was the greatest coin manipulator in the world. Both Downs and Thurston hajust finished engagements in London, England. We had already heard a lot about

unity of seeing any magicians who happened to

s d

113

effects. While Thurston was very clever with the back and front hand manipulations of cards, and, by the way, his work was the first of this kind that I had seen, he had no ability for the execution of fine card tricks. It was a great week for me as we were together the whole week. Through meeting Bill Booth, the stage manager, I got his permission to go back stage whenever I liked. That provided the gretreat of my life for I thus met and entertained all the best acts in the country.

It w

tricks in his performance. Also Henry Steventhe great actor, who seldom played outside New York where he usually created parts. Suchacts as Cressy & Dane, Montgomery & StoneMacauley & Davis, Mr. and Mrs. Edward Royale, Ryan & Richfield, and many others. Itwould be impossible to recall all the acts, they would run into thousands, since for many years I spent my evenings after work back stage in the Temple Theater. Thus I became surprisingly well known by entertaining allthese actors. Of course, nobody knew my name; I was simply the fellow back stage at the Temple Theater. Here is an instance. One night

atest

as thus that I met Henry Dixie, who was greatly interested in magic and in fact did a few

s,

,

I was standing talking to Bill Booth, rolling my

half dollar, as usual, while on the stage was an act called Bruno and Russell. As Bruno stepped off the stage and saw me rolling the coin he stopped and said: "You are the fellow I heard about in London where we've just come from." I said: "I guess you must be mistaken; I've never been in London." "That may be," said he, "but Nelson Downs and Dick Lynch were talking about you."

Nate Leipzig

114

Nate Leipzig's Autobiography: Part 2

Part 2 of the SagaThe second occasion was even moreBill Booth called me up one morninme that the famous Japanese Ten Ichhad arrived at the theater and that Teasked for me, that he wanted to showfamous thumb tie trick in exchange method of doing the ring on the stichad heard so much about. So that evwent back stage and met Ten Ichi anpeople. He himself could speak no Eone of his boys, Ten Jee, acted as inand so I did my ring trick for him. Hme how he made the cord for his thurolling pieces of thin rice paper to ththickness. I saw his act later and ibeautiful one novelties. T

ations and then threw it out into the audience to be examined. When it was thrown back to her, she immediately proceeded to take more articles out of it. The next trick, too, fooled me

By Nate Leipzig of a Master Magician

peculiar. g and told i Troupe n Ichi had me his

for my k which he ening I d his nglish but

terpreter e showed mb tie by e required as a very he thumb

tie was a masterpiece in his hands, and as it had never been seen before, it caused a lot of talk. He had another trick which was new to me. A Japanese girl came out with a small black felt hat which she showed and turned inside out several times, producing afterwards quite a lot of articles out of it. She repeated the oper

t w with many

badly the first time I saw it. Another Japanese girl came on the stage with a drinking glass and a coin wand in her hands. She showed the glass empty and put it on a small table, then she went down amongst the spectators, the spotlight being thrown on her. She produced a coin with the wand, apparently threw it towards the stage, where the coin was heard to drop into the glass. These actions she repeated six times, then returned to the stage, picked up the glass and poured six coins out of it. It was this last part that mystified me, but the next time I saw the trick I had to smile at the boldness of the method used. When the girl stepped down off the stage and the spotlight was thrown on her, another assistant walked slowly across the stage and put six coins into the glass. The action was perfectly timed and done without stopping for a moment. Then he stood at the wing with six coins and another glass; when the girl apparently threw a coin towards the stage he would drop one of his coins into his glass, the sound illusion was perfect. Their finishing trick, the famous water fountains, had never been seen before in this country and it was one of the prettiest that I have ever witnessed. Later it was also

"Leipzig, whose card tricks display quite the most uncanny powers of sleight of hand our town has seen in many and many a day." N. Y. Times, April 26, 1917.

115

exhibited by Howard Thurston. Altogether, Ten Ichi's was one of the most original magic shows I have ever seen. Before he left he gave me a picture of his whole troupe. One of his boys, Ten Jee, had been shown a few coin tricks by Bill Hilliar, so I added to his repertoire b . The next famous magician I was to meet was Harry Kellar. I had seen him perform but had neve up a

t many shire Boulevard, Los Angeles.

he Temple, Ziska and King, and ormer I saw do the multiplying

to Madame Herrmann. His partner, at character and very funny. Martini he funniest act of all, which I had

ears back, was Bunth & Rudd. They e time they were on the stage and

te his partner by baking a cake in a siness I had ever seen.

erformed for them, very few of them n , n f

several other artists over to the

hey asked me to do some card tricks

k

y teaching him some of mine

r met him. I found him a charming gentle man and we struckhich lasted until he died. After he retired my wife and I spenfriendship w

pleasant evenings at his beautiful house on Wil Soon after this two comedy magic acts played tMartini and Maximilian. Ziska was the first perfbilliard balls. He told me that he had taught it King Louis as we all used to call him, was a gre& Maximilian also had a good comedy act but talmost forgotten, for they were quite a few yhad the audience screaming with laughter all ththeir finish when the comedy man tried to emulaborrowed hat was one of the funniest bits of bu While I met a great number of magicians and pwould make any comments, but the week MartiHerbert Albini showed at a smaller house. Albithe best card men in the country, in his languageswore a lot. One night Martini brought Albini andGeese's Restaurant where I usually held forth. Tand as I had heard of Albini's skill I did some of my best. I didn't expect to hear much from Albini but to my surprise he said: "You are the best card man I have ever seen in my life, but what the blankety-blank-blank are you doing in this hic

town? Go out and get some money."

i & Maximilian played the Templei had the reputation of being one o, however, be was very uncouth and

"Well, what can you do?" Horace Goldin asked the young magician in a bored manner. Leipzig soon showed his.

116

A little later the exciting news reached me that Horace Goldin was coming to the Detroit

Opera House with the minstrels. Of course I went to see him and he gave one of thefinest magic acts I had seen up to that time. His terrific speebstartling. That evening I went to my usual rendezvous, Geese's restaurant, where all the boys would gather after the show. A few minutes later in came Horace Goldwith one of our leading merchants, who called me over and introduced me to Goldin, much to my delight, as he said to Goldin: "This is our local magician." Gblame him. He turned to me and asked me in a bored manner: "Well, what can yodo?" So I did the coin roll. He made no comment but asked what else I could do,I went on with some of my pet card tricks but still he made no comment. He did a few pocket tricks and he did them well but I had the great satisfaction of fooling him completely with an old trick in which I took a great chance. We were drinkingbeer so I asked Goldin for a penny. I told him to see that it was perfectly dry, thento take it by the side and drop it in my glass of beer in such a way that it would drperfectly flat in the bottom of the glass. He did so and then I proceeded to tap the glass with my finger and the penny floated up to the top of the beer. I wcmagician's formula when he is completely beaten. After that he melted his reserve somewhat and we became friendly. Later that season he came back to Detroit to play the Temple Theater and he told me to watch out for one Allan Shaw, coin manipulator, who was routed to get to Detroit in a few weeks. I had never seen a coin manipulation act and Shaw had a reputation second only to Nelson Downs, who was conceded to he the greatest ofcoin manipulators. Shaw came along in due course and as I had entree back stagesaw a good deal of his work. In those days Shaw was a very good-looking boy with

al. Booth always I had done

asked the young magician in a bored manner. Leipzig soon showed his.

d and precision were

eautiful to watch. He had an illusion, "Escape from Devil's Isle," which was really

in

oldin's sudden success had gone to his head somewhat, for which I could not u

so

op

as ompletely satisfied when I heard Goldin say "Do that again," for that is the

all I

curly blond hair and a good complexion. His act was clean-cut and originintroduced me to him and, of course, I had to do the coin roll as this was Booth's favorite. Shaw didn't say muc fter a few tricks. A year passed and Horace Goldin returned to the Temple. The moment he saw me he said: "Leipzig, I want to tell you something. I met Allan Shaw on Broadway about a week ago and he told he had his latest original coin creation to show me. So he proceeded to do the coin roll, rolling it up and back on his knuckles as he had not mastered running it all around his hand. Goldin said he then asked him when he had been in Detroit and Shaw colored up and said he had heard there was a fellow there who was already copying the trick." We had a good laugh over that, though naturally it hurt me a little. During this period I met not only magicians but also the greatest artists in all lines of entertainment. Among them Henry Lee, the proten artist, Paul Cinquevalli, the greatest of all jugglers whom I used to visit in later years in his London home, and Mr. and Mrs. James J. Corbett. That recalls an incident that happened to Corbett, when he played the Temple Theater. He asked me to join him and his wife at the

h, in fact wasn't at all friendly a

117

Russell House when they gave a suOpera House. I was

p told to join them and

to make oneself eard in the biggest theaters. Believe me these things

ow long he would last. I asked permission from Mr. Redeisheimer, the an I worked for, and he agreed so long as it would be for a few days only.

n

ich I as a local boy. Next day, however, Sunday, I had an

xperience which was not so good. The Sunday audiences were of a rougher type,

per for Ethel Barrymore who was playing at the about eleven-thirty, but I was a little late

they had finished their supper. I was met at the door by Wm. Zimmer, the steward of the hotel. He told me he had arranged Miss Barrymore's initials in flowers and asked me what I could with it. I went in and, after I was introduced to Miss Barrymore, I proceeded to entertain the party. I got a napkin and a few blooms of flowers from the table and apparently placed them under a plate. When I lifted the plate there were the floral initials of Miss Barrymore. This made a big hit. Theof the evening was spent in reminiscences by Miss Barrymore and Jim Corbett. Altogether it was a memorable evening for me.

Another famous personage I met was Henry Dixie. I had already seen his former show "Adonis or The Man with a Hundred Faces." He was a man who could do anything and do it well. I first met him personally when he came to the Temple Theater. He surprised me with his knowledge of, and skill in, magic. In fact he told me that when Alexander Herrmann died he had intended to take over the show, but a Mr. Bancroft got it. Mr. Dixie was particularly kind to me and taught me innumerable things about the stage such as deportment and howhhave been invaluable to me. At that time I never dreamed of becoming a professional magician as I was very bashful and shy. Looking back I still cannot figure out how I ever had the nerve to step out on the stage alone to try to entertain several thousand people. One day Booth called me up and asked me if I would go on at the Temple in case some act dropped out. He said I might be called that week as one of the acts had arrived very drunk and he didn't know hmSaturday afternoon Booth phoned me that the performer, Leslie, had gone on the stage at the matinee and that he had to be pulled off. So that night I stepped out othe stage of the Temple Theater with fear and trembling as it was the first professional engagement I had ever played. I never realized the difference between the amateur and the professional until then. I knew nothing about showmanship as this happened before I met Henry Dixie, and, as I did not think I could put over my finer work, I had to resort to stock tricks. Anyway I went over fairly well whattributed to the fact that I weespecially in the gallery. The act I had to follow was that of a young lady who sangpopular songs and had two pickanninies who danced. These pics were a riot and were called back seven or eight times. Mr. Booth darkened the stage, put out my table and had my music played. I stepped out, but the gallery wouldn't have it so. The galleryites hooted and yelled until the pies came out to take a bow and even

rest

Henry Dixie, the actor, told Leipzig he had wanted to take our Herrmann's show, but Brancroft beat him to it. Bancroft's opening during which he came down a long flight of stairs was one of the most impressive ever staged.

118

that didn't appease them. Mr. Booth had to make an announcement that there would be no further show until the gallery subsided. Then I went on and spent the most miserable fifteen minutes of my life. That experience took all ideas of show business out of my head for a long time. Outside of magic my hobby was billiards and though I couldn't play very well I didcertainly enjoy the game. I would spend my spare time at Sweeny's billiard room. One day he said to me, "I will show you how to make money. After your work some night I want you to come with me to Mount Clement, a summer resort justtwenty miles from Detroit. I will take you to the

leading hotel in the town and tell

the manager you are a magician, that you will give a performance in the lobby for a shocked me somewhat. That

but I decided to try it out t Clement and went to the Agnew ed pleased with the idea and then

we proposed. He placed it so . About eight o'clock some

troduced and I went to work. When nt round with a hat and to

y dollars.

ess the business didn't it seemed that every boy I

agician?" Everyone spoke so very curious about him. I

t

nally met him, and he was all that was said of him anc t

d deal of his work

cks

ally he

ld

n

of e

which a silver collection would be taken up." That idepart of passing the plate around didn't appeal to meeventually. So Sweeny and I took the car to MounHouse, the leading hotel there. The manager seemand there had a sign prepared stating the arrangementthat everyone leaving the dining room could see ithundred guests assembled in the lobby. I was inI had finished the little daughter of one of the guests wemy astonishment the total collected amounted to thirt In spite of that and the actual performance being a succappeal to me and I never did it again. Shortly after thisknew would ask me: "Have you seen Adams the mmarvelously about him that very naturally I becamewasn't able to get in touch with him as he was not a protraveling man for the Garlock Packing Co. Every day more wonderful, so much so that I began to discredit mfiwork which I have never seen equaled or even poorly vesting and he did unbelievable things with that sleightwas done with lighted cigar and glasses of beer, for he used no special apparatus. He would book a private date once in a while but most of his work was done to amuse the boys at the bar of the best hotel in the town. One of his favorite triwas to stand up, pick up his glass of beer, place it underneath his coat up near the shoulder blade and then, turning round once, he would say, "Search me." He wouldslap his coat, flatten it, open it wide and then let them examine his vest. Finwould take a handkerchief, wave it once or twice and then produce the glass of beer from it intact. His misdirection in this was perfect. The trick that I liked as well as any that he did was this: He would borrow a cigar from the man sitting next to him and then have the person button his coat. He woubite the end off the cigar and light it and apparently throw it into the air where it disappeared. This sleight he did to perfection. Showing his hands empty and pulling open his own coat, he would have the person unbutton his coat and there in his owpocket was the missing cigar. Outside of his vesting ability, he handled handkerchiefs very well, using a decanter for a vanish and this was also a favorite mine. Later I changed to the Wilsbach tube and the next time I met him I found h

fessional magician, but a he stories I heard became ost of them. However, I

d more. He had a style of opied. He was an adept a. A goo

119

also used this tube, but as with the decanter he would always borrow one in the hotel. I think I got more friendly with him than with any other magician. He had afew thimble moves that were very good and it was he who started me with thWhen next I met him I had made two metal holders so that I copexchanged many ideas, one I remember appeared in The Sphinx - the rubber band and a handkerchief. This was one of Adams's favorite tricks and a masterpiece of misdirection. He paid me a great compliment the first time he saw me at the Temple after I had become a professional. While he liked my card work very much, he liked best of almy method of doing the thimbles with drum effects. It was the last time I saw him

and a few years later I heard he was dead.

I had now worked for Mr. Redelsheimer, the optician, for about sixteen years and he had always said that if I stuck to him the businwould be mine, but I was getting very disgusted with the way things were going. He had taken on a lady cashier and from t

things were going and I vowed I would takfirst opportunity of breaking away. Even so I had no idea of going into the show business, although my greatest hobby was going bacstage at the Temple to meet the performers. Thus I got to know two boys named Berol anBerol who did a rag picture act. The stage wset with a large picture frame some fifteen fee

square, covered with black velvet. Sitting in front of this was a painter. In pantomime he showed he had no paints to work with and was very despondent about it. A rag picker entered and opened his bag, tumbling out rags of all colors. The painter, seized the idea of using the rags. The two went to work and by makiuse of the rags and various articles lying about, in a minute and a half, produced abeautiful marine scene on which the spotlight was thrown. Then by simply shakingthe black velvet all the rags, etc., fell to the floor. They went on to make three other pictures, one, a snow scene, was very effective as they used cotton from inside some pillows for the snow effect. The last, which took them only thirty seconds, was a dog's head for which they used some rugs frog The Berols were much interested in magic as a third brother, Max Berol, was well known as a mind reader, using his wife in the act known as Berol and Belmonte. The two boys interested me greatly in a stunt Felix would do, which I had never seen before. He would ask me to write forty or fifty numbers on a piece of paper and then call off a word and place it at the side of each number. After onthe words and numbers he would call them off in any way I wanted. Of course, that wouldn't mystify magicians now, but this was many years ago, Felix became quite

em.

uld make the full roduction. He also had evolved an idea whereby he could produce four. We

l

ess

hat time on I might as well have not been there. I could see how

e the

k

d as

t

ng

m the floor. The act was a very reat success.

ce hearing

East meets west. Harry Kellar, first dean of the S.A.M., greats Ching Ling Foo. Kellar was one of Nate Leipzig's best friends.

120

famous as a memory artist in later years. In fact all three boys used memory systin various stunts.

About a year later they returned to the Temple and while there they quarreled and were going to split up the act. Felix came to me and offered me a half interest in the act if I would join him. He told me thefinot bad. This gave me something to think about. As I was to do the rag picking and there were no lines to speak that made a great point

ng just after

ems

y were getting a hundred and fty dollars a week, which in those days was

in my favor. This opportunity comiI had made up my mind to quit the man I worked for so hard for so many yeaof his treatment of me finally fixed resolution. Of course, it required cadeliberation as the step meant leavinaway from which I had never been.Redelsheimer was greatly taken abatold him my intention, he didn't like uld stay on. But my mind was made uptell my mother and brothers and thealthough they all predicted I would There was a side to all this that Fe ed

amout

how many people from Detroit and riends

next .

tuff.

ho have remained my good friends ever since. It would be difficult name them all, but I remember a few, Mr. and Mrs. Ransom, Mr. and Mrs.

rs because me in my reful g home,

Mr. ck when I it at all and offered to raise my salary if I wo

and I gave him a week's notice. Next I had to y were all against it. I was firm in the matter be back home in a very short time.

x and I had not figured on. Willie Berol decide act, using the same name which he had a

until we got to New York. It was surprising professionals I had met in Detroit that I came

across in the very first day in the big city. Felix told me of two of his best fthat I must meet. One was John Liffler and the other Sargent the Magician. The night after our arrival he took me to Sargent's home. I was asked to do some tricksSargent seemed to be greatly interested in them and told me I must come to Martinka's on the Saturday night to meet all the local magicians and their wives. Sothe following Saturday Felix and I went to the famous shop and I was surprised at the crowd that was there. Sargent had spread the word that I was coming and that I had something new. The result was that I was surrounded and had to show my sEvery time another magician came in I foolishly repeated my tricks. In fact they kept me going till quite late. I met a great number of magicians, both amateur and professional, wtoFrancis Werner, Albert Smith and Blackton of the Vitagraph Co., Ronald Reeder, Robert Ankele, Pat Walsh, Wm. Ransom, Sargent, Wm. Kaufmann, Mr. and Mrs.Martinka and many more I cannot recall.

lito take a lady partner and do the sright to do. We did not find this

Hornmann was playing theatre dates with a comedy act when Leipzig first met him. His name is still perpetuated in the magic shop which Al Flosso currently owns.

121

Nate Leipzig's Autobiography: Part 3 i

Vaudeville

I

t

By Nate LePart 3 - Breaking into

Saturday night was the regular date for the meeting of the magicians and their wives and never missed one while I was in New York. In the rear of the shop there was a little theater with a stage and footlights. The different members would show their pet tricks. Francis Werner would never fail to do his famous bill tearing trick, his master piece. Every time I went there I would meet some of the best professionals, like Servais LeRoy, Fred Powell, Buatier de Kolta, etc. Those eveningswere very enjoyable and long to be remembered. Private Work As to our act, it did not turn out very well for us for we had to do tryouts for little money. Willie Berol must have had the same trouble. So after both acts had struggled along for about six months not doing at all well. Felix decided to do something with his memory act so Willie and I joined hands. But the split had cut the price for good and it was a struggle to get along; after a while we gave it up. However, I had made up my mind not to go home a failure and decided to take up private work with my magic. I went to all the leading agents in town and I had a terrible time for several months. However I was very fortunate in one way; four boys I had known in Detroit, all bachelors, had an apartment in West 22nd Street near 9th Avenue. One of them was about to be married and they made a proposition to me, that I should take his place and pay a few dollars a month when working and nothing at all if I were idle. That was perfecfor me, it gave me a place to sleep and by that means I was able to stick it out.

pzig

Invitations like this one, to see "a number of Experts of the Art", were sent for the Saturday night shows in the back room of Martinka's.

122

Matters got so bad with me that I was down to two dollars, all I had in the world, when I met Alfred Guissart, an architect and also an amateur

I was in the doldrums and st that night. He said he

was going to New Rochelle to a dinner at the to follow. We s had started.

inner was over the talent was r. Guissart had introduced me to

Ruler and had also told him I was a So during the dinner this gentleman

friend and asked if I would oblige tricks. I did some of my favorites sfully for I was called back several

few minutes later I heard the Exalted hisper to Guissart: "I wonder if your

ld be insulted if I gave him fifteen is work?" I sure did accept that

God send. The strangest part of that evening ed out to be the turning point of my career. From that day I began to

for private work and was soon making from forty to fifty ifteen dollars from an agent was at that time the average fee.

g the day time, though it was et Ha a

ld cia de some very intricate few other leading magicians. He

magician. He saw thatasked me to be his gue

Elks Club with an entertainmentarrived there after the performerBefore the dexhausted. Mthe Exalted magician.came to mywith a few very succestimes. A Ruler wfriend woudollars for h

fifteen dollars with pleasure, it was awas that it turnget calls from the agents dollars a week, f Vaudeville I used to drop into Martinka's a good deal duringenerally very quiet on weekdays. There I mfriend of his by the name of Beadle, quite an oone. Mr. Beadle was an accomplished mechanipieces of mechanical apparatus for Kellar and aliked to have magicians around him so his place became quite a rendezvous for us. Amongst others Elmer Ransom, J. Warren Keane, a very clever manipulator who was then strongly established in vaudeville, Allen Shaw, Barney Ives and a few others would often drop in on him. We would all go together for lunch to Max Schwartz's place across the street. Beadle, who lived in Cranford, N. J., about 35 miles from New York, would insist that I do a long distance telephone card trick and this was always a big success.

rry Kellar and he took me to seegentleman but a very charming n and ma

Another early S.A.M.er was the brilliant inventor Buatier DeKolta who performed in New York at the Eden Musee. He, too, was a regular at Martinka's when in town.

123

I was still content to do private worfigured I had an act for vaudeville bwas definitely fated for me. Warrenwas playing Proctor's 5th Avenue Tme and told me he was sailing for ESaturday and that he had permissioday off if he could get someone to him. He wanted me to take his placfor the Saturday and Sunday. I saidbut he wouldn't stand for that. He mhad a lot of new stuff that had not bthat it would be a great opening foraccepted but it was in fear and tremstepped on the stage Saturday aftera pleasant surprise for as I was leavs O ea the oJules Ruby, the man who booked th

n the Keith Circuit

hen I went over to Morris's office and sent my name in. He had me come right in,

I

iam Morris, he raised my salary twice that year without me asking him to do so. I was playing my second week for him when I received a wire reading: "Six more weeks at sixty-five," and before the end of the season he gave me four more weeks at seventy-five dollars.

k as I never ut that work Keane, who heatre came to urope that

n to take the deputize for e at Proctor's I had no act, aintained I een seen and me. So I bling that I

noon. But I got ing by the handed to me. of the biggest ther was from e Proctor

circuit. Since the latter's office was just upstairs I went to him first. He told me that he and Morris had seen my act and he offered me the Proctor circuit. O Ta most unusual thing as only too many who have cooled their heels in agents' offices will testify. He said he had seen the act and liked it and offered me six weeks on the Keith circuit at forty dollars. I didn't know much about vaudeville salaries at that time but I knew that from thirty-five to forty dollars was the usual thing for beginners. So I told him I was not a vaudevillian and merely played the two days at Proctor's to oblige Warren Keane, that my specialty was in private workand that I was making more than forty dollars a week at that. He said, "Listen, young man the best acts started at that price and Nelson Downs began at thirty-five." "That may be," I replied, "but I haven't asked for any work," and that waswhere I had him for I had never gone to any vaudeville agent. He smiled and said,"Suppose I make it fifty dollars, will you take it?" I was afraid to go any further soaccepted and I will say this for Will

tage entrance, two messages werene was from William Morris, on

gents even in those days, and

Leipzig met Powell at Martinka's. Powell toured widely with his evening of magic in the days before he became the second Dean of the S.A.M.

124

I have alwafortunate in when I haveget a footing. Ereturned frcomplainedtrouble get I finished upit was my fabout four mmet Samfire dancerthe summer. Iso he saidtheaters on thone he had sixwife used to dto put som

had bought the Herbert Brooks trunk and the Float

ys considered myself very getting into vaudeville so easily seen so many struggle for years to

ven Warren Keane, when he om Europe some six months later, that since I had got in he had

ting his bookings again.

a fairly good season considering irst and then it meant laying off for

onths. Even in that I was lucky. I DuVries, the husband of Anita, the

, and he asked what I was doing for told him I had nothing arranged

that he had two small summer e boardwalk in Atlantic City. In g his o d

eone ing Lady.

irls who did all the dances and in the other one he wante to do magic. For this show he

Francies Werner's torn bill trick was one of the most talked-of intimate feats of the day. Leipzig saw him perform it a Martinka's. Houdini describes it on page 99 of his book on paper magic.

125

Nate Leipzig's Autobiography: Part 4 By NPart 4

was t that I had better arrive in London a few weeks tion and to study the difference in language. "W ned. In fact, I soon learned that my audience w is known in England as a "pack" of playin ca

more

t tle r so

happ

select some for their own theatres. My act seemed to please Mr. Borney of the Folies Marigny of Paris. He spoke to my agent, offering me seven weeks starting on July first of that year, but stipulating that I must learn enough French to put it over. Since my agent spoke and wrote French fluently, and as I had several months in which to learn my act in French, he finally persuaded me to accept the contract. I studied my agent's French version of my conversation off and on, whenever I was able to do so, as I was suffering considerably from rheumatism. What with the pain, I scarcely had the patience to practice the twist of tongue

d gutterals, not knowing what I was talking about. Many a time I was tempted to throw the anuscript out of the window and give up the engagement. However, I was finally cured of y rheumatics, and my agent was satisfied with my accent. I went to Paris - with my English ide, whom I had met on the very first day I arrived in England. We made it our honeymoon.

n the opening night, I was greatly worried about my French. The stage manager, who was e only one around the theatre who could speak a few words of English, was very couraging. After my first performance, he told me that I did very well. I probably would ver have known it, as the people themselves do not applaud since a claque was used in that use But there was a huge joke on me. Those people in the audience, to whom I was eaking my bad French during Judy and August, were English and American tourists! After I arned that you may be sure that I spoke never another word of French during these seven eeks! On that bill were Julian Eltinge, Rice and Prevost - a very well-known acrobatic act - d a number of American acts who were playing some of the other French theatres, but who ed at the Hotel Franklin, where I lived, and where the waiters and bell hops and everybody uld speak English. If I had gone anywhere else, I would have been forced to learn French;

there, with most of the American and English arts who were billed in Paris, I relaxed at my

ate Leipzig - In Europe

old by several fellow travelers who were artists ahead of my performance to look over the situa

hile it is English, still it is different," they warould not know what a "deck" of cards was, as itcards. We used to use the word "deck" in Ameri frequently than we do now.

hat was the least of my linguistic troubles. A lit, when I was actually performing in England, it ened that the leading managers from all the big

continental theatres went to the Palace Theatre in London, to see the acts and to

On board ship my first trip abroad, I

g

Butlate

Nate Leipzig

anmmbr Othennehosplewanlivco

126

eas Another snag abroad was the matter of lighting effects. My success depended on adequate spotlights for my work, since all articles. Imagine my consternation when I learned that he house was practically unknown! Their spotlights came from the wings, or the sides of the stage, which was fatal to me, as the light striking my hands w my cards. So I had to stipulate in all contracts that I mu ront of the house. Here's a

discussing my first trick with cards which consiste One of the boys exclaimed: "I see how he does it. Thslides." Again, the Zoo Hippodrome in GlasgBostock Circus family, had no balcoMr. Bostock came to me very much for you. I have no such light and no p It would have been fatal for me to woone floor, without using a front spotlcontract, something must be done. Just before my first performance, theout on the stage I found that a plat r . At the end of this, facing me, was wh he light I though t, as they had

e.

my work was done with small a spotlight from the front of t

from the sides would shadost have a spotlight from the f

funny story about that: Most of the houses found great difficulty in arranging for this light, not having the necessary cable, but since it was mentioned in the contract it had to be done. At the Palace Theatre in Cork, Ireland, the best they could do was to place a boy with a light in the Orchestra. The second night this boy told me that two young fellows sitting behind him in the front row were

d of rubbing off the spots.e boy with the lantern has slides and he is changing the

ow, Scotland, owned by the Bostock's of the well-known ny, so there was no way of arranging a front spotlight. perturbed and said, "I don't know how I can arrange this lace to put it."

rk in that size house, seating three thousand people on ight. I was compelled to insist that as it was in my

manager told me that it was arranged. When I stepped m had been built right over the orchestra and its leaderat looked almost like a cannon. When they turned on t borrowed a search light off a ship. It was so strong I

could hardly stand it. It is a strange thing in my life that every time anything extraordinary has happened to me, someone on this continent has been on the scene unknown to me, and has, several years later, bowled me over by telling me of incidents that happened which I did not think were known in this country. For instance, I was once sitting in the Lambs Club. I ran into Armand Vecci, who used to conduct the orchestra at the Ritz Carlton in London and now has the same position in this country in New York at the Ritz. He asked me: "Do you remember what King Edward said to one of the guests after you did the pencil trick?" I said' "No, but what do you know about it?" He replied: ''I was standing right behind you. I was conducting the Red Hussar Band."

fo

t I was sho

127

Owhich I did not hear and may not repeat, proved that the King not only had an excellent senof humor but was very much a human being like the rest of us. Again, when I went to the Orpheum Theatre in Winnipeg in 1908, the first words Mr. Dean, the manager, addressed to me were: "Nate, where is that golsepresented by them to anyone, I understand, and presented to you because you baffled every magician in the Circle!" I said, "What do you know about it?" "Well," he replied, "I happen to be in the audience when it happened." SOn an early booking around the world - England, Ireland, Scotland, Africa, Australia, America, and again England - on board ship en route to Africa, I was sought out by a Mr. Sullivan, who at one time had had charge of the royal laundry at the Buckingham Palace. Mr. Sullivan, it seems, had "never ceased hearing tell" ofBKing and Queen of Denmark. He excitedly drew me into his cabin. Two full dress shirts reposed on theEbecause the size is seventeen, but I think you will appreciate it as a souvenir. I'm going to treasure the other." I was delighted to have the King's shirt; but later, in Johannesburg, foolishly gave it to Mr. A. Goldman, one of the leth "That's just my size! Nate, I'd give anything in the world to own that." As he had been kind to me on many an occasion, I fell - I gave it to him. Afterwards I was very sorry that I did. Nwith Mr. Leipzig's astounding sorcery to the point where he was willing to give the Americwizard the shirt off his back. But even a king may not disrobe before an illustrious companSo His Majesty beckoned to George Ashton whomAnd the royal edict was carried out. However, Mr. Leipzig found that he couldn't wear thshirt. 'Wm

f course, that was a very big surprise to me. What King Edward said to one of his guests, se

d medal that Mr. Maskelyne pinned on your coat at one of the big ances of the Magic Circle in St. Georges' Hall in London? The first and only medal ever

peaking of the King, I am reminded that I once was the proud possessor of one of his shirts.

my performance of legerdemain at uckingham Palace before King Edward and Queen Alexandra when they entertained the

man's bunk. "These were once the property of King dward, and I'm going to give you one," he explained. "I know you won't be able to wear it

ading bookmakers in South Africa, who, upon hearing the episode of e shirt, had said:

ow, I'm told that a reporter ran this story about the incident: "King Edward was delighted an y.

booked all the royal performances. 'That an Leipzig . . . I take off my shirt to him. See that he gets one,' was his Majesty's command.

e hy, it's size seventeen!' he complained to a friend. "That's just my size ... give it to

e,' coaxed the friend. And Mr. Leipzig did."

128

The 1945 S.A.M. Conference in Chicago might take a tip from this photograph showing Nate Leipzig, then National President, producing rabbits to be sent as special invitations

atrons of the art.

hinking back to England, there comes to mind an amusing incident regarding Mark Twain. I The New York Sun, at

Savage Club dinner and entertainment. The guests of honor were Mr. Brennan, inventor of

as the

ry. eption. He was a very fine

oking man with his white, bushy hair and his white mustache - altogether a very striking "I

hen Tom Edwards, the clever English ventriloquist, came over for an engagement at the

te a number of performers, I need not arrive until eleven o'clock. I arrived t the door just at eleven, when who should come along but Tom. I said, Hello, Tom. You

e rang the bell, and the butler opened the door. We told him who we were. He said, "I will

ell

I awoke with a start - looked at my watch-found it was two o'clock in the morning. I woke Tom and said, "There's something wrong here." I went to the door; and at that moment Mr.

to distinguished magicians and p

Twas a guest of a Mr. Chamberlain, then editor of the London branch of athe monorail railroad, and Mark Twain. This was just before his departure for America. There was one immense round table upon which a miniature monorail train was demonstratedcenterpiece. It was interesting to see that if you pushed it while in motion, it came towardsyou, working, I understand, on the gyroscopic principle. It is well to mention here that this affair happened about a day or two after the Ascot Cup was stolen. This is mentioned to foreshadow a little incident that occurred which, I understand, has become a matter of histoWhen Mark Twain was announced, he stood up to a tremendous reclofigure, all in white in a Panama suit. When the applause subsided, Mr. Mark Twain said, noticed two headlines in the paper this morning: One said, 'The Ascot Cup stolen'; the other said, 'Mark Twain leaves town'." This brought tremendous roars of laughter. WPalace Theatre in New York, two years ago, we had many laughs over a joint performance in London. George Ashton had asked me to appear at Alfred Vanderbilt's house, stating that, as there were to be quiaworking here, too?" He said he was. Wshow you to a room and will send for you when you are wanted." The house was very large.He took us upstairs, through a long corridor, to our room. Everything looked comfortable. They had a table set with various kinds of drinks and a plate full of sandwiches. We had a drink or so and ate. Then I opened the door thinking I might hear something of the performance, but I could not hear a sound. Re-entering the room I had a few more drinks and a few more sandwiches, with Tom. We waited a very long time; it seemed hours. We both fasleep.

129

have you been? I've been looking all over the house for you. There are so many rooms . . . the butler forgot where he put you. The guests are leaving. Only a very few people are left." We went downstairs, to do a couple of minutes each, anyway.

130

Nate Leipzig's Autobiography: Part 5 By Nate Leipzig

Part 5: The Saga of a Famous Magician

bout six or seven years ago, on the day following the Lambs Gambol, Mr. Grant Stewart, ad of Actors Equity said to me:

want to tell you something peculiar. After your performance last night, I told my wife and ughter about you. My daughter seemed incredulous and asked me to repeat your name. en she said, 'That's strange. I'm just reading about him in one of my school books.' I told

y daughter that I hardly thought it could be the same magician, and asked to see the book. she brought me, 'The Empress Eugenie,' written by Edward Legge. And there is a chapter

hich describes what the Empress considers the most important event of her later years, when e entertained the King and Queen of Spain and a number of other notables and a hundred ficers from Aldershot. The book then mentions the four entertainers, Mrs. Swinton, Harry te in his motoring sketch, Margaret Cooper, the well-known English music hall artist, and u, Leipzig, with your cards."

f course, this was a great surprise to me, as I never knew that this had been printed, but of urse there it was. I tried to get this book but found it was out of print. I mentioned the atter to Brockbark, a member of the club, who had played Napoleon in various plays. He id, "I think I have the book for you, as I have a very big library on anything pertaining to apoleon." I found, however, that the book which he kindly gave me had been written by the me man, but it was a different volume called "Empress Eugenie and her Son." A year later, hen I ha s went down West Point to entertain the cadets, and she was kind enough to give me her book which w I treasure beyond price. The book which Mr. Brockbank gave me I lost through a culiar happening. Lowell Sherman, the actor, who was very much interested in the volume, ked me to loan it to him. I never got it back. When I met him a year or so afterwards, he plained "The reason I cannot give you the book is because I let my wife have it, and I have

nce been divorced and have no way of getting at it." Since this incident he has been married ice again and I wonder how many more books he is unable to reclaim!

Ahe "IdaThmSowshofTayo OcomsaNsawto

d practically forgotten the incident, I met Miss Stewart when the Lamb

nopeasexsitw

131

Whthe late Sarah Bernhardt, supported by Lou Tellegen. They were doing a scene from "Camille." I got to know Tellege e evening and told me, "Madame Bernhardt is anxious to way: I was on the bill i ed mine. Quite early, she would com

e

Mr. Tellegen what I was doing. He would

en playing at the Hippodrome in Manchester, England, I found that heading our bill was

n very well. He came to me on meet you," explaining in this

n the fifth position, and her act, which was full stage, followe on the stage in the setting behind me, as this was before she had the

operation on her limb; she was rather lame, and Mr. Tellegen would lead her there, where shwould sit, waiting until my act was over. And as the Manchester audience was particularly kind to me, she would hear the applause and ask explain as well as he could. Finally, he suggested to me that it would be a nice thing if I wouldperform a few little things for her in her dressing room. She spoke but very few words in English, but she made it clear to me in her charming manner that she enjoyed everything I dShe was kind enough to give me her autograph, and as I did not have my autograph book witme, she insisted upon giving it to me on my own stationery. Now, I'll tell a story about how the Vitagraph happened. First, let me state that, among the amateurs who frequented Martinka's I met three boys I got very friendly with, Albert Smith, and Blackton and Ronald Reeder. Smith and Blackton were the owners of the Vitagraph Company back in those days, about 1902. There was a third partner in the concern, an older man known to us boys as "Papa Rock.performances, nice evening performances once in a while in magic, lightning painting and inshadowgraphy. This was only a side line, a hobby, with the boys. Reeder was in the insurancbusiness. When the Vitagraph got going strong, Smith and Blackton never forgot any of thefriends. Several who were amateur magicians got very good positions with the Vitagraph CoReeder became the Paris representative and stayed there many years, but is now retired and living in England. They are all English boys, in fact. Now for the story. Smith and Blackton were both inventors. They sat one day in a saloon talking over a particular invention in connection with a camera. A gentleman, who sat at thnext table to them, over heard their conversation and spoke to them saying; "Boys, I have overheard what you said and would like to know how much money it would take to float this proposition?" I have forgotten exactly the price in thousands that they asked, but he said, "It sounds good to me, and if you will take me in, I will be glad to put up the money." That was "Papa Rock" and the beginning of the Vitagraph.

id. h

" Reeder, Smith and Blackton used to give e

ir .

e

The offices of "The Vitagraph" used to be down in Nassau street in those days, and one Sunday the boys asked me to come down to the studio. We went up on the roof of the building and Smith rigged up a black cloth with two holes in it. I posed for about fifteen minutes, my hands alone, showing my novelties of sleight of hand tricks, like the thimbles

d the matches, billiard balls, cards, showing only the hands in action-especially the coin ll. The picture ran about ten minutes.

I saw a showing of this picture a short time later, with a very novel introduction. A black space and coins floated up into the screen and formed themselves into "Nate Leipzig's" and cards came floating in forming "Wonderful Hands." Mr. Smith gave me several rolls of the film of rolling the coin, which was all I cared for, as I wanted to use that film to close my act.

anro

132

He even told me to have them colored the natural tint of the hand. There was a woman in

e and

uring the first eighteen months of the World War, I was in England, and many people asked

re were two occasions when I as a bit doubtful about my reception:

a

't know

d this was the news: Three German attleships had been sunk. I was very fortunate that they did not flash the names of them, as

ious boys how I rub off the faces of the ards, when one of the chaps sitting in the corner called out, "Show that to me!" After I had

you. to be

t about my English experiences

that I had had no trouble over there. He said, "Well, I'm afraid to take a chance in Canada," e,

Orange, N. J., who used to do all their work of that type. When I was in England, my films became nearly used up, and I sent over for more, hut unfortunately, they had had a firmy negatives were among thousands of others that had been burned. Dme why I did not change my name. My angle was this: If I changed it, the public would surelythink me to be German. So I thought it best to keep it as it was, since I had been very well known as an American there for years. In fact, Mr. Stoll, who has the music halls in England, billed me as the American Leipzig for that season. One of the leading papers in London hadan interesting article, saying that so many Germans in England suddenly became Swiss and Belgian, it also mentioned the fact that there were a lot of people bearing German names who were not German - mentioning "George Mozart who was an Englishman and Nate Leipzigwho was an American." While I never had any trouble in England during the war, thew I was booked to play Rotherham, and had heard that, during the past few months two magicians who played there got the bird (were hissed) from the audience. Naturally, I waslittle bit worried about how they would receive me. But I had no trouble at all, and learned why the other two had been hissed: both had accents, and while the audience didnquite what the dialects were, they knew they were not English nor American, and they took nochances. So I could understand their reason. The second incident was something entirely different. I was playing at the London Coliseum, and just before my name was put out, there flashed on the screen a message. As I went out I heard tremendous cheering - a prolonged cheering. Anbone of them was the "Leipzig." As you know, during the war every artist playing in England was called upon to entertain the soldiers - either at hospitals or at private homes. One affair, where about fifty soldiers were entertained by a very lovely woman, will always linger in my mind, it was so pitiable. There were wounded soldiers: a wonderful audience to work for, they were so happy to be entertained! I was walking about, showing the varcshown him my trick right before his very eyes, he laughed at me, saying, "That's one on I'm blind." Such was the brave and pitiful sense of humor of the war. Really, he seemedthe jolliest person in the entire room. When I returned here from England, I was booked to go to Montreal, and the booking agenwas afraid to bill me by my right name, although I had told him- so when I came to Montreal, I found myself billed as Burlingame. But everybody knew mso it didn't make any difference. I later went up to Winnipeg, and they had me under a different name there, but this was the very name that I, at one time, thought I would use, myself: Nat Lincoln. On the bill with me on that particular engagement was the well-known

133

act of Raymond and Calvere, and, as they were doing a Dutch dialect talking act, at the lasminute they decided to put chin pieces on and do it in Hebrew.

t

134

Nate Leipzig's Autobiography: Part 6 By Nate Leipzig

Part 6: The Saga of a Famous Magician

I have always liked to perform for people who know something about cards, as there is a slang saying, "You can fool a sucker any time, so it is a pleasure to fool the wise ones." I had quite a thrill, then, in performing for about twenty men whom I recognized as well - known card sharks. This happened in a night club of Leicester

formerly was one of ed all over the world for

clock in the morning. reputation as I very seldom

called me over. One of them So I did a few

ore appreciative audience in my life.

When I arrived in London, I was given the good advice that if I wanted to see any friends at all, American or English performers, that I might know, I should go to the German Club which was run by a man by name of Mr. Siegrist; at this club, most all American and

continental performers make their headquarters. A very funny thing happened there one day. I put one over on Willie Zimmerman. I was playing at the London Hippodrome and Zimmerman was playing the Coliseum, which was just a stone's throw away. One morning I went into the German Club and found Willie Zimmerman all excited, showing everybody a new twenty dollar gold piece which he carried in a little chamois case. In his broken dialect, he was telling everybody about the novelty of this coin: it had been recalled be cause it was concave and wouldn't stack. As he brought it towards me, I put my hand in my pocket and found a silver dollar there, and, after I had examined his twenty dollar gold piece, I slipped the silver dollar in the chamois case as a lark. He had been particular, while showing the coin, to mention the fact that it was worth about one hundred dollars at the time. He put the chamois case in his pocket, and went to the theatre. I did not see him again until twelve o'clock that night, when I entered the German Club which was crowded. Willie Zimmerman was playing cards with two other men. I

Square, London, which was then run by Ernest Pancher who the Pancher Brothers, a high class acrobatic act which playmany years. I happened to drop into this club about two o'Two or three of the sharks knew me and I knew them byplayed cards. They were in a very happy mood andsaid, "Come on, we're all alone here now. Do something for us."tricks for them, and want to emphasize that I never had a m

Seated left to right - Will Goldston, David Devant and Louis Gautier. Behind Gautier, who wears the flowing black tie, stands Nate Leipzig. Goldston and Devant were also S.A.M. members.

135

gave everyone there the wink to gather around the table, whereupon I said, taking out his gold piece from my pocket, "Willie, you're not the only one who has one of these coins. I just bought this from a magical performer for twenty-five dollars." I saw his hand go instinctivel case which was still there, and I could see that he is chamois case. He said, in his broken English, "You're very lucky fellow, as that's worth a hundred dollars." I fully expec o, since he was satisfied te of

nd h

n

I usually work with someone from the audience. In this instoffered their services for everything were King Alfonso andBattenberg. King Alfonso seemed to be greatly interested ineverything very much. When I started doing the cigarette paper tearing trick, I said to His Majesty: "As a rule, I never expose a trick, but this is one that I somewill fool you with it; then I will expose it." The young King was all eager attention as I tore from a padc rovingp ded s le pellet: then, prom ll -

.

y to his pocket and feel for the was feeling the coin inside h

ted him to bring the coin out of his pocket, but he didn't do s that it was there. I finally had to ask him, "What was the da

yours?" And to see the expression on his face when he looked at the coin and fouthat he had the silver piece, realizing that he thought he had had the gold piece withim all day, gave everybody a good laugh. You have been coaxing me to expose a trick. This is scarcely fair, not only to me, but to the entire profession of magic. However, I will relate exactly how I did explain a trick when performing before Empress Eugenie of France at Franborough Hill near Aldershot, in England. This was Her Imperial Majesty, the wife of the Emperor Napoleon III, the empress whom an American dentist, the late Thomas W. Evans, helped to escape to England. The guests of honor were the King and Queeof Spain, the latter having been before her marriage Princess Ena, an English princess.

ance, the two who Prince Alexander of card tricks and to enjoy

times expose. First I

a single sheet of that no duplicate

to tear the paper into ptly to unroll the ba

and the audience saw the paper to be as intact as though it had never been torn. "Now," I asked, "must I expose it?" "By all means," cried the audience. "You surely know," I said, "that I cannot tear a piece of paper and restore it unless another piece is hidden in my hand. But the secret is this: I can hide a little piece of paper in my hand where you cannot see it .. and I will prove it to you." I took a fresh piece of paper and rolled it into a little ball, with thumb and forefinger of my right hand; then I opened my hand and the audience saw that it was empty. Of course, everyone asked where the paper was. I showed that it was hidden right at the base of the thumb, in the crotch between thumb and forefinger . . . telling themthat if I didn't want them to see it, they couldn't see it.

igarette paper; then showed my hands to be empty, pieces were hidden between my fingers. Next, I proceemall pieces, to roll these bits into a litt

136

"But that is only a small part of the trick," I explained. "I can exchange the pellets - the one from its hiding place in the fork of my hand with the one that I will tear up without letting you see me do it. But I want you to see how quickly I make that exchange, just with a flick of a little finger. So I shall bring the hidden pellet out from its hiding place, into full view, doing so with the little finger tip of my other hand, and keep it gripping in full sight with my muscles." I now took an extra piece of paper and commenced tearing that, asking my audience to glue their eyes on the little pellet still in full view, warning them, "Watch carefully, or I will fool you again." Just as thinmy thumb dropped to the floor, apparently accidentally, where upon everybody shouted, "You dropped it!" "You weren't watching," I retorted, "and I have fooled you again, because this onin my hand is restored, and the one on the floor is the pieces!" The assemblage had a great laugh at King Alfonso's expense, since he had been first to shout, " The End

-

e second sheet of paper became rolled to a pellet, the piece that had been held in full sight by the muscles in the base of

e

You dropped it!"

137

David P. Abbott and the Notorious Bangs Sisters

By Todd Karr An excerpt from House of Mystery: The Magic Science of David P. Abbott Edited by Teller and Todd Karr.

David P. Abbott’s articles on spirit mediums in The Open Court magazine in 1905 and 1906

concerned about relatives being bilked by fraudulent mediums. Severa

a Chicago duo known as the Bangs Sisters

painted by t

made him into an expert in the minds of many readers, who began writing him for advice, often

l of these correspondents were particularly worried about

commanding top dollar for their supposed materializations of portraits of loved ones

he spirits. A typical letter, dated January 26, 1907, begged Abbott to lend his

expertise and expose these swindling siblings: My Dear Mr. Abbott: I am enclosing a letter from my uncle…You see by the letter he has faith in the Bangs Sisters, Chicago.... They sport autos, numerous diamonds, and are in clover generally; get three dollars per sitting and big prices for pictures and materializations…. Uncle A.W.F., however, is convinced there is no fraud in the spirit photo which he obtained of his little girl, as he and other members of his family saw the pictures gradually appear on a large canvas (picture is a large wall picture) which was placed in the window. “No possible chance for fraud,” he avers. Although Father has been shown conclusively that his own pet mediums are completely fraudulent, he still thinks there are some genuine phenomena and that the Bangs Sisters are OK. It would be such a revelation to so many people if you would write up the Bangs Sisters’ methods, giving details. I think they would be readily entrapped. Can you not do this, Mr. Abbott? Most sincerely yours, B. H. Foreman

The Bangs Sisters materialize a spirit painting

138

The sisters who had duped Foreman’s father, Lizzie and May Bangs, had honed their craft over several decades, ofrelated services before etheir novel, high-paying g

fering an array of spirit-ventually focusing on

hostly portraits. ide wanted to help these the secret of the Bangs’

spirit portraits. But he was probably just as at

sounded like an almost perfect magic effect: the miraculous materialization of paintings in full

ut

ers s loved

r tairs cing a window. T ed twplaced them face to face, and positi he

neath the window. The sunlight from the window glowed through the white fabric of the canvases.

t, the mediums draped curtains on the sides and top of the

e patches of radually materialize between the translucent canvases. The

hat

tt had unraveled the technique — inventive genius P. T. tand-

urston — then America’s top touring magician — cure performance rights for his show.

he Bangs Family he Bangs family moved to Chicago in 1861 from Atchison, Kansas

(interestingly, also the hometown of another of Abbott’s fascinations, Wonder Girl psychic Gene Dennis). Their father Edward (born in Massachusetts around 1828) was a tinsmith and stove repairman; their mother Meroe was a medium herself and recruited her young children into the act. The eldest daughter, Elizabeth Snow

Abbott’s moral svictims by exposing

intrigued with uncovering the method for wh

view. Visual effects were rare enough in that age of cones, covers, and curtained cabinets, ba gradual unconcealed appearance was almost unheard of. In their usual procedure, the Bangs Sistbegan by sealing a photo of the client’one between two slates, then sending the customer away until the next day when conditions would be better. When the victimroom in the sisters’ home and was seated fao large canvases stretched onto wooden frames, oned them vertically in front of the window. T

bottom edges of the frames sat on a table just be To block any stray lighframes. The sisters then sat at the table on either side of the window, each with a hand on one side of the canvases. After a dramatic wait of perhaps twenty minutes, the sitter began to sedarkness and color gshapes gradually became sharper and more vivid until they formed a fully defined portrait of the sitter’s deceased beloved. The mediums then separated the canvases and displayed the result: an impressive painting the client could hang on his wall...once he had paid the Bangs’ hefty fee, of course. The Bangs’ secret was a unique advance in magic. It sounded so astounding tmagicians doubted the reports could be accurate. The effect, though, was indeed somagical that — once AbboSelbit was able to tour Europe and America with just the Spirit Paintings as a salone act, followed by several competing versions presented by various vaudeville performers. Later, Howard Tharranged with Abbott to se T T

eturned, he climbed to an upshe sisters display

David P. Abbott, magician and spiritualistic investigator

139

Bangs — known as Lizzie — was bknown as May — was born about 1 d. By 1872, the children could per“An Evening with the Bangs ChildPhilosophical Journal (August 3, 1slates; chairs and furniture moved; placed in a cabinet, a guitar inside w t the conclusion, young May brought forth a “spirit kitten,” a hairless cat supposedly born in the afterworld. The reporter, like countless othcould not possibly be part of a swin It must be remembered that theparticle of deception in their nature r actions they exhibit the innocence o . No one would accuse them of deception. Not e years lat G ngs and h go, had been arrested “for doing business w re

of the Bangs

estram, a wealthy Chicago photographer.

an

ed a erging from a cabinet.

ite s, five wigs,

oustaches, and a great variety of make-up material….” The article concluded: , and the sisters were then loaded into a patrol wagon and taken

orn around 1860. Her sister Mary — later 864. They had two brothers, W. B. and Edwarform a variety of séance effects, as described in ren” by Steven Sanborn Jones in the Religio-872). Messages from the dead appeared on when the children were tied with ropes and

as strummed and hands waved from within. A

er trusting believers of mediums, felt the children dle:

se mediums are young children. There is not a . Their hearts are free from guile, and in all theif their nature

er, on August 23, 1881, the Atchison Littleer mother, now reportedly living in Chicaithout a license.” The pair argued that they we

evangelists and that such a charge could not be made against a minister. By 1888, the sisters had become prominent Chicago mediums, performing lucrative cabinet séances, still assisted by their mother. The Washington Post (April 17, 1888) reported that “Lizzie and May Bangs, under the firm nameSisters, conduct the leading spiritualistic establishment in Chicago…. Their elegant parlors have been crowded by day as well as by night and money flowed into theircoffers in large streams.” One of their clients was Henry JShortly after Jestram became a regular attendee at their séances and spent much of his fortune paying vast sums to the sisters, he went insane and was committed toasylum. Many newspapers blamed the mediums for Jestram’s death (see the Hornellsville [New York] Weekly Tribune, April 20, 1888). In a spectacular arrest on April 2, 1888, two plainclothes detectives attendBangs séance and witnessed a series of spirit entities emWhen a ghostly Russian princess in a regal gown made her appearance, the detectives seized her; she resisted furiously, throwing punches madly. One of the lawmen announced, “I have a warrant for you, May Bangs,” whereupon the princess’ mask fell off, revealing the medium. The sisters and their male attendants put up such a struggle that the policemen finally drew their guns to clear the room. The Washington Post reported that “a search revealed a satchel filled with whmuslin shrouds and the like, three sets of whiskers of various huem“The cabinet, satchelto the station and locked up.” Sadly, shortly after the arrest on charges of obtaining money under false pretenses, Lizzie Bangs’ seven-year-old daughter died. Newspapers reported that during the funeral service, the mother went into a trance and delivered a bizarre speech that blamed the child’s death “on account of the persecution I have

yet, anyhow. Ninlobe stated that May Ba

140

received.” By now, newspapers were referring to the pair as “the notorious BanSisters.” Editors had a field day with the sisters’ marital dramas. Lizzie was married and divorced once; May married four times. In November 1890, May – already divorfrom a first marriage – was granted a divorce from wealthy chemical manufactuHenry H. Graham. Their brief, drama-filled liaison had begun during an 1887 séance in which Bangs told the newly widowed Graham that his dead wife had contacted her and said he should marry the medium, adding that his deceased infant had also sent a message(Chicago Daily Tribune, April 17, 1890). In 1907, May Bangs again married, tle“proposed to him three times before he was finally won over by the assurance thatthe spirit of Lesher’s mother was urging the match and that he himself would become 25 years younger and would never again be ill.” Within tbhusband of May Bangs, a ‘spirit painter,’” the Chicago Daily Tribune reported July 16, 1909. Notoriety in Chicago In the early 1890s, a Chicago grand jury attempted to indict the Bangs Sistebut failed due to technicalities, according to the Chicago Daily Tribune (March 7, 1890). In 1891, a bill was passed by the Illinois Senate “prohibiting anyone from personating the spirits of the dead, commonly known as spirit-medium séances, on penalty of fine and imprisonment” (Chicago Daily Tribune, May 16, 1891). At leasone Chicago spiritualist blalthough “they were gifted with unearthly powers, their greed for gold had ledto abuse it” (“Spooks Go on a Strike,” Chicago Daily Tribune, June 8, 1891). In 1893, the pair produced spirit typewriting in sittings with G. W. N. Yost, the inventor of a typewriter, bringing forth typed spirit messages pecked out by thspirits of celebrities ranging from Moses to assassinated U.S.Garfield. The inventor sought more such messages from another medium, who soonleft Yost broke (“A Ruined Man: Inventor Yost the Prey of Mediums,” Los AngTimes, July 6, 1895). Venturing out of Chicago to Massachusetts, the sisters again made headlines in1894 by conducting a bizarre wedding in which they married a wealthy womthe departed spirit of her dead fiancé (Fort Wayne Sentinel, September 10, 1894). The Slate-Writing Exposure From 1895 to 1899, the sisters continued to produce slate writing for their Chicago customers and conducted twice-weekly séances on Sundays and Wednesdays at their home, advertising their services in the Chicago Daily Tribune. In 1900, an English investiKrebs, scheduled a sitting with the sisters, secretly intent on determining the method of their slate writing. His extraordinary exposé, “A Description of Some Trick Methods Used by Miss Bangs of Chicago,” was published in January 1901the British Journal of the Society for Psychical Research.

gs

ced rer

: “Dear papa: I would like this lady for my new mamma”

his time to Jacob Lesher, a millionaire ather manufacturer. According to the New York Times (July 1, 1915), the medium

wo years, Lesher was penniless. “Business tips from the spirit world are lamed for the failure of Jacob H. Lesher, formerly rated a millionaire, and the

on

rs

t amed the Bangs Sisters for this new law, saying that

them

e President James

eles

an to

gator of psychic phenomena, Reverend Stanley L.

in

141

Following their standard procedure, the Bangs Sisters asked Krebs to bring withhim a sealwith blank paper for a reply. To better detect any deception, Krebs brought a small mirror, which he positioned in his lap once he was seated at the séance table, giving him an excellent view of any trickery occurring below the tabletop. Lizzie Bangs sandwiched Krebs’ letter between two slates and tied them wtwine. But when she briefly turned her back, Krebs slyly examined the slates andfound that the medium had quietly slid a small wedge between them, opening a slight gap between the slates. Moments later, Bangs turned back and Krebs, thankto his mirror, saw her pick up the slates and As Bangs attempted to distract Krebs by making wild guesses about his deadfriend’s name, he saw her bend down and place the letter onto a sort of small, dark-colored tray on a long handle, which was then drawn backward under the door behind the medium. Krebs later surmised that May Bangs was on the other sidthe door, unsealing his envelope and reading the letter. About ten minutes later, Krebs saw a piece of paper being slid back into the room from under the door. Under the pretense of shifting her position in the chaLizzie Bangs bent down, picked up the slip, placed it on her lap, and quickly read iShe immediatelthjotted down by May. After several more minutes, he spied his envelope being secretly slid back into theroom. The medium stooped to pick it up and, under cover of more distractions, secretly slipped it back between the slates and removed the wedge. She then allowed Krebs to untie the slates, open his sealed letter, and read the spirit messageson the papers, which of course had been written by the very alive May Bangs. Unfortunately, the Chicago media seems to have paid no attention to Krebs’essay and sitters continued to flock to the Bangs home. Krebs concluded his article by mentioning that “…after the whole was ovearose and thanked Miss Bangs for the most interesting exhibition she had given me, whereupon she kindly offered still more, namely, to take me into her sister’s houand show me the ‘spirit portraits’ there.” Unfortunately, Krebs did not accept Lizzie Bangs’ offer, leaving the spirit paintings a mystery for several more years. Early Spirit Paintings The spirit portraits brought the Bangs Sisters more renown and income than anyof their previous spirit specialties like slate writing. Spirit photographs had been pliving selling these double-expodiscovered, they could charge truly exorbitant fees if they gave the sitter a largeartwork he could display in his home as a treasured memento. The mediums told their clients the paintings were created by the spirits through a mysterious process known as “precipitation.” Displays of “precipitated spirit portraits” created by the Bangs Sisters can still be seen on display at Spiritualcenters like Camp Chesterfield and Lily Dale. Despite the notoriety of their spirit paintings, the Bangs Sisters were not the first to put phantom artists to work. In the 1870s, Scottish mediu

ed envelope containing a letter he had written to a deceased friend, along

ith

s allow his letter to drop into her lap.

e of

ir, t.

y began reciting names which she said came from the spirit world, ough obviously all this information was mentioned in Krebs’ letter and had been

r, I

se

opular items for years with many Spiritualist mediums, who could make a good sed photographs, but as the Bangs Sisters

ist

m David Duguid (1832-

142

1907) made spirit paintings appear during his darkened séances, as described by Nandor Fodor in These Mysterious People (1934): “In total darkness, on little cards which the sitters brought along and marked, while the medium was held or tightly bound, invisible entities executed small oil paintings, sometimes in as short a time as 35 seconds.” In 1876, a story supposedly dictated to Duguid by thillustrated with 45 of his spirit paintings, was published under the title Hafed, Prince of Persia: Being Spirit Communications Received Through Mr. David Duguid, The Glasgow Trance-Painting Medium. After a long career, Duguidmethod – simple substitution – was finally exposed. As Fodor reported: In 1905, at the age of 73, after nearly 2000 séances, he was caught in deliberatfraud in Manchester. He brought the spirit paintings ready-made to the séance roomand attempted to exchange them for the blank cards which the sitters provided. being forcibly searched, the original cards were discovered in his trousers. Around 1888, a corpulent female medium and frequently jailed con artist knoas Ann O’Delia Dis Debar (among many other pseudonyms and spellings) made headlines in New York when she was tried and imprisoned for swindling wealthy lawyer Luther Marsh. Dis Debar had sold Marsh dozens of paintings supposedly created by the spirits of prominent artists, including one work called “The Circumcision” that shDis Debar’s method was nothing like the Bangs’ later gradual visible appearances. In one account, she or her accomplice switched a blank canvas for a painting as led her sitter out of the room; another visitor said he witnessed the switch whehappened to glance in a mirror in the séance room (New York Times, March 31, 1888). Harry Kellar used the Dis Debar case as an opportunity for newspaper coverain the Los Angeles Times, suggesting several possible mFraud,” May 16, 1888). One of his outlandish proposals was that the medium usedtrick easel with a painting on one side and a blank canvas on the other; a slide projector would gradually form the picture on the white canvas, then the real picturewould pivot into view. Kellar also suggested that an invisible picture could be painted with certainchemicals which would develop when brougdmagic methods, though ioutlandish than some of those David P. Abbott proposed during his later search for the Bangs Sisters’ secret technique. Alexander Herrmann chimed in a few weeks later during a benefit at New York’s Academy of Music, where he presented an exposé of Dis Debar thahave been the first onstage performance of a spirit-painting effect, though his version was a pretty crude forerunner. As the New York Times (reported: “The spook picture act of Mme. Dis Debar was performed in a way which deceived the whole audience until the method was shown. It was very simple. Aprepared picture was covered with a thin and pliable sheet of paper, which was simply pulled off and palmed.” Buatier de Kolta also inserted a painting materialization into his show around this period. At the Eden Musée in New York on December 22, 1891, De Kolta

e spirits,

’s

e

On

wn

e attributed to Rembrandt.

she n he

ge ethods (“Spiritualistic

a

ht into a hot room or wiped with a

amp sponge. These farfetched theories are surprising given Kellar’s knowledge of n his defense his farfetched theories sound no more

t may

May 28, 1888)

143

included “a very pretty drawing trick, the climax of which was the sudden appearance of a portrait of [New York congressman and governor] Roswell P. Flower in true Dis Debar style,” the New York Times review noted (“A New Magician,” December 23, 1891). Another possible method used by Dis Debar was proposed years later at a of her paintings from the estate of bilked lawyer Luther Marsh. The auctioneerstated that Dis Debar had obtained over 100 paintings from an art collector to use in her swindle. “…powdering the pictures over with chalk, (she) would slowly erase itin a darkened room and tell Mr. Marsh that her hands were being guided glights were turned on” (“‘Spirit Paintings’ Sold,” New York Times, October 30, 1903). This messy method of concealing the painting by covering the canvas with a white substance — such as whitewash or zinc oxide — has since been suggmseemingly impractical technique was actually put into practice. The Bangs Sisters’ Spirit Portraits As early as 1894, the Bangs Sisters were producing spirit paintings, accordingto a letter from May Bangs quoted in James Coates, Photographing the Inv(1911). At that time, however, they were not yet urear-lit technique. Instead, they sealed the blank canvas in a box; when opened a few days later, the painting had appeared on the canvas. In the sitter’s absence, of course, the mediums just unsealed the box, switched canvases, and resealed the case. In Cconvincing: It was necessary to curtain the canvas, and several sittings were required to finish one picture. Then locked boxes were used, but all these processes, wherecanvases were out of the sight and control…of the visitors suggested the possibilities of fraudulenthe pictures have been obtained in broad daylight and are finished in one sitting lasting about twenty to forty minutes. Around 1898, another duo of mediums, known as the Campbell Brothers actually two companions, Allan B. Campbell and Charles Shourds – made paintingsappear in a style similar to the BangsNickell’s article “Spirit Paintings” on csicop.org). The Campbells stood a largecanvas on a table in front of a window in a dimmed room, the medium and a spectator sat at the table, and a silken curtain was drawn in front of the canvas.veils were parted periodically to allow glimpses of the gradual materialization opainting. The Campbells’ presentation sounds so remarkably close to that used by the Bangs Sisters that it seems likely that the sisters learned of their colleagues’ method and adapted it for their own homsame secret from some other source.

sale

by the

reat masters of painting, and had as her proof the works exposed to view when the

ested any times in magic literature; this article on Dis Debar, may indicate that this

isible

sing their visually astounding

oates’ book, May Bangs herself admitted that this method was less than

the

t procedure and of changes made to that effect. Latterly,

–

Sisters’ later backlighting method (cited in Joe

The f the

e séances, though perhaps both duos procured the

144

Increasing Notoriety Whatever the origin of the sisters’ improved technique, their new version ofspirit paintings helped increase both their business and their notoriety. By 1905, a reporter from the Stevens Point (Indiana It has just come to general notice that two women, the Bangs Sisters, carry on a thriving trade in Spiritualism among people of high commercial and social standing; that “people you wouldn’t have believed it of” consult them as oracles, believe in their utterances, in the pictures they bestow upon those favored by the spirit artists…. Who buys them, or rather who pleads for them and, incidentally, pays for these mediumWhat do they pay for these works of art? Anywhere from $15 to $150. One prominent paying customer was the Reverend Dr. Isaac K. Funk of the dictionary publishers Funk and Wagnalls. Funk reportedly paid fo1905: There he sat before a bare canvas in a darkened room...On one side was MaryBangs and on the other, Elizabeth. Softly they communed with the spirits of “departed artists” until one consented to paint the picture, through the mediums, fthe wealthy publisher. Slowly, a beautifully tinted portrait of a deceased relative ofthe minister was thrown upon the canvas. The newspaper also noted that a Chicago judge, Joseph E. Gary, was a Bangspatron. harming the reputation of believers who followed Spiritualism as a religion. At omeeting, the Chicago Daily Tribune reported (February 27, 1905), its leader asked, “Are the ‘spirit paintings’ of the Bangs sisters frauds? Most emphatically yis no such thing as a ‘spirit painting.’ These paintings are the work of human handDo you suppose a spirit is going to return to this earth…to paint pictures for the pecuniary gain of some medium?” Police,” Chicago Daily Tribune, February 28, 1905) that fraudulent mediums cobe prosecuted for obtaining money under false pretenses. The Bangs Sisters somehow managed to escape prosecution, except for a minor case years later in 1908, when the police arrested May for violating the city’s fortune-telling law; swas released after paying a $25 fine (Chicago Daily Tribune, July 30, 1909). Early Explanations The mappear. As with the Dis Debar paintings, the suggestions were based almost exclusively on speculation, since no skeptic seems to have been willing to pay the fee to actually witness the painting process in person. In “How Ghosts Paint Spirit Portraits” (Chicago Daily Tribune, Fep

the

) Journal commented:

’s troubles? Well, such as these: doctors, lawyers, and women, of course.

$1500 to the sisters r a number of paintings, as the Chicago Daily Tribune reported on February 25,

or

A group called the Chicago Spiritualist League complained that the sisters were ne

es. There s.

In 1905, the Illinois State Attorney stated in an article (“Bangs Sisters Interest uld

he

ediums’ success provoked explanations of how they made their portraits

bruary 26, 1905), for example, a local printer roposed that the blank canvas was switched under one of the sisters’ skirts for a

145

prepared painting wrapremoved to make the portrait gradually appear. The article “Bangs Sisters Interest Police” (Chicago Daily Tribune, February 28, 1905) included a quote from one reader, who wisely pointed …can’t produce a picture of a relative of the sitter without a photograph, no matter what they may say to the contrary. They have to obtain these photos either in an underhand manner or with the consent of the sitter. If they have no photo — well, it’s a case of “unfavorable conditions.” The anonymous and apparently well-informed reader also stated that the finished paintings were actually enlargements of the sitter’s photograph that had been airbrushed over by an artist named Day. inventor of the early Talking Teakettle, which he sent to Abbott as a gift in 1909see the first section of Abbott’s Book of Mysteries for more about Meyers. The Daily Tribune article describes Meyers as a manufacturer of equipment for spiritua“ The reader’s observations were the basic method for half of the Bangs’ procedure. The sitter had to bring along a photograph of the relative they wishhave painted. The sliding-letter switch under the séance-room door, described by Reverend Krebs in his 1901 slate-writing exposé, was used to smuggle the sitter’s photo out of the room, though other visitorsp The Bangs Sisters next insisted on continuing the séance another day, giving them timtime for the sitter’s next appointment. As a result, the portraits invariably mirrored whatever image the sitter brought along. If for some reason the sitter had no photograph, the mediums used a stock portrait with loved one’s basic age and gender, explaining away any inaccuracies with the excuse that the image showed how the relative now looked in the spirit world. The sisters added two other convincing details that astounded the sitter even more. First, the customer could feel wet, giving the impression that the work had been freshly painted by the spirits. Later investigators like Hereward Carrington suggested the effect could have been created simply by smearing linseed oil over the painting’s surface prior to thesitting. Carrington’s idea is supported by one report noting that the mediums plactwo thin sheets of paper between the canvases before the painting appeared; if linseed oil was used, this paper would have prevented the oil and any potentiadGlimpses of the Next S The second convincing nuance was that after the front canvas had been removedand the finished painting was revealed, the mediums used the power of suggeto convince the sitter that the portrait was still being painted by the spirits before their very eyes, excitedly shouting that the face’s eyes were opening or that details were appearing on a locket or ring in the picture. On other occasions, if a sitter commented on an inaccuracy in the painting, the

ped in several layers of tissue that could be progressively

out that the sisters

This newspaper report is also significant since it quotes Philip H. Meyers, the ;

lists. He claimed to possess the Bangs’ method for the spirit portraits but would want several hundred dollars for the secret.”

ed to

reported being instructed to leave their hoto in their coat in the hallway, where of course it could be easily pilfered.

e to take the photograph to an artist to prepare a larger version on canvas in

that the finished painting was apparently still

ed

lly ampened paint from smudging onto the blank canvas; see W. Usborne Moore,

tate (1911).

stion

146

mediums asked the client to allow the painting to develop while they took a breakanother room. This would give the artist (or perhto make minor changes to the painting. Upon resumption of the session, the alterations would be jubilantly pointed out to the sitter. With typically excited but fubefore their eyes or that they had merely mentally requested the alterations. OBangs client reported: At 7:30 p.m., I returned to the house and ffuthe locket should be made larger, and that the monogram should be impressedit. My next visit was at 10:20 the following morning…I then found that the monogram had been imprinted on the locket…enlarged. The likeness is not very good. The interest in this picture does not lie in its fidelity as a portrait, but in the various alterations that were made after it was taaway from the window, and especially in the monogram precipitated at my mrequest when nobody was present. (W. Usborne Moore, Glimpses of the Next Stat All these fine points challenged the ingenuity of would-be exposers of thBangs’ spirit paintings. The publisher of The Progressive Thinker even offered a $100 reward for an exposé of the Bangs Sisters’ method. A Kansas City minister, A. T. Osborn, told the New York Times that an explanation for the Bangs’ portraits had come to him in a dream (“Solves ‘Spirit Paintings,’” July 9, 1908). Osborn’s theory was that “They made a magic-lanteslide…the portrait was thrown on a blank canvas by means of a stereopticon. A dissolving-view device caused the picture to fade from the blank. The painted enlargement was slipped on the trick table and a cover whisked off the moment the magic lantern view vanished.” Confident that Osborn’s method was wrong, the Bangs Sisters promptly telegrammed the minister and offered him $1000 if he could correctly demonstratethe secret of their portraits. When Osborn acceptdemanding that the reverend wager $1000 as well. The Washington Post (“Girls Seek Pastor’s Coin,” July 11, 1908) reported Osborn’s reaction: “Of course I can’thave anything to do with such a proposal. I can’t do any betting, and whoever heof a minister with $1000?” On the Road One of the sisters’ devotees was Dr. Charles H. Carson, the wealthy KansasCity head of the Temple of Health, the Magnetic Mineral Springs, and the Collegeof Psychic-Sarcology. In 1908, Carson included over a dozen Bangs Sisters paintings in a self-published book ohis dead wife, entitled Through the Valley of the Shadow and Beyond. “Dr. Carson was a believer in the Bangs Sisters and brought them to Kansas City at his own expense, renting apartments and furnishing them....” Abbott wroteto Paul Carus on July 18, 1908. “He is said to have parted with ten thousand dollarsfor spirit paintings, and one evening gave a recept As their renown grew, the Bangs Sisters occasionally took their painting act to

in aps the mediums themselves) time

zzy recollection, sitters would often claim that the changes had occurred right ne

ound the picture had undergone rther improvements, especially in the sky and background. I mentally desired that

upon

and the locket itself had been

ken ental

e)

e

rn

ed, they sent another telegram

ard

f writings supposedly composed by the spirit of

ion to exhibit his spirit gallery.”

147

Spiritualist collectives like Lily Dale, materializing a sample portrait onstage to promote private sittings after the show. The controlled conditions of their Chicago home, however, proved elusive onstage. In a 1910 demonstration for the KansasCity Society of Spiritualists, the Washington Post reported, “something was the matter with the lights in the building, which situation prevented this part of the performance.” At another appearance, the lamp used to illuminate the canvases set fire to the sisters’ equip worth a million dollars?” May snapped back, “If we are, it’s none of your business.” The mediums mercifully took less time onstage to make their paintings appear than they did at their home, where the process could take almost an hour. Du1909 Camp Chesterfield show, for example, they required only eight minutesproduce a p Abbott on the Trail David P. Abbott pondered the secret of the Bangs Sisters’ paintings in correspondence with Open Court magazine readers, eventually collected in the joBehind the Scenes with the Mediums in 1907. To explain the paintings, Abbott needed to solve several major puzzles. How did the mediums obtain a photo of the sitter’s loved one? (Abbott had apparemissed Krebs’ account published in England.) How did the image graduallyon the canvas? How was the blank canvas switched for the finished painting? Andhow did all this occur in the simplest of settings in a small room on an upper storyof a neighborhood house? In his first attempts to resolve these questions, Abbott proposed a variety ofimprobable methods that widely missed the Bangs’ simple procedure. Abbott suggested that the mediums couhidden assistant in the room taking pictures through a telephoto lens. For the gradual development of the paintings, Abbott thought mechanisms hidden in the window sill might somehow spray invisible chemicals onto the canvas. Abbott discussed the problem in his letters to his publisher Paul Carus, typingpage after page as he considered complicated methods like concealed slide projectors and mechanical switching tables. At one point, Abbott found KSisters producemethod, but his detailed report helped Abbott narrow the possibilities of what theactual procedure could be. On July 18, 1908, for example, Abbott wrote to Carus that Eldredge wondered “why picture seemed between canvases when a lantewould unmistakably project it on back of rear canvas.” Abbott was also exchanging letters with Dr. Isaac Funk, who, as meearlier, had reportedly paid dearly for several Bangs portraits. In an April 1, 1907letter, Funk offered to pay for a Bangs Sisters séance if Abbott could make a trip toChicago: I wish to tell you something wholly on the quiet: I have had a number of sittings

ment. On another occasion, a curious audience member asked the sisters, “Are you

ring a to

ainting (James Coates, Photographing the Invisible, 1911).

urnal as a series of letters on “Spirit Portraiture” and later in the appendix of

ntly appear

ld have copied the sitter’s photograph by having a

out that one of his correspondents, C. F. Eldredge of ansas City, editor of The Health Reporter, had actually witnessed the Bangs

a painting. Eldredge, unfortunately, could still not fathom their

rn

ntioned ,

148

with the famous Bangs Sisters of Chicago. I know, I think, all of the explanationthat have been given by various persons…. I have made a large number of experiments with them and, notwithstanding all the exposures that have been madI would like to have you — when in Chicago — to call upon them and make a tethat is, providing they have no means of recognizing you…. Have some wee mark on the frame facing you that you know of but nobody elseknows of, and see to it that thenecessary that you do not exhibit the slightest suspicion. Of course, let it be understood that you are invthe truth is. Do not mention — directly or indirectly — my nam Now, if some time you are in Chicago and do this, I will bear the expense of getting the picture from the mediums, which was $30 or so when I saw them last. The time and expense of the trip undoubtedly deterred Abbott, who was inmhis loan business. Abbto take a magician with him on his next visit, perhaps Joseffy. Dr. Funk eventually sent Abbott’s friend Hereward Carrington to visit the Bangs Sisters. Carrington — a prolific writer, psychic investigator, and one-timmagician — detected the mediums cheating in reported their fraudulent methods in the British Annals of Psychical Science (July-September 1910). The sisters, however, refused to demonstrate their paintings for Carrington. Abbott’s Eureka Moment In 1908, through an inteinventor of the original Talking Teakettle who back in 1905 had claimed in the Chicago Daily Tribune to knew the secret of the Bangs portraits. Abbott had hChicago friend Ralph W. Read try to negotiate a purchase. Meyers’ price for the secret of the paintings was too high for the men, but he sold them what he saidthe Bangs’ slate-writing secret. To Abbott’s disappointment, it turned out to be jua common technique that Abbott already knew. True to his financially prudent ways, Abbott decided to forego any further expense and instead experiment on his own. This money-saving move beganhands-on experimentation process that soon le On February 18, 1909, Abbott excitedly wrote Carus: “I really believe I have solved this secret by reason alone.” His joy was premature. His latest incorrect solution seems to have been a mechanism that would wind up layers of silk covering the painting, gradually allowing more light to penetrate the canvases as ifthe painting was gradually developing. But this wrong turn was in fact the key that led Abbott to his “Eureka” momewhen the correct answer suddenly came to him. Abbott 22, 1909: I decided yesterday that while theories are all right and should precede experiment unreel the silk rapidly or slowly. It was but 1/8-inch thick. I made three frames and

s

e, st,

re is no substitution of frames. It would be absolutely

estigating, perfectly willing to accept the truth, whatever e to them.

the idst of proofreading Behind the Scenes with the Mediums in addition to running

ott wrote Carus in 1908 that he was trying to convince Funk

e their slate demonstrations and

rmediary, Abbott contacted Philip H. Meyers, the

is

was st

a d Abbott to the long-sought secret.

nt wrote Carus on February

, that I should try out my theory in actual practice. I built a quarter-sized model of a screen. I designed one that would roll up or

149

tacked canvas on them. One was a picture, size nine by fourteen inches. I placed a table and the canvases in position, lowered the blinds, and pinned on the sidas per directions. Now, all of this brought about an unexpected result. First, I arrived at the conclusion that no screen is used in actual practice, notwithstasays, or my own theories; and second, I made the discovery of a new principle which surely is the correct one. It is so absurdly simple that at first sight one would give it little credenceafter two hours of actual experiment I cannot help but believe it is the right thing. Simplicity is really in its favor. Mediums seldom use much paraphernathey must always be prepared to “make a quick getaway.” So whatever is used, wmust expect it to be something simple. In fact, the simple things have always p Now, what I discovered is this: If two canvases be faced together and in position, and if there be upon the rear canvas a portrait in transparent colors (pastel,crayon, airbrush work, etc.), this — to be plainly visible — must be in actual contact with the surface of the front canvas. At a distance of 1/8begin to be indefinite — not sharp; at a quarter of inch, much more so, while athalf-inch (the) image is very confused in appearance and looks like a view from a lantern out of focus, a cloud of color, etc. At a distance of one inch, the imageappears to be some confused shadows, and at two inches’ distance, all trace of the portrait has disappeared. Now it isfrdescribed. The motion must hand…. I can best compare the effect produced to what one witnesses when viewing lantern slide wholly out of focus, and then see it slowly brought into focus. First there is not even a shadow; finally some indistinct shadows appear; these soon seeto be an indistinct cloud consisting of some colors mingled together. These gradually change into the image but with quite indistinct outlines which become more and more sharp until the picture appears qushows a slight smoky effect caused by looking at it through a canvas and viewiby transmitted light. All of this corresponds exactly with the descriptions I have received of the effect. It would appear just like a lantern image, only it would not be this, and the picture would really be in the window as is claimed. Final Details Carus wanted to publish Abbott’s expublishing his findings, Abbott wanted to understand the Bangs’ entire procedure. Despite discovering the simple methods that produced the paintings, Abbott continued B In letters to Carus, Abbott suggested that the blank canvas was initially switched for the painted one using an elevator device built into the wallswith a secret assistant below exchanging the paintings. To explain the post-appearance alterations — which the Bangs Sisters created through mere suggestion

e blinds

nding what Read

, but

lia, as e

roduced the greatest effects.

-inch, the outlines a

only necessary for the rear canvas to be slowly moved toward (or om) the front canvas to cause the picture to materialize or to fade out precisely as

be slow and uniform, and is very difficult to control by

a

m

ite plain and sharply defined, yet it ng it

planation in The Open Court. But before

proposing complicated ideas to explain the remaining details of the angs’ technique.

of the Bangs’ home,

150

or by adding changes in the sitter’s absence — Abbott envisioned a complex systems of colored patches controlled by threads, or else areas on the canvas that could be individua Carus was as fascinated by the quest as Abbott was, and in one 1909 ledignified publisher made the astonishing suggestion that Abbott should determinmatters definitively by arranging a séance and trying to catch the mediums red-handed, perhaps even breaking in I do not know how far you would go in testing your hypothesis, but assuming your solution to be the correct one, you could at the moment when everything is ready for a séance pounce on them, and have the artist as well as the Bangs Sisters arrested on a charge of obtaining money under false pretenses. It would be necessary for yarrangements for a sitting. He has to spy out where the window sill with the twhich window is used, so you can locate the place where the artists work underground. You must make sure of the several accesses to that place, whether it is in the basement, and whether you could enter without breaking through doors, perhaps through the windows by breaking the window panes. You ought to speak with the sheriff through whose authority you could make an entrance, and take a search warrant out against the Bangs Sisters and their accomplice so as to be able to pounce on them at the mo The arrest need not even be made, but only the utensils seized, the trap inspected, and the gauze material and whatever else there may be taken away. Thereis not even any necessity for carrying the matter before the court. You can drop proceedintheory is right, which could not be contradicted by any believer. Abbott’s Solution Escapes As Abbott recounted in his story of the Spirit Portraits in The Book of MysteEnglish spiritualistic investigator William S. Marriott contacted Abbott in August1909 to inquire about the Bangs Sisters’ paintings. Abbott innocently shared his findings, whereupon Marriott not only built the necessary equipment but also went on tour in England pre In England, Marriott became acquainted with one of the Bangs Sisters’ most devoted clients, the decorated but self-deceiving British Vice-Admiral W. UsborneMoore, mentioned earlier as the author of Glimpses of1Cleopatra and h Typical of true believers, Moore discounted any reasonable explanations of theBangs Sisters’ phenomena. Although Marriott showed him Abbott’s method for materializing the paintings, Moore steadfastly maintained that the sisters wounever rely on such trickery and that their conditions at home were different frothose of a stage perf Moore had recently read Hereward Carrington’s exposé of the Bangs Sisters in the Annals of Psychical Science and denounced him in an issue of the spiritualist magazine Light in 1911. Carrington (with whom Abbott had already shacorrect secret) responded in Light (May 13, 1911): “…Mr. David P. Abbott and

lly developed with chemicals. tter, the

e

to the house:

ou to have some friend go to the sisters and make rap is,

ment when a séance is going on.

gs as soon as they are at bay. It would certainly be a proof that your

ries,

senting the appearance of the paintings as a vaudeville act.

the Next State. In 1909 and

910, Moore had visited the mediums to contact his spirit guides Iola, Hypatia, and ad purchased several portraits.

ld m

ormance.

red the

151

myself worked together over this problem; but I was forced to stop at the timeowing to press of other matters, and Mr. Abbott continued his experiments alone. think I am safe in saying that he has now succeedSisters’ portraits exactly — and by trickery.” Admiral Moore responded in Light: “The Abbott-Marriott trick is well known iEngland. I have seen it often, and it surpasses in skill almost every conjuring trichave ever witnessed. When my friends ask me hc Moore also said that his friend Dr. Wilmar had taught him the secret of the paintings and claiming that Abbott was not the only discoverer of this method.“Tmethod is known to me, and was known to me before I met Dr. Wilmar. It was found out by an exhibition of my own models, and by one of ourmediums…about the time it was discovered by Mr. David Abbott. I respect Mr. Abbott. He candidly owns that all his theories about the Bangs Sisters’ pictures previous to 1909 were entirely erroneous. I ask myself this plain question: not this diligentreasonable distance. If he does sit with them, he will find his latest theory as rotteas his previous ones.” By this time, Marriott had licensed P. T. Selbit to perform the Spirit Paintings act and in 1911, Abbott saw his own solution being presented by Selbit, billed athe creation of Dr. Wilmar. The gentlemanly Abbott accepted Selbit’s explanagracefully. That year, while Abbott was still attempting to clarify the final details ofmystery, two books were published discussing the Bangs Sisters: Moore’s 642-page Glimpses of the Next State and James Coates’ book Photographing the Invisible:Practical Studies in Spirit Photography, Spirit Portraiture, and other Rare but Allied Arts, which devoted an entire chapter to the Bangs Sisters. Twthe puzzle that Abbott needed A few years later, Abbott completed his long essay on the Spirit Portraits, whiThe Open Court magazine published in April 1913. Later in 1913, Carus also released the article as a separate booklet, The Spirit Portrait Mystery: Its Final Solution. Popularity and Fade Selbit’s tour allowed many magicians to see the effect, and because its secret was not overly difficult to unravel when seen in person, a number of performers began to present their own versions. Vaudeville magician William J. Nixon performed his Spirit Paintings in his stage showsHenry Clive, who later became a renowned illustrator, toured with his rendition in the 1920s. Abbott’s hard-earned secret was soon common knowledge in the magic worlNixon published the technique in his 1916 booklet, The Spirit Paintings. Will Goldston exposed the secret inthe effect in his book The Life and Mysteries of the Celebrated Dr. Q in 1921. By the 1930s, Thayer’s Magic Company was selling a ready-made version in their catalogs. Nonetheless, this very visual effect is today rarely seen. Like many magic effects

, I

ed in duplicating the Bangs

n k I

ow the Bangs’ pictures appear to ome, I say, ‘Go and see Dr. Wilmar’s spirit paintings.’”

he

best trance

Why has conjurer been to sit with the Bangs Sisters? He lives within a

n

s tion

the

hese works, hich described the mediums’ séances in detail, may have supplied the pieces of

. ch

. An Australian painter named

d.

his Annual of Magic 1915-1916. Alexander included

,

152

the Spirit Paintings can today be all too easily explained away by audiences as tresult of electronics. As for the Bangs Sisters, by the time The Open Court published Abbott’s exposé, the mediums had largely dropped fromshowed May still living in Chicago but does not mention Lizzie. My research has so far revealed no further record of either sister. We do not know if Abbott’s revelations prevented the Bangs Sisters from duping more victims like A. W. Foreman, Charles Carson,At the very least, however, it seems likely that once the Spirit Portraits hit the vaudeville stage, it would have been more difficult for any mediums, even the experienced Bangs Sisters, to convince a customer that their paintings came fromthe hands of spirits and not from their own.

he

sight. The 1920 U.S. Census

or W. Usborne Moore.

153

Judson Cole's Long-Lost Comedy Act

utine with an American flag echoes in the ubiquitous Silk to Egg routine found in the standard repertoire of magic acts even today. His real name was Milton Greishaber and he lived from December 27, 1894 to October 2, 1943. The following record of his act is unsigned but we thank the unknown author for his diligence in preserving the words of this trendsetting performer! — Todd Karr Cole makes appearance in “one” in snappy suit. “It’s customary for all high-class magicians — for all high-class magicians — to roll up their sleeves before commencing their tricks, proving there is nothing concealed in the sleeves, such as elephants, cannon balls, and other objects. You can see there is nothing con¬cealed in my sleeves except my arms, and I’ve had them ever since I’ve been a little boy and would not like to part with them. Laughter — none whatever. “For my first experiment this evening, I will use this deck of cards, showing you a few passes in card manipulation. The waterfall (drops a few

cards, saying) — I always do that so you can see the spray. (Runs cards along left arm, tosses in air, and catches in right hand without dropping any, at same time saying) I could have done that the first time, but I would not have received so much applause.” Sometimes Cole varies first part of act, though using cards just the same, fakes five of them, vanishing by front-and-back palm, then producing one at a time. Also uses in either routine the reproduction of cards from fingertips, using the “snap” method sold by Gilbert. In addition, he also works one or two color-changes, finally doing the “Nonpariel” for a finish — this, too, as sold by Gilbert. “I wish to call your attention to the nature of the next experiment. First of all, I shall have a gentleman remove, secretly, a card from this deck. (Steps down in audience and addresses some gent as follows) Do you know anything about cards? No? Well, you are just the man I am looking for. Please remove a card and place it

By Todd Karr Judson Cole paved a comedy path for humorous magic acts with his wisecrackingstyle in top vaudeville houses, and his Kling-Klang ro

Judson Cole, a top comedy performer of the 1920s

154

in your inside coat pocket. Thanks, just hold onto it for good, for I will come back in a couple of hours. “I wish to call your attention to the next object used. It is the hand of an Egyptian princess who lived t t is supposed to have been taken from beneath the pyram xcuse me a moment, I will bring it out. (Leaves stage and finally comes back with Thayer board and rapping hand. All the time orchestra plays a slow, Oriental number.) This is the hand of the Egyptian princess, said to be 3000 ars old. The princess was supposed to have been a spiritualist, and the hand stil tance, it will answer questions by rapping “Before going any further, howeexam¬ination. Some say the hand iPersonally, I wouldn’t argue the mahand, so you can hold it as long as h the experiment — it simply acts as pass it out, too. Just pass it around customers. That’s enough — you’ll Say, don’t look at that hand all night. I l t was a different kind of hand — it w s) The Egyptian princess lived during t is impossible to know much about the antiphlogestine period unless you have studied monotony. “How, then, the hand will tell us . Keep your mind on your card, sir. Yyour mind, you’ll spoil the whole wthis week. Of course, the show hasncard? (Hand raps Yes.) Was the carbeen a Diamond. (Hand raps out nu a little applause. Thanks — that’s l “Some people say that I move tham coming down among you and thask it, after which I’ll sell the medi row — would you care to ask the hm “The young lady here — would

e floor. (Hand raps Yes.) The hand says that you will get your wish.

Hand says Yes.)

hree thousand years ago. Iids of Egypt. If you will e

yel retains some supernatural power. For ins. ver, I am going to pass the hand out for s petrified, while others say it is made of wood. tter. Just pass the hand around. It’s a lady’s

you wish. Now the board has nothing to do wita sounding board for the hand to rap on. I willand kill a couple of hours, also a couple of wear out the board. Pass it back, please. ooked at a hand last night and it cost me $1.60. Ias a poker hand. (Cole, holding the hand, say the antiphlogestine period. Of course, i

the name of the card selected by the gentlemanou see, the hand reads your mind, so if you lose orks. This is a good show we are having here ’t started yet. Was the gentleman’s card a red d a Heart? (Hand raps No.) Then it must have mber of pips on card.) The hand will now accept

ittle enough. e board, which causes the hand to rap. Now I e hand will answer any questions you care to

cine. This gentlemen here in the observ¬ationand a question? No? It looks like I will have to rry I woke you up, sir. n’t you like to ask a question? Sure! Well, just

make a wish and the hand will tell you whether or not you will get your wish. “This is crazy, but it’s a living. Are you concentrating? Now hold your right hand on this corner and your left hand on this corner. That prevents the board falling to thDoes that make you happy? I’m glad to hear that. “Ah, the gentleman here — just hold the board with me. (Cole picks out a couplesitting together but feeling sure that they are not together — this is a wow.) Is theyoung lady married? (Hand raps No.) Ah, that brings a broad smile to the gentleman’s face. Is the young man in love with the young lady? (Is the young lady in love with the young man? (Hand raps No.) That’s too bad. Well, if the young man tales the young lady out to dinner after the show, do youthink that the young lady could learn to love the young man? (Hand raps Yes.) Yes,that sometimes helps a lot. Has the young lady any more sweet¬hearts? (Hand starts

ake a house-to-house canvass. So

155

to rap.) Please keep track and see if the answer is correct. (Hand continues rapping until Cole takes it off stage. “Now, is there anyone else who would like the hand to answer any questions regarding oil stocks or other mysteries? The hand will be glad to misinform you. (Man — plant — in balcony says, “When will I get my watch back?” Hand raps Yes.) You will get your watch back — provided you haven’t lost the ticket. (Cole now turns board over and places hand on it in a standing position. Pretends to mesmerize hand.) Will some gentleman call out, aloud, the word GO? (Someone in audience says “Go.” Cole says “All rin wing end at once returns for final trick.) “This life is hard on us actors. I’m not exactly an actor, but I was on the stage once. I played in a show called Aladdin and His Wonderful Lamp. I was the wicwas a good part — I had to be all oiled up. “The next trick that I am about to present was invented by my friend Hook. Hook and I — were fast friends. First of all, I shall take this glass — better knoas a tumbler, although it never does any stunts. In the glass I place one day’s workfor a hen — an egg — cover it with this hanky and place it over on this one-night stand (hank pedestal). The reason I place it on this stand is for fear someone might accuse the glass of having no visible means of support. I got that joke out of the almanac. I think I had better put it back.

“The next important character in this experiment is the American flag. It is not good policy to use the flag on the stage because the folks think yoare trying to force applause. It is said that if onwill wave an American flag, it will SURELY bring applause. (Waves flag slowly but no applause is foalways! I now wave the flag gently up and dowuntil I get it into a small ball, give it a gentle squeeze, and in place of the flag, we have the egg, while in the glass is the flag, thereby causing much excitemequiet. “I am now going to explain just how theis done, after which I’ll sing “The Rosary.” Tbegin with, the egg is hollow. In the egg is flag that I vanished. There are two flags usedThey are not th

You see, you take the flag like this, working it into the hole in the egg until it is completely in. (While explaining and talking as above, his right hand goes into rigtrousers pocket several times to get audience accustomed to it, and on last palms out of this pocket the good egg. Left hand is holding hollow egg with exposed hole to front.) This is really a good trick — in fact, it is a 36 cent trick. How then, in order to prevent the audience from seeing the hole in the egg, you tuthe egg around until the hole is in the back, the celluloid from the front having the appearance of a genuine egg. Of course, if you should be accused of having a phony

board.) While the applause is going on, I shall return to the

ight” and he exits. Gets rid of hand and board

k. It

wn

u e

rthcoming.) But of course, not n

nt and loud cheers of

trick o

the .

e same, although they look alike.

ht time, he

rn

A sketch of Judson Cole during his flag to egg routine

156

egg, you can easily convince them that the egg is an honest-to-goodness hen’s egg. (During the patter and turning of hole in front to back, the right hand assists left inturningoff in right. He now picks up a little glass dish from table with right hand, at sametime getting rid of fake egg in black art well.) You now take the egg and pronounctwo magic words in Greek — burr toast — and there you are!” (Breaks egg in disand proves it genuine. Makes exit to much applause.) Sometimes Cole varies the finale by using the old pudding in the hat insteadthe egg trick as given above. In using this, he first borrows a “soft gentleman’s hat” and a lady’s hanky. He gets a boy and a girl to assist. When boy is introduced to girl, the boy is prompted to straighten his tieflustered. Hands egg to girl to examine. Prompts her to smell it (a laugh). Passes ito boy and prompts him to shake it and smell it. Takes it from boy and apparently hands it back to him but really palms it in riProduces egg from behind boy’s ear (a laugh). Sometimes he has boy search foregg. Boy can’t find it and finally Cole has him open his mouth. Palmed egg produced from his mouth — this is very good. Boy scratches head. Cole then placeslady’s hank in hat. Puts ingredients in pan and gets lots of laughs out of it. Lights lady’s hank(?) for oven to bake pudding, finally producing kitten. He then presents boy and girl with tickets for next show and excuses them.

the egg, but actually the good egg is left in right hand and fake egg palmed

e

h

of

, push back his hair and act a little t

ght. Boy reaches for egg — it is gone.

157

Is This Erdnase? By Todd Karr

Copyright 2006 Todd Karr The man I am about to describe may be S. W. Erdnase, the mysterious author of the classic 1902 card work The Expert at the Card Table. But his story lacks many pieces of the puzzle and I am releasing this information now in the hope that readers may be able to perform the necessary detective work to either confirm this man’s

authorship or disprove it as yet another false lead. I have been chasing Erdnase since I was a teenager. I’ve read the findings and theories of detectives like Martin Gardner, Richard Hatch, and others, and in sorting through the available information, it’s clear that any theorizing about the identity of a shadowy figure like Erdnase must rely on solid facts and common sense. His story is so intoxicatingly romantic that a number of writers (see Bart Whaley, The Man Who Was Erdnase) have succumbed to the temptation to follow

158

flimsy trails, offer wild speculation in the absence of evidence, and attempt to make the facts fit into unlikely theories. This is just plain sloppy journalism and historical research, and the man who wrote The Expert at the Card Table will never be found if we don’t stick to the facts. The truth is that we may never fully determine the author’s identity. He published the book under a pseudonym and any possible witnesses have long been dead, and unless we find evidence of someone involved in magic, gambling, or card work, we may be condemned to making educated guesses. The Basic Evidence The most solid evidence we have are the book itself and the 1940s recollections of its illustrator, artist Marshall D. Smith. These two sources offer us the following basic possibilities: 1. The author may have been named E. S. Andrews, reversing his name to spell “S. W. Erdnase.” 2. Based on the level of subtlety in his explanations, the author seems to have been highly skilled in psychology, deception, and of course gambling. 3. The author had some connection with Chicago, where the book was printed and published, and would most likely have been in the Midwest at the time of the book’s publication in 1902. 4. Erdnase had knowledge of the law or access to legal advice, judging from the elaborate copyright notices throughout the book. 5. The author may be characterized as intelligent (the prose is direct and perceptive), ambitious(he misses very few n have hand-corrected, or asked so gs to improve their accuracy). Erdnase also seems to have lacked pity for the victims of con games (as

in need ints out at the end of his introduction. As mentioned above, ith’s illustrations seem to have been crudely altered perhaps that Erdnase did not have sufficient funds to commission professional corrections. 7. Smith described Erdnase as well-spoken anwith a pleasant, smooth tone. 8. Erdnase met Smith in a hotelSmith recalled. 9. Smith also said that Erdnase Dalrymple. I will also add two other interes

(based on the scale of the book), and meticulous about detail uances in his explanations and appears to meone to correct, many of Smith’s drawin

we read in his book). 6. Erdnase also seems to have been of money at times, as he po

Marshall Smby an amateur, an indication

d gentlemanly, short of stature,

room and paid for his artwork with a check, as

had mentioned a family connection to artist Louis

ting elements, though these statements have not been authenticated in any way: 10. In the 1950s, magician Hugh Johnston told Jay Marshall that he had once played the Empress Theatre in Denver, Colorado, and that after one show, fellow performer Del Adelphia brought a man backstage and introduced him to Johnston as Erdnase. 11. Magician James Harto, based in Indiana, claimed to have been friends with Erdnase and to possess letters he received from Erdnase.

159

I believe that any candidate for being Erdnase should correspond as closely as possible to the above elements. The man I have recently focused on matches many of these criteria. My training aso I very cautiously present the following facts as possibilities only. Howevhave shared these findings with a number of current Erdnase scholars, and they agree that this candidate is exceptionally strong. K On November 23, 1Table, the Fort Wayne News reported on a scam perpetrated in Kokomo by “A stranger giving his name as E. S. Andrews of the Brandon Commercial CompanyChicago.” The newss Andrews had come to Kokomo three weeks prior and convinced the businessmen and dAndrews a “membership fee” of $15 (or about $900 total). The newspaper reportethat “Before leaving, Andrews collected several accounts from debtors, he took with him, the merchants or physicians receiving nothing.” We thus have a candidate whose name is a precise reversal of the pseudonym SW. Erdnase, a con man basedbusinessmen and doctors, and someone who appears to have had over $900 in his pocket just before The Expert at the Card Table w Dubuque, 1902-1903 Late the following year, we find E. S. Andrews in Dubuque, Iowa. In Dethe Dubuque Telegraph-Journal announced the new local address of the Charles Brandon Commercial company at the Bank and Insurance Building, noting that "Mr. E. S. Andrews is A month later, Andrews had fled town with over $1500 in $25 membership fees and collected debts. As the Davenport Republican reported on January 31, 1903, the swindled subscribers were reluctant to admit they had been conned.

lot of suckers and should not have let Andrews g

contract he made with me, and I understand that

percent on all collections made on current

s a journalist has conditioned me to be skeptical, and er, I

okomo, 1901 901, shortly before the publication of The Expert at the Card

, report stated that the con man had a clever collections-agency

cheme that succeeded in bilking forty local merchants and physicians.

octors to hire him to collect their debts. Each participant paid d

all of which

. in Chicago who was clever enough to swindle

as published.

cember,

in charge."

One of the professionals stated:"We were all a o

as long as we did. He did not live up to the

he did not live up to the contract he made with others. I was to pay him a commission of five

business, and he was to get 10 to 25 percent on all debts that he collected. I gave him my note, and

so did other members, while others paid down

160

th "I estimate from the number of subscribers he had to the 'Charles Brandon Commercial Agency' that he must have got out of town with from $1500 to $1800. He would have no trouble in negotiating the notes. "His subscribers included lawyers, doctors, and businessmen. He was to makereports of collections every twenty-fours hours and remit a check for the amountcollected, after the commission was deducted, buts Incredibly, thcharges by threatening the witnesses (probably with a countersuit), but also managed to have his accuser held responsible for the costs of his arrest. As the swindled businessman explained: "One of the subscribers had Andrews arrested angot the worst of it, because two or three others were afraid of the bluff made by Andrews. The subscriber paid the costs, amounting to $2.50." Fort Wayne and Oshkosh, 1904 E. S. Andrews appeared again in Wisconsin in 1904 pursuing the same scam, only this time the law caught up with him. Andrews had set up another collections scheme as the Charles Brandon Company, in association with a locFinch and McPhall in the Pixley-Long block in Fort Wayne. Andrews again skippedtown with membership fees and debt sums, returning to Indiana, the scene of 1901 swindle.

Oshkosh Sheriff M. K. Rou

association with a law firm. The firm protested his extradition and the Wisconsin lawman was forced to get permission from Indiana’s governbefore being him back to Wisconsin for trial.

warrant from Justice Skelton and was held

eir $25 fee.

he forgot to make the report and end me the check."

e article continues, Andrews was arrested but not only avoided

d

al law firm,

his

nds (the Fort Wayne press gave his name as "J. M. Rounds") was sent to arrest Andrews, who was working in

or allowed to arrest Andrews and bring

Andrews was arrested on July 7, 1904 on a

161

awaiting the arrival o Four days later, Andrews left Fort Wayne at noon in the custody of Sheriff Rounds. The Fort Wayne Evening Sentinel reported that Andrews had not only embezzled money, he had also used his notices of coof diamonds and other articles." The newspaper noted that "Judge O'Rourke was called upon to remand him into the custody of the Wisconsin sheriff on a requisitihonored Saturday by Governor Durbin." We have the extreinterviewed Andrews in his jail cell in Wisconsin and quoted him at length in anarticle in the newspaper on July 12, 1904: “Mr. Andrews was seen by a Northwestern reporter this morning while in jail. He is a bright-looking young man whose appearance is that of a shrewd and honbusinessman. He said he did not care to talk for publication, buq

‘This is the first time I have ever been arrested. The jail here is a palace compared to that in Fort Wayne. That is a bad place to be i ‘I did not read the complaint against me and do not know exactly the technical charge agains

technically, I have not ascertained. ‘I believe in being philosophical, however, and while I should not be pleased to stay here long, I can stand it for a time if I can have plentyof reading matter and plenty of fresh air. ‘I shall have good legal counsel, but I do not think I will need it. I have nothing to fear and believe I could go into court repreand convince the court that the law is on my sid

f the Wisconsin sheriff.

llection to purchase "a number

on

me good fortune that a Daily Northwestern reporter

est t in answer to

uestions and in the ordinary conversation, he did say to the reporter:

n.

t me. In a general way, I know what it is, but I say

senting myself e.

y own name d after leaving here,

ay, to the ing

idea I was

d in a ould have been found

by letter at Fort Wayne without the sheriff coming after me.

‘So far as my not going under min Fort Wayne is concernethat will have no effect in the case. It moutsider, give rise to the opinion that I was tryto hide, but while that is true, I had nowanted here on a criminal charge. ‘What I did here was business anbusiness-like way, and I c

162

treated me very nicely indeed, and while I shall be glad to leave him and his custody, “Sheriff Rounds is loud in his praises of the assistance rendered him by Superintendent of Police Henry Gorseline at Fort Wayne, and the latter held onto the prisoner in the face of all the efforts made by lawyers to free him.” A number of characteristics of Andrewlist: clever, intelligent, deceptive, well-spoken, a reader, knowledgeable ablaw, and described as bright-looking young man. In addition, he was living in Indiana, which would support Indiana residE

He also apparently used a fictitious name, although the seemingly media-savvy Andrews took pains to deny this in a note published tnext day in the Daily Northwestern: “Iinwith me that I was known while in Fort Waunder an assumed name. I was known there as ES. Andrews, representing the Charles Brandon

Commercial Company: This is the same as I usedYours truly, E.

On August 8,

Oshkosh embezzlement. filed by fur had been bilked already been of a prosecutionMcPhall, one of the scheme. Northwestern intdefense attdu Lac,

I shall remember the kindnesses he has shown me.’

s seem to closely match our Erdnase fact out the

ent James Harto’s story of knowing rdnase.

he t was

correctly stated in your account of an interview yne

.

represented here, and I never any other name and do not intend to. S. Andrews.” The Oshkosh Trial 1904, the Daily Northwestern reported, Andrews was charged in Municipal Court with The original charge had been merchant E. F. Steude, who of $108. The hearing had postponed due to the absence witness, attorney A. C. Andrews’ legal associates in The following day, a Daily article announced that after ense arguments by Andrews’ orneys — Maurice McKenna of Fond Wisconsin, and E. P. Finch of Oshkosh — the judge had found adequate cause for Andrews to stand trial on embezzlement charges. This news report states that Andrews took many precautions to be able to legally justify his financial shenanigans. Andrews had clients sign contracts with a fine-print clause

is my name and the company

163

authorizing him to make deductions from monies collected. Hmake out their checks to his partner, who then paid Andrews (who, we will note, deposited them in a bank - remember, Erdnase paid Smith with a bank check); icfull amount of the money collected. Here again, we note Andrews’ shrewdn Finally, in a footnote of possible support for the Hugh Johnston story, the articlalso specifies that Andrews had incorporated the Charles Brandon Collec Bail was set at $2000 and promptly posted by his legal team. Further procedural challenges from Andrews’ attorneys delayed the trial until matters were cleared up sufficiently on August 17, when municipal court Commissioner W. W. Waterhouse concluded Andrews must stand trial.

red in munasha. The trial was adjourned until August 27.or postponed, since it was not until September 2ilty of embezzlement, though for a reduced sumilwaukee, and the jury took only a half hour

thwestern reported on September 29: “The jury, s, found that Andrews was working what is hat he willfully retained the amount charged ffense is from six months to one year te prison.” All the above information is from the

les. The court sentenced Andrews t Wayne Sentinelstated on October 14, 1904, An s in custody, andthe judge noted th

Chicago, 1907 Tribune

again set up a in connectio

e also had clients

n ourt, Andrews claimed innocence by stating the attorney had never paid him the

ess. e

ctions ompany in Colorado and was its manager.

On August 23, Andrews appea icipal court, this time represented by n

The trial was either prolonged 8 that Andrews was finally found gu of $37.50. The trial took place in M to reach their decision, the Daily Norin view of the whole circumstancepopularly known as a ‘graft’ and tagainst him. The penalty for the oimprisonment in county jail or stDaily Northwestern, which covered the trial with regular news artic

to eight months in jail. As the Fordrews had already spent four month

is in his sentencing.

On July 14, 1907, the Chicagoreported that E. S. Andrews had collection-agency scam, this time n

a

attorney Henry Fitzgibbon of Me

164

with attorney W. V. Tyler as the Tyler Company. The duo received dues of betwee$40 and $50 from over 62 merchants before collecting debts and pocketing the funds. Tyler was arrested for obtaining goods under false pretenses and embezzlement. However, the newspaper stated, “Andrews has disappeared.” Denver, 1911 The last possible trace I've found of Andrews is a Denver listing in 1911 for a "Brandon Commercial Club" in the Colorado State Business Directory. Was this the same phony collections agency Andrews hadaround the Midwest? Remember that magician Hugh Johnston hamet Erdnase in Denver. Continuing the Search Here the documentation ends. I requested any existing municipal court records from Andrews’ Oshkosh case and received copies of two large docket sheets that basically recited the facts I have already given in the news reports above. Unfortunately, they contain no further information on Andrews, not even a first or middle name, just “E. S.” But many potentially fruitful avenues researched. I am

, and police records in Kokomo and Fort Wayne

ss, and police rerandon Commercial Company and relating to hisers and police officials connected with the

nd police records connected to Andrews’ Tyleof his partner Tyler, and Andrews’ departure from

s, and police records that might shed light on

n

set up over the previous decade d claimed to have

hereby calling on any interested magic scholars to investigate the following areas and see what they might discover: Indiana: Newspapers, businessrelated to Andrews’ 1901 scam and his later 1904 extradition process and arrest (the governor’s office may also have records relating to the grant of extradition). Wisconsin: Newspaper, busine cords in Oshkosh detailing Andrews’ swindle as the Charles B 1904 trial. The records of the lawy trial may also be helpful. Illinois: Newspaper, business, a r Agency activities, the 1907 arrest Chicago. Colorado: Newspaper, busines

main to be

165

Andrews’ claim that the Charlth I hope any interested parties will kknow if I can be of any further assistance. This may be our man. I hope we can findout for certain. Todd Karr

es Brandon Commercial Company was incorporated ere.

eep me updated of their progress and let me

166

Psychopathic Suite for Piano and Triangle

By Todd Karr arlight by Levent and Todd Karr.

On a cold day, January 17, 1914, the man we now know as Roy Benson made his debut in Paris. His mother, dancer Dora Ford, had been on the road touring European music halls with her sister Mabel and living on Rue Buffault in the working-class Belleville district of the French capital during the last days of her pregnancy. Since her teenage years in the 1890s, Dora had danced onstage in a duo with her younger sister Mabel, and later with his brothers Max and Edwin in their acclaimed song-and-dance quartet, the Four Fords. But since 1905 she had been in love with Eddie Emerson, a comedic juggler and magician who romanced the popular dancer with occasional trysts and frequent letters, phone calls, and telegrams. Now they

were in Europe together welcoming their new son. Eddie Emerson Edward William McQuaid was born around 1883 and began using the stage name of Eddie Emerson as early as 1903. He was about thirty when he married Dora Ford on March 31, 1913 in a rushed ceremony in Hollidaysburg, Pennsylvania, squeezed between Emerson’s multiple performances at the Le Roy Orpheum. A local newspaper reported the next day: The marriage was to have been pulled off on the quiet, but the artist who can handle a dozen things at once on the stage had to call on Ed Keane, proprietor of the Le The assistance of Mr. Keane was valuable. He hustled to Hollidaysburg and had the license filled out before the cou Mamma Ford raised strenuous obj arrangement, but the near-groom, whose face still s ork used in the Orpheum act, unceremoniously hustled hter into the taxi cab, and

f

An excerpt from Roy Benson by St

Roy Benson in the 1930s

Roy, for assistance and it leaked out. At 4:55 Miss Ford, in company with her mother, arrived here from Pittsburgh. office of the prothonotory at Hollidaysburg closes at five o’clock, but here the

ple arrived there. ections to such a hurried

howed some of the black cher and her charming daug

after a fifteen-minute run, they arrived at Hollidaysburg, had the license, and were on their way to the home of the Reverend Boggs, the “marrying parson” o

167

Hollidaysburg. Without any frills, they were jowhere a wedding dinner was servedpresence wasn’t of monumental im to the theater to do his stunts, and hback of the stage and beamed at he

mighty poor juggler last evening, b hen he declared that he would have his nerve back in time for the shows today.

ve

his

more tour dates. The infant was often left in the care of Dora’s mother in the Bensonhurst area of Brooklyn when the dancer

arents on

o forget our uarrel and start again. Am working in Brooklyn and also feeling lots better now.

ic and juggling, a partnership that lasted

exterity,” and “Baron Emerson

f a 1912 run at the Tivoli Theatre in Melbourne, Australia, Charles nt ce

ct lant. A large plant of the sunflower

of

ined in wedlock and returned to the Le Roy, . After dinner, Mamma Ford, seeing that her portance, returned to Pittsburgh, the groom wentis bride of an hour perched herself on a trunk r “hubby.” whose real name is Eddie McQuaid, was a ut the management excused his fumbling w

Slightly more than nine months later, Dora gabirth to their son. His lengthy name was recorded a few days later at the Courbevoie city hall: Edward Ford Emerson McQuaid. The family paused for a photo in Birmingham, England with baby Edward infather’s arms before returning to America around July and

was performing around the country. The marriage of Dora and Eddie Emersonmust have been difficult with both pthe road. Until the end of her life, Dora

preserved a 1918 telegram from Emerson: “Darling Dora…glad tqGlad baby is well. Lovingly, Eddie.” As early as 1907, Emerson had been touring vaudeville houses with partner Jerry Baldwin in an act of burlesque magover 25 years. In The Sphinx in 1919, Dorny called them “one of the finest non-exposé comedy magic acts.” Their humorous slogans included “Emerson and Baldwin: Vaudeville with a Vengeance,” “Interestingly Idiotic,” “Grotesque Dand Count Baldwin: The No-Ability of Vaudeville,” but the self-deprecating billings were deceiving. They came onstage like comedians and played for broad laughs but also presented skillful magic and club juggling. Years later, Roy would brilliantly mirror this tactic, opening with gags and ending up a master magician in the eyes of his audience. In a review oWaller reports in Magical Nights at the Theatre (1977): “Into their act of excellejuggling, they introduced several conjuring tricks. A plate shattered in consequenof a juggling disaster, was crammed into a blunderbuss, and fired into the heart of a picture frame; there, it appeared intact. They also showed the running comedy effeknown at that time as the Australian Wonder Pvariety grew with each successive watering until finally it reached proportions Jack’s fabled beanstalk.”

If truth must be told, Emerson,

Roy Benson as a baby with his parents, Dora Ford and Eddie Emerson

168

A 1915 review mentioned that Emerson performed in blackface (although this tactic was

far,

n’s ingly

sequence performed card effects. Awith the pasteboards attracted manyreview said, “Jerry is one clever bo n the b e of

in must Edward McQuaid, soon to be Roy B

d; her new husband, Gustav Schirmer, was the

efty

Emerson remarried around 1927 and

eventually dropped) and took slapstick blows to his head. Their skill and humor took themand in 1920, they played the big-time Palace (as Roy Benson also did years later). FelsmaMagical Review called the act “screamfunny.” Emerson’s partner, Jerry Baldwin, was apparently an ace manipulator, and in one s Billboard noted in 1925, “Baldwin’s work of the local magis to the theater.” A Sphinx

y with the pasteboards. One time, whe their regular number he presented a fifteen-have made at least a small impression on young

enson. Changes

The challenging show-business marriage between Dora and Eddie did not last and the couple was divorced. By 1921, Dora remarrie

wealthy head of G. Schirmer, the sheet-musicpublishing giant. This marriage was also short-lived, lasting until 1929. Dora received a h$150,000 settlement from Schirmer, who later good-naturedly wrote to his ex-wife: “It was indeed an expensive marriage.”

continued touring with Baldwin. In 1932, he appeared with his second wife as “Baron and Baronness Emerson” but also continued

aggage failed to arrive, in placinute card act….” Baldwm

performing with his longtime partner Baldwin aslate as 1935. As movies gained prominence, Emerson played smaller and smaller venues. In 1933, he

Ange

was living at the Continental Hotel in Los

les, a favorite of show-business acts, and recalled to the Los Angeles Times how vaudeville performers initially of them out of their careers. He recounbungalow and mocking his early mthe head of Columbia Pictures and Emerson died in Hollywood in newspaper. The show-business worperformer, who had given the worl fe Dora died in 1978 at age 92.

disdained movies, which soon swept manyted visiting his friend Harry Cohn in his little

ovie productions. Cohn was soon the mogul at Emerson was working small-time clubs. 1969, with no notice in Variety or any major ld seemed to have forgotten this clever

d one of its greatest magicians. His former wi

Eddie Emerson and Jerry Baldwin

Eddie Emerson in costume

169

The Young Magician Little Edward Ford Emerson McQuaid, the future Roy Benson, grew up surrounded by show business. Decades later, when he created magic effects for the musical Carnival!, the program noted: “For generations on both sides, all the members of Roy Benson’s family have been of the theater: actors, comedians, dancers, and, if you go back far enough, a proprietor of a circus. He is the first mmagic has

n we

ember of the family to become a magician and he doesn’t know why except that always been fascinating to him.”

o found during our research, we were lucky enough to uncover one in which Be career in the early 1920s:

lic

, to all

d interest; it became an almost

r ct,

f

of ten.

y at no

Around 1924, at age ten, young Edward added a set of one-inch billiard balls to cinated, he practiced constantly with the tiny props until a

d shell,

at er

l ho sold Benson his first proper set of

Among the audiotapes of Bensnson describes the beginnings of his magic

My interest in magic was first aroused during my early grammar-school days. I would put myself at approximately the age of seven. I wasgiven a box of tricks, which utterly fascinated me, and I remember it as well as if I had just received it yesterday. My interests were further increased bywatching a magician perform in the local pubschool, and at the time the magician performedto me at least, he seemed to be all things men. As soon as I saw these tricks, it was more than an arousetotal obsession. There were times when I thought of nothing but tricks. I visited magic shops, pored ovemagic catalogs, read a few books on the subjeand by the age of ten I had acquired a number otricks, some of which were of professional quality, and was actually performing tricks for fellow students in grade school at the age

During those early years, I would perform magic without much persuasion. I would perform before the Boy Scouts, the Fourth of July celebration, usuallfee, but whenever there was the least possibility of performing magic. his horde of effects. Fasdisapproving schoolteacher confiscated them. “I managed to palm the ball anbut she got away with the remaining two,” Benson recalled years later, adding with cutting wit: “It was probably the first time in her life that she had ever been thclose to two such objects. She refused to give them back to me, which was furthproof of my Freudian suspicions, so I decided to buy a new set.” The youngster visited Bob Sherman’s magic shop in New York’s Grand CentraStation. He recounted his story to Sherman, w1¾-inch billiard balls at the bargain price of 75 cents. Sherman instructed Benson ina few moves, which the boy diligently rehearsed, even at the cinema.

Roy Benson as a young man at military school

170

Soon afterward, Bensonto

witnessed his first real billiard game when his uncle ok him to a pool room. Struck by the impressive look of the balls, Benson decided

to move up to two-inch billiard balls, forcing him to alter his sleights and in the process finding more effective mov By this time, Edward’s parents d was sent to military school, but hishis first real stage performance in ttheatrical group in Forest Hills, Ne : It was the first time I appeared spotlight on me. I worked in one angrammar-school days. I would exacthink it would be best to describe it I had, however, one saving gracyouth for such indiscretions, which ch of tricks and learn how to do them, and follow a patter book and use (jokes) line-for-line right out of the book, you, mediocrity which I enjoyed for man

nbecause they would frequently alloDuring this period, I emulated the g

ed

ther went to see Leipzig’s opening show in Los Angeles,

d

’s son became

ut seventeen…during that period I

nd Benson perfected them.”

es. had divorced and Dora had remarried. Edwar passion for magic nonetheless grew and led to he annual show of the Garden Players, a local w York. As he later recalled in one of his tapes

before a really large audience with a real d did the same act, slightly improved, from my tly describe it as a completely rotten act, but I as a reasonably mediocre performance. e — my youth — and audiences will forgive only goes to prove one thing: If you get a bun

too, can enjoy that complacent state of y a year to come.

ce a year, but I didn’t have to wait a year w me to perform at the monthly meetings. reats, the near-greats, and the not-so-greats.

Nate Leipzig and Eddie Emerson had performon the same bill in 1918 and remained friends. When Benson was 14 in 1925, his fa

accompanied by his partner Jerry Baldwin, magician Werner “Dorny” Dornfield, and vaudevillian Joe Keaton, film star Buster’s father. When Leipzig called for a committee of volunteers, the quartet of entertainers arose anstrode onstage. A few years later, Emersonone of the few lucky pupils of the gentlemanly sleight-of-hand master. As Roy Benson recalled: Because of the fact that I came from a theatrical family, I got the break of a lifetime.

Through them, I met the great Nate Leipzig. The first time I met him was at Beechhurst, Long Island. At the time, I was abowould see Nate as often as three or four times a week, and frequently we would spend the weekend together. As one newspaper reported a few years later, “Leipzig suggested certain tricks a

Of course, the big show was o

Benson's teacher, the great Nate Leipzig

171

Roy Benson Begins By 1932, eighteen-year-old Edward McQuaid had decided he needed a catchierbilling and had begun performing under the stage name Roy Benson. Althougnever recorded the origins of his assumed name, Benson may have been influenceby a pianist for the Ford show named Roy Barton, and Charles Reynolds has told us that “Benson” came from the Bensonhurst section of Brooklyn where the former Edward McQuaid grew up.

The newly dubbed Roy Benson started wohis way up the show business ladder. In anaudiotape, he later remembered:

I c

h he

d

rking

ontinued my early career by playing what

acts

f-hand, and he began

anishing Birdcage — into a commercial act. But he had also learned the value of comedy from his father, Eddie Emerson. As h n g had great charm onstage.

n his

Vanishing Birdcage — with his version of Frank

ay’s slightly sarcastic style. Like many New York magicians, Benson was inspired

The mix of skill, magic, and comedy became Benson’s angle and set him apart s Sphinx editor John Mulholland concisely described it later,

might best be considered the middle ground of the entertainment world. By that I mean small nightclubs where the fees are usually low, and small theaters where the format of the bill consisted of a feature picture and about five of vaudeville. Benson was slowly developing his style. Histeacher Nate Leipzig had inspired him to learn flawless sleight-ocombining his manipulative effects with his collection of apparatus magic — including the Chinese Sticks and the V

radually found that his sly sense of humor

The wry, urbane delivery of comedian Frank Fay had a major influence ostyle, too. Fay had inspired another of Leipzig’s students, Fred Keating, who since 1929 had been making a name around New York by combining magic — such ashis featured effect, De Kolta’sFby Keating’s persona and created his own form of the quick-witted-yet-elegant approach. from his colleagues. ABenson had “discovered his real forte in the art, which is the presentation of adept manipulation to the accompaniment of clever, very humorous patter.”

e developed his persona, Benso

A teenage Roy Benson in an early publicity photo

172

In September 1932, Benson was featured in his first large-scale show, a showcase for youngperformers called Belmont VarietiBpolish, however, reviewers quickly pointed out how much Benson’s witty style reminded them of Fred Keating, especially since Benson was performing the Vanishing Birdcage in his act. On September 29, 1932, the New York Timgave Benson a less-than-flattering review: “A magician by thutricks but also Mr. Keating’s patter. He does the tricks well enough, but his attempts at bland comedy are, to put it mildly, terrible.” In The Sphinx, Bernard Ernst agreed whehe mentioned “…a young performer, Ray (sic) Benson by name, who unfortu-nately used many

of Fred Keating’s effec But Roy Benson worked hard on his act and a few weeks later, featured in Manhattan Varieties at the Cosmopolitan Theatre, the New York Times gave him abegrudgingly higher grimitates Fred Keating, and this time gets away with it a shade better.” In the summer of the next year, in July 1933, Benson traveled to London and performed at the Leicester Square Theatre in a show called Dark Doings, a mostlyblack revue now remembered for introducing the classic Harold Arlen song “Stormy Weather.” The British press gave Benson a positive review: “Roy Benson, hailing from America, scored with nonchalant conjuring and neat billiard-ball manipulatio After one show, the great English magician Arnold De Biere came backstage and complimented Benson’s ball routine. Benson later said in one of his tapes, “It was an honor that I shall always cherish. It felt like a burst of applause, coming from a master manipulator whose skill, especially with the billiards, waover t

es at the

elmont Theatre in New York City. Despite his

es

e name of Roy Benson nabashedly borrows not only Fred Keating’s

n

ts and some of his patter.”

ade: “The young magician by the name of Roy Benson again

n.”

s famous all he world.”

Fred Keating, pioneer comedy magician and film actor

173

With such encouragement, the thin, young magician steadily grew more polished. Over tnext few years, he worked around New York and neighboring states in nightclubs as both a magician and emcee, evidence of his blossoming stage presence. By February 1935, Frank Lane wrote in The Linking Ring: “This Roy Benson, who everyone is talking about, is clever talker and does an interesting act.” In May that year, he played the Cocoanut Grove Roof Garden at New York’s ParHotel as both performer and master of ceremonies and earned a pleasant mention in the New York Times as “a personable young magician known as Roy Benson.” But after a few years, his career was not advancing beyond these club engagements. As inking Ring, Benson “was around in New York

City doing well with his magic and emcee and alwaspots, but somehow he just could not make them.” Benson in the Movies Roy Benson’s creativity had expanded into other disciplines. He plstudied acting, and became fascinated with photography, taking artistically stylishstill lifes and portraits. After purchasing a basic movie camera, he began to explore the world of cinematography. In 1935, Benson’s mother, Dora Ford, was visiting Hollywood and suggested that Roy might find work there as a cameraman. When Benson arrived in California, he apextra for an advertising film. The movie world ignored Benson. He managed to perform his magic act at the Ambassador Hotel, but after two months of waiting for any kind of film-related jhe returned to New York for a nightclub engagement at the Riviera. Two weeks laHolly

he

a

k Central

Max Holden later recalled in The Lys wanted to play one of the top

ayed piano,

plied for a job behind the camera but also shot a screen test as an

ob,

ter, his mother gleefully came to the theater with a telegram from wood. As Max Holden reported the story in The Linking Ring:

The test that he made was really for an advertising picture, but it just happened that when the test was being shown, a picture scout was there and he immediately saw (such) possibilities in the appearance of Roy Benson that he bought out the rights from the advertising picture to put him as a feature player in moving pictures, and no doubt Roy won’t want a job as a cameraman after all. Several years prior, Fred Keating had begun his own Hollywood career, co-starring in several minor movies. His sarcasm made him perfect for humorous roles, and he often performed magic as an added touch. Columbia Studios apparently saw equal potential in Roy Benson.

A 1930s portrait of Roy Benson

174

Benson’s first movie role was the comic-relwise guy in The Lady Objects, a dramatic musical produced by Columbia, eventually released in 1938, starring Gloria Stuart in the then-novel role of a female attorney. As George Martin, a bandleader and amateumagician, Benson was charming and believablin moments of both drama and comedy. His film career appeared to be off to a promising de The role also gave Benson the chance to perform some of his magic onscreen. His two magic sequences are humorous and a gocontrast to the film’s music and dramatic plot. In one scene in a nightclub, he takes a break

another scene, he performs a few billiard-ballll, as well as his complete Hugard Newspaper

Tear, the only record of his routine for this effect. While he awaited the film’s eventual release in 1938, Benson kept busy with nightclub and revue shows, notably a brief stay on BroadwaT His press reviews kereported: “Laughing at himself all through his magic stunts, Roy Benson has a slickline of talk as well as of sleight-of-hand. His tricks aren’t new, but his humor is, andhis manipulation of props is especially smooth.” Benson’s movie career did nwas again seen on screen. His increasing dependence on alcohol may have been a factor, and his failure to succeed in the film industry undoubtedly worsenesituation. Whatever the case, he conIn 1939, he emceed for Benny Goodman’s appearance at the Victor Hugo in Los Angeles. As World War II neared its end, Benson went on tour in 1944 to popening of the film Wilson with other movie actors, including Carmen Miranda andRoddy McDowell. But he remained in the shadows until 1944, when hsproduced by Fox. In this vehicle for popular bandleader Benny Goodman, Benson plays saxophonist Skeets McCormick. Benson mimes playing the sax perfectly andhas a number of funny lines. At one point, the female lead rolls her eyes after a Benson wisecrack and sighs, “Oh, you and that off-beat comedy!” On the heels of this performance, the magic press announcfichanged. But when the film was released in 1945, Benson’s role turned out to besingle scene at the end of the movie, and he wasn’t even billed in the credits. At the climax of Diamond Horseshoe, Benson’s character is backstage when he is recruited to pretend to be gravsucce

ief

r e

but.

od

from conducting the band to perform the Chinese Sticks, allowing us to see the original t utine. In manipulations, including his ball ro

y at the Vanderbilt heatre in New Faces of 1936, starring comedienne Imogene Coca.

pt getting stronger. A Los Angeles Times article in 1938

ot advance. In fact, it would be six years until he

d the

tinued performing in nightclubs around the country.

romote the

e had a econdary role, again as smart-aleck comic relief, in Sweet and Low-Down,

ed that Benson was lming an M-G-M musical, Diamond Horseshoe. It looked like his luck had

a

ely ill in a ploy to save the show. After the ruse eds, he reveals that his supposed rescuers have stretched him out on a pile of

tacks, which protrude painfully from his posterior. The scene was an

wo-stick version of his ro

Benson and Lanny Ross in "The Lady Objects"

175

undistinguished end to a promising Master of the Stage

rise in the

n

f operator took Roy upstairs to see

ght man

der of his stay did his billiard-ball

n to olls whenever Roy made a ball appear or vanish.

t. Somehow it got garbled in the translation. The drummer continued to y

ere he

—

an

d-

ts the

career.

Roy Benson nonetheless continued to world of live stage shows. He performed in bigger and classier venues around the country, including the Latin Quarter in New York, the Empire Room in Chicago, the Casino Nationalein Havana, and the Golden Gate Theatre in SaFrancisco. These nightclub years brought Benson experience and many adventures. Benson’s friend Bruce Elliott recalled two outstanding incidents: Roy was working in a gambling hall out west for two or three weeks and in due course o

time became friendly with the light operator. Said his lights. Roy saw the spotlight, which was, as is usual, mounted on a universal joint. The only unusual thing was that directly below the spot was a chopper — machine gun, that is. When Roy quaveringly asked how come, the liproudly pointed out the advantage if a gunman was to hold up the joint. All that would be needful would be to center said bad boy in the spotlight — and pull the trigger. Roy went back downstairs and for the remainroll knowing that he was in the sights of a machine gun Or the time Roy was working in Havana and a drummer in a rumba band became intrigued with the American magician, became so intrigued that he begagive drum r This, of course, is a kind of corn that went out with George M. Cohan and the flag-waving finale, so Roy asked through an interpreter if the drummer would mind not doing imake with the sound effects as Roy did his vanishes and reproductions. Roy finallgave in to the inevitable and figured there was no way to stop all this. Then it got worse. The drummer, being behind Roy, began to get hip to whRoy was making the steals from — so the drum roll would sound off at just tpoint where Roy wanted no suspicion aroused. Very salutary, Roy says it was. Says he doped out more new ball sleights on that engagement — trying to fool the drummer so as to avoid the giveaway drum rollthan on any other occasion. Benson was rapidly gaining a reputation as one of the greats in the art andintimate of experts like Cardini and Vernon. Ted Annemann, an enthusiastic fan, wrote in a Jinx review of one 1941 show: Streamlined, ultra-sophisticated comedy magic. If you are a straight-faced, olhat hocus-pocus man, don’t — if you value your life — ever follow Roy on. You’llget laughs in all the wrong places. His incisive burlesque neatly extrac

Roy Benson, master of the billiards

176

excelsior from all the stuffed-shirt magicianaBenson works on the rintelli

s you ever saw and leaves them as limp s so many discarded egg bags. He leaves his audience limp, too — with laughter.

ption that present-day audiences are halfway gent. Some of you boys had better pick up the cue, because it begins to look

as if maybe he’s right! This audien

at

ul en.”

o. As Mike Kanter ported in The Linking Ring in 1942, “Roy

y ngratiating young scamp as Roy Benson, magico at the Troika. His tricks

ying piano. In a few

o trace of it having

away and

and composing ability. Quite a kid at the 88 is Roy. e particularly like his ‘Psychopathic Suite for Piano and Triangle.’”

and enjoyed repeat bookings, he xpanded his repertoire, trying out many new effects as encores and second-string

in

adical assum

ce didn’t want to let him go at all.

After a 1942 dinner in honor of Orson Welles the Hotel Henry Hudson in New York, Stuart Robson wrote in The Linking Ring that “Roy Benson, emcee, presented the most beautifroutine with balls this reviewer had ever se The nightclub owners and their customers appreciated his work, toreBenson has become a ‘habit’ at the Walton Roof, continuing his run into many weeks and still going strong with added duties as emcee besides his own magical presentations. He is constantly adding new items and keeps the

patrons coming back for more.” In 1943, when he was held over at the Troika in Washington D.C., the Washington Post reported: “It’s a pleasure to be baffled when the baffling’s done bsuch an iare swell…but his chatter is a panic.” In his spare time, Benson continued taking photos and plaintriguing 1946 news items, Benson was reported to be collaborating with screenwriter-director Rodney Amateau on a musical revue to be produced at the Blis-Hayden Theatre in Los Angeles, though we have found nbeen completed or produced. Hugard’s stated: Most of us think of Benson as a magician, yet a top-ranking Coast musician listened to musical works composed by Benson and urged him to hide finish the works in progress, claiming that Benson’s work is reminiscent of Debussy. Benson, in Hollywood until recently, has sold a musical to Fox Experimental Theatre. Bruce Elliott also noted: “Must say we agree with a paragraph of Fred Braue’s a while ago about Roy’s pianoW Repeat Engagements As Benson played longer engagements efeatures. By the late 1940s, he felt he had enough material to begin writing a book, as Bruce Elliott and Milbourne Christopher reported in the magic magazines. Christopher also published a brief sketch of Benson in The Linking Ring

Roy Benson and the Chinese Sticks

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1946: His all-time favorite magician: Nate Leipzig. His most embarrassing moment (I quote): “Watching Dante doing the billiard balls.” His present magical idol: Dai Vernon. His ambition: “I’d like to live in Flosso’s shop. Don’t believe there’d be room for me, though.” In 1948, Bruce Elliott announceBenson routine, one that would eve s: the Benson Bowl Routine: “…a cupmore, it uses a little dream of a spo is routine. Wait and see.” His reputation as a knowledgea in 1948, Benson gave what was perhaBenson “pointed up the foolishness‘work’; advocated the use of two-inm hey say Magicians began to consider Be

events. Magic magazines regularly reported his tanding

’”

bbed her

ed. Benson found a letter from his wife’s lover and n 1952. The official story released to the newspapers was that

he paid more attention to her doves than her husband. An article entitled “Dove-d:

wife e’s

trictly for the birds. He said Lola uses twelve doves in her ance act, all male and all named after an ex-husband or ex-boyfriend. He said she

made

,

d that The Phoenix would soon feature a new ntually become one of his most popular effect-and-ball routine using only one cup. What’s

nge-ball sleight that you’ll use for more than th

ble magician was growing, and in New York ps his first lecture. As Hugard’s reported, of calling work with 1½-inch billiard balls ch balls. Deplored, too, hand-washing .” nson a top humorist as well, and consistently

called on him to emcee their club anecdotes, such as this one from The Phoenix: “Roy overheard two magis snext to the Strand talking and one said, ‘How long have you been laying off?’ The other wand-wielder replied, ‘Three years and four months. If this keeps up, I’m going to have to get out of show business. In December 1948, Benson married an exotic female dove performer, Lola Wilson. She had previously been wed to magician Leon Mandrake, who du“Narda” to mirror the heroine of his comic book inspiration, Mandrake the Magician. The marriage was short-livdivorce was granted isDancer Wife Cooed Only for Birds, Mate Says” in the Los Angeles Times reporte Comedian Roy Benson was granted an annulment from his dove-dancer Lola Wilson Wednesday after he told a Supreme Court referee that his wifbilling and cooing was sdspent their wedding night “billing and cooing with the birds.” “You have a point that dovetails with the court’s,” the referee said in granting the annulment. A New Phase The next year, Benson’s career seemed back on track. In August 1949, hehis first appearance on Ed Sullivan’s important television variety show “Toast of the Town,” performing his comic vanishing-flower gag, the Chinese Sticks, and his six billiard-ball routine. In September, he finally played the most prestigious vaudeville engagement of all

anipulations. A fine talk, t

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the RKOe The Billboard critic, for example, wrote: “Roygear. His magic tricks, mostly standard, including his billiard ball and salt bits, werhandledreally sold him. He got yocks time and aga In 1951, Benson began formulating plans for a magic school, as various magic magazines reporteC Although Benson did not create a formal magic academy, he did give private lessons. Among his lucky students was Ricky Jay, to whom he taught his billiard-ball routine. Connye

In 1952, just prior to his final divorce decrfrom Lola, Benson began dating contortioniConnye Shearer. Connye studied dance as a teenager in Pennsylvania. When she saw a contortionist at local nightclub, she realized that she had the flexible joints required, so she taught herself contortion stunts and developed a nightclub afeaturing Connye moved to New York City on herown and struggled to make a living. To make ends meet, she took a job assisting magic

juggling act while wearing roller skates. For sixmemorable weeks one year, she worked with a traveling carnival; she wrote a long letter abou

her experience there, which magician and author William Lindsay Gresham p Connye eventually perfected a nightclub routine in which she dressed as a French maid and performed contortions on her serving cart. She used her toes pour herself a cup of coffee, add sugar, and stir the beverage, then picked up the cubetween her feet and sipped cheerfully. She was also a talented illustrator and an excellent photograConnye was the perfect counterpart for Roy. He was fifteen years her elder, but thefell in love and a Palace. Billboa An outstanding contribution is made by Roy Benson, whose legerdemain equahis salesmanship of it. Benson attempts nothing particularly showy, but what he does do is so excellently integrated with comhis sleight-of-hand the more of a stand-out. This pew-sitter has never seen the

Palace in New York City, and his success there led to many repeat ngagements. The reviews were uniformly strong.

Benson got the show into high e

as smoothly as ever. But it was his mad chatter and throwaway effects that in, finishing way ahead.”

d. He apparently wanted to set up his courses in a studio at arnegie Hall, where his uncle Max Ford ran a prominent dance school.

ee st

Born Constance Ruth Scherrer in 1929,

a

ct acrobatics and her twisting poses.

ian Bill Neff, worked at trade shows, and assisted a

t

ublished in his book Monster Midway, concealing Connye’s identity.

to p

pher. In short, y

fter a long courtship finally married on July 26, 1955. Throughout the 1950s, Benson continued to deliver strong performances at the

rd reviewer Bob Francis wrote:

ls

ic timing that it makes the slickness of

The beautiful and flexible Connye Benson

179

multiplying pool-ball routine more effectively projected. Later that year, the Billboard critic enthused: The best news about the current bill is the return of Roy Benson to repeat the solid customer click that he made last summer. Even if Benson wasn’good magician that he obviously is, he would still be a good comic. The combination of the two is irresistible. Why he has been spotted in fourth placegenerally weak line-up is something to wonder at. Next-to-closing would logical billing in this week’s show. His PalacABenson p

t the helluva

in a seem his

bookings at top nightspots: the Paradise Room in tlanta, the Normandie Room in Montreal, and the Olympia Theatre in Miami.

layed the Flamingo in Las Vegas in 1952.

d talked to the audience as if t

trikingly

.

: “Nobody in the business, in this repmanipulating the cue balls, and he hcustomer chuckles.” What audiences didn’t know wpsychiatrist. His alcoholism had spm r regular user of sleeping pills for mo

cs

w rd

stro of the sticks and tassels and est in the business at billiard-ball manipulation. Benson has developed a great

e

e success led to other

In 1953, Benson began performing a groundbreaking routine in which he stretched out on the stage anit was his therapist. This psychiatrist segmenwas not only daring and funny, it was scerebral, far ahead of its time in an era in which comedy was still mainly jokes and sight gags This progressive routine only enhanced Benson’s act, and the Palace continued to rehire him. In 1954, Billboard again lauded Bensonorter’s opinion, can top Benson’s artistry in as sharpened his patter to draw spontaneous

as that Benson had indeed been seeing a iraled horribly, but through treatment, he had control. In its place, however, he became a st of the decade. He fell off the wagon for a few

years as well before finally getting sober in the early 1960s through AlcoholiAnonymous and staying alcohol-free for the rest of his life. A sad incident occurred at a magic meeting at the Art Director’s Club in NeYork in February 1954. Dr. Jacob Daley finished performing one of his expert cafeats and sat down in the audience. As Roy Benson began performing his act, Daley slumped over, dead of a heart attack. In Benson’s stage career, the rave reviews continued. From Billboard, July 1954: Also repeating — and he must have been practicing assiduously, since he is better than ever — is magician Roy Benson, maebsleight act. Comedy projection continues to improve and salt shaker wind-up is sock as always. In August, Benson again appeared on Ed Sullivan’s “Toast of the Town.” H

anaged to get his drinking unde

Roy Benson during the Psychiatrist Routine

180

was also a guest on many other television shows around thp“Saturday Spectacular” special. Oanother Palace performer. One day they visited Cardini, which must have been a fascinating afternoon among three such great magicians (and with two such great ball manipulators present). Marshall had recently begun publishing The New Phoenix. Benson’s astonishingcoin vanish, Banished, was in fact the very first effect in the premier issue. Benson was named “Editor Demeritus,” andh The couple filled these two editions with Connye’s carefully drawn explanatory illustrations and historically accurate Egyptian hieroglyphics and Native Americdesigns. Benson explained the Leipzig Drop, a deck

is time, including the opular “Garry Moore Show,” Paul Tripp’s “It’s Magic,” and Esther Williams’

ne of Benson’s close friends in New York during this period was Jay Marshall,

when Marshall briefly left for England in 1955, e left Benson and his new wife Connye in charge of the next two issues.

an switch, and other gems from

his repertoire. One fiasco during this producti g as a comedy act during the “South Sea I Hall, a predictably poor fit. As Hugdecked him out in an outlandish co producer saw the extravaganza befo Vaudeville was on its last legs, Nightclubs were the new venue of Benson began performing at the ve Benson, who minimizes the prestid

d ye accompanied him and probably performed her own act as

g ge

began work on a low-budget horror film

soon decided to decline the position and instead help his cousin with special ffects.

e

the

, Benson stopped at a diner for lunch and parked the truck while he as inside eating. When he emerged, a startled crowd had gathered around the back

ve period was an October 1955 bookinsle” number of Tropicana at Radio City Musicard’s Magic Monthly reported, “The producer stume to fit the fiesta scenery. Opening day, there an audience and Roy vanished from the bill.”overshadowed by movies and then television. choice for live entertainment, and in November,ry top, the chic Blue Angel. ngel review: “Program is opened by Roy igital facets of his turn in order to lay on some

highly rewarding banter. Deft in his timing and smart in use of his comic lines.” Benson also began diversifying and performing cruise-ship dates to Nassau anSouth America. Connwell. As the 1950s ended, Victor Sendax asked a mysterious question in The LinkinRing: “What’s all this about Roy Benson and his missus currently building a humonster for a movie studio?” Benson in the New World The 1960s brought Roy Benson into several new domains that took advantage of his multifaceted creativity. Benson’s cousin Jack Curtis, a film editor and voice-over artist, had decided to try his hand at producing a movie andcalled The Flesh Eaters. He recruited Roy to be director of photography, but Bensone Roy’s main task on The Flesh Eaters turned out to be a gigantic tentacled seamonster, which he constructed himself, crowning it with a huge eye that looked lika giant white billiard ball. When he had completed construction, Benson loaded sizable prop into a pickup truck and drove it to the seaside shoot location. On the waywof the truck, thinking a fisherman had caught some horrible sea creature.

Variety approved in one Blue A

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The Flesh Eaters starred Martin Kosleck, a German actor known for his rolesNazi villains. The film finally reached theatres in 1964 and has become a B-movcult classic. The end credits inclu Benson’s magic also went in a new direction as the decade opened. In March, and Connye debuted a strikingly original routine, later referred to as their SiameseAct, that combined their talents into an amazing new combination of contortions, artistic magic, masks, Asian time at the Brooklyn Academy of Music at the S.A.M.’s annual show on March 18, 1960, billed as “Connye and Roye.”

The magic critics recognized how trulyinnovative this act was. In The Linking Ring, Victor Sendax described their routine:

Connye, presented a startlingly original act tothe accompaniment of a taped musical background, utilizing very effectively diverse themes from the scores of Rodgers and Hammerstein’s The King and I, Aaron Copland’s Billy the Kid Ballet, to mention a feof the musical elements.

Appearing as some mystic Oriental species, the pair utilized tricks as parts of a weird sort of ritual, through which Connye moved serpent-performing all manner of strange bodily gyrations and contortions. Here was a creative and challenging act effectively demonstrating magic does not have to be cut-and-dried and hackneyed in its viewpoint. Bravo! AsiS.A.M. convention that summer, however, the act was perhaps too far ahead of its time to be commercial, and Benson and Connye returned to their regular acts. Roy appeared regularly at top nightk Benson also landed a chaillusion” for the musical Carnival! which ran on Broadway from 1961 to 1963, winning two Tony awards. Thefor the character Marco the Magnificent included a cigarette vanish and reproduction, a single card production using a backpalm, Match to Flower, Silk Cane, and a Sword Cabinet routine in which the magician and his assistant sanduet. When Marco presented his act, he brought three audience members onstage and prodproduced pastry and sausages from another lady’s purse (along the way, he also magically removed the panties of the actress playing his assistant!). Benson later noted that, like many actors, James Mitchell — who portrayed Marco in the original production — easily mastered the basics of effectively performing magic. In his autobiography Illusion Show, the great David Bamberg (Fu Manchu) reported that in the 1960s he had been engaged to create magic for a Buenos Aires production of Carnival! but found that Benson “had done such an excellen

as ie

de “Roy Benson: Special Effects.” he

mes, and dance, which they presented for the first

…Roy, this time assisted by his wife,

w

magical props and like,

de from another performance of the Siamese Act at the combined I.B.M.-

clubs like the Blue Angel, performing with well-nown comedians like Woody Allen and the Smothers Brothers.

llenging job as “designer and supervisor of magic and

simple-to-perform magic sequences Benson created

to g a

uced a bowl of goldfish from one lady’s hat, performed a shirt-pull, and

t job and

costu

Connye and Roy Benson in their Siamese Act

182

made such a wide selection of tricks that there was nothing for me to do except follow his routine.” In 1967, Benson appeared on several television shows: a Garry Mspecial; “The Today Show”; a special called “Monday Morning Magic”; and the new “Mike Douglas” talk show. But Benson was starting to slow down, mainly dueto his compulsion for cigarettes. His good friend Charles Reynolds was head of the photography department at the School of Visual Arts in New York City and hired Benson to teach a basic photo class. To supplement their incophoto

oore magic

me, Roy and Connye both became graphers for GAF, taking photos for slides used in the company’s Pana-Vue

projector. Roy also photographed sdimensional viewer, such as scenesShadows. Although he performed an occasional show in the early 1970s, Benson’s heavy smoking had caught up with him. T Leon Mandrake among his personal audion emphysema entitled “The Battle help him quit. Now it was too late. Bensalmost three years. Connye was for er unusually petite feet allowed her to et, she a di In late 1977, Benson’s conditio spitalized. Six weeks

ge

ubjects for GAF’s Viewmaster three- from the television vampire soap-opera Dark

here is a tape of anti-smoking advice fromotapes, and in his papers is a 1966 news article to Breathe,” but nothing had seemed toon was so weak that he was housebound for ced to find other work to support them. H become a foot model. To make ends mea company. n worsened and he was ho

later, on December 6, 1977, Roy Benson died of emphysema at age 63. In 1985, Connye shifted careers again, completed a paralegal course, and beganwork as an estates and trust paralegal at a law firm. In her spare time, she helpedabused and abandoned animals. On March 28, 1996, Connye Benson died at the aof 66.

lso took a job with an encyclope

183

The Cigarette And Dollar Bill Onc it for e more we bring this old-timer forth but after you read this see if you can beat simpleness and effect. A spectator opens a new pack of cigarettes and after examining them a cigarette is rem e oved, marked and placed in the performer's mouth. A bill is borrowed and thspec en touches it. tator writes down a number and initials the bill before the performer evThe his bill is destroyed in a most open manner, the cigarette being lighted just before teven s broken open t. The cigarette is now identified by its mark and, while still burning, iand y the bill is removed. When handed back, the owner is asked to identify the bill bmarks and number. Take a new pack of cigarettes and open it from the bottom with a safety razor blade. Rem ot a ove one cigarette and after removing enough tobacco insert a rolled dollar bill, nnew one or an old one, but half way between. Put the cigarette back into pack, rem eat job embering which it is from top and seal up the pack with a little glue. Make a nof it ve in as it has to stand a look but not much as they always look at the seal and top. Hayou a r pocket a letter size envelope with a slit along the centre of the face and inside itpiec and e of paper the size of a folded bill. A candle is sitting on your table at your right several matches in your left trouser pocket.

Go into the audience and hand the pack out with a request for it to be opened, you starting it at the right side as they are usually opened only a little. Watch closely and have him hand you a cigarette, you can tell if it is the right one and if not just hand it to someone to show the cigarettes are ordinary and ask for another. You may have to do this three or four times, but not more, until you get the right one. The audience takes it for a

184

joke and you are pattering about being generous, etc., and when you get the loaded one say you'll have to quit because you have already exceeded your expense account. Hold the cigarette between your fingers and have a person mark it and place it in your mouth.

Now borrow the dollar bill and after it has been noted and marked walk back to the platform with the bill in the air and the cigarette in your mouth. Pick up a match and light it (here you get a laugh) but light cigarette and candle. Fold the bill several times and taking the envelope, with the flap to the front, openly insert the bill. It should come out of the slit into your left fingers which are behind envelope. With your right hand fold down the flap and hold it in front of the candle and then into the flame. Here is the perfect misdirection as they will all look at the bill and your left hand with the bill will casually go into your left trouser pocket as you watch envelope burn. After the ashes are scattered go into audience, still puffing the cigarette and have it identified by the marks. Step back or onto the runway and break the cigarette open and unroll the bill. Now is the subtle move for which I thank my good friend John Sardo of Elmira, N. Y. Nine times out of ten the audience will begin to applaud when you unroll the bill and you bow and ask them if it is a very nice experiment, at same time pocketing the bill and starting back towards the stage. This gets a good laugh and of course you act surprised and then remember the borrowed bill. Go back into the audience and return it, having the gentlemen identify it, but of course when you put the bill in your left trouser pocket and then withdraw it you exchanged it for the original and there you are!

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Derren Brown’s Magic Square

The Effect: A spectator gives you a random number and you're instantly able to create a magic square of numbers in which all rows, columns, diagonals and corners total his chosen number. The Secrets: This looks absolutely mind blowing when performed well but is technically easy to achieve. The diagram below shows the basic framework for the square:

The numbers shown in the above square will always be present, whatever random number is chosen. You need to memorize the order and positions of those numbers. The grey squares A to D are where you will add additional numbers to complete the magic square. If like me you have a terrible memory, write the basic framework of the magic square using very light pencil in the corner of your notepad or flip chart. It will be visible to you but not to your audience. To begin, ask for a random number between 25 and 100. Let's say your spectator chooses the number 37. Subtract 21 from the number given (in this example, we get 16) and put it in position A.

186

Then add 1 to this number and put in position B. Add 1 again for the number in position C and finally 1 again for the number at D. In our example, we finish up with the magic square shown below:

Look at the resulting square and you'll see that all rows and columns total 37 - the spectators chosen number. Also, both diagonals total 37. The numbers at each corner also total 37. And the four 2 by 2 squares at top left, top right, bottom left and bottom right also total 37 (e.g. 8, 11, 16 and 2; 17, 1, 7 and 12 etc.)! Actually, there's more! Choose any 3 sided square and the numbers at each corner also total 37 (e.g. 8, 17, 3 and 9)! Although this may seem like a simple concept, Derren Brown used a magic square effect a

s the encore for his 2004 UK tour and got a standing ovation!

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COLOUR CHANGED By Richard Robinson

Changing the color of a playing card by passing a hand over the face of the card was once a staple effect among conjurers. This dates from the time when cards had no corner index to disrupt the visual change of color. Although color changes have gone out of fashion, the various sleights used to accomplish them have not, since the sleights involved secretly add a card to the top of the deck.

One particular color change sleight is encountered in most introductory magic books. The deck is held, faces out, in the left hand. The closed right hand covers the deck and when it moves away the face card has changed. This is accomplished by the left index finger sliding the bottom card of the deck up, the right hand palming it and then depositing it on the face of the deck.

While this sleight is reasonably effective, it isn't that difficult for the spectators to figure out, since the right hand curls and uncurls as the card is palmed and then released.

Chris Van Bern's Colour Change

By all indications Chris Van Bern is the inventor of the original sleight on which the description above is based. However, Van Bern's method was significantly different in that the card was never actually palmed and thus the hand remained in the same position throughout the illusion.

Van Bern first published his Colour Change in the 1914 edition of the 'Wizard's Annual' and then again in 1919 in 'A Whirlwind of Wizardry' which he co-authored with De Vega, another performer of the period. It is interesting to note that by 1919 Van Bern was no longer using the move as a color change but rather to make selected cards appear on the face of the deck.

Handling

188

The deck is held in the left hand, one long side of the deck resting on the fingers, the other held by the thumb.

The right open right hand, with fingers together is brought over to cover the face of the deck.

As this happens, the left first finger pushes the back card of the deck up and then into the right palm. The left index finger remains extended, holding the card against the right palm. The right hand does not palm the card.

The the card makes contact with the right palm, the left hand turns at the wrist, pivoting around the left first finger tip, until the face of the deck is visible below the right hand. This is done to give the spectator's one more look at the face card. The extended left first finger is masked by the right hand and the deck during this movement.

The left hand then turns back, pivoting around the left first finger tip, until the deck is behind the right hand.

189

In swinging the deck back behind the hand, the left first finger is pulled away and the deck itself is used to hold the card against the right palm. The deck is turned and squared up so that the card behind the right palm is now the face card of the deck. The right hand moves away from the deck, the right fingers spreading.

As right hand moves away the face card of the deck is seen to have changed.

Display Variation

Once the card has been moved from the back of the deck into the right palm, the left first finger can slide the card back towards the right wrist. This allows the right fingers to open as the deck is swung down and the original face card shown.

190

Performance Notes

Once you've got the general idea of this and curbed the natural magical instinct to curl the right hand into palm position, the deceptiveness of this sleight will be apparent.

The deck can be swung up above the hand rather than below it, during the show once more move.

It is also possible for the card being held to be positioned toward the back of the right hand in more of a gambler's palm location as shown in the variation above. This allows the right fingers to spread slightly during the moves.

Van Bern suggested that the fingers of the right hand be held wide apart as the hand is placed in position so that the face card could be seen through them, then closed before the change.

BALL & SILK MYSTERY By Richard Robinson

The magician picks up a silk handkerchief from his table and opens the handkerchief out to display both sides at his finger tips. The handkerchief is draped over his left hand. Slowly and mysterious a large red ball rises up out of the center of the handkerchief.

The ball is wrapped in the handkerchief, the handkerchief is tossed into the air and

191

the ball vanishes ... as if it had never existed to start with.

Props

A ball approximately 1-3/4 inches / 45 mm in diameter as used in the Multiplying Billiard Balls and other stage manipulations. A ball made of wood or hard plastic is recommended. An 18 inch / 33 cm square handkerchief. The ball and handkerchief should be of contrasting colors. The silk handkerchiefs sold by magic dealers is ideal,although any cloth square of light weight and good drape will do.

Setup

The bunched handkerchief is on the table with the ball behind it.

Handling

The ball is behind the bunched handkerchief on the table. The left hand picks up the handkerchief and ball, concealing the ball.

The hands open out the handkerchief, the ball is held in the left hand.

Performer's view of the ball concealed as the handkerchief is displayed.

The arms shift to the right, moving across the body.

The ball is held between the base of the left hand and chest, allowing the hand to move forward and open.

The arms cross, showing the back of the handkerchief. The ball palmed in the left hand is not visible.

192

The handkerchief is draped over the left hand. The right hand 'adjusts' the drape.

The right hand goes behind the handkerchief, then under it, the thumb guiding the way, and the ball is dropped into the right hand.

Performer's view of right hand catching ball.

The right hand, first finger extended, moves over the top of the handkerchief. At the same time the right thumb presses against the ball.

Exposed view of the palmed ball. The right first finger pokes an indention into the top of the handkerchief. As this is done, the left thumb moves from in front to behind the ball under the handkerchief.

The first finger appears to press Exposed view of the ball, ready The ball mysteriously rises up down the center of the handkerchief.

to rise, but as yet not visible to the spectators.

out of the handkerchief. This action is controlled by the left thumb and fingers gently squeezing the ball.

193

The right hand takes hold of a back corner of the handkerchief and raises it.

The left hand opens under the handkerchief and slides forward, the ball on top of the handkerchief traveling with it. The ball and hand approaching the front edge of the handkerchief. The right hand does not move during this action.

The handkerchief travels back, the ball rests on the open left hand. The performer pauses so the spectators can focus on the ball. The handkerchief is then draped over the right hand.

The left hand approaches with the ball and tilts back as if rolling the ball into the waiting handkerchief covered right palm. In fact, the left hand classic palms the ball.

Exposed view of the ball classic palmed.

The right hand closes and turns over, the handkerchief falling down so that it appears the right hand is holding the ball through the handkerchief.

The right hand shifts position grasping the handkerchief below the center as if trapping the ball.

The handkerchief is tossed into the air, caught and shaken open by the right hand to show that the ball has vanished, then opened out between the hands.

The handkerchief is bunched with the ball concealed behind it in the left hand and returned to the table.

Routine

Phase 1

194

The left hand reaches over and picks up the handkerchief, at the same time taking hold of the ball so that it is held loosely in the palm of the hand. This hold is similar to the classic palm without any pressure being exerted on the ball.

Facing the spectators, the left and right hands come together in front of the upper chest and to the right of the center of the body.

The left and right fingers unfold the handkerchief until one corner can be clipped between the left first and second fingers. The right fingers then slide along the edge of the handkerchief, moving to the right at the same time, until they hold the adjacent corner. This opens ut so thatthe handkerchief o it is being displayed between the hands.

As the handkerchief is opene s hi e d out, the magician turn s shoulders slightly to thright. The left hand moves b sses the ball between the palm ack to the chest and preof the hand and the chest. T fingers open out and the left hand is moved he left toward the right. The ball, trapped between the palm and the chest, rolls along the back of the palm. This movement stops when the ball is positioned between the heel of the left and and the chest.

With the ball out of view, the left fingers can be spread apart. The right fingers also open out. The magician looking toward the right hand, gives the handkerchief a slight shake.

Phase 2

The left hand moves back so ball rolls into the p is that the alm of the hand where it classic palmed. The right hand follows the left hand's movement. The front of the handkerchief is kept parallel to the spectators.

With the ball in a classic palm, the left and right hands continue moving to the left until both arms are extended. The magician's shoulders turn left and tension is maintained by the hands to keep the handkerchief open taut between the hands.

Although the left palm is now toward the spectators, the left fingers are curled over it and the edge of the handkerchief covers them, hiding the ball.

The left hand releases its hold on the handkerchief and moves down behind the handkerchief to its center and then starts moving up. The right hand lets go of the handkerchief. The handkerc l eft hief is now draped over the eft hand. The top of the lhand should be at shoulder height, the left arm half extended to the left of the body.

Phase 3

The right fingers pretend to adjust the corners of the handkerchief hanging down around the left hand. As the this is done, the left arm swings to the right until the handkerchief draped left hand is at the center of the chest. The right fingers have

195

moved as well, getting a light hold on the hem of the handkerchief closest to the magician and working their way under the handkerchief until the right hand is under the draped handkerchief. The left hand releases its hold on the ball, dropping it into the right hand which classic palms it.

The right hand moves back down to take hold of the handkerchief hem. The left arm swings to the left, the right hand moving with it so that the back of the right hand remains toward the spectators.

The left hand then swings back to the right, the right hand moving up until it is directly behind the left hand. During this movement, the left hand opens out so that it comes to rest on the back of the right hand, almost cupping it. The right hand, now hidden from the spectators, turns palm toward the left hand so that the ball rests on the handkerchief and through it on the left palm.

The right fingers open out and point up, then curl down over the left thumb, as it pushing the center of the handkerchief down into the left fist.

In fact the right fist and second fingers have arched over the left thumb and moved down to contact the top of the ball through the handkerchief. The right thumb is pressing against the bottom of the ball. Once the right fingers and thumb are supporting the ball, the handkerchief covered left thumb swings around the left of the ball and behind it, pressing the ball through the handkerchief against the left palm.

The right hand moves away. The ball is now below the top of the handkerchief covered left fist, held in place through the handkerchief by the left thumb, and not at all visible to the audience.

Phase 4

The left hand moves up to eye height, extended a foot or so in front of the magician's face. The left hand stops. The left fingers and thumb now slowly work theball up until it is resting on top of the left fist. The ball appears to rise up out of the handkerchief.

Once the ball is visible, the right fingers take hold of a corner of the handkerchief and move up. The left hand lowers a few inches. The left hand opens palm up under the handkerchief. The right hand pulls the handkerchief slowly back and up. This causes the ball to roll down the handkerchief and come to rest in the open left palm as the handkerchief is pulled away.

Vanish

The ball rests on the open left palm. The right hand holds the handkerchief.

The right hand moves to the left hand so that one corner of the handkerchief can be

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clipped between the left first and second fingers. The right hand then moves right to open out the handkerchief so that it can be displayed front and back.

In one continuous motion, the right hand releases its hold on the handkerchief, the hand opens and swings toward the front center of the handkerchief. The left hand releases its hold on the handkerchief. The result is that the handkerchief is now draped over the right hand, the hand itself being palm up under the handkerchief.

The left hand moves to the right, back of the hand turned toward the audience and appears to drop the ball onto the handkerchief covered right palm. The right fingers curl up as it holding the ball through the handkerchief. In fact, the ball is simply classic palmed in the left hand.

The right hand turns over and grasps the supposed ball through the handkerchief. With practice this can be done so that the handkerchief bunches enough at the center to momentarily look as if the ball is inside the handkerchief.

The handkerchief is tossed into the air and caught by the right hand. The ball has vanished.

The right hand shakes out the handkerchief. Then the right and left hands take hold of the top corners and show the handkerchief back and front, using the moves described in the production phase to keep the palmed ball hidden.

The right hand bunches up the handkerchief and places it on top of the ball in the left hand as the left hand opens. The right thumb presses the ball against the back of the bunched handkerchief and raises both slightly so the open left hand can be titled toward the audience. The right hand uses the bunched handkerchief to dust offthe left fingers. The left hand takes hold of the bunched handkerchief and ball and sets them down on the table, ball to the back.

Performance Notes

The moves used here are easy to master, most of the manipulation being hidden by either the handkerchief or body position.

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TRANSPORTATION By Richard Robinson

The magician takes three small coins out of his pocket and drops them on the table. He puts two of the coins in his left hand, which close around them. He puts the third coin back in his pocket.

He opens his left hand to show the third coin has magically traveled from his pocket to join the other two.

Again putting the three coins on the table, he again places two in his left hand and the third in his pocket. Giving the left hand a slight shake, he opens the hand to show that it now holds three coins.

Suggesting that perhaps those watching aren't quite following what's going on, he again places two coins in his left hand and one back in his pocket. Once the spectators confirm that seems to be the case, he opens his left hand to reveal one large coin, the three smaller coins having vanished completely.

Transportation is a variation of the Two In The Hand, One In The Pocket routine. It is entirely impromptu, requiring only four small coins such as U.S. pennies or dimes and one larger coin for the finish. The four small coins should be in the same condition so one cannot be told from another.

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Setup

The five coins are tog ther in a pocket. It is best to keep them in a side coat or ejacket pocket so the hand can move in and out of the pocket easily and quickly.

Handling

Exposed view of the four coins taken out of the pocket by the right hand.

Unseen by the spectators, the thumb holds back one of the coins.

The right hand tilts over the left hand to release the three coins.

The fourth coin is held back in the right hand as the spectators

The three coins are displayed on the hand.

Then the three coins are apparently placed in the right

see the three coins for the first time.

hand. In fact one of the three is held back in the left hand.

The three coins are show in the right hand.

The first of the three coins is put into the left hand, the fingers curled up to hide the coin already there.

The second of the three goes into the left hand, which closes around it. The third visible coin goes into the pocket.

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The left hand is opened to show that it contains three coins. This two into the left hand, one into the pocket sequence is repeated.

The third time around, the right hand leaves the small coin in the pocket and brings out the large coin finger palmed.

The right hand picks up the first of the three coins from the table and displays it at the thumb and first finger tip.

The right hand moves over the cupped left hand.

The large coin is released from the finger palm and drops unseen into the left palm.

The right hand apparently puts the first small coin into the left hand. The thumb slides the coin down off the first finger ...

... and onto the tip of the second finger. The thumb presses the coin against the ball of the second finger tip.

The spectators' view (with the first finger raised slightly) shows the coin is hidden behind the thumb pressing against the second finger.

The second coin is picked up from the table.

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The right hand again turns so the fingers are pointing up and goes to the left hand to deposit the coin.

The coin held by the second finger and thumb is released to fall into a finger palm.

The visible coin is brought down by the thumb behind the fingers until it clicks against the first coin.

As the right hand comes out of the left hand the two coins are held by the curled in fingers.

The third coin is picked up and the hand raised palm toward the spectators. The third coin is seen at the thumb and finger tip, the other two coins are hidden by the curled fingers.

After the visible third coin and two palmed coins are put in the pocket, the left hand opens to reveal the large coin.

Routine

The routine consists of three phases with the handling details varying slightly in each phase. In learning the proutine it is a good idea to ractice each phase independently and then run hearsthem together when re ing the presentation.

1.

The right hand goes into the pocket and gathers up the four small coins, holding them in a loose finger palm with the hand partially open. Give the coins a shake as the hand comes out of the pocket so the coins spread slightly across the fingers. Theback of the hand is towards the floor, the curled fingers hiding the coins from view.

The palm up left hand is raised, the head turning to look at the hand. As this shift of focus takes place, the right thumb tip moves down on one of the coins to press it against the right fingers, then the right hand turns over so the three remaining coinsfall into the open left hand.

The left hand makes an up a n, so the coins bounce on the nd down shaking motiohand. Once the coins are se eft thumb tip moves down onto one of the parated, the lcoins, pressing it against the fingers. At the same time the left hand turns over to the right, letting the coins fall into the right hand which turns up to receive them. Since there is already one coin in the right hand, to the spectators it appears that you've taken three coins from your pocket and tossed them from one hand to the other and back.

The left hand drops away, the fingers curled in a bit to conceal the coin it holds. The right hand places the three coins on the table. The right hand picks up one coin and places it into the left hand which has come up to receive it. The right hand takes the

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second coin and places it in gerthe left hand. The left fin s close around the coins.

The right hand picks up the third co able, clo in from the t ses loosely around it andgoes into the pocket. Shift your focus to the closed left hand. Make a shaking motionwith the left hand. As the right hand is coming out of the pocket with the finger palmed coin, open the left hand to show three coins in the hand.

2.

Bounce the coins on the left palm until the coins are separated. The left hand now turns over to the right, the left thumb tip coming down on one of the coins to hold it against the fingers. The right hand moves up with its finger palmed coin to receive the coins from the left hand a he. The right hand opens out s the transfer is made so tspectators see three coins resting on the open right palm.

Place the three coins on the table.

The first phase handing is now repeated. The right hand picks up the first coin and drops it into the left hand. The right hand picks up the second coin and drops it into the left hand. The left hand closes around the two coins. The right hand picks up the third coin and goes to the pocket.

When the right hand is in the pocket, it drops the coin and picks up the large coin in a loose finger palm. Again the loosely closed left hand shakes the coins and opens toreveal three coins. At the same time the right hand comes out of the pocket with thefinger palmed coin.

3.

The right hand goes over to the left hand and the right fingers collect up the three coins on the left palm, holding them by the finger tips and places them on the table. The right hand is kept palm down as it does this, hiding the finger palmed large coin.

The right first finger and thumb pick up the first coin on the table. The coin is held atits edge by the tips of the first finger and thumb. The right hand moves over to the palm up left hand. As the right hand moves, the right fingers are brought together. Once the right fingers are behind the slightly curled up left fingers, the large coin is released to drop into the left palm.

At the same time the right thumb slides the small coin over so it is held between the thumb and second finger tip. This leaves the first finger free and the small coin hidden completely by the pressed together tips of the thumb and second finger.

Swing the right hand to the right to pick up the second coin from the table. As the right hand moves, the left fingers curl over the large coin to hide it.

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The right first finger tip and thumb now pick up the second coin from the table. This requires some practice since the thumb tip is pressed against the second finger tip holding a coin. Once the second coin is held at the thumb and first finger tip, revolvethe right hand so the finger tips are up.

The finger / coins position is the second coin is visible, held by the tips of the thumb and first finger. The first coin is held directly below it by the ball of the thumb and the tip of the second finger. The third and fourth finger are slightly open. From the front it appears that there is only one coin held by the thumb and first finger tips, the second finger curled in under it.

The right hand moves to the left hand. The left fingers uncurl as the right hand turnsfingers down. The right fingers are brought together and the hidden coin is released by the right second finger to fall into a finger palm. Then the visible coin is released to also fall into the finger palm. This will cause an audible click as if the two coins have been dropped into the left hand.

The right hand moves away and the left hand closes, apparently around two small coins. The two coins should now be resting one on top of the other and held in fingerpalm at the bottom of the right third finger.

The right hand picks up the last coin on the table between the thumb and first finger tips, then swings up so the palm of the hand is open and facing the spectators. Look directly at the coin at the finger tips. The right thumb and first finger extend up holding the coin. The other three right fingers are curled down, hiding the two finger palmed coins from view. This s quite deceptive.

The right hand now goes to the pocket to gently deposit all the coins. The closed left hand is extended forward. The empty right hand comes out of the pocket. The left hand is opened slowly and then stops moving. The large coin is revealed resting on the left palm.

Performance Notes

To ensure a successful performance, the handling should be practiced for quite sometime before doing the effect live. The sequence of events is convincing and at first the routine may seem easier than it actually is. Keep working on it until complete control is acquired for every move.

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Like a Hole in the Head!

Effect The phrase "cough it up" takes on a whole new meaning with this coin trick!

Supplies You Need

• A Coin Setup You should practice a few times before you perform. No other set-up is needed.

How to Perform Bend over and show the audience the top of your head. Tell them, "You know the saying, 'You need that like you need another hole in your head?' Well, sometimes having an extra hole in your head comes in handy-- and I do!" As you tell them this, you will be performing a quick and easy vanish with the coin. Hold out your hands, palms up. Rest the coin on the tip of the second and third fingers of the right hand. Holding the coin in place with your right

thumb, turn your hand so your palm faces down, then raise it above and to the right of your left hand. Put the coin in the center of your left palm. As you take away your right hand, (the co ween the thumb and fingers of your right in is still held bethand) hold the fingers together. Then close the fingers on your left hand, as if you were closing them over the coin. When you pu st ll away your right hand, the fingers of your left hand, as they close, should lightly sweep againthe back of t hird, he right fingers. Move your right hand away a few inches from the left. Then cup the second, tand fourth fingers, leaving the index finger extended. Tap your left op to your side (the left hand is still wrist with the right index finger, and let your right hand drcupped.) To your audience it should look like your left hand is now securely holding the coin. Bring your left hand above your head and lightly slap the top of your head. At the same time, bring your right hand to your mouth and cough loudly. Bring your left hand down from your head and let the audience see the coin drop from your right hand into your left. "My doctor hates it when I do this," you can say. "But what else is an extra hole in the head good for?"

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Hanky Stand-up

Effect Make a handkerchief move up and down at your command as if it is standing up.

Supplies You Need

• Handkerchief with a hem • Full length drinking straw Setup Carefully flatten a drinking straw. Next sew the straw into the hem of a handkerchief. Make sure the straw can't move within the hem as show in Figure 1. If your handkerchief does not have a seam, sew one in two of the sides.

How to Perform When you are ready to perform the corner marked with an "A" trick, take thein Figure 1 and tie a knot in that co rner. Hold the handkerchief with your righthand from the corner with the knot and let it hang down.

Tell your audience you are going to our left hand take the middle of make the handkerchief stand up. With ythe handkerchief where corner "B" is, as shown in Figure 2, and let go of the

handkerchief with your right hand.

By slowly squeezing the straw with your thumb (this is the part you will need to practice), you can cause the handkerchief to slowly rise as if it is standing up as shown in Figure 3. As you do this tell the audience that the handkerchief responds to your command. Say "Handkerchief-- Stand!" or other similar commands.

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Herrmann's Book of Magic Black Art Fully Exposed

A COMPLETE AND PRACTICAL GUIDE TO DRAWING-LS

EXPOSURE OF THE BLACK ART. by Prof. Herrmann

ROOM AND STAGE MAGIC FOR PROFESSIONAAND AMATEURS, INCLUDING A COMPLETE

Alexander Herrmann

Notice: This book was originally published in 1903, an epoch when adults were considere tions and for the safety of d responsible for their own actheir children, d competent to and presumed sufficiently intelligent anweigh the risks ndertake and of their activities and decide wisely which to uwhich to avoi book involve d. Some of the tricks explained in this techniques wh be considered ich, by present-day standards, would hideously dang Descriptions of erous and in some cases cruel to animals. these tricks ha e that of the ve been highlighted with a background likfollowing.

This is a most effective trick, and easily performed. Be careful not to swallow the needles.

The electronic edition of this book is presented in its integrality as an historical document. The producer and publisher of this text assumes no responsibility whatsoever for any consequences of performing the activities described herein, whether highlighted as especially dangerous or not. You are entirely responsible for your own actions. If you do not agree with this,

206

please stop reading a time and place now. And yes, I do wish I lived inwhere statements like this were unnecessary.

CONTENTS

Ammunition, Conjurer's Anti-Spiritualistic Tricks Artful Conjurer, An Ball, Dissolving Fancy Sleight With Handkerchief and Tumbler Balls and Basins Annihilation of Color-Changing Diminishing Black Art Exposed Banquet, Conjurer's Bonbons, How to Produce from Handkerchief Balls, Manipulation of Multiplication of Bird, How to Shoot and Bring to Life Again Balls, Red and Black, Changing Tricks With Body, How to Set on Fire Bran and Dove Plates Burned Handkerchief Restored Candle Ends, Eatable Cut Arm Off Without Pain Candle, How to Light With a Glass of Water How to Light With Smoke and Handkerchief Coin and Candle and Lemons Changing Fold, a New Magical Production of Passed into a Matchbox Passed Through the Body Pocket Vanish for Swallowing Transferred from Tumbler to Ball of Wool Vanish for Duplicate Wandering

207

Wine Glass and Paper Cone Coins, Hat and Plate Tricks With Vanishing in Sheet of Flame Color-Changing Balls Communication, Mysterious Cards, How to Make Them Jump and Run on Table How to Convey into a Nut Cut, Restored Cone, How to Make Move on Table Dictionary Trick Dress, The Egg, How to Make Change Its Position Exploding Bubbles Eat Shavings, How to Finger, Palm Fire Eating Fire Flash Flash Paper Flight of Coin, Invisible Faded Rose Restored Freeze Water by Shaking Fowl, How to Kill and Bring to Life How to Make Seem Dead Flash of Lightning When Anyone Enters the Room Garter Trick Glass, How to Fill With Beer and Water Without Mixing Handkerchief and Candle Incombustible Ball Cabinet Fired into Gentleman's Hair Flying Mechanical Pull for Vanishing Passed into Spectator's Pocket Peregrinations of a Produced from Collar Spirit Tube for Producing and Vanishing Vanisher Color Changing of

208

How to Restore Magical Production of Tricks With Hat Tricks Eggs Produced from Incubator Loading Magnetized Tricks With Head of the Decapitated Speaking How to Cut Off from Man Iron Changed into Silver How to Melt Ink Changed to Water Liquids, Two Cold, Produce Fire Cold Become Hot Color Changing Long-Distance Second Sight Metamorphosis, Hideous Magic Breath Miscellaneous Tricks Mystery of the Floating Head Make a Watch Stop or Go At Will Name, Mysterious Needle, to Make Float Party, to Make Appear Ghastly Palming Pistol, Conjurer's Postal Trick, New Paper Cone, Watch, Rabbit and Boxes Programme and Coin Quarter vs. Dime Reverse Palm Rouge et Noir Ring, Climbing Stone, How to Keep in Motion Supernatural Appearance Stone, How to Break With Fist

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Skeleton, Dancing, The Stick, How to Break When Placed on Two Glasses Servantes Slate Tricks Smoke from Empty Pipe and Tumbler Spirit Calculator Swallowing Needles Tambourine, Mysterious Table, The Thimble, Ubiquitous Tumbler, to Knock Through a Table Teaspoons, Magical Transformation Tourniquet Tube and Ball Hydrostatic Tumbler, Hydrostatic To Drive Through Another Vessel That Will Let Water Out at Bottom When the Mouth Is Uncorked Walnut Shells and Pea Wand, The Multiplying Wandering Coin Watch, Glass and Handkerchief Water, Cold Changed to Hot Mystery Retained in Cylinder and Inverted Tumbler Wizard's Breakfast Writing Name on Card Wandering Beer Water Turned to Wine

CHAPTER I

INTRODUCTION

There are one or two leading principles to be borne in mind by anyone taking up the study of ma ever tell the audience what you are going to do before y hances of detection are increased tenfold, as the

gic. The first and foremost is, Nou do it. If you do, the c

210

spectators, knowing what to expect, will the more readily arrive at the true method of bringing abo

It follows as sequence that you must never perform the same trick twice in the same evcalled upon to repeat a trick study to vary it as much as possible, and to bring it to a different con enerally be found more ways than one of working a particular trick. It is an axiom in conjuring that the best trick loses half its effect on repetition.

Should a hitch occur in the carrying out of the programme by the accidental dropping of an article, o ings do not get confused, but treat the matter as a the difficulty with a smile, making use of some such expression as the following: “Well, you see I put it down there to show that it would go. It is perfectly solid and does not stick.” By this means, instead of spoiling the entertainment, you add greatly to the amusement of the spectators.

Do not cultiv at the same time it will never do to be painfully slow; but endeavo easy-going, quiet, graceful manner. It is generally understood that “the quickness of the hand deceives the eye,” but this is entirely erroneous. I ollow, as can be proved b nt. The deception really lies in the method of working the trick, and in the ability of the performer in misdirection, as will be seen from a perusal of the following pa

A little well-arranged patter as an introductory to an entertainment will be found to put you on good terms with your audience. A few words, something like the following, will suffice: “Lad n, with your kind attention I shall endeavour to amuse you with a serie in. In doing so I wish it to be distinctly understood t ve you, and upon the extent to which I am able to do so will ccess.”

At the close little speech, of which the following is an example, will be found to dies and gentlemen, in concluding my entertainment I have only to say that, apart from deceiving you, which was but a secondary consideratio o afford you some slight fun and amusement I feel amply rewarded.”

In concluding these remarks I must enforce upon the novice the necessity for constant practice, without which the clearest instruction would be useless. This applies, not only toconjuring, but equally well to a o the would-be magician may congratulate himself on the fact that the difficulties to surmount are not in excess of those

appliances of general utility.

ut the result.

a natural conening. It is very unpleasant to have to refuse an encore; and should you be

clusion. There will g

r from any other cause, above all thgood joke, and meet

ate quick movements;r to present your tricks in an

t is impossible for the hand to move quicker than the eye can fy experime

ges.

ies and Gentlemes of experiments in legerdemahat I shall do my best to decei depend my su

of an entertainment aprove a good finish: “La

n, if I have been able t

ny form of amusement, s

of any form of entertainment.

Before proceeding to describe the various tricks it will be well to notice one or two

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The Dress.—The usual attire of the modern magician is the conventional evening dress, but I have known performers of the present day to adopt various fancy costumes. For instance, I have seen a conjurer attired as a Knight of the Garter; another one, calling

rmer, was attired in evening dress, but wore a short dinner jacket. In these last two cases, the swallow-tail coat was, of course, dispensed with, a decided improvement,

uckram, and sewn on rather full, to keep them constantly open. They are used to contain “loads” for hat tricks,

There are also two pockets known as breast pockets, one in each side of the coat. These

In the case of fancy costumes the pockets, if required, must be arranged as the attire

hould be of the ordinary “stand-up” pattern and one size larger than that in every-day wear, will be found to provide an excellent means for the evanishment

might be lost beyond recovery. (See “The Wandering

himself L'homme masqué, wears Court dress with a black mask covering the upper part of his face. In these two cases, however, the swallow-tail coat, an important adjunct, is retained. Again, I have seen a conjurer attired as Mephistopheles, a very smart costume, and to a certain extent appropriate, but entailing too much trouble for the majority of performers. I have also been present at an entertainment where the magician, a very clever perfo

as it adds greatly to the bewilderment of the audience as to how the conjurer obtains and disposes of the various articles he uses.

Where the ordinary dress coat is used, each tail is provided with a large pocket, known as a profonde, the mouth of which is on a level with the knuckles, and slopes slightly to the side. These pockets, which are usually 7 in. square, are lined with b

etc., also to vanish articles, such as watches, eggs, or balls.

In addition to these pockets, two others, known as pochettes, are used on the trousers. These are sewn on rather full at the back of the thigh, on a level with the knuckles, and covered by the tails of the coat; they are useful to contain rings, coins, or other small articles required in the course of the performance.

should be of a size large enough to contain a dinner plate, and should be made with the bottom sloping a little towards the back, to prevent articles placed in them from falling out. The opening should be in a perpendicular position 1 in. from the edge of the coat. These are loaded with rabbits, doves, etc., or any large or cumbersome article required for magical production.

permits. If you perform in a dinner jacket, the ordinary side pockets can be used for producing or vanishing the articles. The breast pockets, as already described, can be retained.

The collar, which s

of articles such as coins, small balls, rings, handkerchiefs, and the like.

When it is necessary to regain possession of a coin or ring vanished in this way, it will be well to have a small silk handkerchief arranged between the shirt collar and the side of the neck, otherwise the pieceCoin”.)

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The Table.—There are a great many tricks which can be performed without the aid of a special table; in fact, tables of any description are very secondary articles in the stage settings of conjurers of the present day. Where they are employed they are usually of the small round tripod pattern, fancifully made for show, and are used only for the purpose of an ordinary table.

Tables with traps and other mechanical appliances are almost, if not entirely, out of date, no performer with any pretentions of originality making use of them.

A neat little table can be made from a piece of board 18 in. in diameter, covered with red baize, and hung with fancy fringe to taste; the legs taking the form of an ordinary music stand. The under-side of the table is fitted with a brass plate holding a pin, about 2 in. long, to fit the socket of the stand. This forms one of the most compact tables possible,

The Servante.—This is a secret shelf behind the performer's table, on which are placed

nte can be readily devised by pulling out the drawer at the back of any ordinary table about 6 in., and throwing a cloth over the

table, drawer included, be painted black, it cannot be detected at a few paces.

and is greatly in vogue, as the stand can be folded up into a small compass, and placed, together with the top, in a black canvas case for traveling. Two of these tables will occupy very little more room than one, and they look well in pairs. They will generally be found to afford sufficient convenience for an evening's entertainment.

articles to be magically produced in various ways. It is also used to vanish articles as occasion may require.

In the absence of a specially prepared table a serva

whole, the cloth being pushed well into the drawer so as to form a pad to deaden the sound of any article dropped into it.

If a table with a drawer cannot be obtained, a servante, which will answer every purpose, can be arranged by throwing a cloth over a table and pinning it up behind in the form of a bag.

In the case of the small round tripod tables, a small drawer, made from a cigar box, can be attached to the under side of them, and pulled out as required. The fringe decorating the edge of the table will conceal the presence of the drawer; but if the whole of the under side of the

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Fig. 1. SERVANTE FOR USE ON A CHAIR

There are various forms of portable servantes for fixing to the back of a table or chair. A description of one for use on a chair will be sufficient to give a clear idea of the

f the performance. To this is screwed an iron frame (Fig. 1) of the same dimensions as the board. The frame, which carries a network as

ted from opening too far by an iron bar screwed to the back of the woodwork, the sides of the frame being extended under this as shown. The board is fitted with two brass

ebony, with ivory tips; a plain rod, however, will answer the purpose equally well.

The use of the wand is regarded by the uninitiated as a mere affectation on the part of the performer, but such is far from being the case. Its uses are legion. in addition to the prestige derived from the traditional properties of the wand, which has been the mystic emblem of the magician's power from time immemorial, it is absolutely necessary for the successful carrying-out of many experiments, as will be seen in the course of the present work. For instance, having palmed a coin, say in the right hand, you lower that hand and take up the wand, which effectually conceals, in a perfectly natural manner, the presence of the coin. The wand is now passed once or twice over the left hand, which is supposed to contain the coin, and on opening the hand the coin will be found to have vanished. It

construction of others, which can be arranged as required by the ingenuity of the performer. A piece of ½ in. board, 7 in. by 5 in., is covered with green baize, and slightly padded on one side with cotton wool, to prevent injury to any fragile article that may come in contact with it in the course o

shown, is screwed to the board in such a way that it will fold up flush with the same, the whole being when closed under 1 in. in thickness. The frame carrying the network is preven

eyelets for attaching it to the top rail of an ordinary chair by means of two screw eyes or stout pins. To conceal the servante throw a fancy cloth over the back of the chair.

The Wand.—This is a light rod about 15 in. long and ½ in. in diameter, usually of

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will thus be seen that the wand is of the utmost importance, and the tyro cannot do better than make it his first investment.

CHAPTER II

PRINCIPLES OF SLEIGHT OF HAND APPLICABLE TO SMALL OBJECTS

Palming.—The first thing the neophyte will have to do will be to learn palming, i.e., the art of holding small objects, such as coins, balls, nuts, corks, etc., concealed in the hand by a slight contraction of the palm.

Fig. 2. PALMING COIN.

Practice first with a coin. A quarter is the most convenient size and is the coin generally preferred by conjurers, as its milled edge affords a ready grip to the palm. Lay the coin in the right hand as shown in Fig. 2. Then slightly contract the palm by pressing the ball of the thumb inwards, moving the coin about with the forefinger of the left hand until you find it is in a favorable position to be gripped by the fleshy portions of the hand. Continue to practice this until you can safely turn the hand over without any fear of letting the coin fall.

When you can accomplish this with ease, lay the coin on the tips of the second and third finger, steadying it with the thumb as in Fig.~3. Then moving the thumb aside, to the right, bend the fingers, and pass the coin up along the side of the thumb into the palm, which should open to receive it, and where, if you have followed the previous instructions, you will find no difficulty in retaining it.

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Fig. 3. PALMING COIN.

As soon as you can do this with the hand at rest, practice the same movement with the right hand in motion towards the left, as if you really intended to place the coin in that hand. To get this movement perfect, it is advisable to work in front of a mirror. Take the coin in the right hand and actually place it in the left several times; then study to execute the same movement exactly, with the exception that you retain the coin in the right hand by palming.

When appearing to transfer a coin, or any small object, from the right hand into the left, the left hand should rise in a natural manner to receive it. The right hand, in which is the palmed coin, should fall to the side; and the left hand should be closed as if it actually contained the coin, and should be followed by the eyes of the performer. This will have the effect of drawing all eyes in meantime the right hand can drop the coin into the profonde, or otherwise dispose of it as may be necessary for the

qual facility, either in the right or in the left hand.

Le Tourniquet.—This pass is generally known by this name, so I will not depart from its time-honored title. Hold the coin between the fingers and thumb of the left hand (as in Fig. 4), and then appear to take it in the right by passing the thumb under and the fingers over the coin.

that direction, and in the

purpose of the trick.

Let it be distinctly understood once for all that when you desire to draw the attention of the audience in a certain direction you must look fixedly in that direction yourself.

The student who desires to become a finished performer should palm the various objects, with e

When you can hold a coin properly, as described, practice with a small lemon, a watch, or any other objects of similar size. In this case, however, owing to the greater extent of surface, it will not be found necessary to press the object into the palm, but simply to close the fingers round it, in the act of apparently placing it in the left hand.

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Fig. 4.

Under cover of the right hand the coin is allowed to fall into the fingers of the left, where by a slight contraction it may be held between the first and second joints, or it may be allowed to fall into the palm proper. The right hand must be closed and raised as if it really contained the coin, and be followed by the eye of the performer; the left falling to the side, and if necessary dropping the coin into the profonde. This pass should be performed equally well from either hand.

The Finger Palm.—Lay a coin on the fingers as shown in Fig. 5. Then in the act of apparently placing it in the left hand, raise the forefinger slightly, and clip the coin between it and the second finger. The left hand must now close as if it contained the coin, and be followed by the eyes of the performer, while the right hand disposes of the coin as may be necessary.

Fig. 5. THE FINGER PALM.

I will give an illustration of the way in which this sleight can be employed with good effect. Place a candle on the table to your left, and then execute the pass as above described. The thumb of the right hand should now close on the edge of the coin nearest to itself and draw it back a little; and at the same time the candle should be taken from the candlestick between the thumb and fingers of the same hand. (See Fig. 6.) The left hand, which is supposed to contain the coin, should now be held over the candle and opened slowly, the effect to the spectators being that the coin is dissolved into the flame. Both

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hands should at this point be shown back and front, as the coin, owing to its peculiar position, cannot be seen at a short distance. You now take the upper part of the candle in the left hand; then lower the right hand to the opposite end and produce the coin from thence, the effect being that the money is passed through the candle, from one end to the other.

Fig. 6. APPLICATION OF THE FINGER PALM.

The Reverse Palm.—This is one of the most difficult passes, but is exceedingly useful, and will therefore be found to amply repay the student for any time he may spend in its acquisition.

Commence by holding the coin between the first and second fingers and the thumb. (See Fig. 7.) To execute the pass, remove the forefinger, and bring it down over the face of the coin to the bottom; at the same time remove the thumb, and the coin will be found to be held by the first and second fingers at the back of the hand. Practice this first with the hand at rest, then bring the left hand down over the coin with a kind of swoop as if you intended to take it in that hand. In reality, however, while under cover of the left hand the pass is made as described. The left hand is now closed and raised as if it actually contained the coin, while the right hand is seen to be empty.

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Fig. 7. THE REVERSE PALM.

To recover the coin, bend the tips of the fingers round towards the palm, place the thumb on the coin and remove the forefinger, when it will be found an easy matter to pull the coin into the hand with the thumb. This may sound rather intricate, but will be found quite clear if a coin be actually taken in the hand, and the movements executed while reading the instructions.

To give an idea of the value of this pass I will explain two experiments performed by its aid. Make the pass acco struc and will appear empty. The left hand oin through the left

w attention to the left hand, saying you will pass the coin thence into the closed right hand; and while all eyes are looking at the left hand you reverse the

Borrow a coin and have it marked. Then take it between the fingers and thumb of the left hand, as in “Le Tourniquet

rding to the previous in tions, and the right h now makes a movement as if throwing the c

knee, the right hand being immediately lowered under the knee, and the coin produced thence. Again make the pass and extend both hands at arm's length away from the body, the left being closed as if it contained the coin, and the right held open palm towards the audience. Now dra

position of the coin in the right hand, which you forthwith close. It will now be found an easy matter to pass the coin from one hand to the other.

To Change a Coin.—Sometimes, in order to bring about a desired result, it is necessary to change, or in conjurers' parlance to “ring,” a borrowed and marked coin for a substitute of your own. There are many ways of effecting this, but having once mastered the various “palms” the student will readily invent means for himself. The following, however, is the one generally adopted by conjurers:

”, having previously secreted the substitute in the palm of the right. Now take the coin in the right hand, and in doing so drop the substitute into the palm of the left, which you immediately close, and remark, “You have all seen me take the coin visibly from the left hand. I will now make it return invisibly.” Saying this, you appear to throw the coin into the left hand, really palming it, and showing your own, which everyone takes to be the original borrowed one. You now proceed with the trick in question, disposing of the marked coin as may be necessary.

CHAPTER III

219

TRICKS WITH COINS

Magic Production of a Coin.—Come forward with a coin palmed in the right hand. Draw attention to the left hand, showing it back and front as empty, and, as if in illustration of what you say, give the palm a smart slap with the right hand, leaving the coin behind, and slightly contracting the fingers so as to retain it; now show the right hand empty, pulling up the sleeve with the left hand which masks the presence of the coin, then close the left, and after one or two passes over it with the right hand, produce the coin.

The Wandering Coin.—Sh the forefinger and thumb of ow a coin, holding it between the left hand, and pulling up the left sleeve with the right hand. Change the coin over to the right hand, and pull up the right sleeve with the left hand. Do this two or three times. Finally, when appearing to take the coin from the left hand, push it back behind the fingers, and with the right hand appear to rub it into the left elbow; this brings the left hand close to the collar, into which you drop the coin. (See “The Dress.”)

When performing this sleight myself, I make believe to pass the coin from the elbow up into the left hand, then, without showing it, appear to throw it into the air, and remark: “I dare say, Ladies and Gentlemen, you will have noticed that on all coins of the realm there is on one side a lady, and on the other side a gentleman” (this is not strictly correct, but it is near enough for the purpose). “You will now notice that the lady has eloped with the gentleman, and that they are on a honeymoon, round the room; but they are coming back, and are now within a yard of my fingers, and they are getting nearer and nearer.” I now extend the right hand, make a catch at an imaginary coin, and continue: “Yes, I have it here” (my hand is really empty), “but before showing it to you I propose to do something else with it; I will pass it invisibly along my sleeve and produce it from the collar.” Then, taking the piece from the collar, remark: “You see I had collared the coin securely.”

kind of pocket, and will readily slip

en placed in the flame of a candle vanishes entirely, leaving no

A New Coin Fold.—Take a piece of paper 4 in. by 5 in., place a coin on it and fold the top of the paper down over the coin to within 1 in. of the bottom. Then fold the right hand side of the paper under the coin, treating the left hand side in a similar way. You must now fold the bottom 1 in. of the paper under the coin and you will, apparently, have wrapped it securely in the paper; but really it is in a out into either hand at pleasure.

Allow several persons in the audience to feel the coin through the paper, then take it from the left hand to the right, letting the coin slip out into the left hand, which picks up a plate from the table. You now burn the paper in the flame of a candle, and, dropping the ashes on the plate the coin is found to have disappeared.

A pretty effect can be obtained if, instead of using a piece of ordinary paper for the above, you make use of a piece of “flash” paper, which wh

trace behind.

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Coin and Candle.—Repeat the last trick, using “flash” paper for the same and dispensing with the plate. Wh flame of the candle, stand with the left hand, which con t lappet of your coat. After

s your audience as follows: “Ladies and Gentlemen, I am indebted to a friend

and telling me

the

up to this point no duplicate coins have been used, nor

en about to burn the paper in thetains the coin, holding the righ

the flash show the hand empty, then take hold of the right lappet of the coat with the right hand, and in doing so let the coin drop from the left hand into it. The left hand immediately takes hold of the left lapel, and both hands pull the coat open as if to show that the coin is not concealed there. It is now a simple matter, but very effective, to lower the right hand over the candle and produce the coin apparently from the flame.

An Artful Conjurer.—Take a coin between the forefinger and thumb of the right hand and addresof mine for this trick. He was a very artful conjurer and always told me that he placed the coin in his left hand” (make a motion as if doing so, but really lower the coin behind the last three fingers of the right hand), “but he did nothing of the kind; he simply hid it behind those three fingers” (show coin). “Then with a sweep of the arms, when he thought I was not looking, he would quickly place the coin under his arm” (twist the hands round rapidly and then appear to place the coin under the left arm, but really palm it in the right hand), “all the time directing my attention to the left hand, the coin was there; but of course that hand is perfectly empty, inside and out” (to illustrate what you are saying you give the palm a smart slap with the right hand, leaving the coin behind), “the coin really being under the arm. So it is when he does the trick, but not when I do it, as you see the coin is in the left hand the whole of the time.”

The above, as a sleight of hand feat, is, to my idea, perfect, and never fails, when neatly performed, to gain tremendous applause. Robbed of its patter, however, it would scarcely produce any effect.

The Invisible Flight.—Hold the coin between the fingers and thumb of the left hand, looking at it yourself. From this position appear to take it in the right hand by passing the thumb under and the fingers over the coin. The coin is really allowed to drop intofingers of the left hand, which contract slightly so as to retain it; the right hand is closed as if it really contained the coin and is followed by the eyes of the performer. The palm of the left hand can now be shown casually, when it will appear empty, the coin being held between the first and second joints of the fingers, which are slightly curled. The left hand is now closed and the piece is then slowly opened, disclosing the coin lying on the palm.

The reader will have noticed thathas it been necessary to exchange one coin for another. This forms what may be termed legitimate sleight of hand, and is to be recommended; but sometimes for the sake of effect it is really necessary to use a duplicate coin, and I will now mention one or two instances.

For the following tricks a duplicate coin is prepared with a very small hook attached to one side about ¼ in. from its edge. This coin is placed in the performer's right vest pocket, and is obtained by means of the following trick.

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Vanish for Duplicate.—Holding the coin you have been using in your right hand, you appear to place it in the left; instead of doing so, however, you palm it. Close the left hand as if it contained the coin, and then say that you will pass it from that hand into your waistcoat pocket; show the hand empty and then with the same hand take the duplicate coin from the pocket. The other coin, you will remember, remains palmed in the right hand.

To Pass a Coin Through the Body.—In continuation of the preceding trick you place the left hand (holding the hooked coin) behind the body and attach the coin to the

All that remains for you to do now is to make believe, in the most dramatic manner

se the one on your back when picking it up.

from your back and hold it between the forefinger and thumb of the left hand, from which

aving, without apparent design, shown both hands empty, with the exception of the piece you are using.

eadiness on a plate. One of the lemons has a slit cut in it, into which you insert the coin you have carried off. Coming

back between the shoulders, remarking: “I shall next undertake a very difficult experiment, which consists in passing the coin right through my body, commencing from behind, up into my left hand” (as you say this you extend the hand closed). Someone is almost sure to remark that the coin may be in the hand already, to which you reply: “Pardon me, no, I would not deceive you by so mean an expedient. See, the left hand is perfectly empty. If you prefer it I will use the other hand, which is also quite empty.” You should have been holding the right hand, in which is the palmed coin, well extended and open, with the back towards the audience. The right will in nine cases out of ten be chosen, but should you be called upon to use the left you will have recourse to the method employed in the “Magical Production of Coin” at the head of this chapter, to get the coin into the left hand. Should the right hand be chosen, you may, with some caution, remark: “Well, it's just as well as to have the right one, but still I left it to you.”

possible, that the coin is traveling up the body, along the arm, and into the chosen hand, whence you let it fall on to a table or chair. Should the coin fall on the ground, you will be careful not to expo

Swallowing Illusions.—Having secured the coin again, appear to place it in the mouth, palming it, and producing it from the bottom of the vest. Repeat this pass, and remark: “This time, by way of variation, we will stop the coin when it gets half way down and give it a sharp push” (strike your chest rather violently with both hands), “which will have the effect of sending it right through the body again.” You now turn round and show the coin sticking on your back.

Coin and Lemons.—Still keeping the coin palmed from the last trick, remove the one

you take it as in the “Invisible Flight.” This time, however, you do actually take it with the right hand, and at the same time let fall from the right hand the coin concealed therein. The left hand now contains a coin, but will be thought to be empty. This movement is employed here to satisfy the spectators that you are working with one coin only, you h

You now lay the hooked coin down on the table and go behind the scenes for three lemons and a knife, which have been placed there in r

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forward with the lemons on the plate, you force the choice of the one with the coin in the following manner: “Ladies and Gentlemen, I have here three lemons. I only require one for the purpose of my trick and I will ask you to decide which it shall be. Which of the three do you prefer, the right or the left, or the one behind?” (The one behind is the prepared one.) If the one behind is chosen take it and proceed. If the right or the left is chosen throw it to the person making the selection, with the remark, “Thank you, I hope you will find it sweet.” You will now have two left and you continue: “I have now only

assistant, “Bring me those lemons, please.” In drawing attention to the fruit it is perfectly natural

e coin and held away from the body. The right hand pulls back the sleeve slightly as if to show that the coin has

coin, have the outside pocket made communicating with an inside one on the same side of the coat; when, having shown the

this trick you will require a quarter and a dime, also a champagne tumbler with a thick bottom. You prepare for the trick by palming a quarter in

two lemons. Which one shall I take, the right or the left?” If the prepared one is chosen take it and proceed with the trick. If the other one is chosen take it with the remark: “Very good, then I will use the one that remains for the purpose of the trick.”

You now force the knife into the lemon, inserting it in the slit already made, and give it to someone to hold high in the air. Now pick up the coin from the table and vanish it by one or other of the means already described (a good method is given in the next trick), and then have the fruit cut open and the coin disclosed.

The above form of ambiguous questioning can be used in any trick where it is essential that a particular article be chosen.

You can avoid going behind the scenes by adopting the following ruse: Go to the wing, and, extending your hand, in which is the coin, behind it, call out loudly to your

for you to extend your hand behind the wing and thus dispose of the coin.

The Pocket Vanish.—Take a coin in the right hand and make believe to place it in the left, really palming it. The left hand is closed as if it contained th

not been vanished in that direction. This movement brings the right hand over the outside breast pocket of the coat, into which the coin is allowed to fall unperceived. The coin is now vanished from the left hand in the orthodox manner and both hands are shown empty.

Should you desire to regain possession of the

right hand unmistakably empty, you produce the coin thence, in a magical manner.

The preceding list of coin tricks has been arranged in combination, the one to follow the other in a natural manner, for an entertainment, as actually presented to an audience. I cannot, however, leave the subject of coin tricks without making mention of several other very deceptive experiments, which will doubtless be new to the majority of my readers.

Quarter vs. Dime.—For

the left hand and showing a dime in I the right. Appear to place the dime in the left hand, really palming it, and picking up the tumbler with the same hand. Stand the bottom of the tumbler on the supposed dime in the left hand, which you have been careful not to let

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anyone see, and then draw the attention of the bystanders to the appearance of the coin as seen through the bottom; owing to the thick glass it will appear the same size as the dime, which everyone believes it to be. Now place the whole on the table and undertake to change the coin while still under the tumbler. This is a simple matter, as you have only to raise the tumbler and expose the quarter.

To Pass a Coin into an Ordinary Matchbox held by One of the Spectators.—Prepare a matchbox as follows: Push open the sliding portion about 1 in. Then fix between the top of the slide and the back end of the box a coin, the greater part of which is overhanging the box, the whole being out of sight of the casual observer. Arranged thus, give the box to someone to hold with instructions that when you count three the box

ee!” when, acting according to your instructions, the person will close the box, and the coin will be heard to fall inside.

Cone.—This very pretty and amusing table trick consists in causing a coin placed under a wine-glass, the whole being covered with a

y cut away the paper close to the glass. Obtain a Japanese tray and on it lay a large sheet of paper similar

the glass, being the same color as that on the tray, effectually conceals the coin. To cause it to reappear you replace the cone and carry away the glass under it. This can

st the coin more than white.

Obtain a small metal box large enough to contain half a dozen coins of the kind you

is to be closed smartly. This will have the effect of jerking the coin into the box.

You now take a duplicate coin and vanish it by means of the “Pocket Vanish,” or any other convenient method, counting “One! two! thr

Coin, Wine-glass, and Paper

paper cone, to disappear and return as often as desired.

The following arrangements are necessary: Take a wine-glass, and, having placed a little gum all round its edge, turn it over on a sheet of white paper, and when dr

to that covering the mouth of the glass, and stand the glass, mouth downwards, on it. Make a paper cone to fit over the glass and you are ready to present the illusion.

Borrow a dime and lay it on the large sheet of paper by the side of the wine-glass; cover the glass with the paper cone, and place the whole over the coin. Command the dime to disappear, and on removing the cone it will seem to have done so, as the paper over the mouth of

be repeated as often as desired.

To make the experiment more effective, use colored paper, which shows up again

Coins, Hat, and Plate.—In this experiment a number of borrowed and marked coins are passed invisibly into a hat covered with a plate.

intend to use. This box should be enameled white and have an opening in one side large enough for the coins to pass through. A common pill-box would answer the purpose, but a metal one is preferable. Place a little wax on the top of the box and leave it, with the plate, on a table at the rear of the stage. Borrow a silk hat, which leave on your table. Then obtain the loan of six marked coins, which you change for six of your own, as you

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go back to the stage. Drop the latter coins into a tumbler, or lay them in some other conspicuous position on the table, and go to the rear of the stage for the plate. Introduce the marked coins into the box, and attach it by means of the wax to the under side of the plate. Come forward, and having shown the hat to be quite empty, place the plate over it, being careful to note the position of the hole in the side of the box.

You now take the coins from the glass and appear to place them in the left hand, really palming them in the right, which forthwith drops them into a little box containing sawdust placed on the servante. The coins are retained in the right hand by a slight contraction of the fingers, as in “The Invisible Flight.” They should be held in the hand at the base of the thumb and jerked into position in the act of apparently passing them from one hand to the other. The pass called “Le Tourniquet” is a better one for a number of coins. The noise of the coins as they fall into the hand is quite natural, as it would be

ard to fall inside.

e Ball of Wool.—For this very surprising trick you will require to make the following preparations: Procure a tumbler

almost impossible to actually take them in silence. Now pick up the hat with the right hand, holding it at arm's length; vanish the money from the left hand in the usual way, at the same time tilting the hat slightly in the right direction, when the coins will be he

To Vanish a Marked Coin from a Tumbler and Cause it to appear in a Small Box, wrapped in Paper in the Center of a Larg

having a slit cut flush with, and parallel to, the bottom, which should be flat. The opening should be just large enough to allow a quarter dropped into the tumbler to slip through into your hand. (See Fig. 8.)

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Fig. 8.

PREPARED TUMBLER.

Obtain a small metal box large enough to take the coin easily, also a flat tin tube about 3 in. long and just wide enough for the quarter to slide through it. Place one end of this tube inside the box and close the lid on it, keeping it in position by passing an elastic band over the box. You now wrap the box in paper and wind a quantity of wool round it until you get a large ball with the end of the tube projecting about 1 in. Place the ball thus prepared on a table at the rear of the stage and you are ready to perform.

Show the tumbler, and draw attention to the fact that it is an ordinary one by filling it with water from a jug, which can be done by placing the forefinger round the slit. Return the water to the jug and borrow a quarter, which has been marked by the owner, allowing him to actually drop it into the glass. Cover the tumbler with a handkerchief, shaking it continually to prove that the coin is still there, and then place it down on your table, securing the coin through the slit as you do so. Going to the back of the stage for the ball of wool, you insert the coin into the tube and withdraw the latter, when the action of the elastic band closes the box. Bring the ball forward in a large glass basin and have the wool unwound, disclosing the box; on this being opened the marked coin will be found within.

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To Vanish a Number of Coins from a Plate in a Sheet of Flames.—Place a tea-plate near the rear edge of your table, and a sheet of “flash” paper, large enough to cover the plate, in front of it. You must also have another plate on the servante and you are then ready to commence.

After performing any trick in which a number of coins have been used, throw them on the plate, carelessly dropping several on the table. Take up the plate in one hand and the piece of paper in the other, and holding the plate just behind the table, and over that on the servante, apparently sweep the loose coins on to the plate you are holding, really letting all fall on the hidden one, under cover of the paper, which you immediately place over the plate in your hand.

Everyone will now suppose the money to be on the plate which, with studied carelessness, you bring forward just over the flame of a candle burning on the table. The paper ignites and disappears in a sheet of flame, and the plate is found empty.

Programme and Coin.—The effect of this experiment, which is an improvement on the old “programme and ring” trick, as no stage assistant is required, is as follows: The performer borrows a marked quarter from a stranger in the audience, immediately handing it to a gentleman to examine the mark, date, and other items. While this is being done the performer obtains the loan of a programme, which he tears in half, laying one half on his table. The gentleman is now requested to place the quarter in the half of the programme held by the performer, who wraps it up and gives it to him to hold. He now goes to his table for a piece of sealing wax, which he passes several times over, the packet held by the gentleman, when immediately it is found transformed into a packet of three envelopes, made from the programme, all gummed and sealed one inside the other, with marked quarter in the smallest one. entleman cannot see how it is done the performer repeats the trick for h half of the programme, but the result is the same. This time, however, the gentleman is requested to take the last

ing to find it, he very naturally begins to count those in his hand, when he discovers to his astonishment

As the gis benefit with the other

envelope to the owner of the coin, that he may open it and satisfy himself that it actually contains his own quarter.

The six envelopes are now rolled up and given to the gentleman to hand to the lady, to keep as a souvenir of the entertainment, but before he has proceeded far the performer tells him he has dropped one of them (he has not really done so), and, fail

that he holds the programme restored.

Explanation.—After the performer has borrowed the quarter in the act of handing it to the gentleman for examination, he adroitly changes it for one of his own bearing the mark of the cross, which mark is of course taken for that of the owner of the coin. The performer now asks for the loan of a programme, and while one is being procured he drops the actual borrowed coin into the smallest of the three envelopes which are placed one inside the other in the right profonde. To facilitate the introduction of the coin a tin tube, with a rather wide mouth, just large enough for the coin to pass through, is placed in the smallest

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envelope. After the coin has been introduced this tube is withdrawn, left in the pocket, and the envelopes closed.

Fig. 9.

PACKET OF THREE ENVELOPES.

The flaps of the envelopes are sealed with wax beforehand and prepared with best gum arabic, which is allowed to dry hard. They are moistened with the tongue just as you are about to commence the trick, and if cut as in Fig. 9, can be closed all together while in the pocket. This packet is laid on the table under cover of the half of the programme used in the second stage of the trick.

To commence the trick the performer palms a similar packet of envelopes containing another quarter marked in exactly the same way as the one he handed to the gentleman, and, it is hardly necessary to remark, being of the same appearance, and bearing the same date. When rolling up the programme the performer retains it and hands the gentleman the packet of envelopes; and when going to his table for the wax leaves the half of the programme and the quarter thereon. By the time the first quarter is taken from the envelopes the packet containing the actual borrowed coin will be dry and ready for use.

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The remaining portion of the trick will now be understood. When the performer goes for the other half of the programme he takes the packet of envelopes with it and substitutes it as before, and the trick proceeds as described. When collecting the six envelopes for the final effect the performer palms a duplicate programme which has been lying on his table behind some object, and substitutes this as before when handing the gentleman the envelopes to take to the lady.

Providing you cannot obtain a programme in time to make up the envelopes for the entertainment, the trick can be performed with the cover of say Tit Bits. Purchase three copies of the same date, one for the envelopes, one for the subsequent restoration, and the other to “plant” with a stranger in the audience, who, however, need know nothing of the trick other than that he is to hand you the cover of the paper when requested.

CHAPTER IV

TRICKS WITH HANDKERCHIEFS

Peregrinations of a Handkerchief.—For the following series of experiments you will require three 15 in. silk handkerchiefs (the best material for making these is fine quality sarcenet), an ordinary small sliding match-box, a candle in a candlestick, and a conjuring wand; also a false finger and conjuring pistol, hereafter described.

You prepare for the series of tricks by rolling up one of the handkerchiefs very small and pushing it into the back of the match-box, which you open about 1 in. for the purpose; another is rolled up and placed behind the collar on the left hand side of the neck; and the last is loaded into the false finger and placed in the right hand trousers pocket. You are now ready to commence.

Handkerchief and Candle.—“Ladies ntlemen, the following experiment was suggested to me at the age ry. I then learned that all matter was indestructible. Proof of this, as you are well aware, is afforded with an

Pick up the match-box and light the candle; then close the box, pushing the handkerchief

Saying this, you place the candle in the left hand and immediately produce the

and Ge of twelve while studying chemist

ordinary candle. You may light the candle at one end and let it burn to the other, but you do not destroy the matter of which it is composed. What really takes place is the formation of new substances, as hydrogen, carbon, water, etc., which any of the text books on chemistry will explain. I will, however, give you one striking illustration:”

into the right hand, and throw it down on the table. Take the candle from the candlestick and place it in the right hand, which masks the presence of the handkerchief. You now appear to take something from the flame of the candle with the left hand, which you close as if it really contained an article. Open the hand slowly, looking surprised to find you have failed, and remark: “Well—really I cannot understand this. I am generally successful with this trick. Oh! I know what is the matter. You see, I am using the left hand; if you do things left-handed they cannot possibly be right. I will try the right hand.”

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handkerchief from the flame with the right, closing the hand as before. It now only remains for you to open the hand and develop the silk slowly.

To Vanish a Handkerchief and Produce it from your Collar.—Place your wand under your left arm. Take the handkerchief and roll it up small, using both hands. Affect to place the handkerchief in the left hand, really palming it in the right, and take your wand from under the arm in the same hand. Vanish the handkerchief from the left hand,

loan of the outside breast pocket of his coat. Much fun is generally used by his removing his own pocket handkerchief and sundry ot Place both handkerchiefs, which have all the time remained in the right hand, to be using one only), and stand as far away as the limits of the stage will allow, andsay:—“Now, sir, do kerchief from your pocket without coming a step robably look

w take the handkerchief from his pocket, where, unknown to the spectators and probably the

To Fire a Handkerchief into a Gentleman's Hair.—For the purpose of this trick

and take the one from your collar, immediately placing it in the right hand to mask the presence of the one already there, and lay the wand down on the table.

To Pass a Handkerchief into the Pocket of a Spectator.—Obtain the assistance of a young gentleman from the audience, and ask him to let you have the

her curious articles. in his pocket (you, of course, are supposed

you think it possible for me to remove the hand

nearer to you than I am at present?” He will pconfused, and hardly know whether to say Yes or No. Whatever he may say is all the same to you, and you remark:—“My dear sir, do not look like that; your face is calculated to upset me altogether. I scarcely know what I am doing. What I really intended to do was to pass the handkerchief from my hands into your pocket.” You no

gentleman himself, one still remains. You will now vanish the handkerchief as in the last trick, and let the gentleman take the one from his pocket, which will seem to be the same. Take the handkerchief from him, place it in the right hand, which again conceals the one in the palm, and lay the wand down on the table.

you will have to make use of what is known as a conjuring pistol, which, being in constant use in magical surprises, I will describe. It consists of an ordinary pistol fitted with a conical tin tube 8 in. long. The mouth of this tube is about 2 in. in diameter and is supplied with a tin cup 1 in. deep, having its outer edge turned over all round so as to afford a ready grip to the palm. The conical tube is fitted with an inner tube to keep it firm on the barrel of the pistol. (See Fig. 10.)

Fig. 10. CONJURING PISTOL.

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Taking up the pistol, you place the two handkerchiefs, which look like one. in the cup; push them well down and remark:—“I shall now fire direct at the gentleman's head, and after the shot the handkerchief will be found firmly embedded in his hair, and will, not

ng the pistol you will, of course, stand with your right side to the audience.

unlikely, be seen protruding from each of his ears. It just depends on the force of the shot, you know, and I need hardly say I loaded the pistol myself, and am totally ignorant of fire-arms. Are you ready, sir? then Good-bye!” Place the “muzzle” of the pistol in the left hand while you shake hands with the gentleman. In taking the pistol back into the right hand to fire it, you leave the cup behind in the left hand, and at the instant you pull the trigger, you drop it into your pocket on the left side. When dischargi

You now ask the gentleman to take the handkerchief from his hair, telling him it is just behind his left ear (of course it is not really there); and while he is trying to find it you stand with your hands in your trousers pockets, telling him to make haste, you cannot wait all the evening, etc. When he has tried some time and failed to find it you take your hands from your pockets, having got the false finger into position between the second and third fingers. Showing the hands back and front (the addition of an extra finger will not be noticed), you pass them several times over the head of the gentleman, then lowering the hands on to his head you detach the finger and draw out the handkerchief. The false finger is laid down on the table under cover of the handkerchief.

Fig. 11. FALSE FINGER.

The finger is made of thin spun brass painted flesh color; it is quite hollow from tip to root, and is shaped for fitting between the second and third fingers (see Fig. 11). It can be used in many tricks with handkerchiefs, and is really an indispensable accessory.

This concludes the series alluded to in the beginning of this chapter. I will now describe a number of handkerchief tricks complete in themselves.

The Handkerchief Cabinet.—This very useful piece of apparatus should be in the repertoire of every amateur magician, as it is available for producing, changing, or vanishing a handkerchief. Its secret lies in the fact that it contains two drawers, bottom to bottom, the lower one being hidden by a sliding panel. When standing on the table the top drawer only is visible, and the cabinet looks the picture of innocence, but if turned over and stood on its opposite end the sliding panel falls, exposing the hidden drawer, and hiding that which for the time being is at the bottom (see Fig. 12). The cabinet is about 2 in. square by 4 in. high.

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Fig. 12.

HANDKERCHIEF CABINET.

If required for production you proceed as follows:—Having placed a silk handkerchief in the concealed drawer, introduce the cabinet, take out the empty drawer, and give it for

cabinet; then taking a white one, have it deposited in the upper drawer, turn over the cabinet as before, pull out the now uppermost drawer, and produce the red handkerchief.

examination. Replace the drawer, secretly turn over the cabinet, and place it on your table.

You now go through any form of incantation you please, open the drawer and take out the handkerchief.

If you desire to vanish a handkerchief you will have it placed in the drawer by one of the spectators, and while going to the table turn over the box. When the drawer is opened the handkerchief will have disappeared.

Should you wish to change one handkerchief for another you will beforehand conceal say a red handkerchief in the

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From the foregoing description it will be obvious that the cabinet is capable of being used in conjunction with many tricks.

The Handkerchief Vanisher.—One of the best appliances for causing the disappearance of a handkerchief may be made from a small celluloid ball as follows:—Obtain a ball 1¾ in. in diameter, which will take three small silk handkerchiefs if desired, and cut a 1 in. hole in any part of its surface. On the side of the ball opposite the opening fix a loop of flesh-colored thread, long enough to pass easily over the thumb, and to suspend the ball on the back of the hand so that it does not hang too low.

When required for use the ball is taken up secretly under cover of the handkerchief, and the thumb of the left hand is passed through the loop. Then, while appearing to roll up the handkerchief, it is worked through the opening into the ball, which is instantly pushed over to the back of the left hand under cover of the right. The palms of the hands are now shown empty, when the handkerchief will seem to have vanished entirely. When using the vanisher you will, of course, stand with your right side to the audience.

It is well to be provided with two or three of these accessories, in different sizes.

Magic Production of Handkerchiefs.—The performer comes on the stage showing both hands empty, back and front. He then pulls up both sleeves and immediately produces a white silk handkerchief, about 18 in. square, which he passes for examination. Then by simply shaking the handkerchief he obtains from it about half a dozen other colored ones about 15 in. square. The colored handkerchiefs are then caused to vanish by simply rolling them up in the hands, being immediately afterwards reproduced, all tied together by the corners, from the white one.

The necessary preparations for slit ½ in. long is made in the seam of the trousers at the right knee, and two of the colored handkerchiefs, each having

rchief, also prepared with a piece of cork, is placed in the front of the vest, the cork protruding through the watch-chain hole. It may seem impossible, but the silk may

ef is contained in the false finger (previously described), which should be placed in the right hand trousers pocket.

the trick are as follows:—A

a minute piece of blackened cork tied to one corner, are pushed into this slit, the corks being left protruding to enable the performer to instantly draw them out. Two handkerchiefs of different colors are placed in the pochette on the left side. A fifth handke

be drawn through this hole very rapidly, and quite easily, as will be found by experiment. A sixth handkerchi

As the handkerchiefs are produced they are thrown over the back of a chair fitted with a network servante (Fig. 1), behind the top rail of which are suspended two vanishers of the kind already described; also the ball of six duplicate handkerchiefs all tied together by the

a piece of silk just strong enough to hold it. It is then placed in the hollow of the arm at the elbow, the arm being slightly bent so as to retain it in that

corners.

The trick is worked as follows:—The white handkerchief is rolled up into a small compass and tied with

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position. When pulling back the sleeves the performer secretly obtains possession of the handkerchief, breaks the thread, and develops it slowly.

ar manner, and throw them over the chair with the two already there. Then take the white handkerchief

m. The other day I overheard two gentlemen conversing in the stalls. One said to the other, ‘Don't you

e other said, ‘Oh! no, they don't. He takes them from his pockets, for I saw him.’” Saying this,

ectively red, yellow, and green. The paper is then unrolled and torn in half, when the white handkerchiefs are found to have vanished entirely.

Having had the handkerchief examined, and while holding it by two corners, spread it over the knee as if drawing attention to the fact that it is empty. Then, in the act of raising it, shaking it the whole of the time, pull the two colored ones through the seams, and while developing these, take the two from the pochette on the left side. Place the white handkerchief in the left hand to conceal the colored ones, and throw the other two over the back of the chair. Now produce the two in the left hand in a simil

by two corners, and, while turning it round, show both sides, seize the piece of cork at the buttonhole of the vest, and produce the fifth handkerchief, throwing both over the back of the chair.

For the production of the last handkerchief a little patter is desirable. “Ladies and gentlemen, I dare say you will wonder where I get these handkerchiefs fro

see where he gets those handkerchiefs from? They come down his sleeve.’ Th

you thrust the hands into the pockets by way of illustration, and fix the finger in position. Then withdraw the hands, placing the palms together, and continue: “Now, I wish to prove to you that both of these gentlemen are wrong. If the handkerchief comes down the sleeve, you will be sure to see it. My hands are perfectly empty” (show hands). “Now watch closely and see if you can detect me.” You now bring the hands together, reverse the finger, and shake out the handkerchief; and, when laying it with the others on the chair, drop the finger into the servante.

To cause the disappearance of the handkerchiefs, proceed as follows: Take up three of the colored ones, at the same time secretly obtaining one of the vanishers, and, with an up-and-down motion of the hands, work them into the ball. Then pass the ball to the back of the hand and show the palms empty.

When taking up the other three handkerchiefs, drop the vanisher into the servante, secure the other one, and proceed as before. Then take up the white handkerchief again, disposing of the vanisher into the servante, and securing the ball of six tied together. Finally wave the white handkerchief up and down, and gradually work out the colored ones, one after another.

Color-changing Handkerchiefs.—The effect of this trick, which is one of the best in the whole category of sleight-of-hand feats, is as follows: Three white handkerchiefs are pushed into a paper tube, and as they come out at the opposite ends they are seen to be dyed resp

To perform the trick you must be provided with a piece of drawing paper 10 in. by 8 in. (a leaf from a plain drawing-book will answer the purpose admirably), three very fine

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white silk handkerchiefs 15 in. square, and three colored ones of the same size and texture. The last of the colored handkerchiefs to appear at the end of the tube is prepared as follows:—Take a piece of 1¼ in. brass tubing, 3 in. long, and insert it in the middle of one side of the handkerchief (Fig. 13), by covering it with a piece of silk of the same color. This piece of silk is extended beyond the tube, as shown, to form a kind of pocket.

Fig. 13. HANDKERCHIEF FITTED WITH BRASS TUBE.

To prepare for the trick push the body of the handkerchief into the brass tube at the end A, and the other two colored ones on the top of it. The piece of paper is laid on the table with the tube of handkerchiefs under its rear edge. The three white handkerchiefs are then laid across the paper.

To perform the trick stand on the left of your table and take up the paper with the right hand, the left hand keeping the white handkerchiefs in front of the tube of colored ones. Draw attention to the fact that the paper is unprepared, then lay it on the table in such a manner that it again conceals the tube, and take up the white handkerchiefs. Show the handkerchiefs, remarking that they are of the ordinary description, and then lay them on the table. Pick up the paper, and with it the colored handkerchiefs, which are held behind it with the thumb of the right hand.

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You now form the paper into a tube round the colored handkerchiefs and hold it in the left hand. Pick up the white handkerchiefs one at a time, place them in the left hand with the tube, and remark:—“I will now pass the white handkerchiefs through the cylinder, first, however, showing you that it is perfectly empty.” As you say this you take the handkerchiefs in the right hand, and as if to illustrate what you say, place them near the mouth of the tube. This gives you the opportunity of dropping the colored handkerchiefs into the white ones. The cylinder is now shown empty, and the white handkerchiefs are pushed into one end of it; care being taken to introduce the colored ones first, and to keep them out of sight of the audience. You now grasp the brass tube tightly through the paper and press the white handkerchiefs into it. This, of course, pushes out the colored handkerchiefs, which appear at the other end of the cylinder, the white ones being concealed in the body of the last colored one.

When performing the trick it, is necessary to be careful to insert the right end of the brass tube into the paper cylinder, otherwise the experiment would not be successful.

The following is the method of presenting the above trick, with appropriate “patter”:

“For the purpose of my next experiment I shall make use of this square-looking piece of paper, in which you can see there is nothing concealed, not even a trap door. Well, if there was anything concealed from your view, you would be sure to see it.” Laying the paper down and taking up the handkerchiefs, you continue. “In addition to the paper, I propose to make use of these three pieces of silk, or silk in pieces, commonly known as art white squares. I am afraid, however, some people would prefer to call them subdued white; possibly dirty white, if it were not for the liberty of the thing, but I know they call them art white in State Street, because I suppose they find that they sell better.”

Laying the handkerchiefs down, you take up the paper with the tube behind it, and, prior to forming the cylinder, remark:—“This experiment was suggested to me while traveling on the N. Y. C. & H. R. railway. I always travel by that line when possible, being very fond of scenery. The oth retu from New York City to Schenectady; a y linen changed

tinue—“There it is, as free from deception as I am. I will now take

t.”

er day I had occasion to take a rn singlend while passing through those tunnels I noticed that m

color considerably, which suggested to me this illustration. With the piece of paper I will form a kind of tube or tunnel to represent for the time being one of those cavities on the N. Y. Central railway.”

Make the tube and conthe handkerchiefs” (take up the handkerchiefs from the table) “and pass them through the cylinder” (drop the colored handkerchiefs into the white ones and show the tube empty), “first, however, showing you that it is perfectly empty. Then, having satisfied you that there are no trains on the line, I will pass the handkerchiefs through the tunnel.”

As the colored handkerchiefs appear at the opposite end of the tube, remark:—“I may say that I have been getting my living for some considerable time by conjuring. You will now notice that I am beginning to dye by i

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Mechanical “Pull” for Vanishing a Handkerchief.—The construction of this contrivance is very simple, and it is absolutely instantaneous in its action, the quickest eye being unable, even at close quarters, to detect the flight of the handkerchief.

It consists of two straps, one for each arm, which are buckled on just above the elbows. One of the straps carries what is known to mechanics as a“lazy” pulley, working freely in all directions, and provided with a shield, so that the cord cannot possibly leave the wheel; and the other carries a metal “D” loop. A cord is tied to the “D” loop, passed over the back, round the pulley on the left arm, back again and down the right sleeve; the end of the cord being furnished with a loop to receive a handkerchief. The apparatus must be attached to the arms underneath the shirt, and when in such a position that the arms may be moved about freely, the loop should be in the center of the back, as shown in Fig. 14.

Fig. 14. MECHANICAL “PULL” FOR VANISHING A HANDKERCHIEF.—(a) Leather

Strap; (b) Brass Plate; (c) Pivot; (d) Brass Hinge; (e) Pulley in Shield; (L) Left Arm; (R) Right Arm.

To enable the artiste to obtain possession of this loop, a black thread is passed through it, doubled and carried down the right sleeve, the two ends hanging out of the cuff so as to be readily found by the fingers. Having found the thread, the performer pulls down until the loop appears, which is forthwith passed around the thumb, the thread being broken

ary is to

handkerchief flying up the sleeves and finally occupying a position in the center of the performer's back.

and allowed to fall on the floor. The act of pulling the cord to secure the loop will pull the elbows close to the sides, where they must be kept until the handkerchief is to disappear.

Having placed the handkerchief through the loop, which should be of catgut, as being semi-transparent, push it into the glass tube as described in the next trick, and place the hands one over each end. To cause the handkerchief to disappear all that is necessmove the elbows away from the sides while making a quick up and down motion with the glass cylinder, slightly lifting the base of the right hand from the edge of the glass to allow the silk to pass up the sleeve. In moving the elbows away from the sides a pull of from 3ft. to 4ft. is put on the cord, the

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The Flying Handkerchief.—This is a very surprising trick, and a favorite with the most noted prestidigitateurs. It depends chiefly for its effect on the “Mechanical Pull” (Fig. 14). For its execution you must be provided with six small silk handkerchiefs (two red, two yellow, and two green), also two glass cylinders of the kind used for gas.

cannot be seen, and, thus prepared, are laid on the table behind the other red handkerchief.

The performer now takes the two remaining handkerchiefs, one yellow and one green, and ties them together, rolling them up to look as near like the duplicate ball as possible. Holding this ball in the right hand, he takes up the red handkerchief, and with it the ball of three. He then takes the red handkerchief in the right hand, passing the ball into the left, and forthwith pushing it into the glass cylinder on the table. Under cover of the red handkerchief, however, the balls are exchanged and that of three is actually placed in the tube.

While going for the other cylinder, which should be on a table at the rear of the stage, the performer has ample time to dispose of the ball of two, and to get down the “pull.” When introducing the cylinder remark:—“You see, Ladies and Gentlemen, that the tubes are of the most ordinary description and perfectly free from preparation; in fact, you can see righ he

the tube on the table, unrolled and s e unaccountable means, the

he cup (as at A).

The idea of the trick is to cause a red silk handkerchief placed in the center of one of the glass tubes, the ends being covered with the hands, to disappear, and be found between a yellow and a green handkerchief previously tied together, rolled up into the shape of a ball, and placed in the other cylinder. It is accomplished thus:—

Three of the handkerchiefs, one of each color, are tied together by the corners, the red being in the center. They are then rolled up into the shape of a ball so that the red one

t through them. I hope you will not be able to see through me quite so easily.” Tred handkerchief is then inserted in the cylinder, being previously passed through the loop, whence it is caused to vanish as described. The handkerchiefs are then taken from

haken out; when, by somred one will appear to have tied itself between the other two.

Brass Tube to Produce, Vanish, or Change a Handkerchief.—This is really an indispensable piece of apparatus and should be in the repertoire of every wizard. It consists of a piece of 1½in. brass tubing, 4 in. long, with two caps of the same metal to close the ends. A handkerchief is inserted in the tube and the caps are immediately placed on; but notwithstanding this, the handkerchief disappears, or can be changed to another of a different color.

The apparatus really consists of four pieces, the tube and the two caps, with the addition of a cup, 1 in. deep, made to fit easily into either end of the tube, and provided with a flange as in the magic pistol already described, to enable the performer to palm it off (see Fig. 15). The cup is not provided with a bottom, but is fitted with a piece of ¾ in. tape fixed at each side, in the center of the tube, in such a manner that a loop hangs down flush with, and forming a bottom common to, either end of t

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Fig. 15. BRASS TUBE FOR HANDKERCHIEF TRICKS.

I will explain the method employed in changing say a white handkerchief for a red one

ver the cup; and fit the cap to the opposite end. Turn over the tube, and

cup as you do so; and, while holding the tube in the same hand, to hide the palm,

disappearance of the white handkerchief you may remark: “Oh, I dare

after which the other uses of the tube will be apparent. Load a red handkerchief into the cup at the end A, and place it under your vest, or in the right-hand trousers pocket. Give the tube and caps for examination, and while they are out of your hands, get possession of the cup and palm it in your right hand. Take back the tube with the left hand, pass it into the right, and owith the right hand apparently place the white handkerchief into it (the handkerchief really goes into the cup and pushes the red one into the tube, reversing the tape). Now place the right hand over the cup, reverse the tube, and remark:—

“As the cap has been on this end the whole of the time, it has not been possible for the handkerchief to escape in that direction. We will now place a cap on the opposite end of the tube and we have the handkerchief secure.” Saying this, you reverse the tube, palming off thefit on the cap. Give the tube to someone to hold and drop the cup into the profonde, or otherwise dispose of it at the earliest opportunity. On removing the caps the handkerchief will be found to have changed color.

At this point a good combination trick can be worked by the use of two duplicate handkerchiefs, as follows: Have a duplicate red handkerchief hanging over a chair, on the back of which is suspended a network servante. Another duplicate white handkerchief should be in readiness in the back of a match-box for producing from the flame of a candle, as previously described.

When handing the gentleman the tube which is supposed to contain the white handkerchief, you take up the red one from the back of the chair, and at the same time dispose of the palmed cup by dropping it into the servante. The red handkerchief is now vanished by sleight of hand, or can be fired from the magic pistol, and eventually found in the brass tube.

To account for thesay the white handkerchief has jumped out of the tube to make room for the red one. It has probably found its way into the candle on the table.” To conclude the trick you light the candle and produce the handkerchief from the flame.

The tube can be used in many ways in combination with other tricks, but I must leave these to the ingenuity of the performer.

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CHAPTER V

TRICKS WITH BALLS

Creation, Manipulation, Multiplication, and Annihilation of Billiard Balls.—For the series of tr lliard bal and a case to contain one of the balls, consisting of two hemispheres of thin spun brass hinged

the ball from the back ll into the right hand,

icks hereafter described, you will require two solid bi ls

together. When closed this case will represent a solid ball, but when open and held in the hand with thumb over the hinge, will appear as two balls. The balls, together with the case, should be enameled red. When about to present the trick, come forward with the case containing a solid ball in the left breast pocket and the other solid ball under the left armpit.

Creation.—Pull up the right sleeve and then the left one, which gives you the opportunity of taking the ball in the right hand unperceived. You now execute what is known as the “Change-over Palm” to show both hands empty, and then produce of the right hand. This palm is made as follows: Having got the badraw attention to the left with the fingers of the right, showing it back and front. When doing this you will be standing with your right side towards the audience. Now make a sharp half-turn to the right and show the right hand in the same manner. This you will be able to do, as when making the turn the palms of the hands very naturally passed over each other, and the ball was transferred from the palm of the right hand to that of the left.

The ball is now found on the back of the right hand.

Manipulation.—The amount of manipulation possible with a single ball is considerable, and limited only by the dexterity of the performer. The principles of sleight of hand as described in Chapter II will, with few exceptions, be found equally adaptable to this branch of the mystic art. For the benefit, however, of those of my readers who have not hitherto made sleight of hand a study, I append a few examples.

1. Having obtained the ball from the back of the right hand, place it between the forefingers (as in Fig. 16). Then twist the fingers round and round, which will cause the ball to revolve with them. This produces a very pleasing and puzzling effect, and is to all appearances a feat of dexterity. It requires, however, a little practice.

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Fig. 16. REVOLVING BALL.

2. Close the right hand and place the ball on the top (as in Fig. 17). From this position appear to take it in the left hand, really allowing it to sink down into the palm of the right, where it is retained. Vanish the ball from the left hand in the usual manner and produce it from the left elbow.

Fig. 17. BALL IN POSITION ON RIGHT HAND.

ck of the hand and the ball produced from the mouth.

4. Place the ball between the teeth and apparently give it a smart rap with the right hand as if to force it into the mouth. The ball, however, is palmed in the right hand, and immediately taken from the back of the head. When producing this ball, pass it up the back and over the top of the head and let it fall into the left hand.

5. Appear to take the ball from the left hand, as in “Le Tourniquet

3. Roll the ball between the palms of the hands as if you were trying to make it smaller. When the left hand is underneath, seem to close it over the ball, really palming it in the right hand. The left hand is now brought down right smartly on the ba

”. Then apparently pass it through the left knee, producing it from underneath.

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6. Throw the ball several times from one hand to the other, and finally, when appearing to throw it into the right hand, palm it in the left. Vanish the ball; place the left hand to the nose, and let the ball fall into the right hand. To all appearance it actually comes from the nose.

7. Stand with the left side to the audience and throw the ball into the air several times. At the third time palm it in the left hand, the effect being that the ball is vanished into thin air. Now perform the “Change-over Palm” described above, and find the ball at the back of the right knee.

8. Apparently transfer the ball from the right hand to the left, really palming it. Place the

ou then blow on the left hand to vanish the ball and show the hand empty.

To regain possession of the ball, all that is necessary is to reverse the motion of the arm, when the ball will find its way into the palm of the hand, and can be produced as fancy suggests.

If the ball is not produced, the above forms an excellent final vanish to any billiard-ball trick.

If used as a vanish, after having gained possession of the ball you stand with the hands one on each lapel of the coat, bow, and retire.

This pass, which I have found practical in every way, was given to me by Mr. George Newman, a very clever amateur conjurer.

The following explanations will to some extent be given in the “vernacular,” it being assumed that the stud

one” (ball in right

palm of the right hand (containing the ball) on the right breast, and thence extend it over in the direction of the left sleeve. In the act of doing this, the ball leaves the palm and is held between the forearm and the body; the hand, turned palm towards the audience, then pulls up the sleeve. Y

ent has become familiar with the various passes.

Multiplication.—You must now obtain possession of the trick ball, which can be done by means of the following ruse: Appear to place the ball in the left hand, vanish, and take it from the left breast pocket. In doing so you take out the trick ball, leaving the solid one behind.

For two balls: Take the trick ball in the left hand, and, waving the hand up and down, open the shell, placing the thumb over the joint, when you will appear to have two balls in the left hand. To show these as two solid balls, one in each hand, take the ball out of the case, which forthwith close. This can easily be done under cover of the right hand. Draw attention to the ball in the left hand and remark, “One, and thishand) “make two.” As you say this you appear to place the ball in the left hand, really opening the case to represent two balls, and palming the solid one in the right hand.

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For three balls: Produce the ball you have palmed from behind the left knee, and really place it with the two others (case open) in the left hand. Wave the left hand up and down and under cover of the movement allow the solid ball to slip into the case. Then produce the ball previously left in the breast pocket, and you will seem to have passed a ball up your sleeve.

apparently place the ball in the left hand, really palming it as before, and dropping the ball out of the case under the cover of the right hand. You now find the

solid ball in the right hand and exclaim, “I will vanish this one into thin air. Watch me.” Actually throw the ball into the air several times, and while doing this lower

sure to remark, “I saw him put one in his pocket that time.” To which you will reply, “Oh! no; I did not put any in my pocket. I would not deceive you in such a

the left hand.

o the air. Wave the left hand up and down, and under cover of the movement close the case, which will dispose of the third ball.

to the spectators. Instead of doing this, however, the case is opened under cover of the

onde. It is well to again let this movement be suspected. Then, looking to the right hand, remark, “I have

To cause the disappearance of the last ball, make use of the pass described under

For four balls: Draw attention to the two balls now in the left hand (case open, with a solid ball in one half) and remark, “Two, and this one” (ball in right hand) “make three.” Saying which, you

palmed ball at the left elbow and really place it with the other three in the left hand. You will now appear to hold four solid balls.

Annihilation.—Appear to take a ball in the right hand, really allowing one to fall into the case. Vanish this ball in the act of throwing it to the audience. You now actually take another

the left hand and drop the solid ball out of the case into the profonde, making a movement that the audience cannot fail to notice. Thinking they have caught you, someone is

manner. Two and one” (the one in the right hand) “make three.” You now really place the ball in

Again appear to take a ball in the right hand, letting it fall into the case as before. Then vanish it in the act of apparently throwing it int

Finally, make believe to take this last ball in the right hand, standing with your right side

right hand and the solid ball extracted. The right hand is then closed over the ball so that it cannot be seen and the left hand quietly places the case in the prof

now only to dispose of this last ball.” At this point someone is almost sure to say, “Oh! I saw you put it in your pocket.” You will then cause considerable amusement to the spectators, and derision on the party with the voice, by showing the ball in the right hand.

Example 8 above.

Billiard Balls and Basins.—For the purpose of this trick you will require two small basins and two tea plates. The plates are to act as covers for the basins. In addition to this paraphernalia you will require two India rubber balls to match in size and color the ordinary billiard balls.

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The effect of the illusion is as follows: The two basins are shown empty and each is covered with a plate. In the course of the preceding billiard-ball trick, or a portion of the same, two balls are vanished, afterwards appearing in the basins.

To prepare for the trick, place one of the basins, containing one of the balls, on the table, and cover it with one of the plates. On the top of this plate place the other basin,

ers, and immediately place the plate in the right hand, which again conceals the ball. Show the hand empty, also both sides of the plate.

Color-changing Billiard Balls.—There is a very old trick similar to what I am about

ght about entirely by different means.

containing the second ball, covering the same with the remaining plate.

When about to present the illusion, you take the top plate in the left hand and the basin in the right, fingers inside and thumb out. This enables you to grasp the ball and conceal it in the fingers, while holding the basin so that the inside can be inspected. Place the basin on the floor, retaining the ball in the fing

Then pass the plate back into the left hand, taking the ball with it, and show both sides of the right hand. Cover the basin with the plate and in doing so secretly introduce the ball.

You must now go through the same movements with the other plate, ball, and basin, and the trick is practically finished. All that remains for you to do now is to vanish two balls and find them in the basins.

The India rubber balls are essential for silence when dropped into the basin. Ordinary wooden balls would “talk” and thus betray their presence.

to describe, known as the “Chameleon Balls.” In this form of the trick the ball is caused to change by palming on, or off, as occasion may require, half-shells of different colors. I will now explain a method of producing a result analogous to the old trick, but brou

The necessary accessories are a red, a black, and a white billiard ball, all solid. Place the white ball in the profonde and the black one in the pochette on the left side. Having arrived at the point in “Annihilation” where all the balls have been disposed of with the exception of the last solid one, you throw this in the air as if to vanish it in that direction. While all eyes follow the ball in its upward flight, you lower the left hand and take the white ball from the profonde, palming it. In doing so you would, of course, stand with the right side to the audience.

The Change to White.—Make a half turn to the right and take the red ball in the fingers of the left hand, in which you have the white ball palmed. Then show the right hand, back and front. Now take the visible red ball in the fingers of the left hand and at the same

you place the red ball in the fingers of the left hand and then stroke it with the palm of the right, palming the red ball and leaving in place of it the

instant make the “Change-over Palm.” This brings your right side again to the auditorium and enables you to show the left hand empty.

To execute the change

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white one. Again make the “Change-over Palm,” showing the hands empty, with the exception of the white ball.

The Change to Black.—You take the ball in the right hand, and, turning to the left, bring

To change the white ball to black, you will proceed as in the previous change, disposing

apparent diminution of an ordinary billiard ball, first to half its original size, secondly, to

In this case a trick ball is used of a size about equal to half that of the ordinary one, and

mall one pinches slightly into it, but can be instantly released by simply passing the ball or the thumb over it. A

it down rather smartly on the table, to prove its solidity. This gives you the opportunity of dropping the red ball into the profonde and taking the black one from the pochette.

of the palmed white ball at the earliest opportunity, or it can be produced with good effect from the bottom of the trousers. Then lay both balls down on the table.

To appreciate and thoroughly understand the effect of the above, it is necessary to actually practice the various movements with the balls in front of the mirror.

The Diminishing Billiard Balls.—The trick under notice has for its effect the

one-quarter its original size, and, finally, to a very small ball, with which several amusing passes are made, and which afterwards disappears entirely.

hollowed out so as to contain a solid ball of a diameter equal to half that of itself. (See Fig. 18.) The hollow ball must be so constructed that the s

duplicate of this small ball should be placed in the right-hand waistcoat pocket for use in the latter part of the trick.

Fig. 18. TRICK BALLS.

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The trick ball is placed in the left pochette, whence it is obtained and used according to the instructions given in the “Color-changing Balls.” To produce the smallest size, hold the trick ball in the left hand, having previously loosened the small one, and, in the act of

With the small ball you now execute the pass as described under Example 4

stroking it with the right hand, palm off the hollow ball and dispose of it as soon as possible.

above. Then

You now seem to place the ball in the left hand, really palming it; then bring the left hand

k and show the palmed one. Then repeat the same pass, but this time actually let the ball fall from the

colossal cavity between the upper and lower jaws, I should not advise him to attempt this.

After performing any trick in which a handkerchief has been employed, carelessly throw it over the back of the chair while you roll up your sleeves. If you do not care to roll up the sleeves, perform any small trick before proceeding with the present one, otherwise it might be too palpable that the handkerchief was thrown over the chair for a purpose. Then take up the handkerchief (secretly securing the ball) and gradually work it into the ball, being careful to keep the ball out of sight as much as possible until the handkerchief has totally disappeared. Finally throw the ball into the air, which can safely be done, providing it and the handkerchief are both of the same color, which would not admit of the hole being observed.

At this point, should you desire to proceed with a billiard-ball trick, you can do so by changing the hollow ball for a solid one in the same manner that you changed the solid ball for the trick one in the “Multiplying Billiard Balls.”

The Dissolving Billiard Ball.—This forms an excellent conclusion to the billiard-ball trick. A glass tumbler three parts filled with water is given to a gentleman to hold. A ball is then covered with a handkerchief and given to the gentleman, with a request that he will hold it over the glass and at the word “three” will allow it to fall into the water. This is done, and, upon the handkerchief being rem e tumbler, nothing remains but the fluid, which is perfectly tr ng apparently been dissolved therein.

actually place the nail in the mouth, pretend to swallow it, and produce the one from the vest pocket, which will appear to be the same.

down with apparent force on the top of the head, showing the ball between the teeth. Here raise the right hand as if to take the ball from the mouth, but really push it bac

mouth into the left hand, disposing of the palmed ball into the profonde.

I have seen a series of passes, including the above, performed with two eggs. in place of the small balls, but unless the performer be endowed with a

The Handkerchief Ball.—This forms a very good introduction to a billiard-ball trick, all that is required being a ball of the usual size, hollowed out so as to take a handkerchief, with an opening 1 in. in diameter on the surface. This ball is suspended behind the top rail of a chair by means of a pin.

oved from thansparent, the ball havi

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The secret of this lies in the fact that the performer is provided with a half shell of clear glass. This shell is secretly slipped over the ball in the act of covering it with the handkerchief, and when handing it to the gentleman the solid ball is palmed away by the performer. The gentleman is not at all likely to discover that he holds only a half ball, as, being hampered with the glass of water, he is effectually prevented from making an examination.

but this latter feature is not absolutely necessary.

e head, the ball being immediately afterwards taken from the mouth.

pparently meets with an accident, dropping the ball on the floor. The dropping of the ball, however, apart from

of which must seem to close round the object. The rubbing at the elbow is again commenced and the right hand eventually

Rouge et Noir.—This pretty trick consists of causing two balls, one red and one black,

The solution of the problem lies in the construction of the papers with which the balls are

containing the black layer, and vice versa. After this has been done, the

It is well to be provided with a tumbler the bottom of which is shaped somewhat to fit the form of the shell and ornamented slightly,

Fancy Sleight with a Small Ball.—A small ball is generally used for this “pass,” but it is applicable to any object that can be conveniently placed in the mouth. In effect it is as follows: A ball, for instance, is rubbed into the left elbow and passed thence up into the hand. The hand is then brought down rather smartly on the back of th

The sleight is thus executed: The performer takes the ball in his right hand and commences to rub it into his left elbow. At this point he a

being an accident, is absolutely essential to the success of the illusion. After having picked up the ball, and while still in a stooping position, with his back towards the spectators, the performer quickly throws it into his mouth, immediately facing round and drawing attention to the right hand, the fingers

shown empty. The performer then makes a sign indicative that the ball has passed up into the left hand, which is then brought down with apparent force on the back of the head. The ball in the mouth is then revealed, when it will appear to have actually traveled to that position.

This sleight can very well be introduced at the close of the “Diminishing Billiard Balls.”

I am indebted to Mr. Ross Conyears, an exceedingly dexterous magician, for the above.

wrapped in pieces of paper and placed in borrowed hats, to change places at command. The diameter of the balls should be 4½ in.

covered. They are arranged thus: Take two pieces of newspaper and paste them together all round the edges, having previously inserted between them a layer of red glazed paper of the same shade as the ball. The other one is prepared in exactly the same way, but contains a layer of black glazed paper to represent the black ball.

The two balls are now wrapped in the papers, care being taken to cover the red ball with the paper

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performer feigns a slip, mixing up the packages, and thereby confusing the audience as to the relative positions of the balls. As if to satisfy them on this point, he tears a small hole in the outer covering of one of the parcels, exposing, say, the layer of black paper. The parcel is then placed in the hat on the supposition that it contains the black ball.

The other package is now treated in the same manner, after which the supposed transposition of the balls will be easily understood.

rve as an example for the arrangement of others. A billiard ball is placed in a small tumbler, which is in turn wrapped in a piece of newspaper and deposited in a

f the performer, who immediately afterwards produces them from the hat.

Ball, Handkerchief, and Tumbler.—This is a very good combination trick, and as such will se

borrowed hat. The performer then takes a small silk handkerchief and rolls it up in his hands, when it is seen to have become transformed into a billiard ball. The glass is then taken from the hat, and, on the paper being removed, is found to contain the handkerchief. The ball, handkerchief, and tumbler, together with the piece of paper, are then caused to vanish, one at a time, from the hands o

The modus operandi is as follows: A duplicate tumbler containing a handkerchief, and wrapped in paper, must be secretly introduced into the hat prior to the commencement of the trick (see “Hat Tricks”). The tumbler containing the ball and wrapped in paper is then placed in the hat. The performer now takes up a duplicate handkerchief, and, under cover of the same, the hollow ball already described. The handkerchief is worked into the ball, which is shown in due course, and laid on the table, opening downwards. The duplicate tumbler is then removed from the hat, and found to contain the handkerchief. These articles including the piece of paper, are then laid on the table by the side of the ball.

The performer now goes to the hat, and, under pretence of moving it further away, turns it over, thus proving, in conjurer's logic, that it is empty. This can easily be done by taking the hat fingers inside and thumb out, the fingers being inserted in the top of the

thereon.

The piece of paper rolled up, and the ball, are caused to vanish by any of the means

isc of cardboard of the same size as the top of the tumbler. The tumbler being covered with this handkerchief the performer, as if to

In conclusion, the performer takes the handkerchief lying on the table and vanishes it by

tumbler. The performer then returns to the table and proceeds to dispose of the articles

already explained. To cause the disappearance of the glass you must be provided with a handkerchief, silk for preference, consisting of two handkerchiefs sewn together round the edges, in the center of which is fixed a d

satisfy the spectators that it is still there, strikes it several times on the back of a chair, and under cover of the movement allows the glass to fall into the network servante. The handkerchief, however, owing to the presence of the disc, still appears to contain the glass, the ultimate disposal of which will now be readily understood.

palming in the ordinary way; the right hand being immediately dived into the hat and the

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handkerchief produced. The other articles should be removed one at a time, not forgetting to crumple the paper into a ball before taking it out.

CHAPTER VI

HAT TRICKS

y 2 in. by 2 in.—These are made to fold flat, the size of the parcel when ready for introduction being 5 in. by 3 in. by 1 in.

A bundle of wood.—This is made hollow, consisting of a cardboard case with pieces of

that used for telegraph purposes. A coil of this ribbon can very well be placed in the bottom of the sham bundle of wood. When producing the coil it should be unrolled

The uses to which that piece of headgear, the much abused silk hat, lends itself in “l'art magique” are almost innumerable. The chief, however, and the one immediately under consideration, is the production therefrom of a host of heterogeneous articles, of which the following list will give an idea:

Fifty yards of sash ribbon, eight inches wide.—The ribbon should be folded over and over, in large pleats, so that it can be readily taken from the hat.

Two dozen fancy cardboard boxes, 3 in. b

Two hundred flowers, known as spring flowers.—Each flower when closed is very little thicker than brown paper, but immediately on being released expands to the size of a full-blown tulip. One hundred of these flowers, when closed, can easily be hidden in the hand.

A string of sausages.—These, it is hardly necessary to remark, are imitation, being made in silk of the required color.

wood glued on the outside and on one end, the other being left open. It is usually filled with baby linen, together with a feeding-bottle containing milk.

One hundred yards of narrow, colored ribbon.—This is made in coils, machine rolled, similar to

from the center.

Four-pound weight of playing cards.—These make a tremendous show when strewn about the stage. A good plan, also, is to have a number joined together in a long string by means of cotton.

A cannon ball.—This is usually made in zinc, 5 in. in diameter, hollow, and provided with a sliding lid. It can be filled with various soft goods, such as handkerchiefs, ribbons, etc., also sweets and bonbons for distribution.

A solid wooden cannon ball.—This should have a ¾ in. hole, 2 in. deep, bored in it towards the center, for facility in introducing it into the hat.

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A barber's pole about thirty feet long and 4 in. to 5 in. thick at the base.—This is made with stout colored paper, and pulls out from the center. If the pole be constructed of red, white and blue paper the performer, when introducing the trick, may announce that he is about to erect the American Colors

A bowl of gold fish.—This really consists of two bowls, one within the other. The spacebetween the two contains the wate re inserted through a hole in the bottom of the outer bowl, the latte ed. The inside bowl is filled

at the North Pole.

r and fish, which ar being afterwards cork

with bonbons, etc. (See Fig. 19.) The fish used are imitation, being made from pieces of carrot cut to shape.

Fig. 19. BOWL OF GOLD FISH.

A large cage containing a live canary.—The cage, which is telescopic in action, the upper part sliding down into the lower, is nearly twice the height of the hat, and when once taken out cannot be put back. This is owing to the fact that the seed boxes, which in their normal position are on the inside, revolve on spring pivots as the cage is withdrawn,

l of the same size, but being very thin occupy very little more space

d decorated with labels taken from the

A small rabbit.

thus making it impossible to return it to the hat until they are replaced.

Twenty pint tumblers, ruby and green.—These are made in celluloid and fit one in the other. They are althan a single one.

Six champagne bottles.—These are not quite so substantial as they look, being merely half-bottles in thin metal, japanned black, angenuine article. A bottle with a horizontal division in the center, the upper part containing wine, and the lower part a tumbler, is generally introduced with the shells.

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A Chinese doll.—Obtain a doll's head, 5 in. in diameter, from any Oriental store, and drape it with a silk skirt. If a hole be cut in the top of the head it can be utilized in the same manner as the cannon ball.

A skull which rises spontaneously from the hat.—This is a model in papier-mache, and

to give directions for making those goods, as they can be bought at a very small cost from any of the dealers in magical apparatus. I have found by experience that this is the best course to pursue. Amateur work is, as a rule, very commendable, but scarcely so as regards conjuring, clumsy and ill-made apparatus being absolutely useless, and consequently dear at any price. Apart from this I have another, and what I believe to be a more important object in view, viz., that of giving instruction in the actual working of the trick.

It will be at once obvious to the reader that the chief element in the magical production of articles from a borrowed hat, is the manner in which they are secretly introduced, as, should this be detected, the trick would fail ignominiously. The main secret lies in the combination of the looks and gestures of the performer to misdirect the audience. The articles for the most part are introduced under cover of natural movements, quickness being of little or no avail.

I will now describe one or two methods employed to effect this desideratum.

Loading.—Under this heading I shall endeavor to give the working of a hat trick as actually presented to an audience, using for the purpose articles selected from the preceding list. The following preparations m

being hollow, is very serviceable. It is caused to rise from the hat by means of a black thread, which is carried through a staple in the flies immediately over the performer's table, thence through another staple behind the wings, and down to the assistant.

It is not my intention

ust be made:

A small rabbit is placed in the right hand profonde, and a billiard ball and a small dinner plate are laid on the table.

A packet of one hundred spring flowers, secured by a band of tissue paper, must be in the hands of the assistant at the right wing; and another similar packet must be placed in the profonde on the left side.

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Fig. 20. DOUBLE WIRE LOOP.

florists's wire

large loop, the use

and the package withdrawn.

The bundle of wood, containing the coil of ribbon, baby linen, and feeding bottle, must be in readiness on the servante at the back of a second chair.

The skull, cannon ball, or globe of gold fish, whichever the performer intends to use, is located on the servante at the back of the table.

The next thing to do is to obtain the loan of a hat, and having done so, it is well to perform a preliminary experiment with the same. A very good one is that known as

The sash ribbon, folded as instructed, is tied round the fancy boxes together with the string of sausages, with black tape. The parcel is suspended behind the back of a chair by means of a pin and a double loop of florist's wire (see Fig. 20), the tape being passed through the small loop, which is then hung on the pin. This leaves the of which will be noted in due course, sticking up over the back of the chair, where, however, it is quite invisible at a few paces.

The twenty pint tumblers are wrapped up in a piece of colored sash-ribbon and tied round with tape to which is attached a loop of wire. Thus prepared they are placed in the capacious breast pocket on the left side, the loop projecting so that the thumb or the right hand can be passed through it

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The Magnetized Hat.—The performer places his hand, perfectly empty, on the crown of the hat, which forthwith adheres to the palm, and in this position it can be moved about and turned over in any direction. The finger tips are then used in place of the palm with the same result. Finally, a silk handkerchief is thrown over the hat, and the palm of the hand placed thereon, but the effect is still the same.

This seeming impossibility is accomplished with the aid of the little piece of apparatus illustrated in Fig. 21. It consists of a brass plate fitted with two bent pins as shown, the whole being painted black. The pins should be situated so that by placing the two middle fingers between them the hat can be raised. The working of the trick will now be readily understood. The clip must be pressed into the crown of the hat while returning with it to the stage, the pin on the left of the figure being inserted first. The clip is removed, with the handkerchief, in the final stage of the trick.

Fig. 21. APPARATUS FOR MAGETIZED

ven for examination, and wh

HAT.

The ball and plate are now gi ile all attention is riveted on these two articles, ample opportunity will be found to introduce the rabbit unobserved,

the rabbit.

t slowly on to a large sheet of black alpaca, which should be spread over the stage to receive them. While this is

.

ch is the bundle of ribbons, etc. Take the top of the chair in the hand holding the hat, and in

which should be done while amongst the audience. The hat is then covered with the plate, in which condition it is carried back to the stage, and placed on the table.

The performer now takes the ball, and vanishes it by palming; appearing to pass it through the plate into the hat. The plate is then removed, and the ball taken from the hat with the right hand, followed immediately by

The hat is now taken in the left hand, and the rabbit handed to the assistant at the wings with the right. The assistant takes the rabbit, and at the same time, under cover of the wing, gives the performer the packet of flowers; the hat being immediately placed in the right hand to conceal their presence.

While drawing attention to the outside of the hat, the tissue paper is broken with the fingers, and the flowers are released. They are then shaken ou

being done, the package is obtained from the profonde, the hat being changed over into the left hand, and the second load thus introduced

When the flowers have all been shaken from the hat, take it in the right hand, fingers inside and thumb out, and approach the chair (this should be on your right) on whi

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doing so, push the forefinger through the loop of wire. Now move the chair away a few paces, and when removing the hand from the back bring away the load, which will fall into the hat unobserved. Leave the hat on the chair, and take up the alpaca containing the flowers, putting it on one side.

Up to this point, no one will suspect that the hat contains anything, as what you have

engths with the right hand, and when the hand contains a large quantity, the thumb is slipped through the wire loop attached to the tumblers in the breast pocket. These are introduced when inserting the hand to take out the next length of ribbon. The introduction of the tumblers cannot be detected, owing to the presence of the ribbon in which they are wrapped. When the whole of the ribbon has been extracted, it is thrown over the back of the chair, behind which is the bundle of wood.

The tumblers are now taken from the hat, and placed on the table.

The performer then ta effort to return it to

nally the wood

iddle finger of the hand into the

ary, makes room for the next production.

ing list simply as an illustration of the

done has been but natural in the preparation of the stage for the next trick.

The boxes are now taken from the hat and placed on the table, followed by the sausages. When removing the latter, some amusement may be caused by referring to them as “an indefinable, condimental amalgamation of membranaceous disintegrations.”

The ribbon is next pulled from the hat in long l

kes up the ribbon from the chair and makes anthe hat, thereby drawing attention to its great bulk, and remarking, “Now, how do you suppose I am going to get home with this? Why, I shall require at least two cabs.”

It is needless to say that under cover of the ribbon the bundle of wood is introduced into the hat. The baby linen, feeding bottle, and coil, are now produced, and fiitself. It is usual when taking the ribbon from the hat to spin it out on the wand.

Holding the hat by the brim, fingers inside and thumb out, the performer lowers it for an instant to the rear edge of the table, and by inserting the mhole in the cannon ball scoops it up into the hat, which is forthwith raised and placed crown downwards on the table.

This movement should be executed with the left hand while the right lays the bundle of wood down on the table, and, if necess

The fish bowl, or skull, would of course be worked in a similar manner.

From the foregoing it will be seen that with a little expenditure of ingenuity and trouble a hat trick can be carried on to an almost indefinite period. It should not, however, in any case exceed fifteen minutes. I have taken the precedway in which the various movements are combined to appear natural and thus avoid detection, also as a basis on which the student may arrange a hat trick of his own. Any articles can, of course, be substituted for those given, or the list may be supplemented by

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others, or cut down as occasion may require. An amount of sang froid and boldness, only acquired from years of actual practice, is necessary to execute a good hat trick faultlessly; but this should not disconcert the reader, as it is only in accordance with what must be expected in the acquisition of an art.

rge enough to contain the required number of eggs. To one end of this bag is sewn an ordinary tie clip,

e by means of the clip. Under these circumstances the production of the eggs from the inverted hat

roduces an entirely new method of loading a silk hat. In effect it is as follows: Having obtained the loan of a hat, the performer proceeds to collect a number of eggs by

say half a dozen eggs, is then warmed over the flame of a candle, and immediately afterwards six live chickens

he hat he is met by his assistant, who comes on from the wings carrying a Japanese tray on

orm of a hook for attaching the whole to the cloth.

an instant behind his back and scoops the bag containing the chickens into it. This movement is so subtle that not one in a thousand will detect it.

ring his hand over the candle, appears to produce it from the flame. He now seems to place this

tinued until the hat is supposed to contain the required number, the last one being dropped unmistakably

To Produce a number of Eggs from a Hat held Crown upwards.—For this purpose you must be provided with a black linen bag, oval in shape, and la

the other end being cut off and provided with a piece of elastic so that eggs placed therein cannot come out unless pressure be applied with the hand. The bag is loaded into the hat by one or other of the methods described, and attached to the lining of the sam

will be an easy matter. The eggs used should be blown ones.

The bag should be allowed to remain in the hat after the last egg has been taken from it, and removed later under cover of some other article.

The Hat Incubator.—This experiment will be a welcome addition to any programme, as it int

sleight of hand, using the hat as an egg basket. The hat, containing

are taken from it, the eggs having totally disappeared.

Here is the solution of the mystery. As the performer steps back to the stage with t

which is a lighted candle. He brings with him the chickens, which are enclosed in a black alpaca bag hanging on his back between the shoulders. The mouth of the bag is gathered up and retained with an ordinary tie clip to which is soldered a bent pin in the f

The performer, holding the hat in the left hand, opening towards the audience, approaches his assistant, and when in the act of apparently instructing him to hold the tray at the proper height, lowers the hat for

The performer now obtains an egg from the pochette on the right side, and, lowe

egg in the hat, really palming it and producing it over again. This is con

into it.

The clip is then removed from the mouth of the bag, and attached to another portion of it to prevent the possibility of dropping it on the floor; and the chickens are taken out one by one and placed on the tray. This gives a very plausible pretext for the use of the

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assistant, and no one will suspect that he plays any but a very secondary part in the working of the trick.

The chickens never “talk” after they have once been placed in the bag; on the contrary, they appear perfectly happy huddled together in the darkness, and evidently enjoy the warmth generated by their own bodies.

A good finish to the trick may be obtained by placing a folding bouquet, consisting of a number of the spring flowers tied together, in the bag with the chickens. Under cover of the bouquet, which should be produced last, the bag and one egg are secretly removed from the hat, which is then returned to the owner.

CHAPTER VII

ANTI-SPIRITUALISTIC TRICKS

This pretty experiment depends entirely upon a black silk thread, about twice the length

used to rise or fall, or, in response to a sharp tug, to jump right off the wand. The wand is usually held in the left hand, while the right,

time. The performer borrows a visiting card from any stranger in the company, and,

This ingenious trick is accomplished with the aid of a small accessory in the shape of a

instructed.

The Climbing Ring.—The performer having obtained the loan of a lady's ring, passes it over the end of his wand, which he then holds in a perpendicular position. The ring now commences to climb up the wand very slowly, stopping or descending at command; finally it jumps right off the wand and is caught by the performer, who immediately hands it back to the lady.

of the wand, to which it is fixed at the uppermost end. The means by which the thread is attached may vary, but a good plan is to make a very small knot in the end of the thread, which is then passed through a very fine slit cut in the end of the wand, the knot making all secure. The thread is then passed down the side of the wand, in which position it will not be noticed. The ring is now dropped over the wand, and consequently over the thread, by the manipulation of which it may be ca

in which is the end of the thread, holds the lapel of the coat, when all that is necessary to obtain the desired result is to move the left hand to or from the body as required.

The Mysterious Name.—This is a capital trick, and one that can be introduced at any

holding it between the thumb and the second finger of the hand, he waves it about very slowly, at the same time asking someone to call out the name of any celebrity. This having been done the card is almost immediately handed back to the owner, who finds the selected name written thereon.

thimble, to the end of which is attached a small piece of pencil about a quarter of an inch in length. This thimble having been placed on the forefinger of the hand, it will be found, by experiment, that the name may very easily be written on the back of a card held as

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Prior to, and immediately after the trick, the thimble may be palmed as instructed elsewhere.

The Spirit Calculator.—A piece of paper and a pencil are handed to the audience with a request that four different persons will each write down a row of four figures, one under the other, to form an addition sum. The paper is then given to a fifth person to add up the figures, but before he can call out the result the performer writes it down on a blackboard.

dwritings four rows of figures. In the course of the entertainment all is fair and above-board until it comes to adding up the sum, when the performer, in the ac to the fifth person, changes it for that of his own, with the total of which he to the stage and write down the answer on the blackboard.

A more startling conclusion than the prosaic one above mentioned may be obtained by

g provided with a piece of paper bearing the answer written with the invisible ink, gives a plate to the person adding up the sum and asks him to set

ll tear a small piece from one corner, and having done so, hand both portions back to the

The secret lies in the fact that the performer is in possession of a piece of paper exactly the same in every detail as that handed to the audience, on which, previous to the entertainment, he has had written in different han

t of giving the paper is already acquainted. He has now only to run

the use of sympathetic ink, composed of sulphuric acid and water, one part of the former to three of the latter. Writing done with this ink will be invisible until heat be applied, which will bring out the characters in jet black.

The performer, then, bein

light to the paper, first, however, taking careful note of the total. The prepared piece of paper is now held over the flames on the plate, when the heat will bring out the answer, which is proved to be correct.

The total may be produced with very good effect in any of the Slate Tricks hereafter described.

A New Postal Trick.—This is very useful, as it can be employed in conjunction with any trick where a word, message, total of sum, etc., is to be produced in a magical manner. An ordinary postal card is handed to a spectator with a request that he wi

performer. The corner is laid on the table and the card torn up into small pieces which are then placed in the magic pistol, and fired at a borrowed hat. The card is afterwards produced from the hat covered with writing, and fully restored with the exception of the corner, which on being fitted to the card is found to correspond in every way.

The trick is accomplished with the aid of a second card prepared with the necessary writing, and from which a corner has been removed. This card is secretly introduced into the hat when returning with it to the stage. The performer, having palmed the portion missing from the card in the hat, makes an exchange when laying the corner on the table. The plain card is then torn into fragments, and together with its corner is placed in the pistol, which is then fired at the hat. It is well to place a piece of paper in the mouth of the

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cone to receive the torn pieces of card, as by this means the danger of dropping any on the floor is obviated.

did not put anything in my pocket. See, here is the paper containing the card” (really the

First Method.—Two ordinary school slates are given into the hands of a spectator, who,

h iron bolts, but in spite of this precaution writing is obtained as before.

performer above his head, when almost immediately writing is heard; and on the slate being turned

been done, and while returning to the stage, the performer removes the flap under cover

An additional effect may be obtained by having previously placed in the body of the pistol a piece of paper containing a powder for producing colored fire, when, after having disposed of the cup containing the torn card, you appear to overhear a remark to the effect that you have put something in your pocket, to which you reply, “No, I certainly

package of colored fire), after which the card is removed from the hat.

The above trick may very well be used in conjunction with “The Spirit Calculator.”

New Slate Tricks.—Under this heading will be noticed several methods, all of recent invention, for performing the well-known slate trick.

after making a careful examination, ties them together with stout cord, in which condition they are placed in the cabinet. Writing is immediately heard, and when it ceases the slates are at once handed out to the performer, who on separating them finds the required message.

The secret lies in the fact that the medium is provided with two small wooden wedges; also an umbrella rib, to which at one end is fitted a minute piece of pencil. All he has to do, therefore, is to force the wedges between the slates on one side until sufficient space is provided for the insertion of the rib, when the writing of the message will be found an easy matter.

Second Method.—In this case the two slates, after examination, may be actually screwed together wit

Under these circumstances the performer is provided with a piece of prepared chalk—not the conventional commodity as sold in every drug store, but prepared by coating a piece of steel, about the size of a pea, with chalk paste, which is then allowed to dry. The piece of chalk is placed between the two slates, which are then bolted together and put into the cabinet; when, under the influence of a powerful horseshoe magnet passed over the outside of one slate as required, the prepared chalk will produce the spirit writing.

Third Method (one slate only).—After examination the slate is held by the

round it is found to contain the desired message.

The slate, a small one for preference, is provided with a loose vulcanite flap covering one side, and concealing the writing which is already there. The performer hands the slate round for examination (keeping the flap in position by means of the fingers), and asks a spectator to initial it in one corner to satisfy himself that it is not exchanged. This having

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of his body and places it in the vest, or in the large pocket in the breast of the coat. He then holds the slate above his head, fingers in front and thumbs behind. The sound of writing is produced by scratching with one thumb on the back of the slate, and when this

slate with glycerine just before commencing the trick, and to load the pistol with a small

Any of the above methods may be used in connection with such tricks as “The Spirit

the audience, it is thrown on the floor of the stage when it immediately begins to act as if it were a live snake, twisting and twirling in every conceivable form. The

nection is actually made with the handkerchief, and it is done in the following manner: A fine black silk thread is stretched across the stage from one wing to

two corners and twists it up rope fashion. He then ties three knots in it, one a little below the

h the assistants manipulate the thread. Finally, it should be made to jump into the hand of the

has been continued long enough the message is revealed.

Fourth Method (one slate only).—In this instance the slate, which is an ordinary one, is shown to be clean on both sides, in which condition it is given to a spectator to hold. The performer then takes a pistol and, at a few paces, fires direct at the slate, on which, immediately after the report, the message is discovered.

To produce this startling effect all that is necessary is to write the message on the

charge of powder, on the top of which is placed a quantity of powdered chalk.

Calculator,” “The Great Dictionary Trick,” and any others of a like nature.

The Spirit Handkerchief.—The effect of this trick, which is exceptionally good, is as follows: Several knots having been tied in a large silk handkerchief borrowed from a member of

performer passes his wand over, under and all round the handkerchief, thus proving to the satisfaction of the most astute that there are no connections.

It is hardly necessary to say, however, that in spite of such convincing proof to the contrary, con

the other, the ends being in the hands of two assistants. Having obtained the loan of the handkerchief, the performer, standing behind the thread, takes it diagonally by

center, one a little above the center, and the third at one end. While this is being done the assistants raise the thread round which the last knot, forming the head of the snake, is actually tied; but owing to the thread being invisible this will pass unobserved.

Having made the last knot the performer drops the handkerchief on the floor, when its emulation of a live snake will depend entirely on the adroit manner in whic

performer, who should at once hand it, with the knots still tied, to the owner. This is managed by the assistant at one end dropping the thread and the other one pulling it clear of the handkerchief.

The Mysterious Communication.—This trick, which is a very good one, is performed by a method very little known. The effect is as follows:—Any person writes on a piece of paper any word or series of words to form a short sentence, and having done so, folds the paper and puts it in his pocket. At this stage the performer introduces a reel of telephonic wire, the end of which, containing a loop, is handed to the writer, with a

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request that he will place the loop over the ball of the left thumb. This having been done, the performer places the reel against his forehead, and, after a few seconds' thought, writes the message, or an answer thereto, on the blackboard.

To obtain this result, all that is necessary is to be provided with a piece of paper smeared

t actually look for it, is obtained on the glass. In the act of taking the glass back from his assistant the performer obtains

The Great Dictionary Trick (new method.)—This is an improvement on the old

oughout. The effect is as follows:—

-seventh word indicated by the counter, and which is, we will suppose, “Magic.” The gentleman is next requested to

a playing card previously palmed in his right hand. The book is then closed.

A small bag, preferably of silk, is next introduced, from which the performer takes a

over on one side with white wax, or common washing soap; also a slab of plate glass by way of writing board. The paper is placed on the glass, waxed side downwards, in which condition the assistant takes it to a gentleman in the audience. When writing on the paper a very faint impression, invisible to anyone who does no

the desired cue. The use of the wire is optional, but, of course, it adds much to the effect of the trick.

trick under this name, as any dictionary may be used, whereas formerly the trick depended entirely upon a dictionary composed of one page repeated thr

The performer hands a sealed envelope to a spectator, asking him to take care of it, and not break the seal until requested. A dictionary is then given for examination, after which a lady inserts in it, at any page, a playing card. A counter bearing a number, say 27, is taken from a bag containing fifty, all numbered differently; the dictionary is opened at the page containing the card, and due note is taken of the twenty

open the envelope, and on doing so finds to his astonishment that it contains a card on which is written “Magic, n, sorcery; enchantment,” in exact accordance with the word chosen, apparently by chance, from the dictionary.

The seeming mystery is easily explained. Obtain a new quarter pocket dictionary, and, having opened it somewhere about the middle, bend the covers right back until they touch each other. Any new book used thus will ever afterwards, unless otherwise maltreated, open readily at the same page. After the dictionary has been examined the performer allows it to fall open at this page, into which he secretly introduces

The performer, still holding the book, gives a card, identical in every respect with the other one, to a lady, with a request that she will insert it between the leaves in any position and push it right into the book. The performer, of course, takes care that the two cards do not clash. In this condition the dictionary is laid on the table.

handful of counters numbered from 1 to 50 and gives them for examination, after which they are returned to the bag. Any person is now allowed to place his hand in the bag and remove one counter, but it is needless to say, however careful he may be, the number chosen will be 27, which is accounted for by the fact that the bag is provided with a division through its entire length, forming two pockets, one of which contains the

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counters numbered 1 to 50, and the other, fifty counters all bearing the same number, i.e., 27.

The dictionary is now opened by the performer at his own page, which every one will

By way of variation the chosen word may be produced with the sympathetic ink

take to be the one chosen by the lady; someone is asked to note the twenty-seventh word on that page as indicated by the counter, the trick being brought to a conclusion as already described.

The performer can always ensure the left-hand page of the opening being read, by holding the book, with the card, in such a position that the twenty-seventh word on the right-hand page cannot be seen. Care must also be taken not to expose the duplicate card.

, or it

ght of hand.

en, ink, and paper to the lady, who immediately writes down the time, initials, number, etc.; these, on examination, are found

together with a small piece of soft lead pencil, is placed in the right-hand trousers pocket. As the various items

the fingers.

may be revealed by the method employed in “A New Postal Trick.”

For the above trick, in the form described, I am indebted to Mr. Maurice Victor, a most skillful exponent of slei

Long-distance Second Sight.—Two performers, usually a lady and a gentleman, are required for this seance. The gentleman introduces the lady, who is then escorted by a committee, chosen from the audience, to a room in a different part of the house, in which she is secured under lock and key. Several of the committee then guard the room, while the others return to the concert-hall and give the performer the following particulars:—Time shown by any watch (not necessarily the proper time); initials of any person in the room; any number of four figures; any word of four or five letters; number of cigarettes in any case, and kind of case; amount of money in any purse, and kind of purse. After this has been done a member of the committee takes p

to be correct, although she has never left the room, neither has the performer left the stage, and no connection of any description exists between them.

This inexplicable performance is thus accomplished: The performer is provided with a small writing pad, 3 in. by 2 in., consisting of a piece of card-board, on which are held, by means of two elastic bands, several cigarette papers. This pad,

are called out, the performer stands with his right hand in the pocket, a perfectly natural attitude, and appears to be thinking deeply; but he is really writing down the particulars, one under the other, on the cigarette paper, which, with a little practice, can be done quite legibly. He then tears off the paper and rolls it into a small ball between

A piece of plain paper is now obtained from any member of the audience, in order to prove that a prepared piece is not used, and together with a Fountain Pen, supplied by the performer, is taken, by one of the committee, to the lady. While the paper is being obtained the performer has ample time to remove the cap from the pen-nib, and, before placing it on the opposite end of the pen in the place provided for it, he inserts in it the small ball of paper which is thus secretly carried to the lady. On receipt of the pen and

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paper the lady requests to be left alone for a few seconds, as otherwise she will not be able to obtain the aid of “the spirits,” and in the absence of the committee-man she takes a hair-pin, and with it extracts the ball of paper from the pen, reads, and writes out the

er and medium, as otherwise the “time” might be mistaken for the “number,” and other errors might occur. A number of letters to indicate the various kinds

It will be obvious that the above trick is subject to much variation according to the taste

y be substituted for any of the items given above.

APTER VIII

required information.

It is necessary that the order in which the various items are called out should be known alike to the perform

of purses and cigarette cases, as “L.” for leather, “S.” for silver, etc., should also be agreed on between the two parties.

of the performer, and may be elaborated if desired. A throw of dice; a person's age; or the name of a selected card (write “8 D” for eight of diamonds, etc.) ma

CH

MISCELLANEOUS TRICKS

Flash Paper.—Having had occasion several times during the course of the present work to make use of “flash paper,” I will now describe the manner in which it is prepared. It is not, however, practical to manufacture it at home, as it can be obtained in large quantities at a very small cost.

A mixture of nitric and sulphuric acids, one part of the former to two of the latter, is made, and allowed to stand for twelve hours before using. The, experiment should be made in the open air. Ordinary tissue paper is then immersed in the fluid for a few seconds, after which it is taken out and washed well in clear water, until all trace of acid has been removed. This can be ascertained by the use of blue litmus paper, which when dipped into the water will betray the presence of the acid by turning red. The paper should then be dried in a warm atmosphere, but not near a fire, and it is ready for use.

Flash handkerchiefs are prepared in a similar manner. For this purpose take a piece of fine cambric, wash it well in hot water to remove all grease and other impurities, and then treat it in the same way as the paper.

A New Fire Flash.—This forms a very good opening trick. The performer steps on the stage and, in what appears to be a careless manner, picks up a piece of paper from the floor, rolls it up in his hands, and throws it in the air, where it disappears in a flame, leaving no trace behind.

To produce this effect you must obtain some very fine glass tubing about the thickness of a darning needle, and having broken off several pieces about an inch long, fill them with sulphuric acid. This can be done with the aid of a long piece of india-rubber tubing, the

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acid being drawn into the glass by suction. The ends of the tube are then sealed hermetically in the flame of a spirit lamp. You must next prepare a powder composed of equal parts of chlorate of potash and powdered lump sugar. Wrap a very small quantity of this powder—about as much as will lie on a dime—together with one of the acid tubes in a piece of flash paper, and all is ready.

When rolling up the paper in the hands the tube is broken; the acid escapes and fires the powder, which in turn sets light to the paper and produces the desired result.

Caution.—To prevent accidents never prepare the papers, or even mix the powder, until actually required for use.

Conjurer's Ammunition.—The magic pistol is usually loaded with a small charge of powder. This is excellent for stage purposes, but hardly suitable for the drawing-room, where some objection might be taken to the employment of powder, even in a small quantity. The pistol, however, need not be discarded, as it can still be used in a manner that will in no way detract from t Load the pistol with a piece of he charm of the trick.flash paper, place a percussion cap o trigger. The paper will take n the nipple, and pull thefire and be thrown from the pistol, vanishing in a sheet of flame at the opposite end of the room.

supposed transmission.

Again, the pistol need not be loaded at all, but just as you are about to fire you appear to understand that the ladies object, and remark—“Oh! I see the ladies object to the report—well in that case I will use the pistol as an air-gun.” Saying this, you remove the conical tube and blow through it to cause the

Smoke from Two Empty Pipes.—Two empty and clean clay pipes are passed round for examination and proved ostensibly to be unprepared. The bowls are then placed one over the other, when the performer, by simply inserting one of the stems in his mouth, commences to blow clouds of smoke from the pipes.

The solution of the mystery is as follows:—A few drops of hydrochloric acid (spirits of salts) are placed in one of the pipes, while the other is similarly treated with ammonia. The union of the two chemicals produces a thick vapor, which has all the appearance of smoke produced from tobacco.

A good combination trick may be formed by preparing a glass tumbler and the bottom of a tea plate, as above described; the plate is then placed over the tumbler, the whole being covered with a handkerchief. The smoke so mysteriously produced from the pipes may now be caused, apparently by some occult means, to find its way into the closed tumbler.

A New Fire-eating Trick.—This, although a very startling trick, is quite harmless, and can be performed by anyone. Small balls of fire are placed in the mouth and, apparently, swallowed, being immediately afterwards produced from the ears, or any part of the body that fancy may suggest.

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The balls are small pieces of camphor cut to shape, and are lighted in the flame of a candle. They should be tossed from one hand to the other, and finally into the mouth, which should forthwith be closed. This, of course, extinguishes the balls, which should be secretly removed at the earliest opportunity.

The reproduction of the balls of fire is managed with the aid of the acid tubes mentioned above, which, together with a small quantity of the powder, should be wrapped up in flash paper, and deposited about the person as required. The best effect, however, is obtained by producing them from behind the ears; it is also a very convenient method, as the tubes are not so likely to be prematurely fractured.

Exploding Soap-bubbles.—This is a novelty, and will be found to produce a very good effect. The bubbles are blown in the usual way with an ordinary clay pipe, the only preparation necessary being that the bowl of the pipe must be filled with cotton-wool soaked in gasoline. Bubbles blown with a pipe thus prepared will be found to explode in a flame when approached with a light.

Walnut Shells and Pea.—This is an excellent table trick, and can be performed at close quarters without much fear of detection. The only articles required for the execution of the trick are three half walnut shells and a pea. The three shells are laid in a row on the table, the pea being placed under the center one, from which position it disappears and is

of india-rubber, but unless closely inspected cannot be distinguished from the ordinary everyday article. When

with the thumb and middle finger. This, however, cannot be suspected, as the hand retains a perfectly natural position. The

e table immediately behind the shell in the act of raising the same.

f stiff half-inch tape; an ordinary inch tape measure will answer the purpose admirably. The tape is folded in half and coiled round and round on the table

ultimately found under either of the end ones at the will of the performer. The table used must be covered with a cloth of some kind.

The secret lies in the pea, which is fashioned from a piece

presenting the trick the pea is actually placed under the middle shell. The shells are then, each in turn, commencing from the one on the left, pushed up the table about 3 in. When moving the middle one the pea, owing to its nature and the concavity of the shell, will be found to work its way out, when it is instantly seized

third shell is then moved into a line with the other two.

The pea can now be caused to appear under either of the shells at pleasure, all that is necessary being to leave it on th

In effect this trick is identical with that known as “Thimble Rigging,” which it is therefore needless to describe, but the secret is much prettier and calculated to deceive more thoroughly.

The Garter Trick.—This is a very old trick, and from its title will be recognized at once as common to the sharps who frequent race-courses. It is not, however, generally known, and as it forms a good table trick a description of it may not be out of place. It is usually performed with a piece o

264

until it is almost impossible to tell for certain which is the loop proper, i.e., the point at which the tape was doubled (see Fig. 22). The bystander is then requested to place the point of his pen-knife in the loop, but however careful he may be in his selection he will fail, as the performer is able to pull the tape clear of the knife in all cases. The secret lies in the fact that the tape is not folded exactly in half, one end being left shorter than the

rdingly. The short end is carried round under cover of the fingers while twisting the tape.

other by about 3 in. When uncoiling the tape, if the knife be actually placed in the loop, and both ends are pulled from the point A, it will not come away; but if the short end be passed round to the left and both ends pulled from the point B, it will be found to come clear of the knife. All the performer has to do, therefore, is to watch and see if the knife is really placed in the loop or otherwise, and to act acco

Fig. 22. METHOD OF FOLDING TAPE.

Fig. 22 is arranged for clearness, but in actual practice the tape would receive many more

stidious performer. It can be used in several ways.

twists, which would also be of a more intricate nature.

The Tube and Ball.—This is a very ingenious trick, and well worthy the attention of the most fa

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Fig. 23.

TUBE, BALL, AND CAP.

The apparatus consists of . long, with a cap of the same metal fitting loosely over on balls about the size of the

ll readily pass through

The secret lies in the fact that there is a very small dent in the side of the tube at the center: also that one of the balls—that given for examination—is slightly smaller than the other. The small ball runs freely through the tube, but the large one will not pass the center on account of the indentation.

On receiving back the tube the performer secretly drops the large ball into it, which, owing to the force of the fall, is pinched in the center and will not fall out. In this condition the tube can be turned about in all directions and will still appear empty. When

a piece of 1½ in. brass tubing about 7 ine end; also two billiard

diameter of the tube. The audience, however, are not supposed to know of the existence of more than one ball. (See Fig. 23). The tube and cap, together with the ball, are given for examination, attention being drawn to the fact that the ball withe tube. After examination the tube is stood on one end on the table and covered with the cap. The operator then takes the ball and vanishes it by means of sleight of hand, when, on the tube being raised, it has to all appearance been passed underneath.

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placing it on the table the performer is careful to bring it down rather smartly on the end at which the ball was introduced, when, owing to the concussion, the ball is released and falls on the table.

The tube can be used to cause the disappearance of a ball in the following manner:—Place the ball on a tea plate and cover it with the tube, which in turn cover with a second plate. By reversing the position of the structure the ball falls into the tube, where it is retained in the manner described, and after a little more twisting and turning, to add to the general confusion, the plates are removed and the ball is proved to be non est.

The ball can of course be reproduced if desired; or if two tubes are used it may be, apparently, passed from one to the other. In this case, however, I would suggest that round discs of wood be used in place of the plates, as the latter would be likely to get fractured in the act of bringing the tube down with sufficient force to dislodge the ball.

The Ubiquitous Thimble.—This is one of the prettiest sleight of hand tricks in existence, and requires very little practice. For the purpose of the trick, in its entirety, the performer must be provided with two thimbles exactly alike; but very many surprising passes can be made with one thimble only. The idea of the trick proper is to cause a thimble placed on the forefinger of the right hand to disappear and be found on the corresponding finger of the left hand, without the hands approaching each other. It is usual, however, in the first place, to execute a number of passes with one thimble only, as by this means the audience will be the less likely to suspect the introduction of the second one. The main thing necessary is to acquire the knack of holding a thimble in the fleshy portion of the hand at the root of the thumb, in which position it can be placed, or removed at pleasure, by simply bending the forefinger (see Figs. 24 and 25). This sleight must be executed with equal facility with both hands.

Fig. 24. PALMING THIMBLE.

When about to present the trick the performer comes forward with a thimble on the forefinger of the right hand, the second one being in the left-hand trousers pocket. He now appears to place the thimble in the left hand, but really, when the right hand is in motion towards the left, it is palmed as described. The left hand is then brought down with some force on the head and the thimble produced from the mouth on the forefinger of the right hand. This can be done with perfect ease, as, so long as the hand is kept in

267

motion during the recovery of the thimble, there is no fear of the movement being detected.

Fig. 25. THIMBLE PALMED.

The thimble is then apparently placed in the mouth, really being palmed as before, and afterwards produced from the bottom of the vest. While doing this the performer stands with the left hand in the trousers pocket and palms the second thimble. Both hands are now held palms away from the spectators, and kept in continual motion. Under cover of this the right-hand thimble is palmed, and that in the left hand produced, when it will appear to have been passed from one hand to the other. This can be repeated as often as desired.

Finally the second thimble should be secretly disposed of, and the trick brought to a conclusion with a pass performed with the one only.

An additional effect may be obtained by the use of two thimbles, one fitting over the other. These should be made in thin metal so as to be, in point of size, as near alike as possible. The two thimbles, which appear as one only, are placed on the forefinger of the right hand, and covered with a small paper cone, with the remark, “You see the cone just fits the thimble; I will now show you a rather extraordinary experiment with the same.” The cone is then removed, with slight pressure at the base, and placed on the table on the supposition that it is empty, but it really contains the uppermost thimble. The one left on the finger is then vanished, under cover of a throwing movement towards the cone, which is then removed by the apex and the thimble discovered.

While all attention is drawn to the table the duplicate thimble is dropped into the profonde.

The Multiplying Wand.—The performer comes forward with a plain polished ebony conjuring wand of the ordinary pattern, which he waves about in the air, when it is suddenly seen to have multiplied into two. He then wraps one of these in a piece of newspaper which he instantly crushes into a small compass in his hands, the wand having entirely disappeared.

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It is needless to say that to produce the above effect two wands are necessary. One, however, is very different from what it represents itself to be, being a mere shell of black, glazed paper.

Prior to the commencement of the trick the solid one is encased in the shell, and in this condition it is brought on the stage. In the course of waving it about, the solid article is allowed to slide out of the case, a wand being shown in each hand. These can both be proved, in conjurer's logic, to be perfectly solid by adopting the following ruse:—

The performer strikes the table several times with the one in the right hand, which should be the solid one, after which it is apparently placed in the left hand, and the one already there taken and treated in the same way. When, however, the two are both together in the left hand the solid one is again taken, but the spectators, having no reason to suspect trickery, will suppose that th ed places. The shell is then rolled up in a piece of paper a , to all appearance, the wand

tored Cut.—This is a very interesting little trick, and is especially suitable for

ortions are shown, the cord having

is now pulled backwards and

s then cut in half, at right angles to the cord, which under the circumstances

e wands have actually changnd crushed in the hands, when

will have disappeared.

The trick may very well end here, or the vanished wand may be reproduced. This may be done by having previously concealed a second solid wand in the leg of the trousers, in a pocket similar to that in which carpenters carry a rule. The two solid wands may then be struck together, proving their solidity beyond doubt.

The Resan after-dinner surprise. The performer takes a needle containing about a yard of thread, and passes it through an apple. The cord is then pulled backwards and forwards, after which the apple is cut in half with a table knife; both pto all intents and purposes been severed. The two portions are then united and the cord is pulled backwards and forwards as before.

The performer prepares for the trick by passing the needle in at the side of the apple and bringing it out at the end opposite the stalk, in which condition it is laid on the table.

When about to present the trick the performer takes up both articles, which if held properly will appear to be separate, and announces that he is about to pass the thread through the apple. He apparently does so, but really inserts the needle at the point where it came out, passing it to the opposite side. The threadforwards, when it will appear to actually traverse the center of the fruit.

The apple iwill remain uninjured. The parts are now handed round for inspection, care being taken to keep them together at the bottom, after which they are replaced and the cord shown to be intact. At the conclusion of the trick the thread should be withdrawn from the fruit and given for examination; this also prevents the discovery of the secret by any inquisitive spectator.

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The Mysterious Tambourine.—It is generally understood that, should the silk hat go out of fashion, conjurers would be at a loss for a suitable article wherewith to work the numerous “production” tricks. Should such a calamity ever befall the profession the mysterious tambourine will, to some extent, come to the rescue.

er the lower, the edges of the paper being afterwards trimmed round with scissors. Thus

The apparatus consists of two nickel-plated brass rings, 8 in. in diameter and 1 in. deep; the one fitting easily over the other (see Fig. 26). The tambourine is constructed by placing a sheet of paper between the two rings, and pressing the upper one down ov

prepared it is shown back and front.

Fig. 26. RINGS FOR TAMBOURINE.

ient being obtained to fill a large clothes basket. If the performer desires to add to the effect of

The explanation is very simple. The tambourine is put together at the rear edge of the

The prestidigitateur then makes a small hole in the center of the paper with his wand, and immediately commences to twist out yard after yard of colored paper ribbon, suffic

the trick the production of the ribbon may be preceded by that of a number of handkerchiefs, also a quantity of spring flowers and other articles of a like nature. Finally a rabbit or a large bird cage containing a live bird may be produced from the pile of ribbon.

table, and when taking it up prior to trimming the edges, the coil, which was on the servante or suspended at the back of the table, is brought away under cover of the paper and pressed into the ring. The back of the colored coil should be rubbed over with chalk to match the white paper used in the construction of the tambourine which can then be shown back and front, but will still appear empty.

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The flowers should be done up in three packets of twenty each and laid on the coil, being covered with the handkerchiefs, which should be folded up neatly. The packet is then tied together with thin cotton, which can easily be broken when required.

The rabbit is in readiness in the profonde on the right side, and is introduced into the

ribbon from the chair opportunity would be found for introducing the cage unobserved.

The Bran and Dove Plates.—The trick I am about to describe, in its primary form, consists of changing a quantity of bran or flour into a live dove. It can, how, ever, like the tambourine, be made available for the production of various articles, and is especially suitable for the magical distribution of bonbons, candy, etc.

The performer comes forward with an ordinary soup, plate filled to overflowing with bran, a portion of which is scattered over the stage to prove its genuineness. The bran is then covered with a second plate, which on being removed reveals a live dove, the bran having entirely disappeared.

The explanation is as follows:—One of the plates is fitted with a tin lining, enameled white on the inside to represent the china (see Fig. 27). The supposed bran is really this tin lining turned upside down with bran gummed all over it; a handful of loose bran being thrown on the top. It is hardly necessary to say that the dove is already in the plate concealed by the bran shape.

The false heap of bran is now covered with the second plate, and while talking the

ribbon when picking it up from the floor.

The cage, which should be a folding one, is suspended behind the back of a chair, over which the ribbon would be thrown while performing a simple trick with one of the handkerchiefs. In the act of taking the

performer, in a careless way, turns the plates over several times, finally placing them on the table in such a manner that the one that was formerly uppermost shall now be at the bottom. All he has to do now is to remove the uppermost plate and take out the dove. The inside of the bottom plate should now be shown, when it will appear perfectly empty.

Fig. 27. PLATE AND TIN LINING.

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In place of the dove the plate may be loaded with candy and small toys, for distribution; or with a list of articles similar to those produced from the tambourine. If a coil of ribbon be used it should be a colored one, with one side rubbed over with chalk so that the inside of the plate may be shown prior to its production.

ing provided with two doves exactly alike, the bran in one may be made to, apparently, change places with the dove in the other.

outh to mouth, and stands the glass of beer on the crown of the uppermost one, covering it with a paper cylinder of the same height as itself.

ed with a glass, 3¼ in. high by 2½ in. in diameter at the mouth, tapering very slightly towards the bottom. In addition

, thus, prepared, it will readily pass for a glass containing beer.

he glass of beer. He then puts the glass, still covered with the cylinder, into one of the hats, with the remark, “I will now cause the tumbler to pass

ass alone being removed.

Now, in order to satisfy the spectators that the beer is actually on the crown of the hat, the performer lifts the cylinder and exposes the sham glass, which everyone believes to be the genuine article. The cover is then replaced and the tumbler commanded to pass into the lower hat, after which it is again raised, together with the counterfeit, and the wand passed through it as before. The hats are then separated and the glass is produced from the lower one.

A Crystal Water Mystery.—Chemical tricks, as a rule, do not meet with much favor at the hands of professional conjurers. The reason is pretty clear, as in the majority of cases, the modus operandi is too palpable. The one I am

By using two pairs of these plates, and be

The Wandering Beer.—The feat bearing this title consists of causing a glass of beer to pass through the crown of a borrowed hat. Having obtained the loan of two hats, the performer places them on the table m

On removing the cylinder it is shown to be perfectly empty, the glass being immediately taken from the lower hat.

For the performance of the trick the operator must be provid

to the glass and the paper cylinder a piece of glass tubing the same height as the tumbler, and large enough to pass easily over the same, will also be required. This piece of tubing must be browned on the inside to within 1 in. of the top, and finished with a little white paint to represent froth, when

The paper cylinder, containing the sham glass, being on the table, the performer comes forward with a bottle of beer and fills the tumbler. He then takes up the cylinder and passes his wand right through it, as if to prove that it has not undergone any preparation, after which he places it over t

from one hat to the other,” then, as if struck with a sudden thought, changes his mind, saying, “No, perhaps it would be more effective if I place the hats one over the other, and pass the glass through the crown of the uppermost one.” Saying this he, apparently, takes the tumbler, still under cover of the cylinder, from the hat, and places it in the required position. Really, however, the beer was left behind, the cylinder and counterfeit gl

about to describe, however, owing to

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the number of changes produced, is an exceptionally good one, and is to be found in the repertoire of the leading performers of the day.

Fig. 28. ARRANGEMENT OF JUG AND GLASSES.

Four empty glass tumblers, together with a glass jug full of water, are arranged on a tray as shown in Fig. 28.

Water poured from the jug into—

No. 1, is seen to be clear. No. 2, changes to brown pop. No. 3, is seen to be clear. No. 4, again changes to brown pop. Nos. 1 and 2 mixed equal brown pop. Nos. 3 and 4 equal water. Nos. 1 and 2 put back into the jug give all brown pop. Nos. 3 and 4 put back into the jug give all water, as at first.

The explanation, although by no means obvious, is very simple. Glass No. 1 is perfectly clean. No. 2 contains a small portion of pyrogallic acid, about the size of a pea. No. 3 is prepared with half a teaspoonful of sulphuric acid. No. 4 contains the same quantity of pyrogallic acid as No. 2. The jug contains clear water, into which a teaspoonful of sulphate of iron is dropped just before the trick is commenced. The iron should not be placed in the water until actually required for use, as the solution changes rapidly to a

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yellow color, in which condition it would not very well pass for water. For the same reason the jug should be removed immediately after the trick.

Some performers prefer to use the following chemicals in place of those enumerated above. I will give them in the same order, and then the magician may choose for himself. Glass No. 1, as before, is quite clean; No. 2 contains a few drops of muriated tincture of iron; No. 3, a teaspoonful of a saturated solution of oxalic acid; and No. 4 is prepared in the same manner as No. 2. A teaspoonful of tannic acid should be added to the water in the jug prior to the commencement of the experiment.

I myself always use the sulphuric acid, as I believe it produces the best result, but in the case of a spill it is very dangerous, and on this account the latter method is to be preferred. The changes, in either case, are quite instantaneous, hence the trick produces a most extraordinary effect.

The Wizard's Breakfast.—The magical production of steaming hot coffee has always been a favorite trick with the juveniles, especially when the beverage is handed round for their consumption, and various pieces of apparatus have been designed for effecting this purpose. The most up-to-date method, however, is the one hereafter described:

Two boxes, without lids, sizes about 12 in. by 8 in. by 8 in., usually fitting one within the other for convenience in traveling, and containing respectively cuttings of blue and white paper, are introduced to the audience. Two pint goblets, in metal, are then filled, one with blue, and the other with white paper from the boxes, after which they are covered with small silk handkerchiefs. On reare found to have been transformed respect ilk. The

very vestige of the coffee and milk having disappeared.

mployed in the trick, two of which, containing the boxes unknown to the spectators. These two are provided with

ithin them at the top, each tray being filled with paper of

moving the handkerchiefs the blue and the white papers ively into hot coffee and hot m

performer then pours a portion of each fluid into a breakfast cup, and makes a motion as if throwing the whole over the audience, when nothing falls but a shower of blue and white paper cuttings, e

There are in reality four goblets efluids, are concealed in theshallow trays fitting loosely wthe required color (Fig. 29).

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Fig. 29. GOBLET WITH SHALLOW TRAY.

When presenting the trick the performer comes forward with the box containing the white paper, and throwing a handful in the air, calls out, “Out in the cold,” which remark is

from the table and appears to fill it with white paper, but really, while in the box, an exchange is made for the one containing the milk, which, owing to the presence of the shallow tray, will appear to be full of paper. This is then covered with a handkerchief, after which the second goblet is treated in like manner.

The shallow trays have each a piece of wire projecting from their upper edge to enable the performer to remove them under cover of the handkerchiefs. The handkerchiefs are thrown in a careless manner over the sides of the boxes, into which, if sufficient paper has been provided, the trays may be secretly allowed to fall.

The cup and saucer will next require our attention. These are of metal in imitation of the genuine article, the saucer being made double, with a small hole in the center of its upper side, for a purpose that will presently appear. The cup is provided with a perpendicular

perfectly justifiable, as the paper gives a faithful representation of falling snow. Placing this box on the table, and taking up that containing the blue paper, he scatters a handful over the stage with the remark, “This is the same as the white, only the wind blue it.” He now takes one of the goblets

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division nearly in the center, a small hole being drilled in the bottom of that side next the handle (see Fig. 30).

Fig. 30. PREPARED CUP AND SAUCER.

The front and larger side is filled with a mixture of blue and white paper cuttings, and thus prepared, together with the saucer, it is placed on the table. When pouring the coffee and milk into the cup t r takes care that it goes into the space provided with the small hole, through he saucer.

ot fall from the cylinder: on

he performewhich it immediately runs into the body of t

It is usual to bring the trick to a conclusion by apparently throwing the fluid over the audience as already described, but should the performer be provided with a number of small cups and a tray, that portion of the beverage not used may be handed round as refreshments.

The Hydrostatic Tube.—This is a trick of comparatively recent invention. It requires very careful handling, and the performer must be possessed of almost superhuman nerve to present it successfully to a critical audience. It produces, however, a most extraordinary effect, and on this account is to be recommended.

A piece of paper is placed at the bottom of a glass tube or chimney used for gas, which is then filled with water, while the top of the tube is covered with a second piece of paper. The right hand is then placed on the top paper and the position of the tube reversed. The papers are then, each in turn, removed, but the water does nthe contrary, it remains suspended without visible means of support. The papers are now replaced, and the top one is pierced with a hat-pin, when, on the pin being withdrawn, the water at once falls into a basin placed ready to receive it under the tube.

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This surprising result is due entirely to a well-known natural law, viz., the pressure of the atmosphere, and is nothing more nor less than a modification of the old schoolboy trick of keeping a glass of water inverted by means of a sheet of paper. The new arrangement will, however, require special explanation.

Each end of the cylinder is fitted with a glass cap, grooved to fit into and over it at the same time; this is necessary to avoid slipping. The ends of the tube, also the edges of the caps, must be ground, so that the point of juncture shall be air-tight. One of the caps has a small hole drilled through the center (see Fig. 31).

Fig. 31.

GLASS CYLINDER AND CAPS.

When about to present the trick the two glass caps are laid on the bottoms of two upturned tumblers, where they are quite invisible. The performer then draws attention to two square pieces of paper, which he dips into the water contained in the bowl, afterwards laying them down on the glass tumblers, and over the glass discs. He next shows the tube, passing his wand through it to prove that it has not undergone any preparation. Then taking one of the papers, and at the same time secretly securing one of the discs (not the one with the hole in it), he places it at the bottom of the tube, which is

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forthwith stood on the palm of the left hand. The tube is then filled with water and covered with the remaining piece of paper and glass cap.

The position of the tube is then reversed, after which it is taken by the center and both papers are removed. The water will not run out of the small hole in the bottom cap owing

tube, where, being wet, they readily adhere. The hands are now placed one on each end and the tube is reversed; this is necessary to bring the cap with the hole in it to the top. The top paper is then pierced with the hat-pin, which, passing through the hole in the cap, gives the impression that there cannot be anything but the paper covering the ends of the tube. When the pin is withdrawn the air rushes into the tube, and, as a natural consequence, the paper and disc fall from the bottom, liberating the water. The bowl should be half full of water when the cap falls, to avoid fracture of the glass. The cap is then brought away from the top of the tube under cover of the piece of paper, and both are dropped into the bowl, when the tube can be once more given for examination.

The Hydrostatic Tumbler.—This trick, which is similar in principle to that immediately preceding it, is preferred by some as being less cumbersome; it is also easier to work and consequently entails less anxiety on the part of the performer. The effect, however, although pretty, is not quite so startling.

The necessary apparatus consists of a glass tumbler with a small hole drilled in the side 1 in. from the bottom, the mouth of which must be fitted with a glass cap in the same manner as the tube in the preceding trick (see Fig. 32).

to the fact that no air can get in at the top. The glass caps being absolutely invisible, the water will now appear to be suspended in the tube without any natural means of support.

The papers are again placed on the ends of the

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Fig. 32. TUMBLER AND CAP.

The performer having drawn attention to the tumbler, also a small piece of paper, dips the latter into a bowl of water, and lays it down over the glass cap. The tumbler, held with the thumb covering the small hole, is then filled with water from the bowl, and covered with the piece of paper under which, unknown to the audience, is the glass disc. The glass is then inverted and the paper withdrawn, the water remaining suspended without visible means of support. The tumbler can now be turned about in any direction, without the least fear of the water escaping, so long as the thumb is kept over the small hole in its side. It can also be stood on the table, the hand being removed entirely; the water cannot escape through the small hole owing to the presence of the cap.

The tumbler is once more raised and inverted, when the performer undertakes to cause the water to fall at any given number counted by the audience. This last effect, which adds considerably to the trick, is brought about by very simple means; all the performer has to do is to remove the thumb covering the small hole, when the air rushes in and causes the disc to fall. The bowl, as before, should be half full of water, to provide a cushion for the falling disc, which under these circumstances will not be injured, nor its presence detected.

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Watch, Glass, and Handkerchief.—This is a trick of genuine sleight of hand, and will test the performer's ability in several ways. In effect it is as follows:—Having obtained the loan of a silk hat and a lady's gold watch, the performer wraps the latter in a small silk handkerchief, and thus cared for, places it in a champagne tumbler. The watch, glass, and handkerchief are now caused to vanish one at a time, being, apparently, passed up behind a beam on the ceiling. The hat is then taken, shown perfectly empty, and held at arm's length above the performer's head. The vanished articles are now collected, one at a time, in the hat, into which they are actually heard to fall, being removed as they arrive by the performer.

The modus operandi is as follows:—The watch is enfolded in the handkerchief in the same manner as the coin is enfolded in the paper in “A New Coin Fold”, and after having taken it down to the lady that she may satisfy herself by its tick that it is still there, and when returning with it to the stage, it is allowed to slide out of the handkerchief into the profonde on the left side. The handkerchief, which is still supposed to contain the watch, is then placed in the tumbler, which is in turn covered with the hat.

You then address the audience somewhat as follows:— “Ladies and Gentlemen, it is my intention to pass these three articles—the watch, glass and handkerchief—up behind that beam on the ceiling. Would you like them to go separately or one at a time?” The last remark, owing to its stupidity, will probably be well received: it, however, means nothing, and you continue, “Visibly or invisibly?” The reply to this is sure to be “Visibly.” You then remark: “Well, in that case I shall have to remove the hat.” This you do with the right hand while standing with the right side to the audience; the left hand under cover of the body taking the watch from the profonde. The hat is then immediately transferred to the left hand, and the watch allowed to slide into on the table. Should the reply visibly?” be “Invisibly,” the performer need not become confused, as in any case the articles do actually go invisibly.

an outsider, it being the more expeditious. The sheet of paper is pressed over the tumbler and molded well into

diately grasps the hat and turns it upside down. This is done by

it in the act of placing it to the question, “Visibly or in

In this case the reply would be, “Certainly, with the greatest pleasure, but for the purpose of the trick I must remove the hat.”

The evanishment of the watch is caused by simply taking up the tumbler and shaking out the handkerchief.

The disappearance of the tumbler is effected with the aid of a large sheet of newspaper; a sheet torn from the local paper will answer every purpose. In this case you would not omit to mention that you always use that paper in preference to

the shape of the same, the tumbler being removed under cover of the edges of the paper and dropped into the profonde on the left side. The center of the paper bearing the profile of the glass is then crushed between the hands, when to all appearance the tumbler will have vanished.

The handkerchief is disposed of by palming in the usual way, when the right hand containing it imme

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extending the fingers to catch the watch, which then remains hidden in the hand with the handkerchief, when the hat can be shown to be empty.

The hat is now held above the head, and after due dramatic effect, the watch is allowed to fall from the hand, after which it is taken from the hat and handed back to the owner. The hat is once more shown empty after which the handkerchief is obtained in the same way. This time, however, the hat is turned upside down and the handkerchief allowed to fall on the floor.

While all eyes are on the handkerchief the left hand obtains the glass from the profonde,

Paper Cone, Watch, Rabbit, and Boxes.—The effect of this excellent stage trick is

and in the act of changing the hat over into the left hand to pick up the handkerchief with the right, it is thereby introduced. The hat containing the glass is then held upside down as previously instructed, and both sleeves are pulled back while passing it from one hand to the other. Finally the glass is produced, it being heard to fall into the hat, whence it is taken in due course.

as follows: A watch is borrowed and dropped into a conical paper bag held by one of the spectators. The performer then loads the magic pistol with a small silk handkerchief; this he fires in the direction of the bag, after which the bag is opened and found to contain the handkerchief, the watch having disappeared. Attention is next drawn to a box, which has been hanging over the head of the performer from the commencement of the entertainment, and which on being opened is found to consist of a nest of six boxes, the smallest of which contains a rabbit with the borrowed watch tied round its neck.

Fig. 33. PLAN OF PAPER BAG.

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The main secret of the trick lies in the paper bag, which is really double, consisting of two pieces of paper gummed together round the edges, the corner of one piece being removed, as in Fig. 33.

ace of concealment and dropped into the bag proper, the double side being immediately pulled over to the opposite side of the bag to again conceal the handkerchief.

The performer now loads a duplicate handkerchief into the pistol, and, having disposed of

dience. This swivel hook is attached to the ribbon round the rabbit's neck, the arrangement being as follows:—The ribbon is tied round the rabbit, which is then placed in the smallest box, the ribbon being allowed to hang outside the box when the lid is closed. The box is then placed in the next larger one, the ribbon still being allowed to hang outside. This is continued until the ribbon is left hanging on the outside of the last box.

The denouement will now be clear. As the boxes are removed one after the other the watch is suspended behind that last exposed; and when the rabbit is taken out it will be impossible to tell that the watch was not actually removed from the same box.

CHAPTER IX

At the commencement of the trick a small silk handkerchief is hidden between the two pieces of paper, When making the bag it must be so arranged that the corner at which is the opening is at the top. Under cover of the point of the bag the handkerchief is removed from its pl

If the bag is well made, this side well creased over, a casual glance into its interior will reveal nothing suspicious. In this condition the bag is given to a spectator to hold, and he is then requested to drop the watch into it, which he does, as he thinks, into the bag proper, but really the watch falls into the position previously occupied by the handkerchief. The top of the bag is then folded over.

it in the usual way, fires in the direction of the bag. He then unfolds the bag and shakes out the handkerchief, being careful to hold the watch so that it does not fall at the same time. He then crumples up the paper in his hands, and in the act of doing so tears out the watch, which is forthwith palmed, the paper being thrown away.

The box, which should be suspended with two cords over pulleys, is then lowered; and when taking it in his hands to place it on the table the performer is able to secretly attach the watch to a swivel hook which is hanging on the side most remote from the au

THE BLACK ART, FULLY EXPOSED AND LAID BARE

To Determine the Article Selected by the Company, the Performer Being Absent from the Room at the Time of Selection.—The effect of this trick upon the uninitiated is little short of marvelous. The performer places three articles in a row upon the table. As, for instance, a decanter, a glass and a plate. He then requests the company to determine amon ich of the articles he shall touch on his return. He leaves the room and is recalled when the decision is made.

g themselves, in his absence, wh

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Pretending to examine the articles from various points of view, and after an apparent mental calculation, the conjurer points out the article selected by the company.

In order to accomplish this mystery, the performer simply employs a confederate,

le selected. The operator may then repeat the performance, varying the effect by requesting the company to place the articles

ordinary tumbler and a newspaper. Sit on a chair behind the table, keeping the audience in front of it. Place the

ually toward the ankles, so that the fall may not be sufficiently great to break the glass. Care should be

To Drive One Tumbler Throug trick requires some little practice, or the result is nearly certain to be attended w able destruction of glass. Select two tumblers of exactly the same pattern, and considerably larger at the top than the bottom ther. Sit on a chair, so that th

with. It will save much expense in glass.

agreeing with him beforehand upon signs and signals to denote the numbers 1, 2, and 3. For example, the confederate is to pass his hand through his hair for number one; keep his hand on his watch-chain for number two; and do nothing at all for number three. Let it be understood that the articles are to be known by numbers, counting always from the performer's left hand. Thus, the decanter is number one, the glass number two, and the plate number three. The articles being in position, the operator leaves the room. The confederate, of course, remains with the company, who, we will suppose, select the wine-glass. The operator is recalled; and, in the course of his examination or calculation, takes an opportunity of stealing a glance at the confederate, who, with his hand on his watch-chain, signifies number two (the glass) to be the artic

in any other position they please; the operator and his confederate always remembering to count from the left hand.

To Knock a Tumbler Through a Table.—This trick is very effective, and calculated to excite an immense amount of curiosity and surprise. Take an

tumbler on the table and cover it with the newspaper, pressing the paper closely round, so that it gradually becomes fashioned to the form of the glass. Then draw the paper to the edge of the table, and drop the tumbler into your lap—quickly returning the paper to the center of the table; the stiffness of the paper will still preserve the form of the tumbler; hold the form with one hand, and strike a heavy blow upon it with the other; at the same moment drop the tumbler from the lap to the floor; and you will appear to have positively knocked the tumbler through the solid table. Care should be taken after the tumbler is in the lap to place the legs in such a fashion that the glass may slide grad

also taken to smooth out the paper after the blow has been struck, to prevent suspicion of the fact that the form of the glass was simply preserved by the stiffness of the paper. Never repeat this illusion.

h Another.—This ith consider

—so much so, indeed, that either tumbler will fit at least halfway into the oe falling tumbler may fall softly into the lap. Hold one tumbler

between the thumb and second finger of the left hand. Then play the other tumbler with the right hand several times in and out of the left-hand tumbler, and during this play contrive at the same instant to retain the right-hand tumbler between the thumb and first finger of the left hand, while the other or lower glass drops into the lap. Well done, this trick has few superiors, and it is worth any amount of practice to achieve it. It would be desirable to get a tinner to make a couple of common tumbler-shaped tin cups to practice

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The Dancing Skeleton.—This is calculated to excite much astonishment, if well arranged beforehand.

Get a piece of board about the size of a large school-slate, and have it painted black. The paint should be what is known as a dead color, without gloss or brightness. Sketch out the figure of a skeleton on a piece of cardboard, and arrange it after the manner of the dancing sailors and other cardboard figures exposed for sale in the toy-stores, so that by holding the figure by the head in one hand, and pulling a string with the other, the figure will throw up its legs and arms in a very ludicrous manner.

Make the connections of the arms and legs with black string, and let the pulling string be also black. Tack the skeleton by the head to the black-board. The figure having been cut out, is of course painted black like the board.

Now to perform. Produce the board. Show only the side upon which there is nothing.

Request that the lights may be reduced about half, and take position at a little distance from the company. With a piece of chalk make one or two attempts to draw a figure; rub

ublic curiosity to the utmost, is that sensationally announced as the “Human Head Floating in the Air.” Multitudes have witnessed and wondered at

out your work as being unsatisfactory; turn the slate; the black figure will not be perceived; rapidly touch the edges of the cardboard figure with chalk, filling up ribs, etc., at pleasure, and taking care that nothing moves while the drawing is progressing. Then manipulate with the fingers before the drawing, and request it to become animated. By pulling the string below the figure it will, of course, kick up the legs and throw about the arms, to the astonishment of everybody.

A little music from the piano will greatly assist the illusion.

The Head of the Decapitated Speaking.—This illusion, performed with a table, under which two pieces of looking-glass are placed, at an angle of forty-five degrees, concealing the body of the actor, attracted thousands when first exhibited.

The Mystery of the Floating Head.—One of the most startling of conjurors' tricks, and one which has piqued p

this performance, which seems to have defied any explanation by the uninitiated.

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That the head is a gutta-percha or plaster affair, is a pet theory with those who have not seen it, but after witnessing the exhibition this idea is reluctantly discarded. In reality it is

d thereto will be accounted ance.

eflect the

a human head, and the seeming absence of any body attachefor as soon as we disclose the mystery and secret of the perform

The sides and back of the stage are hung with curtains. Near the back of the stage two mirrors are placed at right angles, the point, equi-distant from each side of the stage, facing the audience. The mirrors being at angles with the sides, of course rcurtains at the sides, and these curtains being the same in style and material, their reflection has the same appearance as the curtain at the back of the stage. The audience seeing this reflection naturally imagine they are having an unobstructed view of the back of the stage.

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Behind this wall of glass the conjuror's confederate takes his position, of course only that part of his person which is above the glass being visible. So the “floating head” is really a man peeping over a glass fence. The cushion which is commonly used to apparently support the head, is suspended outside of the glass, by fine wire.

The exhibitor is always careful to keep out of the angles of the glass, otherwise he would be reflected, and the existence of the glasses disclosed to the audience. When standing at the stage “wings,” or when directly in front of the central “point” of the mirrors, he is secure from reflection.

Our illustrations will, we think, make this explanation perfectly clear. The first shows the head as it appears to the audience; the second shows the position, behind the glass, of the individual personating the “head.” In the latter picture the spectator is supposed to be looking through the mirrors. Thick plate glass will answer equally as well as the mirrors in exhibiting this trick.

To Place a Lighted Candle Under Water, Without Extinguishing It; Or a Handkerchief Without Wetting It.—Procure a good-sized cork, or bung; upon it place a small lighted taper; then set it afloat in a pail of water. Now, with a steady hand, invert a large drinking glass over the light, and push it carefully down into the water. The glass being full of air prevents the water entering it. You may thus see the candle burn under water, and bring it up again to the surface, still alight. This experiment, simple as it is, serves to elucidate that useful contrivance called the diving-bell, being performed on the same principle.

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The largest drinking-glass holds but half a pint, so that your diving-light soon goes out for want of air. As an average, a burning candle consumes as much air as a man, and he requires nearly a gallon of air every minute, so that, according to the size of the glass over the flame, you can calculate how many seconds it will rem

et.

or rather just as the last flame disappears, turn the

bustion being invisible, the experiment is cleaner.

ain alight; of course a large flame requires more air than a small one. For this and several other experiments, a quart bell-glass is very useful, but, being expensive, it is not found in every parlor laboratory; one is, however, easily made from a green glass pickle bottle; get a glazier to cut off the bottom, and you have a bell-glass that Chilton would not reject. In the same manner you may put a handkerchief rolled tight together, and it will not w

To Place Water in a Drinking-Glass Upside Down.—Procure a plate, a tumbler, and a small piece of tissue or silver paper. Set the plate on a table, and pour water in it up to the first rim. Now very slightly crumple up the paper, and place it in the glass; then set it on the fire. When it is burnt out,glass quickly upside down into the water. Astonishing! the water rushes with great violence into the glass! Now you are satisfied that water can be placed in a drinking-glass upside down. Hold the glass firm, and the plate also. You can now reverse the position of the plate and glass, and thus convince the most skeptical of the truth of your pneumatic experiment. Instead of burning paper, a little brandy or spirits of wine can be ignited in the glass; the result of its com

The Faded Rose Restored.—Take a rose that is quite faded, and throw some sulphur on a chafing-dish of hot coals; then hold the rose over the fumes of the sulphur, and it will become quite white; in this state dip it into water, put it into a box, or drawer for three or four hours, and when taken out it will be quite red again.

The Protean Liquid.—A red liquor, which, when poured into different glasses, will become yellow, blue, black, and violet, may be thus made: Infuse a few shavings of

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logwood in common water, and when the liquor is red, pour it into a bottle; then take three drinking-glasses, rinse one of them with strong vinegar, throw into the second a small quantity of pounded alum, which will not be observed if the glass has been newly washed, and leave the third without any preparation. If the red liquor in the bottle be poured into the first glass, it will assume a straw-color; if into the second, it will pass gradually from bluish-gray to black, provided it be stirred with a bit of iron, which has been privately immersed in good vinegar; in the third glass the red liquor will assume a violet tint.

The Burned Handkerchief Restored.—Get a flat-topped stand, such as is shown at A, and make a neat pasteboard or tin cover, as is seen at C, and be sure to ornament it with various showy devices. The cover must slip very easily over the stand. Cut a flat circular plate, B, the least bit wider than the top of A, and just large enough to slip easily into C. Here is all your apparatus.

Before you show this trick, place in your pocket a piece of white rag that looks like a handkerchief. Borrow a clean white cambric handkerchief from mong the audience, and just before you receive it, conceal in your hand the white rag. Have the apparatus ready

a

on a side table, with the movable plate laid on the stand, Lay the handkerchief on the plate, place the cover over the handkerchief, and press it down with a smart slap.

Now take off the cover, squeezing it well so as to take up the plate as you do so; put your hand into it as if about to pull out the handkerchief, and substitute in its stead the white rag. Lay the rag on the stand, apply a match to it, and let it burn to ashes. Replace the

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cover on the stand, and press it down. Then loosen the grasp of the hand and the plate will fall on the stand, completely concealing the ashes. Lift the cover gently, when the handkerchief will fall upon the plate, and may be restored unhurt to the owner.

Eatable Candle Ends.—Take a large apple and cut out a few pieces in the shape of candle ends, round at the bottom and flat at the top, in fact, as much like a piece of candle as possible. Now cut some slips from a sweet almond, as near as you can to resemble a wick. and stick them into the imitation candle. Light them for an instant, to make the tops black, blow them out, and they are ready for the trick. One or two should be artfully

Explanation: You must take care in borrowing the watch that it be a good one and goes well; have concealed in your hand a piece of loadstone, which, as soon as you apply it to the watch, will occasion suspension of its movements, which a subsequent shaking and withdrawing of the magnet will restore.

How to Cut Your Arm Off Without Hurt or Danger.—You must provide yourself with two knives, a true one and a false one, and when you go to show this feat, put the true knife in your pocket, and then take out the false and clap it on your wrist undiscovered, and with a sponge make the knife bloody, and it will appear you have nearly severed your arm.

placed in a snuffer-tray, or candle-stick; you then inform your friends that during your “travels in the Russian Empire,” you learned, like the Russians, to be fond of candles; at the same time lighting your artificial candles (the almonds will readily take fire, and flame for a few seconds), pop them into your mouth; and swallow them, one after the other.

To Make a Watch Stop or Go at the Word of Command.—Borrow a watch from any person in company and request of the whole to stand around you. Hold the watch up to the ear of the first in the circle and command it to go. Then demand his testimony to the fact. Remove it to the ear of the next, and enjoin it to stop. Make the same request of that party, and so on through the entire party.

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A knife for the nose may be made on the same principle.

To Pour Cold Water Into a Kettle and Make It Come Out Hot Without the Aid of Fire.—You give a pint of cold water to one of the company, and taking off the lid of

yed into it through the nose. There is no passage for the cold

out.

This trick may be varied, and for the better; as the heat of the water may betray it, should the bottom of the kettle be full. You may therefore propose to change water into wine or punch.

A coffee-pot may be made on a similar plan; but a kettle is preferable, it being more likely from its size and breadth, to baffle the examination of the curious.

This trick may also be improved by an additional expense, so that whatever liquor is on either bottom may be poured out occasionally. For this purpose there must be a double passage to the nose of the kettle, and secret springs to stop either passage.

How to Cut a Man's Head Off, and Put It into a Platter, a Yard from His Body.—To show this feat, you must cause a board, a cloth, and a platter to be purposely

the kettle, you request him to put it into it; you then put the lid on the kettle. Take the pint and the exact quantity of water comes out of the kettle boiling hot.

This trick is performed in the following way: The kettle has two bottoms; boiling water has been previously convewater, which is put in when the lid is off; consequently, the hot water can alone be poured

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made, and in each of them must be made holes fit for a boy's neck. The board must be made of two planks, the longer and broader the better; there must be left within half a yard of the end of each plank half a hole, that both the planks being put together, there may remain two holes like the holes in a pair of stocks. There must be made likewise, a hole in the cloth; a platter, having a hole of the same size in the middle thereof, must be set directly over it; then the boy sitting or kneeling under the board; let the head only remain upon the board in the frame. To make the sight more dreadful put a little brimstone into a chafing-dish of coals, and set it before the head of the boy, who must gasp two or three times that the smoke may enter his nostrils and mouth, and the head presently will appear stark dead, and if a little blood be sprinkled on his face, the sight will appear more dreadful. (This is commonly practiced with boys instructed for that purpose). At the other end of the table where the other hole is made, another boy of the same size as the first boy must be placed, his body on the table and his head through the hole in the table, at the opposite end to where the head is which is exhibited.

To Turn Water into Wine.—Take four beer glasses, rub one of them on the inside with a piece of alum; put in the second a drop of vinegar; the third empty, and then take a mouthful of clean water and a clean rag, with ground brazil tied in it, which must lie betwixt your hind teeth and your cheek. Then take of the water out of the glass into your mouth, and return it into the glass that has the drop of vinegar in it, which will cause it to have the perfect color of sack; then turn it into your mouth again, and chew your rag of brazil, and squirt the liquor into the glass, and it will have the perfect color and smell of claret; returning the brazil into its former place, take the liquor into your mouth again, and presently squirt it into the glass you rubbed with alum, and it will have the perfect color of mulberry wine.

Magic Breath.—Put some lime-water in a tumbler; breathe upon it through a small glass tube. The fluid, which before was perfectly limpid, will gradually become white as

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milk. If allowed to remain at rest for a short time, real chalk will be deposited at the bottom of the tumbler.

To Make a Party Appear Ghastly.—This can only be done in a room. Take half a pint of spirits, and having warmed it, put a handful of salt with it into a basin, then set it on fire, and it will have the effect of making every person within its influence look hideous.

How to Eat Fire.—Anoint your tongue with liquid storax, and you may put a pair of red-hot tongs into your mouth, without hurting yourself, and lick them till they are cold. You may also take coals out of the fire and eat them as you would bread; dip them into brimstone powder, and the fire will seem more strange, but the sulphur puts out the coal, and if you shut your mouth close you put out the sulphur, and so chew the coals and swallow them, which you may do without offending the body. If you put a piece of lighted charcoal into your mouth, you may suffer a pair of bellows to be blown into your mouth continually and receive no hurt; but your mouth must be quickly cleaned, otherwise it will cause a salivation. This is a very dangerous trick to be done, and those who practice it ought to use all means they can to prevent danger. I never saw one of these fire-eaters that had a good complexion.

To Dip the Hand in Water Without Wetting It.—Powder the surface of a bowl of water with lycopodium; you may put your hand into it and take out a piece of money that has been previously put at the bottom of the bowl, without wetting your skin; the lycopodium so attaching itself to the latter as to keep it entirely from coming in direct contact with the water. After performing the experiment, a slight shake of the hand will rid it of the powder.

How to Shoot a Bird and Bring It to Life Again.—Load your gun with the usual charge of powder, but instead of shot put half a charge of quicksilver; prime and shoot. If your piece bears ever so little near the bird, it will find itself stunned and benumbed to such a degree as to fall to the ground in a fit. As it will regain its senses in a few minutes, you may make use of the time by saying, that you are going to bring it to life again; this will astonish greatly the company; the ladies will no doubt interest themselves in favor of the bird, and intercede for its liberty. Sympathizing with their feelings for the little prisoner may be the means of some of them sympathizing with yours.

Hideous Metamorphosis.—Take a few nut-galls, bruise them to a very fine powder, which strew nicely upon a towel; then put a little brown copperas into a basin of water; this will soon dissolve and leave the water perfectly transparent. After any person has washed in this water, and wiped with the towel on which the galls have been strewed, his hands and face will immediately become black; but in a few days by washing with soap they will again become clean. This trick is too mischievous for performance.

How to Fill a Glass With Beer and Water at the Same Time, Without Mixing the Two Liquids.—It is done thus:—Half fill a tumbler with beer, then take a piece of brown paper or thin card, and placing it on the top of the beer, let it get perfectly still and

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quiet, taking care to keep the table on which the tumbler is placed quite steady. When all vibration has ceased, take some clear spring water, and having a small phial filled with it, proceed to pour it on the card a