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INTRODUCTION 1

PREFACE TO SECOND EDITION.

It is always a matter for self-congratulation on the part of an author to be called upon to furnish a Preface to a second or subsequent edition of some "bantling of his brain." In the present instance the task is more satisfactory than usual, the author not coming before the reader empty-handed. Since the publication of the first edition, conjurors have not been idle, and numerous new methods for producing magical surprises have been invented. Such of these as are suitable or worthy--for, in their haste to be novel, many have failed to be satisfactory--the author has incorporated; and, by a thorough revision of the work, he has placed before the aspiring conjuror, written up to date, all that it is possible for him to know in the region of SLEIGHT OF HAND.

E. S.

LONDON,

SLEIGHT OF HAND

INTRODUCTION.

"It is as pleasant to be cheated as to cheat," is a maxim that must have been framed expressly for conjuring, for the more completely one is deceived by its medium the better one is pleased.

The date of the origin of conjuring, as we now understand the art, is not known, but there must have been proficients in the practice of it as early as the time of Chaucer; for that ancient writer speaks of one Coll Tregetour producing a windmill from beneath a walnut shell. There is doubtless some slight exaggeration in this statement, or else modern wizards are far behind those of early days--an hypothesis I cannot accept. In the superstitious lands of the East, jugglery was doubtless at the bottom of the many manifestations that were mixed up with religion, and the wily priests made the best uses of its influence on the uncultivated mind. When we consider the effect that is even now produced on the minds of an enlightened audience by a skilful manipulator, the wonderment of people who were but half civilised, and who were taught to believe in spirits, is scarcely a matter for surprise.

Formerly, conjurors appeared clothed in long robes and tall, pointed hats, both covered with mystic signs and symbols; Robert Houdin, whom we may consider the father of modern conjuring, being the first to perform in the now conventional evening dress. This innovation had the effect of increasing the genuineness of the performance, as it was an easy matter to conceal large articles beneath a flowing robe, such as had been previously worn; but the close-fitting dress suit affords no means of concealment--to the minds of an audience, at any rate. Houdin was the means of elevating the art in the eyes of the public, besides investing it with nearly all that it possesses of the graceful; and, as it has undergone still more improvement since his time, it has now become a pursuit well worthy the attention of anyone inclined to follow it up, as much for the amusement of himself as of others. Besides its power of amusing, conjuring affords an immense amount of instruction to its student, and is useful in inculcating coolness, precision, and an endless amount of resource, which will always stand one in good stead on the world's wide and ever-changing stage.

It is my intention to give, in the following pages, such instruction as shall enable the merest tyro to become an adept in the art of Legerdemain, providing that a due degree of attention is given and a reasonable amount of practice undertaken. Practice, indeed, is what is required in order to achieve success in any pursuit or amusement, whatever its nature may be, and without it the best of instruction is given in vain. For this reason, I must exhort such of my readers as may seek to amuse their friends through the medium of what I shall impart to them to devote as much time as they can spare to practice at the outset, in order that they may acquire a neat method of manipulation, which is the keystone of success in a conjuror, and which, once attained, will never leave them. If to this delicacy of manipulation is added a suavity of manner, accompanied by a never-failing cool daring, then the perfection of a conjuror is attained.

Magic may safely be divided into two parts, Drawing-room Magic and Grand Magic. As it is in the family circle that every amateur conjuror mostly exhibits his attainments, I shall first treat of drawing-room magic; indeed, it is absolutely necessary to be a master of that branch, in order to undertake grand magic successfully. The success of the conjuror who can perform only on the stage, far removed from all inquisitorial interference, will be but of short duration. I find it has been the case with most amateurs, who rarely find opportunities for performing on a stage, that their greatest successes have been achieved in the drawing-room.

The very first thing a conjuror must procure is a conjuring-wand--an implement that is always supposed by the audience to be for show only; and for such they must always be made to think it is. It is, however, an absolutely indispensable article, both to beginner and proficient, as it serves as an auxiliary to the concealment of any article in the hand, as will be explained hereafter. For the present, all the learner has to do is to procure a round stick of ebony, about 18in. long, fitted with ivory, silver, or brass ferrules countersunk at each end, and to trust to me to its being necessary. It is best to have the wand made to suit the taste, as those sold at conjuring-shops are invariably too short. Any walking-stick manufacturer will make it.

DRAWING-ROOM MAGIC.

This derives its chief beauty from the fact that it is almost entirely dependent on pure sleight of hand, a fact which audiences are never slow to appreciate. The most familiar objects are dealt with, and are made to vanish and re-appear in unexpected places, as though they really were disembodied and reinstated. The amateur will find, after a few years' experience, that the impromptu performances he may, from time to time, be called upon to give in the drawing-rooms of his acquaintances, will be much more satisfactory to both himself and his audiences than the more pretentious affairs given upon stages, which call for a great deal of management, apart from ability, to render them successes. When once the performer has attained the credit of being better than the ordinary ruck, it will become incumbent upon him to keep up the level of skill by means of practice, as wonder must follow wonder in ever-increasing proportion.

Coins, from being so readily procurable, and from their adaptability, are deservedly favourite media, and with them I shall first deal. For all general purposes, a well-conditioned florin will be found the best coin for the beginner; although, of course, he must, in time, be able to manipulate slippery half-crowns and pennies with equal ease. Florins, as a rule, are more readily procurable in these days, but few half-crowns being coined in comparison with them. But as the conjuror must be provided against all emergencies, I shall give directions for the best method of treatment for each coin. The means adopted for the temporary concealment of a coin in the hand is known as Palming, and I shall commence Drawing-room Magic with a description of the various methods.

PALMING.

THE PALM PROPER--THE FINGER PALM--THE THUMB PALM--THE REVERSE PALM.

Other fanciful methods of palming exist, but they will be of no practical use to the conjuror, so I have omitted descriptions of them.

TRICKS WITH COINS.

TRICK FOR PALM PRACTICE--HOW TO "PASS" A COIN INVISIBLY--HOW TO CHANGE A COIN--THE USE OF THE WAND IN PALMING--TO PASS A MARKED COIN THROUGH A TABLE--METHOD FOR CONCEALING MANY COINS--THE AERIAL VISIT AND JOURNEY--TO "PASS" SEVERAL COINS--HINTS ON PRACTICE--TO CAUSE A COIN TO VANISH FROM A HANDKERCHIEF--ON BORROWING A HANDKERCHIEF--THE DANCING COIN--A MYSTERY WITHIN A MYSTERY--TO CAUSE A FLORIN AND A PENNY TO CHANGE PLACES--TO PICK A MARKED COIN FROM A NUMBER, BLINDFOLDED--THE MARRIAGE--TO INVISIBLY EXTRACT A COIN FROM OUT OF A GLASS OF WATER--TO PASS PENNIES INTO A BOTTLE--TO CAUSE EXPOSED COINS TO CHANGE PLACES--TO "SLEEVE" COINS--HINTS ON MARKING COINS--THE BEST COINS TO USE.

The uses of the palm will make themselves manifest in every trick in which money is used as a medium, but the beginner can astonish his friends, and, at the same time, make himself perfect, by any of the following minor tricks:

Have a coin palmed in the right hand , and procure a similar one, marked, which hold up to the audience by the left hand. Pretend to take it in the right, but let it fall into the hollow of the left hand ; the unmarked coin in the right hand being exhibited. In order to effect this daring change naturally and without detection, the thumb of the right hand must be passed through the ring formed by the thumb and forefinger of the left and the coin held between them, and the fingers closed well over the coin, which will appear to be grasped by them. Now place the left hand under the table, the right hand remaining above. Covered by the action of bringing it on the table, execute Palm No. 1 with the right hand, but keep the fingers formed as though they still held the coin, which you then pretend to lay on the table with a sharp "click." This "click" is made by the coin in the left hand, under the table, in order that the illusion may be perfect. The right hand will then affect to rub the coin through the table, and eventually the one in the left hand, which has in reality never been out of it, will be produced. The noise of rubbing is also made by the coin under the table, only it must not be continued too long; and care must be taken that the two hands act in perfect unison, as it will not do for the noise to continue when the action of rubbing with the right hand has ceased. This trick is not so difficult as it looks on paper, and is very effective. The whole trick consists in pretending to take the marked coin from the fingers of the left hand without doing so.

The following makes an excellent "follow" to the preceding trick: Suppose that you have sixteen coins in all in the hat; conceal four of them in one hand. If the hat is then held by the same hand, it will not be noticed that it contains any coins. Now ask someone to count the coins in the hat, and, of course, there will be twelve. Take four of these away, and give them to be held by another person. Hold the hat high in the air, and tell the person who has the remaining eight coins to drop them into it when you have counted "three." Watch the action of his hand narrowly, and, as the eight coins fall, release the four concealed in the hand which holds the hat so that they all fall exactly together. The great thing to avoid is the sound of two distinct drops, which would be fatal. Leaving the hat, covered with a handkerchief if you please, in the hands of your temporary assistant, who will, of course, be enjoined to "hold it very high," you take the four coins just previously given to be held, and "pass" them invisibly into the hat, where, of course, twelve coins will be found. The method for passing used is the same as that depicted at Fig. 7, with the difference that the coins are not palmed. They must be held in the fingers loosely so that when the false movement of placing them in the outstretched palm is made they will come together with a clash, which is highly necessary for the success of the pass. The hand actually containing the coins must instantly seize the wand, which article will then cause the magic journey from left hand to hat to be made. Be careful that the counting of the coins is done in a very deliberate manner, and in a loud voice, so that everyone in the room knows how many coins are supposed to be in the hat before you pass the rest into it. If this is not done, the effect of the trick is lost.

Have a shilling palmed , and borrow another; also a handkerchief. Place the borrowed shilling in the handkerchief, which roll up very loosely, the coin from the palm being included in the folds, and as near the other one as possible without actually touching it. Place the whole in a hat, with one end of the handkerchief hanging out. Now borrow another shilling, which say you will pass invisibly into the handkerchief. Make a pass, and ask someone to shake the handkerchief into the hat, when the two coins will jingle together. This is a simple trick, and is capable of variation according to circumstances.

The trick I am now going to describe, as a drawing-room experiment with coins, surpasses, for simplicity and effect, all others. But its simplicity must not lead the learner to attempt it without having attained some proficiency in the foregoing tricks, for considerable neatness is required to execute it effectively. Procure a piece of glass of the size and thickness of a penny, and have the edges ground smooth, but not polished. This is best obtained from a lapidary--not an optician. Have it palmed in either hand . Borrow a penny, and, whilst it is being marked, ask one of the audience to half fill a wineglass, which has been well examined, with water. Always let the audience attend to such matters as these, as it tends to disarm suspicion, and also saves you trouble. You will, of course, not omit to make the most of there being no possible deception in the glass, which you will give a lady to hold by the stem or foot. Now borrow a white handkerchief, as coarse as you can procure it , and, taking the marked coin in the same hand as that in which the glass is palmed, spread the handkerchief over it. Approach the lady holding the wineglass, and affect to take up the coin, with the handkerchief, from the outside, by means of the disengaged hand, but in reality take up the glass, palming the coin . Now spread the handkerchief over the wineglass, with the supposed coin exactly above the latter, and within an inch of its rim. Let the holder of the wineglass grasp the coin with the thumb and forefinger of the disengaged hand, and keep it in the same position, with the understanding that at the word "three" it is to be allowed to fall into the glass . Take great care that the piece of glass is held exactly over the wineglass, and utter the word of command only when there is a dead silence. The jingling of the falling glass will, of course, be assumed by the audience to be that of the penny. You will now express your intention of invisibly extracting the coin from the glass. Use any cabalistic form you may choose, and, with a flourish of the wand from the wineglass towards your hand, exhibit the coin, and give it to be examined. Let the lady withdraw the handkerchief from the wineglass, which at once seize and show rapidly round. The glass at the bottom will not be perceived, and you must take an early opportunity of extracting it. Some tricks "take" in various degrees at different times, but this one never fails to throw the audience into a state of bewilderment. Always obtain possession of the wineglass as soon as you can after the completion of the trick, for people will sometimes feel to the bottom of it with their fingers, although without the faintest notion of what they are looking for. When you bewilder people, you must not be surprised if they do inexplicable things, and must prepare yourself for all emergencies.

Take a penny, in good condition, and make, or have made, by a competent person, a groove, quite 3/16in. deep, all round the outer edge. This is very easily and most efficiently managed by means of a lathe; but, wanting that useful machine, a piercing-saw and flat needle-file will answer. When the groove is completed, with the piercing saw cut the penny into three pieces of equal width. Now take a very fine indiarubber band, obtainable at all shops where rubber goods are sold, and stretch it round the groove. The illustration shows the penny in three pieces, and also the band--actual size before being stretched. In putting on the band, commence with the centre piece, and then fit in the side pieces, the greatest care being necessary not to allow the band to get twisted. The result of these operations, when concluded, is that the penny can be folded up and made to occupy a space in width one-third of its usual diameter. When held at a little distance from the spectator, the incisions are not observable, especially before the penny is used for a trick, the issue of which, being unknown, does not lead the suspicions of the audience into any particular groove. As the act of folding causes a sharp strain to be put upon the band at the junctions, the groove at those points must be carefully filed, so as to completely do away with anything resembling a cutting edge, or a disaster may very easily occur. Invariably, before using, the band should be minutely examined, and, if the slightest signs of wear manifest themselves, it should be changed.

A soda-water bottle has been previously handed round for examination, and this is taken in the left hand. With the right hand show that the penny is at least as broad again as the mouth of the bottle, and then, folding it up quickly whilst making a covering movement, and hidden by the body of the hand, let it fall through. Show the bottle round to the spectators, continually shaking it, as if to convince them that the coin is solid and real, but really to prevent the possibility of the slits being seen. The trick can now be finished in two ways, viz., the bottle may be broken, or the coin can be shaken out again. I fancy the breaking of the bottle is the more effective, as the shaking out method impresses too forcibly upon the mind of an intelligent company the fact that some mysterious, if ingeniously concealed, preparation exists in connection with the coin. But the performer in this instance, as in very many other cases, must be guided in his actions by the mental calibre of the spectators. To shake the coin from the bottle, the latter should be taken horizontally in the right hand, the fingers of the left hand closing round the mouth, leaving a hollow in the palm for the coin to fall into. A not too violent sweeping shake is then given, bringing the mouth of the bottle downwards, when the coin should pass into the left hand. Some little practice will be required to insure this operation being brought off at the first attempt. Having to shake the bottle three or four times looks unskilful, although it does not absolutely spoil the trick. I have directed the use of a soda-water bottle because it has sloping sides, which facilitate the operation of getting the penny out very considerably, and also because it is made of white glass. If a coloured bottle were used , the spectators would suspect that a coin had somehow been concealed in the interior before the trick began. However the coin may be regained, whether by breaking the bottle or by shaking out, it must be immediately re-exchanged for the borrowed penny, which will then be returned. It is quite possible to have that coin palmed during the whole operation; but if the performer lacks the necessary skill for this, it should be carried in the ticket pocket of the coat. The conjuror should have every coat he wears furnished with this ticket pocket, and it will be greatly to his advantage to have one on each side. It should not be too deep, so that coins and other articles may be speedily reached with certainty, and it should not have a covering flap.

The penny can also be prepared by omitting the groove, employing instead holes, made completely through, across the slits, through which elastic is passed, and fastened. As, for this purpose, flat elastic is immeasurably superior to any other form, some trouble is entailed in making suitable slits through; but, once accomplished, the article is far better than one prepared in any other way. The elastic should run quite freely through the centre piece, and be fastened with glue to the outside pieces only, first being slightly stretched, to insure the whole being brought closely together. The grooved penny can be purchased at a much less cost than would be incurred in making it, and, in addition, is more likely to be correctly constructed.

The following is a development of the use of the folding penny, which is even more startling than the foregoing, one or more pennies being made to pass into a bottle, which has been examined, and which has the mouth stopped by a large cork. In this case, the cork is a delusion and a snare. It is just 2in. long, and 1-1/16in. broad at the top, tapering to 15/16in. at the bottom. Viewed from the exterior, it is a cork; in reality, it is made of brass, with a thin veneer of cork glued on the outside. The measurements given include the cork skin. The bottom opens, flap-like, on a hinge, but is kept normally closed by means of a fine spiral spring, running the whole length of the inside, and soldered on the top and bottom. Protruding through a hole drilled in the top is a pin, which also runs the whole length of the interior , and, when pressed, pushes open the bottom flap, thus allowing any contents there may be to fall out into the bottle. When the pressure upon the pin is removed, the power of the spring closes it again. This cork is charged with one or more folding pennies , and concealed in the hand, a genuine cork being handed for examination. The latter is changed for the "property" cork, which is then placed in the bottle, which must be white, and, of course, have a very wide mouth. The performer now produces some pennies, which he may "pass" into the bottle in any way he pleases. A good method is to use the two boxes described in "Grand Magic" as then the performer's hands are free. But the pass shown at Fig. 11 may be employed, the bottle being taken in the hand in which the coins are actually concealed. When the coins are being "passed," the bottle must, of course, be held in one hand or the other, and pressure given the pin by a finger at the proper moment. Where one coin only is used, it may be simply palmed, which method would also apply where the performer is skilful enough to palm several coins at once. In this case, the coins would merely be held in one hand, and the bottle in the other, and the coins thrown into the bottle.

A performer with large and muscular fingers can use half-crowns for the trick, but for the beginner shillings and halfpence will be sufficient. Copper coins are not so effective as silver; but an accidental exposure of a portion of them is not so readily perceived as is the case with the brighter metal--not that there is the least excuse for such exposure.

Before returning the duplicate coin to the pocket, the performer may produce one or two other effects with the reverse palm. Let him borrow a hat, and a coin similar to the one concealed. Standing sideways to the company, let him have the duplicate palmed reversely in the hand that is farthest from the audience. Say it is the left hand. With the right hand place the hat into the left one, the thumb on the brim, the fingers inside. As the company have seen the palm of the left hand open, not the slightest suspicion will be entertained that it holds anything. The borrowed coin is now made to perform an aerial journey, being palmed. The performer's eye follows its imaginary flight, and then catches it in the hat, the coin in the left hand being of course released, when it will be heard to fall. After showing this coin, reverse palm the other, under cover of the hat, and repeat the operation. To do this, the performer must be able to palm equally well with either hand. If the trick be repeated, it should be varied each time by some such device as finding that the coin had taken refuge in a gentleman's hair, lady's handkerchief, &c., on its way to the hat.

TRICKS WITH COMMON OBJECTS.

ON RAPIDITY AND DECEPTION--MISDIRECTION--A JAPANESE SUGAR TRICK--"FLY AWAY, JACK; FLY AWAY, JOHN: COME AGAIN, JACK; COME AGAIN, JOHN"--A "RISING BLADE"--TO RESTORE A PIECE OF COTTON THAT HAS BEEN CUT UP IN SMALL PIECES--TO PASS A RING FROM A HANDKERCHIEF ON TO A WAND HELD AT EACH END--A SECOND METHOD--A THIRD METHOD.

FALC?O, CHRISTOV?O DE SOUSA , Portuguese poet, came of a noble family settled at Portalegre in the Alemtejo, which had originated with John Falcon or Falconet, one of the Englishmen who went to Portugal in 1386 in the suite of Philippa of Lancaster. His father, Jo?o Vaz de Almada Falc?o, was an upright public servant who had held the captaincy of Elmina on the West African coast, but died, as he had lived, a poor man. There is a tradition that in boyhood Christov?o fell in love with a beautiful child and rich heiress, D. Maria Brand?o, and in 1526 married her clandestinely, but parental opposition prevented the ratification of the marriage. Family pride, it is said, drove the father of Christov?o to keep his son under strict surveillance in his own house for five years, while the lady's parents, objecting to the youth's small means, put her into the, which will lead the audience to think that the knife has been actually turned over. Barely before the movement is completed a finger of the left hand must be upon the spot recently occupied by the piece of paper, as if taking off a second piece from the opposite side. The first piece, which has all the time been in the left hand, is thus made to do duty twice. The second time, it is dropped on the floor in full view of the audience, accompanied by the remark, "that makes the second piece." Now remove the other piece of paper, and repeat the manoeuvre executed with the first piece, taking the greatest care that only one side of the blade is visible, and that the finger of the left hand, with the concealed paper, is down upon the vacant spot before the spectators' eyes can rest there. Having ostensibly removed the fourth and last piece of paper, the knife is supposed to be empty, which you boldly declare to be the case, making a rapid backward and forward movement with the blank side to prove it. You then say you will cause the papers to re-appear upon the knife instantaneously. All you have to do is to put your hand behind your back and reverse the position of the knife so that the side of the blade with the two pieces of paper still remaining upon it is uppermost. Bringing the knife again to the front, make another quick backward and forward movement, saying, "Here are the papers back again on both sides as before," and then, without any further preliminaries, draw the blade through the fingers and cause the two papers to fall upon the floor. If this final movement is not executed, the audience will, when they have recovered their senses, point to the two papers which you dropped on the floor during the performance of the trick, and want to know why they are there and not on the knife. Continued rapidity of motion is what is required for the success of this trick. There must be no halting in the middle or hesitation of any kind, to avoid which practice in private will be essential, as, indeed, it will be with every trick worth doing at all.

The following trick I have never known to be discovered if only properly performed. For it you will require another exceedingly common object, viz.:

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

TRICKS WITH CUPS AND BALLS.

THE CUPS--THE BALLS--HOW TO CONCEAL A BALL--HOW TO SLIP A BALL UNDER A CUP UNPERCEIVED--HOW TO VANISH A BALL: PHASE ONE, PHASE TWO, PHASE THREE--THE MANUFACTORY--HOW TO INTRODUCE LARGE OBJECTS BENEATH THE CUPS--BAG FOR HOLDING ARTICLES--HINTS--TALK FOR THE TRICK.

The variety of tricks performed with the aid of cups and balls take a prominent position in the repertory of every conjuror laying claim to any proficiency in pure sleight of hand. Three tin cups , rather more than 4in. in height, and some 3in. across the mouth, with the bottom concave, and two or three little rings near the mouth will be required. Also make, to commence with, four cork balls, blackened, either by burning or by colouration, each about the size of an ordinary bullet. The audience know of the existence of three balls only, the fourth being concealed by the conjuror between the roots of the third and middle fingers. The very first thing the learner must acquire is the knack of slipping the ball rapidly from the exposed to the concealed position in a secure manner. The ball is partly slid, partly rolled, partly dropped into the position, the thumb, with a slight motion, which, in time, will become quite an unconscious one, pressing it finally home.

The action, which must be accompanied by the backward and forward swing used when palming coins, must be practised with both hands, the more awkward hand of the two being taught first. When tolerably perfect in this, practise getting the ball down to the tips of the fingers at the roots of which it is held, care being of course taken that no portion of it protrudes. The object of getting the ball into this position is, that it may be placed under any cup, raised ostensibly for some other purpose, without detection. As the cup is placed on the table, the ball held in the fingers is slid quietly under it. All conjurors do not use this method, some grasping the cup as low down as possible, and jerking it up and down, thus getting the ball inside direct from the concealed position . This latter method is exceedingly neat, but is the more difficult one to accomplish. However, the learner may try for himself, and adopt the method which comes the easier to him. The ball is not taken in the tips of the fingers until the hand is about to grasp the cup, the major motion shielding the minor one. With the two movements described under his control, the learner should proceed thus: Place the three cups in a row, with a ball in front of each, and explain that the cups are solid tin and are not provided with permeable bottoms. There is no objection to allowing an examination to be made, but it had better take place at the end of the trick, or much time will be wasted. Say that the tin cups are for the purpose of covering the balls, and place one cup over each to illustrate it. Now take up cup No. 1, and, whilst placing it down a few inches off, slip the concealed ball under it. Pick up ball No. 1, and vanish it by concealing it in the prescribed method . You can pretend to throw it into the air, or affect to put it into the other hand , from which it will be "passed" by a rap from the wand, which article you will find a true friend when performing with the cups and balls, and which should be held in readiness under the arm. Repeat the operation with cups No. 2 and No. 3, each having a ball placed under it when shifted. Tell the audience that so well trained are the little balls, that, at your word of command, they will return from their invisible wanderings to their imprisonment beneath the cups, which you will then raise, and show the balls beneath. This is the first and simple phase.

In the next, cup No. 1 is placed over a ball, and the concealed one slipped in with it. Take up another ball, and pretend to "pass" it through the cup, which raise, showing two balls together, and then replace, slipping concealed ball under along with the other two; and then "pass" the third ball through, which will bring all three balls under one cup. On putting cup No. 1 down, after exhibiting the three balls together, slip concealed ball under it, and pick up one of the three, which vanish. Then say it is as easy for you to abstract a ball from beneath a cup as it is for you to pass it to the inside. Put cup No. 2 over the two balls, and pretend to take one out by means of the wand, the concealed ball being exhibited as the one thus abstracted. "Pass" this through cup No. 1, which raise, showing the ball already there, and, on replacing it, slip under concealed ball. Recall the ball you vanished previously, and show it under cup No. 1, and then "pass" it back to cup No. 2, where the two balls still are; slip concealed ball under, and then "pass" ball from cup No. 1 to cup No. 2. The ball "passed" must in each instance be picked up and vanished, and not merely told to pass from one cup to another. The changes can be kept up for a long time if a ball be slipped under a cup whenever it is raised; but the performer must keep his head clear, or he will find himself getting into trouble by showing four balls at the same time.

Phase 3 consists of piling the three cups one over the other, and passing the balls into what I may term the storeys thus formed. It is for this phase that the bottoms of the cups are made concave to receive the ball. If the bottom were flat, the ball would roll off at an awkward moment. Place cup No. 1, with concealed ball underneath, on the table, and, taking up a ball, "pass" it through. Put cup No. 2 over cup No. 1, concealed ball being sandwiched between the bottoms of the two. The slipping of a ball beneath a cup which is placed on the table is a very simple matter, but it requires considerable adroitness to slip one cleanly between two cups. It is only to be done with a sharp jerk, the ball being thus sent to the top of the cup, which is then rapidly placed over the other. Considerable practice will be required to attain this knack, but the pretty effect well repays any trouble. Even when taking the greatest care, the ball is very liable to become jammed between the sides of the cups instead of their bottoms. The noise made by the rattling of the ball in the cup is covered by that occasioned by one cup being placed over the other. Repeat the operation with the third cup, and then show the balls in their respective positions. Should a cup cant over to one side, it will be because the ball beneath, it is not in its place, but is jammed in between the two sides of the cups. In this case, care must be taken in removing the uppermost cup. If adroitly managed, the errant ball can be brought back to its proper position on the top of the lower cup by the action of withdrawing the upper one. This should be practised in private, so that the emergency may be met without difficulty when it occurs.

The fourth phase consists in apparently manufacturing an inexhaustible quantity of balls beneath the cups. This is very easily managed by first covering each of the three balls with a cup openly. Take up cup No. 1, and put it down again a few inches off, with the concealed ball under it. Pick up ball No. 1, and pretend to put it in your pocket, but conceal it in the fingers; take up cup No. 2, and replace it, with concealed ball beneath it, and affect to put ball No. 2 into the pocket, but conceal as before. Repeat operation with cup and ball No. 3, and then recommence with cup No. 1. This phase can be prolonged at will. A number of balls can be carried in the pocket, and afterwards exhibited as the ones you have manufactured; but this is by no means necessary to the success of the trick.

A little sleight, which may be introduced with effect, is the apparent throwing of one cup through the other. This illusion is effected by holding a cup, mouth upwards, lightly between the thumb and forefinger. The other hand then throws a second cup sharply into it. The lower cup is allowed to fall, and the second cup caught by the thumb and forefinger, the appearance being that one cup has passed completely through the other.

TRICKS WITH HANDKERCHIEFS.

BURNING A HANDKERCHIEF IN A SMALL WAY--HINTS ABOUT APPARATUS--HOW TO PULL A HANDKERCHIEF THROUGH THE LEG--THE KNOT UNTIED BY MAGIC--THE CONFECTIONER HANDKERCHIEF--FEATS WITH HANDKERCHIEFS.

What conjurors would do without pocket handkerchiefs, I will not venture to suggest. Almost every trick has a handkerchief of some kind as a component part. Handkerchiefs are torn up, burnt up, tied into knots, made receptacles for money, and used in a variety of other ways; in fact, they are the conjuror's most faithful allies.

To burn a handkerchief in what I may term a small way, be provided with a piece of cambric, or other material resembling a handkerchief, about four inches square. The best way is to cut up a cheap handkerchief that has been hemmed. Have this piece rolled up in the hand, and concealed by the act of holding the wand. Borrow a handkerchief, which carelessly roll up in the hands, as if judging as to its size, and get the piece mingled in its folds. Ask the owner if he or she has any objection to your burning the end of it. Say "Thank you," whether the answer be "Yes" or "No" , and proceed at once to burn what is, in reality, your interpolated piece, but which will appear to the audience to be the handkerchief, at a candle. When you have burnt a tolerably large hole, put out the flame, and walk towards the owner of the handkerchief, as if about to return it to him, thanking him, at the same time, for the loan of it. If you had not permission to burn the handkerchief, the owner of it will probably now tell you so; and if he is at all testy on the point, so much the better for the success of your trick. Say that you really thought he said "Yes," are sorry for the mistake, which, however, cannot now be helped, &c. If, on the other hand, you had permission to do as you pleased, which a flattering, implicit faith in your abilities will frequently accord to you, you must affect to see in the person's looks an objection to take the handkerchief in a burnt state, and so, in either case, eventually set yourself the task of having to restore the injured article. This you can very simply do by rubbing it in your hands, and concealing the fictitious piece rolled up in the palm; or you can prolong the operation by folding the handkerchief in a piece of paper, omitting the burnt piece, and then pronouncing some cabalistic words over it, whilst it is held by someone in the audience. This is, perhaps, the better way of the two. If the beginner is afraid to trust to his own skill, and prefers using apparatus, he can procure many kinds of canisters, &c., for changing handkerchiefs, the working of which will be explained by the vendor, so there is no necessity to do so here.

The performance of the foregoing feats will be facilitated by the use of a silk handkerchief that is not too new, and it should always be first twisted, rope-fashion.

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