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WILL ALMA
M.I.M.C. (LO N D O N )

M lY

I
TH E STAR SERIES

One Hundred
and
Fifty-Three
Tricks
Printed by
W estern Printing & Lithographing Go.
Racine, Wisconsin
Printed in TT. S. A.

HIS combination of one hundred and fifty

three tricks combines a series of card,
coin, handkerchief, chemical, h a t and mis
cellaneous tricks. The book contains over ninety
illustrations to show the workings of various
tricks an d these are to be found throughout th3
th e book. Reference is made in explaining
various tricks to th e use o f a servante. This,
of course, is only necessary when am ateur
magicians*' attem p t a practiced perform ance.
Otherwise, an y other article which can be used
fo r the purpose of tem porarily secreting articles
w ill do. Although in the coin tricks, all ref
erences a re m ade to English money, th is caa
easily be changed to American money*

The State L ib ra ry o f V icto ria

A L M A C O N JU R IN G C O LLE C T IO N

Card Tricks
TO MAKE FALSE SHUFFLES tFalse shaffies are neces
sary in order to keep certain cards a t either tbe top or
bottom of the pack. The pack is held in the left hand,
and the ihalf of it th a t contains th e special card or cards
13 taken w ith the rig h t hand. The cards to be retained
in position are kept tightly held by the forefinger and
thum b, and those in the front or a t the back of them , as
th e case may be, are dropped, a few a t a tim e, on either
side of those held in the left hand. Place the retained
cards back in th eir original position in the pack as each
shuffle is finished.
TO SIGHT THE TOP CARD:I t is often necessary t*
know the card a t the top of th e pack, and th e opportunity
to look a t it does n o t occur. Ruffle the cards which are
held in the rig h t hand, and in doing so, tu rn up the top
righthand corner of th e top card w ith the thum b, when
th e su it and value of th e c a rd which is printed there ca a
be easily seen.
DEALING SECONDS, OR RETAINING T H E TOP CARD.
Hold th e pack in the left hand, and pretend to deal th e
first card, b u t instead pull two cards forw ard, and retain
th e top card w ith th e thum b of the hand th a t is holding
th e pack, and w ith th e other band draw away the second
card from underneath.
T H E QUICKEST PASS ON RECORD-.Place th e se-rea
o f clubs and the eight of spades a t the top o f th e pack.
T hen force** the eight o f clubs en d the seven of spade*
on members of the company. Let these two cards be shown
round then have them placed by one of the audience in
d ifferen t p a rts of the centre of the pack. Ruffle th e
cards, or if preferred, shuffle them thoroughly, taking carte
to keep th e two cards th a t were placed a t the top always
in th e ame position. Then ask some one in the com panr

where they would like th e two e&Ttte th a t th ey selected to

appear. They will invariably say on th e top, b ut if they
are asked for in another, p a rt of the pack, make a
rtecessary pass to suit th e need. A fter expressing doubt
as to whether it can be done, th e seven of clubs and
eig h t of spades can be displayed, and th e company will be
quite convinced you have brought together th e two cards
th at were placed in d ifferent p arts of th e pack, the
sim ilarity of the four cards lending itself to the deception.
TO NAME A CARD IN THE CENTRE OP T H E PACK.
Having sighted th e card a t the bottom of the pack, which
is retained face downwards in the left hand, draw it w ith
thum b slightly towards the person. Then hold th e pack
towards one of the company, and draw back the top p a rt
of the pack so as to "fa n * th e fro n t edge of a few cards
in the centre. Ask some one to p ut a finger on a card
they would like you to name. Draw away th a t card, all
those above it, and also the one a t the bottom of the pack,
a t the same tim e nam ing the latter card as the one chosen.
Show th e card is th e bottom one of those removed.
TH E INSEPARABLE J A C K S D is p la y the four Jacks
fanned in the hands, hiding three other cards behind the
Jack a t th e back of th e set. . Close the cards together, and
place them on th e top of th e pack, inform ing th e company
th at the Jacks are th e four top cards, as they have seen.
Then take th e top card, and w ithout exposing it place it
in the centre of th e pack, an d then place the second an d
third cards in other parts of the pack, keeping up a ru n n in g
commentary th a t th e company are sure th e Jacks a r e
being properly separated. Then ask some one to cut th e
cards, i. e. placing those removed beneath the others, and
the four Jacks will be discovered together in th e centre
of the pack.
TO TELL WHICH OP THE COURT CARDS A PERSON
HAS CHOSEN-;This is a very simple trick, but a t the
same tim e a very popular one. In most packs, the white
m argins a t the edges of th e court cards are of different
width a t top and bottom, and also a t th e Bides. Select
the court cards, and arran ge them w ith th e broad m argin
all the same way. Ask a person to pick out and note a card,
and then watch closely whether he tu rn s it. Hold forw ard
the pack for the card to be replaced in such a way th a t it

goes back w ith the broadm argin reversed from those to

hand. Shuffle th e cards,' an d then display the card th a t is
disarranged.
THE MAGNETIC A C E S D iv id e th e pack into three
piles,' and lay them face downwards upon the table. Ex
hibit the two red aces a n d lay one on top of the first pile
(the top card
of which you will have previously
noted)
and the other on th e second pile. Then place the
second
pile so th a t the aces are in different p arts of the pack*
Hold th e cards face downwards in the hand, and w ith
the rig h t hand draw th e cards one a t a tim e from th e bottom
of the pack, and expose them on the table. W hen th e
card th a t was
a t th e top of .the pack is brought forth,
draw back and retain th e next card, which is, the first
ace, and proceed to draw the other cards. W hen th e second
ace is produced, the first can be brought forth as the
next card, and the effect of th e two aces having come to
gether is obtained.
TO CATCH THREE CARDS FROM THE P A C K T h r e e
cards (duplicates of which th e perform er has secreted in
the right-hand trousers pocket) are forced upon members
of th e audience. The cards selected are then 'returned to
th e pack, and when i t is received back from th e audience,
the three duplicate cards are brought from th e pocket
palmed in the rig h t hand. Hold th e pack between the
first finger and thum b of th e right hand, throw it up in
th e air so th a t i t scatters in all directions, an d pretending
to make a grab a t th e cards as they fall, bring forw ard
the th ree palmed cards, and display them fanned in the
hand.
THE THREE-CARD TRICK, OR FINDING T H E QUEEN.
This very old tric k , which is still practiced on race-coursea
and a t sports meetings throughout the country, is one of
the most infamous of card tricks, and is here inserted th a t
th e novice m ay know of it and w ith th e hope th a t the
knowledge m ay be th e m eans of preventing him and others
from being victimised. One card is held fac6, downwards
between the second finger and thum b of the le ft hand, and
tw o cards in a sim ilar position, one above the other, in
the rig h t hand, th e queen being exposed in fro n t of the
other. W ith a very quick pass th e three cards are throw n
face downwards upon th e table, an d pretence is made of

dropping the queen first of all. Really it is the back card

of th e two in the rig h t hand th a t is first dropped. The trick
is usually performed w ith such rapidity and skill th a t tho
onlooker feels certain th a t the first card was the queen,
which he is requested to find. This is the m ost common
and simplest way of Finding the queen.
TH E
MYSTERIOUS D EA L:The four acea and the
four kings are packed together in the following order:two
aces, a king, two aces, then three kings. Then the first
card is turned face upwards upon the table, the next card
is placed underneath the pack held in the perform ers hand,
the third card dealt out, and each subsequent alternate card
is placed underneath th e pack. The cards are dealt out
in order of an ace, th en a king, each time.
TO FIX A CARD SELECTED FROM THE TACK ON
THE CEILING OR W A L L:Force a card, then let the
draw er retu rn it to the pack, and shuffle the same. A
duplicate of the forced card, w ith a tin-tack through the
centre of it (the point a t the back), is concealed in the
right-hand trousers pocket. While th e cards are being
shuffled, w ithdraw the card from the pocket, holding the
tack between the second and th ird fingers of the rig h t hand.
Take the pack in the left hand, bring the rig h t over on to
th e back of the pack, and place the palmed card on it.
Show the face of the pack to the audience, and rem ark
th a t you will tr y to fix the card th a t was selected and is
now in th e pack, on the ceiling or wall. Throw the pack
sm artly and squarely a t the ceiling or wall, and th e w eight
of the pack will drive th e topm ost card w ith the tin-tack
through it into th e surface throw n a t, an d it will rem ain
firm ly fixed there.
TO PRODUCE THREE CARDS IN A FRAM E:The
three cards for this trick are pinned on a blackboard fram ed
as a ^picture, and covered by a blind (working on the
American blind principle) and glass. When the blind is
draw n down it is hooked on to a catch a t the back ou' the
glass. The least pressure on the glass jwill releasG the
blind, and cause it to roll up.
The fram e w ith th e blind drawn down is hung upon the
wall. Duplicates of the three cards th a t are in the fram e
are forced upon members of th e audience. They are then
placed in different p a rts of the pack, and th e perform er

ILLUSTRATION L
Upper left 1, R ight 2, Centre 3, Middle L eft 4, Middle
R ight 5, Lower L eft 6, Lower Right 7.

Announces th a t he will throw the th ree cards selected inside

th e fram e. The whole pack is then throw n a t th e glass
n o t too hard, or of course i t will break, and th e th ree cards
are a t once shown inside the fram e (see page 7, Illustration
L, Figs. 6 and 7).
RUBBING SPOTS OFF A CARD:H ie sequence of a
su it from th e nine downwards, is placed a t the back of
th e pack, and the ten cards, e.g. the ten of spades, in
fro n t of the pack. Hold the pack in the left hand w ith
t h e . fro n t exposed to the audience, and while pretending
to rub the fro n t card with the rig h t hand, place the thum b
of th a t hand a t th e back of th e pack, draw ing th e nine
of spades down and aw ay under cover of the palm of the
hand. Rub the fro n t card again, and this tim e leave the
palmed card on the fro n t of th e pack, m aking it appear
th a t you have rubbed a spot off th e fro n t card. This can
be repeated several tim es. The thum b should be damped
an d the card will come away from the back m ore easily.
THE DISAPPEARING CARD:This is a very old an d
popular trick, but one so simple th a t it is not perform ed
sow . I t p artakes of th e cylinder order of tricks, an d fo r
its perform ance a card stand suitable for the purpose will be
necessary. The pedestal has a false top, underneath which a
carda duplicate of which is forced upon one of the com
panyis placed. A fter the forced card has been shown the
perform er m ust vanish it. He then shows th at there is noth
in g on th e card stand, and places the cover on it. Tapping
th e sta n d w ith his wand he promises to produce th e card
beneath it. When th e cover is raised i t takes w ith it the
false top, and th e selected card is disclosed underneath.

Coin Tricks
A COEN FOB PALMING
E FFE C T :The fro n t an d back of th e hand a re dis
played two or three times, and suddenly a penny appears
in th e hand.
APPARA TUS:A penny w ith a th in w ire rin g attached

HXUSTRATTOTT A

fk
to the centre. This is found on page 11, illustration B,
Fig. 8.
T H E TRICK:The second finger can be inserted in the
ring, which will be invisible if held at the second joint of
the finger. The hand will then be well displayed. , When
showing the fro n t of the hand, have the coin concealed
a t the back, an d then, while turning the hand over, open
the second and th ird fingers, and the coin will drop or
revolve into the palm , and the back of the hand can be dis
played. A fter showing both sides of the hands to the audi
ence two or three times the penny can be displayed in the
palm , and then vanished again. The perform er will soon
learn to do this trick very quickly.
This coin will be found useful for a num ber of tricks,
TO PALM A SIX PEN CE:A sixpence m ay be easily
palmed in the fleshy p art between tho thumb and first
finger, and will not be seen when the hand is well dis
played. This is a very useful trick, for the coin cannqt
be seen in either th e fro n t or th e back of the hand (see
Illustration A, Page 9, Fig. 5).
TO H A K E A COIN FLOAT ON WATER
E FF E C T :A two-shilling piece is made to float on a
basin of water.
"A PPA RA TU S:A two-shilling piece, a piece of aluminum
f fhe same size and design, and a basin of water.
THE T RICK :Borrow a two-shilling piece, and have the
alum inium duplicate palmed in the hand. On taking the
borrowed coin, exchange it for the palmed disc, and with
a steady action place the la tte r upon the surface of a basin
o f w ater, where it will float. When taking the disc from
th e w ater, dump the florin a little, and then retu rn it.
A member of the audience may be asked to try the experi
m ent with the same two-shilling piece, but of course he
will not succeed.
TO CAUSE A COIN TO PASS THROUGH A HANDKER
CHIEF IN WHICH A NUMBER OF COINS ARE EN
CLOSED
E FF E C T :A number of coins are placed in a handkcrehief, and one is shaken through ft.
APPARATUS?Four or five pennies, and a silk hand
kerchief.
10

ILLUSTRATION B

THE TRICK:A coin is palmed in th e hand, th e hand

kerchief placed over both coin and hand, and the five coins
placed in the handkerchief exactly on top of the one in the
palm . The handkerchief is then folded over th e fro n t, and
draw n across th e back enclosing the single coin in a sort
of envelope. Make a few rem arks, shake the handkerchief,
and th e coin w ill drop out.
TO BALANCE A CARD AND COIN ON THE FINGER,
AND TO REMOVE THE CARD WITHOUT DISLODGING
THE COIN
APPARA TUS:A playing card and a penny.
THE TRICK:Balance the playing card on a tip of th e
second finger of th e left hand, and on th e centre of the
card, i.e. immediately over the finger, lay a penny. Flick
th e corner edge of the card sharply w ith the second finger
of th e rig h t hand, taking care to strike quite straight.
The card will spin away an d leave th e penay balanced on
the finger.
VANISHING COINS ON A PLA TE
E FFE C T :H alf a dozen coins are swept from the table
into a plate, on which they are heard to clatter. The plate
is immediately displayed empty.
A PPA RA TU S:H alf a dozen pennies an d two plates.
TH E TRICK:One of the plates is secreted in a servante,
an d th e other laid upon the table. Lay the coins upon the
table, tak e up a position behind it, hold th e plate ju st be
low th e edge of the table andapparentlysweep th e
coins into it. They will be heard to clatter on the plate
(fo r they really fall into the plate previously secreted in
th e servante,) and th e empty one is then produced w ith
all possible alacrity.
MAGICAL PRODUCTION OF A COIN
A PPA RA TU S:A penny.
'
TH E T R IC K :Have a penny palmed in the left hand,
display the back of the hand, and expose th e rig h t hand
fully. Tap the palm of the rig h t hand w ith th e left, in
effect really throw ing the coin into it. The coin is then
palm ed in th e rig h t by covering it with the thum b and
th e hand closed, th e left hand is displayed empty, and
a fte r m aking one o r two revolving motions w ith th e hands
th e penny is exposed in the rig h t hand. (See Page 13, Il
lustration M , Fig, 1 and 2).

12

ILLUSTRATION M

THE DISAPPEARING PENNY

E FFE C T :A tum bler standing bottom upwards upoi
a sheet of white paper is covered by a 'paper cylinder
and then lifted and placed over a coin. The cylinder is
removed and the coin has vanished.
APPA RA TU S:A small tumbler, white paper and a penny
TH E T RICK :Gum the rim of a small tum bler, anc
spread a piece of white paper across it. Then cut awa}
th e edges, so th a t the top of the tum bler resembles a
drum. The tum bler is then laid rim downwards upon a
sheet of white paper. A penny is laid upon the paper,
and the perform er places a paper cylinder (which is ex
hibited to show th at it is empty) over the glass, and the
two are lifted and placed (still top downwards) over th
penny. The cylinder is then removed, and of course the
penny, being hidden by the paper drum of the glass, appears
to have vanished.
Care should be taken always to place the cover over the
glass, when passing it over or away from the coin, also
to keep th e glass on the sheet of white paper, otherwise
the pasted end will be exposed.
TO CHANGE A SHILLING INTO A SIXPENCE
E FFE C T :A shilling is placed in a box, which is then
tapped w ith a wand, handed back to one of the company,
who opening it finds a sixpence instead of the shilling
inside.
A P P A R A T U S A flat box, in appearance the same a t
the top as a t the bottom, but really possessing two com
partm ents
THE TtU CK :A sixpence is (secretly) placed in one
com partm ent, and the em pty one is shown. A shilling is
then inserted in the latter, and the box cleverly turned
upside down. Then the other side is opened, and the six
pence produced,
TO PASS A COIN THROUGH A HAT INTO A GLASS
E FFE C T :Three coins are throw n into a borrowed hat,
which has been stood upon a glass, and one of the coins
passes rig h t through the h a t into the glass.
APPARA TUS: A derby hat, a tumbler, and four pennies.
T H E TRICK :The bowl of the h a t is laid on the rim
of th e tum bler, an d ju st underneath it a penny is wedged
half-way in the glass. Two coins a re then dropped into
14

the hat, and th e th ird one thrown a t the side of the hat,
bo
th a t it releases th e penny, which falls into the glass.
Take the coins out of the hat with the right hand, palm
one by holding i t ag ain st th e inside o the hat w ith the
thum b, and display two. This trick is on Page 16, Illu stra
tion G, Fig. 2.
TO RUB A PENN Y THROUGH A CANDLE
A PPA R A T U S:A penny and a candle.
THE TRICK:The penny is shown in the right hand
and then apparently throw n into th e left, which is im
mediately closed, while the coin is simultaneously palmed
in the other hand, the back of which id displayed open.
Pick up the candle w ith the rig h t hand th at contains the
palmed coin, and holding it perpendicularly, rub the back
o f the candle with the left hand, saying th at you will rub
th e coin through the candle. Open the hand, display it
empty, and pretend to draw the palmed penny from the
bottom of the candle w ith the rig h t hand (see Page 13, Il
lu stration M, Figure 3).
TO DROP A COIN IN A BOTTLE
A PPA R A T U S:A sm all coin (e.g. a sixpence or a far
thin g ), a household m atch, and a broad-necked bottle.
THE TRICK :Snap (but do not break) the match in
h alf a t the centre, i.e. m aking an angular prong of it,
and lay it upon the neck of the bottle. Then place the
coin upon the match. T hat trick is to cause the coin to
fall into the bottle w ithout touching either. I t is accom
plished by lettin g a drop o r two of w ater fall upon the
p a rt of the m atch where it is broken. The prongs will
natu rally open, and the coin fall into th e bottle. This
trick is on Page 18, Illustration D, Fig. 4).
TO BALANCE COINS
A P P A R A T U S Three pennies with thick edges, and a
th in strip of wood slightly longer th a n the three coins
placed on end.
TH E TRICK :Lay three pennies edge to edge in a row
in the left hand, and upon them place the wood th a t has
been concealed in the palm of the rig h t hand. Grip the
ends of the stick between the thum b and second linger of
th e rig h t hand, a t the same tim e holding tho top and
bottom coins tightly. The coins can then be raised per-

ILLUSTRATION G
Cpper No. 1. Center Left No. 2. Centre Bight No. 8
and No. 4. Bottom L eft 5, Bight 6.

16

pendrcularly, and shown as if self-supported upon th eir

own edges. (See Page 21, Illustration N, Fig. 7 and 8).
TO HOLD A PENN Y SO THAT A STRONG MAN CAN
NOT TAKE IT FROM THE FINGERS
This trick is only suitable for a very ta ll person, or a t
any r a te should be played w ith a person much shorter
th an th e perform er. A challenge is p ut forth th a t a penny
held between th e fingers cannot be taken away by another
p arty w ithout his touching th e person holding the penny.
The penny is shown held in th e ordinary way, b ut im
mediately th e challenge is accepted, the hand is held high
above the head. If th e opponent jumps in the air, or
stands upon a chair, the coin shohld be held away so th at
it cannot be reached.
THE DIMINISHING COINS
E F F E C T :Three coins shown between the fingers are
changed to two.
APPA RA TU S:One penny, and another w ith a thin
groove cut round th e centre of its edge, and then cut in
two across th e centre, or a little to one side of itw
If a sm all indiarubber band is fitted into the groove the
penny can be folded in half, and, when released, will spring
TH E TRICK :The penny th a t is cut in h a lf is folded
over, and shown fanned underneath the other penny, so
th a t th e company believe there are three pennies. The
other hand is displayed empty, and then placed over th e
one holding th e pennies, which are rattled together; th e
indiarubber band will cause th e penny to open out flat,
and one of th e pennies appears to have vanished. I t will
be m ore effective if an assistant is asked to hold th e w rists
in order to prevent a coin from passing up the sleeve. (See
P age 21, Illustration N, Figures 3 and 4).
THE MULTIPLYING COIN
E FF E C T :A penny is displayed held between th e con
ju re rs fingers, and attention drawn to th e fact th a t there
is only one coin. The perform er waves his hand, and
then discloses two coins in his palm.
A PPA R A T U S:One side of a penny is bored away
(the rim is left uninjured) in such a m anner th a t a worn
penny, th e edge of which has been filed daw n, can be
17

ILLUSTRATION D
Top BowIllustration 1.
2nd RowIllustration 2, 3, 4.
3rd Row5A and A. Bottom 6 and 7.

fitted inside th e case th a t is thus made.

THE TRICK:Display the penny'inside its covering case
to the audience, following the directions given in the first
paragraph, and in waving the hand pull the oase into the
palm of th e hand w ith the thum b and display the two
coins (see Page 11, Illu stration B, Fig. 7).
TO MAKE A SHILLING SPIN ON THE POINT OP A
NEEDLE
APPA RA TU S:A bottle, two corks, two forks, a needle
and a shilling.
TH E TRICK:F ix a needle perpendicularly in a cork,
which is th en inserted in the mouth of a wine bottle. Make
a slit in the bottom of the other cork, and tightly fix a
shilling in i t ; now stick two forks into opposite sides of
th e cork, with th e handles hanging downwards. Place the
milled edge of the shilling on the point of the needle, and
th e cork, shilling and forks will spin w ithout falling off
(see P age 23, Illustration F, Fig. 4).
A variation of this trick is obtained by laying the shilling
(flat) a t the bottom of th e cork, and letting the centre
of it rest upon the needle (see Fig. 5 Illustration F.)
TO REVOLVE A COIN BETWEEN TWO PINS
Place a half-crown flat on th e table, then seize it
between two pins held a t the extremities of the same dia
m eter. The coin may then be raised without trouble. Blow
against the upper surface, and the coin will revolve w ith
tremendous speed, and appear like a metallic sphere.
TO VANISH AND PRODUCE A COIN
This very effective and simple little trick is illustrated
on Page 9, Illust. A, Fig. 6 and 7, and a fter a glance a t the
picture and a little practice the learner should soon become
proficient in it. The coin is held a t the back of the hand
between the second and th ird fingers, and the palm dis
played as in Fig. 5. The hand is then waved a little, and
while this is being done the coin is dropped between the
fingers on to th e thum b (see Fig. 6), and the back of the
hand is shown. Repeat two or three times, and then produce
the coin quickly, holding it between forefinger and thumb.
TO PASS A COIN
This is perform ed in almost exactly the same way
19

AS

1ms been described fo r card palm ing, and is illustrated on

*ge 9, IlJust. A, Fig. 1, 2 and 3. A coin is held be*
tween the first a n d fourth fingers of the rig h t hand
{see Fig. 1). The second and th ird fingers are draw n
<fown (see Fig. 2) and pushed np
in fro n t of the
coin, which is then held a t the back of the hand (see F ig 3).
When reproducing th e coin th e same procedure is gone
through- Considerable practice is required to successfully
perform this trickone of the m ost used of all coin tricks
and in the early stages a little waving or revolving
movement with the hand will successfully m ask any clumsi
ness.
TO RETAIN A COIN PALMED
This is not a t all a difficult m atter, b ut should be well
practised in order th a t a. natural appearance m ay be
.given to the
hand. I t is best to hold the coin very low
in the palm, e.g. between the little finger and thum b joints
in the hand (see on Page 9, Illustration A, Fig. 4).

Handkerchief Tricks
A HANDKERCHIEF PRODUCED FROM A MATCH BOX
A PPA RA TU S:A household matchbox and a small silk
handkerchief.
THE TRICK :Have the matchbox lying half open on
the table, and the handkerchief secreted inside th e open
end of the outside case. Take a match, from the box, close
it, and the handkerchief is pushed into the hand and
produced when wanted.
THE PUZZLING KNOT
EFFECT:The company are asked to let some one hold
each end of a handkerchief, and tie a knot in th e centre
of it without letting go.
A P P A R A T U S A handkerchief.
THB . T RICK :Roll the handkerchief ropewise, and lay
i t flat upon the table. Then cross the arm s, catch hold
20

ILLUSTRATION N

21

, of an end of th e handkerchief w ith either hand, and on

unfolding the arras, a knot will be tied. This is a very
puzzling trick to one uninitiated (see Page 18, Iliust. D).
TO VANISH A HANDKERCHIEF FROM INSIDE A
LAMP GLASS
E FF E C T :A handkerchief is placed inside a cylinder
shaped lamp glass, which the perform er holds between his
hands. Then, w ithout his hands being removed, the hand
kerchief vanishes,
A PPA RA TU S:A straig h t lamp glass, a sleeve pull,
one end of which is fastened ju st above the left elbow,
passing across the back, and down th e rig h t sleeve to
th e wrist, and a handkerchief w ith a loop of thread* well
masked, round the centre.
THE T R IC K :While pushing the handkerchief into the
inside of the glass, attach it to the sleeve pull, and when
the handkerchief is well inside, hold the ends of the glass
in the palms of the hands. A slight outw ard movement
of the elbows will make a space between the glass and
the palm, and a t the same tim e cause the handkerchief
to be drawn up the sleeve and vanished.
THE MYSTERIOUS KNOT
E FFECT:A handkerchief is wound round a stick, an
assistant places his hand upon it, and the handkerchief
is wound round bot!\ hand and stic k ; the ends are tied
together, the stick is held a t each end, the hand is re
moved, and the handkerchief draw n away w ithout thje
knot being untied.
A PPA RA TU S:A long handkerchief and a stick.
THE TR IC K :Ask two persons to hold a stick between
them , tw ist a handkerchief ropewise, and wind it twice
round th e stick, leaving the ends hanging over the stic k ;
let one of th e persons lay a hand on th e fold, carry the
ends of the handkerchief backwards, and wind again, this
tim e round both stick and hand, but carrying the hand
kerchief the reverse way of the othor wind. Tie the enda
of the handkerchief together, let the assistant show th a t
he can hold the stick unsupported, and then have his hand
drawn away. Pull the knot sharply, and the handkerchief
will coma away from th e stick. Care m ust be taken not
to cross the handkerchief. (See Page 33, Illustration E ,
Figures 6 and 7).
22

ILLUSTRATION P

23

HANDKERCHIEF SOAKED IN WATER, AND PRO

DUCED QUITE DRY
E FFE C T :A sm all silk handkerchief is borrowed, and
placed in a tin box, which fe filled w ith w ater. The hand
kerchief is th en produced from it quite dry.
APPARA TUS:A tin cylindrical box (see Page 11, Illus
tratio n B, Fig. 3 ), w ith false top containing a box and a
glass of water.
T H E T R IC K :A handkerchief is borrowed and placed
in the box in full view of the audience, and the lid p ut
on. Then a glass of w ater is procured, and the lid of
th e box again removed, b ut this tim e th e perform er takes
w ith it the false box th at it contains and in which is
secreted the handkerchief. The tin is then filled w ith water,
aad the lid and box p u t on again, th e pistol fired, the lid
again removed and the handkerchief produced.
TO CUT AN A PPLE IN A HANDKERCHIEF WITHOUT
IN JU R IN G THE LATTER
An apple is placed in the centre of a handkerchief, the
four com ers of which a re joined together, tied, and the
bag then suspended by a cord from a rod or a hook.
Take a sabre or a strong knife w ith a thick blade but
very sharp edgeth e thicker and sharper th e blade, the
the more likely is the experim ent to succeed. A clean up
ward cu t m ust be made underneath the apple, without
sawing, and perpendicularly to the point of suspension.
The apple will jum p up slightly, an d th e handkerchief will
enter w ith th e blade and be uncut.

Tricks with Chemicals

The only rem arks th a t need be made by way of introduc
tion to the following tricks is to w arn the perform er to take
g reat care of the glassee, etc., th a t are used or the result
may be disastrous. I t would indeed be as well in some
oases if th e glasses were destroyed immediately a fter the
perform ance.

TO IGNITE FLASH PAPER WITHOUT FLAME

E FFE C T :A piece of tissue paper is rolted in the hand
and set alight spontaneously.
A PPA R A T U S:P repare a powder of equal p arts of
chlorate of potash and powdered himp sugar. W ith sul
phuric acid fill some one-inch lengths of fine glass tubing
of the thickness of a darning needle, and herm etically seal
the ends by the aid of a spirit lamp.
THE TRICK :Take a piece of flash paper and w rap a
small quantity of the powder an d one of the tubes of
sulphuric acid in it. Have the paper lying upon the table
o r stage. Picking it up, pretend to be about to throw it
away, but instead roll it up in the hands. In doing so
break the tube, and the acid will ignite the powder and
paper. If this is throw n in the air, it will produce a very
startlin g effect, the whole vanishing in a blaze, and leaving
no ash behind.
ALE AND WATER TOGETHER IN ONE GLASS WITH
OUT MIXING
APPA RA TU S:A glass, a silk handkerchief, w ater and
ale.
THE TRICK :Fill a glass half full of ale, p ut a silk
handkerchief over the glass, and press it down to the
surface of the a l e ; then gently fill the glass up w ith w ater,
draw up the handkerchief, and the w ater will rem ain
upon the ale, but will not mix w ith it.
TO CHANGE TH E COMPLEXION FROM W HITE TO
BLACK
W hite oxide of bismuth (known as pearl white) used
as a cosmetic, gives the face a fair and pleasant appear
ance, and is much used by ladies. If a tum bler containing
w ater im pregnated w ith sulphuretted hydrogen gas is held
close to a face w ith this preparation upon it, as if for the
th e purpose of sm elling it, the face will suddenly tu rn black
a very sta rtlin g effect.
TO ILLUMINATE W ATER:W et a piece of loaf sugar
w ith phosphorized ether, and p ut i t into a basin of w ater.
The surface of the w ater will become luminous in th e dark,
and by gently blowing upon it, phosphorescent waves will
be formed, and illum inate the a ir above the fluid,. In w inter,
th e w ater m ust be warmed. If the phoephorifced ether be
25

applied to th e hand, or other warm objects, they also will

be luminous in th e dark.
THE MAGIC GLASSES OF W ATER:Have four tum blers
prepared in the following: m anner:Place a small portion
of fine ground and sifted red sanders in the first glass,
rinse th e second w ith a little vinegar, place a small quantity
of potash in the th ird ,* a n d a little alum in the fourth.
W ater poured into the first glass will assume the colour of
claret, pour this liquid into the second and it will immedi
ately chancre to a brandy* tin t, on tu rn in g it into the third
glass it will resume its previous colour, i.e. claret, and when
this is poured into the fourth glass i t will become quite
black.
TO OBTAIN F IR E BY APPEYING W ATER:Fill a
saucer w ith w ater, and drop a piece of about 2 grains of
potassium into it. W ith a slight detonation the potassium
will a t once b u rst into flame, and b u rn brightly on the
surface of the w ater. A t the same tim e it will appear to
d a rt like a ball of fire ffrom one side o f the saucer to
the other.
THE MAGIC JU G OF W A TER:Fill a glass jug with
th e liquid in which some red cabbage leaves have been boiled
fo r h alf a n hour. I t will be purple in colour, and when
cold is ready fo r use. Take three tum blers, leave th e first
quite clean, in the second place a drop of ammonia, and in
th e third a drop of sulphuric acid.
Pour some of the cabbage liquor into the glasses, and
th a t in the clean glass will retain its colour, th a t in the
second glass w ill tu rn green, and the th ird red. TTiis is a
very effective and am azing trick, as all th e liquid is poured
from the same bottle or jug, into glasses th a t are ap
parently clean.
TO ADD LIQUID TO A GLASS FU LL OF WATER
W ITHOUT CAUSING IT TO OVERFLOW :Fill a glass
z w ith w ater, and dry the rim of the glass. Now add some
spirits of wine, and th e w ater will not overflow.
TO GIVE ONESELF A SUPERNATURAL APPEAR A NCE:To one p a rt of phosphorus add six p arts of olive
oil, and dissolve in a m oderate heat. Then rub the pre
paration on th e face (taking care to avoid the eyes). All
lights in th e room should then be p u t out, and the face
will present a terrible and supernatural appearance, appear
26

ing to be covered w ith blue flame, the eyes and mouth being
like black spots. There i3 no risk of danger in this trick.
TO SET FIR E TO A HANDKERCHIEF WITHOUT IN
JU RIN G IT :Dip p a rt of a handkerchief in brandy* then
set ligh t to it, and th e flame will spread all over, but,the
spirituous m atter consumed, th e moist p art th at remains
will p u t the light out, to the amazement of those who are
ig norant of w hat has been done to the handkerchief*
TO SUSPEND A RING BY A BURNT THREAD:Soak
a piece of th read in common salt and water, and afterw ards
dry it. Tie it to a rin g (a wedding ring will serve very
well), and apply a lig h t to the thread, which will burn to
ashes and yet still sustain tbe ring.
OIL UPON W A TER :Procure a glass, a piece of string,
a th ird of a tum bler of water, and a third of a tum bler
of oil. Tie a piece o f th in string round a conical tum bler,
so th a t a long end is left a t each sid e ; bring these over
the top, and tie about a foot above the glass, i.e. making
a handle: fill about one th ird of the tum bler with w ater,
and it can then be swung to and fro, o r over and over;
th e w ater will rem ain as steady as if it were ice. Then
gently pour some oil upon the w ater until th e tum bler is
about tw o-thirds full* Swing the glass again, th e oil
will rem ain tran q u il, and the w ater underneath be violently
agitated.
TO BLOW SMOKE INTO A COVERED GLASS:Rinse
th e inside o f a glass .with spirits of salts, and sm ear the
.bottom of a saucer w ith liquid ammonia.
Place the saucer over the class, then cover both w ith a
handkerchief, now blow the smoke from a cigarette, a t
the handkerchief, saying you will fill the glass w ith smoke.
Take the handkerchief off, and on lifting the saucer a cloud
of smoke will arise.
A CANDLE THAT CANNOT BE BLOWN OUT:Roll a
linen ra g which has been well soaked in salt, or preferably
covered with it, round a candle; light the candle, and it will
burn if placed in the open in a strong wind.
TO SMOKE W ITH TWO EMPTY P I P E S P r o c u r e two
pipes, preferably of clay. Dip a piece of paper in spirits
of salts and sm ear it over the inside of the bowl of one
o f the p ipes; tr e a t th e other pipe in th e sam e w ay w ith
liquid ammonia.
27'

H and one o f the pipes to a member of th e company, an

ask him to smoke ft. Of course he cannot do so. Then han
him the other empty pipe, ask him to place the two bowl
together, and he will be able to blow out clouds of smoke
TO MAKE FLASH P A P E R :Flash paper is used fo
m any tricks, and is obtainable a t such trifling cost th a t i t i
hardly w orth while to m anufacture it a t home. To do 'B
e
however, take one p a rt of nitric acid and two p arts o
sulphuric acid, mix, and let stand for about twelve hour,
before using. Then take some ordinary tissue paper ant
soak it in the liquid fo r about half a m inute, take it ovr
and wash it well in clear w ater, seeing th a t all traces o;
the acids have been removed. The paper should then b<
placed in a w arm room to dry, b ut
not near a
fire.
advisable' to mix the acids in the
open air. A cambric
handkerchief, a fter being well washed in w ater, dried and
treated in the same m anner, will vanish on application^ of a
light. A large sheet of this paper, suddenly fired w ith a
lighted cigarette, will prove an effective cover under which
to produce bulky articles from th e pockets, etc., as it
d istracts the attention of th e audience completely.,
T H E MAGIC GLASS:A square of glass perfectly plain,
on which no drawings or any lines can be distinguished,
even after m inute investigation, is shown, b u t if any one
breathes on th e surface of th e glass a figure or drawing
appears. The figure will disappear immediately the breath
has evaporated from the glass. You may wash and rub
th e glass, b u t th e image will again appear if the plate be
breathed upon.
,
The explanation is simple. P repare the piece of glass
and let the operator draw upon it any design he chooses
w ith some fiuorhydric acid, which is obtained by dissolving
some powdered flourspar in ordinary sulphuric acid. When
i t is sufficiently liquefied, the figure should be traced on the
glass with a quill-pen. Leave it for a few m inutesfive
to ten a t the most. W ash the glass, and dry i t well. Then
when it is breathed upon th e figure or design will appear.
A little experience will decide the length of tim e re
quisite fo r the proper production of the figure; the acid
if left too long will eat into the glass, and th e design will
rem ain visible on the dry surface.
2K

TO REVERSE THE HANDS ON A RULER HELD BE

TW EEN ,THE FIR ST FINGER AND THUMB OF BOTH
HA N D S:The ru ler ia held in the m anner illustrated on
P age 33, Illu stratio n E, Fig. 4. Drop the right thum b and
bring it between th e left thum b and the ruler (see Fig. 2).
Now, w hilst gripping the ruler, tw ist the hands upwards
(see Figure 3) and the hands and ruler will be reversed as
in Figure 1.
THE OBEDIENT PA PER
APPARATUS :Four to rn pieces of paper.
T H E TRICK :Lay four sm all pieces of paper upon the
back of /the hand, and say you will, w ith one puff, blow
away any tw o or three pieces selected, and retain the rest.
Place the fingers of the other hand on the pieces you are
asked to leave and blow the rem ainder away.
TO DISPLACE WATER BY SMOKE
A PPA RA TU S:Two glasses and a clay pipe full of
tobacco.
THE TRICK :Get tw o glasses exactly alike, so th at
when filled w ith w ater they will stand w ith the rims to
geth er on top of one another. Place the glasses in a basin
of w ater, fill them quite full, bring them out together in
th e position described, and stand in a saucer or basin.
Now light some tobacco in a clay pipe, place a handker
chief over the bowl of it, and the stem of the pipe close
to the rim s of the glasses. Blow the smoke through the
stem, and the w ater in the top glass will gradually run
out into th e saucer or basin, and the smoke take its place.
The top glass can be emptied o f w ater in this m anner.
TO HANG A HAT ON THE PANEL OF A DOOR
A PPA RA TU S:A polished pencil sharpened towards the
side instead of in the usual way.
THE T R IC K :This is a very effective trick on enter
ing a drawing-room . The perform er, w ith hand covered
by his hat, rubs the pencil sharply down the side of the
door. The pencil will adhere to it
and a h a t w ith a fiat
brim can be hung upon the pencil.
TO PRODUCE A FLOW ER IN A BUTTONHOLE
The flower is attached to a long piece of thread the
colour of the perform ers clothes, and then placed in the
b reast pocket inside the coat. The thread is carried through
the buttonhole, and inside the coat, and left banging down
a t the bottom w ithin natural reach. On pulling the thread
the flower will shoot up in the buttonhole, and th e thread
29

will not be noticed by any one quite near. This is a very

effective trick. I t is advisable not to have a stem to the
flower* which should be artificial, and not liable to break.
A GLASS OF WATER SUSPENDED BY A THREAD
APPA RA TU S:A piece of thread, a playing card, seal
ing wax and a glass of w ater.
TH E TRICK:Fix one end of a piece of thread with
sealing: wax or sticking plaster to the centre of the back
of a playing card, which m ust not be penetrated. Hold
the card tightly, and quite flat on th e top of a tum bler
filled to the brim w ith w ater, an d exclude all air. The
glass can then be suspended by the thread an d swung
pendulum fashion, w ithout the risk of falling.
TWO CORKS:A cork is held in each hand between
th e thum b and first finger, in the m anner shown on Page 18,
Illust. D, Fig. 5 The trick is to remove w ith the first finger
and thum b of th e rig h t hand th e cork th a t is held in the
left hand, while a t the same tim e holding the cork
in the
rig h t with th e first finger and tftfumb of th e other hand.
The method of doing it is illustrated in Fig. 5A. The
forefinger and thum b of one hand a re inserted inside the
loop made by the other.
TO L IFT A BOTTLE W ITH A P LA T E
A PPA R A TU S:A bottle and a plate.
T H E TRICK :Hold a bottle over a fire fo r a few m inutes,
m outh downwards. Then quickly place a plate over the
mouth, and hold it tightly so as to prevent any air from
g etting into th e bottle. A fter a few m inutes the a ir in the
bottle will have cooled. The plate can then be lifted by
th e edge w ith the bottle adhering to it. If by any chance
the rim of th e bottle and th e plate a re n ot quite level and
there is a possibility of air getting in, a little grease rubbed
on th e rim of the bottle will overcome the difficulty.
TO BLOW A CORK INTO A BOTTLE
APPA RA TU S:A bottle, a piece of cork, and a straw o:
th e stem of a clay pipe.
T H E TRICK:Lay the bottle on its side upon, the table,
and in the mouth of it place a piece of cork. The tricfc
is to blow the cork into the bottle. This cannot be ac
complished by blowing into th e bottle in the ordinary way,
b u t if a straw or clay pipe is used and the a ir blown
directly oh to th e cork, the latter will go inside.
30

TO F IL L A GLASS OF WATER WITH PIN S WITHOUT

SPILLING THE WATER
APPA RA TU S:A sm all tum bler and about 2,000 pins.
THE TRICK,:Gently pour some w ater through a funnel
into the glass u n til it is full to the rim , which m ust how*
ever be kept perfectly dry. If the rim becomes wet, the
w ater will ru n over, so th a t g reat care is needed in
filling the glass. Drop a few pins a t a time in the water,
and the glass can be filled with them without the water
running
over. Avoid splashing the w ater on the rim of
the glass when p u ttin g the pins in. The glass on Page 18,
Ilust. D, Fig. 6 contains considerably over 2,000 pins. About
eighteen pennies m ay also be p u t into a glass of w ater in
the same way.
A N OVELTY :U ndertake to show something th a t has
never been seen before, and which, after all have seen it,
will never be seen again.
This is done by cracking a nut, exhibiting the kernel,
and then eating: it.
THE MAGICAL MIRROR
A PPA R A T U S:An ordinary m irror, a piece of French
chalk, and a silk handkerchief.
TH E TRICK :Sharpen a piece of French chalk to a
point, and w ith it w rite on an ordinary looking-glass.
Polish lightly w ith a silk handkerchief, and the w riting will
disappear. H and the glass to a member of the audience,
and request him or her to breathe upon it, and the w riting
will reappear, Polish again, and the experim ent can be
repeated.
TO S P IN AN EGG AS LONG AS REQUIRED
APPA RA TU S:A small wooden tray, and a hard-boiled
egg.
T H E TRICK :Spin the egg on the tray, and gently move
th e tra y on a sm all circle in the opposite direction to
th a t in which th e egg is spinning. The egg will revolve
fo r in indefinite period.
TO BALANCE a CIGAR ON THE T IP OF A FINGER
APPA RA TU S:A cigar and a penknife.
THE T R IC K :Fix the point of th e blade into the tip
of th e cigar a t a n angle which makes the handle of the
knife act as a balance, then place the tip of the cigar on
31

th e finger, and the cigar will sta n d perfectly uprights

Page 23, Illustration F , Figure 7.
t
TO PRESERVE SNOWBALLS:Squeeze a snowball very
hard together. Place it in a pot, and surround it with:
flour, which m ust be pressed very hard around it. The
snowball will rem ain preserved for months, and can W
exhibited in a warm draw ing room.
]
TH E MUSICAL PO K ER :Tie a piece of tape, w ith bott
ends a t liberty, round the top of an ordinary poke*. Roll
these round the first finger of each h a n d ; place the tip?
of these fingers in th e ears, and strike th e suspended pokei*
against something hard. The depth of tone th a t is re-?
turned is amazing.
TH E JUGGLERS DESSERT:Out of bananas, or apples,
cu t and shape some mock candle ends, m aking them aj
much as possible like candles th a t have been b u rn t down
Fashion some slips of sweet almonds to resemble wicks
and stick them into the mock candles, lig h t for an instant
so as to make th eir tops black, blow them out again, anc
they are ready for use. Place in candle sticks, and lighl
when perform ing. The alm ond will flame for a few
moments, p u t the candles into your mouth, and chew anc
swallow them while apparently alight.
A GLASS OF WATER THAT CANNOT BE MOVEI
W ITHOUT SPILLING T H E W H O LE:Fill the glass, anc
lay a piece of th in card o r paper over the top, dexterousls
tu rn the glass upside down, and place i t upon the table,
which m ust be level, then draw away th e paper or card
leaving the w ater in the glass. I t will be impossible t(
remove th e glass from the table without spilling the water
Do not perform this in a drawing-room.
TO TRODUCE ANY NAME CALLED FOR ON A VISIT
ING CARD
E FFE C T :The perform er asks th e audience for thi
nam e of some em inent person, which is then produce<
w ritten on a visiting card.
A PPA R A T U S:A thimble, w ith a sm all piece of leai
pencil attached to the tip, and a borrowed visiting card
TH E T R IC K :Borrow a visiting card from any on
in the audience and hold it between the thum b and secom
finger. Now ask for the namd of some well-known perso]
to be called out. You then wave the card m the aii
32

il l u s t r a t io n

<t
i H

ts? r >. 1 P

U(\f\j

| f e c

i& 1Vs
t

XX

slowly, an d hand th e card back again, when the natfie

asked for will be found w ritten on it. The thimble should
be palmed and placed on the forefinger immediately the
card ie received. W ith a little practice the name th a t haa
been asked for can be easily w ritten w hilst the card is
being held in the m anner described. The thimble m ust also
be palmed directly a fter the nam e is w ritten, and the
card returned fo r inspection.
A ROPE PULLED FROM BEHIND TIED WRISTS
E FFE C T :The perform ers w rists are tied together with
a handkerchief, a rope is placed between the arm s and
round (i.e. over and under) the handkerchief, and the ends
of the rope are held by a member of th e audience. If
th e rope is pulled it would seem th a t it cannot come away.
The perform er says pull and immediately releases himself without displacing the handkerchief.
A PPA R A TU S:A handkerchief, and a long piece of stoui
cord.
THE TR IC K :Have th e w rists tied together, not too
tightly, and a cord placed between the arm s and *round the
handkerchief. Get a n assistant to hold both ends of th
cord, and immediately he has secured them, th ru st the
hands forward, bend the fingers of the rig h t hand down,
. pull the cord up between the handkerchief pass the back
of the hand underneath the loop, and tell the person whc
is holding the cord to pull it hard. The rope goes ofi
th e back of the hand, underneath the handkerchief. This
is on Page 18, Illustration D, Fig. 7).
THE MYSTERIOUS P A P E R BANDS
A PPA RA TU S:Three strips of paper, each 2 or 8 feel
in length by 1 inch in width, paste, and a p air of scissors.
P aste the ends of th e first strip of paper together. Twisl
th e second strip of paper once, and paste the ends of thai
together. Tw ist the th ird strip of paper twice, and paste
th e ends of th a t together also; i.e. make three paper loops
TH E TRICK :Exhibit the first loop, and rem ark thal
th e obvious effect if you cut it in half, stripw ise, will b<
to make tw o loops. The loops should then be cut. Now
pick up the second loop and rem ark th a t you are going tc
do the same w ith this loop. Cut the loop of paper, anc
a loop twice the size Will be produced. Now pick up th(
Tth ird loop, and cu t th a t in the sam e m anner, and twe
loops, one inside the other, will be produced. In the cast

34

of th e loop w ith th e flouble tw ist, it will require a little

dexterity to keep this tw ist masked, especially when cutting
the twist. The loop3 are prepared, and laid on the table
previous to taking: th e stage.
TH E TRAVELLING P E A :Three w alnut shells are laid
upon a table th a t has been covered w ith a cloth, a small
ball or pea made of indiarubber is placed under the centre
one, and th e other two are shown not to be covering
anything. Ask which shell the pea shall appear under, and
being told, push forw ard th e other empty shell along the
table about 3 inches w ith the first and second fingers. Do
th e same w ith th e one th a t is covering the pea, and aa
it is moved forw ard, the pea will come out behind it a*
a n atu ral effect. As it comes from under the shell cover
it w ith the first and second fingers which are held together,
then move the th ird shell forw ard with these two fin^.rs,
and in doing so place the pea underneath it. This is not
a t all a difficult trick, and although the onlookers may
be very close, they will rarely see how it is done.
ASCENT OF GRAPE JU IC E IN AN INVERTED GLASS
OF W A TER :Dip two wine glasses of same size into a basin
of w ater, and before taking them out, place the brim*
together, so th a t they m ay be withdrawn full, one beinj?
inverted on top or over the other. Then move them very
slightly, so th a t a very small space may intervene between
the rims. Take a th ird glass and drip from it , some juice
in such a m anner th a t it spreads slowly over the foot o f
the inverted glass. When the juice has trickled down to
th e rim s of the glasses the ruddy drops will filter ihto them
and ascend into the upper glass, thus dem onstrating thfe
difference in th e densities of juice and water.
TO MAKE A NEEDLE FLOAT:Take an ordinary needle,
and p u t it upon a fork, and slowly lower the fork into
a tum bler o f w a te r; the needle will then float ju st like *
piece of straw . The reason of this Is th a t a meniscus,
o r bed, convex on one side and concave on the othe, is
formed upon th e surface of the w a te r ; and the surface
o f this meniscus being large in comparison w ith th a t of
th e needle the la tte r is supported by it, so th a t scarcely
any p a r t of the needle is touching th e w a te r; of course
if the w ater penetrated the needles eye, the weight of
th e fluid would cause the article to sink immediately. An
o ther m ethod is to p u t a leaf of cigarette or tissue pr
35

on the surface of a tum bler of w ater, lay a needle gently

upon the paper, which will soon become soaked and sink
to th e bottom of the glass, leaving the needle floating on
the top of th e w ater.
THE MAGDEBURG HEMISPHERES .-Take two tumblers
of the same size, th a t will fit closely when placed rims
together one on top of th e other. L ight a piece of wax
candle, and place i t inside the tum bler on the table, cover
the top of it w ith a piece of rath er thick paper saturated
w ith water. Turn the other tum bler upside down, and place
it upon the one containing the candle. The candle will be
extinguished, but while burning i t has dilated the air
contained in the lower tum bler and this a ir has there
fore
become
rarefied. The
exterior
pressure
of
th e atmosphere will fix the tum blers as closely together as
th e classical Magdeburg hem ispheres are united. I t is
possible to raise the underm ost tum bler by liftin g the upper
one. The paper may be scorched on the under side, b ut the
success of the experim ent is not thereby imperilled.
A.BU RN IN G COAL ON A MUSLIN HANDKERCHIEF:
Take a globe of copper, about as large as an ordinary
cistern ball, and w rap it tightly in a m uslin or cambric
handkerchief. Place on th e m etallic bowl, thus enveloped,
a red-hot co a l; this will continue to glow, w ithout in
any w ay dam aging the m uslin w rapper. The reason i3
th a t the m etal, being an excellent conductor, absorbs all
th e heat developed by the combustion of the coal, and as
th e handkerchief has not absorbed any of the heat, it
rem ains a t a lower tem perature to th a t a t which it would
be injured.
TO MAKE GAS BURN UNDER A HANDKERCHIEF:
Take a fine linCii handkerchief, and w rap it round a copper
gas je t. The je t m ust be of m etal. This is indispensable.
T u rn on and light the gas, which will burn about the hand
kerchief, without in juring it. To succeed in thi3 experiment
i t is necessary th a t th e handkerchief should fit quite closely
to the metal w ithout any crease whatever. I t will be
found advantageous to tie th e handkerchief w ith a thin
copper wire.
THE SILHOUETTE P O R T R A I T S T a k e a large sheet of
paper, black on one side and white on th e other. F ix it
by means of pins to th e wall so th a t the w hite surface is

86

outermost. On a table close by place a good lamp and

let the person whose p o rtrait you wish to take stand between
the lamp and the sheet of white paper. You can then
outline the profile w ith a pencil. Cut out the design, and
tu rn in g th e paper, gum fche drawing, black side outwards,
on another sheet of (white) paper. The p o rtrait will then
be mounted, and th e silhouette be well displayed.
. THE ELECTRIFIED P I P E :Balance a clay pipe on the
edge of a tum bler in such a m anner th at it may oscillate
freely. The problem now is to make th e pipe fall without
touching it, blowing upon it, agitating the air, or moving
the table.
Take another glass, sim ilar to th a t which supports the
pipe, and rub it rapidly on the sleeve of your coat. The
glass will be electrified by the friction, and when you have
rubbed it well, bring it close to the pipe, but without touch
ing the latter. The pipe will tu rn a fter the glass, and
follow it till it falls from its support.
TO L IFT A MAN W ITH .FIV E FIN GERS:Two persona
p u t th eir index fingers under the insteps of the person who
is to be lifted, two others place a finger under each elbow,
and a fifth puts his forefinger under the chin of the subject.
A t a given signal each person lifts his hand, and the person
is raised up. The result m ay seem very surprising, but
it is only a questioft of the equal subdivision of weight.
The average hum an being weighs about 150 lbs,, so th at
each finrcer has only, to sustain about 30 lbs. weight, which
is not difficult.
TO'MAKE A PLANK ADHERE TO A TABLE BY MEANS
OF A N E W SPA PE R :Take a thin plank, about a quarter
of an inch thick, 8 inches wide, and 24 inches in length.
Place this plank slightly out of the horizontal, half on
th e table, and half overhanging, so th a t the least touch will
bring it to the ground. Lay a newspaper fiat over the
p a r t of th e plank on the table, and then if you strike the
p a rt of th e plank which extends beyond the table, you
will be surprised to find th at the plank will resist the blow
absolutely, as if it had been nailed to the table. If y o ijx
strike hard, you will perhaps h u rt your hand, or break
the plank, but you will not raise the sheet o f newspaper
which holds it- The quick compression of the air which
is exercised on a considerable surface accounts for this
phenomenon.

37

TO BLOW OUT A CANDLE BEHIND A BOTTLE r-j

Place & lighted candle oft the table, and about 10 inches ia
fro n t of it a wine bottle. Then blow on th e bottls a t a,
distance of 8 or 9 inches, and the light will be extinguished
ju st as though there were nothin# between it and you?
breath. The breath divides into two currents on the smooth[
surface of the bottle, one going1 right and the other lefV
and these rejoin ju st a t the flame of the candle.
i
T H E STONE BREAKER:By gTeat acquired force, or.
in ertia in repose, one is enabled to break stones w ith th!
fist. This feat is performed by men a t fairs in the following
m a n n er:
i
The rig h t hand is carefully w rapped in a bandage, and ini
th e left is held a piece of flint of rounded form, which the/
operator places on a larger stone, or upon an a n v il; then
w ith the rig h t "hand he strikes th e flint some very powerful?
Wows, always tak in g care to raise it secretly a little fromt
th e anvil when about to strike. Thus the object struckf
acquires the force of the fist th a t has struck it, and as it;
comes in violent contact w ith the anvil it is quickly broken.^
Simple as th e feat is, it never fails to evoke g reat S
as*>
tonishm ent.
|
TO UNCORK A BOTTLE WITHOUT A C O R K S C R E W i
Fold a dinner napkin into a pad, hold i t flat against the
wall, and strike th e bottom of a bottle of wine, beer, or!
any other liquid violently against it. By virtue of thei
principle of in ertia th e liquid in th e bottle will force out]
th e cork. I f th e contents be beer or gaseous w ater, thej
cork will come out w ith considerable force and some of]
th e liquid will shoot over the operator, and so enhance1
the success of th e experim entfrom the spectators }>oint
of view.
TO POISE A TUMBLER U PO N THREE STICKS EACH
ONE OF WHICH HAS ONE END IN THE A IR :Place
three sticks on a horizontal plane, so th a t each one {>h?21
have one end resting on the plane, and the other end un
supported.
To perform this experim ent, and to place a w eight on
the sticks thus poised, proceed as follow s:Hold one stick
in a sloping position w ith one end resting on a table and
the other elevated. On the end resting upon th e table
rest one end of another stick. Then form a trian g le by
means of a th ird stick poised in the same w^iy* i. e. with
33

one end p o sting nnder one stick, and the other end above '
th e other. The three sticks -will in this m anner prove of
m utual support to each other and will not give way even
if a tum bler o r other weight be placed upon. them over the
points of contact.
THE WATER BOTTLE AND THE THREE K N IV ES:
I n alm ost the same m anner as described in the preceding
trick th ree knives can be placed with blades only crossed,
and w ith the handles resting upon three wine glasses. The
knives' not only support each other blade to blade, but
upon the trian g le a t th eir intersections they will sustain
as heavy a n object as a filled w ater bottle.
TO K EEP A PENN Y REVOLVING IN A LAMP SHADE;
The lamp shade should be one of cardboard, and of the
commonly seen over billiard tables. I t should be held
bottom upw ards by th e right hand clenching the hole a t
th e top.
Now, w ith th e left hand,tw irl a coin on its edge
into the shade, and a t the same moment cause the shade
to ro tate in th e rig h t hand in the opposite direction. The
coin will roll round and round on its edge without falling.
If the
movement of the shade
be gradually slackened
th e coin will be degrees rotate towards th e lower p a rt
of the lam p shade; if th e speed be augmented, the coin
will by degrees ascend the cone. The movement of the
coin will continue ju st as long as the tw irling motion of
the shade is kep t up. The coin is m aintained by the action
of centrifugal force, and moves in an inclined position
sim ilar to th a t of a rid er on a cycle track. W ith practice
tw o pieces of money can be rolled in the lamp shade a t th6
same time.
The experim ent we have described is very easy to p erfo rm ;
only a slight movement of the hand i3 needed. Although
come dexterity is needed in launching the penny into the
lam p shade a t first, no particular skill on the p a rt of
the perform er is required.
I f a lamp shade is not available, a basin, a pan, o r a
salad bowl may be used, b ut the cardboard lamp shade is
lightest and m ost hanely and preferable to all other articles.
A PIECE OF MONEY ROLLING ON AN UMBRELLA
This is a feat performed by nearly all jugglers. An umbrella*
Usually a Japanese one is opened, and half-crowns, halls
o r sim ilar articles made to-circle round the top. The um
brella is tu rn ed rapidly round in th e opposite direction to
th a t in which the article is set going, and the coins, etc..
80

appear to be ru n n in g along th e su rface; In reality it i*

the umbrella th a t is moving beneath the articles. This is*a n example of the principle of inertia.
[
TO PROJECT ONE OR TWO DRAUGHTSMEN FROM;
A COLCM N:This experim ent is perform ed by means oft
draughts or backgammon m en. Build up a column of[
ten or twelve pieces, stand i t upon the table, and w ith the*
thum b and forefinger propel, or shoot, a single disc a!ong|
the table violently against the pile. The piece thus launched;
will strike the pile tangentially in one of two wayseither!
it will hit it a t th e point of contact of two discs in which'
case two men will be projected from the column, or it will
s tr ik e a single disc, in which case one piece only will be?
projected. The stability of the other pieces will not be
disturbed.
TO PIERCE A HALFPENNY W ITH A N E E D L E E v e r y one knows th a t if of two bodies one is harder th an the
other, the form er will scratch th e latter. A piece of glasa;
will scratch marble, and a diamond will cut glass, for the'
glass is harder th an the marble, and th e diamond harder;
th an the glass. A bit of steela knife for instancewill
scratch copper. I t is possible to pierce a half-penny with
a needle, because it is harder than the coin.
The problem m ay appear impossible of solution, for if
one endeavored to drive a needle through a halfpenny as
one would drive a nail through a board, the needle would
be broken every time. But if by some method the needle
can be m aintained in a rigid and upright position above
the halfpenny, it can be driven into the coin w ith a hammer.
In order to perform this experim ent successfully, procure
a cork of the same height as the needle, and drive the
latter into it. Thus th e needle is m aintained in a perfectly
rigid position, and m ay be struck violently in the direction
of its axis without being broken. Place the needle (buried
in the cork) above a half-penny, which may rest either
upon a bolt-washer or even a deal table. Then with
a somewhat heavy (locksmiths) hammer, strike the cork
decidedly: if the blow be delivered straight and strong the
needle will pass rig h t through the halfpenny.
The experim ent can be made equally well w ith any other
piece of money, b u t success may not be attained a t the
first attem pt, and it will also be a difficult m atter to
withdraw th e needle from the coin a fte r th e experiment,
for the adhesion is very great.
40

Hat Tricks
TO PRODUCE COLOURED PA PER FROM A IIAT
E FFE C T :Stream s of coloured paper are produced from
an empty hat.
A PPA RA TU S:_One or two reels of coloured paper, which
cost very little.
THE TRICK:These reels unfasten from the centre,
and once started they unwind themselves almost mechanically
o f their own accord. Should the paper cease to unwind1,
th a t which has already been produced should be stirred round
w ith a wand, and more drawn olf. Care m ust be taken th a t
th e whole of each reel is unwound so th at a piece of the
real is not shown a t the finish. The reels should be con
cealed in the servante and passed into the hat.
Reel paper affords a good cover for the production of
rabbits, etc., from the pocket. When it is all unwound,
pick it up, and it will completely cover your whole front,
giving you the opportunity to secure any article secreted
about you, and to produce it from the centre of the paper.
TO PRODUCE A CANNON BALL IN A IIAT
A PPA RA TU S:A hat, and a cannon ball with a hole
in it large enough for th e thum b to be inserted.
THE TRICK:The cannon ball should be secreted in a
servante, and the h at laid brim downwards on the table.
Pick up the cannon ball by inserting the thum b of the
rig h t hand in the hole, and place the four fingers in the
brim of the hat. Draw the hat away from the table, a t the
same tim e puttin g the ball into it as the top of the hat
faces the audience.
TO MAKE BOXES FOR PRODUCTION FROM A H A T :
"Very p retty and attractive boxes can be made from playing
cards, and when collapsed a dozen of them can be packed
into a sm all space. Open, they are very bulky and effective.
These boxes are shown on Page 16, Illust. G, Fig. 1, and a
. study of the picture will show how the boxes are made.

Procure a few ordinary playing: cards, some th in strips of

linen, paste and ribbon. The edges of the cards are pasted
together w ith thin strips of calico, and a ribbon inserted
through the top of the boxes and pasted inside the ends,
thus form ing a handle, which, when pulled, causes the
boxes to open.
FIN GER PUSHED THROUGH A HAT:-This is per
formed in precisely the same way as the coin trick. The
apparatus consists of a w ax finger, a t th e root of which
some pieces of black silk have been pasted so th a t it
appears to have carried some of the cloth with it through
the hat. The finger is held palmed in the left hand, the
rig h t is inserted in th e h at and when the pin of the false
finger is pushed through th e top, i t is clutched and moved
about as n aturally as possible (see Page 43, Illustration C,
Fig. 4).
MESMERIC AND MAGNETIC TRICKS
H I E MAGNETIC RULER
E FFECT:A ru ler is made to adhere to the Pyalm of the
hand, which is held parallel w ith th e floor.
A PPA RA TU S:A ruler.
THE TRICK:Hold the ru ler in the palm o f the rig h t
hand tightly clenched, and with th e left hand hold the
wrist of the hand containing the ruler. Then, -while talk
ing about th e difficulty of doing the trick, th e necessity
fo r silence, and doubt as to whether circumstances are
propitious fo r m agnetic influence, extend the forefinger of
the left hand, and hold the ruler in the palm of the right
hand with it. Gradually open the fingers th a t clinch the
ruler, keeping th e back of th e hand towards the audience
And affecting great nervous tension the while. The ruler
will appear to be adhering to th e palm of th e hand, which
is held vertically tow ards the floor.
TH E MAGIC WAND
E FFE C T :A wand is exhibited and then made to hang
in the a ir unsupported.
A P P A R A T U S A wand and two pieces of thread 3 or
4 inches in length w ith a loop a t one end o f each and a
piece of conjurers wax a t the other.
THE TRICIC:The loops of th e thread can be hung up
<>n buttons of the waistcoat, an d th e w ax secreted under42

ILLUSTRATION C

neath th e bottom hem of it. Then, while securing the

wand from th e table, the loops can be slipped upon the
first finger of either hand. The wand should be exhibited
to show th a t it has no w ire attached, and when it is
returned, the waxed ends of the thread should be attached
to* either end o f the wand. Then, while pretending: to
balance the wand in the arr the hands are gradually drawn
away, and th e wand rem ains suspended by th e thread and
seems as if it were hanging in th e air.
T H E MAGNETIC UMBRELLAS
A PPA RA TU S:Three um brellas o r w alking sticks, a
large m agnet, and a piece of dark thread.
THE TRICK:The thread should be sewn to one side of
th e trousers ju st above the knee, and m ay be left clinging
to the cloth until the perform er is about to do the trick.
The other end of th e thread is then pinned in a sim ilar
position to the other leg of th e trousers, or looped round
a pin already placed there. Three umbrellas are then placed
between the legs and rested against the thread. The per
form er affects to experience g reat trouble in balancing them
w ith his left hand, while w ith the rig h t he holds the m agnet
some distance .above th e centre, though, needless to say,
th e magTiet has no real effect. He announces th a t the
m agnet is holding th e umbrellas in their vertical position,
and the audience are considerably mystified (see Page 46,
Illustration H , F ig . 2).
T H E MAGNETIC STICK
E FFE C T :A w alking-stick is held suspended a t the
back of th e hnnd and made to move by itself.
A PPA R A T U S:A loop of thread about twelve inches
long and a walking-stick.
THE TRICK:Make a loop of a piece of black thread
about twelve inches long, and attach it to the centre button
of th e waistcoat. Borrow a walking-stick, rub it, and
while pretending to produce magnetic influence, slip the
stick through th e loop. Place the rig h t hand underneath
the stick so th a t the thread passes between the second and
th ird fingers. Press the back of the open hand upon the
stick, which will now stand unsupported. I t can now be
turned round and round and moved up and down
w ithout moving th e hand to which ifc is apparently adhering*
and may also be passed to the left hand.

Advanced Tricks
FIRE EATING
E FFE C T :The perform er fills hia m outh w ith fine cotton,
wool, and blows out smoke and sparks.
A PPA RA TU S:A howl of loosely piled cotton wool,
am ongst which two or three small balls c f smouldering tow
o r ju te well covered w ith wool are secreted.
THE THICK:Filling th e m outh with wool, which the
perform er pretends to be eating, he thoroughly pads it all
round. Then when picking up some more wool, he secures
one of th e balls of tow, places it in the mouth, and covers
thafc w ith more wool. lie then begins to Wow, and sparks
and clouds of smoke are emitted. Be careful, however, to
avoid in ju ry to th e mouth.
THE SA C K TRICK
1
E FFE C T :The perform er or an assistant gets into a
sack, which is then draw n over his head and sealed.
Screens are placed round him, and he immediately reappeurs
w ith th e sack on hi3 arm , and with the seals unbroken.
APPA RA TU S:A large sack made of calico or canvas,
w ith a seam a t the bottom (inside). This seam is sewn
w ith long stitchcs of strong thread w ith a large knot a t
one end, and the other left loose.
TH E T R IC K :The perform er gets into the sack, and
th e neck of it is tightly tied over his head and sealed.
Screens are now placed round him, he stoops, and taking
th e knot, pulls the thread out. He then gets out of the
bottom of th e sack, and w ith a bodkin which he should
have upon his person quickly sews up the bottom again
(it is not absolutely necessary to sew the bottom up again,
a it is seldom noticed th a t the end is undone), and walks
from behind the screen w ith th e sack over hi3 arm , the
neck still tied and sealed.
A BOWL OF INK CHANGED TO A BOWL OF, CLEAR
WATER CONTAINING FISH
EFFECT:An assistant is given a fish bowl, apparently

45

ILLUSTRATION H
Upper P icture No. 1. Center L eft 2. Center R ight 3.
Bottom Left 4, R ight 5.

46

filled w ith ink, to hold. The perform er covers th e bowl*

and also th e assistan t's hand, w ith a handkerchief, and
when th e la tte r is removed the w ater has resumed its
natu ral colour and is filled w ith gold fish.
A PPA RA TU S:A bowl of. gold fish, a piece of black
B i l k , and a large dark-coloured handkerchief.
T H E T ItIC K :The empty bowl is lined w ith the black
silk to th e edge, and is then nearly filled w ith w ater and
a few fish, and prepared in this m anner is lying on the
conjurer's table. Give th e bowl to an assistant to hold
in the palm of his hand, and cover the bowl w ith a large
handkerchief. F ire the pistol, and then pick of the hand
kerchief, a t th e same tim e dragging the black silk away
under cover of it and disclosing the clear w ater and fish.r
This trick requires considerable practice, as in drawing
aw ay th e silk, care m ust be taken not to spill any water.
The handkerchief containing the silk is disposed of by
throw ing it to back of stage.
TO PRODUCE A WALKING-STICK
APPA RA TU S:A spiral telescopic walking-stick.
THE TRICK :The perform er should ask for the loan
of any ebony walking-stick w ith a silver top for use in
perform ing a trick. Should one be pretfered, he will, of
course, produce his own before it can reach him. The stick,
closed up, is held palmed in the rig h t hand, w ith the ferrule
towards the fingers, and the knob of the stick palmed in
the other hand. The left hand now approaches tho right,
and tak in g the open end of th e stick the two arm s are
extended and th e coil draw n out on the principle of a barber**
pole. The rig h t hand m ust clench the end of the stick
tightly, and when the stick has ru n out to its full extent,
the palmed knob m ust be placed on the end of it. This
will lock it, and give it the appearance of an ordinary walk
ing-stick, which i t will retain until the knob is taken oft.
Then th e stick can be closed or collapsed, and placed in a
case made for the purpose (see Page 58, Illustration K,
Figures 1 and 2).
TO PRODUCE A BARBERS P O L E :This te perform ed
in exactly the same m anner as the preceding, excepting
th a t the pole is of paper and has of course no knob.
(See Page 68, Illustration K, Figures 3 and 4).
THE CONJURER'S PIST O L:The conjurers pistol is a
very useful article, and can bb used for many startling

illusions. It consists o f an ordinary pistol, w ith a conical

metal tube attached, into which a m etal cup about two
inches deep, and large enough to hold a ladys watch, can
be fitted. This usually has a raised edge, so th a t it can
be easily gripped by the palm. When performing: the
watch trick, a few old broken w atch wheels, etc., should be
secreted in the tube under th e cup. Holding the pistol
in the rig h t hand, borrow a sm all watch, and affecting
to p u t i t in th e tube, really p u t it into th e cup. Place
th e muzzle of the pistol in the left hand while reaching
for a percussion cup w ith the right. Place the cap in the
pistol, and when taking the pistol back into th e rig h t hand,
leave th e cup containing the w atch in th e left. I t can
th en be dropped into a pocket or disposed of to an assistant
fo r fu tu re production. Take your wand, and s tir the wheels
up, i.e. pretend to break up the borrowed watch. Then fire
the pistol in the direction of the place or article from which
i t is intended to produce the borrowed watch. The pistol
is shown on P age 43, Illustration C* F ig . 6.
THE EMPTY BOTTLE
E FF E C T :An empty tin bottle is shown, i t is then placed
on th e table and covered by a cardboard cylinder. A jug
of w ater is procured, the cylinder raised and the water
poured into the bottle. I t is again covered w ith the
cylinder, the pistol fired, th e cylinder removed, and the
bottle is found to be empty, though the w ater was ap
p arently poured into it in full view of the audience.
APPARA TUS:A black tin bottle one slightly larger
w ith false inside and a cardboard' cylinder.
THE TRICK:The trick bottle m ust be already secreted
in the cylinder, and the wand passed thi'ough to show that
i t is empty. Exhibit th e other bottle and then cover it
w ith the cylinder. Raise the latter, and pour the w ater
very carefully indeedinto the rim of the false sides. Cover
w ith th e cylinder again, take away th e tric k bottle, and
show the first bottle quite empty.
TO GET AN EGG INTO A NARROW-NECKED BOTTLE
APPA RA TU S:Two eggs, a wine bottle or decanter, and
Imlf a p in t of vinegar.
TH E TR IC K :Soak a n egg for tw enty-four hours in
strong vinegar or acetic acid, from which it m ust not
be removed until shortly before the perform ance, when it
m ust be concealed. H and round an ordinary egg for exami
nation, saying you are going to place it inside the wine

48

bottle. I f th e pliable <?gg has been stained by the acid,

the egg th a t is exhibited m ust be stained to resemble it.
When you are retu rn in g to th e stage, palm the exhibited
egg, and substitute th e one th a t has been in the acid. This
can be easily forced into the bottle, and afterw ards made
6olid by pouring cold w ater into the bottle. Assign ca y
reason you please for pouring in the w ater.
THE MULTIPLYING BILLIARD BALL
E FF E C T :The perform ers hand holding a billiard ball
is very well displayed, so th a t it is apparent it only contains
one ball. Suddenly it is seen to hold two balls.
APPA RA TU S:A wooden billiard ball, w ith a wooden
(or celluloid) shell th a t covers half of the ball.
THE TRICK :The ball is held in the m anner shown In
Page 50, Illust. J , Fig. 5, and the hand well displayed. The
thum b acts as a lever, while the forefinger holds th e top
of the shell and th e th ird and fourth fingers b rin e tho
ball itself round and underneath th e shell, a s shown in Fig.
6

TH E DIMINISHING BILLIARD {BALL

E FF E C T :An ordinary billiard bail is shown held in
the rig h t hand. It is rubbed once or twice w ith the left
hand, again displayed, and now appears only half th size.
T his in tu rn is rubbed as before, and is again show n; this
tim e i t is much sm aller still. Afterw ards it vanishes al
together.
A PPA RA TU S:A nest of billiard balls as shown on Page
50, Illu stratio n J , Fig. 1.
T H E TRICK :The billiard ball is displayed held in th e
rig h t hand, which is then rubbed once or twice with the
left- In doing so th e perform er pulls off the outer ball
by securing it in the open palm of th e left hand, which
is contracted to clench the ball tightly. While the sm aller
ball is being displayed, the perform er m ust place the palmed
case in his pocket. The act is then repeated for the second
case, and finally the rem aining ball is vanished as shown on
page 50, Illu stratio n J , Fig. 14.
TO PRODUCE A BIRD IN A CAGE
E FF E C T ;A bird in a cage is produced from a hat.
A PPA R A T U S:A collapsible bird-cage of tin and wire
(see Page 11, Illust. B, Fig. 2). The bottom of the cage has
slits along the edges, and the sides slip through thesethough

49

ILLUSTRATION J

th e bottom cannot fall offso th a t the bottom of. the cage

can be pushed to the top, and when raised, the feides can
be folded underneath it. The top of the cage is raised in
the Centre where space is left for the bird to lie.
T H E TR IC K :W hen collapsed the cage can be con
cealed in a very small space, and be transferred from the
pocket, or the servante into a hat. If held a t the top
by the hand, and then shaken sharply, the sides will open
out and th e bottom slip down. A real canary can be
safely used fo r this trick for there is ample space for the
bird to go into its receptacle without risk of injury.
THE TRUNK MYSTERY
E F F E C T :An assistant is placed inside a large box
which is then corded all round, and placed on trestles.
Screens are placed round the box, and when they are re
moved th e assistan t is discovered outside the box, with the
cord unbroken.
A PPA RA TU S:An oblong box (large enough to hold a
person). A q u arter of the bottom of it m ust be a sliding
panel, i.e. capable of being pushed from one side to the
other. I t usually slides in a groove, and is well masked
by the battens of th e b o x ; cord.
T H E T R IC K :A confederate is placed inside the box,
which is then locked and bound round w ith rope, care
being taken th a t it does not cover the exit. The box
then placed on two trestles or a pedestal, and screens are
draw n round it. The assistant now slides the panel and
gets out of th e box, very quickly replaces the panel, and
gives th e signal to withdraw the screens.
TO BALANCE AN EGG ON A WALKING-STICK
A PPA RA TU S:An egg and a plain^ walking-stick in
which a groove a quarter of an inch wide and an eighth
of an inch deep has been cut, and so masked th a t it does
not show. This can be done by colouring the whole blacks
TH E TRICK :Place the egg in the groove, and make
it travel backwards and forwards along the stick by gently
tiltin g either end. I t is advisable not to be successful
a t th e first effort, and the trick will look more genuine.
In this case, however, it will be safer to use an imitation
egg.
TO PASS A SWORD THROUGH A PERSON
A PPA RA TU S:A sword with a thin blade of fine steel,
an d a belt in which is bound up a metal tube running
51

half round It. There

is a funnel-shaped opening to the
tube at the buckle of the belt.
TH E T R IC K :The b elt is concealer underneath the
assistants coat, and the perform er of course m ust make
quite sure of the exact position of the funnel referred to.
The sword is then p u t into the funnel, w ith the apparent
object of thru stin g it through the person, travels round
one side of th e belt, an d comes out a t the other side.
The effect of the sword having gone rig h t throught the
person is created. To make the trick more realistic, a small
skin bag of red liquid
(e.g. ink) m ay
be placed in th e tu
of the belt, and after
the sword has
passed through it
will, when withdrawn, be covered w ith red stain.

Miscellaneous Tricks
THE VANISHING WAND
E FFE C T :A solid wand is placed in a paper bag which
is immediately to rn up.
APPARA TUS:An ordinary wand w ith a covering case
of paper which matches it, and will slip off, and two long
b n w n -p ap er bags.
THE TKICK:The bags should be le ft lying flat ispon the
table. Sound the wand while in its case in order th a t the
audience m ay know th a t it is solid, and insert it in one
of the bags. While knocking the bag open, leave the wand
inside, drawing th e case away only. Flourish the case
about as if it were the wand, and then proceed to open the
other bag with it. In doing so, drop the case into th e
bag, which is then folded over to show the form of the
wand inside. Then te a r both bag and case up, and the
effect of a. solid wand having vanished is obtained.
THE MAGIC RING AND WAND
E FFE C T :A borrowed rin g is made to travel up and
down a wand without being touched.
A PPA RA TU S:A wand, a hair, (or a piece of fine silk)
about twenty-four inches long, one end of which is a t
tached to a w aistcoat button, and th e other end to a
piece of conjurer's wax, which is concealed underneath the
52

bottom , of th e vest in such a m anner th a t it is easily re-'

movable.

T IIE T RICK :While the wand is being examined, detach

the waxed end of the h air w ith the left hand, and hold
i t between the thum b and first finger. Take the wand
w ith th e rig h t hand, and press the wax on to the extreme
end of th e wand. Now pass th e borrowed ring over the
wand, a t the end to which the h a ir is attached, and by
i?ent5y moving th e wand aw ay from or towards the body,
th e rin g will clim b up o r down, or stop anywhere you
wish. Finish th e trick by giving a sharp jerk away from
you, and th e rin g will jum p into th e air. Pull the wax
off, and the wand can again be passed round for inspection
(see Page 46, Illustration H , Fig. 3).
TO PRODUCE AN OMELETTE WITHOUT EGGS
E FF E C T :An em pty frying-pan is exhibited to the
audience, placed on a lighted spirit la m p ; the empty pan is
Stirred w ith a wand, and a n omelette is produced.
A PPA R A T U S:A hollow wand, m aterial for an ome
lette, a sm all frying-pan, and a spirit lamp.
THE TRICK :The egg beat up and other ingredients
are secreted inside the wand, and the end stopped up with
a piece of hard butter. Place the frying-pan on the lamp,
begin to s tir w ith the wand, and the butter will quickly
m elt and allow the egg, etc., to run into the frying-pan.
The omelette can then be cooked, and if th e perform er is
quite sure th a t the inside of his wand has not corroded
and is perfectly clean, th e omelette may be handed round to
be partak en of, or, a t any rate, for inspection.
THE VANISHING GLASS OF WATER
E FFE C T :A glass of w ater standing upon the table,
is covered by a handkerchief and then picked up, the
handkerchief is pulled off and shaken, and the glass has
disappeared.
APPA RA TU S:A glass of w ater and a handkerchief.
In th e centre of which a cardboard disc the size of the
top of an ' ordinary tum bler is sewn, and then covered
and masked by a piece of coloured silk th a t matches the
handkerchief.
THE TRICK :The glass of w ater is picked up a t the
bottom w ith the rig h t hand, covered with th e handkerchief,
th e disc in whiebi is placed over the top of the glass. Hold
th e disc w ith the' le ft hand, and under cover of the hand
53

kerchief draw the gla3s away w ith the right, and secrete
it in the servante. W alk from behind the^ table to the
fro n t of the stage and pretend to be carrying the glass.
Secure a corner of the handkerchief draw it away sharply,
shake it out,' and th e glass of w ater w ill seem to have
vanished.
TO PRODUCE A GLASS O F WATER
E FF E C T :A handkerchief is laid over the perform ers
arm and a glass of w ater produced.
A PPA RA TU S:A glass of w ater and a n india-rubber cap
to fit on top of the glass.
THE TRICK :The glass of w ater, covered by its cap,
is secreted in the left pochette, or a handkerchief is throw n
over the left arm , under cover of which the glass is taken
from the pochette, and held in the rig h t hand. The glass
is covered with the handkerchief and w ith the left band
the handkerchief and also the cover are drawn off the glass,
which is then exposed to view. The handkerchief containing
th e cover is laid aside on th e table.
TO BOIL WATER JN P A PER
E FFE C T :W ater is made to boil in a piece of paper.
A PPA RA TU S:A sheet of foolscap, thread, a sp irit
lamp, and a small jug of water.
THE T RICK :Make a parachute-shaped paper dish by
tu rn in g up the four corners of a square piece of stout
foolscap, and secure each corner w ith a piece of thread,
the four ends being tied together. Pour w ater into it,
and suspend over a sp irit lamp. The w ater will quickly
boil, w ithout burning the paper.
MAGICAL KEY AND RING
APPA RA TU S:A rin g and a magical key, which can
be purchased for a few shillings of th e shops where con
ju re rs accessories are supplied.
THE TRICK :The trick is to get the ring, which is
not large enough to pass over the top or bottom of the
key, on to the bar of it> T h e ' key has a joint a t the
ward end which unscrews, and can be easily parted, and
the rin g inserted under cover of the hand- I t is well to
borrow the ring,' and also to have a duplicate key w ithout
a joint which can be handed round for inspection. Palm
it when it is returned, and substitute the trick key.

MAGICAL PRODUCTION OF A PLANT

E FFE C T :An empty flower pot is displayed, a cylinder
placed over it, and when raised, a large plant ia seen grow
ing: in the pot.
A PPA R A T U S:An empty tin or earthenware flower pot,
and a tin cylinder, in th e lining' of which th e p lan t is
hidden.
THE T R IC K :The empty flower pot is displayed, and
th e audience shown th e cylinder, through which the wand
is passed, to show th at it is quite empty. The cylinder is
th en placed upon th e flower pot, and the rim a t the bottom
ia held w ith th e left hand, while the outer case of the cylinder
is pulled off w ith the rig h t hand. The flowers will then
sp rin g cut, and a large yi a n t is produced. I t will add to
th e effectiveness of this crick if a few real flowers are
packed in t-.e cylinder, and other sim ilar flowers are secreted
in a wicker tray . Pretence is made of cutting a number
o f flow ers; one or two are really removed and placed with
those in the tray , which are then distributed amongst the
audience.
T H E TRAVELLING THIMBLE
E FFE C T :A thimble is shown on the first finger, and
th en w ith a very o.iick movement the hand is closed, opened
again, an d th e thunfclo is found on the second finger, and
afterw ards on the th iru and fourth.
, A PPA R A T U S:A thimble.
' THE TRICK:The thim ble is h^ld palmed in the fleshy
p a r t of the hand between- the fifst finger and the thumb.
The first linger is broughtdow n and inserted in the thimble,
the hand is opened sm artly, and the thimble displayed.
The hand is then closed, the thimble palmed again, and
th e second finger is inserted, and the hand opened. Extraodinary dexterity can be attained with this trick after
a little practice. The travelling thimble trick can also be
perform ed w ith a se t of eight thimbles, one for each finger.
T he hands are shown clenched and tlie fingers raised and
lowered one a t a time with all the alacrity the perform er
can command (see Page 18, Illustration D, Figures 2 and 3)*
AN OPTICAL ILLUSION WITH A R I N G S u s p e n d a
rin g by a string, on a level with the eyes, with the plane
of the rin g towards the person. Tie a
small
stick crosswise
on the end of another about a yard long; hold the long
stick, shut one eye, and try to thread the ring with the

crossed stick. Success wfll scarcely be attained, b u t If

both eyes are used th e ring1 can be threaded a t th e first
attem pt.
This trick m ay be varied by using only a crooked stick
instead of two sticks tied crosswise.
AN OPTICAL ILLUSION W ITH MONEY:P u t a shilling
into an ordinary tum bler half full of w a te r; place a plate
on the top, and tu rn the glass over quickly, so th a t the
water does n o t escape. On th e plate a coin th e si 2e of
h alf a crown will appear, and a little higher up another
th e size of a shilling. I t will add to the effect of the ex
perim ent if one of the company who does not know the
trick is requested to throw the w ater away, and save the
pieces. H e will be surprised a t only finding one.
AN OPTICAL ILLUSION W ITH A W A T C H B o rr o w a
silver watch, and cover the back w ith the tips of the first,
second and th ird finger of both hands. Hold th e back of
th e w atch towards th e audience, gently move the watch
to and fro, a t th e same tim e p a rt and rejoin the finger
tip s a little. The w atch will look as if it were bending.
This trick is shown on Page 46, Illustration H, Figures 4
an d 5, and serves as an admirable introduction to one of the
w atch tricks contained in th e book.
GLOVE AND HEAD
APPA RA TU S:A glove made of flannelette or some
fancy m aterial, and a doll's head. The glove has only
stalls for the thumb, first and fourth finger?, b u t th a t
fo r the first finger should be large enough to hold the
second and th ird fingers also.)
THE TRICK:In sert the nand in the jrlove and place
th e head upon the first finger. The little nrrer and th e
thum b can be worked as arm s, and the. head made to move.
A g reat deal of fu n can be extracted from this doll, and
several good attitudes obtained. '
TO STICK A KN IFE THROUGn A PERSON'S FINGER
i APPARATUS :-r-Two knives of the same p attern . Out
of the blade of one of them a piece m ust have been
removed, th e other two pieces being joined by a half
circle of wire.
TH E T R IC K :Display the sound knife <effectively, and
then while talk in g of the dreadful operation you are about

66

to perform , change it for the other, e.g. lay i t on the

table while you are speaking to the assistant, and pick u t
th e duplicate knife afterw ards. Then standing directlj
towards th e audience, and keeping the knife straig h t iJ
fro n t of the person, pretend to stick it through the assist
a n ts finger. H e m ust, of course, enter into the sp irit o
th e trick, and pretend to be hurt, a n d 'th e audience can bi
given a full view of th e position with the knife through thw
finger or as i t will appear to them drawn through it.
Remove th e knife as if drawing it out, hand the assistant
a handkerchief, which has been stained with red, and he
can retu rn to hia seat w ith his hand unhurt (see Page 43,
Illustration C, Fig. 3).
TO REPRODUCE A PIECE OF PA PER THAT IIAS BEEN
TORN U P
APPARAT?S:A false thum b tip (made of tin, painted
flesh colour) and tw o narrow strips of paper.
THE TRICK :Place one of the strips of paper inside
the false tip, and fit this upon the thum b. Display the
hands well open, then hold them together, with the tips
of the fingers meeting, and the back of the hands towards
th e audience. Let them see you tear up one of the pieces
o f paper, and display tho pieces. Then, resuming the posi
tion described, crush the pieces together under cover of the
hands, remove the thum b tip, draw out tho sound piece of
paper place the to m pieces inside the tip, and p u t th a t
upon th e thum b again. Then display the piece of papar,
and a t a later stage dispose of the thum b tip (see Page 58,
Illu stratio n K, Figs. 5 and 6).

'

THE MAGIC MATCHBOX

*
E F F E C T :A number of the audience Is asked to p u t
a shilling in a matchbox, which is closed, shaken to be
sure it is still there, and when opened the shilling is
found to have disappeared, and a halfpenny is discovered
in its place.
APPA RA TU S:A halfpenny, a shilling and an empty -,
household matchbox a t one of the ends of which a very
narrow slit, ju st broad enough to allow a coin to slip
through, has been cut along the bottom. If care is taken
th e box can be cut without destroying th e paper, which
will effectively cover or mask the slit.
T H E TRICK :Open the box about half way and insert
a halfpenny between the end of the box and th e lid. A sk
57

ILLUSTRATION K

53

one of the audience to p u t a shilling? into the box. As they

do so le t the coin fall through the slit into the hand. Close
th e box, and the halfpenny will fall into it. You remark,
"You are sure the money is there, and hearing it rattle
an affirm ative answ er is always returned. When opened it
will seem th a t th e shilling: has changed to a halfpenny.
TO CHANGE A CARD INTO A FLOWER
A PPA R A T U S:A folding card, with an artificial flower
pasted on th e centre of the back. This can be purchased
fo r a few pence.
TH E TRICK :The card is exhibited in the palm of the
hand, then folded down w ith the thumb and little finger,
and reversed.
TO PRODUCE A LIGHTED CANDLE FROM THE
POCKET
A PPA R A T U S:A piece of sandpaper sewn in the inside
of th e coat ju st above the pocket, and a candle with a silent
m atch fixed beside the wick.
THE T H I C K S e c r e te the candle in the pocket above
which the sandpaper is sewn. Draw the candle from the
pocket, and simultaneously rub the match against the
sandpaper. The wick will fire, and the candle will seem
to come from the pocket alight.
TO CATCH HOOPS ON THE ARMS WITH THE
THUMBS TIED TOGETHER
A PPA R A T U S:A sm all piece of string, vaseline ,and
tw o or three wooden hoops.
THE TR IC K :Have the thumbs well greased with vaseline,
an d request one of the audience to tie your crossed thumbs
together in th e m anner shown in Illustration G, Fig. 3.
Give a wooden hoop for inspection, and request the assist
a n t to take th e hoop and go to one side of the platform.
W hile w alking to the other, slip your right thumb out of
th e cord, b u t keep your hands together as if they were
still fastened. Now ask for the hoop to be thrown to you.
Catch it between th e hands, and immediately replace the
thum b in th e cord, in th e original position. Submit the
hands fo r exam ination to show th at the knots have not
been tam pered with.
TH E TRICK CARROT
APPA RA TU S:This can be purchased a t any shop where
59

conjurers accessories are sold. The carro t 5s of painted

linen w ith a spring inside, and costs very little.
TH E TRICK :When the spring is closed, the carrot
can be easily palmed in the hand. In se rt the hand under
th e coat of one of the audience,' and gradually releasing
th e spring, draw away w hat appears to be a large carrot.
This is shown on P age 43, Illustration C, Figs. 1 and 2.
FALSE FINGER FOR PALMING OR PRODUCING
APPA RA TU S:A tin tube shaped like a finger, and
enameled flesh colour. This can be purchased fo r a shilling
o r so.
THE TRICK:This Is very useful for a vanish w ith
t a r e arm s held well aw ay from the person. The finger
is held by its fork between the second and th ird fingers
o f the left hand, where it will be practically invisible
to the audience. The tip uf the finger is removed with
th e rig h t hand, and a handkerchief either gradually pushed
inside or draw n from the false finger. ,The hand should,
of course, b e , well flourished before and afterw ards. The
effect of a tiandkerchief being produced or vanished is
created (see Page 58, Illustration K, Figs. 7 and 8).
TO PRODUCE YARDS OF RIBBON OR P A PER FROM
THE MOUTH
APPA RA TU S:Tightly rolled reels of paper or ribbon
and paper shavings.
THE TRICK :Invite one of the audience to dine a t
th e table w ith you, and then have two dishes of paper
shavings served. While pretending to p ut some of these
>into the mouth, palm into it a reel of ribbon or paper
previously secreted am ongst the shavings in your dish.
P ull out th e reel until nearly finished and then refill the
mouth. The reels can, if preferred, be produced from one
o f the pockets instead of being placed am ongst th e shav
ings.
THE SUBMISSIVE MUSICAL BOX
E FF E C T :A musical box is made to go and stop a t
command without being touched.
APPARA TUS:Two small musical boxes of th e same
pattern.
TH E TRICK:Show th e audience a small musical box,
th en set it on th e table, and cover w ith a fancy box or
flower pot. Announce th a t the instrum ent will play or stop

a t yotir word ot command, or the

This trick is worked by the aid of
the side of the stage, sets going a
th e one th at the audience has seen

waving of your wand.

a confederate, who, a t
musical box, sim ilar to
and heard.

TO SUSPEND A BALL IN THE AIR, AND MAKE IT

BUN ABOUT WITHOUT ANT APPARENT SUPPORT
APPARA TUS:A blackened ping-pong or small rubber
ball and a piece of thread.
T H E TRICK :The perform er should be dressed in a
dark suit, and stand in the most dimly-lit corner of the
stage or room, and away from his audience. On the
top button of th e w aistcoat attach a loop of black thread,
about twelve or fourteen inches long. While throwing the
ball about hook the loop of thread on to a finger of each
hand, and draw it tight. I t thus forms a kind of railway, on
which th e ball will ru n backwards and forwards. The ball
drops as soon as th e thread is slackened, and in picking
it up the thread can be slipped unnoticed from the fingers
(see Page 16, Illustration G Pig. 5). In the picture the
thread has been emphasized in order to dem onstrate the
trick more clearly.

Tricks with Matches

and Numerals
Considerable entertainm ent can be obtained from the
following very simple tricks, fQr.^which practically the only
accessory needed is a box of ordinary wooden matches.
Simplicity is the keynote of these tricks, but they are none
the less puzzling and amusing.
THE ANIMATED MATCH
E FFE C T :A number of matches are laid like spokes of
a wheel on th e surface of a saucer of w ater, and then
made to move towards the centre, and to separate and move
back again towards the edges of the saucer.
APPARA TUS:A few matches, a saucer or sm all basin
61

of water, a piece of Wotting paper about 3 in. x 12 In.,

and a sm all piece of soap.
TH E TR IC K :Break the heads off the matches, and
when the w ater in the saucer is quite still, lay tke wooden
sticks like the spokes o f a wheel on the surface, w ith a
space about an inch in diam eter in the centre. Roll the
slip of blotting paper loosely into the tube about as large
round as a sixpence, and then let the end ju st touch the
surface of th e w ater in the centre of the saucer; a m inute
current is raised, and the pieces of m atch are draw n towards
the blotting paper. To make the matches move away from
the centre use a sm all piece of soap cut to the shape of a
tube or cylinder instead of the blotting paper. W hen i t
touches the w ater the matches immediately scatter in
all directions.
>
TO MULTIPLY A NtTMBER OF MATCHES:This is ac
complished by laying the matches to form Roman numerals,
e.g. three matches will make four or six, i.e. IV, V I ; two
m atches will make five, V ; nine matches will make three
dozen, XXXVI. A n o th r method is to make letters w ith
the matches, and to spell the number, e.g. eleven matches
will make nine, NINE.
To make nine matches into three and a half dozen make
two heaps one containing three, and the other six matches,
i.e. three and a half dozen.
TO SUPPORT A GLASS ON A BRIDGE OF THREE
MATCHES, EACH ONE OF WHICH RESTS ON A GLASS
A PPA RA TU S:Three matches, and four wine glasses.
Interlace the matches, resting one on the edge of each
glass as shown on P age 23, Illustration F , F ig 6, and a
fourth glass can now be placed upon th e matches.
TO L IF T TWELVE MATCHES W ITH ONE:Lay an
ordinary household m atch on the table, and, across it place
twelve others as shown on Page 23, Illustration F, Fig. 3.
is to pick them all up in one action w ithout spilling. L ay
another m atch across the twelve in the same direction as
and exactly over the one underneath. Then raise the bottom
m atch slowly and the matches can be lifted.
TO FORM FOUR TRIANGLES W ITH SIX MATCHES:
Lay three m atches upon the table and form a trian g le
w ith them. Then make a pyram id w ith th e other three by
62

resting: th e heads together and Inserting the base ends In

the corners of the triangle.
THE WALKING MATCH
TH E TRICK:Bend a match in half, i.e. making a prong,
and on the top of th e prong paste or fix a vignetted picture
of a m an. Place the inside of th e prong upon the edge of
th e blade of a knife, and hold the latter parallel -with the
table, so th a t both ends of the match just touch it. The
m atch will th en "w alk from one end of the knife to the
other, without any effort of your own. This can also be
done with two matches joined a t the ends by splitting one
and sharpening the other. They may also be bent in the
jentre to im p art a knee-like appearance (see Page 23, Il
lustration F, Fig. 2).

Shadow&raphy
SHADOWGRAPHY:This very old entertainm ent is not
often introduced into drawing-rooms nowadays, but it al
ways affords considerable amusement to the little ones. To
become expert in the a r t considerable time m ust be spent
in practice, in order to make the fingers pliant, and to
learn how, properly to secure the best positions. A few
good ones are illustrated on Page 64 Illustration O, and a
little experience with these will soon enable the perform er to
invent m any other equally good onesespecially if he use3
a few cardboard figures which may be easily made. A
candle will supply quite sufficient lighting power in a small
room, and the handa should be held about two feet away
from th e candle, and about four feet away from the screen,
which should be tightly stretched on a wooden frame. The
perform er will do well to work with the screen supported
on the edge of a table, and he can then rest his scenery
and arm s on the table if necessary, though very often the
scenery is fixed in the sides of the frame. Considerable fun
m ay be got out of shadowgraphy by introducing sham fights,
e tc .; and one should remember th at elderly^ folks are only
grown-up children, and th a t this entertainm ent i3 juat
as likely to appeal to a n audience of adults as to one of
children.
03

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TRAMPJOKES

T h

S t a r

S e r i e s

The Egyptian Dream Book

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145 Parlor Games
153 Tricks of Magic
1000 Conundrums and Riddles
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