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+The Project Gutenberg EBook of More Conjuring, by Hercat
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: More Conjuring
+       Simple Tricks for Social Gatherings
+
+Author: Hercat
+
+Release Date: June 13, 2010 [EBook #32788]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING ***
+
+
+
+
+Produced by David Clarke and the Online Distributed
+Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+TRANSCRIBER'S NOTE
+
+
+The Table of Contents is placed after the Preface.
+
+This book contains illustrations showing some of the tricks described.
+The illustrations are available in the HTML version. In this text-only
+version they are replaced by the place-holder "[Illustration]", but in
+the section "Match Puzzles", some simple ASCII diagrams have been
+created to represent the matches when possible.
+
+In the text-only version, italic type is marked _like this_, and bold
+face *like this*. Footnotes are represented with uppercase letters in
+square brackets.
+
+Two publisher's advertisement pages were placed at the beginning of the
+book in the printed edition, in this version they have been moved to the
+end, with the other advertisement pages.
+
+A list of changes to the original publication is given at the end.
+
+
+
+
+
+
+                            More Conjuring.
+
+                             [Illustration]
+
+                               By HERCAT.
+
+
+
+
+HERCAT'S SIMPLE TRICKS
+
+
+
+
+                             MORE CONJURING
+
+                               BY HERCAT
+
+                  Simple Tricks for Social Gatherings
+
+
+BY THE AUTHOR OF "LATEST SLEIGHTS AND ILLUSIONS," "HERCAT'S CARD
+TRICKS," "CONJURING UP TO DATE," "HERCAT'S VENTRILOQUIST," "HERCAT'S
+CHAPEAUGRAPHY, SHADOWGRAPHY, AND PAPER FOLDING," ETC.
+
+
+  [Illustration: D&S limited]
+                      London:
+            DEAN & SON, Ltd.,           [Illustration: Hamley's
+                        160a,            35, NEW OXFORD STREET,
+                Fleet Street,                 LONDON, W.C.]
+                         E.C.
+                         1912
+
+
+
+
+PREFACE
+
+The title of this little brochure indicates its contents. _Simple
+Tricks_ and simple tricks only. No apparatus is required and but little
+sleight-of-hand is needed in the performance of any of them. They
+consist of a series of tricks and problems, easily acquired, suitable
+for gatherings round the table on winter evenings. Some of them are new
+and many are old; but even the oldest are new to the rising generation.
+For six of the latest tricks,--"A Hindoo Swindle," "The Elusive Match,"
+"A Subtle Impromptu Effect with a Coin," "A Novel Card Effect," "An
+Artful Card Force," and "Another Easy Card Force,"--I am indebted to my
+friend Mr. F. Walford Perry, a thoroughly up-to-date and original young
+conjurer. As I have already said, I have included no tricks which
+require the exercise of much sleight-of-hand; but even the most simple
+trick should be thoroughly practised before you present it to your
+friends, especially those tricks which require the assistance of a
+confederate. Rehearse everything with him thoroughly beforehand. Even
+your "patter" should be rehearsed. But endeavour to lead your audience
+to believe that, like "Mr. Wemmick's" marriage, it is all impromptu. He
+said, "Hello! here's a church. Let's have a wedding." You say, "Hand me
+that serviette ring and I'll show you a trick." If, when the contents of
+this little volume have been thoroughly digested, my readers desire to
+make a study of more advanced legerdemain, I recommend my _Conjuring Up
+to Date_, _Card Tricks with and without Apparatus_, and _Latest Sleights
+and Illusions_ to their notice.
+
+For tricks which require apparatus my readers cannot do better than to
+send to Messrs. Hamley Bros., Ltd., 35, New Oxford Street, or one of
+their branches, for their Magical Catalogue.
+
+_The Daily Telegraph_, in a recent article on "Magic Fifty Years Ago,"
+used these words: "Hamleys' were then, as they are now, the premier
+manufacturers of magical apparatus." A statement which I cordially
+endorse. The apparatus sold by Messrs. Hamley Bros. is invariably
+reliable.
+
+In conclusion I beg to offer my readers the following advice:--
+
+Never state the nature of the trick you are about to perform.
+
+Make it a rule never to repeat a trick the same evening unless you have
+acquired a different way of showing it. In fact, it is advisable to
+learn several methods of presenting the same trick.
+
+Talk as much as possible and make your "patter" lively, but do not try
+to be funny unless you are naturally humorous; and, above all, avoid
+allusions to politics, religion, or any subject about which there may be
+a diversity of opinion among your audience.
+
+HERCAT.
+
+
+
+
+CONTENTS
+
+
+SIMPLE CARD TRICKS                                                  PAGE
+
+  An Easy Method of Finding a Selected Card                            9
+  To Bring a Chosen Card from the Bottom of the Pack at any
+                                                Number Requested      10
+  A Chosen Card Shaken through a Handkerchief                         10
+  A Selected Card found in a Lighted Cigarette                        12
+  A Sticking Card                                                     13
+  Two Selected Cards Caught in the Air                                13
+  An Easy but Puzzling Trick                                          14
+  Travelling Cards                                                    14
+  To Name all the Cards in the Pack                                   16
+  A New Method                                                        16
+  The Sense of Touch                                                  17
+  Where is the Ace?                                                   18
+  To Make a Person Name a Card which You have Yourself Selected       19
+  The Clock                                                           21
+  How to Guess Cards Thought of                                       22
+  An Ingenious Card Trick                                             23
+  To Name a Card which Some One has Thought of                        25
+  The Rejected Recruits--a Laughable Trick                            26
+  A Novel Card Effect                                                 26
+  An Artful Card Force                                                28
+  Another Easy Card Force                                             28
+  A Simple but Puzzling Card Trick                                    29
+
+SIMPLE COIN TRICKS
+
+  How to Detect a Marked Coin                                         30
+  A Penetrative Shilling                                              30
+  Another Simple Trick                                                31
+  A Coin to Disappear from Your Cheek and Reappear at Your Elbow      32
+  Two Vanished Half-Crowns                                            33
+  A Divination                                                        33
+  An Effective but Simple Trick                                       34
+  Changing Apple and Coins                                            35
+  An Obedient Sixpence                                                36
+  Coin and Glass                                                      36
+  A Simple Experiment with Four Shillings                             38
+  Puzzle of Ten Halfpence                                             39
+  How to Increase Your Wealth                                         39
+  A Neat Coin Trick                                                   40
+  A Subtle Impromptu Effect with a Coin                               41
+  An Original Coin Swindle                                            42
+  A Cross                                                             43
+
+SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC.
+
+  A Knot that Cannot be Drawn Tight                                   44
+  To Tie an Instantaneous Knot in a Handkerchief                      45
+  Half a Burnt Message Found Restored in a Candle                     46
+  Two Good Ring Tricks                                                47
+
+SIMPLE ARITHMETICAL PROBLEMS
+
+  To Ascertain a Number Thought of                                    49
+  How to Name a Number which has been Erased                          51
+  A Lesson in the Correct Formation of a Figure                       52
+  Four Nines Problem                                                  53
+  An Answer to a Sum Given in Advance                                 53
+  An Arithmetical Puzzle                                              54
+  An Arithmetical Mystery                                             55
+  How to Tell Her Age                                                 55
+  A Race in Addition                                                  56
+  To Predict the Hour Your Friend Intends to Rise on the
+                                               Following Morning      57
+
+MATCH PUZZLES
+
+  Experiment with Ten Matches                                         59
+  The Magic Nine                                                      60
+  Triangles with Matches                                              61
+  Match Squares                                                       61
+  Your Opponent must Take the Last Match                              62
+  A Shakespearean Quotation                                           63
+  Numeral                                                             63
+  Six and Five Make Nine                                              63
+  The Artful Schoolboys                                               64
+  What are Matches Made of?                                           66
+  A Sheep Pen                                                         66
+  Post and Rail Puzzle                                                67
+
+SIMPLE MISCELLANEOUS TRICKS
+
+  A Good After-Dinner Trick                                           68
+  To Remove a Serviette Ring from a Tape Held on the Thumbs of
+                                                  Another Person      70
+  An Experiment in Gravity                                            71
+  A Scissors Feat                                                     71
+  Another Trick with a Pair of Scissors                               72
+  An Indestructible Cigarette Paper                                   73
+  To Cut an Apple in Two with Your Finger                             74
+  A Trick with Dominoes                                               74
+  An Escape                                                           75
+  Cigarette Papers and Serviettes                                     76
+  Four Cigarette Papers                                               77
+  A Hindoo Swindle                                                    77
+  The Elusive Match--a Capital Impromptu Trick                        79
+
+
+
+
+SIMPLE CARD TRICKS
+
+
+AN EASY METHOD OF FINDING A SELECTED CARD
+
+Throw the pack on the table and request some one to select a card. Then
+gather up the rest of the cards and request your friend to show his card
+to his neighbour, to avoid mistakes. While this is being done bend the
+pack slightly while pretending to shuffle it, and cause the card to be
+returned and the pack shuffled. The selected card can then be easily
+detected among the bent cards by its being perfectly straight. A good
+way to finish the trick is to bring the card to the top of the pack and
+cause it to project about an inch over the right side; cover the front
+end of the pack with your four fingers so that the edge of the
+projecting card is concealed, and, with your thumb at the other end,
+hold the pack firmly about eighteen inches above the table. Request the
+person who drew the card to call it by name. On this being done, drop
+the pack on the table, when the projecting card will be completely
+turned over by the air in its descent and lie perfectly square on the
+top of the pack. Another good finish is to bring the chosen card to the
+bottom of the pack, and requesting the person who selected it to hold
+the pack by pinching it tightly between his finger and thumb close to
+the corner, you give the pack a sharp rap, when all the cards will fall
+excepting the one chosen.
+
+
+TO BRING A CHOSEN CARD FROM THE BOTTOM OF THE PACK AT ANY NUMBER
+REQUESTED
+
+Ask a member of the company to take a card, look at it, and return it to
+the pack. Make the "pass" (_Hercat's Card Tricks_, p. 7); "palm" the
+card (_Card Tricks_, p. 18) and hand the pack to be shuffled. While this
+is being done transfer the palmed card to your left hand, and on
+receiving the pack back, place it over the concealed card, and tell the
+company you will produce the latter from the bottom of the pack at any
+number they may name. Supposing some one says, "Let it be the fifteenth
+card." You push the pack forward in your left hand, allowing the bottom
+card to project about an inch toward you, and proceed to draw out the
+cards above it with your right hand, one at a time, until the fourteenth
+is reached, when you push the bottom card forward and produce it as the
+fifteenth.
+
+
+A CHOSEN CARD SHAKEN THROUGH A HANDKERCHIEF
+
+Request a member of the company to select a card and return it to the
+pack, which you proceed to wrap up in a large pocket handkerchief, and
+on the person calling the card by name you shake the handkerchief and
+the selected card falls on the table.
+
+EXPLANATION.--If you are not an adept at sleight-of-hand it is advisable
+to use a "forcing pack" which is composed of only three or four cards,
+of a kind (i.e. ten kings of hearts, ten five of spades, ten eight of
+diamonds, etc.) with backs to match your ordinary pack. If you can make
+the "pass" and can "palm" (_Hercat's Card Tricks_, pp. 7 and 18) the
+following is the correct _modus operandi_. On the card being returned to
+the pack, carry it to the top by the pass, palm it, and hand the pack
+back to be shuffled. Place the palmed card face upward on the left hand
+and cover it with a large white handkerchief, and cause the pack to be
+placed face down on the handkerchief exactly over the concealed card.
+With your right hand throw the back hem of the handkerchief over the
+pack and with that hand grasp the four sides underneath. Then reverse
+the position of your hands, moving the right hand toward the right on
+top and taking the left hand away, which will leave the selected card
+concealed in the fold of the handkerchief (Fig. 1). Ask the person who
+took the card to name it and request it to leave the pack and pass
+through the handkerchief. When he does so shake the handkerchief gently
+and the card will slowly come into view. If you use a "forcing pack"
+retain a duplicate of the card you intend to force; conceal it in your
+left hand and proceed as above described.
+
+                             [Illustration]
+                                Fig. 1.
+
+
+A SELECTED CARD FOUND IN A LIGHTED CIGARETTE
+
+Roll a card, say the seven of hearts, in a cigarette paper and stuff a
+small piece of tobacco in each end. Have this in one of your pockets,
+where it will not get crushed, ready for palming. Previously arrange
+with a friend to act as your confederate, and request him when you ask
+him to select a card to take the duplicate of the one in the cigarette.
+When ready to present the trick, hand the pack to your friend and ask
+him to shuffle it, select any card he likes, show it to his neighbour,
+replace it in the pack, and again shuffle the latter thoroughly. While
+this is in progress produce some tobacco and a cigarette paper and roll
+a cigarette, which substitute for the one prepared. If you are not an
+adept at palming I would suggest the following easy method: Lay your
+handkerchief across your knees, and on it place the prepared cigarette.
+While reaching for a match, drop the cigarette you have just made on
+your lap, as if by accident, and pick up the one containing the card.
+You can afterwards pick up your handkerchief and put it and the genuine
+cigarette in your pocket. You then light the prepared cigarette and ask
+your friend to hand you the pack and name his card; when he does so,
+tell him you will produce the card in any place he may name.
+
+By previous arrangement he must say, "In the cigarette you are smoking."
+You then pick up the pack and "ruffle" it over the cigarette; take the
+latter from your mouth, extinguish the fire, and tearing the paper in
+the centre, produce the seven of hearts from it.
+
+
+A STICKING CARD
+
+Obtain a short "drawing-pin" with a small head, and having painted the
+head black, stick it through the centre of the ace of clubs. Put this in
+your pocket and "force" another ace upon a member of the company. Hand
+the pack to the person upon whom you have forced the card, request him
+to replace it and shuffle the pack. Then take the pack from him, and as
+you turn your back slip the card with the pin through it on the top of
+the pack. Holding the pack in your right hand with its face toward the
+palm, ask your friend to name his card. When he does so throw the pack
+sharply against the door. The top card will be held there by the pin and
+the rest of the pack will fall on the floor.
+
+This trick was shown by a conjurer before the late King Edward a few
+years ago, and His Majesty was reported in the daily papers to have
+expressed "great surprise."
+
+
+TWO SELECTED CARDS CAUGHT IN THE AIR
+
+Two cards are selected and returned to the pack, which you then make a
+pretence of shuffling, taking care not to lose sight of the chosen
+cards; "slip" (_Hercat's Card Tricks_, p. 10) one of the latter to the
+top of the pack and the others to the bottom face upward. Have a small
+piece of wax on your right finger and thumb and press the pack between
+them. Obtain the names of the selected cards, and then throw the pack in
+the air, moving your hand away quickly, with, of course, the selected
+cards sticking to your thumb and finger. As the cards descend thrust
+your hand in among them, and then, separating your thumb and finger,
+show the cards adhering to them, which you will appear to have caught.
+
+
+AN EASY BUT PUZZLING TRICK
+
+Any card may be drawn--not "forced"--and returned to the pack. In
+pretending to shuffle the cards, bring the selected card to the bottom
+of the pack, and then slip another card in front of it. Show your friend
+this card at the bottom and ask him if it is his. Of course he will say
+"No." Lower the pack, and with the fingers of your left hand draw the
+bottom card back about half an inch, and with your right hand draw out
+the next card--which is the one chosen--and place it face down on the
+table. Shuffle the pack and again show the bottom card, "Is this your
+card?" "No." "Then I will place this one on the table"--which you do.
+Repeat this, and place a third card from the bottom of the pack on the
+table. Then say, "I am sure your card must be one of the three. No? Look
+and see for yourself." He turns the three cards over, and of course
+finds his card is one of them.
+
+
+TRAVELLING CARDS
+
+Give the pack to a member of the company, and request him to count off
+between twenty and forty cards, place the pack on the table, and hand
+the cards he has counted to you. You then hand the pile to a second
+person and request him to count off about one-third of the number, lay
+them in a pile on the table, and hand you the remainder, which you give
+to the first person, requesting him to place them in his pocket. Taking
+up the second pile, you request the second person to place it in his
+pocket. We will suppose the first person selected thirty and the second
+person abstracted ten cards from them, which should leave twenty now in
+the pocket of the former. Then announce your intention of causing a
+certain number of cards to leave the pocket of person number one and
+travel invisibly into the pocket of person number two. Open a
+pocket-handkerchief, and covering number one's pocket, flick it in the
+direction of person number two, exclaiming, "They have gone!" On the two
+piles being produced and counted, those from the pocket of number one
+person will number only fifteen, and the same number will be found in
+the second pile.
+
+EXPLANATION.--When you receive the thirty cards from the first person,
+you palm off five or six cards (the number is immaterial) and retain
+them concealed in your hand, handing the remainder to the second person.
+When he has counted off ten and placed them on the table, you take those
+that are left from him and hand them to person number one. When picking
+up the pile of ten from the table, while pretending to square it, you
+add the palmed cards and hand the pile thus increased to person number
+two. You must be careful not to allow the two persons to count the cards
+after the changes have been made. If you see they are inclined to do so,
+take the piles from them and place them in their pockets yourself.
+
+
+TO NAME ALL THE CARDS IN THE PACK
+
+Ask some one to shuffle the pack, and, on receiving it back, glance at
+the bottom card. Put the pack behind your back, and then turn the top
+card round with its face toward you; bring the pack in front of you, the
+bottom card facing the audience and the turned card facing you. Having
+already glanced at the bottom card, you can tell them its name, and you
+now know the card on top. Put the pack behind you again, and move the
+top card to the front, and turn the one now on top round. Again hold the
+pack up and name the front card, at the same time noting the card facing
+you. By repeating this process you can name all the cards in the pack.
+Take care to have all your audience in front of you, or the turned card
+will be seen.
+
+
+A NEW METHOD
+
+Here is an absolutely new method of performing the same trick
+blindfolded, but with the aid of a confederate. You tell your friends
+that by placing your hands on a person's head you can see with his eyes.
+To illustrate this, tell your assistant to seat himself at a table, and
+you then stand behind him blindfolded, with your fingers lightly
+touching his temples. The cards are spread out faces down on the table,
+and no matter which card he picks up and looks at, you at once say what
+it is. Of course, you take the tip from him; but how? I will tell you.
+
+He must keep his mouth shut and his teeth together. The slightest
+pressure between his upper and lower teeth--so slight that it is quite
+imperceptible--will cause his temples to throb--try it on your own
+temples--and, of course, by the arrangement of a very simple code he can
+communicate to you the name of each card. Say one throb stands for
+hearts, two for diamonds, three for clubs, and four for spades. We will
+say his temples throb twice. You say, "You are looking at a diamond."
+Then we will suppose they next throb five times. You say, "It is the
+five of diamonds," and so on. When you come to an ace, of course one
+throb will suffice; when he picks up a knave, let him give two throbs in
+rapid succession--a kind of postman's knock; a queen, a postman's knock
+and one throb over; and for a king, a double postman's knock--rat-tat,
+rat-tat. With a little practice and a more elaborate code, you can
+describe all kinds of articles which may be selected--keys, watches,
+books, etc. It is a capital trick and one which no one can possibly
+discover.
+
+
+THE SENSE OF TOUCH
+
+This is an improvement upon the two preceding tricks which I invented
+several years ago, and have shown scores of times without the _modus
+operandi_ being once detected.
+
+EFFECT.--The pack is handed to the audience to be shuffled, and, without
+even glancing at it, the performer places it behind his back and names
+each card (presumably by the sense of touch) before he draws it. He can
+hand the pack back to the audience to be shuffled as many times as
+desired.
+
+EXECUTION.--Before handing the pack to be shuffled, ascertain which card
+is on the top, and palm it in the right hand; receive the pack back in
+the palm of the left hand and cover it with the thumb.
+
+Put both hands behind you and slip the palmed card between the tips of
+your left first and second fingers; then palm the top card and take the
+card originally palmed between the right thumb and the forefinger with
+your thumb on top. While doing this, explain to the audience that you
+have with considerable practice acquired a marvellously keen sense of
+touch which enables you to ascertain the name of each card by simply
+feeling it. You proceed to say: "I will name each card before showing it
+to you, and you are at liberty to shuffle the pack as many times as you
+may desire.
+
+"The card I am now feeling appears to be (say) the queen of spades." You
+then show the card held between your thumb and finger, at the same time
+glancing at the palmed card. Throw the former on the table, and putting
+your hand behind your back again, nip the palmed card with the first two
+fingers of the left hand, and palm the top card as before. You can go
+through the whole pack in this manner, but each time you hand it to be
+shuffled, be sure to have one card palmed. This trick should not be
+attempted until it has been thoroughly rehearsed.
+
+
+WHERE IS THE ACE?
+
+Select the ace and five of hearts and two other cards of the same suit
+and conceal the five behind one of the latter so as to make it appear
+you have only three cards. Hold the two cards (with the concealed five)
+faces down, a little distance apart and showing the ace place it
+deliberately behind them so that the pip shows between (Fig. 2) when the
+cards are held up. Having shown the cards in the latter position to the
+company, lower them again and defy any one to lift up the ace. A member
+of the company does so and naturally looks at the card, when you say,
+"But you must not look at it. Take the card off and place it face down
+on the table, and I will then tell you whether your attempt has been
+successful. We will try again?" Re-arranging the cards, substitute the
+five for the ace and place it so that the centre pip alone is visible
+between the two cards. Repeat your challenge and request your friend to
+remove the ace, place it on the table, and cover it with his hand. When
+this is done ask him if he still has the ace, and he will naturally say
+"Yes." Tell him to raise his hand, and to his astonishment he will find
+the five.
+
+                             [Illustration]
+                                Fig. 2.
+
+
+TO MAKE A PERSON NAME A CARD WHICH YOU HAVE YOURSELF SELECTED
+
+Take any card from two to ten, say the five of hearts, and lay it face
+down on the table without permitting any one to see its face. Then
+announce your intention of examining a number of the company as to their
+knowledge about cards. Ask for a volunteer, and on one consenting to act
+tell him to answer your questions rapidly and to make his replies short.
+Then put the following questions: "How many cards are there in a full
+pack?" Answer, "Fifty-two." "How many suits?" "Four." "What are their
+colours?" "Red and Black." "Now name one of those colours." "Red." If he
+should say "black," you must say, "You select black so I take red. How
+many suits are there in red?" "Two." "What are they?" "Hearts and
+Diamonds." "Name one of those suits quickly." "Hearts." If he should
+name diamonds say, "Then I take hearts." "How many cards in the suit?"
+"Thirteen." "How many between the ace and knave?" "Nine." "How many
+below six and how many above six?" "Four below and four above." "Name
+either below or above?" "Below." If he says "above," say, "That gives me
+those below six. What are the numbers below six?" "Two, three, four, and
+five." "Name two of those numbers." "Four and five." If he should say
+"two and three," or "three and four" you remark, "That leaves me four
+and five. Name one of those numbers." If he says "four," you say, "Which
+leaves five. The suit you selected was hearts, and now we have come down
+to five. So you have actually selected the five of hearts; and I am sure
+you will admit I have not influenced your choice in any way. Please turn
+over the card on the table." He does so and, of course, finds it is the
+five of hearts.
+
+
+THE CLOCK
+
+Select twelve cards of any suit, ace to ten and king and queen; arrange
+them in a circle to represent the figures on the face of a clock, the
+king as twelve and the queen as eleven (Fig. 3), and request a member of
+the company to think of one of the numbers. You then explain you will
+tap the cards with a pencil and he is to mentally add your first tap to
+the number he thought of and count your succeeding taps until twenty is
+reached, when he is to call "Stop," and your pencil will then rest upon
+his number. For instance, we will suppose he thinks of twelve; he must
+count your first tap as thirteen and continue counting mentally until
+twenty is reached.
+
+                             [Illustration]
+                                Fig. 3.
+
+EXPLANATION.--Touch the cards at random during the first seven taps and
+allow your pencil, on its eighth tap, to rest on the king (twelve).
+Eight and twelve being twenty he will of course say "Stop." Supposing he
+thought of a lower figure--seven, for instance. Tap at random as before
+until your eighth tap, which must always be on twelve; then touch the
+cards in rotation, making the queen your ninth tap, the ten your tenth
+tap, nine your eleventh, and so on until you reach seven, which will be
+your thirteenth tap, which number added to seven, the number thought of,
+will make twenty, and your friend will say "Stop."
+
+Another effective trick can be worked with the card dial, but it
+requires the assistance of a confederate. Having previously instructed
+him what to do, you tell the company that any one is at liberty to touch
+one of the cards during your absence from the room, and on returning you
+will indicate the card he has touched. Upon your returning hand a pencil
+to your confederate and request him to touch the cards in rotation until
+you say "Stop," when the pencil will rest on the right card. Your
+confederate must hold the pencil in his right hand with his forefinger
+resting on top. When he touches the right card he must raise that finger
+slightly. It is a signal no one would notice, and the trick always
+creates a great deal of wonder.
+
+
+HOW TO GUESS CARDS THOUGHT OF
+
+Allow the pack to be shuffled freely and then place it on the table face
+down. Take the three top cards, and holding them up with their backs
+towards you, ask some one to think of one. Then spread them face down on
+the table in front of you. Take three more cards, and ask a second
+person to think of one, and lay these on top of the other three. Show
+three more cards to a third person, and after he has thought of one, lay
+these on top of the others. You have now three parcels on the table,
+each containing three cards. Hold up one parcel, and say to each person:
+"Is the card you thought of in this lot?" Proceed in the same way with
+the other parcels, and then tell each person the name of the card he
+thought of. As the cards shown to the first person were laid on the
+table first, it stands to reason that the cards he thought of must be at
+the bottom of the parcel he has said "Yes" to; the second person's card
+will be the middle one in the parcel, and the third person's the top
+card.
+
+
+AN INGENIOUS CARD TRICK
+
+Select ten cards, regardless of suit, the ace, and from deuce to ten,
+arranging them as follows: Lay the ten face down on the palm of your
+hand, the nine next, and the others in rotation, finishing with the ace,
+which you call "one." Give the cards so arranged to a friend, and tell
+him you will leave the room while he moves cards one at a time, not to
+exceed nine, from top to bottom, and when you return you will tell him
+how many he has shifted. You may repeat this feat successfully several
+times, and finish by requesting him to make up his mind how many cards
+he intends moving before you leave the room and you will tell him which
+card will indicate the number he has selected. On returning you
+immediately refer him to the card which gives the correct answer. This
+is really a most puzzling trick and yet an easy one to perform. Commence
+by showing how the cards are to be moved by shifting a few yourself,
+noting how many you move, so you will remember which card you leave at
+the bottom. When you return to the room you subtract the number of pips
+on that card from ten and the product will show the number of the card
+from the top, the pips on which indicate the number of cards your friend
+has moved. We will suppose that, in illustrating, you move four cards,
+which will, of course, leave the four at the bottom; you subtract four
+from ten, which leaves six, and no matter how many cards have been moved
+the pips on the sixth from the top will indicate the number. Taking the
+pack in your hand face downward, count off the first six cards, and
+glancing at the sixth say, "You moved ---- cards." When you repeat the
+trick add the number originally at the bottom to the number your friend
+has moved, which will give the number now at the bottom, which you again
+subtract from ten. In predicting the number of cards your friend means
+to move you tell him the number of the card from the top which will show
+it. We will suppose the bottom card is eight and your friend mentally
+decides upon moving five cards, you subtract eight from ten, which
+leaves two, and tell him the number he is going to move will be
+indicated by the pips on the second card from the top after he has moved
+the cards.
+
+
+TO NAME A CARD WHICH SOME ONE HAS THOUGHT OF
+
+Spread six cards before a member of the company and ask him to think of
+one. Place these cards at the bottom of the pack and give the latter a
+"false shuffle," i.e. shuffle them in such a manner that the bottom
+cards are not disturbed. Then take the four top cards, and spreading
+them on the table, faces upward, ask your friend if his card is among
+them. Of course, he will say "No." While he is looking at the cards on
+the table "slip" (_Hercat's Card Tricks_, p. 10) one of the bottom cards
+to the top of the pack. To do this moisten the tips of the two middle
+fingers of the left hand, and holding the pack in that hand with the
+moistened fingers against the face of the bottom card, with the thumb
+and two middle fingers of the right hand raise the rest of the cards
+slightly and the card adhering to the moistened fingers will be carried
+to the top of the pack. Again spread the four top cards on the table and
+repeat the enquiry. If he says "No," repeat the former process until he
+says, "Yes, my card is in that lot." You, of course, know it is the card
+you "slipped" from the bottom of the pack. You then tell him to gather
+up all the cards and shuffle them thoroughly; then place the pack on the
+table, put his hand over it and look you steadily in the eye. You place
+your hand over his and say, "I can read your thoughts, you took the
+----," naming his card. This is an easy trick to perform and causes
+great amazement.
+
+
+THE REJECTED RECRUITS--A LAUGHABLE TRICK
+
+Select a king and the four knaves and lay the king on the table face
+upward. Tell the company that the king is recruiting for the army and
+accepts the knave of clubs, which you place on the king's right. The
+knave of spades, which you place on the left, he rejects. The knave of
+diamonds is accepted and placed on the right. The knave of hearts is
+declined, and placed on the left.
+
+Now ask your audience how it is that the king, being in want of
+recruits, accepts two and refuses two.
+
+The answer will puzzle those not acquainted with the trick. It is as
+follows: Two of the knaves have but one eye each, and are consequently
+medically unfit.
+
+
+A NOVEL CARD EFFECT
+
+EFFECT.--A five-spot card is passed for examination, a two spot of the
+same suit is then placed face down on the five; after rubbing the cards
+slightly and separating them a spot is found to have passed from the
+centre of the five on to the two spot, making a four spot and a three
+spot. The pack is afterwards shown to be quite an ordinary one without
+any apparent preparation.
+
+PREPARATION.--Remove from the pack the five, four, three, and two of any
+suit. Place the remainder of pack face down on the table. Now place the
+five spot face up on the back of the pack, the two spot face down on the
+five, the four face up on the back of the two, and the three spot face
+down on the four. Then remove the three top cards, without in any way
+altering their order, and place them on the face of the pack so that the
+two spot is showing, and turn the five spot face down, so that the pack
+appears to be without preparation.
+
+PRESENTATION.--Show pack held in left hand and call special attention to
+the two spot on the bottom of the pack, then lift off the five-spot card
+and pass it to a spectator with the remark that the centre spot is loose
+and can be transferred at will to any other card; while the card is
+being examined you secretly count off the three other prepared cards at
+the bottom of the pack and keep them separated from the rest with the
+index finger of left hand. Now take back the five-spot card and place it
+on the back of the pack, with its face side toward audience. Then with
+the first two fingers and thumb of right hand take the three other cards
+from bottom of pack and show them as one card only: namely, the two
+spot. This movement is best executed by slightly pushing down the three
+cards with the index finger of left hand until a sufficient amount of
+projection is obtained for the fingers and thumb of right hand to grip.
+Now place the apparent two-spot card face toward, and on to the five
+spot; proceed by gently rubbing the back card with the index finger of
+right hand, and lift the top card and show it to be a three spot, while
+the card facing is found to be a four spot, which you also remove. The
+back of the two-spot card will then be seen and the pack appear to be an
+unprepared one.
+
+
+AN ARTFUL CARD FORCE
+
+PRESENTATION.--First secretly note what the top card of the pack is.
+Then proceed by asking a spectator to state what card he wishes you to
+use by giving you a number. After having received the number you proceed
+to count the cards face down on to a table until you reach that number,
+at the same time mentioning that the last card counted is the one you
+are to use. You pause for a moment, apparently thinking, then say, it is
+possible that the spectator may think that you already know the card as
+you counted them yourself, you consider that it would only be fair to
+allow him to count them himself. At the same time you replace the
+counted cards, and hand the pack to spectator, with the request that he
+counts down to the number previously stated. This, of course, has the
+effect of bringing the known top card into position at his number, so
+that it is quite an easy matter to follow on with any trick in which the
+sleight-of-hand force is necessary. This seems very simple, but try the
+effect; even our advanced friends will find it extremely useful.
+
+
+ANOTHER EASY CARD FORCE
+
+REQUISITES.--An ordinary pack of cards and two extra cards stuck
+securely together.
+
+Place the double card below a previously noted card. Hold the pack in
+the left hand so that the thumb can pass readily down the cards at the
+upper corner. Now pass the thumb of the right hand down the cards so as
+to ruffle them. You will find that the thumb is automatically stopped at
+the double card. By requesting a spectator to take the card immediately
+above the break in the pack, you can then proceed with any trick in
+which a forced card is necessary. Numerous other uses for the double
+card will readily occur to my readers from the hint given.
+
+
+A SIMPLE BUT PUZZLING CARD TRICK
+
+Place the pack face down on the table and cover it with a serviette.
+Then request a member of the company to put his hand under the serviette
+and take a card at random; to be careful not to let you see it but show
+it to the company and then return it to the pack and to square the pack
+through the serviette after the card has been replaced. You then lift up
+the side of the serviette nearest to you and at once produce the card.
+
+EXPLANATION.--When the company are looking at the card slip your hand
+under the serviette and turn the pack over, and, of course, you can at
+once detect the "faced" card when it is replaced. On withdrawing it with
+your right hand turn the pack over with your left and lift off the
+serviette.
+
+
+
+
+SIMPLE COIN TRICKS
+
+
+HOW TO DETECT A MARKED COIN
+
+Place ten coins--say shillings--in any empty finger-bowl and request a
+member of the company to select one, put a private mark on it, and then
+holding it in his closed hand, to close his eyes and think of the
+appearance of the coin very hard. In about a minute pick up the bowl,
+and going to him, request him to open his eyes; gaze in them, and then
+make a few mesmeric passes over his face. Then request him to drop the
+coin he holds in the bowl and to mix it up thoroughly with the other
+nine shillings. Now ask some one to blindfold you; when this is done
+place your hand in the bowl, and picking up the shillings one at a time,
+you can at once detect his, which you throw across the table to him for
+confirmation. The secret is that the coin held in the person's hand has
+obtained a certain degree of warmth and can at once be detected in
+consequence.
+
+
+A PENETRATIVE SHILLING
+
+Sew a halfpenny in the corner of your handkerchief and place the latter
+in your pocket ready for the trick. Borrow a shilling and request the
+lender to put a private mark on it. Take out your handkerchief and
+pretend to place the shilling under it, instead of which pick up the
+corner containing the halfpenny, place it in the centre and grasp it
+through the handkerchief with your left hand, while you let the marked
+shilling drop in the palm of your right. Ask a member of the company to
+hold the shilling (the halfpenny in the centre) in the handkerchief a
+few inches above the table. Then pick up an empty glass with your right
+hand, hold it under the table, and request the person who holds the
+handkerchief to let it fall on the table. The coin in the handkerchief
+will be heard to strike the latter and at the same time you drop the
+shilling from the palm of your right hand into the glass and place the
+latter on the table, while with your left hand you pick up the
+handkerchief and shake it, being careful not to allow the halfpenny to
+strike the table again while you are doing so. Request the person who
+lent the shilling to take it out of the glass and say if it is the one
+bearing his private mark.
+
+
+ANOTHER SIMPLE TRICK
+
+Here is another simple trick with a sixpence. Put a small piece of wax
+on it, and place it, the waxed side uppermost, in the centre of a
+handkerchief. Then put one of the lower corners of the handkerchief over
+the coin and ask some one to put his finger on it and press it. Then
+move the second lower corner of the handkerchief over the other corner,
+telling your assistant to move his finger while you do so. Next cover
+the two lower corners with the two upper corners of the handkerchief in
+the same manner, and ask your assistant if he is sure the sixpence is
+still there. Of course he will say yes; he can feel it. Then tell him to
+raise his finger. When he does so, take the two upper corners in your
+hands, and raise the handkerchief, when the coin will appear to have
+vanished. Of course, it is sticking to the lower corner of the
+handkerchief.
+
+
+A COIN TO DISAPPEAR FROM YOUR CHEEK AND REAPPEAR AT YOUR ELBOW
+
+While sitting at the table turn up your right sleeve, and, taking a
+half-crown or penny, rub it against your cheek, and then, as if by
+accident, drop it on the table. Pick up the coin and repeat the process,
+this time resting your elbow on the table, as you explain, to steady it.
+Move your hand from your cheek, and the coin has disappeared, and with
+your left hand produce it from your elbow. Then say, "I will reverse the
+experiment and send the coin back." Place your empty hand against your
+face and your left hand containing the coin under your elbow. After
+rubbing your face and chin, show the coin again in your right hand and
+your left hand empty. You require two coins for this trick, one palmed
+in your left hand. When you rub the coin against your face the second
+time, drop it inside your collar and produce the palmed coin from your
+elbow. When you "reverse the experiment," take the coin from your collar
+as you are rubbing your face and chin and drop the other coin from your
+left hand into your handkerchief spread over your knees.
+
+
+TWO VANISHED HALF-CROWNS
+
+This trick requires considerable practice, but is a very effective one.
+Take the two coins in your right hand, and throw them repeatedly, one at
+a time, into the other hand until the audience begin to think it is a
+"sell." Then, offering your left hand (in which the coins are supposed
+to be) to some one, say: "Well, you try to do it." Open your hand, and
+the coins have disappeared.
+
+EXPLANATION.--The last time you throw only one half-crown, and instead
+of throwing the second, bring the right hand down quickly, and at the
+same time jerk the coin in your left hand upwards into your right, and
+it will strike the coin retained there. The clink will be heard, and by
+closing your left hand quickly you will lead the company to suppose both
+coins are in that hand. Half-crowns are the best coins for the trick
+owing to their weight.
+
+
+A DIVINATION
+
+Request a member of the company (seated) to place a shilling or florin
+upon each knee, and cover them with his hands with his fingers stretched
+out. You then tell him, when you turn your back, to raise one of the
+coins and tap his head with it twelve times just above his ear; then
+replace it on his knee and cover it with his hands as before; and you
+will tell him, on examining the coins, which one he raised.
+
+The examination of the coins has really nothing to do with the trick.
+All you have to do is to look at the person's hands; the blood leaves
+the hand that has been raised, and when it is again placed beside the
+other the difference in colour is most perceptible.
+
+I have performed this trick hundreds of times in drawing-rooms, and it
+has never been detected, but created great surprise.
+
+
+AN EFFECTIVE BUT SIMPLE TRICK
+
+Stick a halfpenny (or a shilling) under the edge of a table secretly
+with a small piece of wax. Show another halfpenny to the company, and
+when it is returned to you, place it in front of you on the table while
+you turn up your sleeves. Then place the fingers of your left hand under
+the table, and with your right hand sweep the halfpenny on the table
+into your left, at the same time getting hold of the halfpenny under the
+table, taking care that one coin does not strike the other. Then place
+your right hand over your left, and pretend to rub the halfpenny the
+audience have examined very vigorously, and, showing both coins, say you
+have rubbed one halfpenny into two. You can improve on this trick by
+using four halfpence on the table and one stuck under the edge. Sweep
+two coins into your left hand, get possession of the stuck halfpenny,
+and close your hand. Hold it up, and say: "There are two halfpennies on
+the table, and I have two in this hand." Picking up the two halfpennies
+with your right hand, tell the company that you intend to pass one of
+them into the other hand. Then lay both hands flat on the table, lift
+your left hand, and show three halfpennies under it. Slide your right
+hand off the table, leaving one halfpenny behind, and carrying the
+second coin away with your fingers. As your hand leaves the table, press
+the halfpenny with your thumb against your two middle fingers, and nip
+it with your first and little fingers. Remove your thumb, and you will
+find you can hold it securely "palmed." Then with the right hand sweep
+the three halfpennies back into the left hand, at the same time letting
+the "palmed" coin fall with them. Close your fingers over them quickly,
+and picking up the remaining halfpenny from the table with your right
+hand, say: "I intend to make this halfpenny join its companions. One,
+two, three--go!"
+
+Pushing it with your thumb against your two middle fingers, palm it as
+before, and throw the four coins which you hold in your left hand on the
+table. While the attention of the company is on them, drop the "palmed"
+coin in your pocket.
+
+
+CHANGING APPLE AND COINS
+
+Procure two small apples exactly alike, and in the bottom of one scoop
+out a hole large enough to hold a pile of three sixpences. Make a
+conical cover out of cartridge paper large enough to cover the apple and
+about nine inches in height. Obtain six sixpences, three of which place
+in a pile on an inverted glass goblet. Conceal the other three and the
+hollow apple in your left hand. Ask some one to examine the cover, and,
+on receiving it back, transfer it to your left hand and slip it over the
+apple. Then give the duplicate apple for examination, and, taking the
+cover by its lower part, and the apple concealed in it, place both over
+the three sixpences on the glass. Take the apple that has been examined,
+and put it under the table with your left hand, hold it between your
+knees, and say: "I command this apple to pass through the table and take
+the place now occupied by the three sixpences, and the sixpences to fall
+into my hand." Bring your left hand from under the table and show the
+coins, lift up the cover and show the apple on the glass. Then reverse
+the procedure. Cover the apple on the glass; place the three sixpences
+under the table; secure the apple held between your knees and roll it on
+the table; lift up the cover and hollow apple together, and, dropping
+the latter into your lap, show the former is empty. This trick should be
+performed sitting.
+
+
+AN OBEDIENT SIXPENCE
+
+Place two half-crowns (or pennies) on the table and a sixpence between
+them. Then cover the coins with an inverted wine-glass, the edges of the
+latter resting upon the larger coins. Challenge any one to remove the
+sixpence without touching the glass or the money. It is done very
+easily, and in an amusing manner. You have only to scratch the
+tablecloth with your finger-nail in the direction you wish the coin to
+come, saying: "Come hither, sixpence," and it will at once obey you.
+
+
+COIN AND GLASS
+
+Cover the mouths of two glasses with newspaper, by gumming it on them,
+and trim off the edges neatly.[A] Stand them inverted upon two pieces of
+newspaper in such a manner that the type on the paper over the glasses
+fairly corresponds with that on the paper on the table. Make two cones
+of newspaper to fit closely over each glass. Unobserved by the company,
+place a penny under the glass on your left, which will of course be
+concealed by the paper on the mouth of the glass. Then borrow a penny,
+and, placing the cone over the glass on your right, lift the latter
+covered by the former from the table; lay the borrowed penny on the
+newspaper, and cover with the glass and cone. You call attention to the
+fact that there is nothing under the other glass, and you then cover it
+with the second cone. You now tell the company that at your word of
+command the penny will leave one glass and travel invisibly over the
+table to the other glass. You lift the cone from the glass on your
+right, under which the borrowed penny was placed, and the coin is not to
+be seen. Then, lifting both the cone and glass together on your left,
+the concealed penny is brought into view. You now announce your
+intention of sending the penny back. Place the covered glass over the
+penny and replace the cover over the glass on your right. "One, two,
+three--go!" you exclaim and, lifting the cone off the glass on your
+left, the penny under it appears to have disappeared, and on removing
+the other glass, still covered by the cone, the borrowed penny will once
+more be seen. This trick can be worked with one glass only and the penny
+made to appear to drop through the table in your hand placed under the
+latter ready to catch it (the penny, of course, being already palmed in
+your hand); but the use of two glasses makes the trick more effective,
+and it can be repeated many times without fear of detection. The paper
+upon which the glasses stand can, of course, be examined; but the
+glasses when removed from the paper must be covered with the cones, or
+the paper cover on the mouth of each will be seen.
+
+[A] This piece of apparatus neatly constructed can be obtained at a
+trifling cost at any of Messrs. Hamley Bros.' Conjuring Depôts, London.
+
+
+A SIMPLE EXPERIMENT WITH FOUR SHILLINGS
+
+Borrow four shillings; place one on the palm of each hand, and, holding
+the palms upward, close your fingers over them. Then request a member of
+the company to place the other two coins on the nails of your two middle
+fingers; and announce your intention of throwing a coin from one hand to
+the other, explaining it is rather a difficult feat to accomplish with
+your hands closed. Make one or two movements with your hands, and then,
+as if accidentally, drop the two shillings resting upon your nails upon
+the table. Apologising for your clumsiness, request some one to replace
+the coins on your nails, saying you will have another try. Now give your
+hands a jerk upward; open them and catch the coins on your nails, one in
+each hand, and tell the company you have accomplished your purpose and
+sent one coin flying invisibly through the air from one hand to the
+other. To verify your assertion open your hands and show three coins in
+one hand and only one in the other.
+
+EXPLANATION.
+
+When you make the first attempt, and appear to fail, in the upward
+movement of your hands you open them and allow the shilling resting upon
+the nail of your left hand to slip into the palm, while you permit the
+coin in the palm of your right hand to fall, with the one above it on
+the nail, on the table. If this is done neatly the company will suppose
+it is the two coins from the nails which have fallen. You now have two
+shillings in your left hand and none in your right. In the second
+attempt you have only to catch the shillings resting on your nails in
+the manner described, and on showing one shilling in your right hand and
+three in your left, your statement that one has travelled invisibly from
+one hand to the other will appear to be correct.
+
+
+PUZZLE OF TEN HALFPENCE
+
+Place ten halfpence in a row upon the table, then taking up any one of
+the series, place it upon another, with this proviso, that you pass over
+just two halfpence each time. Repeat this until there is not a single
+halfpenny left. Let the following figures represent the halfpence:--
+
+                          1 2 3 4 5 6 7 8 9 10
+
+Place No. 4 upon No. 1; No. 7 upon No. 3; No. 5 upon No. 9; No. 2 upon
+No. 6; and No. 8 upon No. 10. A little practice will enable the reader
+to do this puzzle without referring to the figures.
+
+
+HOW TO INCREASE YOUR WEALTH
+
+Obtain three sixpences exactly alike, place one in your pocket and stick
+the other two with a small piece of wax under the edge of the table
+about an inch apart. After showing other tricks produce the sixpence
+from your pocket and show it to the company to prove it is an ordinary
+coin. Pull up your sleeves, and if the table has a cover turn it back.
+Place the coin on the table near the edge over the concealed sixpences,
+and showing your right hand is perfectly empty place your thumb over the
+coin and rub it vigorously backwards and forwards on the table. At the
+same time run your first and second fingers under the table, and
+securing one of the coins sticking there move it and the coin under your
+thumb simultaneously off the table, and pinching them together between
+your thumb and finger, say: "I will show you how to double your capital.
+I am going to rub this sixpence into two sixpences." Then showing your
+other hand is empty use the left thumb and finger to assist in the
+rubbing, and gradually separate the two coins and exhibit them. Then
+putting the sixpence with the wax in your pocket place the other one
+near the edge of the table and repeat the trick, saying: "See, I have
+now trebled my capital." Do not allow the company to examine the waxed
+coins.
+
+
+A NEAT COIN TRICK
+
+Procure three coins (pennies or half-crowns) exactly alike. Scratch a
+cross on two, and in the third bore a hole, in which fasten a short
+piece of black elastic cord. The other end of the elastic tie round your
+ankle, taking care that the coin does not hang below your trouser leg.
+Put one of the marked pennies in your left-hand trousers pocket and drop
+the other one unobserved into the pocket of some one present, or give it
+to a confederate to hold. Commence by borrowing a similar coin to those
+you are using and mark it like the others. Hold it between the thumb and
+finger of the right hand, and, giving it a twist, spin it on the table,
+then snapping your fingers over it, catch the edge of the coin and it
+will fly up your sleeve. Close your hand and say, "I will make this coin
+fly up my sleeve, travel round my back, and pass down my other sleeve."
+In the meantime you have secured the penny in your pocket and concealed
+it in your left hand. Open your right hand, showing it is empty, and
+then show the penny in the other hand. Lower your right hand, the penny
+in your sleeve will drop into it, and you can pocket it unobserved. Then
+ask for the loan of a cap and walking-stick. Request some one to hold
+the stick, while you hold the cap in your left hand. Pick up the penny
+with your right hand and pretend to place it on the floor. In doing so
+substitute the coin attached to the elastic, and, stretching the latter,
+hold the coin on the floor while you cover it with the cap, and ask the
+person who has the stick to place its end on the coin through the cap
+and keep it there until you tell him to move it. Then say, "I command
+this coin to leave the cap and pass into Mr. So-and-So's pocket. Move
+the stick, please, and then lift up the cap." On the removal of the
+stick the coin will fly under your trouser leg, and, of course, when the
+cap is lifted it is no longer on the floor. On the person whose name you
+mentioned putting his hand in his pocket he will find the coin you
+placed there, which you return to the person from whom you borrowed the
+penny.
+
+
+A SUBTLE IMPROMPTU EFFECT WITH A COIN
+
+EFFECT.--A coin dropped down the sleeve is slowly rubbed out through the
+cloth at the elbow.
+
+REQUISITES.--Two coins exactly alike.
+
+PRESENTATION.--First secretly place one of the coins between the buttons
+at the end of your left coat sleeve. Then stand with your right side
+towards spectators with the left arm extended, but slightly bent at the
+elbow. After having the coin examined, proceed to drop it down the
+sleeve of the extended arm, when it will fall to the elbow, and ask a
+spectator to feel that it is really there. Proceed by placing thumb of
+right hand on the side of sleeve toward spectators, and the fingers at
+the back, and rub the hand up and down the sleeve from the elbow to the
+cuff, and at the same time secretly gain possession of the coin between
+the buttons and bring it down behind the sleeve towards the elbow. Now
+with a slow pinching movement bring the coin down between the thumb and
+fingers and apparently out through the cloth of the sleeve, meanwhile
+moving the left arm up and down slightly. The coin left in the sleeve
+can be secretly got away by dropping the arm and allowing it to fall
+into the hand and then pocketed.
+
+
+AN ORIGINAL COIN SWINDLE
+
+Palm a halfpenny in your right hand and ask a friend (be sure he _is_
+your friend) to lend you a shilling. Pick up a glass, invert it, and
+place the borrowed shilling on its bottom. Then ask your friend whether
+the coin is on the top or bottom of the tumbler. He will naturally look
+surprised at such a question; and you then say,--"Ah, I see you know the
+trick." Slide the shilling off the glass into your right hand, and as
+your friend holds out his hand to receive it back, drop the concealed
+halfpenny into it. The chances are ten to one that he will place the
+coin in his pocket without glancing at it. Unless you really desire to
+swindle your friend out of elevenpence halfpenny you will, of course,
+explain to him how he has been "had."
+
+
+A CROSS
+
+Place seven coins on the table, five in a row and one above and one
+underneath the centre coin. Then challenge any one to form a cross with
+these coins by moving two only, all the arms of the cross to have the
+same number of coins. After many attempts and failures show how easy it
+is to accomplish by taking the two coins at the ends of the row and
+placing them upon the coin in the centre.
+
+
+
+
+SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC.
+
+
+A KNOT THAT CANNOT BE DRAWN TIGHT
+
+Tie a single over-hand knot in a handkerchief, and holding it in your
+left hand, give one end to some one, telling him to pull at a given
+signal. As he is about to do so, slip your left thumb underneath and,
+letting go the end hanging over your left hand, allow the handkerchief
+to run between your thumb and forefinger, when it will come out without
+any knot (Fig. 4).
+
+                             [Illustration]
+                                Fig. 4.
+
+
+TO TIE AN INSTANTANEOUS KNOT IN A HANDKERCHIEF
+
+Hold the handkerchief in both hands; give it a twist; blow on it, and a
+knot instantly appears in its centre.
+
+Hold the handkerchief as shown in Fig. 5.
+
+                             [Illustration]
+                                Fig. 5.
+
+Then while in the act of blowing on it bring the hands together quickly,
+throw the end _a_, held in the right hand, between the two middle
+fingers of the left hand and over _b_; at the same time grasp _b_
+between the two middle fingers of the right hand (Fig. 6); pull _a_
+under _b_ with the left hand and _b_ under _a_ with your right, and the
+knot is made. With practice you will be able to do this imperceptibly.
+
+                             [Illustration]
+                                Fig. 6.
+
+
+HALF A BURNT MESSAGE FOUND RESTORED IN A CANDLE
+
+Procure two candles and from one cut one-third off, in which piece drill
+a hole lengthwise and remove the wick. Put this piece in your pocket and
+place the other candle in a candlestick. Give a small piece of paper to
+a member of the company and request him to write a short sentence on it.
+Tear the paper in two, and giving him half, retain the other half
+yourself, which you fold up. Have a similar piece of paper, folded,
+concealed in your right hand, and as you turn to get the candle (which
+should be lighted), substitute one for the other. Burn the plain piece
+of paper in the candle, and obtaining the piece of candle from your
+pocket put your hands behind your back, and, having rolled up the half
+message, work it into the hole in the piece of candle. In order to gain
+the time to do this stoop over the lighted candle and make several
+unsuccessful attempts to blow it out. When the paper is in the piece of
+candle give one good hard blow and extinguish the light. With the piece
+of candle concealed in your left hand, take the candle out of the
+candlestick, lay it on the table, and with a knife cut off the burnt
+end, which throw away and divide the remainder into three equal parts.
+Then ask the person who wrote the message to select one piece. When he
+does so pick up the selected piece with your right hand and pretend to
+transfer it to your left, but retain it in the right and show the piece
+concealed in your left, which you present to the person who wrote the
+sentence and request him to pull out the piece of paper, which he will
+find to be the corresponding half of the piece in his possession.
+
+
+TWO GOOD RING TRICKS
+
+Take a common ring, about the size of a wedding-ring, and suspend it to
+the centre of your handkerchief by a piece of cotton four inches long.
+You can hold the handkerchief up by the corners with the ring hanging in
+front of you, and the latter will not be noticed. Then let the
+handkerchief fall over your left hand and the ring in your palm. Request
+the loan of a wedding-ring, and, having obtained one, put it under the
+handkerchief, drop it in your palm, and pick up the other ring, which
+push up in the centre of the handkerchief, requesting some one to hold
+it there. Next take a drinking-glass in your right hand and request the
+person to drop the ring in it and the handkerchief over it. Shake the
+glass, and the ring will be heard to rattle inside. Then stand the glass
+in the palm of your left hand with its bottom over the borrowed ring,
+which is concealed there. With your right hand pinch the centre of the
+handkerchief and lift it up quickly, of course, carrying the suspended
+ring with it, being very careful not to let the ring strike the glass.
+The glass is seen to be empty; lift it up and show the ring underneath.
+Say, "You see, the ring has passed through the bottom of the tumbler."
+
+A similar and a better trick can be performed with a short cane--say
+about eighteen inches long--instead of a glass. Commence as in the
+previous trick, and after you have asked some one to hold the suspended
+ring through the handkerchief, show the cane, and, holding your left
+hand back upward, push it through the latter and the borrowed ring, and
+grasp the cane with, of course, the ring on it, in the centre. With your
+right hand take the ring and handkerchief from the person who holds
+them, and request him to take hold of each end of the cane. Now lower
+the handkerchief until it hides your left hand, when you must move the
+latter away, leaving the ring on the cane concealed by the handkerchief.
+Then let the suspended ring fall out of the handkerchief, and if it
+strikes the cane so much the better. Whip the handkerchief away, and the
+ring on the cane will be seen. How that ring could have got on the cane
+while the ends of the latter were being held will puzzle everybody.
+Pocket the handkerchief with the suspended ring at once, and don't allow
+it to be examined.
+
+
+
+
+SIMPLE ARITHMETICAL PROBLEMS
+
+
+TO ASCERTAIN A NUMBER THOUGHT OF
+
+Every schoolboy knows the old puzzle: Think of a number; double it; add
+10, divide by 2, subtract number thought of; and 5 left. Here is a great
+improvement upon that problem, which I have seen puzzle some excellent
+accountants.
+
+Think of a number; multiply by 3; if the result is odd, add 1 and divide
+by 2; multiply by 3; if result be odd, add 1, and again divide by 2. By
+how many 9's is the result divisible?
+
+On receipt of that information you at once give the number thought of.
+One of the most puzzling features of the trick is that no 9's are
+obtainable in the result should either 1, 2, or 3 be thought of, as the
+following will show:--
+
+                     Number thought of   1   2   3
+                           multiply by   3   3   3
+                                        ---     ---
+                                         3       9
+                     Add                 1       1
+                                        --- --- ---
+                     Divide by 2         4   6  10
+                                         2   3   5
+                     Multiply by         3   3   3
+                                            --- ---
+                                             9  15
+                     Add                     1   1
+                                        --- --- ---
+                     Divide by 2         6  10  16
+                                         3   5   8
+
+As will be seen, none of these results is divisible by 9, yet the number
+thought of is correctly given in each instance.
+
+SOLUTION.--When the number thought of is multiplied by 3, you ask the
+question, "Is the result odd or even?" If the answer is "odd," make a
+mental note of _one_; then proceed. "Add one and divide by two. Is the
+result odd or even?" If the answer is again "odd," make a mental note of
+_two_; and proceed. "Add one and divide by two. How many nines are
+obtainable in the result? I do not want to know what the surplus is."
+
+The above figures illustrate that when 1 is the number thought of there
+is only an addition of 1. When 2 is the figure, no addition is required
+to the first result; but the second result being 9, 1 is added and _two_
+noted, which, of course, is the figure thought of. When 3 is thought of
+two additions are necessary, one to the 9 and one to the 15, making a
+total of _three_ to be remembered, which represents the original number.
+When 4 or any succeeding number is thought of the final result is always
+divisible by 9, and in your mental calculation each 9 must represent 4,
+to which you add the figures you have previously noted.
+
+EXAMPLES.
+
+Number thought of 4 × 3 = 12 ÷ 2 = 6 × 3 = 18 ÷ 2 = 9.
+
+Here we have one 9, which represents 4, the number thought of.
+
+Number thought of 7 × 3 = 21 + 1 = 22 ÷ 2 = 11 × 3 = 33 + 1 = 34 ÷ 2 =
+17. From which is obtainable only one 9, which represents 4, to which
+you add 1 for the first addition of 1, and 2 for the second addition,
+making a total of 7, the number thought of.
+
+Number thought of,
+
+                            11
+                         ×   3
+                           ----
+                            33
+                         +   1  note 1
+                           ----
+                       ÷ 2  34
+                            17
+                         ×   3
+                           ----
+                            51
+                         +   1  note 2
+                       ÷ 2  52
+                           ----
+                            26  two 9's = 8 = 11
+
+
+HOW TO NAME A NUMBER WHICH HAS BEEN ERASED
+
+Request a member of the company to write a row of figures, the number of
+which is immaterial, add them together and subtract the addition from
+the row. Then to cross out any figure from the result, add the remaining
+figures together and give you the total, when you will tell him which
+figure he has erased. Of course, you do not see his figures and can
+leave the room while he makes them.
+
+                                EXAMPLE.
+
+                                567219 = 30
+                             -      30
+                               --------
+                                567189
+
+We will suppose he crosses out 7, which makes the addition of the row,
+minus that figure, 29. He gives you that result and you at once name the
+crossed off figure. There are two ways of arriving at the answer. The
+simplest and quickest way is to add the units in the result together
+until only one figure remains and deduct it from 9. For instance, we
+will take 29. Add the 2 and 9 together, which make 11; add 1 and 1
+together and you have 2, which deduct from 9, leaving 7, the figure
+erased in the above example.
+
+Supposing 1 was the figure erased, the addition of the remaining figures
+would then be 35; 3 + 5 = 8, 9 - 8 = 1, the figure crossed off.
+
+The second method is to reckon the next multiple of 9 above the figures
+given you; for instance, supposing they are 29, the next multiple of 9
+is 36. Deduct 29 from it and it leaves 7, the erased figure. If either 9
+or 0 is erased the result is the same. You can get out of the
+difficulty, on being told you are wrong, by saying (in case you have
+given 9), "Yes, I see it is a nought; I thought it had a tail, so
+mistook it for a nine." If you have named 0 and it turns out to be 9,
+you can say, "Oh, I didn't notice the tail; of course I should have said
+nine."
+
+
+A LESSON IN THE CORRECT FORMATION OF A FIGURE
+
+Request a friend to write the following figures:--
+
+                            1 2 3 4 5 6 7 9
+
+Take the paper from him and, after pretending to scrutinise the row, ask
+him to point out which figure he considers most imperfectly made. If he
+should select the 1, say, "You had better practise making that figure.
+Oblige me by multiplying the row by nine." When he does so the result
+will be
+
+                           1 1 1 1 1 1 1 1 1
+
+Then say, "After this practice you will be able to make better ones in
+future."
+
+If he selects the 4 request him to multiply by 36 and the result will be
+
+                           4 4 4 4 4 4 4 4 4
+
+Whichever figure he selects, mentally multiply it by 9 and request him
+to multiply the row by the result. If he thinks 9 the most imperfectly
+made figure, you, of course, tell him to multiply by 81 and the result
+will be all 9's.
+
+
+FOUR NINES PROBLEM
+
+How can four 9's be written so that they will make 100?
+
+                               SOLUTION.
+
+                                 99 9/9
+
+
+AN ANSWER TO A SUM GIVEN IN ADVANCE
+
+Ask some one to start a sum in addition by writing the top line of four
+figures. We will suppose he writes 1912. You mentally subtract the 2 and
+place it before the 1, making 21,910, which figures write on a piece of
+paper, which you fold up and lay on the table. You then ask a second
+person to place four figures under the first line. Then add a line
+yourself, which must be a deduction of the second line from four 9's.
+Ask a third person to add four figures to those already written. Then
+add another line yourself, making it a deduction of the third person's
+figures from four 9's. Request a fourth person to add up the sum and
+tell him you have already done so, and he will find the answer on the
+table. The sum will appear something like this:--
+
+                                   1912
+                                   7234
+                                   2765
+                                   4891
+                                   5108
+                                --------
+                                 21,910
+
+Which answer corresponds with the figures on the paper, which has been
+on the table the whole time. If you have in the company two friends upon
+whom you can rely as confederates, previously arrange with them to write
+the third and fifth lines, explaining to them that they must deduct the
+line immediately preceding theirs from 9's and make their lines the
+products. This adds greatly to the mystery of the trick.
+
+
+AN ARITHMETICAL PUZZLE
+
+Take 9 from 6; from 9 take 10, and from 40 take 50, and you will find 6
+remains.
+
+                               SOLUTION.
+
+                      FROM SIX | FROM IX | FROM XL
+                      TAKE  IX | TAKE  X | TAKE  L
+                           S   |      I  |      X
+
+
+AN ARITHMETICAL MYSTERY
+
+Thirteen commercial travellers arrived at an inn, and each desired a
+separate room. The landlady had but 12 vacant rooms, which may be
+represented thus:--
+
+          ----------------------------------------------------
+          | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 |
+          ----------------------------------------------------
+
+But she promised to accommodate all according to their wishes. So she
+showed two of the travellers into room No. 1, asking them to remain a
+few minutes together. Traveller No. 3 she showed into room No. 2,
+traveller No. 4 she showed into room No. 3, traveller No. 5 into room
+No. 4, traveller No. 6 into room No. 5, and so on until she had put the
+twelfth traveller into Room No. 11. She then went back to where she had
+left the two travellers together, and asking the thirteenth traveller to
+follow her, led him to No. 12, the remaining room. Thus all were
+accommodated. Ask your friends to explain the mystery.
+
+
+HOW TO TELL HER AGE
+
+Girls of a marriageable age do not like to tell how old they are, but
+you can find out by following the subjoined instructions, the young lady
+doing the figuring: Tell her to put down the number of the month in
+which she was born, then to multiply it by 2, then to add 5, then to
+multiply it by 50, then to add her age, then to subtract 365, then to
+add 115, then tell her to tell you the amount she has left. The two
+figures to the right will tell you her age and the remainder the month
+of her birth. For example, the amount is 822, she is twenty-two years
+old and was born in the eighth month (August).
+
+
+A RACE IN ADDITION
+
+Tell a friend that you will race him in counting from 1 to 100, and
+guarantee to win, under the following conditions: You will allow him to
+start first, at any number from 1 to 10, and you are both to have the
+privilege of adding any figure up to 10 to the last number called. For
+instance, we will suppose he starts with 5. You call 15, having mentally
+added 10 to his number. He then calls 20, having added 5; and so on,
+until 100 is reached. Until he sees through the trick you will win every
+time, and even then you will win if you start first and commence at 1.
+In that case, as he can only add 10, his first call could not exceed 11,
+to which you immediately add 1 and call 12. If his next call is 22, you
+say 23. No matter what his additions may be, the numbers you must always
+reach first are 12, 23, 34, 45, 56, 67, 78, and 89. When you call the
+latter number, as he can only add 10 to it, your next call will, of
+course, be 100. By this you will observe that, although you can only add
+10 to your opponent's last number, you in reality add 11 to your own. So
+you are, so to speak, always 1 ahead of him. If, when you suggest the
+trick, you see your friend is not familiar with it, you can give him the
+option of starting first, and you need not pick up the thread of your
+winning numbers until you reach 50, adding low numbers to his additions,
+which will help to puzzle him; but he will soon see that it is necessary
+to reach 89; then he will notice you strike 78 and 67. When you see he
+is getting on the right track, pick up the winning numbers earlier, and
+at last insist that you must now start first. In starting with a person
+who does not know the trick it is advisable, and more puzzling, to dodge
+about at first and not get on the track of the winning numbers until 56
+or 67. But if your friend knows the trick and starts at 1 you cannot
+beat him. I have seen good accountants puzzle for hours over this little
+trick, which was invented by Mr. William Lawtey, a dear old friend of
+mine.
+
+
+TO PREDICT THE HOUR YOUR FRIEND INTENDS TO RISE ON THE FOLLOWING MORNING
+
+Request your friend to make up his mind as to the time he intends to
+rise on the following morning, and then to mention an entirely different
+hour to you. To the latter you mentally add twelve, and giving him the
+number of the total, request him to look at his watch, and starting at
+the hour preceding the one he has selected for rising, to count
+backwards until he reaches the number you have given him, beginning with
+the number which he previously gave you. Ask him to state the hour at
+which he stops, which he will find is the one he selected for rising.
+For instance; supposing your friend intends to rise at nine and gives
+you four. To four you mentally add twelve and request him to start at
+the hour before his getting-up time (which would be eight) and count
+sixteen backwards on the face of the watch, starting with the number he
+gave you--four--and when he reaches sixteen his finger or pencil will
+rest upon nine, the hour he selected for getting up.
+
+
+
+
+MATCH PUZZLES
+
+
+EXPERIMENT WITH TEN MATCHES
+
+Lay ten matches side by side (Fig. 7) and request some one to lift each
+match singly, and passing it over two matches, cross a third match with
+it until there are five crosses on the table (Fig. 8). Two matches (and
+only two whether crossed or single) must be passed over at a time.
+
+                      1  2  3  4  5  6  7  8  9  10
+                      |  |  |  |  |  |  |  |  |  |
+                      |  |  |  |  |  |  |  |  |  |
+                      |  |  |  |  |  |  |  |  |  |
+                                Fig. 7.
+
+                        \ /  \ /  \ /  \ /  \ /
+                         \    \    \    \    \
+                        / \  / \  / \  / \  / \
+                                Fig. 8.
+
+The secret is that No. 1 must be crossed first and No. 9 second, or the
+trick cannot be accomplished.
+
+The following are the correct moves: 4 over 2 and 3 and crossed on 1; 6
+over 7 and 8 and crossed on 9; 8 over 7 and 5, crossed on 3; 2 over the
+3 and 5, crossed on 7; the 10 over the 9 and 7, crossed on 5.
+
+
+THE MAGIC NINE
+
+Make the figure 9 with a long tail with matches (Fig. 9) and tell a
+member of the company to think of a number, which must exceed the number
+of matches in the tail; and, commencing at the first match in the
+latter, count mentally round the figure, stop when he reaches the number
+thought of, and then, recommencing at the match he stopped at, count the
+reverse way, this time avoiding the tail, and continuing on the upper
+part of the 9 until he again reaches the number he selected, when you
+will point to the match he has stopped at. This you can do very easily,
+for if there are seven matches in the tail he will, of course, stop at
+the seventh match on the left from the tail, as will be seen by the
+numbering on the diagram, which assumes he thought of fifteen. Each time
+the puzzle is tried vary the length of the tail by taking some matches
+out of the latter and adding them to the upper part of the figure, or
+vice versa. If this is not done the stop will always be made at the same
+match, which will give the trick away.
+
+                             [Illustration]
+                                Fig. 9.
+
+
+TRIANGLES WITH MATCHES
+
+Make three equilateral triangles with six matches. Of course, two can be
+made with five matches; but then there is one over, and how to make a
+third triangle with only one match is a puzzler. It is as easy as
+possible. Make a triangle with three matches, and stand the other three
+upon end inside the triangle in the form of a tripod (Fig. 10).
+
+                             [Illustration]
+                                Fig. 10.
+
+Here is another triangular puzzle. With five matches form two
+equilateral triangles. Tell the company they are to remove three
+matches; then add two and make two more equilateral triangles. This is
+only a "sell." You do not say where the two matches are to be added. You
+add them to the three removed, and form the same figure over again (Fig.
+11).
+
+                                  /|\
+                                 / | \
+                                /  |  \
+                                \  |  /
+                                 \ | /
+                                  \|/
+                                Fig. 11.
+
+
+MATCH SQUARES
+
+Make nine squares with twenty-four matches (Fig. 12). Then request some
+one to remove eight matches, and without touching those left, to leave
+two perfect squares.
+
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                                Fig. 12.
+
+Fig. 13 shows the solution.
+
+                                -- -- --
+                               |        |
+                                   --
+                               |  |  |  |
+                                   --
+                               |        |
+                                -- -- --
+                                Fig. 13.
+
+
+YOUR OPPONENT MUST TAKE THE LAST MATCH
+
+Place twenty-five matches in a row on the table. Request some one to
+select one end of the row and to take one, two, or three matches from
+it, you having the same privilege at the other end; and you guarantee he
+will be compelled to take the last match no matter how he may vary the
+number he takes.
+
+The secret is to remove four matches each time between you. For
+instance, if your opponent takes three you take one; if he takes two you
+take two; if he takes one you take three and so on. It is obvious if
+four matches are taken six times one match will be left on the table,
+which your opponent must take.
+
+
+A SHAKESPEAREAN QUOTATION
+
+Lay five matches on the table and request a member of the company to
+form a well-known quotation from Shakespeare by the addition of three
+more matches (Fig. 14). "But," some one will say, "how does KINI
+represent a Shakespearean quotation?" Your reply is obvious: "Can't you
+see KINI is 'a little more than kin, but rather less than kind'?"
+
+                         | /  |    |\   |    |
+                         |/   |    | \  |    |
+                         |\   |    |  \ |    |
+                         | \  |    |   \|    |
+                                Fig. 14.
+
+
+NUMERAL
+
+Place five matches on the table and challenge any one to make them into
+thirteen without breaking any of them, and then, without moving them, to
+make eight by the use of a card. The solution will be found in Fig. 15.
+
+                              \ /  |  |  |
+                               \   |  |  |
+                              / \  |  |  |
+                                Fig. 15.
+
+To make eight, hide the lower half of the row from sight, and it of
+course shows viii.
+
+
+SIX AND FIVE MAKE NINE
+
+Place six matches on the table and request a person to add five more in
+such a manner as to make nine. The solution is shown in Fig. 16.
+
+                                              _____
+                    |\   |    |    |\   |    |
+                    | \  |    |    | \  |    |_____
+                    |  \ |    |    |  \ |    |
+                    |   \|    |    |   \|    |_____
+                                Fig. 16.
+
+
+THE ARTFUL SCHOOLBOYS
+
+At a certain school were four long dormitories, built in the form of a
+square, in which thirty-two boys occupied beds, as shown by matches in
+Fig. 17.
+
+                            ||||  ||||  ||||
+
+                            ||||        ||||
+
+                            ||||  ||||  ||||
+                                Fig. 17.
+
+By this arrangement the master, in going his rounds at night, counted
+twelve boys in each corridor. One night four boys absented themselves
+from the school, and the remaining boys rearranged themselves in such a
+manner that the master was still able to count twelve boys in each
+corridor, and the absence of their four comrades was not noticed. How
+they did it is shown in Fig. 18.
+
+                            |||||  ||  |||||
+
+                             ||          ||
+
+                            |||||  ||  |||||
+                                Fig. 18.
+
+The four absentees returned on the following night, accompanied by four
+friends; but the master was unable to notice the addition, for he again
+counted twelve boys in each dormitory. The new arrangement was as Fig.
+19.
+
+                             |||  ||||||  |||
+
+                            ||||||      ||||||
+
+                             |||  ||||||  |||
+                                Fig. 19.
+
+There were now thirty-six boys sleeping in the dormitories, and next
+night they were joined by four more, which brought the number up to
+forty, and yet the master only counted twelve in each dormitory on his
+rounds that night. How the new distribution was made is shown in Fig.
+20.
+
+                          ||   ||||||||   ||
+
+                       ||||||||        ||||||||
+
+                          ||   ||||||||   ||
+                                Fig. 20.
+
+Next night four more chums popped in for a snooze, making a total of
+forty-four, and again the master was bamboozled by the following
+readjustment (Fig. 21).
+
+                             [Illustration]
+                          |   ||||||||||   |
+
+                     ||||||||||        ||||||||||
+
+                          |   ||||||||||   |
+                                Fig. 21.
+
+History is silent upon the subject of the arrangement at the
+breakfast-tables.
+
+The proper way to present this puzzle to your friends is to lay
+forty-four matches on the table, and after showing the initial
+arrangement, allow them to work the rest out for themselves.
+
+
+WHAT ARE MATCHES MADE OF?
+
+Arrange fourteen matches as in Fig. 22, and tell your friends to take
+away any three matches they may select without disturbing the others,
+and replace one in any position they may choose in such a way as to show
+what matches are made of. They will endeavour to form the word "wood";
+but Fig. 23 gives the correct solution.
+
+                      -----   -----          -----
+                     |     | |     | \    / |     |
+                     |     | |     |  \  /  |     |
+                     |     | |     |   \/   |     |
+                      -----   -----          -----
+                                Fig. 22.
+
+                              -----          -----
+                     |       |     | \    / |
+                     |       |     |  \  /  |-----
+                     |       |     |   \/   |
+                      -----   -----          -----
+                                Fig. 23.
+
+
+A SHEEP PEN
+
+Arrange eight matches as shown in Fig. 24, and state that this
+enclosure, formed by eight hurdles, is supposed to hold one hundred
+sheep. Ask your friends how many more hurdles would be required to
+enable the enclosure to contain two hundred sheep? The reply is
+generally eight more, and your friends will be surprised to learn that
+only two more hurdles are required--one at each end across the
+enclosure. Three hurdles being moved to admit of the introduction of the
+additional two, the pen will, of course, be doubled in size.
+
+                          -----  -----  -----
+                         |                   |
+                         |                   |
+                         |                   |
+                          -----  -----  -----
+                                Fig. 24.
+
+
+POST AND RAIL PUZZLE
+
+Put the following question to the company: Supposing there was a tunnel
+through a hill and a post and rail fence was constructed through it, and
+another fence was made exactly above it, over the hill, how many more
+posts would be required for the latter route, supposing they were the
+same distance apart by both routes?
+
+After several calculations have been made you can astonish the company
+by telling them that exactly the same number of posts would be required
+for both routes, which you can prove by making a rough sketch of the
+diagram, Fig. 25, and placing matches on it to represent the posts.
+
+                             [Illustration]
+                                Fig. 25.
+
+
+
+
+SIMPLE MISCELLANEOUS TRICKS
+
+
+A GOOD AFTER-DINNER TRICK
+
+Procure an egg, an apple, an orange, and two dozen nuts. Place the
+latter on a plate, and request three persons during your absence from
+the room to each pocket one of the three former, asserting that you will
+eventually state in whose pockets the different articles are to be
+found. On returning to the room present to one of the persons you have
+asked to assist you one nut, to a second person two nuts, and to the
+third three nuts, which will of course leave eighteen nuts on the plate.
+You must mentally name the person to whom you gave one nut "number one,"
+to the person holding two nuts "number two," and the one who has three
+nuts "number three."
+
+Announce your intention of again leaving the room, and request your
+three assistants to help themselves during your absence to nuts as
+follows--the one holding the apple to take the same number of nuts you
+presented him with, the one who has the egg to twice as many as you gave
+him, and the holder of the orange to four times as many as he originally
+received.
+
+Impress on them that the number of nuts they take must be _in addition_
+to those they already hold.
+
+On returning to the room you glance at the nuts remaining in the plate
+and at once call for the egg, apple, and orange from their respective
+holders.
+
+EXPLANATION.
+
+You must memorise the following Latin words: Attento, Beato, Cantores,
+Erocat, Fortasse, Glossema, numbering them 1, 2, 3, 4, 5, and 7. The
+initials of these words, it will be observed, are the first six letters
+of the alphabet, omitting D, which is not required; A, of course,
+standing for Apple, E for Egg, and O for Orange.
+
+On returning to the room after your second absence count the number of
+nuts remaining on plate, refer to the Latin words, and you have the key.
+Supposing there are only two nuts left, take the second word, Beato, and
+reject the consonants, when the vowels will remain in proper order, E,
+A, O. The E being first shows the egg is in the pocket of the person
+whom you have designated as "number one." The A being second indicates
+"number two" has the apple, and the O, the third letter, means "number
+three" holds the orange.
+
+Supposing there are seven nuts left, take the seventh word, Glossema,
+reject the consonants as before, and pick out the vowels, O, E, A, which
+proves "number one" person holds the orange, "number two" the egg, and
+"number three" the apple, and so on with the other Latin words, the
+remaining number of nuts always indicating the word from which you are
+to select the vowels. This trick may be repeated _ad lib._ without fear
+of detection.
+
+
+TO REMOVE A SERVIETTE RING FROM A TAPE HELD ON THE THUMBS OF ANOTHER
+PERSON
+
+Obtain a piece of tape, or string, about three feet in length and tie
+the ends; pass this loop through a serviette ring and the ends of the
+loop over the thumbs of a friend (Fig. 26).
+
+                             [Illustration]
+                                Fig. 26.
+
+Take hold of the tape with your left forefinger at A and pull it forward
+and down; with your right forefinger pull the tape at B, from
+underneath, forward and upward, which will cause the two parts to cross
+each other. Then with your right forefinger and thumb place the tape B
+over the thumb D; move the ring toward D and with your right forefinger
+and thumb take the tape at C from underneath and carry it also over the
+thumb D. Take hold of the ring and pull it gently, as you slip your left
+forefinger out of the loop A, when it will at once be released without
+the tape leaving either thumb.
+
+
+AN EXPERIMENT IN GRAVITY
+
+Give a person two half-crowns and request him to hold them horizontally
+between the tips of his thumb and finger of his right hand, the coins
+touching each other. Then request him to drop the lower coin in his left
+hand and you will tell him which side will come uppermost. First note
+which side of the coin is underneath when you place them in position,
+for that will be the uppermost side when it reaches his left hand. The
+lower coin will turn completely over in the act of falling: nothing can
+prevent it. The distance between the hands should be from fourteen to
+sixteen inches.
+
+
+A SCISSORS FEAT
+
+Hold a pair of scissors on the first two joints of your little fingers
+with your palms upward, their blades pointing to the floor (Fig. 27).
+Then throw the points over toward you, turning your hands at the same
+time and bringing your knuckles back to back, the scissors standing out
+straight from you (Fig. 28).
+
+                             [Illustration]
+                                Fig. 27.
+
+                             [Illustration]
+                                Fig. 28.
+
+I have never seen any one accomplish this simple feat until they learned
+the secret. When you throw the scissors over on the palms of your hands,
+with their points toward your chest, allow the blades to rest there for
+an instant with the tips of your little fingers touching your palms
+through the scissors' bows; then bring the backs of your fingers
+together with your hands closed and the points of the scissors outward.
+The uninitiated, instead of allowing the bows to slip to the points of
+the little fingers, hold them tight on the second joints and, of course,
+fail.
+
+
+ANOTHER TRICK WITH A PAIR OF SCISSORS
+
+This trick consists of fastening the scissors securely to the back of a
+chair with a piece of string and then removing them without cutting or
+untying the string. First make a loop of a piece of string about two
+feet in length and pass the double end through one of the bows and the
+two loose ends through the loop and pull tight. Next pass the two single
+ends through the other bow of the scissors and tie them to the back of
+the chair. The puzzle is how to remove them, which is simple enough when
+you know how. Loosen the loop and draw it upwards and pass it through
+the other bow, and then over both bows and points, when the scissors
+will be free.
+
+
+AN INDESTRUCTIBLE CIGARETTE PAPER
+
+Take three cigarette papers, fold one up into a very small square, and
+paste it lightly on the top right corner of the second paper. The third
+paper roll lengthwise, and conceal it in your ear. Show the first paper
+between both thumbs and fingers, your right thumb on the pasted corner,
+then proceed to tear it up into squares, placing the pieces in front of
+each other before tearing again. When it is in pieces about the size of
+the pasted square, under the shelter of your left hand, with its back to
+the audience, separate the pieces from the square and hold the latter up
+between your right thumb and finger. Then, pretending to moisten your
+left forefinger on your tongue, slip the pieces in your mouth and
+conceal them there, and carefully unfold the square held in the other
+hand, when the paper will appear to have been restored. You then roll
+the paper length wise, and say, "I will swallow it." Put it in your
+mouth and pretend to do so. Putting your left hand to your ear, say, "I
+will now reproduce from my ear." Pull out the paper concealed there very
+carefully, and as you turn to lay it on your table allow the pieces in
+your mouth to drop into your hand.
+
+
+TO CUT AN APPLE IN TWO WITH YOUR FINGER
+
+With a needle and strong thread take a stitch of about half an inch in
+its side, leaving several inches of the thread hanging from where you
+puncture it. Reinserting the needle in the hole it made coming out, take
+another stitch of half an inch, and again reinsert the needle where it
+came out. Take similar stitches all round the apple until the needle
+comes out of the first hole made, and then cross the two ends of the
+thread and pull them steadily until all the thread comes out of the
+hole. The apple is now cut through, although the skin does not show it.
+
+Slip this apple in your pocket, and during dessert select an apple as
+much like the prepared one as possible. Having previously placed your
+serviette over your knees, with the prepared apple in it, drop the apple
+just selected and pick up the former with your right hand while you turn
+your plate over with your left hand. Putting the apple on its side on
+the inverted plate, laying your forefinger on the apple you give the
+former a smart blow with your right fist, when the apple will fall in
+two pieces.
+
+
+A TRICK WITH DOMINOES
+
+Take a full set of dominoes--twenty-eight pieces--turn them face
+downward on the table; shuffle them thoroughly; then tell the company to
+turn them over and match them in the ordinary way, while you take a seat
+at the other end of the room with your back to the table. They can
+blindfold you if they wish. As soon as all the pieces are matched you
+call out the numbers shown at the two ends of the row. Return to the
+table, turn the dominoes over again, shuffle them as before with the
+right hand; again turn your back, and call out the end numbers. You can
+repeat this any number of times without detection, unless some one
+should count the pieces and find only twenty-seven. Each time you have
+shuffled them you have dropped a piece concealed in your right hand, and
+extracted and palmed another. One piece taken from a set of dominoes
+invariably indicates by its numbers the numbers at the two ends of a row
+when the pieces are all properly matched.
+
+
+AN ESCAPE
+
+Ask some one to tie your wrists together with a handkerchief, and then
+to pass a cord between your arms behind your tied wrists, and hold the
+ends securely. Have towel or cloth thrown over your hands, and after a
+very brief interval tell the person who holds the ends of the cord to
+pull. When he does so, the latter will pass from your hands and fall on
+the floor. You remove the cloth, and show that your wrists are still
+tied together.
+
+EXPLANATION.--When your hands are covered, move your elbows out, which
+will separate your wrists, push the second finger of your right hand
+between them, and with it pull the bight of the cord through the bandage
+round your wrists, slip it over one hand, and when your assistant pulls
+the cord it will pass off clear of your hands.
+
+
+CIGARETTE PAPERS AND SERVIETTES
+
+Screw three cigarette papers up into pellets and cover each of them with
+a folded serviette. Then lift the serviette on your right with your left
+hand (to show that the pellet is still there) and transfer it to your
+right, holding it with your thumb on top and fingers underneath, and
+re-cover the pellet. As you do this nip the pellet between the tips of
+your first and second fingers in such a way that it does not show in
+front of them as you withdraw your hand palm upwards. Then raise the
+centre serviette with your left hand, transfer it to your right, as
+before, and re-cover the pellet, and as you do so, drop the pellet
+concealed between your fingers under it. Then raise the third serviette
+with your left hand, transfer it to your right, re-cover the pellet,
+and, in doing so, nip the latter between your fingers, as you did the
+first one. Then say: "There are three pellets on the table covered by
+serviettes. I command the one here (pointing to the one on your left) to
+travel invisibly to the centre serviette." Turn the serviette over, and
+show the pellet has gone. Then lift the centre serviette with your left
+hand, and show the two pellets under it. Transfer it to your right hand,
+and, in replacing it, drop the concealed pellet. Then say: "We have now
+two pellets under the centre serviette, and one under this one"
+(pointing to the one on your left). "I command this one to join its
+fellows." Lift the serviette as you speak, and show the pellet has gone;
+lift up the centre serviette, and the three pellets will be found
+together.
+
+
+FOUR CIGARETTE PAPERS
+
+This is a variation of the previous trick. Roll up five cigarette papers
+into pellets. Conceal one at the root of the left thumb, and form a
+square with the others on the table. Show your hands empty (the
+concealed pellet will not be observed if properly held), and cross your
+hands over the pellets on the table. With the tips of your right fore
+and second fingers nip one of the pellets on your left, and at the same
+time drop the pellet concealed in your left hand between the two on your
+right. Move both hands away quickly, and one of the pellets on your left
+will appear to have travelled invisibly under your right hand. Again
+cross your hands, passing your right hand under the left, and as you do
+so drop the pellet concealed between your fingers, covering it at once
+with the left hand. Then nip the remaining pellet with your right first
+and second fingers, as before, and, on lifting your hands, all four
+pellets will appear on your right. You can get rid of the remaining
+pellet by dropping it on the floor, or on your lap if you are sitting at
+the table.
+
+
+A HINDOO SWINDLE
+
+This effect is practically unknown to the Western Conjurer, but has been
+one of the stock-in-trade among magicians in India for years. It
+involves a principle (that of transfer) which is capable of extensive
+development in the use of modern magic.
+
+REQUISITES.--(1) A piece of brittle unglazed earthenware. (A piece of
+substance akin to thin flowerpot is used in India.) (2) A stick of
+specially prepared soft charcoal.
+
+A piece of earthenware is given, upon which a spectator is requested to
+write his initials with a piece of charcoal supplied. The correct
+preparation of this charcoal was conveyed to me by a Hindoo, and is as
+follows: Procure a piece of boxwood or beech, the former for preference,
+place it in the fire until reduced to a red glowing mass, remove it with
+tongs and immediately place it into a thick jar and cover up very
+tightly till cool.
+
+The earthenware is taken by the performer and crushed up under his heel.
+The spectator is then asked to wave his right hand over the broken
+pieces, and upon the palm being turned upwards the absolute initials in
+all detail are found imprinted upon his hand.
+
+PRESENTATION.--Hand the piece of earthenware to the spectator, together
+with the charcoal; request that his initials shall be written on the
+earthenware in a space marked the size of the tip of the index finger.
+After this has been done, you take it back between the thumb and index
+finger of the right hand, the finger over the initials exerting a firm
+pressure which has the effect of transferring the writing to the latter.
+Then place the earthenware under your heel and crush it.
+
+Now request the spectator to wave his right hand over the pieces. After
+this has been done for a few seconds, boldly take hold of the hand (your
+index finger firmly pressing upon its palm) and suggest that the hand is
+not quite over the pieces, suiting the action to the word by slightly
+pulling the hand forward; this has the effect of re-transferring the
+reversed initials on to the spectator's palm, to be discovered a little
+later upon the hand being turned over.
+
+
+THE ELUSIVE MATCH--A CAPITAL IMPROMPTU TRICK
+
+EFFECT.--A match apparently thrown away persists in reappearing in
+closed hand.
+
+REQUISITES.--A box of ordinary safety matches, together with an extra
+match top, broken off about half an inch long.
+
+PRESENTATION.--First conceal the extra match top between the tips of the
+index and second finger of the right hand. Now give the box of matches
+to a spectator, and request that the tops of three of the matches be
+broken off about half an inch long and handed to you. You then place
+these upon the table and proceed to pick them up one at a time with the
+right hand, and throw them into the left (each time closing that hand)
+as follows: The first is thrown in quite fairly, the second one is also
+thrown in but is secretly accompanied by the one which you have
+previously concealed at the finger-tips, the third one you pick up and
+apparently throw away, but really retaining it at the finger-tips as
+above mentioned. You now open the left hand and throw three match tops
+on to the table instead of the supposed two; apparently the one thrown
+away has secretly travelled back to the left hand. This trick can be
+repeated about three times without fear of detection, as you always have
+a fourth match top in readiness at the finger-tips. Properly worked it
+proves a very bewildering little trick.
+
+
+
+
+                                HERCAT,
+
+	Of the Egyptian Hall, Queen's Hall, Shaftsbury Theatre,
+	    Lyceum Theatre, The Tivoli, Crystal Palace, &c.,
+
+           _Illusionist, Ventriloquist, Comedian, & Author,_
+
+                           CAN BE ENGAGED FOR
+
+                   EVENING PARTIES, 'AT HOMES,' &c.,
+
+                                 IN HIS
+
+                   REFINED & ORIGINAL ENTERTAINMENT.
+
+                           SEND FOR CIRCULAR.
+
+             LESSONS IN SLEIGHT OF HAND and VENTRILOQUISM.
+
+  _Permanent Address_:--
+  Care of 'THE ERA,'
+  5 Tavistock Street, Strand,
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+F 4.)
+
+*Little Dewdrop and Jack Frost.* (M 2, F 3.); and *Fairy Rosebud and the
+Enchanted Maypole.* By AMY WHINYATES. With 4 illustrations each, by A.
+BEALE. (M 3, F 7.) 4th Edition.
+
+*Sir Rupert and Cecily; or the Young Cavalier.* By AMY WHINYATES. With 2
+illustrations by C. ANDRE. (M 4, F 2).
+
+*Blue Beard.* By AMY WHINYATES. With 4 illustrations by JOHN PROCTOR.
+(M 4, F 3.)
+
+*The Princess and the Pirate.* By AMY WHINYATES. (M 7, F 5, and Supers.)
+
+*The Queen of Hearts.* By B'Ar. A Fairy Play in 3 Acts. (M 6, F 4, and
+Supers.)
+
+*King Lear.* By F. SPENCER. Abridged edition, adapted for children.
+(M 11, F 3, Knights, Soldiers and Attendants.)
+
+*The Plum Cake.* By Miss C. M. WHELPTON. (M 10, F 10.)
+
+*The Royal Red Rose.* In 3 Acts. By AMY WHINYATES. (M 10, F 6.)
+
+*The Sleeping Beauty.* By E. B. BAYLY. (M 7, F 10.)
+
+*Ali Baba.* By AMY WHINYATES. (M 5, F 3.)
+
+*The Yellow Dwarf.* By AMY WHINYATES. (M 3, F 5.)
+
+
+
+
+Books for Elocutionists & Plays.
+
+SIXPENNY CHARACTER SKETCHES AND COMEDIETTAS.
+
+_Humorous, Satirical and Pathetic._
+
+_The figures after each Play denote the number of characters in it._
+  M _male_; F _female_.
+
+
+*Men's Wrongs--Women's Rights*--By JULIA CHANDLER.
+
+*Rummy Fares.* A Cabman's Story. By ROBERT OVERTON.
+
+*A Terrible Race.* A Sporting Ballad for Recitation. By CAMPBELL
+RAE-BROWN.
+
+*Bill Muggins.* By ROBERT OVERTON.
+
+*Me & Bill.* By ROBERT OVERTON.
+
+*A Domestic Syndicate.* By KATE FREILLIGRATH KROEKER.
+
+*The Amateur Stage.* By BENJAMIN CLAYTON. A Capital Handbook for
+Amateurs.
+
+*A Blue Book for Sale.* By M. BEETHAM-EDWARDS. (M 2, F 3.)
+
+*The Two Clerks.* A Musical Comedietta. By GEORGE J. GOODRICH. (M 4,
+F 3.)
+
+*Two of Eve's Daughters.* By FRANCIS W. MOORE. (M 2, F 3.)
+
+
+
+
+SIXPENNY PLAYS FOR YOUNG ACTORS.
+
+  M _males_; F females.
+
+
+*Puss in Boots: or, The Miller's Favourite Son.* By Miss CORNER. (M 8,
+F 5.)
+
+*Prince Bulbo.* Dramatised from Thackeray's "Rose and the Ring." By AMY
+WHINYATES. (M 6, F 7.)
+
+*Jack's Ashore.* A Sailor Play. By MAUD HODGES. (M 8.)
+
+*The True Story of Catherine Parr.* By ELSA D'ESTERRE KEELING. (M 2,
+F 6.)
+
+*How Matilda, First Queen of England, was Wooed and Won.* By ELSA
+D'ESTERRE KEELING. In 4 Acts (M 6, F 7, and Supers.)
+
+*The Amateur Stage.* By BENJAMIN CLAYTON.
+
+*Aladdin.* By AMY WHINYATES. (M 3, F 5.)
+
+*Beauty and the Beast.* By Miss CORNER. Illustrated by N. WESTRUP. 18th
+Edition. (M 2, F 4.)
+
+
+
+
+Dean's Shilling Books for Elocutionists.
+
+_Crown 8vo._
+
+
+*Queer Fish.* Character Sketches. By ROBERT OVERTON. _7th Edition_, with
+preface by Mrs. STIRLING.
+
+*A Round Dozen.* Character Sketches. By R. OVERTON. _4th Edition._
+
+*Speech Studies.* Studies of Poems, with Recitations, Anecdote Sketches,
+and Articles connected with Elocution. By EDWIN DREW.
+
+*Sylvia's Ride for Life,* and other Original Ballads for Recitation and
+the Fireside. By FREDERICK G. WEBB.
+
+*Ryder's Last Race,* and other Humorous Ballads for Recitation. By
+CAMPBELL RAE BROWN. Author of "Kissing Cup's Race."
+
+*Rhymes of the Times;* Serious Ballads for Recitation. By CAMPBELL RAE
+BROWN.
+
+*Con O'Donnell,* and other Ballads. By E. OWENS BLACKBURNE.
+
+*Elocution made Easy.* By EDITH HERAUD, Elocutionist.
+
+*Ten Minutes.* Short Prose Tales and Recitations. By ROBERT OVERTON.
+
+*Dean's Children's Recitations,* Compiled by MAUD DEAN. _Limp cloth._
+
+*Humorous Pieces.* By FRANCIS W. MOORE.
+
+*Tableaux Vivants and Living Waxworks,* with directions for stage
+management. By G. J. GOODRICK.
+
+*Waterworks.* By ROBERT OVERTON.
+
+*The Record Reciter.* By ROBERT OVERTON.
+
+*The Child's Prize Reciter.* Compiled by M. DEAN.
+
+
+
+
+Dean's 2/6 Plays and Reciters.
+
+
+*The Overton Entertainer.* By ROBERT OVERTON.
+
+*Humorous Plays.* By FRANCIS W. MOORE.
+
+
+
+Dean's 6d. Reciters. _Limp Cloth 6d. each._
+
+
+*Only a Little Brown Sparrow, and other Recitations for Children.*
+Compiled by MAUD DEAN.
+
+*Poetry for Children.* Compiled by MAUD DEAN.
+
+*Humorous Pieces*, Series I. By FRANCIS W. MOORE.
+
+    "       "        "   II.       "        "
+
+    "       "        "  III.       "        "
+
+*Holiday Yarns.* By ROBERT OVERTON.
+
+*A Bald Bold Man.*    "       "
+
+*The Child's Recitation Book.* Mrs. FAYLE.
+
+*Half a Dozen.* By ROBERT OVERTON.
+
+*Five Favourites.*   "       "
+
+
+
+
+[Illustration: Hamley's Conjuring Tricks]
+
+Established 1760
+
+The most reliable and up-to-date firm in the world for Conjuring Tricks,
+Puzzles, Novelties, &c.
+
+
+  COIN TRICKS.       [Illustration]    BOXES OF TRICKS.
+  [Illustration]                       1/4, 2/9, 5/10,
+  5/6 Cabinet.                         11/-, 15/9, 22/-,
+  5/11 post free                       post free.
+
+                   Larger Sizes--30/-, 42/-, 63/-. Carriage on receipt.
+
+
+  [Illustration]
+  1/- per box.
+  1/3 post free.              [Illustration]
+                     2/10, 5/10, 10/5, 20/5, 43/-,    JOKES.
+  Assorted           and 64/-, post free.             1/-, post free 1/3
+  Puzzles,                                            2/6,  "    " 2/10
+  2/10, 5/10,                                         [Illustration]
+  11/-, 22/-                                          Splendid fun
+  each,
+  post free.
+
+
+                    Write for Illustrated Catalogue.
+
+                       35 NEW OXFORD STREET, W.C.
+
+            | 29 Ludgate Hill, E.C. 200 & 202 Regent St., W.
+  BRANCHES: | 510a & 512 Oxford Street, W.
+            | 59 Knightsbridge, S.W.
+            | 86 & 87 High Holborn, W.C.
+
+
+
+
+TRANSCRIBER'S NOTE
+
+
+List of changes from the printed edition (in parentheses the original
+text):
+
+  p. 5: "Hindu" changed to "Hindoo" to match the text (A Hindu Swindle)
+
+  p. 7: "--a Laughable Trick" added to Contents entry. (The Rejected
+        Recruits)
+
+  p. 8: question mark added to Contents entry. (What are Matches Made
+        of)
+
+  p. 8: changed "of" into "in" in Contents entry. (An Experiment of
+        Gravity)
+
+  p. 9: "someone" changed to "some one". (request someone to select a
+        card)
+
+  p. 20: closing quote removed. (Which leaves five." The suit)
+
+  p. 22: "anyone" changed to "any one". (that anyone is at liberty)
+
+  p. 24: closing quote added. (You moved ---- cards. When you)
+
+  p. 29: word "a" added. (requesting spectator)
+
+  p. 30: duplicated "the" removed. (pick up the the bowl)
+
+  p. 35: "someone" changed to "some one". (Ask someone to examine)
+
+  p. 44: missing period added. (Fig 4)
+
+  p. 49: "multiply" changed to "divide". (add 10, multiply by 2)
+
+  p. 51: added missing minus sign in the displayed subtraction. (30)
+
+  p. 52: period changed to comma (3 + 5 = 8. 9 - 8 = 1)
+
+  p. 67: missing period added. (Fig 25)
+
+  p. 72: "scissor's" changed into "scissors'" (the scissor's bows)
+
+  p. 73: changed hyphen into space. (CIGARETTE-PAPER) (cigarette-papers)
+
+  p. 82: "Eves'" changed into "Eve's". (Two of Eves' Daughters)
+
+  p. 84: missing "l" added. (Ludgate Hi l)
+
+  p. 84: missing "i" added. (H gh Holborn)
+
+... and some apparently missing or hardly visible periods and slashes
+added in the advertisement pages.
+
+
+
+
+
+End of the Project Gutenberg EBook of More Conjuring, by Hercat
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING ***
+
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+<pre>
+
+The Project Gutenberg EBook of More Conjuring, by Hercat
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: More Conjuring
+       Simple Tricks for Social Gatherings
+
+Author: Hercat
+
+Release Date: June 13, 2010 [EBook #32788]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING ***
+
+
+
+
+Produced by David Clarke and the Online Distributed
+Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="main_text">
+
+<div class="transcribers_note">
+
+<h2>TRANSCRIBER’S NOTE</h2>
+
+<p class="noindent">The <a href="#contents">Contents</a> are placed after the <a href="#preface">Preface</a>.</p>
+
+<p>The figures have been placed between paragraphs, after they are mentioned in the text. This may result in a figure appearing to be in a different page than it was originally in in the printed book. The same applies to the single footnote of this book.</p>
+
+<p>Two publisher’s advertisement pages were placed at the beginning of the book in the printed book, in this version they have been moved to <a href="#ad_page_1">the end</a>, with the other advertisement pages.</p>
+
+<p>Changes to the original publication have been marked with <ins title="Example of change">a dotted underline</ins>, and the printed text usually appears in a frame when hovering the cursor on it.</p>
+
+</div>
+
+<div class="cover_page">
+
+<h1>More Conjuring.</h1>
+
+<a href="images/cover.jpg"><img src="images/cover_small.png" alt="Hercat" width=288 height=400></a>
+
+<p>By HERCAT.</p>
+
+</div>
+
+<span id="pg_1" class="page_anchor">1 </span>
+
+<div class="center">
+HERCAT’S<br>
+SIMPLE TRICKS
+</div>
+
+<span id="pg_3" class="page_anchor">3 </span>
+
+<div class="title_page">
+
+<div class="title">
+MORE CONJURING
+</div>
+
+<div class="author">
+BY HERCAT
+</div>
+
+<div class="subtitle">
+Simple Tricks for Social Gatherings
+</div>
+
+<div class="description">
+BY THE AUTHOR OF
+“LATEST SLEIGHTS AND ILLUSIONS,�
+“HERCAT’S CARD TRICKS,� “CONJURING UP TO DATE,�
+“HERCAT’S VENTRILOQUIST,� “HERCAT’S
+CHAPEAUGRAPHY, SHADOWGRAPHY,
+AND PAPER FOLDING,�
+ETC.
+</div>
+
+<table class="publisher" summary="Logos and address of the publisher">
+<tr>
+
+<td>
+<div class="publisher">
+<a href="images/logo_1.png"><img src="images/logo_1_small.png" alt="D&amp;S limited" width=95 height=98></a><br>
+London:<br>
+DEAN &amp; SON, Ltd.,<br>
+160a,<br>
+Fleet Street,<br>
+E.C.<br>
+1912
+</div>
+</td>
+
+<td>
+<a href="images/logo_2.png"><img src="images/logo_2_small.png" alt="“Hamleys� 35, New Oxford Street, LONDON, W.C." width=143 height=145></a>
+</td>
+
+</tr>
+</table>
+
+</div>
+
+<span id="pg_5" class="page_anchor">5 </span>
+
+<h2 id="preface">PREFACE</h2>
+
+<p class="noindent"><span class="first_word">The</span> title of this little brochure indicates its contents.
+<i>Simple Tricks</i> and simple tricks only. No apparatus is
+required and but little sleight-of-hand is needed in the
+performance of any of them. They consist of a series of
+tricks and problems, easily acquired, suitable for gatherings
+round the table on winter evenings. Some of them are
+new and many are old; but even the oldest are new to the
+rising generation. For six of the latest tricks,—“<a href="#a_hindoo_swindle">A <ins title="Note: “Hindu� in the original">Hindoo</ins>
+Swindle</a>,� “<a href="#the_elusive_match-a_capital_impromptu_trick">The Elusive Match</a>,� “<a href="#a_subtle_impromptu_effect_with_a_coin">A Subtle Impromptu
+Effect with a Coin</a>,� “<a href="#a_novel_card_effect">A Novel Card Effect</a>,� “<a href="#an_artful_card_force">An Artful
+Card Force</a>,� and “<a href="#another_easy_card_force">Another Easy Card Force</a>,�—I am
+indebted to my friend Mr. F. Walford Perry, a thoroughly
+up-to-date and original young conjurer. As I have already
+said, I have included no tricks which require the exercise
+of much sleight-of-hand; but even the most simple trick
+should be thoroughly practised before you present it to
+your friends, especially those tricks which require the assistance
+of a confederate. Rehearse everything with him
+thoroughly beforehand. Even your “patter� should be
+rehearsed. But endeavour to lead your audience to believe
+that, like “Mr. Wemmick’s� marriage, it is all impromptu.
+He said, “Hello! here’s a church. Let’s have a wedding.�
+You say, “Hand me that serviette ring and I’ll show you
+<span id="pg_6" class="page_anchor">6 </span>a trick.� If, when the contents of this little volume have
+been thoroughly digested, my readers desire to make a
+study of more advanced legerdemain, I recommend my
+<i>Conjuring Up to Date</i>, <i>Card Tricks with and without
+Apparatus</i>, and <i>Latest Sleights and Illusions</i> to their notice.</p>
+
+<p>For tricks which require apparatus my readers cannot do
+better than to send to Messrs. Hamley Bros., Ltd., 35, New
+Oxford Street, or one of their branches, for their Magical
+Catalogue.</p>
+
+<p><i>The Daily Telegraph</i>, in a recent article on “Magic Fifty
+Years Ago,� used these words: “Hamleys’ were then, as
+they are now, the premier manufacturers of magical
+apparatus.� A statement which I cordially endorse. The
+apparatus sold by Messrs. Hamley Bros. is invariably
+reliable.</p>
+
+<p>In conclusion I beg to offer my readers the following
+advice:—</p>
+
+<p>Never state the nature of the trick you are about to
+perform.</p>
+
+<p>Make it a rule never to repeat a trick the same evening
+unless you have acquired a different way of showing it.
+In fact, it is advisable to learn several methods of presenting
+the same trick.</p>
+
+<p>Talk as much as possible and make your “patter� lively,
+but do not try to be funny unless you are naturally humorous;
+and, above all, avoid allusions to politics, religion, or
+any subject about which there may be a diversity of opinion
+among your audience.</p>
+
+<div class="signature">
+Hercat.
+</div>
+
+<span id="pg_7" class="page_anchor">7 </span>
+
+<h2 id="contents">CONTENTS</h2>
+
+<h3><a href="#simple_card_tricks">SIMPLE CARD TRICKS</a></h3>
+
+<table class="contents" summary="Table of contents for the Simple Card Tricks section">
+
+<tr>
+<td><a href="#an_easy_method_of_finding_a_selected_card">An Easy Method of Finding
+a Selected Card</a></td>
+<td>9</td>
+</tr>
+
+<tr>
+<td><a href="#to_bring_a_chosen_card_from_the_bottom_of_the_pack_at_any_number_requested">To Bring a Chosen Card
+from the Bottom of the
+Pack at any Number Requested</a></td>
+<td>10</td>
+</tr>
+
+<tr>
+<td><a href="#a_chosen_card_shaken_through_a_handkerchief">A Chosen Card Shaken
+through a Handkerchief</a></td>
+<td>10</td>
+</tr>
+
+<tr>
+<td><a href="#a_selected_card_found_in_a_lighted_cigarette">A Selected Card found in a
+Lighted Cigarette</a></td>
+<td>12</td>
+</tr>
+
+<tr>
+<td><a href="#a_sticking_card">A Sticking Card</a></td>
+<td>13</td>
+</tr>
+
+<tr>
+<td><a href="#two_selected_cards_caught_in_the_air">Two Selected Cards Caught
+in the Air</a></td>
+<td>13</td>
+</tr>
+
+<tr>
+<td><a href="#an_easy_but_puzzling_trick">An Easy but Puzzling Trick</a></td>
+<td>14</td>
+</tr>
+
+<tr>
+<td><a href="#travelling_cards">Travelling Cards</a></td>
+<td>14</td>
+</tr>
+
+<tr>
+<td><a href="#to_name_all_the_cards_in_the_pack">To Name all the Cards in
+the Pack</a></td>
+<td>16</td>
+</tr>
+
+<tr>
+<td><a href="#a_new_method">A New Method</a></td>
+<td>16</td>
+</tr>
+
+<tr>
+<td><a href="#the_sense_of_touch">The Sense of Touch</a></td>
+<td>17</td>
+</tr>
+
+<tr>
+<td><a href="#where_is_the_ace">Where is the Ace?</a></td>
+<td>18</td>
+</tr>
+
+<tr>
+<td><a href="#to_make_a_person_name_a_card_which_you_have_yourself_selected">To Make a Person Name a
+Card which You have
+Yourself Selected</a></td>
+<td>19</td>
+</tr>
+
+<tr>
+<td><a href="#the_clock">The Clock</a></td>
+<td>21</td>
+</tr>
+
+<tr>
+<td><a href="#how_to_guess_cards_thought_of">How to Guess Cards Thought
+of</a></td>
+<td>22</td>
+</tr>
+
+<tr>
+<td><a href="#an_ingenious_card_trick">An Ingenious Card Trick</a></td>
+<td>23</td>
+</tr>
+
+<tr>
+<td><a href="#to_name_a_card_which_some_one_has_thought_of">To Name a Card which
+Some One has Thought
+of</a></td>
+<td>25</td>
+</tr>
+
+<tr>
+<td><a href="#the_rejected_recruits-a_laughable_trick">The Rejected Recruits<ins title="Note: absent in the original">—a Laughable Trick</ins></a></td>
+<td>26</td>
+</tr>
+
+<tr>
+<td><a href="#a_novel_card_effect">A Novel Card Effect</a></td>
+<td>26</td>
+</tr>
+
+<tr>
+<td><a href="#an_artful_card_force">An Artful Card Force</a></td>
+<td>28</td>
+</tr>
+
+<tr>
+<td><a href="#another_easy_card_force">Another Easy Card Force</a></td>
+<td>28</td>
+</tr>
+
+<tr>
+<td><a href="#a_simple_but_puzzling_card_trick">A Simple but Puzzling Card
+Trick</a></td>
+<td>29</td>
+</tr>
+
+</table>
+
+<h3><a href="#simple_coin_tricks">SIMPLE COIN TRICKS</a></h3>
+
+<table class="contents" summary="Table of contents for the Simple Coin Tricks section">
+
+<tr>
+<td><a href="#how_to_detect_a_marked_coin">How to Detect a Marked
+Coin</a></td>
+<td>30</td>
+</tr>
+
+<tr>
+<td><a href="#a_penetrative_shilling">A Penetrative Shilling</a></td>
+<td>30</td>
+</tr>
+
+<tr>
+<td><a href="#another_simple_trick">Another Simple Trick</a></td>
+<td>31</td>
+</tr>
+
+<tr>
+<td><a href="#a_coin_to_disappear_from_your_cheek_and_reappear_at_your_elbow">A Coin to Disappear from
+Your Cheek and Reappear
+at Your Elbow</a></td>
+<td>32</td>
+</tr>
+
+<tr>
+<td><a href="#two_vanished_half-crowns">Two Vanished Half-Crowns</a></td>
+<td>33</td>
+</tr>
+
+<tr>
+<td><a href="#a_divination">A Divination</a></td>
+<td>33</td>
+</tr>
+
+<tr>
+<td><a href="#an_effective_but_simple_trick">An Effective but Simple
+Trick</a></td>
+<td>34</td>
+</tr>
+
+<tr>
+<td><a href="#changing_apple_and_coins">Changing Apple and Coins</a></td>
+<td>35</td>
+</tr>
+
+<tr>
+<td><a href="#an_obedient_sixpence">An Obedient Sixpence</a></td>
+<td>36</td>
+</tr>
+
+<tr>
+<td><a href="#coin_and_glass">Coin and Glass</a></td>
+<td>36</td>
+</tr>
+
+<tr>
+<td><a href="#a_simple_experiment_with_four_shillings">A Simple Experiment with
+Four Shillings</a></td>
+<td>38</td>
+</tr>
+
+<tr>
+<td><a href="#puzzle_of_ten_halfpence">Puzzle of Ten Halfpence</a></td>
+<td>39</td>
+</tr>
+
+<tr>
+<td><a href="#how_to_increase_your_wealth">How to Increase Your
+Wealth</a></td>
+<td>39</td>
+</tr>
+
+<tr>
+<td><a href="#a_neat_coin_trick">A Neat Coin Trick</a></td>
+<td>40</td>
+</tr>
+
+<tr>
+<td><a href="#a_subtle_impromptu_effect_with_a_coin">A Subtle Impromptu Effect
+with a Coin</a></td>
+<td>41</td>
+</tr>
+
+<tr>
+<td><a href="#an_original_coin_swindle">An Original Coin Swindle</a></td>
+<td>42</td>
+</tr>
+
+<tr>
+<td><a href="#a_cross">A Cross</a></td>
+<td>43</td>
+</tr>
+
+</table>
+
+<span id="pg_8" class="page_anchor">8 </span>
+
+<h3><a href="#simple_tricks_with_handkerchiefs_rings_candles_etc">SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS,
+CANDLES, ETC.</a></h3>
+
+<table class="contents" summary="Table of contents for the Simple Tricks with Handkerchiefs, Rings, Candles, Etc. section">
+
+<tr>
+<td><a href="#a_knot_that_cannot_be_drawn_tight">A Knot that Cannot be
+Drawn Tight</a></td>
+<td>44</td>
+</tr>
+
+<tr>
+<td><a href="#to_tie_an_instantaneous_knot_in_a_handkerchief">To Tie an Instantaneous
+Knot in a Handkerchief</a></td>
+<td>45</td>
+</tr>
+
+<tr>
+<td><a href="#half_a_burnt_message_found_restored_in_a_candle">Half a Burnt Message
+Found Restored in a
+Candle</a></td>
+<td>46</td>
+</tr>
+
+<tr>
+<td><a href="#two_good_ring_tricks">Two Good Ring Tricks</a></td>
+<td>47</td>
+</tr>
+
+</table>
+
+<h3><a href="#simple_arithmetical_problems">SIMPLE ARITHMETICAL PROBLEMS</a></h3>
+
+<table class="contents" summary="Table of contents for the Simple Arithmetical Problems section">
+
+<tr>
+<td><a href="#to_ascertain_a_number_thought_of">To Ascertain a Number
+Thought of</a></td>
+<td>49</td>
+</tr>
+
+<tr>
+<td><a href="#how_to_name_a_number_which_has_been_erased">How to Name a Number
+which has been Erased</a></td>
+<td>51</td>
+</tr>
+
+<tr>
+<td><a href="#a_lesson_in_the_correct_formation_of_a_figure">A Lesson in the Correct
+Formation of a Figure</a></td>
+<td>52</td>
+</tr>
+
+<tr>
+<td><a href="#four_nines_problem">Four Nines Problem</a></td>
+<td>53</td>
+</tr>
+
+<tr>
+<td><a href="#an_answer_to_a_sum_given_in_advance">An Answer to a Sum Given
+in Advance</a></td>
+<td>53</td>
+</tr>
+
+<tr>
+<td><a href="#an_arithmetical_puzzle">An Arithmetical Puzzle</a></td>
+<td>54</td>
+</tr>
+
+<tr>
+<td><a href="#an_arithmetical_mystery">An Arithmetical Mystery</a></td>
+<td>55</td>
+</tr>
+
+<tr>
+<td><a href="#how_to_tell_her_age">How to Tell Her Age</a></td>
+<td>55</td>
+</tr>
+
+<tr>
+<td><a href="#a_race_in_addition">A Race in Addition</a></td>
+<td>56</td>
+</tr>
+
+<tr>
+<td><a href="#to_predict_the_hour_your_friend_intends_to_rise_on_the_following_morning">To Predict the Hour Your
+Friend Intends to Rise
+on the Following Morning</a></td>
+<td>57</td>
+</tr>
+
+</table>
+
+<h3><a href="#match_puzzles">MATCH PUZZLES</a></h3>
+
+<table class="contents" summary="Table of contents for the Match Puzzles section">
+
+<tr>
+<td><a href="#experiment_with_ten_matches">Experiment with Ten
+Matches</a></td>
+<td>59</td>
+</tr>
+
+<tr>
+<td><a href="#the_magic_nine">The Magic Nine</a></td>
+<td>60</td>
+</tr>
+
+<tr>
+<td><a href="#triangles_with_matches">Triangles with Matches</a></td>
+<td>61</td>
+</tr>
+
+<tr>
+<td><a href="#match_squares">Match Squares</a></td>
+<td>61</td>
+</tr>
+
+<tr>
+<td><a href="#your_opponent_must_take_the_last_match">Your Opponent must Take
+the Last Match</a></td>
+<td>62</td>
+</tr>
+
+<tr>
+<td><a href="#a_shakespearean_quotation">A Shakespearean Quotation</a></td>
+<td>63</td>
+</tr>
+
+<tr>
+<td><a href="#numeral">Numeral</a></td>
+<td>63</td>
+</tr>
+
+<tr>
+<td><a href="#six_and_five_make_nine">Six and Five Make Nine</a></td>
+<td>63</td>
+</tr>
+
+<tr>
+<td><a href="#the_artful_schoolboys">The Artful Schoolboys</a></td>
+<td>64</td>
+</tr>
+
+<tr>
+<td><a href="#what_are_matches_made_of">What are Matches Made of<ins title="Note: absent in the original">?</ins></a></td>
+<td>66</td>
+</tr>
+
+<tr>
+<td><a href="#a_sheep_pen">A Sheep Pen</a></td>
+<td>66</td>
+</tr>
+
+<tr>
+<td><a href="#post_and_rail_puzzle">Post and Rail Puzzle</a></td>
+<td>67</td>
+</tr>
+
+</table>
+
+<h3><a href="#simple_miscellaneous_tricks">SIMPLE MISCELLANEOUS TRICKS</a></h3>
+
+<table class="contents" summary="Table of contents for the Simple Miscellaneous Tricks section">
+
+<tr>
+<td><a href="#a_good_after-dinner_trick">A Good After-Dinner Trick</a></td>
+<td>68</td>
+</tr>
+
+<tr>
+<td><a href="#to_remove_a_serviette_ring_from_a_tape_held_on_the_thumbs_of_another_person">To Remove a Serviette Ring
+from a Tape Held on the
+Thumbs of Another Person</a></td>
+<td>70</td>
+</tr>
+
+<tr>
+<td><a href="#an_experiment_in_gravity">An Experiment <ins title="Note: “of� in the original">in</ins> Gravity</a></td>
+<td>71</td>
+</tr>
+
+<tr>
+<td><a href="#a_scissors_feat">A Scissors Feat</a></td>
+<td>71</td>
+</tr>
+
+<tr>
+<td><a href="#another_trick_with_a_pair_of_scissors">Another Trick with a Pair
+of Scissors</a></td>
+<td>72</td>
+</tr>
+
+<tr>
+<td><a href="#an_indestructible_cigarette_paper">An Indestructible Cigarette
+Paper</a></td>
+<td>73</td>
+</tr>
+
+<tr>
+<td><a href="#to_cut_an_apple_in_two_with_your_finger">To Cut an Apple in Two
+with Your Finger</a></td>
+<td>74</td>
+</tr>
+
+<tr>
+<td><a href="#a_trick_with_dominoes">A Trick with Dominoes</a></td>
+<td>74</td>
+</tr>
+
+<tr>
+<td><a href="#an_escape">An Escape</a></td>
+<td>75</td>
+</tr>
+
+<tr>
+<td><a href="#cigarette_papers_and_serviettes">Cigarette Papers and Serviettes</a></td>
+<td>76</td>
+</tr>
+
+<tr>
+<td><a href="#four_cigarette_papers">Four Cigarette Papers</a></td>
+<td>77</td>
+</tr>
+
+<tr>
+<td><a href="#a_hindoo_swindle">A Hindoo Swindle</a></td>
+<td>77</td>
+</tr>
+
+<tr>
+<td><a href="#the_elusive_match-a_capital_impromptu_trick">The Elusive Match—a Capital
+Impromptu Trick</a></td>
+<td>79</td>
+</tr>
+
+</table>
+
+<span id="pg_9" class="page_anchor">9 </span>
+
+<h2 id="simple_card_tricks">SIMPLE CARD TRICKS</h2>
+
+<h3 id="an_easy_method_of_finding_a_selected_card">AN EASY METHOD OF FINDING A
+SELECTED CARD</h3>
+
+<p class="noindent"><span class="first_word">Throw</span> the pack on the table and request <ins title="Note: “someone� in the original">some one</ins> to
+select a card. Then gather up the rest of the cards and
+request your friend to show his card to his neighbour, to
+avoid mistakes. While this is being done bend the pack
+slightly while pretending to shuffle it, and cause the card
+to be returned and the pack shuffled. The selected card
+can then be easily detected among the bent cards by its
+being perfectly straight. A good way to finish the trick is
+to bring the card to the top of the pack and cause it to
+project about an inch over the right side; cover the front end
+of the pack with your four fingers so that the edge of the projecting
+card is concealed, and, with your thumb at the other
+end, hold the pack firmly about eighteen inches above the
+table. Request the person who drew the card to call it by
+name. On this being done, drop the pack on the table,
+when the projecting card will be completely turned over by
+the air in its descent and lie perfectly square on the top of
+the pack. Another good finish is to bring the chosen
+card to the bottom of the pack, and requesting the person
+who selected it to hold the pack by pinching it tightly
+between his finger and thumb close to the corner, you give
+<span id="pg_10" class="page_anchor">10 </span>the pack a sharp rap, when all the cards will fall excepting
+the one chosen.</p>
+
+<h3 id="to_bring_a_chosen_card_from_the_bottom_of_the_pack_at_any_number_requested">TO BRING A CHOSEN CARD FROM THE
+BOTTOM OF THE PACK AT ANY NUMBER
+REQUESTED</h3>
+
+<p>Ask a member of the company to take a card, look at it,
+and return it to the pack. Make the “pass� (<i>Hercat’s Card
+Tricks</i>, p. 7); “palm� the card (<i>Card Tricks</i>, p. 18)
+and hand the pack to be shuffled. While this is being
+done transfer the palmed card to your left hand, and on
+receiving the pack back, place it over the concealed card,
+and tell the company you will produce the latter from the
+bottom of the pack at any number they may name. Supposing
+some one says, “Let it be the fifteenth card.� You
+push the pack forward in your left hand, allowing the
+bottom card to project about an inch toward you, and
+proceed to draw out the cards above it with your right
+hand, one at a time, until the fourteenth is reached, when
+you push the bottom card forward and produce it as the
+fifteenth.</p>
+
+<h3 id="a_chosen_card_shaken_through_a_handkerchief">A CHOSEN CARD SHAKEN THROUGH A
+HANDKERCHIEF</h3>
+
+<p>Request a member of the company to select a card and
+return it to the pack, which you proceed to wrap up in
+a large pocket handkerchief, and on the person calling the
+card by name you shake the handkerchief and the selected
+card falls on the table.</p>
+
+<p><span class="title">Explanation.</span>—If you are not an adept at sleight-of-hand
+<span id="pg_11" class="page_anchor">11 </span>it is advisable to use a “forcing pack� which is composed
+of only three or four cards, of a kind (i.e. ten kings
+of hearts, ten five of spades, ten eight of diamonds, etc.)
+with backs to match your ordinary pack. If you can make
+the “pass� and can “palm� (<i>Hercat’s Card Tricks</i>, pp. 7
+and 18) the following is the correct <i>modus operandi</i>. On
+the card being returned to the pack, carry it to the top by
+the pass, palm it, and hand the pack back to be shuffled.
+Place the palmed card face upward on the left hand and
+cover it with a large white handkerchief, and cause the
+pack to be placed face down on the handkerchief exactly
+over the concealed card. With your right hand throw the
+back hem of the handkerchief
+over the pack and
+with that hand grasp the
+four sides underneath.
+Then reverse the position
+of your hands, moving the
+right hand toward the right
+on top and taking the left
+hand away, which will leave
+the selected card concealed
+in the fold of the handkerchief
+(<a href="#fig_1">Fig. 1</a>). Ask the
+person who took the card to
+name it and request it to leave the pack and pass through
+the handkerchief. When he does so shake the handkerchief
+gently and the card will slowly come into view.
+If you use a “forcing pack� retain a duplicate of the card
+you intend to force; conceal it in your left hand and proceed
+as above described.</p>
+
+<div class="illustration" id="fig_1">
+<a href="images/fig_1.png"><img src="images/fig_1_small.png" alt="" width=242 height=290></a>
+<p>Fig. 1.</p>
+</div>
+
+<span id="pg_12" class="page_anchor">12 </span>
+
+<h3 id="a_selected_card_found_in_a_lighted_cigarette">A SELECTED CARD FOUND IN A
+LIGHTED CIGARETTE</h3>
+
+<p>Roll a card, say the seven of hearts, in a cigarette paper
+and stuff a small piece of tobacco in each end. Have this
+in one of your pockets, where it will not get crushed, ready
+for palming. Previously arrange with a friend to act as
+your confederate, and request him when you ask him to
+select a card to take the duplicate of the one in the
+cigarette. When ready to present the trick, hand the pack
+to your friend and ask him to shuffle it, select any card he
+likes, show it to his neighbour, replace it in the pack, and
+again shuffle the latter thoroughly. While this is in progress
+produce some tobacco and a cigarette paper and roll a
+cigarette, which substitute for the one prepared. If you
+are not an adept at palming I would suggest the following
+easy method: Lay your handkerchief across your knees,
+and on it place the prepared cigarette. While reaching for
+a match, drop the cigarette you have just made on your lap,
+as if by accident, and pick up the one containing the card.
+You can afterwards pick up your handkerchief and put it
+and the genuine cigarette in your pocket. You then light
+the prepared cigarette and ask your friend to hand you the
+pack and name his card; when he does so, tell him you will
+produce the card in any place he may name.</p>
+
+<p>By previous arrangement he must say, “In the cigarette
+you are smoking.� You then pick up the pack and
+“ruffle� it over the cigarette; take the latter from your
+mouth, extinguish the fire, and tearing the paper in the
+centre, produce the seven of hearts from it.</p>
+
+<span id="pg_13" class="page_anchor">13 </span>
+
+<h3 id="a_sticking_card">A STICKING CARD</h3>
+
+<p>Obtain a short “drawing-pin� with a small head, and
+having painted the head black, stick it through the centre
+of the ace of clubs. Put this in your pocket and “force�
+another ace upon a member of the company. Hand the
+pack to the person upon whom you have forced the card,
+request him to replace it and shuffle the pack. Then take
+the pack from him, and as you turn your back slip the card
+with the pin through it on the top of the pack. Holding
+the pack in your right hand with its face toward the palm,
+ask your friend to name his card. When he does so throw
+the pack sharply against the door. The top card will be held
+there by the pin and the rest of the pack will fall on the
+floor.</p>
+
+<p>This trick was shown by a conjurer before the late King
+Edward a few years ago, and His Majesty was reported in
+the daily papers to have expressed “great surprise.�</p>
+
+<h3 id="two_selected_cards_caught_in_the_air">TWO SELECTED CARDS CAUGHT IN
+THE AIR</h3>
+
+<p>Two cards are selected and returned to the pack, which
+you then make a pretence of shuffling, taking care not to
+lose sight of the chosen cards; “slip� (<i>Hercat’s Card
+Tricks</i>, p. 10) one of the latter to the top of the pack and
+the others to the bottom face upward. Have a small
+piece of wax on your right finger and thumb and press the
+pack between them. Obtain the names of the selected
+cards, and then throw the pack in the air, moving your hand
+away quickly, with, of course, the selected cards sticking
+<span id="pg_14" class="page_anchor">14 </span>to your thumb and finger. As the cards descend thrust
+your hand in among them, and then, separating your thumb
+and finger, show the cards adhering to them, which you
+will appear to have caught.</p>
+
+<h3 id="an_easy_but_puzzling_trick">AN EASY BUT PUZZLING TRICK</h3>
+
+<p>Any card may be drawn—not “forced�—and returned
+to the pack. In pretending to shuffle the cards, bring the
+selected card to the bottom of the pack, and then slip
+another card in front of it. Show your friend this
+card at the bottom and ask him if it is his. Of
+course he will say “No.� Lower the pack, and with
+the fingers of your left hand draw the bottom card
+back about half an inch, and with your right hand
+draw out the next card—which is the one chosen—and
+place it face down on the table. Shuffle the pack and
+again show the bottom card, “Is this your card?� “No.�
+“Then I will place this one on the table�—which you do.
+Repeat this, and place a third card from the bottom of the
+pack on the table. Then say, “I am sure your card must
+be one of the three. No? Look and see for yourself.�
+He turns the three cards over, and of course finds his card
+is one of them.</p>
+
+<h3 id="travelling_cards">TRAVELLING CARDS</h3>
+
+<p>Give the pack to a member of the company, and request
+him to count off between twenty and forty cards, place the
+pack on the table, and hand the cards he has counted to
+you. You then hand the pile to a second person and
+<span id="pg_15" class="page_anchor">15 </span>request him to count off about one-third of the number, lay
+them in a pile on the table, and hand you the remainder,
+which you give to the first person, requesting him to place
+them in his pocket. Taking up the second pile, you request
+the second person to place it in his pocket. We will suppose
+the first person selected thirty and the second person
+abstracted ten cards from them, which should leave twenty
+now in the pocket of the former. Then announce your
+intention of causing a certain number of cards to leave the
+pocket of person number one and travel invisibly into the
+pocket of person number two. Open a pocket-handkerchief,
+and covering number one’s pocket, flick it in the
+direction of person number two, exclaiming, “They have
+gone!� On the two piles being produced and counted,
+those from the pocket of number one person will number
+only fifteen, and the same number will be found in the
+second pile.</p>
+
+<p><span class="title">Explanation.</span>—When you receive the thirty cards from
+the first person, you palm off five or six cards (the number
+is immaterial) and retain them concealed in your hand,
+handing the remainder to the second person. When he
+has counted off ten and placed them on the table, you take
+those that are left from him and hand them to person
+number one. When picking up the pile of ten from the
+table, while pretending to square it, you add the palmed
+cards and hand the pile thus increased to person number
+two. You must be careful not to allow the two persons to
+count the cards after the changes have been made. If you
+see they are inclined to do so, take the piles from them and
+place them in their pockets yourself.</p>
+
+<span id="pg_16" class="page_anchor">16 </span>
+
+<h3 id="to_name_all_the_cards_in_the_pack">TO NAME ALL THE CARDS IN THE PACK</h3>
+
+<p>Ask some one to shuffle the pack, and, on receiving it
+back, glance at the bottom card. Put the pack behind
+your back, and then turn the top card round with its face
+toward you; bring the pack in front of you, the bottom
+card facing the audience and the turned card facing
+you. Having already glanced at the bottom card, you can
+tell them its name, and you now know the card on top.
+Put the pack behind you again, and move the top card to
+the front, and turn the one now on top round. Again hold
+the pack up and name the front card, at the same time
+noting the card facing you. By repeating this process you
+can name all the cards in the pack. Take care to have all
+your audience in front of you, or the turned card will be
+seen.</p>
+
+<h3 id="a_new_method">A NEW METHOD</h3>
+
+<p>Here is an absolutely new method of performing the
+same trick blindfolded, but with the aid of a confederate.
+You tell your friends that by placing your hands on a
+person’s head you can see with his eyes. To illustrate
+this, tell your assistant to seat himself at a table, and you
+then stand behind him blindfolded, with your fingers
+lightly touching his temples. The cards are spread out
+faces down on the table, and no matter which card he picks
+up and looks at, you at once say what it is. Of course,
+you take the tip from him; but how? I will tell you.</p>
+
+<p>He must keep his mouth shut and his teeth together.
+The slightest pressure between his upper and lower teeth—so
+slight that it is quite imperceptible—will cause his
+<span id="pg_17" class="page_anchor">17 </span>temples to throb—try it on your own temples—and, of
+course, by the arrangement of a very simple code he can
+communicate to you the name of each card. Say one
+throb stands for hearts, two for diamonds, three for clubs,
+and four for spades. We will say his temples throb twice.
+You say, “You are looking at a diamond.� Then we will
+suppose they next throb five times. You say, “It is the
+five of diamonds,� and so on. When you come to an ace,
+of course one throb will suffice; when he picks up a
+knave, let him give two throbs in rapid succession—a
+kind of postman’s knock; a queen, a postman’s knock and
+one throb over; and for a king, a double postman’s knock—rat-tat,
+rat-tat. With a little practice and a more elaborate
+code, you can describe all kinds of articles which may be
+selected—keys, watches, books, etc. It is a capital trick
+and one which no one can possibly discover.</p>
+
+<h3 id="the_sense_of_touch">THE SENSE OF TOUCH</h3>
+
+<p>This is an improvement upon the two preceding tricks
+which I invented several years ago, and have shown
+scores of times without the <i>modus operandi</i> being once
+detected.</p>
+
+<p><span class="title">Effect.</span>—The pack is handed to the audience to be
+shuffled, and, without even glancing at it, the performer
+places it behind his back and names each card (presumably
+by the sense of touch) before he draws it. He can
+hand the pack back to the audience to be shuffled as many
+times as desired.</p>
+
+<p><span class="title">Execution.</span>—Before handing the pack to be shuffled,
+ascertain which card is on the top, and palm it in the right
+<span id="pg_18" class="page_anchor">18 </span>hand; receive the pack back in the palm of the left hand
+and cover it with the thumb.</p>
+
+<p>Put both hands behind you and slip the palmed card between
+the tips of your left first and second fingers; then
+palm the top card and take the card originally palmed
+between the right thumb and the forefinger with your
+thumb on top. While doing this, explain to the audience
+that you have with considerable practice acquired a marvellously
+keen sense of touch which enables you to ascertain
+the name of each card by simply feeling it. You proceed
+to say: “I will name each card before showing it to you,
+and you are at liberty to shuffle the pack as many times as
+you may desire.</p>
+
+<p>“The card I am now feeling appears to be (say) the
+queen of spades.� You then show the card held between
+your thumb and finger, at the same time glancing at the
+palmed card. Throw the former on the table, and putting
+your hand behind your back again, nip the palmed card
+with the first two fingers of the left hand, and palm the top
+card as before. You can go through the whole pack in
+this manner, but each time you hand it to be shuffled, be sure
+to have one card palmed. This trick should not be
+attempted until it has been thoroughly rehearsed.</p>
+
+<h3 id="where_is_the_ace">WHERE IS THE ACE?</h3>
+
+<p>Select the ace and five of hearts and two other cards of
+the same suit and conceal the five behind one of the latter
+so as to make it appear you have only three cards. Hold
+the two cards (with the concealed five) faces down, a little
+distance apart and showing the ace place it deliberately
+<span id="pg_19" class="page_anchor">19 </span>behind them so that the pip shows between (<a href="#fig_2">Fig. 2</a>) when
+the cards are held up. Having shown the cards in the
+latter position to the company, lower them again and defy
+any one to lift up the ace. A member of the company
+does so and naturally looks at the card, when you say,
+“But you must not look at it. Take the card off and
+place it face down on the table, and I will then tell you
+whether your attempt has been successful. We will try
+again?� Re-arranging the cards, substitute the five for the
+ace and place it so that the centre pip alone is visible
+between the two cards. Repeat your challenge and request
+your friend to remove the ace, place it on the table,
+and cover it with his hand. When this is done ask him if he
+still has the ace, and he will naturally say “Yes.� Tell
+him to raise his hand, and to his astonishment he will find
+the five.</p>
+
+<div class="illustration" id="fig_2">
+<a href="images/fig_2.png"><img src="images/fig_2_small.png" alt="" width=366 height=138></a>
+<p>Fig. 2.</p>
+</div>
+
+<h3 id="to_make_a_person_name_a_card_which_you_have_yourself_selected">TO MAKE A PERSON NAME A CARD
+WHICH YOU HAVE YOURSELF
+SELECTED</h3>
+
+<p>Take any card from two to ten, say the five of hearts, and
+lay it face down on the table without permitting any one
+<span id="pg_20" class="page_anchor">20 </span>to see its face. Then announce your intention of examining
+a number of the company as to their knowledge about
+cards. Ask for a volunteer, and on one consenting to act
+tell him to answer your questions rapidly and to make his
+replies short. Then put the following questions: “How
+many cards are there in a full pack?� Answer, “Fifty-two.�
+“How many suits?� “Four.� “What are their colours?�
+“Red and Black.� “Now name one of those colours.�
+“Red.� If he should say “black,� you must say, “You
+select black so I take red. How many suits are there
+in red?� “Two.� “What are they?� “Hearts and
+Diamonds.� “Name one of those suits quickly.� “Hearts.�
+If he should name diamonds say, “Then I take hearts.�
+“How many cards in the suit?� “Thirteen.� “How
+many between the ace and knave?� “Nine.� “How
+many below six and how many above six?� “Four below
+and four above.� “Name either below or above?�
+“Below.� If he says “above,� say, “That gives me those
+below six. What are the numbers below six?� “Two,
+three, four, and five.� “Name two of those numbers.�
+“Four and five.� If he should say “two and three,� or
+“three and four� you remark, “That leaves me four and
+five. Name one of those numbers.� If he says “four,�
+you say, “Which leaves five.<del>�</del> The suit you selected was
+hearts, and now we have come down to five. So you have
+actually selected the five of hearts; and I am sure you will
+admit I have not influenced your choice in any way.
+Please turn over the card on the table.� He does so and, of
+course, finds it is the five of hearts.</p>
+
+<span id="pg_21" class="page_anchor">21 </span>
+
+<h3 id="the_clock">THE CLOCK</h3>
+
+<p>Select twelve cards of any suit, ace to ten and king and
+queen; arrange them in a circle to represent the figures on the
+face of a clock, the king as twelve and the queen as eleven
+(<a href="#fig_3">Fig. 3</a>), and request a member of the company to think of
+one of the numbers. You then explain you will tap the
+cards with a pencil and he is to mentally add your first tap
+to the number he thought of and count your succeeding
+taps until twenty is reached, when he is to call “Stop,� and
+your pencil will then rest upon his number. For instance,
+we will suppose he thinks of twelve; he must count your
+first tap as thirteen and continue counting mentally until
+twenty is reached.</p>
+
+<div class="illustration" id="fig_3">
+<a href="images/fig_3.png"><img src="images/fig_3_small.png" alt="" width=358 height=358></a>
+<p>Fig. 3.</p>
+</div>
+
+<span id="pg_22" class="page_anchor">22 </span>
+
+<p><span class="title">Explanation.</span>—Touch the cards at random during the
+first seven taps and allow your pencil, on its eighth tap, to
+rest on the king (twelve). Eight and twelve being twenty
+he will of course say “Stop.� Supposing he thought of a
+lower figure—seven, for instance. Tap at random as before
+until your eighth tap, which must always be on twelve; then
+touch the cards in rotation, making the queen your ninth
+tap, the ten your tenth tap, nine your eleventh, and so on
+until you reach seven, which will be your thirteenth tap,
+which number added to seven, the number thought of, will
+make twenty, and your friend will say “Stop.�</p>
+
+<p>Another effective trick can be worked with the card dial,
+but it requires the assistance of a confederate. Having
+previously instructed him what to do, you tell the company
+that <ins title="Note: “anyone� in the original">any one</ins> is at liberty to touch one of the cards during
+your absence from the room, and on returning you will
+indicate the card he has touched. Upon your returning
+hand a pencil to your confederate and request him to touch
+the cards in rotation until you say “Stop,� when the pencil
+will rest on the right card. Your confederate must hold
+the pencil in his right hand with his forefinger resting on
+top. When he touches the right card he must raise that
+finger slightly. It is a signal no one would notice, and the
+trick always creates a great deal of wonder.</p>
+
+<h3 id="how_to_guess_cards_thought_of">HOW TO GUESS CARDS THOUGHT OF</h3>
+
+<p>Allow the pack to be shuffled freely and then place it on
+the table face down. Take the three top cards, and holding
+them up with their backs towards you, ask some one to
+<span id="pg_23" class="page_anchor">23 </span>think of one. Then spread them face down on the table
+in front of you. Take three more cards, and ask a second
+person to think of one, and lay these on top of the
+other three. Show three more cards to a third person, and
+after he has thought of one, lay these on top of the
+others. You have now three parcels on the table, each
+containing three cards. Hold up one parcel, and say to
+each person: “Is the card you thought of in this lot?�
+Proceed in the same way with the other parcels, and then
+tell each person the name of the card he thought of. As
+the cards shown to the first person were laid on the table
+first, it stands to reason that the cards he thought of must
+be at the bottom of the parcel he has said “Yes� to; the
+second person’s card will be the middle one in the parcel,
+and the third person’s the top card.</p>
+
+<h3 id="an_ingenious_card_trick">AN INGENIOUS CARD TRICK</h3>
+
+<p>Select ten cards, regardless of suit, the ace, and from
+deuce to ten, arranging them as follows: Lay the ten face
+down on the palm of your hand, the nine next, and the
+others in rotation, finishing with the ace, which you call
+“one.� Give the cards so arranged to a friend, and tell
+him you will leave the room while he moves cards one at a
+time, not to exceed nine, from top to bottom, and when
+you return you will tell him how many he has shifted.
+You may repeat this feat successfully several times, and
+finish by requesting him to make up his mind how many
+cards he intends moving before you leave the room and
+you will tell him which card will indicate the number he
+<span id="pg_24" class="page_anchor">24 </span>has selected. On returning you immediately refer him to
+the card which gives the correct answer. This is really
+a most puzzling trick and yet an easy one to perform.
+Commence by showing how the cards are to be moved
+by shifting a few yourself, noting how many you move,
+so you will remember which card you leave at the bottom.
+When you return to the room you subtract the number of
+pips on that card from ten and the product will show
+the number of the card from the top, the pips on which
+indicate the number of cards your friend has moved. We
+will suppose that, in illustrating, you move four cards, which
+will, of course, leave the four at the bottom; you subtract
+four from ten, which leaves six, and no matter how many
+cards have been moved the pips on the sixth from the top
+will indicate the number. Taking the pack in your hand
+face downward, count off the first six cards, and glancing
+at the sixth say, “You moved —— cards.<ins title="Note: absent in the original">�</ins> When you
+repeat the trick add the number originally at the bottom to
+the number your friend has moved, which will give the
+number now at the bottom, which you again subtract from
+ten. In predicting the number of cards your friend means
+to move you tell him the number of the card from the top
+which will show it. We will suppose the bottom card is
+eight and your friend mentally decides upon moving five
+cards, you subtract eight from ten, which leaves two, and
+tell him the number he is going to move will be indicated
+by the pips on the second card from the top after he has
+moved the cards.</p>
+
+<span id="pg_25" class="page_anchor">25 </span>
+
+<h3 id="to_name_a_card_which_some_one_has_thought_of">TO NAME A CARD WHICH SOME ONE
+HAS THOUGHT OF</h3>
+
+<p>Spread six cards before a member of the company and
+ask him to think of one. Place these cards at the bottom
+of the pack and give the latter a “false shuffle,� i.e. shuffle
+them in such a manner that the bottom cards are not disturbed.
+Then take the four top cards, and spreading them on
+the table, faces upward, ask your friend if his card is among
+them. Of course, he will say “No.� While he is looking
+at the cards on the table “slip� (<i>Hercat’s Card Tricks</i>,
+p. 10) one of the bottom cards to the top of the pack. To
+do this moisten the tips of the two middle fingers of the
+left hand, and holding the pack in that hand with the
+moistened fingers against the face of the bottom card, with
+the thumb and two middle fingers of the right hand raise
+the rest of the cards slightly and the card adhering to the
+moistened fingers will be carried to the top of the pack.
+Again spread the four top cards on the table and repeat
+the enquiry. If he says “No,� repeat the former process
+until he says, “Yes, my card is in that lot.� You, of
+course, know it is the card you “slipped� from the bottom
+of the pack. You then tell him to gather up all the cards
+and shuffle them thoroughly; then place the pack on the
+table, put his hand over it and look you steadily in the
+eye. You place your hand over his and say, “I can read
+your thoughts, you took the ——,� naming his card. This
+is an easy trick to perform and causes great amazement.</p>
+
+<span id="pg_26" class="page_anchor">26 </span>
+
+<h3 id="the_rejected_recruits-a_laughable_trick">THE REJECTED RECRUITS—A LAUGHABLE
+TRICK</h3>
+
+<p>Select a king and the four knaves and lay the king
+on the table face upward. Tell the company that the
+king is recruiting for the army and accepts the knave of
+clubs, which you place on the king’s right. The knave of
+spades, which you place on the left, he rejects. The knave
+of diamonds is accepted and placed on the right. The
+knave of hearts is declined, and placed on the left.</p>
+
+<p>Now ask your audience how it is that the king, being in
+want of recruits, accepts two and refuses two.</p>
+
+<p>The answer will puzzle those not acquainted with the
+trick. It is as follows: Two of the knaves have but one
+eye each, and are consequently medically unfit.</p>
+
+<h3 id="a_novel_card_effect">A NOVEL CARD EFFECT</h3>
+
+<p><span class="title">Effect.</span>—A five-spot card is passed for examination, a
+two spot of the same suit is then placed face down on the
+five; after rubbing the cards slightly and separating them
+a spot is found to have passed from the centre of the five
+on to the two spot, making a four spot and a three spot.
+The pack is afterwards shown to be quite an ordinary one
+without any apparent preparation.</p>
+
+<p><span class="title">Preparation.</span>—Remove from the pack the five, four,
+three, and two of any suit. Place the remainder of pack
+face down on the table. Now place the five spot face up on
+the back of the pack, the two spot face down on the five,
+the four face up on the back of the two, and the three spot
+face down on the four. Then remove the three top
+<span id="pg_27" class="page_anchor">27 </span>cards, without in any way altering their order, and place
+them on the face of the pack so that the two spot is showing,
+and turn the five spot face down, so that the pack
+appears to be without preparation.</p>
+
+<p><span class="title">Presentation.</span>—Show pack held in left hand and call
+special attention to the two spot on the bottom of the
+pack, then lift off the five-spot card and pass it to a
+spectator with the remark that the centre spot is loose and
+can be transferred at will to any other card; while the
+card is being examined you secretly count off the three
+other prepared cards at the bottom of the pack and keep
+them separated from the rest with the index finger of left
+hand. Now take back the five-spot card and place it on
+the back of the pack, with its face side toward audience.
+Then with the first two fingers and thumb of right
+hand take the three other cards from bottom of pack
+and show them as one card only: namely, the two spot.
+This movement is best executed by slightly pushing down
+the three cards with the index finger of left hand until a
+sufficient amount of projection is obtained for the fingers
+and thumb of right hand to grip. Now place the apparent
+two-spot card face toward, and on to the five spot; proceed
+by gently rubbing the back card with the index finger
+of right hand, and lift the top card and show it to be a
+three spot, while the card facing is found to be a four spot,
+which you also remove. The back of the two-spot card
+will then be seen and the pack appear to be an unprepared
+one.</p>
+
+<span id="pg_28" class="page_anchor">28 </span>
+
+<h3 id="an_artful_card_force">AN ARTFUL CARD FORCE</h3>
+
+<p><span class="title">Presentation.</span>—First secretly note what the top card of
+the pack is. Then proceed by asking a spectator to state
+what card he wishes you to use by giving you a number.
+After having received the number you proceed to count the
+cards face down on to a table until you reach that number,
+at the same time mentioning that the last card counted is
+the one you are to use. You pause for a moment, apparently
+thinking, then say, it is possible that the spectator
+may think that you already know the card as you counted
+them yourself, you consider that it would only be fair to
+allow him to count them himself. At the same time you
+replace the counted cards, and hand the pack to spectator,
+with the request that he counts down to the number
+previously stated. This, of course, has the effect of
+bringing the known top card into position at his number,
+so that it is quite an easy matter to follow on with any
+trick in which the sleight-of-hand force is necessary. This
+seems very simple, but try the effect; even our advanced
+friends will find it extremely useful.</p>
+
+<h3 id="another_easy_card_force">ANOTHER EASY CARD FORCE</h3>
+
+<p><span class="title">Requisites.</span>—An ordinary pack of cards and two extra
+cards stuck securely together.</p>
+
+<p>Place the double card below a previously noted card.
+Hold the pack in the left hand so that the thumb can pass
+readily down the cards at the upper corner. Now pass the
+thumb of the right hand down the cards so as to ruffle
+them. You will find that the thumb is automatically
+<span id="pg_29" class="page_anchor">29 </span>stopped at the double card. By requesting <ins title="Note: absent in the original">a </ins>spectator to
+take the card immediately above the break in the pack,
+you can then proceed with any trick in which a forced
+card is necessary. Numerous other uses for the double
+card will readily occur to my readers from the hint given.</p>
+
+<h3 id="a_simple_but_puzzling_card_trick">A SIMPLE BUT PUZZLING CARD TRICK</h3>
+
+<p>Place the pack face down on the table and cover it with
+a serviette. Then request a member of the company to
+put his hand under the serviette and take a card at random;
+to be careful not to let you see it but show it to the company
+and then return it to the pack and to square the pack
+through the serviette after the card has been replaced.
+You then lift up the side of the serviette nearest to
+you and at once produce the card.</p>
+
+<p><span class="title">Explanation.</span>—When the company are looking at the
+card slip your hand under the serviette and turn the pack
+over, and, of course, you can at once detect the “faced�
+card when it is replaced. On withdrawing it with your
+right hand turn the pack over with your left and lift off
+the serviette.</p>
+
+<span id="pg_30" class="page_anchor">30 </span>
+
+<h2 id="simple_coin_tricks">SIMPLE COIN TRICKS</h2>
+
+<h3 id="how_to_detect_a_marked_coin">HOW TO DETECT A MARKED COIN</h3>
+
+<p class="noindent"><span class="first_word">Place</span> ten coins—say shillings—in any empty finger-bowl
+and request a member of the company to select one, put
+a private mark on it, and then holding it in his closed hand,
+to close his eyes and think of the appearance of the coin
+very hard. In about a minute pick up the<del> the</del> bowl, and
+going to him, request him to open his eyes; gaze in them,
+and then make a few mesmeric passes over his face. Then
+request him to drop the coin he holds in the bowl and to
+mix it up thoroughly with the other nine shillings. Now
+ask some one to blindfold you; when this is done place
+your hand in the bowl, and picking up the shillings one at
+a time, you can at once detect his, which you throw across
+the table to him for confirmation. The secret is that the
+coin held in the person’s hand has obtained a certain
+degree of warmth and can at once be detected in consequence.</p>
+
+<h3 id="a_penetrative_shilling">A PENETRATIVE SHILLING</h3>
+
+<p>Sew a halfpenny in the corner of your handkerchief and
+place the latter in your pocket ready for the trick. Borrow
+a shilling and request the lender to put a private mark on
+<span id="pg_31" class="page_anchor">31 </span>it. Take out your handkerchief and pretend to place the
+shilling under it, instead of which pick up the corner containing
+the halfpenny, place it in the centre and grasp it
+through the handkerchief with your left hand, while you let
+the marked shilling drop in the palm of your right. Ask
+a member of the company to hold the shilling (the halfpenny
+in the centre) in the handkerchief a few inches
+above the table. Then pick up an empty glass with your
+right hand, hold it under the table, and request the person
+who holds the handkerchief to let it fall on the table. The
+coin in the handkerchief will be heard to strike the latter
+and at the same time you drop the shilling from the palm
+of your right hand into the glass and place the latter on the
+table, while with your left hand you pick up the handkerchief
+and shake it, being careful not to allow the halfpenny
+to strike the table again while you are doing so.
+Request the person who lent the shilling to take it out of
+the glass and say if it is the one bearing his private mark.</p>
+
+<h3 id="another_simple_trick">ANOTHER SIMPLE TRICK</h3>
+
+<p>Here is another simple trick with a sixpence. Put
+a small piece of wax on it, and place it, the waxed side
+uppermost, in the centre of a handkerchief. Then put
+one of the lower corners of the handkerchief over the coin
+and ask some one to put his finger on it and press it. Then
+move the second lower corner of the handkerchief over the
+other corner, telling your assistant to move his finger while
+you do so. Next cover the two lower corners with the
+two upper corners of the handkerchief in the same manner,
+and ask your assistant if he is sure the sixpence is still
+<span id="pg_32" class="page_anchor">32 </span>there. Of course he will say yes; he can feel it. Then
+tell him to raise his finger. When he does so, take the two
+upper corners in your hands, and raise the handkerchief,
+when the coin will appear to have vanished. Of course, it
+is sticking to the lower corner of the handkerchief.</p>
+
+<h3 id="a_coin_to_disappear_from_your_cheek_and_reappear_at_your_elbow">A COIN TO DISAPPEAR FROM YOUR
+CHEEK AND REAPPEAR AT YOUR
+ELBOW</h3>
+
+<p>While sitting at the table turn up your right sleeve, and,
+taking a half-crown or penny, rub it against your cheek, and
+then, as if by accident, drop it on the table. Pick up the
+coin and repeat the process, this time resting your elbow
+on the table, as you explain, to steady it. Move your
+hand from your cheek, and the coin has disappeared, and
+with your left hand produce it from your elbow. Then
+say, “I will reverse the experiment and send the coin back.�
+Place your empty hand against your face and your left
+hand containing the coin under your elbow. After rubbing
+your face and chin, show the coin again in your right hand
+and your left hand empty. You require two coins for this
+trick, one palmed in your left hand. When you rub the
+coin against your face the second time, drop it inside
+your collar and produce the palmed coin from your elbow.
+When you “reverse the experiment,� take the coin from your
+collar as you are rubbing your face and chin and drop the
+other coin from your left hand into your handkerchief
+spread over your knees.</p>
+
+<span id="pg_33" class="page_anchor">33 </span>
+
+<h3 id="two_vanished_half-crowns">TWO VANISHED HALF-CROWNS</h3>
+
+<p>This trick requires considerable practice, but is a very
+effective one. Take the two coins in your right hand, and
+throw them repeatedly, one at a time, into the other hand
+until the audience begin to think it is a “sell.� Then, offering
+your left hand (in which the coins are supposed to be) to
+some one, say: “Well, you try to do it.� Open your hand,
+and the coins have disappeared.</p>
+
+<p><span class="title">Explanation.</span>—The last time you throw only one half-crown,
+and instead of throwing the second, bring the right
+hand down quickly, and at the same time jerk the coin in
+your left hand upwards into your right, and it will strike
+the coin retained there. The clink will be heard, and by
+closing your left hand quickly you will lead the company
+to suppose both coins are in that hand. Half-crowns are
+the best coins for the trick owing to their weight.</p>
+
+<h3 id="a_divination">A DIVINATION</h3>
+
+<p>Request a member of the company (seated) to place a
+shilling or florin upon each knee, and cover them with his
+hands with his fingers stretched out. You then tell him,
+when you turn your back, to raise one of the coins and tap
+his head with it twelve times just above his ear; then replace
+it on his knee and cover it with his hands as before; and
+you will tell him, on examining the coins, which one he
+raised.</p>
+
+<p>The examination of the coins has really nothing to do
+with the trick. All you have to do is to look at the person’s
+hands; the blood leaves the hand that has been raised, and
+<span id="pg_34" class="page_anchor">34 </span>when it is again placed beside the other the difference in
+colour is most perceptible.</p>
+
+<p>I have performed this trick hundreds of times in drawing-rooms,
+and it has never been detected, but created great
+surprise.</p>
+
+<h3 id="an_effective_but_simple_trick">AN EFFECTIVE BUT SIMPLE TRICK</h3>
+
+<p>Stick a halfpenny (or a shilling) under the edge of a
+table secretly with a small piece of wax. Show another
+halfpenny to the company, and when it is returned to you,
+place it in front of you on the table while you turn up
+your sleeves. Then place the fingers of your left hand
+under the table, and with your right hand sweep the halfpenny
+on the table into your left, at the same time getting
+hold of the halfpenny under the table, taking care that one
+coin does not strike the other. Then place your right
+hand over your left, and pretend to rub the halfpenny the
+audience have examined very vigorously, and, showing both
+coins, say you have rubbed one halfpenny into two. You
+can improve on this trick by using four halfpence on the
+table and one stuck under the edge. Sweep two coins into
+your left hand, get possession of the stuck halfpenny, and
+close your hand. Hold it up, and say: “There are two
+halfpennies on the table, and I have two in this hand.�
+Picking up the two halfpennies with your right hand, tell
+the company that you intend to pass one of them into the
+other hand. Then lay both hands flat on the table, lift
+your left hand, and show three halfpennies under it. Slide
+your right hand off the table, leaving one halfpenny behind,
+and carrying the second coin away with your fingers. As
+<span id="pg_35" class="page_anchor">35 </span>your hand leaves the table, press the halfpenny with your
+thumb against your two middle fingers, and nip it with your
+first and little fingers. Remove your thumb, and you will
+find you can hold it securely “palmed.� Then with the
+right hand sweep the three halfpennies back into the left
+hand, at the same time letting the “palmed� coin fall with
+them. Close your fingers over them quickly, and picking
+up the remaining halfpenny from the table with your right
+hand, say: “I intend to make this halfpenny join its companions.
+One, two, three—go!�</p>
+
+<p>Pushing it with your thumb against your two middle
+fingers, palm it as before, and throw the four coins which
+you hold in your left hand on the table. While the attention
+of the company is on them, drop the “palmed� coin
+in your pocket.</p>
+
+<h3 id="changing_apple_and_coins">CHANGING APPLE AND COINS</h3>
+
+<p>Procure two small apples exactly alike, and in the bottom
+of one scoop out a hole large enough to hold a pile of three
+sixpences. Make a conical cover out of cartridge paper
+large enough to cover the apple and about nine inches in
+height. Obtain six sixpences, three of which place in a
+pile on an inverted glass goblet. Conceal the other three
+and the hollow apple in your left hand. Ask <ins title="Note: “someone� in the original">some one</ins>
+to examine the cover, and, on receiving it back, transfer it
+to your left hand and slip it over the apple. Then give the
+duplicate apple for examination, and, taking the cover by
+its lower part, and the apple concealed in it, place both
+over the three sixpences on the glass. Take the apple that
+has been examined, and put it under the table with your
+left hand, hold it between your knees, and say: “I command
+<span id="pg_36" class="page_anchor">36 </span>this apple to pass through the table and take the
+place now occupied by the three sixpences, and the sixpences
+to fall into my hand.� Bring your left hand from
+under the table and show the coins, lift up the cover and
+show the apple on the glass. Then reverse the procedure.
+Cover the apple on the glass; place the three sixpences
+under the table; secure the apple held between your knees
+and roll it on the table; lift up the cover and hollow apple
+together, and, dropping the latter into your lap, show the
+former is empty. This trick should be performed sitting.</p>
+
+<h3 id="an_obedient_sixpence">AN OBEDIENT SIXPENCE</h3>
+
+<p>Place two half-crowns (or pennies) on the table and a sixpence
+between them. Then cover the coins with an inverted
+wine-glass, the edges of the latter resting upon the larger
+coins. Challenge any one to remove the sixpence without
+touching the glass or the money. It is done very easily,
+and in an amusing manner. You have only to scratch the
+tablecloth with your finger-nail in the direction you wish
+the coin to come, saying: “Come hither, sixpence,� and it
+will at once obey you.</p>
+
+<h3 id="coin_and_glass">COIN AND GLASS</h3>
+
+<p>Cover the mouths of two glasses with newspaper, by
+gumming it on them, and trim off the edges neatly.<a class="footnote" href="#fn_1" id="fnc_1">[A]</a> Stand
+them inverted upon two pieces of newspaper in such a
+manner that the type on the paper over the glasses fairly
+corresponds with that on the paper on the table. Make
+two cones of newspaper to fit closely over each glass.
+Unobserved by the company, place a penny under the glass
+<span id="pg_37" class="page_anchor">37 </span>on your left, which will of course be concealed by the paper
+on the mouth of the glass. Then borrow a penny, and,
+placing the cone over the glass on your right, lift the latter
+covered by the former from the table; lay the borrowed
+penny on the newspaper, and cover with the glass and
+cone. You call attention to the fact that there is nothing
+under the other glass, and you then cover it with the
+second cone. You now tell the company that at your word
+of command the penny will leave one glass and travel invisibly
+over the table to the other glass. You lift the cone
+from the glass on your right, under which the borrowed
+penny was placed, and the coin is not to be seen. Then,
+lifting both the cone and glass together on your left, the
+concealed penny is brought into view. You now announce
+your intention of sending the penny back. Place the
+covered glass over the penny and replace the cover over
+the glass on your right. “One, two, three—go!� you
+exclaim and, lifting the cone off the glass on your left,
+the penny under it appears to have disappeared, and on
+removing the other glass, still covered by the cone, the
+borrowed penny will once more be seen. This trick can
+be worked with one glass only and the penny made to
+appear to drop through the table in your hand placed
+under the latter ready to catch it (the penny, of course,
+being already palmed in your hand); but the use of two
+glasses makes the trick more effective, and it can be
+repeated many times without fear of detection. The paper
+upon which the glasses stand can, of course, be examined;
+but the glasses when removed from the paper must be
+covered with the cones, or the paper cover on the mouth of
+each will be seen.</p>
+
+<div class="footnote" id="fn_1">
+
+<p><span class="mark"><a href="#fnc_1">[A]</a></span> This piece of apparatus neatly constructed can be obtained at a
+trifling cost at any of Messrs. Hamley Bros.’ Conjuring Depôts, London.</p>
+
+</div>
+
+<span id="pg_38" class="page_anchor">38 </span>
+
+<h3 id="a_simple_experiment_with_four_shillings">A SIMPLE EXPERIMENT WITH FOUR
+SHILLINGS</h3>
+
+<p>Borrow four shillings; place one on the palm of each
+hand, and, holding the palms upward, close your fingers
+over them. Then request a member of the company to
+place the other two coins on the nails of your two middle
+fingers; and announce your intention of throwing a
+coin from one hand to the other, explaining it is rather
+a difficult feat to accomplish with your hands closed.
+Make one or two movements with your hands, and then, as
+if accidentally, drop the two shillings resting upon your
+nails upon the table. Apologising for your clumsiness,
+request some one to replace the coins on your
+nails, saying you will have another try. Now give your
+hands a jerk upward; open them and catch the coins on
+your nails, one in each hand, and tell the company you
+have accomplished your purpose and sent one coin flying
+invisibly through the air from one hand to the other. To
+verify your assertion open your hands and show three coins
+in one hand and only one in the other.</p>
+
+<div class="center">
+<span class="title">Explanation.</span>
+</div>
+
+<p>When you make the first attempt, and appear to fail, in the
+upward movement of your hands you open them and allow
+the shilling resting upon the nail of your left hand to slip
+into the palm, while you permit the coin in the palm of
+your right hand to fall, with the one above it on the nail,
+on the table. If this is done neatly the company will
+suppose it is the two coins from the nails which have fallen.
+You now have two shillings in your left hand and none
+<span id="pg_39" class="page_anchor">39 </span>in your right. In the second attempt you have only to
+catch the shillings resting on your nails in the manner
+described, and on showing one shilling in your right hand
+and three in your left, your statement that one has travelled
+invisibly from one hand to the other will appear to be
+correct.</p>
+
+<h3 id="puzzle_of_ten_halfpence">PUZZLE OF TEN HALFPENCE</h3>
+
+<p>Place ten halfpence in a row upon the table, then taking
+up any one of the series, place it upon another, with this
+proviso, that you pass over just two halfpence each time.
+Repeat this until there is not a single halfpenny left. Let
+the following figures represent the halfpence:—</p>
+
+<div class="center">
+<span class="large">1 2 3 4 5 6 7 8 9 10</span>
+</div>
+
+<p class="noindent">Place No. 4 upon No. 1; No. 7 upon No. 3; No. 5 upon
+No. 9; No. 2 upon No. 6; and No. 8 upon No. 10. A little
+practice will enable the reader to do this puzzle without
+referring to the figures.</p>
+
+<h3 id="how_to_increase_your_wealth">HOW TO INCREASE YOUR WEALTH</h3>
+
+<p>Obtain three sixpences exactly alike, place one in your
+pocket and stick the other two with a small piece of wax
+under the edge of the table about an inch apart. After
+showing other tricks produce the sixpence from your pocket
+and show it to the company to prove it is an ordinary coin.
+Pull up your sleeves, and if the table has a cover turn it
+back. Place the coin on the table near the edge over the
+concealed sixpences, and showing your right hand is perfectly
+empty place your thumb over the coin and rub it
+<span id="pg_40" class="page_anchor">40 </span>vigorously backwards and forwards on the table. At the
+same time run your first and second fingers under the table,
+and securing one of the coins sticking there move it and the
+coin under your thumb simultaneously off the table, and
+pinching them together between your thumb and finger,
+say: “I will show you how to double your capital. I am
+going to rub this sixpence into two sixpences.� Then
+showing your other hand is empty use the left thumb and
+finger to assist in the rubbing, and gradually separate the two
+coins and exhibit them. Then putting the sixpence with
+the wax in your pocket place the other one near the edge
+of the table and repeat the trick, saying: “See, I have now
+trebled my capital.� Do not allow the company to examine
+the waxed coins.</p>
+
+<h3 id="a_neat_coin_trick">A NEAT COIN TRICK</h3>
+
+<p>Procure three coins (pennies or half-crowns) exactly alike.
+Scratch a cross on two, and in the third bore a hole, in
+which fasten a short piece of black elastic cord. The
+other end of the elastic tie round your ankle, taking care
+that the coin does not hang below your trouser leg. Put
+one of the marked pennies in your left-hand trousers
+pocket and drop the other one unobserved into the pocket
+of some one present, or give it to a confederate to hold.
+Commence by borrowing a similar coin to those you are
+using and mark it like the others. Hold it between
+the thumb and finger of the right hand, and, giving it a
+twist, spin it on the table, then snapping your fingers over
+it, catch the edge of the coin and it will fly up your sleeve.
+Close your hand and say, “I will make this coin fly up my
+<span id="pg_41" class="page_anchor">41 </span>sleeve, travel round my back, and pass down my other
+sleeve.� In the meantime you have secured the penny in
+your pocket and concealed it in your left hand. Open your
+right hand, showing it is empty, and then show the penny
+in the other hand. Lower your right hand, the penny in
+your sleeve will drop into it, and you can pocket it unobserved.
+Then ask for the loan of a cap and walking-stick.
+Request some one to hold the stick, while you hold
+the cap in your left hand. Pick up the penny with your
+right hand and pretend to place it on the floor. In doing
+so substitute the coin attached to the elastic, and, stretching
+the latter, hold the coin on the floor while you cover it
+with the cap, and ask the person who has the stick to place
+its end on the coin through the cap and keep it there until
+you tell him to move it. Then say, “I command this coin
+to leave the cap and pass into Mr. So-and-So’s pocket.
+Move the stick, please, and then lift up the cap.� On the
+removal of the stick the coin will fly under your trouser
+leg, and, of course, when the cap is lifted it is no longer
+on the floor. On the person whose name you mentioned
+putting his hand in his pocket he will find the coin you
+placed there, which you return to the person from whom
+you borrowed the penny.</p>
+
+<h3 id="a_subtle_impromptu_effect_with_a_coin">A SUBTLE IMPROMPTU EFFECT WITH
+A COIN</h3>
+
+<p><span class="title">Effect.</span>—A coin dropped down the sleeve is slowly
+rubbed out through the cloth at the elbow.</p>
+
+<p><span class="title">Requisites.</span>—Two coins exactly alike.</p>
+
+<p><span class="title">Presentation.</span>—First secretly place one of the coins
+<span id="pg_42" class="page_anchor">42 </span>between the buttons at the end of your left coat sleeve.
+Then stand with your right side towards spectators with
+the left arm extended, but slightly bent at the elbow.
+After having the coin examined, proceed to drop it down
+the sleeve of the extended arm, when it will fall to the
+elbow, and ask a spectator to feel that it is really there.
+Proceed by placing thumb of right hand on the side of
+sleeve toward spectators, and the fingers at the back, and
+rub the hand up and down the sleeve from the elbow to
+the cuff, and at the same time secretly gain possession of
+the coin between the buttons and bring it down behind the
+sleeve towards the elbow. Now with a slow pinching
+movement bring the coin down between the thumb and
+fingers and apparently out through the cloth of the sleeve,
+meanwhile moving the left arm up and down slightly.
+The coin left in the sleeve can be secretly got away by
+dropping the arm and allowing it to fall into the hand
+and then pocketed.</p>
+
+<h3 id="an_original_coin_swindle">AN ORIGINAL COIN SWINDLE</h3>
+
+<p>Palm a halfpenny in your right hand and ask a friend
+(be sure he <i>is</i> your friend) to lend you a shilling. Pick up
+a glass, invert it, and place the borrowed shilling on its
+bottom. Then ask your friend whether the coin is on the
+top or bottom of the tumbler. He will naturally look surprised
+at such a question; and you then say,—“Ah, I see
+you know the trick.� Slide the shilling off the glass into
+your right hand, and as your friend holds out his hand to
+receive it back, drop the concealed halfpenny into it. The
+chances are ten to one that he will place the coin in his
+<span id="pg_43" class="page_anchor">43 </span>pocket without glancing at it. Unless you really desire to
+swindle your friend out of elevenpence halfpenny you will,
+of course, explain to him how he has been “had.�</p>
+
+<h3 id="a_cross">A CROSS</h3>
+
+<p>Place seven coins on the table, five in a row and one
+above and one underneath the centre coin. Then challenge
+any one to form a cross with these coins by moving
+two only, all the arms of the cross to have the same number
+of coins. After many attempts and failures show how
+easy it is to accomplish by taking the two coins at the ends
+of the row and placing them upon the coin in the centre.</p>
+
+<span id="pg_44" class="page_anchor">44 </span>
+
+<h2 id="simple_tricks_with_handkerchiefs_rings_candles_etc">SIMPLE TRICKS WITH HANDKERCHIEFS,
+RINGS, CANDLES, ETC.</h2>
+
+<h3 id="a_knot_that_cannot_be_drawn_tight">A KNOT THAT CANNOT BE DRAWN
+TIGHT</h3>
+
+<p class="noindent"><span class="first_word">Tie</span> a single over-hand knot in a handkerchief, and holding
+it in your left hand, give one end to some one, telling him
+to pull at a given signal. As he is about to do so, slip
+your left thumb underneath and, letting go the end hanging
+over your left hand, allow the handkerchief to run between
+your thumb and forefinger, when it will come out without
+any knot (<a href="#fig_4">Fig<ins title="Note: absent in the original">.</ins> 4</a>).</p>
+
+<div class="illustration" id="fig_4">
+<a href="images/fig_4.png"><img src="images/fig_4_small.png" alt="" width=357 height=276></a>
+<p>Fig. 4.</p>
+</div>
+
+<span id="pg_45" class="page_anchor">45 </span>
+
+<h3 id="to_tie_an_instantaneous_knot_in_a_handkerchief">TO TIE AN INSTANTANEOUS KNOT IN
+A HANDKERCHIEF</h3>
+
+<p>Hold the handkerchief in both hands; give it a twist;
+blow on it, and a knot instantly appears in its centre.</p>
+
+<p>Hold the handkerchief as shown in <a href="#fig_5">Fig. 5</a>.</p>
+
+<div class="illustration" id="fig_5">
+<a href="images/fig_5.png"><img src="images/fig_5_small.png" alt="" width=450 height=219></a>
+<p>Fig. 5.</p>
+</div>
+
+<p>Then while in the act of blowing on it bring the hands
+together quickly, throw the end <i>a</i>, held in the right hand,
+between the two middle fingers of the left hand and over <i>b</i>;
+at the same time grasp <i>b</i> between the two middle fingers
+of the right hand (<a href="#fig_6">Fig. 6</a>); pull <i>a</i> under <i>b</i> with the left
+<span id="pg_46" class="page_anchor">46 </span>hand and <i>b</i> under <i>a</i> with your right, and the knot is made.
+With practice you will be able to do this imperceptibly.</p>
+
+<div class="illustration" id="fig_6">
+<a href="images/fig_6.png"><img src="images/fig_6_small.png" alt="" width=426 height=219></a>
+<p>Fig. 6.</p>
+</div>
+
+<h3 id="half_a_burnt_message_found_restored_in_a_candle">HALF A BURNT MESSAGE FOUND
+RESTORED IN A CANDLE</h3>
+
+<p>Procure two candles and from one cut one-third off, in
+which piece drill a hole lengthwise and remove the wick.
+Put this piece in your pocket and place the other candle in
+a candlestick. Give a small piece of paper to a member
+of the company and request him to write a short sentence on
+it. Tear the paper in two, and giving him half, retain
+the other half yourself, which you fold up. Have a similar
+piece of paper, folded, concealed in your right hand, and as
+you turn to get the candle (which should be lighted), substitute
+one for the other. Burn the plain piece of paper in
+the candle, and obtaining the piece of candle from your
+pocket put your hands behind your back, and, having rolled
+up the half message, work it into the hole in the piece of
+candle. In order to gain the time to do this stoop over the
+lighted candle and make several unsuccessful attempts to
+blow it out. When the paper is in the piece of candle give one
+good hard blow and extinguish the light. With the piece
+of candle concealed in your left hand, take the candle out
+of the candlestick, lay it on the table, and with a knife cut
+off the burnt end, which throw away and divide the remainder
+into three equal parts. Then ask the person who
+wrote the message to select one piece. When he does so
+pick up the selected piece with your right hand and pretend
+to transfer it to your left, but retain it in the right and show
+the piece concealed in your left, which you present to the
+<span id="pg_47" class="page_anchor">47 </span>person who wrote the sentence and request him to pull out
+the piece of paper, which he will find to be the corresponding
+half of the piece in his possession.</p>
+
+<h3 id="two_good_ring_tricks">TWO GOOD RING TRICKS</h3>
+
+<p>Take a common ring, about the size of a wedding-ring,
+and suspend it to the centre of your handkerchief by
+a piece of cotton four inches long. You can hold the
+handkerchief up by the corners with the ring hanging in
+front of you, and the latter will not be noticed. Then let
+the handkerchief fall over your left hand and the ring in
+your palm. Request the loan of a wedding-ring, and,
+having obtained one, put it under the handkerchief, drop
+it in your palm, and pick up the other ring, which push up
+in the centre of the handkerchief, requesting some one to
+hold it there. Next take a drinking-glass in your right
+hand and request the person to drop the ring in it and the
+handkerchief over it. Shake the glass, and the ring will
+be heard to rattle inside. Then stand the glass in the
+palm of your left hand with its bottom over the borrowed
+ring, which is concealed there. With your right hand
+pinch the centre of the handkerchief and lift it up quickly,
+of course, carrying the suspended ring with it, being very
+careful not to let the ring strike the glass. The glass is
+seen to be empty; lift it up and show the ring underneath.
+Say, “You see, the ring has passed through the bottom of
+the tumbler.�</p>
+
+<p>A similar and a better trick can be performed with
+a short cane—say about eighteen inches long—instead of
+a glass. Commence as in the previous trick, and after you
+<span id="pg_48" class="page_anchor">48 </span>have asked some one to hold the suspended ring through
+the handkerchief, show the cane, and, holding your left
+hand back upward, push it through the latter and the
+borrowed ring, and grasp the cane with, of course, the ring
+on it, in the centre. With your right hand take the ring
+and handkerchief from the person who holds them, and
+request him to take hold of each end of the cane. Now
+lower the handkerchief until it hides your left hand, when
+you must move the latter away, leaving the ring on the
+cane concealed by the handkerchief. Then let the suspended
+ring fall out of the handkerchief, and if it strikes
+the cane so much the better. Whip the handkerchief
+away, and the ring on the cane will be seen. How that
+ring could have got on the cane while the ends of the
+latter were being held will puzzle everybody. Pocket the
+handkerchief with the suspended ring at once, and don’t
+allow it to be examined.</p>
+
+<span id="pg_49" class="page_anchor">49 </span>
+
+<h2 id="simple_arithmetical_problems">SIMPLE ARITHMETICAL
+PROBLEMS</h2>
+
+<h3 id="to_ascertain_a_number_thought_of">TO ASCERTAIN A NUMBER THOUGHT OF</h3>
+
+<p class="noindent"><span class="first_word">Every</span> schoolboy knows the old puzzle: Think of a
+number; double it; add 10, <ins title="Note: “multiply� in the original">divide</ins> by 2, subtract
+number thought of; and 5 left. Here is a great improvement
+upon that problem, which I have seen puzzle some
+excellent accountants.</p>
+
+<p>Think of a number; multiply by 3; if the result is
+odd, add 1 and divide by 2; multiply by 3; if result
+be odd, add 1, and again divide by 2. By how many 9’s
+is the result divisible?</p>
+
+<p>On receipt of that information you at once give the
+number thought of. One of the most puzzling features of
+the trick is that no 9’s are obtainable in the result should
+either 1, 2, or 3 be thought of, as the following will show:—</p>
+
+<table summary="Table showing the operations performed with the inital number being 1, 2 or 3">
+<tr>
+  <td class="left">Number thought of</td>
+  <td>1</td>
+  <td>2</td>
+  <td>3</td>
+</tr>
+<tr>
+  <td>multiply by</td>
+  <td>3</td>
+  <td>3</td>
+  <td>3</td>
+</tr>
+<tr>
+  <td></td>
+  <td class="result">3</td>
+  <td></td>
+  <td class="result">9</td>
+</tr>
+<tr>
+  <td class="left">Add</td>
+  <td>1</td>
+  <td></td>
+  <td>1</td>
+</tr>
+<tr>
+  <td class="left">Divide by 2</td>
+  <td class="result">4</td>
+  <td class="result">6</td>
+  <td class="result">10</td>
+</tr>
+<tr>
+  <td></td>
+  <td>2</td>
+  <td>3</td>
+  <td>5</td>
+</tr>
+<tr>
+  <td class="left">Multiply by</td>
+  <td>3</td>
+  <td>3</td>
+  <td>3</td>
+</tr>
+<tr>
+  <td></td>
+  <td></td>
+  <td class="result">9</td>
+  <td class="result">15</td>
+</tr>
+<tr>
+  <td class="left">Add</td>
+  <td></td>
+  <td>1</td>
+  <td>1</td>
+</tr>
+<tr>
+  <td class="left">Divide by 2</td>
+  <td class="result">6</td>
+  <td class="result">10</td>
+  <td class="result">16</td>
+</tr>
+<tr>
+  <td></td>
+  <td>3</td>
+  <td>5</td>
+  <td>8</td>
+</tr>
+</table>
+
+<span id="pg_50" class="page_anchor">50 </span>
+
+<p>As will be seen, none of these results is divisible by 9,
+yet the number thought of is correctly given in each
+instance.</p>
+
+<p><span class="title">Solution.</span>—When the number thought of is multiplied by
+3, you ask the question, “Is the result odd or even?� If
+the answer is “odd,� make a mental note of <i>one</i>; then
+proceed. “Add one and divide by two. Is the result odd
+or even?� If the answer is again “odd,� make a mental
+note of <i>two</i>; and proceed. “Add one and divide by two.
+How many nines are obtainable in the result? I do not
+want to know what the surplus is.�</p>
+
+<p>The above figures illustrate that when 1 is the number
+thought of there is only an addition of 1. When 2 is
+the figure, no addition is required to the first result; but
+the second result being 9, 1 is added and <i>two</i> noted,
+which, of course, is the figure thought of. When 3 is
+thought of two additions are necessary, one to the 9
+and one to the 15, making a total of <i>three</i> to be remembered,
+which represents the original number. When
+4 or any succeeding number is thought of the final result
+is always divisible by 9, and in your mental calculation
+each 9 must represent 4, to which you add the figures you
+have previously noted.</p>
+
+<div class="center">
+<span class="title">Examples.</span>
+</div>
+
+<p>Number thought of 4 × 3 = 12 ÷ 2 = 6 × 3 = 18 ÷ 2 = 9.</p>
+
+<p>Here we have one 9, which represents 4, the number
+thought of.</p>
+
+<p>Number thought of 7 × 3 = 21 + 1 = 22 ÷ 2 = 11 × 3 = 33
++ 1 = 34 ÷ 2 = 17. From which is obtainable only one 9,
+which represents 4, to which you add 1 for the first addition
+<span id="pg_51" class="page_anchor">51 </span>of 1, and 2 for the second addition, making a total of 7,
+the number thought of.</p>
+
+<p>Number thought of,</p>
+
+<table summary="Table showing the operations performed when the initial number is 11">
+<tr>
+  <td></td>
+  <td>11</td>
+</tr>
+<tr>
+  <td>×</td>
+  <td>3</td>
+</tr>
+<tr>
+  <td></td>
+  <td class="result">33</td>
+</tr>
+<tr>
+  <td>+</td>
+  <td class="result">1</td>
+  <td class="left">note 1</td>
+</tr>
+<tr>
+  <td>÷ 2</td>
+  <td>34</td>
+</tr>
+<tr>
+  <td></td>
+  <td>17</td>
+</tr>
+<tr>
+  <td>×</td>
+  <td>3</td>
+</tr>
+<tr>
+  <td></td>
+  <td class="result">51</td>
+</tr>
+<tr>
+  <td>+</td>
+  <td>1</td>
+  <td class="left">note 2</td>
+</tr>
+<tr>
+  <td>÷ 2</td>
+  <td>52</td>
+</tr>
+<tr>
+  <td></td>
+  <td class="result">26</td>
+  <td class="left">two 9’s = 8 = 11</td>
+</tr>
+</table>
+
+<h3 id="how_to_name_a_number_which_has_been_erased">HOW TO NAME A NUMBER WHICH
+HAS BEEN ERASED</h3>
+
+<p>Request a member of the company to write a row of
+figures, the number of which is immaterial, add them
+together and subtract the addition from the row. Then to
+cross out any figure from the result, add the remaining
+figures together and give you the total, when you will tell
+him which figure he has erased. Of course, you do not
+see his figures and can leave the room while he makes
+them.</p>
+
+<div class="center">
+<span class="title">Example.</span>
+</div>
+
+<table summary="Example of the operations to be performed">
+<tr>
+  <td></td>
+  <td>567219</td>
+  <td class="left"> = 30
+</tr>
+<tr>
+  <td><ins title="Note: absent in the original">-</ins></td>
+  <td>30</td>
+</tr>
+<tr>
+  <td></td>
+  <td class="result">56<span class="crossed-out">7</span>189</td>
+</tr>
+</table>
+
+<span id="pg_52" class="page_anchor">52 </span>
+
+<p class="noindent">We will suppose he crosses out 7, which makes the addition
+of the row, minus that figure, 29. He gives you that result
+and you at once name the crossed off figure. There are
+two ways of arriving at the answer. The simplest and
+quickest way is to add the units in the result together until
+only one figure remains and deduct it from 9. For
+instance, we will take 29. Add the 2 and 9 together,
+which make 11; add 1 and 1 together and you have 2,
+which deduct from 9, leaving 7, the figure erased in the
+above example.</p>
+
+<p>Supposing 1 was the figure erased, the addition of the
+remaining figures would then be 35; 3 + 5 = 8<ins title="Note: “.� in the original">,</ins> 9 - 8 = 1,
+the figure crossed off.</p>
+
+<p>The second method is to reckon the next multiple of
+9 above the figures given you; for instance, supposing
+they are 29, the next multiple of 9 is 36. Deduct 29 from
+it and it leaves 7, the erased figure. If either 9 or 0 is
+erased the result is the same. You can get out of the
+difficulty, on being told you are wrong, by saying (in case
+you have given 9), “Yes, I see it is a nought; I thought it
+had a tail, so mistook it for a nine.� If you have named 0
+and it turns out to be 9, you can say, “Oh, I didn’t notice
+the tail; of course I should have said nine.�</p>
+
+<h3 id="a_lesson_in_the_correct_formation_of_a_figure">A LESSON IN THE CORRECT FORMATION
+OF A FIGURE</h3>
+
+<p>Request a friend to write the following figures:—</p>
+
+<div class="center">
+<span class="large">1 2 3 4 5 6 7 9</span>
+</div>
+
+<p class="noindent">Take the paper from him and, after pretending to scrutinise
+the row, ask him to point out which figure he considers
+<span id="pg_53" class="page_anchor">53 </span>most imperfectly made. If he should select the 1,
+say, “You had better practise making that figure. Oblige
+me by multiplying the row by nine.� When he does so the
+result will be</p>
+
+<div class="center">
+<span class="large">1 1 1 1 1 1 1 1 1</span>
+</div>
+
+<p class="noindent">Then say, “After this practice you will be able to make
+better ones in future.�</p>
+
+<p>If he selects the 4 request him to multiply by 36 and
+the result will be</p>
+
+<div class="center">
+<span class="large">4 4 4 4 4 4 4 4 4</span>
+</div>
+
+<p>Whichever figure he selects, mentally multiply it by 9
+and request him to multiply the row by the result. If he
+thinks 9 the most imperfectly made figure, you, of
+course, tell him to multiply by 81 and the result will be
+all 9’s.</p>
+
+<h3 id="four_nines_problem">FOUR NINES PROBLEM</h3>
+
+<p>How can four 9’s be written so that they will make
+100?</p>
+
+<div class="center">
+<span class="title">Solution.</span><br>
+<span class="large">99<sup>9</sup>&frasl;<sub>9</sub></span>
+</div>
+
+<h3 id="an_answer_to_a_sum_given_in_advance">AN ANSWER TO A SUM GIVEN IN
+ADVANCE</h3>
+
+<p>Ask some one to start a sum in addition by writing the
+top line of four figures. We will suppose he writes 1912.
+<span id="pg_54" class="page_anchor">54 </span>You mentally subtract the 2 and place it before the 1,
+making 21,910, which figures write on a piece of paper,
+which you fold up and lay on the table. You then ask
+a second person to place four figures under the first line.
+Then add a line yourself, which must be a deduction
+of the second line from four 9’s. Ask a third person
+to add four figures to those already written. Then add
+another line yourself, making it a deduction of the third
+person’s figures from four 9’s. Request a fourth person
+to add up the sum and tell him you have already done so,
+and he will find the answer on the table. The sum will
+appear something like this:—</p>
+
+<table summary="Example of the operations to be performed">
+<tr>
+  <td>1912</td>
+</tr>
+<tr>
+  <td>7234</td>
+</tr>
+<tr>
+  <td>2765</td>
+</tr>
+<tr>
+  <td>4891</td>
+</tr>
+<tr>
+  <td>5108</td>
+</tr>
+<tr>
+  <td class="result">21,910</td>
+</tr>
+</table>
+
+<p class="noindent">Which answer corresponds with the figures on the paper,
+which has been on the table the whole time. If you have
+in the company two friends upon whom you can rely
+as confederates, previously arrange with them to write the
+third and fifth lines, explaining to them that they must
+deduct the line immediately preceding theirs from 9’s
+and make their lines the products. This adds greatly to
+the mystery of the trick.</p>
+
+<h3 id="an_arithmetical_puzzle">AN ARITHMETICAL PUZZLE</h3>
+
+<p>Take 9 from 6; from 9 take 10, and from 40 take 50,
+and you will find 6 remains.</p>
+
+<span id="pg_55" class="page_anchor">55 </span>
+
+<div class="center">
+<span class="title">Solution.</span>
+</div>
+
+<table summary="Demonstration of the solution">
+<tr>
+  <td class="left">FROM</td>
+  <td class="left col">SIX</td>
+  <td class="left">FROM</td>
+  <td class="left col">IX</td>
+  <td class="left">FROM
+  <td class="left">XL</td>
+</tr>
+<tr>
+  <td class="left">TAKE</td>
+  <td class="col">IX</td>
+  <td class="left">TAKE</td>
+  <td class="col">X</td>
+  <td class="left">TAKE</td>
+  <td>L
+</tr>
+<tr>
+  <td></td>
+  <td class="left col">S</td>
+  <td></td>
+  <td class="left col">I</td>
+  <td></td>
+  <td class="left">X</td>
+</tr>
+</table>
+
+<h3 id="an_arithmetical_mystery">AN ARITHMETICAL MYSTERY</h3>
+
+<p>Thirteen commercial travellers arrived at an inn, and
+each desired a separate room. The landlady had but 12
+vacant rooms, which may be represented thus:—</p>
+
+<table class="bordered" summary="Row of twelve boxes">
+<tr>
+ <td>1</td>
+ <td>2</td>
+ <td>3</td>
+ <td>4</td>
+ <td>5</td>
+ <td>6</td>
+ <td>7</td>
+ <td>8</td>
+ <td>9</td>
+ <td>10</td>
+ <td>11</td>
+ <td>12</td>
+</tr>
+</table>
+
+<p>But she promised to accommodate all according to their
+wishes. So she showed two of the travellers into room
+No. 1, asking them to remain a few minutes together.
+Traveller No. 3 she showed into room No. 2, traveller No.
+4 she showed into room No. 3, traveller No. 5 into room
+No. 4, traveller No. 6 into room No. 5, and so on until she
+had put the twelfth traveller into Room No. 11. She then
+went back to where she had left the two travellers together,
+and asking the thirteenth traveller to follow her, led him
+to No. 12, the remaining room. Thus all were accommodated.
+Ask your friends to explain the mystery.</p>
+
+<h3 id="how_to_tell_her_age">HOW TO TELL HER AGE</h3>
+
+<p>Girls of a marriageable age do not like to tell how old
+they are, but you can find out by following the subjoined
+instructions, the young lady doing the figuring: Tell her
+to put down the number of the month in which she was
+<span id="pg_56" class="page_anchor">56 </span>born, then to multiply it by 2, then to add 5, then to
+multiply it by 50, then to add her age, then to subtract 365,
+then to add 115, then tell her to tell you the amount she
+has left. The two figures to the right will tell you her age
+and the remainder the month of her birth. For example,
+the amount is 822, she is twenty-two years old and was
+born in the eighth month (August).</p>
+
+<h3 id="a_race_in_addition">A RACE IN ADDITION</h3>
+
+<p>Tell a friend that you will race him in counting from
+1 to 100, and guarantee to win, under the following conditions:
+You will allow him to start first, at any number
+from 1 to 10, and you are both to have the privilege of
+adding any figure up to 10 to the last number called. For
+instance, we will suppose he starts with 5. You call 15,
+having mentally added 10 to his number. He then calls
+20, having added 5; and so on, until 100 is reached.
+Until he sees through the trick you will win every time, and
+even then you will win if you start first and commence at 1.
+In that case, as he can only add 10, his first call could not
+exceed 11, to which you immediately add 1 and call 12.
+If his next call is 22, you say 23. No matter what his
+additions may be, the numbers you must always reach first
+are 12, 23, 34, 45, 56, 67, 78, and 89. When you call the
+latter number, as he can only add 10 to it, your next call
+will, of course, be 100. By this you will observe that,
+although you can only add 10 to your opponent’s last
+number, you in reality add 11 to your own. So you are,
+so to speak, always 1 ahead of him. If, when you suggest
+the trick, you see your friend is not familiar with it, you
+<span id="pg_57" class="page_anchor">57 </span>can give him the option of starting first, and you need not
+pick up the thread of your winning numbers until you
+reach 50, adding low numbers to his additions, which will
+help to puzzle him; but he will soon see that it is necessary
+to reach 89; then he will notice you strike 78 and 67.
+When you see he is getting on the right track, pick up the
+winning numbers earlier, and at last insist that you must
+now start first. In starting with a person who does not
+know the trick it is advisable, and more puzzling, to dodge
+about at first and not get on the track of the winning
+numbers until 56 or 67. But if your friend knows the
+trick and starts at 1 you cannot beat him. I have seen
+good accountants puzzle for hours over this little trick,
+which was invented by Mr. William Lawtey, a dear old
+friend of mine.</p>
+
+<h3 id="to_predict_the_hour_your_friend_intends_to_rise_on_the_following_morning">TO PREDICT THE HOUR YOUR FRIEND
+INTENDS TO RISE ON THE FOLLOWING
+MORNING</h3>
+
+<p>Request your friend to make up his mind as to the time
+he intends to rise on the following morning, and then to
+mention an entirely different hour to you. To the latter
+you mentally add twelve, and giving him the number of the
+total, request him to look at his watch, and starting at the
+hour preceding the one he has selected for rising, to count
+backwards until he reaches the number you have given him,
+beginning with the number which he previously gave you.
+Ask him to state the hour at which he stops, which he will
+find is the one he selected for rising. For instance; supposing
+your friend intends to rise at nine and gives you
+<span id="pg_58" class="page_anchor">58 </span>four. To four you mentally add twelve and request him to
+start at the hour before his getting-up time (which would
+be eight) and count sixteen backwards on the face of the
+watch, starting with the number he gave you—four—and
+when he reaches sixteen his finger or pencil will rest upon
+nine, the hour he selected for getting up.</p>
+
+<span id="pg_59" class="page_anchor">59 </span>
+
+<h2 id="match_puzzles">MATCH PUZZLES</h2>
+
+<h3 id="experiment_with_ten_matches">EXPERIMENT WITH TEN MATCHES</h3>
+
+<p class="noindent"><span class="first_word">Lay</span> ten matches side by side (<a href="#fig_7">Fig. 7</a>) and request some
+one to lift each match singly, and passing it over two
+matches, cross a third match with it until there are five
+crosses on the table (<a href="#fig_8">Fig. 8</a>). Two matches (and only
+two whether crossed or single) must be passed over at a
+time.</p>
+
+<div class="illustration" id="fig_7">
+<a href="images/fig_7.png"><img src="images/fig_7_small.png" alt="" width=219 height=92></a>
+<p>Fig. 7.</p>
+</div>
+
+<div class="illustration" id="fig_8">
+<a href="images/fig_8.png"><img src="images/fig_8_small.png" alt="" width=249 height=69></a>
+<p>Fig. 8.</p>
+</div>
+
+<p>The secret is that No. 1 must be crossed first and No. 9
+second, or the trick cannot be accomplished.</p>
+
+<p>The following are the correct moves: 4 over 2 and 3
+<span id="pg_60" class="page_anchor">60 </span>and crossed on 1; 6 over 7 and 8 and crossed on 9;
+8 over 7 and 5, crossed on 3; 2 over the 3 and 5, crossed
+on 7; the 10 over the 9 and 7, crossed on 5.</p>
+
+<h3 id="the_magic_nine">THE MAGIC NINE</h3>
+
+<p>Make the figure 9 with a long tail with matches (<a href="#fig_9">Fig. 9</a>)
+and tell a member of the company to think of a number,
+which must exceed the
+number of matches in the
+tail; and, commencing at
+the first match in the latter,
+count mentally round the
+figure, stop when he reaches
+the number thought of, and
+then, recommencing at the
+match he stopped at, count
+the reverse way, this time
+avoiding the tail, and continuing
+on the upper part
+of the 9 until he again
+reaches the number he
+selected, when you will
+point to the match he has stopped at. This you can do
+very easily, for if there are seven matches in the tail he will,
+of course, stop at the seventh match on the left from the
+tail, as will be seen by the numbering on the diagram,
+which assumes he thought of fifteen. Each time the
+puzzle is tried vary the length of the tail by taking some
+matches out of the latter and adding them to the upper
+part of the figure, or vice versa. If this is not done the
+<span id="pg_61" class="page_anchor">61 </span>stop will always be made at the same match, which will
+give the trick away.</p>
+
+<div class="illustration" id="fig_9">
+<a href="images/fig_9.png"><img src="images/fig_9_small.png" alt="" width=257 height=356></a>
+<p>Fig. 9.</p>
+</div>
+
+<h3 id="triangles_with_matches">TRIANGLES WITH MATCHES</h3>
+
+<p>Make three equilateral triangles with six matches. Of
+course, two can be made with five matches; but then there
+is one over, and how to make a third triangle with only
+one match is a puzzler. It is as easy as possible. Make a
+triangle with three matches, and stand the other three
+upon end inside the triangle in the form of a tripod
+(<a href="#fig_10">Fig. 10</a>).</p>
+
+<div class="illustration" id="fig_10">
+<a href="images/fig_10.png"><img src="images/fig_10_small.png" alt="" width=172 height=132></a>
+<p>Fig. 10.</p>
+</div>
+
+<p>Here is another triangular puzzle. With five matches
+form two equilateral triangles. Tell the company they are
+to remove three matches; then add two and make two
+more equilateral triangles. This is only a “sell.� You do
+not say where the two matches are to be added. You add
+them to the three removed, and form the same figure
+over again (<a href="#fig_11">Fig. 11</a>).</p>
+
+<div class="illustration" id="fig_11">
+<a href="images/fig_11.png"><img src="images/fig_11_small.png" alt="" width=147 height=106></a>
+<p>Fig. 11.</p>
+</div>
+
+<h3 id="match_squares">MATCH SQUARES</h3>
+
+<p>Make nine squares with twenty-four matches (<a href="#fig_12">Fig. 12</a>).
+<span id="pg_62" class="page_anchor">62 </span>Then request some one to remove eight matches, and without
+touching those left, to leave two perfect squares.</p>
+
+<div class="illustration" id="fig_12">
+<a href="images/fig_12.png"><img src="images/fig_12_small.png" alt="" width=233 height=238></a>
+<p>Fig. 12.</p>
+</div>
+
+<p><a href="#fig_13">Fig. 13</a> shows the solution.</p>
+
+<div class="illustration" id="fig_13">
+<a href="images/fig_13.png"><img src="images/fig_13_small.png" alt="" width=236 height=235></a>
+<p>Fig. 13.</p>
+</div>
+
+<h3 id="your_opponent_must_take_the_last_match">YOUR OPPONENT MUST TAKE THE
+LAST MATCH</h3>
+
+<p>Place twenty-five matches in a row on the table. Request
+some one to select one end of the row and to take
+one, two, or three matches from it, you having the same
+privilege at the other end; and you guarantee he will be
+compelled to take the last match no matter how he may
+vary the number he takes.</p>
+
+<p>The secret is to remove four matches each time between
+you. For instance, if your opponent takes three you take
+one; if he takes two you take two; if he takes one you
+take three and so on. It is obvious if four matches are
+taken six times one match will be left on the table, which
+your opponent must take.</p>
+
+<span id="pg_63" class="page_anchor">63 </span>
+
+<h3 id="a_shakespearean_quotation">A SHAKESPEAREAN QUOTATION</h3>
+
+<p>Lay five matches on the table and request a member of
+the company to form a well-known quotation from Shakespeare
+by the addition of three
+more matches (<a href="#fig_14">Fig. 14</a>). “But,�
+some one will say, “how does
+KINI represent a Shakespearean
+quotation?� Your reply is obvious:
+“Can’t you see KINI is ‘a little more than kin,
+but rather less than kind’?�</p>
+
+<div class="illustration" id="fig_14">
+<a href="images/fig_14.png"><img src="images/fig_14_small.png" alt="" width=188 height=70></a>
+<p>Fig. 14.</p>
+</div>
+
+<h3 id="numeral">NUMERAL</h3>
+
+<p>Place five matches on the table and challenge any one
+to make them into thirteen without
+breaking any of them, and then, without
+moving them, to make eight by the use
+of a card. The solution will be found in
+<a href="#fig_15">Fig. 15</a>.</p>
+
+<div class="illustration" id="fig_15">
+<a href="images/fig_15.png"><img src="images/fig_15_small.png" alt="" width=128 height=71></a>
+<p>Fig. 15.</p>
+</div>
+
+<p>To make eight, hide the lower half
+of the row from sight, and it of course shows viii.</p>
+
+<h3 id="six_and_five_make_nine">SIX AND FIVE MAKE NINE</h3>
+
+<p>Place six matches on the table and request a person to
+add five more in such a manner as to make nine. The
+solution is shown in <a href="#fig_16">Fig. 16</a>.</p>
+
+<div class="illustration" id="fig_16">
+<a href="images/fig_16.png"><img src="images/fig_16_small.png" alt="" width=265 height=71></a>
+<p>Fig. 16.</p>
+</div>
+
+<span id="pg_64" class="page_anchor">64 </span>
+
+<h3 id="the_artful_schoolboys">THE ARTFUL SCHOOLBOYS</h3>
+
+<p>At a certain school were four long dormitories, built in
+the form of a square, in which thirty-two boys occupied
+beds, as shown by matches in <a href="#fig_17">Fig. 17</a>.</p>
+
+<div class="illustration" id="fig_17">
+<a href="images/fig_17.png"><img src="images/fig_17_small.png" alt="" width=234 height=237></a>
+<p>Fig. 17.</p>
+</div>
+
+<p>By this arrangement the master, in going his rounds at
+night, counted twelve boys in each corridor. One night
+four boys absented themselves from the school, and the
+remaining boys rearranged themselves in such a manner
+that the master was still able to count twelve boys in each
+corridor, and the absence of their four comrades was not
+noticed. How they did it is shown in <a href="#fig_18">Fig. 18</a>.</p>
+
+<div class="illustration" id="fig_18">
+<a href="images/fig_18.png"><img src="images/fig_18_small.png" alt="" width=239 height=236></a>
+<p>Fig. 18.</p>
+</div>
+
+<p>The four absentees returned on the following night,
+accompanied by four friends; but the master was unable
+to notice the addition, for he again counted twelve boys
+in each dormitory. The new arrangement was as <a href="#fig_19">Fig. 19</a>.</p>
+
+<div class="illustration" id="fig_19">
+<a href="images/fig_19.png"><img src="images/fig_19_small.png" alt="" width=237 height=237></a>
+<p>Fig. 19.</p>
+</div>
+
+<p>There were now thirty-six boys sleeping in the dormitories,
+and next night they were joined by four more,
+which brought the number up to forty, and yet the master
+<span id="pg_65" class="page_anchor">65 </span>only counted twelve in each dormitory on his rounds that
+night. How the new distribution was made is shown in
+<a href="#fig_20">Fig. 20</a>.</p>
+
+<div class="illustration" id="fig_20">
+<a href="images/fig_20.png"><img src="images/fig_20_small.png" alt="" width=228 height=235></a>
+<p>Fig. 20.</p>
+</div>
+
+<p>Next night four more chums popped in for a snooze,
+making a total of forty-four,
+and again the master was
+bamboozled by the following
+readjustment (<a href="#fig_21">Fig. 21</a>).</p>
+
+<div class="illustration" id="fig_21">
+<a href="images/fig_21.png"><img src="images/fig_21_small.png" alt="" width=234 height=238></a>
+<p>Fig. 21.</p>
+</div>
+
+<p>History is silent upon the
+subject of the arrangement at
+the breakfast-tables.</p>
+
+<p>The proper way to present
+this puzzle to your friends is
+to lay forty-four matches on
+the table, and after showing
+the initial arrangement, allow
+them to work the rest out for themselves.</p>
+
+<span id="pg_66" class="page_anchor">66 </span>
+
+<h3 id="what_are_matches_made_of">WHAT ARE MATCHES MADE OF?</h3>
+
+<p>Arrange fourteen matches as in <a href="#fig_22">Fig. 22</a>, and tell your
+friends to take away any three matches they may select
+without disturbing the others, and replace one in any
+position they may choose in such a way as to show what
+matches are made of. They will endeavour to form the
+word “wood�; but <a href="#fig_23">Fig. 23</a> gives the correct solution.</p>
+
+<div class="illustration" id="fig_22">
+<a href="images/fig_22.png"><img src="images/fig_22_small.png" alt="" width=348 height=78></a>
+<p>Fig. 22.</p>
+</div>
+
+<div class="illustration" id="fig_23">
+<a href="images/fig_23.png"><img src="images/fig_23_small.png" alt="" width=327 height=75></a>
+<p>Fig. 23.</p>
+</div>
+
+<h3 id="a_sheep_pen">A SHEEP PEN</h3>
+
+<p>Arrange eight matches as shown in <a href="#fig_24">Fig. 24</a>, and state
+that this enclosure, formed by eight hurdles, is supposed
+to hold one hundred sheep. Ask your friends how many
+<span id="pg_67" class="page_anchor">67 </span>more hurdles would be required to enable the enclosure
+to contain two hundred sheep? The reply is generally
+eight more, and your friends will be surprised to learn that
+only two more hurdles are required—one at each end
+across the enclosure. Three hurdles being moved to
+admit of the introduction of the additional two, the pen
+will, of course, be doubled in size.</p>
+
+<div class="illustration" id="fig_24">
+<a href="images/fig_24.png"><img src="images/fig_24_small.png" alt="" width=348 height=126></a>
+<p>Fig. 24.</p>
+</div>
+
+<h3 id="post_and_rail_puzzle">POST AND RAIL PUZZLE</h3>
+
+<p>Put the following question to the company: Supposing
+there was a tunnel through a hill and a post and rail fence
+was constructed through it, and another fence was made
+exactly above it, over the hill, how many more posts would
+be required for the latter route, supposing they were the
+same distance apart by both routes?</p>
+
+<p>After several calculations have been made you can
+astonish the company by telling them that exactly the
+same number of posts would be required for both routes,
+which you can prove by making a rough sketch of the
+diagram, <a href="#fig_25">Fig. 25</a>, and placing matches on it to represent
+the posts.</p>
+
+<div class="illustration" id="fig_25">
+<a href="images/fig_25.png"><img src="images/fig_25_small.png" alt="" width=324 height=159></a>
+<p>Fig<ins title="Note: absent in the original">.</ins> 25.</p>
+</div>
+
+<span id="pg_68" class="page_anchor">68 </span>
+
+<h2 id="simple_miscellaneous_tricks">SIMPLE MISCELLANEOUS TRICKS</h2>
+
+<h3 id="a_good_after-dinner_trick">A GOOD AFTER-DINNER TRICK</h3>
+
+<p class="noindent"><span class="first_word">Procure</span> an egg, an apple, an orange, and two dozen
+nuts. Place the latter on a plate, and request three
+persons during your absence from the room to each pocket
+one of the three former, asserting that you will eventually
+state in whose pockets the different articles are to be
+found. On returning to the room present to one of the
+persons you have asked to assist you one nut, to a second
+person two nuts, and to the third three nuts, which will of
+course leave eighteen nuts on the plate. You must mentally
+name the person to whom you gave one nut “number
+one,� to the person holding two nuts “number two,� and
+the one who has three nuts “number three.�</p>
+
+<p>Announce your intention of again leaving the room,
+and request your three assistants to help themselves during
+your absence to nuts as follows—the one holding the apple
+to take the same number of nuts you presented him with,
+the one who has the egg to twice as many as you gave
+him, and the holder of the orange to four times as many
+as he originally received.</p>
+
+<p>Impress on them that the number of nuts they take
+must be <i>in addition</i> to those they already hold.</p>
+
+<span id="pg_69" class="page_anchor">69 </span>
+
+<p>On returning to the room you glance at the nuts remaining
+in the plate and at once call for the egg, apple, and
+orange from their respective holders.</p>
+
+<div class="center">
+<span class="title">Explanation.</span>
+</div>
+
+<p>You must memorise the following Latin words: Attento,
+Beato, Cantores, Erocat, Fortasse, Glossema, numbering
+them 1, 2, 3, 4, 5, and 7. The initials of these words, it
+will be observed, are the first six letters of the alphabet,
+omitting D, which is not required; A, of course, standing
+for Apple, E for Egg, and O for Orange.</p>
+
+<p>On returning to the room after your second absence
+count the number of nuts remaining on plate, refer to the
+Latin words, and you have the key. Supposing there are
+only two nuts left, take the second word, Beato, and reject
+the consonants, when the vowels will remain in proper
+order, E, A, O. The E being first shows the egg is in the
+pocket of the person whom you have designated as
+“number one.� The A being second indicates “number
+two� has the apple, and the O, the third letter, means
+“number three� holds the orange.</p>
+
+<p>Supposing there are seven nuts left, take the seventh
+word, Glossema, reject the consonants as before, and pick
+out the vowels, O, E, A, which proves “number one�
+person holds the orange, “number two� the egg, and
+“number three� the apple, and so on with the other Latin
+words, the remaining number of nuts always indicating
+the word from which you are to select the vowels. This
+trick may be repeated <i>ad lib.</i> without fear of detection.</p>
+
+<span id="pg_70" class="page_anchor">70 </span>
+
+<h3 id="to_remove_a_serviette_ring_from_a_tape_held_on_the_thumbs_of_another_person">TO REMOVE A SERVIETTE RING FROM
+A TAPE HELD ON THE THUMBS OF
+ANOTHER PERSON</h3>
+
+<p>Obtain a piece of tape, or string, about three feet in
+length and tie the ends; pass this loop through a serviette
+ring and the ends of the loop over the thumbs of a friend
+(<a href="#fig_26">Fig. 26</a>).</p>
+
+<div class="illustration" id="fig_26">
+<a href="images/fig_26.png"><img src="images/fig_26_small.png" alt="" width=403 height=177></a>
+<p>Fig. 26.</p>
+</div>
+
+<p>Take hold of the tape with your left forefinger at A and
+pull it forward and down; with your right forefinger pull
+the tape at B, from underneath, forward and upward, which
+will cause the two parts to cross each other. Then with
+your right forefinger and thumb place the tape B over the
+thumb D; move the ring toward D and with your right
+forefinger and thumb take the tape at C from underneath
+and carry it also over the thumb D. Take hold of the ring
+and pull it gently, as you slip your left forefinger out of the
+loop A, when it will at once be released without the tape
+leaving either thumb.</p>
+
+<span id="pg_71" class="page_anchor">71 </span>
+
+<h3 id="an_experiment_in_gravity">AN EXPERIMENT IN GRAVITY</h3>
+
+<p>Give a person two half-crowns and request him to hold
+them horizontally between the tips of his thumb and finger
+of his right hand, the coins touching each other. Then
+request him to drop the lower coin in his left hand and
+you will tell him which side will come uppermost. First
+note which side of the coin is underneath when you place
+them in position, for that will be the uppermost side when
+it reaches his left hand. The lower coin will turn completely
+over in the act of falling: nothing can prevent it.
+The distance between the hands should be from fourteen to
+sixteen inches.</p>
+
+<h3 id="a_scissors_feat">A SCISSORS FEAT</h3>
+
+<p>Hold a pair of scissors on the first two joints of your
+little fingers with your palms upward, their blades pointing
+to the floor (<a href="#fig_27">Fig. 27</a>). Then throw the points over toward
+you, turning your hands at the same time and bringing
+<span id="pg_72" class="page_anchor">72 </span>your knuckles back to back, the scissors standing out
+straight from you (<a href="#fig_28">Fig. 28</a>).</p>
+
+<div class="illustration" id="fig_27">
+<a href="images/fig_27.png"><img src="images/fig_27_small.png" alt="" width=326 height=186></a>
+<p>Fig. 27.</p>
+</div>
+
+<div class="illustration" id="fig_28">
+<a href="images/fig_28.png"><img src="images/fig_28_small.png" alt="" width=361 height=155></a>
+<p>Fig. 28.</p>
+</div>
+
+<p>I have never seen any one accomplish this simple feat
+until they learned the secret. When you throw the scissors
+over on the palms of your hands, with their points toward
+your chest, allow the blades to rest there for an instant with
+the tips of your little fingers touching your palms through
+the <ins title="Note: “scissor’s� in the original">scissors’</ins> bows; then bring the backs of your fingers
+together with your hands closed and the points of the
+scissors outward. The uninitiated, instead of allowing the
+bows to slip to the points of the little fingers, hold them
+tight on the second joints and, of course, fail.</p>
+
+<h3 id="another_trick_with_a_pair_of_scissors">ANOTHER TRICK WITH A PAIR OF
+SCISSORS</h3>
+
+<p>This trick consists of fastening the scissors securely to
+the back of a chair with a piece of string and then removing
+them without cutting or untying the string. First
+make a loop of a piece of string about two feet in length
+and pass the double end through one of the bows and the
+<span id="pg_73" class="page_anchor">73 </span>two loose ends through the loop and pull tight. Next pass
+the two single ends through the other bow of the scissors
+and tie them to the back of the chair. The puzzle is
+how to remove them, which is simple enough when you
+know how. Loosen the loop and draw it upwards and pass
+it through the other bow, and then over both bows and
+points, when the scissors will be free.</p>
+
+<h3 id="an_indestructible_cigarette_paper">AN INDESTRUCTIBLE CIGARETTE<ins title="Note: “-� in the original"> </ins>PAPER</h3>
+
+<p>Take three cigarette<ins title="Note: “-� in the original"> </ins>papers, fold one up into a very
+small square, and paste it lightly on the top right corner of
+the second paper. The third paper roll lengthwise, and
+conceal it in your ear. Show the first paper between both
+thumbs and fingers, your right thumb on the pasted corner,
+then proceed to tear it up into squares, placing the pieces
+in front of each other before tearing again. When it is in
+pieces about the size of the pasted square, under the shelter
+of your left hand, with its back to the audience, separate
+the pieces from the square and hold the latter up between
+your right thumb and finger. Then, pretending to moisten
+your left forefinger on your tongue, slip the pieces in your
+mouth and conceal them there, and carefully unfold the
+square held in the other hand, when the paper will appear
+to have been restored. You then roll the paper length
+wise, and say, “I will swallow it.� Put it in your mouth
+and pretend to do so. Putting your left hand to your ear,
+say, “I will now reproduce from my ear.� Pull out the
+paper concealed there very carefully, and as you turn to
+<span id="pg_74" class="page_anchor">74 </span>lay it on your table allow the pieces in your mouth to drop
+into your hand.</p>
+
+<h3 id="to_cut_an_apple_in_two_with_your_finger">TO CUT AN APPLE IN TWO WITH
+YOUR FINGER</h3>
+
+<p>With a needle and strong thread take a stitch of about
+half an inch in its side, leaving several inches of the thread
+hanging from where you puncture it. Reinserting the
+needle in the hole it made coming out, take another stitch of
+half an inch, and again reinsert the needle where it came
+out. Take similar stitches all round the apple until the
+needle comes out of the first hole made, and then cross the
+two ends of the thread and pull them steadily until all the
+thread comes out of the hole. The apple is now cut through,
+although the skin does not show it.</p>
+
+<p>Slip this apple in your pocket, and during dessert select
+an apple as much like the prepared one as possible. Having
+previously placed your serviette over your knees, with the
+prepared apple in it, drop the apple just selected and pick
+up the former with your right hand while you turn your plate
+over with your left hand. Putting the apple on its side on
+the inverted plate, laying your forefinger on the apple you
+give the former a smart blow with your right fist, when the
+apple will fall in two pieces.</p>
+
+<h3 id="a_trick_with_dominoes">A TRICK WITH DOMINOES</h3>
+
+<p>Take a full set of dominoes—twenty-eight pieces—turn
+them face downward on the table; shuffle them thoroughly;
+<span id="pg_75" class="page_anchor">75 </span>then tell the company to turn them over and match them
+in the ordinary way, while you take a seat at the other end
+of the room with your back to the table. They can blindfold
+you if they wish. As soon as all the pieces are matched
+you call out the numbers shown at the two ends of the row.
+Return to the table, turn the dominoes over again, shuffle
+them as before with the right hand; again turn your back,
+and call out the end numbers. You can repeat this any
+number of times without detection, unless some one
+should count the pieces and find only twenty-seven. Each
+time you have shuffled them you have dropped a piece
+concealed in your right hand, and extracted and palmed
+another. One piece taken from a set of dominoes invariably
+indicates by its numbers the numbers at the two ends
+of a row when the pieces are all properly matched.</p>
+
+<h3 id="an_escape">AN ESCAPE</h3>
+
+<p>Ask some one to tie your wrists together with a handkerchief,
+and then to pass a cord between your arms behind
+your tied wrists, and hold the ends securely. Have
+towel or cloth thrown over your hands, and after a very
+brief interval tell the person who holds the ends of the
+cord to pull. When he does so, the latter will pass from
+your hands and fall on the floor. You remove the cloth,
+and show that your wrists are still tied together.</p>
+
+<p><span class="title">Explanation.</span>—When your hands are covered, move
+your elbows out, which will separate your wrists, push the
+second finger of your right hand between them, and with
+it pull the bight of the cord through the bandage round
+<span id="pg_76" class="page_anchor">76 </span>your wrists, slip it over one hand, and when your assistant
+pulls the cord it will pass off clear of your hands.</p>
+
+<h3 id="cigarette_papers_and_serviettes">CIGARETTE PAPERS AND SERVIETTES</h3>
+
+<p>Screw three cigarette papers up into pellets and cover
+each of them with a folded serviette. Then lift the serviette
+on your right with your left hand (to show that the pellet
+is still there) and transfer it to your right, holding it with
+your thumb on top and fingers underneath, and re-cover
+the pellet. As you do this nip the pellet between the tips
+of your first and second fingers in such a way that it does
+not show in front of them as you withdraw your hand palm
+upwards. Then raise the centre serviette with your left
+hand, transfer it to your right, as before, and re-cover the
+pellet, and as you do so, drop the pellet concealed between
+your fingers under it. Then raise the third serviette with
+your left hand, transfer it to your right, re-cover the pellet,
+and, in doing so, nip the latter between your fingers, as you
+did the first one. Then say: “There are three pellets on
+the table covered by serviettes. I command the one here
+(pointing to the one on your left) to travel invisibly to the
+centre serviette.� Turn the serviette over, and show the
+pellet has gone. Then lift the centre serviette with your
+left hand, and show the two pellets under it. Transfer it
+to your right hand, and, in replacing it, drop the concealed
+pellet. Then say: “We have now two pellets under the
+centre serviette, and one under this one� (pointing to the
+one on your left). “I command this one to join its
+fellows.� Lift the serviette as you speak, and show the
+<span id="pg_77" class="page_anchor">77 </span>pellet has gone; lift up the centre serviette, and the three
+pellets will be found together.</p>
+
+<h3 id="four_cigarette_papers">FOUR CIGARETTE PAPERS</h3>
+
+<p>This is a variation of the previous trick. Roll up five
+cigarette papers into pellets. Conceal one at the root of
+the left thumb, and form a square with the others on the
+table. Show your hands empty (the concealed pellet will
+not be observed if properly held), and cross your hands
+over the pellets on the table. With the tips of your right
+fore and second fingers nip one of the pellets on your left,
+and at the same time drop the pellet concealed in your
+left hand between the two on your right. Move both
+hands away quickly, and one of the pellets on your left
+will appear to have travelled invisibly under your right
+hand. Again cross your hands, passing your right hand
+under the left, and as you do so drop the pellet concealed
+between your fingers, covering it at once with the left
+hand. Then nip the remaining pellet with your right first
+and second fingers, as before, and, on lifting your hands,
+all four pellets will appear on your right. You can get rid
+of the remaining pellet by dropping it on the floor, or on
+your lap if you are sitting at the table.</p>
+
+<h3 id="a_hindoo_swindle">A HINDOO SWINDLE</h3>
+
+<p>This effect is practically unknown to the Western Conjurer,
+but has been one of the stock-in-trade among
+magicians in India for years. It involves a principle (that
+of transfer) which is capable of extensive development in
+the use of modern magic.</p>
+
+<span id="pg_78" class="page_anchor">78 </span>
+
+<p><span class="title">Requisites.</span>—(1) A piece of brittle unglazed earthenware.
+(A piece of substance akin to thin flowerpot is used
+in India.) (2) A stick of specially prepared soft charcoal.</p>
+
+<p>A piece of earthenware is given, upon which a spectator
+is requested to write his initials with a piece of charcoal
+supplied. The correct preparation of this charcoal was
+conveyed to me by a Hindoo, and is as follows: Procure a
+piece of boxwood or beech, the former for preference, place it
+in the fire until reduced to a red glowing mass, remove it
+with tongs and immediately place it into a thick jar and
+cover up very tightly till cool.</p>
+
+<p>The earthenware is taken by the performer and crushed
+up under his heel. The spectator is then asked to wave
+his right hand over the broken pieces, and upon the palm
+being turned upwards the absolute initials in all detail are
+found imprinted upon his hand.</p>
+
+<p><span class="title">Presentation.</span>—Hand the piece of earthenware to the
+spectator, together with the charcoal; request that his initials
+shall be written on the earthenware in a space marked the
+size of the tip of the index finger. After this has been
+done, you take it back between the thumb and index finger
+of the right hand, the finger over the initials exerting a firm
+pressure which has the effect of transferring the writing to
+the latter. Then place the earthenware under your heel
+and crush it.</p>
+
+<p>Now request the spectator to wave his right hand over
+the pieces. After this has been done for a few seconds,
+boldly take hold of the hand (your index finger firmly
+pressing upon its palm) and suggest that the hand is not
+quite over the pieces, suiting the action to the word by
+slightly pulling the hand forward; this has the effect of re-transferring
+<span id="pg_79" class="page_anchor">79 </span>the reversed initials on to the spectator’s palm,
+to be discovered a little later upon the hand being turned
+over.</p>
+
+<h3 id="the_elusive_match-a_capital_impromptu_trick">THE ELUSIVE MATCH—A CAPITAL
+IMPROMPTU TRICK</h3>
+
+<p><span class="title">Effect.</span>—A match apparently thrown away persists in
+reappearing in closed hand.</p>
+
+<p><span class="title">Requisites.</span>—A box of ordinary safety matches, together
+with an extra match top, broken off about half an inch
+long.</p>
+
+<p><span class="title">Presentation.</span>—First conceal the extra match top
+between the tips of the index and second finger of the
+right hand. Now give the box of matches to a spectator,
+and request that the tops of three of the matches be broken
+off about half an inch long and handed to you. You then
+place these upon the table and proceed to pick them up
+one at a time with the right hand, and throw them into the
+left (each time closing that hand) as follows: The first is
+thrown in quite fairly, the second one is also thrown in
+but is secretly accompanied by the one which you have
+previously concealed at the finger-tips, the third one you
+pick up and apparently throw away, but really retaining it
+at the finger-tips as above mentioned. You now open the
+left hand and throw three match tops on to the table
+instead of the supposed two; apparently the one thrown
+away has secretly travelled back to the left hand. This
+trick can be repeated about three times without fear of
+detection, as you always have a fourth match top in readiness
+at the finger-tips. Properly worked it proves a very bewildering
+little trick.</p>
+
+</div>
+
+<div class="ad_page" id="ad_page_0">
+
+<div class="type4">
+HERCAT,
+</div>
+
+<table summary="">
+<tr>
+
+<td>
+<div class="type5">
+Of the
+Egyptian Hall,
+Queen’s Hall,
+Shaftsbury
+Theatre,
+Lyceum
+Theatre,
+The Tivoli,
+Crystal Palace,
+&amp;c.,
+</div>
+</td>
+
+<td>
+<div class="type6">
+<i>Illusionist,
+Ventriloquist,
+Comedian,
+&amp; Author,</i>
+</div>
+</td>
+
+</tr>
+</table>
+
+<div class="center">
+CAN BE ENGAGED FOR
+</div>
+
+<div class="type7">
+EVENING PARTIES,
+‘AT HOMES,’ &amp;c.,
+</div>
+
+<div class="center">
+IN HIS
+</div>
+
+<div class="type8">
+REFINED &amp;
+ORIGINAL
+ENTERTAINMENT.
+</div>
+
+<div class="type9">
+SEND FOR CIRCULAR.
+</div>
+
+<div class="type10">
+LESSONS IN SLEIGHT OF HAND and
+VENTRILOQUISM.
+</div>
+
+<div>
+<i>Permanent Address</i>:—<br>
+<b>Care of ‘THE ERA,’<br>
+5 Tavistock Street, Strand,<br>
+London. W.C.</b>
+</div>
+
+</div>
+
+<div class="ad_page" id="ad_page_1">
+
+<div class="type1">
+Dean’s 6d. Champion Handbooks.
+</div>
+
+<div class="type2">
+<i>Crown 8vo. Profusely illustrated.</i>
+</div>
+
+<p><b>Cricket and How to Play.</b> By <span class="smallcaps">Bob
+Abel</span>.<span class="float_right"><a href="images/ad_1.png"><img src="images/ad_1_small.png" alt="" width=99 height=133></a></span>
+
+<p><b>Draughts.</b> By <span class="smallcaps">W. Patterson</span>.
+
+<p><b>Indian Clubs, Dumb-Bells, and
+Sword Exercises.</b> With Diagrams.
+By the late Prof. <span class="smallcaps">Harrison</span>.
+
+<p><b>Rowing, Sculling, Punting, and
+Yachting.</b> By “Straw Hat.�
+
+<p><b>Art of Attack and Defence.</b> By
+Major <span class="smallcaps">Elliott</span>.
+
+<p><b>The Handbook of Boxing.</b> By
+<span class="smallcaps">John C. Earl</span>.
+
+<p><b>Gymnastics.</b> By Sergt.-Major <span class="smallcaps">S. G.
+Noakes</span>.
+
+<p><b>Rugby Football.</b> By “Straw Hat.�
+
+<p><b>Association Football.</b> By “Straw Hat.�
+
+<p><b>Pocket Cricket Scoring Book.</b> Stiff Cover.
+
+<p><b>Billiards.</b> By <span class="smallcaps">W. Mitchell</span>. Edited by <span class="smallcaps">A. W. Cooper</span>.
+
+<div class="type1">
+Dean’s 1/- Champion Handbooks.
+</div>
+
+<div class="type2">
+<i>Crown 8vo. Illustrated.</i>
+</div>
+
+<p><b>Amateur Cycling.</b> Embracing every branch of this agreeable
+pastime. By <span class="smallcaps">G. Lacy Hillier</span> and <span class="smallcaps">W. G. H. Bramson</span>. New
+Edition, revised by <span class="smallcaps">F. Taylor</span>.
+
+<p><b>Cricket.</b> By <span class="smallcaps">R. Abel</span>. Eight Illustrations from Photographs.
+
+<p><b>Fishing.</b> By <span class="smallcaps">Arthur Kent</span> and <span class="smallcaps">G. C. Davies</span>.
+
+<p><b>Chess.</b> A Manual for Beginners. By <span class="smallcaps">H. E. Bird</span>.
+
+<p><b>Billiards.</b> By <span class="smallcaps">W. Mitchell</span>. Edited by <span class="smallcaps">A. W. Cooper</span>.
+
+<p><b>Rowing.</b> By “Straw Hat.�
+
+<p><b>Indian Clubs and Dumb-Bells.</b> By Professor <span class="smallcaps">Harrison</span>.
+
+<p><b>Boxing and Attack and Defence.</b> By <span class="smallcaps">J. C. Earl</span> and Major
+<span class="smallcaps">W. J. Elliott</span>.
+
+<p><b>Golf.</b> By <span class="smallcaps">J. McBain</span> and <span class="smallcaps">W. Fernie</span>.
+
+<p><b>Football—Rugby and Association.</b> By “Straw Hat.�
+
+<p><b>Lawn Tennis.</b> By “Straw Hat.�
+
+<p><b>Parlour Games.</b> By <span class="smallcaps">F. G. Green</span>.
+
+<p><b>Hercat’s Card Tricks and Conjuring up-to-date.</b>
+
+<p><b>Tableaux Vivants and Living Waxworks.</b> By <span class="smallcaps">G. J.
+Goodrick</span>.
+
+<p><b>Pocket Cricket Scoring Book.</b> Stiff Cover.
+
+<p><b>Hercat’s Latest Sleights.</b>
+
+<p><b>Hercat’s Ventriloquist.</b>
+
+<p><b>Hercat’s Card Tricks.</b>
+
+<p><b>Hercat’s Conjuring.</b>
+
+<p><b>Hercat’s Chapeaugraphy.</b>
+
+</div>
+
+<div class="ad_page" id="ad_page_2">
+
+<div class="type1">
+Guide-Books &amp; Useful Books.
+</div>
+
+<div class="center">
+<a href="images/ad_2.png"><img src="images/ad_2_small.png" alt="" width=189 height=109></a>
+</div>
+
+<div class="type3">
+Dean’s Sixpenny Guide and Useful Books.
+</div>
+
+<div class="type2">
+<i>Crown 8vo. Fancy Covers in Colours. Illustrated.</i>
+</div>
+
+<p><b>Aquaria, Gold Fish, &amp;c.</b>
+By <span class="smallcaps">Edward Bairstow</span>.</p>
+
+<p><b>Canaries:</b> How to Breed, Rear,
+and Keep. By <span class="smallcaps">J. Sabin</span>.
+With Appendix by <span class="smallcaps">Karl
+Russ</span>.</p>
+
+<p><b>Poultry.</b> By <span class="smallcaps">E. Brown</span>. Illustrated.</p>
+
+<p><b>Rabbits and their Habits.</b>
+By <span class="smallcaps">J. Rogers</span>.</p>
+
+<p><b>Cheap &amp; Choice Cookery.</b>
+By Mrs. <span class="smallcaps">H. P. Whitcombe</span>.</p>
+
+<p><b>Fruit Figures,</b> and How to
+Make Them. By <span class="smallcaps">Charles
+Gilbert</span>. Illustrated with
+Diagrams.</p>
+
+<p><b>Double-Check Washing
+Books</b> (Dean’s Perforated).
+Each for twenty-six weeks.
+Ladies’ Washing Book.</p>
+
+<p><b>County Courts,</b> whether for
+Debt or Damage; for Plaintiff
+or Defendant (Guide to).
+By <span class="smallcaps">W. H. C. Payne</span>, Barrister-at-Law.</p>
+
+<p><b>Landlords, Tenants and
+Lodgers</b> (Laws respecting).
+By <span class="smallcaps">J. Bishop</span>.</p>
+
+<p><b>Language of Flowers.</b> By
+<span class="smallcaps">Maud Dean</span>. Also a pocket
+edition. By <span class="smallcaps">H. G. Adams</span>.</p>
+
+<p><b>Washing Day.</b> How to avoid
+its troubles and perform its
+work. By <span class="smallcaps">Julia Fisher</span>.</p>
+
+<p><b>Cats:</b> Handbook to their classification
+and Diseases, with
+Chapter on Training. By
+Dr. <span class="smallcaps">Gordon Stables</span>, M. D.</p>
+
+<p><b>Parrots and their Treatment.</b>
+By <span class="smallcaps">Marriott</span>. New
+and Enlarged Edition.</p>
+
+<p><b>Ferneries and Aquaria.</b>
+Their Construction and
+Management. By <span class="smallcaps">George
+Eggett</span>, Sen.</p>
+
+<p><b>Bird and Animal Stuffing.</b>
+By <span class="smallcaps">James Gardner</span> and
+<span class="smallcaps">Cecil H. Bisshop</span>. Fully
+illustrated.</p>
+
+<p><b>Silkworms.</b> A complete Treatise
+on the Mulberry-leaf and
+Oak-leaf Silkworms. By
+<span class="smallcaps">M. Edwardes</span>. Illustrated.</p>
+
+<p><b>How to make a Will.</b> By
+a London Solicitor<ins title="Note: absent in the original">.</ins></p>
+
+</div>
+
+<div class="ad_page" id="ad_page_3">
+
+<div class="type1">
+DEAN’S SHILLING PLAYS.
+</div>
+
+<div class="type3">
+DEAN’S PLAYS FOR YOUNG ACTORS AND HOME PERFORMANCE.
+</div>
+
+<div class="type2">
+<i>Size 7-1/2 by 5-1/2 inches. Bound gilt edges, fancy illustrated cover.</i>
+</div>
+
+<div class="type11">
+<i>The figures after the titles denote number of characters in each Play.</i><br>
+M <i>male</i>; F <i>female</i>.
+</div>
+
+<div class="center">
+<a href="images/ad_3.png"><img src="images/ad_3_small.png" alt="" width=268 height=129></a>
+</div>
+
+<p><b>Beauty and the Beast.</b> By Miss
+<span class="smallcaps">Corner</span>, Illustrated by <span class="smallcaps">N. Westrup</span>.
+18th Edition. (M 2, F 4.)</p>
+
+<p><b>Whittington and his Cat.</b> By Miss
+<span class="smallcaps">Corner</span>. 12 illustrations by <span class="smallcaps">Alfred
+Crowquill</span>. 11th Edition. (M 6,
+F 3.)</p>
+
+<p><b>Cinderella and the Glass Slipper.</b>
+By Miss <span class="smallcaps">Corner</span>. 9 illustrations by
+<span class="smallcaps">Beale</span>. 12th Edition. (M 2, F 5.)</p>
+
+<p><b>Puss in Boots; or, The Miller’s
+Favourite Son.</b> By Miss <span class="smallcaps">Corner</span>.
+6 illustrations by <span class="smallcaps">Noyes Lewis</span> and
+<span class="smallcaps">G. Prior</span>. 6th Edition. (M 8, F 5.)</p>
+
+<p><b>Children in the Wood.</b> By Miss
+<span class="smallcaps">Corner</span>. Illustrated by <span class="smallcaps">F. Holms</span>.
+15th Edition. (M 5, F 2.)</p>
+
+<p><b>Sing a Song of Sixpence.</b> By <span class="smallcaps">C. M.
+Whelpton</span>. (M 9, F 7.)</p>
+
+<p><b>Princess Olone San.</b> By <span class="smallcaps">Amy Whinyates</span>.
+(M 3, F 5.)</p>
+
+<p><b>Little Bluebell and the Will o’ the
+Wisp.</b> A play in 3 Acts for little
+children. By <span class="smallcaps">Aimee</span>. Illustrated by
+<span class="smallcaps">N. Westrup</span>. 4th Edition. (M 10,
+F 4.)</p>
+
+<p><b>Prince Bulbo.</b> Dramatised from Thackeray’s
+“Rose and the Ring.� By
+<span class="smallcaps">Amy Whinyates</span>. Illustrated by
+<span class="smallcaps">Arthur Hitchcock</span>. 3rd Edition.
+(M 6, F 7.)</p>
+
+<p><b>Gabrielle; or The Red Cap of
+Liberty.</b> By <span class="smallcaps">Amy Whinyates</span>. With
+4 illustrations and chromo cover.
+(M 7, F 3.)</p>
+
+<p><b>Aladdin and the Wonderful Lamp.</b>
+By <span class="smallcaps">Amy Whinyates</span>. 4th Edition.
+(M 3, F 5.)</p>
+
+<p><b>The Astrologer’s Spell.</b> A Persian
+sensational drama. By <span class="smallcaps">Averall</span><ins title="Note: absent in the original">.</ins>
+(M 4, F 4.)</p>
+
+<p><b>Little Dewdrop and Jack Frost.</b>
+(M 2, F 3.); and <b>Fairy Rosebud
+and the Enchanted Maypole.</b>
+By <span class="smallcaps">Amy Whinyates</span>. With 4 illustrations
+each, by <span class="smallcaps">A. Beale</span>. (M 3,
+F 7.) 4th Edition.</p>
+
+<p><b>Sir Rupert and Cecily; or the
+Young Cavalier.</b> By <span class="smallcaps">Amy Whinyates</span>.
+With 2 illustrations by <span class="smallcaps">C.
+Andre</span><ins title="Note: absent in the original">.</ins> (M 4, F 2).</p>
+
+<p><b>Blue Beard.</b> By <span class="smallcaps">Amy Whinyates</span><ins title="Note: absent in the original">.</ins>
+With 4 illustrations by <span class="smallcaps">John Proctor</span><ins title="Note: absent in the original">.</ins>
+(M 4, F 3.)</p>
+
+<p><b>The Princess and the Pirate.</b> By
+<span class="smallcaps">Amy Whinyates</span>. (M 7, F 5, and
+Supers.)</p>
+
+<p><b>The Queen of Hearts.</b> By B’Ar. A
+Fairy Play in 3 Acts. (M 6, F 4, and
+Supers.)</p>
+
+<p><b>King Lear.</b> By <span class="smallcaps">F. Spencer</span>. Abridged
+edition, adapted for children. (M 11,
+F 3, Knights, Soldiers and Attendants.)</p>
+
+<p><b>The Plum Cake.</b> By Miss <span class="smallcaps">C. M.
+Whelpton</span>. (M 10, F 10.)</p>
+
+<p><b>The Royal Red Rose.</b> In 3 Acts. By
+<span class="smallcaps">Amy Whinyates</span>. (M 10, F 6.)</p>
+
+<p><b>The Sleeping Beauty.</b> By <span class="smallcaps">E. B.
+Bayly</span>. (M 7, F 10.)</p>
+
+<p><b>Ali Baba.</b> By <span class="smallcaps">Amy Whinyates</span>. (M 5,
+F 3.)</p>
+
+<p><b>The Yellow Dwarf.</b> By <span class="smallcaps">Amy Whinyates</span>.
+(M 3, F 5.)</p>
+
+</div>
+
+<div class="ad_page" id="ad_page_4">
+
+<div class="type1">
+Books for Elocutionists &amp; Plays.
+</div>
+
+
+<div class="type3">
+<span class="float_left"><a href="images/ad_4.png"><img src="images/ad_4_small.png" alt="" width=206 height=254></a></span>SIXPENNY CHARACTER SKETCHES
+AND COMEDIETTAS.
+</div>
+
+<div class="type2">
+<i>Humorous, Satirical and Pathetic.</i>
+</div>
+
+<div class="type11">
+<i>The figures after each Play denote the number of characters in it.</i><br>
+M <i>male</i>; F <i>female</i>.
+</div>
+
+<p><b>Men’s Wrongs—Women’s Rights</b>—By <span class="smallcaps">Julia
+Chandler</span>.</p>
+
+<p><b>Rummy Fares.</b> A Cabman’s Story. By
+<span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>A Terrible Race.</b> A Sporting Ballad for
+Recitation. By <span class="smallcaps">Campbell Rae-Brown</span>.</p>
+
+<p><b>Bill Muggins.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>Me &amp; Bill.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>A Domestic Syndicate.</b> By <span class="smallcaps">Kate
+Freilligrath Kr&oelig;ker</span>.</p>
+
+<p><b>The Amateur Stage.</b> By <span class="smallcaps">Benjamin
+Clayton</span>. A Capital Handbook for
+Amateurs.</p>
+
+<p><b>A Blue Book for Sale.</b> By <span class="smallcaps">M. Beetham-Edwards</span>.
+(M 2, F 3.)</p>
+
+<p><b>The Two Clerks.</b> A Musical Comedietta. By <span class="smallcaps">George J.
+Goodrich</span><ins title="Note: absent in the original">.</ins> (M 4, F 3.)</p>
+
+<p><b>Two of <ins title="Note: “Eves’� in the original">Eve’s</ins> Daughters.</b> By <span class="smallcaps">Francis W. Moore</span><ins title="Note: absent in the original">.</ins> (M 2, F 3.)</p>
+
+<div class="type3">
+SIXPENNY PLAYS FOR YOUNG ACTORS.
+</div>
+
+<div class="type11">
+M <i>males</i>; F females.
+</div>
+
+<p><b>Puss in Boots: or, The Miller’s
+Favourite Son.</b> By Miss <span class="smallcaps">Corner</span>.
+(M 8, F 5.)</p>
+
+<p><b>Prince Bulbo.</b> Dramatised from Thackeray’s
+“Rose and the Ring.� By
+<span class="smallcaps">Amy Whinyates</span><ins title="Note: absent in the original">.</ins> (M 6, F 7.)</p>
+
+<p><b>Jack’s Ashore.</b> A Sailor Play. By
+<span class="smallcaps">Maud Hodges</span>. (M 8.)</p>
+
+<p><b>The True Story of Catherine Parr.</b>
+By <span class="smallcaps">Elsa D’Esterre Keeling</span>. (M 2,
+F 6.)</p>
+
+<p><b>How Matilda, First Queen of England,
+was Wooed and Won.</b> By
+<span class="smallcaps">Elsa D’Esterre Keeling</span>. In 4
+Acts (M 6, F 7, and Supers.)</p>
+
+<p><b>The Amateur Stage.</b> By <span class="smallcaps">Benjamin
+Clayton</span>.</p>
+
+<p><b>Aladdin.</b> By <span class="smallcaps">Amy Whinyates</span>. (M 3,
+F 5.)</p>
+
+<p><b>Beauty and the Beast.</b> By Miss
+<span class="smallcaps">Corner</span>. Illustrated by <span class="smallcaps">N. Westrup</span>.
+18th Edition<ins title="Note: absent in the original">.</ins> (M 2, F 4.)</p>
+
+</div>
+
+<div class="ad_page" id="ad_page_5">
+
+<div class="type1">
+Dean’s Shilling Books for Elocutionists.
+</div>
+
+<div class="type2">
+<i>Crown 8vo.</i>
+</div>
+
+<p><b>Queer Fish.</b> Character Sketches. By <span class="smallcaps">Robert Overton</span>. <i>7th
+Edition</i>, with preface by Mrs. <span class="smallcaps">Stirling</span>.</p>
+
+<p><b>A Round Dozen.</b> Character Sketches. By <span class="smallcaps">R. Overton</span>.
+<i>4th Edition.</i></p>
+
+<p><b>Speech Studies.</b> Studies of Poems, with Recitations, Anecdote
+Sketches, and Articles connected with Elocution. By
+<span class="smallcaps">Edwin Drew</span>.</p>
+
+<p><b>Sylvia’s Ride for Life,</b> and other Original Ballads for
+Recitation and the Fireside. By <span class="smallcaps">Frederick G. Webb</span>.</p>
+
+<p><b>Ryder’s Last Race,</b> and other Humorous Ballads for Recitation.
+By <span class="smallcaps">Campbell Rae Brown</span>. Author of “Kissing
+Cup’s Race.�</p>
+
+<p><b>Rhymes of the Times;</b> Serious Ballads for Recitation. By
+<span class="smallcaps">Campbell Rae Brown</span>.</p>
+
+<p><b>Con O’Donnell,</b> and other Ballads. By <span class="smallcaps">E. Owens Blackburne</span>.</p>
+
+<p><b>Elocution made Easy.</b> By <span class="smallcaps">Edith Heraud</span>, Elocutionist.</p>
+
+<p><b>Ten Minutes.</b> Short Prose Tales and Recitations. By <span class="smallcaps">Robert
+Overton</span>.</p>
+
+<p><b>Dean’s Children’s Recitations,</b> Compiled by <span class="smallcaps">Maud Dean</span>.
+<i>Limp cloth.</i></p>
+
+<p><b>Humorous Pieces.</b> By <span class="smallcaps">Francis W. Moore</span>.</p>
+
+<p><b>Tableaux Vivants and Living Waxworks,</b> with directions for
+stage management. By <span class="smallcaps">G. J. Goodrick</span>.</p>
+
+<p><b>Waterworks.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>The Record Reciter.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>The Child’s Prize Reciter.</b> Compiled by <span class="smallcaps">M. Dean</span>.</p>
+
+<div class="type1">
+Dean’s 2/6 Plays and Reciters.
+</div>
+
+<p><b>The Overton Entertainer.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>Humorous Plays.</b> By <span class="smallcaps">Francis W. Moore</span>.</p>
+
+<div class="type1">
+Dean’s 6d. Reciters. <span class="type12"><i>Limp Cloth 6d. each.</i></span>
+</div>
+
+<p><b>Only a Little Brown Sparrow, and other Recitations for
+Children.</b> Compiled by <span class="smallcaps">Maud Dean</span>.</p>
+
+<p><b>Poetry for Children.</b> Compiled by <span class="smallcaps">Maud Dean</span>.</p>
+
+<p><b>Humorous Pieces</b>, Series I. By <span class="smallcaps">Francis W. Moore</span>.</p>
+
+<p><span class="ditto"><b>Humorous Pieces</b>, Series</span> II. <span class="ditto">By <span class="smallcaps">Francis W. Moore</span>.</span></p>
+
+<p><span class="ditto"><b>Humorous Pieces</b>, Series</span> III. <span class="ditto">By <span class="smallcaps">Francis W. Moore</span>.</span></p>
+
+<p><b>Holiday Yarns.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>A Bald Bold Man.</b> <span class="ditto">By <span class="smallcaps">Robert Overton</span>.</span></p>
+
+<p><b>The Child’s Recitation Book.</b> Mrs. <span class="smallcaps">Fayle</span>.</p>
+
+<p><b>Half a Dozen.</b> By <span class="smallcaps">Robert Overton</span>.</p>
+
+<p><b>Five Favourites.</b> <span class="ditto">By <span class="smallcaps">Robert Overton</span>.</span></p>
+
+</div>
+
+<div class="ad_page" id="ad_page_6">
+
+<div class="type3">
+Established
+<a href="images/ad_5.png"><img class="title" src="images/ad_5_small.png" alt="HAMLEY’S CONJURING TRICKS" width=185 height=90></a>
+1760
+</div>
+
+<hr>
+
+<div class="type3">
+The most reliable and up-to-date firm
+in the world for Conjuring Tricks,
+Puzzles, Novelties, &amp;c.
+</div>
+
+<table class="center" summary="">
+<tr>
+
+<td rowspan="2">
+<b>COIN TRICKS.</b><br>
+<a href="images/ad_6.png"><img src="images/ad_6_small.png" alt="" width=80 height=60></a><br>
+<b>5<ins title="Note: absent in the original">/</ins>6</b> Cabinet.<br>
+<b>5/11</b> post free
+</td>
+
+<td>
+<a href="images/ad_7.png"><img src="images/ad_7_small.png" alt="Cabinet of magic" width=97 height=76></a>
+</td>
+
+<td>
+<b>BOXES OF TRICKS.</b><br>
+<b>1/4, 2/9, 5/10,
+11/-, 15<ins title="Note: absent in the original">/</ins>9, 22/-</b>,<br>
+post free.
+</td>
+
+</tr>
+
+<tr>
+
+<td colspan="2">
+Larger Sizes—<b>30/-, 42/-, 63/-</b>. Carriage
+on receipt.
+</td>
+
+</tr>
+</table>
+
+<hr>
+
+<table class="center" summary="">
+<tr>
+
+<td>
+<a href="images/ad_8.png"><img src="images/ad_8_small.png" alt="Hamley’s box of wire and metal puzzles" width=74 height=80></a><br>
+<b>1/-</b> per box.<br>
+<b>1/3</b> post free.
+<hr>
+Assorted
+Puzzles,<br>
+<b>2<ins title="Note: absent in the original">/</ins>10, 5/10,
+11/-, 22/-</b>
+each,
+post free.
+</td>
+
+<td>
+<a href="images/ad_9.png"><img src="images/ad_9_small.png" alt="Hamley’s card tricks" width=150 height=114></a><br>
+<b>2/10, 5/10, 10/5, 20/5, 43/-,</b> and <b>64/-</b>,
+post free.
+</td>
+
+<td>
+<b>JOKES.</b><br>
+<b>1/-</b>, post free <b>1<ins title="Note: absent in the original">/</ins>3</b>
+<b>2<ins title="Note: absent in the original">/</ins>6</b>, <span class="ditto">post free</span> <b>2/10</b><br>
+<a href="images/ad_10.png"><img src="images/ad_10_small.png" alt="Cabinet of jokes and catches" width=66 height=80></a><br>
+Splendid
+fun
+</td>
+
+</tr>
+</table>
+
+<hr>
+
+<div class="center">
+Write for Illustrated Catalogue.
+</div>
+
+<div class="type3">
+35 NEW OXFORD STREET, W.C.
+</div>
+
+<table summary="">
+<tr>
+
+<td>
+BRANCHES:
+</td>
+
+<td class="left">
+29 Ludgate Hi<ins title="Note: absent in the original">l</ins>l, E.C. 200 &amp; 202 Regent St., W.<br>
+510a &amp; 512 Oxford Street, W.<br>
+59 Knightsbridge, S.W.<br>
+86 &amp; 87 H<ins title="Note: absent in the original">i</ins>gh Holborn, W.C.<br>
+</td>
+
+</tr>
+</table>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of More Conjuring, by Hercat
+
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+The Project Gutenberg EBook of More Conjuring, by Hercat
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: More Conjuring
+       Simple Tricks for Social Gatherings
+
+Author: Hercat
+
+Release Date: June 13, 2010 [EBook #32788]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING ***
+
+
+
+
+Produced by David Clarke and the Online Distributed
+Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+TRANSCRIBER'S NOTE
+
+
+The Table of Contents is placed after the Preface.
+
+This book contains illustrations showing some of the tricks described.
+The illustrations are available in the HTML version. In this text-only
+version they are replaced by the place-holder "[Illustration]", but in
+the section "Match Puzzles", some simple ASCII diagrams have been
+created to represent the matches when possible.
+
+In the text-only version, italic type is marked _like this_, and bold
+face *like this*. Footnotes are represented with uppercase letters in
+square brackets.
+
+Two publisher's advertisement pages were placed at the beginning of the
+book in the printed edition, in this version they have been moved to the
+end, with the other advertisement pages.
+
+A list of changes to the original publication is given at the end.
+
+
+
+
+
+
+                            More Conjuring.
+
+                             [Illustration]
+
+                               By HERCAT.
+
+
+
+
+HERCAT'S SIMPLE TRICKS
+
+
+
+
+                             MORE CONJURING
+
+                               BY HERCAT
+
+                  Simple Tricks for Social Gatherings
+
+
+BY THE AUTHOR OF "LATEST SLEIGHTS AND ILLUSIONS," "HERCAT'S CARD
+TRICKS," "CONJURING UP TO DATE," "HERCAT'S VENTRILOQUIST," "HERCAT'S
+CHAPEAUGRAPHY, SHADOWGRAPHY, AND PAPER FOLDING," ETC.
+
+
+  [Illustration: D&S limited]
+                      London:
+            DEAN & SON, Ltd.,           [Illustration: Hamley's
+                        160a,            35, NEW OXFORD STREET,
+                Fleet Street,                 LONDON, W.C.]
+                         E.C.
+                         1912
+
+
+
+
+PREFACE
+
+The title of this little brochure indicates its contents. _Simple
+Tricks_ and simple tricks only. No apparatus is required and but little
+sleight-of-hand is needed in the performance of any of them. They
+consist of a series of tricks and problems, easily acquired, suitable
+for gatherings round the table on winter evenings. Some of them are new
+and many are old; but even the oldest are new to the rising generation.
+For six of the latest tricks,--"A Hindoo Swindle," "The Elusive Match,"
+"A Subtle Impromptu Effect with a Coin," "A Novel Card Effect," "An
+Artful Card Force," and "Another Easy Card Force,"--I am indebted to my
+friend Mr. F. Walford Perry, a thoroughly up-to-date and original young
+conjurer. As I have already said, I have included no tricks which
+require the exercise of much sleight-of-hand; but even the most simple
+trick should be thoroughly practised before you present it to your
+friends, especially those tricks which require the assistance of a
+confederate. Rehearse everything with him thoroughly beforehand. Even
+your "patter" should be rehearsed. But endeavour to lead your audience
+to believe that, like "Mr. Wemmick's" marriage, it is all impromptu. He
+said, "Hello! here's a church. Let's have a wedding." You say, "Hand me
+that serviette ring and I'll show you a trick." If, when the contents of
+this little volume have been thoroughly digested, my readers desire to
+make a study of more advanced legerdemain, I recommend my _Conjuring Up
+to Date_, _Card Tricks with and without Apparatus_, and _Latest Sleights
+and Illusions_ to their notice.
+
+For tricks which require apparatus my readers cannot do better than to
+send to Messrs. Hamley Bros., Ltd., 35, New Oxford Street, or one of
+their branches, for their Magical Catalogue.
+
+_The Daily Telegraph_, in a recent article on "Magic Fifty Years Ago,"
+used these words: "Hamleys' were then, as they are now, the premier
+manufacturers of magical apparatus." A statement which I cordially
+endorse. The apparatus sold by Messrs. Hamley Bros. is invariably
+reliable.
+
+In conclusion I beg to offer my readers the following advice:--
+
+Never state the nature of the trick you are about to perform.
+
+Make it a rule never to repeat a trick the same evening unless you have
+acquired a different way of showing it. In fact, it is advisable to
+learn several methods of presenting the same trick.
+
+Talk as much as possible and make your "patter" lively, but do not try
+to be funny unless you are naturally humorous; and, above all, avoid
+allusions to politics, religion, or any subject about which there may be
+a diversity of opinion among your audience.
+
+HERCAT.
+
+
+
+
+CONTENTS
+
+
+SIMPLE CARD TRICKS                                                  PAGE
+
+  An Easy Method of Finding a Selected Card                            9
+  To Bring a Chosen Card from the Bottom of the Pack at any
+                                                Number Requested      10
+  A Chosen Card Shaken through a Handkerchief                         10
+  A Selected Card found in a Lighted Cigarette                        12
+  A Sticking Card                                                     13
+  Two Selected Cards Caught in the Air                                13
+  An Easy but Puzzling Trick                                          14
+  Travelling Cards                                                    14
+  To Name all the Cards in the Pack                                   16
+  A New Method                                                        16
+  The Sense of Touch                                                  17
+  Where is the Ace?                                                   18
+  To Make a Person Name a Card which You have Yourself Selected       19
+  The Clock                                                           21
+  How to Guess Cards Thought of                                       22
+  An Ingenious Card Trick                                             23
+  To Name a Card which Some One has Thought of                        25
+  The Rejected Recruits--a Laughable Trick                            26
+  A Novel Card Effect                                                 26
+  An Artful Card Force                                                28
+  Another Easy Card Force                                             28
+  A Simple but Puzzling Card Trick                                    29
+
+SIMPLE COIN TRICKS
+
+  How to Detect a Marked Coin                                         30
+  A Penetrative Shilling                                              30
+  Another Simple Trick                                                31
+  A Coin to Disappear from Your Cheek and Reappear at Your Elbow      32
+  Two Vanished Half-Crowns                                            33
+  A Divination                                                        33
+  An Effective but Simple Trick                                       34
+  Changing Apple and Coins                                            35
+  An Obedient Sixpence                                                36
+  Coin and Glass                                                      36
+  A Simple Experiment with Four Shillings                             38
+  Puzzle of Ten Halfpence                                             39
+  How to Increase Your Wealth                                         39
+  A Neat Coin Trick                                                   40
+  A Subtle Impromptu Effect with a Coin                               41
+  An Original Coin Swindle                                            42
+  A Cross                                                             43
+
+SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC.
+
+  A Knot that Cannot be Drawn Tight                                   44
+  To Tie an Instantaneous Knot in a Handkerchief                      45
+  Half a Burnt Message Found Restored in a Candle                     46
+  Two Good Ring Tricks                                                47
+
+SIMPLE ARITHMETICAL PROBLEMS
+
+  To Ascertain a Number Thought of                                    49
+  How to Name a Number which has been Erased                          51
+  A Lesson in the Correct Formation of a Figure                       52
+  Four Nines Problem                                                  53
+  An Answer to a Sum Given in Advance                                 53
+  An Arithmetical Puzzle                                              54
+  An Arithmetical Mystery                                             55
+  How to Tell Her Age                                                 55
+  A Race in Addition                                                  56
+  To Predict the Hour Your Friend Intends to Rise on the
+                                               Following Morning      57
+
+MATCH PUZZLES
+
+  Experiment with Ten Matches                                         59
+  The Magic Nine                                                      60
+  Triangles with Matches                                              61
+  Match Squares                                                       61
+  Your Opponent must Take the Last Match                              62
+  A Shakespearean Quotation                                           63
+  Numeral                                                             63
+  Six and Five Make Nine                                              63
+  The Artful Schoolboys                                               64
+  What are Matches Made of?                                           66
+  A Sheep Pen                                                         66
+  Post and Rail Puzzle                                                67
+
+SIMPLE MISCELLANEOUS TRICKS
+
+  A Good After-Dinner Trick                                           68
+  To Remove a Serviette Ring from a Tape Held on the Thumbs of
+                                                  Another Person      70
+  An Experiment in Gravity                                            71
+  A Scissors Feat                                                     71
+  Another Trick with a Pair of Scissors                               72
+  An Indestructible Cigarette Paper                                   73
+  To Cut an Apple in Two with Your Finger                             74
+  A Trick with Dominoes                                               74
+  An Escape                                                           75
+  Cigarette Papers and Serviettes                                     76
+  Four Cigarette Papers                                               77
+  A Hindoo Swindle                                                    77
+  The Elusive Match--a Capital Impromptu Trick                        79
+
+
+
+
+SIMPLE CARD TRICKS
+
+
+AN EASY METHOD OF FINDING A SELECTED CARD
+
+Throw the pack on the table and request some one to select a card. Then
+gather up the rest of the cards and request your friend to show his card
+to his neighbour, to avoid mistakes. While this is being done bend the
+pack slightly while pretending to shuffle it, and cause the card to be
+returned and the pack shuffled. The selected card can then be easily
+detected among the bent cards by its being perfectly straight. A good
+way to finish the trick is to bring the card to the top of the pack and
+cause it to project about an inch over the right side; cover the front
+end of the pack with your four fingers so that the edge of the
+projecting card is concealed, and, with your thumb at the other end,
+hold the pack firmly about eighteen inches above the table. Request the
+person who drew the card to call it by name. On this being done, drop
+the pack on the table, when the projecting card will be completely
+turned over by the air in its descent and lie perfectly square on the
+top of the pack. Another good finish is to bring the chosen card to the
+bottom of the pack, and requesting the person who selected it to hold
+the pack by pinching it tightly between his finger and thumb close to
+the corner, you give the pack a sharp rap, when all the cards will fall
+excepting the one chosen.
+
+
+TO BRING A CHOSEN CARD FROM THE BOTTOM OF THE PACK AT ANY NUMBER
+REQUESTED
+
+Ask a member of the company to take a card, look at it, and return it to
+the pack. Make the "pass" (_Hercat's Card Tricks_, p. 7); "palm" the
+card (_Card Tricks_, p. 18) and hand the pack to be shuffled. While this
+is being done transfer the palmed card to your left hand, and on
+receiving the pack back, place it over the concealed card, and tell the
+company you will produce the latter from the bottom of the pack at any
+number they may name. Supposing some one says, "Let it be the fifteenth
+card." You push the pack forward in your left hand, allowing the bottom
+card to project about an inch toward you, and proceed to draw out the
+cards above it with your right hand, one at a time, until the fourteenth
+is reached, when you push the bottom card forward and produce it as the
+fifteenth.
+
+
+A CHOSEN CARD SHAKEN THROUGH A HANDKERCHIEF
+
+Request a member of the company to select a card and return it to the
+pack, which you proceed to wrap up in a large pocket handkerchief, and
+on the person calling the card by name you shake the handkerchief and
+the selected card falls on the table.
+
+EXPLANATION.--If you are not an adept at sleight-of-hand it is advisable
+to use a "forcing pack" which is composed of only three or four cards,
+of a kind (i.e. ten kings of hearts, ten five of spades, ten eight of
+diamonds, etc.) with backs to match your ordinary pack. If you can make
+the "pass" and can "palm" (_Hercat's Card Tricks_, pp. 7 and 18) the
+following is the correct _modus operandi_. On the card being returned to
+the pack, carry it to the top by the pass, palm it, and hand the pack
+back to be shuffled. Place the palmed card face upward on the left hand
+and cover it with a large white handkerchief, and cause the pack to be
+placed face down on the handkerchief exactly over the concealed card.
+With your right hand throw the back hem of the handkerchief over the
+pack and with that hand grasp the four sides underneath. Then reverse
+the position of your hands, moving the right hand toward the right on
+top and taking the left hand away, which will leave the selected card
+concealed in the fold of the handkerchief (Fig. 1). Ask the person who
+took the card to name it and request it to leave the pack and pass
+through the handkerchief. When he does so shake the handkerchief gently
+and the card will slowly come into view. If you use a "forcing pack"
+retain a duplicate of the card you intend to force; conceal it in your
+left hand and proceed as above described.
+
+                             [Illustration]
+                                Fig. 1.
+
+
+A SELECTED CARD FOUND IN A LIGHTED CIGARETTE
+
+Roll a card, say the seven of hearts, in a cigarette paper and stuff a
+small piece of tobacco in each end. Have this in one of your pockets,
+where it will not get crushed, ready for palming. Previously arrange
+with a friend to act as your confederate, and request him when you ask
+him to select a card to take the duplicate of the one in the cigarette.
+When ready to present the trick, hand the pack to your friend and ask
+him to shuffle it, select any card he likes, show it to his neighbour,
+replace it in the pack, and again shuffle the latter thoroughly. While
+this is in progress produce some tobacco and a cigarette paper and roll
+a cigarette, which substitute for the one prepared. If you are not an
+adept at palming I would suggest the following easy method: Lay your
+handkerchief across your knees, and on it place the prepared cigarette.
+While reaching for a match, drop the cigarette you have just made on
+your lap, as if by accident, and pick up the one containing the card.
+You can afterwards pick up your handkerchief and put it and the genuine
+cigarette in your pocket. You then light the prepared cigarette and ask
+your friend to hand you the pack and name his card; when he does so,
+tell him you will produce the card in any place he may name.
+
+By previous arrangement he must say, "In the cigarette you are smoking."
+You then pick up the pack and "ruffle" it over the cigarette; take the
+latter from your mouth, extinguish the fire, and tearing the paper in
+the centre, produce the seven of hearts from it.
+
+
+A STICKING CARD
+
+Obtain a short "drawing-pin" with a small head, and having painted the
+head black, stick it through the centre of the ace of clubs. Put this in
+your pocket and "force" another ace upon a member of the company. Hand
+the pack to the person upon whom you have forced the card, request him
+to replace it and shuffle the pack. Then take the pack from him, and as
+you turn your back slip the card with the pin through it on the top of
+the pack. Holding the pack in your right hand with its face toward the
+palm, ask your friend to name his card. When he does so throw the pack
+sharply against the door. The top card will be held there by the pin and
+the rest of the pack will fall on the floor.
+
+This trick was shown by a conjurer before the late King Edward a few
+years ago, and His Majesty was reported in the daily papers to have
+expressed "great surprise."
+
+
+TWO SELECTED CARDS CAUGHT IN THE AIR
+
+Two cards are selected and returned to the pack, which you then make a
+pretence of shuffling, taking care not to lose sight of the chosen
+cards; "slip" (_Hercat's Card Tricks_, p. 10) one of the latter to the
+top of the pack and the others to the bottom face upward. Have a small
+piece of wax on your right finger and thumb and press the pack between
+them. Obtain the names of the selected cards, and then throw the pack in
+the air, moving your hand away quickly, with, of course, the selected
+cards sticking to your thumb and finger. As the cards descend thrust
+your hand in among them, and then, separating your thumb and finger,
+show the cards adhering to them, which you will appear to have caught.
+
+
+AN EASY BUT PUZZLING TRICK
+
+Any card may be drawn--not "forced"--and returned to the pack. In
+pretending to shuffle the cards, bring the selected card to the bottom
+of the pack, and then slip another card in front of it. Show your friend
+this card at the bottom and ask him if it is his. Of course he will say
+"No." Lower the pack, and with the fingers of your left hand draw the
+bottom card back about half an inch, and with your right hand draw out
+the next card--which is the one chosen--and place it face down on the
+table. Shuffle the pack and again show the bottom card, "Is this your
+card?" "No." "Then I will place this one on the table"--which you do.
+Repeat this, and place a third card from the bottom of the pack on the
+table. Then say, "I am sure your card must be one of the three. No? Look
+and see for yourself." He turns the three cards over, and of course
+finds his card is one of them.
+
+
+TRAVELLING CARDS
+
+Give the pack to a member of the company, and request him to count off
+between twenty and forty cards, place the pack on the table, and hand
+the cards he has counted to you. You then hand the pile to a second
+person and request him to count off about one-third of the number, lay
+them in a pile on the table, and hand you the remainder, which you give
+to the first person, requesting him to place them in his pocket. Taking
+up the second pile, you request the second person to place it in his
+pocket. We will suppose the first person selected thirty and the second
+person abstracted ten cards from them, which should leave twenty now in
+the pocket of the former. Then announce your intention of causing a
+certain number of cards to leave the pocket of person number one and
+travel invisibly into the pocket of person number two. Open a
+pocket-handkerchief, and covering number one's pocket, flick it in the
+direction of person number two, exclaiming, "They have gone!" On the two
+piles being produced and counted, those from the pocket of number one
+person will number only fifteen, and the same number will be found in
+the second pile.
+
+EXPLANATION.--When you receive the thirty cards from the first person,
+you palm off five or six cards (the number is immaterial) and retain
+them concealed in your hand, handing the remainder to the second person.
+When he has counted off ten and placed them on the table, you take those
+that are left from him and hand them to person number one. When picking
+up the pile of ten from the table, while pretending to square it, you
+add the palmed cards and hand the pile thus increased to person number
+two. You must be careful not to allow the two persons to count the cards
+after the changes have been made. If you see they are inclined to do so,
+take the piles from them and place them in their pockets yourself.
+
+
+TO NAME ALL THE CARDS IN THE PACK
+
+Ask some one to shuffle the pack, and, on receiving it back, glance at
+the bottom card. Put the pack behind your back, and then turn the top
+card round with its face toward you; bring the pack in front of you, the
+bottom card facing the audience and the turned card facing you. Having
+already glanced at the bottom card, you can tell them its name, and you
+now know the card on top. Put the pack behind you again, and move the
+top card to the front, and turn the one now on top round. Again hold the
+pack up and name the front card, at the same time noting the card facing
+you. By repeating this process you can name all the cards in the pack.
+Take care to have all your audience in front of you, or the turned card
+will be seen.
+
+
+A NEW METHOD
+
+Here is an absolutely new method of performing the same trick
+blindfolded, but with the aid of a confederate. You tell your friends
+that by placing your hands on a person's head you can see with his eyes.
+To illustrate this, tell your assistant to seat himself at a table, and
+you then stand behind him blindfolded, with your fingers lightly
+touching his temples. The cards are spread out faces down on the table,
+and no matter which card he picks up and looks at, you at once say what
+it is. Of course, you take the tip from him; but how? I will tell you.
+
+He must keep his mouth shut and his teeth together. The slightest
+pressure between his upper and lower teeth--so slight that it is quite
+imperceptible--will cause his temples to throb--try it on your own
+temples--and, of course, by the arrangement of a very simple code he can
+communicate to you the name of each card. Say one throb stands for
+hearts, two for diamonds, three for clubs, and four for spades. We will
+say his temples throb twice. You say, "You are looking at a diamond."
+Then we will suppose they next throb five times. You say, "It is the
+five of diamonds," and so on. When you come to an ace, of course one
+throb will suffice; when he picks up a knave, let him give two throbs in
+rapid succession--a kind of postman's knock; a queen, a postman's knock
+and one throb over; and for a king, a double postman's knock--rat-tat,
+rat-tat. With a little practice and a more elaborate code, you can
+describe all kinds of articles which may be selected--keys, watches,
+books, etc. It is a capital trick and one which no one can possibly
+discover.
+
+
+THE SENSE OF TOUCH
+
+This is an improvement upon the two preceding tricks which I invented
+several years ago, and have shown scores of times without the _modus
+operandi_ being once detected.
+
+EFFECT.--The pack is handed to the audience to be shuffled, and, without
+even glancing at it, the performer places it behind his back and names
+each card (presumably by the sense of touch) before he draws it. He can
+hand the pack back to the audience to be shuffled as many times as
+desired.
+
+EXECUTION.--Before handing the pack to be shuffled, ascertain which card
+is on the top, and palm it in the right hand; receive the pack back in
+the palm of the left hand and cover it with the thumb.
+
+Put both hands behind you and slip the palmed card between the tips of
+your left first and second fingers; then palm the top card and take the
+card originally palmed between the right thumb and the forefinger with
+your thumb on top. While doing this, explain to the audience that you
+have with considerable practice acquired a marvellously keen sense of
+touch which enables you to ascertain the name of each card by simply
+feeling it. You proceed to say: "I will name each card before showing it
+to you, and you are at liberty to shuffle the pack as many times as you
+may desire.
+
+"The card I am now feeling appears to be (say) the queen of spades." You
+then show the card held between your thumb and finger, at the same time
+glancing at the palmed card. Throw the former on the table, and putting
+your hand behind your back again, nip the palmed card with the first two
+fingers of the left hand, and palm the top card as before. You can go
+through the whole pack in this manner, but each time you hand it to be
+shuffled, be sure to have one card palmed. This trick should not be
+attempted until it has been thoroughly rehearsed.
+
+
+WHERE IS THE ACE?
+
+Select the ace and five of hearts and two other cards of the same suit
+and conceal the five behind one of the latter so as to make it appear
+you have only three cards. Hold the two cards (with the concealed five)
+faces down, a little distance apart and showing the ace place it
+deliberately behind them so that the pip shows between (Fig. 2) when the
+cards are held up. Having shown the cards in the latter position to the
+company, lower them again and defy any one to lift up the ace. A member
+of the company does so and naturally looks at the card, when you say,
+"But you must not look at it. Take the card off and place it face down
+on the table, and I will then tell you whether your attempt has been
+successful. We will try again?" Re-arranging the cards, substitute the
+five for the ace and place it so that the centre pip alone is visible
+between the two cards. Repeat your challenge and request your friend to
+remove the ace, place it on the table, and cover it with his hand. When
+this is done ask him if he still has the ace, and he will naturally say
+"Yes." Tell him to raise his hand, and to his astonishment he will find
+the five.
+
+                             [Illustration]
+                                Fig. 2.
+
+
+TO MAKE A PERSON NAME A CARD WHICH YOU HAVE YOURSELF SELECTED
+
+Take any card from two to ten, say the five of hearts, and lay it face
+down on the table without permitting any one to see its face. Then
+announce your intention of examining a number of the company as to their
+knowledge about cards. Ask for a volunteer, and on one consenting to act
+tell him to answer your questions rapidly and to make his replies short.
+Then put the following questions: "How many cards are there in a full
+pack?" Answer, "Fifty-two." "How many suits?" "Four." "What are their
+colours?" "Red and Black." "Now name one of those colours." "Red." If he
+should say "black," you must say, "You select black so I take red. How
+many suits are there in red?" "Two." "What are they?" "Hearts and
+Diamonds." "Name one of those suits quickly." "Hearts." If he should
+name diamonds say, "Then I take hearts." "How many cards in the suit?"
+"Thirteen." "How many between the ace and knave?" "Nine." "How many
+below six and how many above six?" "Four below and four above." "Name
+either below or above?" "Below." If he says "above," say, "That gives me
+those below six. What are the numbers below six?" "Two, three, four, and
+five." "Name two of those numbers." "Four and five." If he should say
+"two and three," or "three and four" you remark, "That leaves me four
+and five. Name one of those numbers." If he says "four," you say, "Which
+leaves five. The suit you selected was hearts, and now we have come down
+to five. So you have actually selected the five of hearts; and I am sure
+you will admit I have not influenced your choice in any way. Please turn
+over the card on the table." He does so and, of course, finds it is the
+five of hearts.
+
+
+THE CLOCK
+
+Select twelve cards of any suit, ace to ten and king and queen; arrange
+them in a circle to represent the figures on the face of a clock, the
+king as twelve and the queen as eleven (Fig. 3), and request a member of
+the company to think of one of the numbers. You then explain you will
+tap the cards with a pencil and he is to mentally add your first tap to
+the number he thought of and count your succeeding taps until twenty is
+reached, when he is to call "Stop," and your pencil will then rest upon
+his number. For instance, we will suppose he thinks of twelve; he must
+count your first tap as thirteen and continue counting mentally until
+twenty is reached.
+
+                             [Illustration]
+                                Fig. 3.
+
+EXPLANATION.--Touch the cards at random during the first seven taps and
+allow your pencil, on its eighth tap, to rest on the king (twelve).
+Eight and twelve being twenty he will of course say "Stop." Supposing he
+thought of a lower figure--seven, for instance. Tap at random as before
+until your eighth tap, which must always be on twelve; then touch the
+cards in rotation, making the queen your ninth tap, the ten your tenth
+tap, nine your eleventh, and so on until you reach seven, which will be
+your thirteenth tap, which number added to seven, the number thought of,
+will make twenty, and your friend will say "Stop."
+
+Another effective trick can be worked with the card dial, but it
+requires the assistance of a confederate. Having previously instructed
+him what to do, you tell the company that any one is at liberty to touch
+one of the cards during your absence from the room, and on returning you
+will indicate the card he has touched. Upon your returning hand a pencil
+to your confederate and request him to touch the cards in rotation until
+you say "Stop," when the pencil will rest on the right card. Your
+confederate must hold the pencil in his right hand with his forefinger
+resting on top. When he touches the right card he must raise that finger
+slightly. It is a signal no one would notice, and the trick always
+creates a great deal of wonder.
+
+
+HOW TO GUESS CARDS THOUGHT OF
+
+Allow the pack to be shuffled freely and then place it on the table face
+down. Take the three top cards, and holding them up with their backs
+towards you, ask some one to think of one. Then spread them face down on
+the table in front of you. Take three more cards, and ask a second
+person to think of one, and lay these on top of the other three. Show
+three more cards to a third person, and after he has thought of one, lay
+these on top of the others. You have now three parcels on the table,
+each containing three cards. Hold up one parcel, and say to each person:
+"Is the card you thought of in this lot?" Proceed in the same way with
+the other parcels, and then tell each person the name of the card he
+thought of. As the cards shown to the first person were laid on the
+table first, it stands to reason that the cards he thought of must be at
+the bottom of the parcel he has said "Yes" to; the second person's card
+will be the middle one in the parcel, and the third person's the top
+card.
+
+
+AN INGENIOUS CARD TRICK
+
+Select ten cards, regardless of suit, the ace, and from deuce to ten,
+arranging them as follows: Lay the ten face down on the palm of your
+hand, the nine next, and the others in rotation, finishing with the ace,
+which you call "one." Give the cards so arranged to a friend, and tell
+him you will leave the room while he moves cards one at a time, not to
+exceed nine, from top to bottom, and when you return you will tell him
+how many he has shifted. You may repeat this feat successfully several
+times, and finish by requesting him to make up his mind how many cards
+he intends moving before you leave the room and you will tell him which
+card will indicate the number he has selected. On returning you
+immediately refer him to the card which gives the correct answer. This
+is really a most puzzling trick and yet an easy one to perform. Commence
+by showing how the cards are to be moved by shifting a few yourself,
+noting how many you move, so you will remember which card you leave at
+the bottom. When you return to the room you subtract the number of pips
+on that card from ten and the product will show the number of the card
+from the top, the pips on which indicate the number of cards your friend
+has moved. We will suppose that, in illustrating, you move four cards,
+which will, of course, leave the four at the bottom; you subtract four
+from ten, which leaves six, and no matter how many cards have been moved
+the pips on the sixth from the top will indicate the number. Taking the
+pack in your hand face downward, count off the first six cards, and
+glancing at the sixth say, "You moved ---- cards." When you repeat the
+trick add the number originally at the bottom to the number your friend
+has moved, which will give the number now at the bottom, which you again
+subtract from ten. In predicting the number of cards your friend means
+to move you tell him the number of the card from the top which will show
+it. We will suppose the bottom card is eight and your friend mentally
+decides upon moving five cards, you subtract eight from ten, which
+leaves two, and tell him the number he is going to move will be
+indicated by the pips on the second card from the top after he has moved
+the cards.
+
+
+TO NAME A CARD WHICH SOME ONE HAS THOUGHT OF
+
+Spread six cards before a member of the company and ask him to think of
+one. Place these cards at the bottom of the pack and give the latter a
+"false shuffle," i.e. shuffle them in such a manner that the bottom
+cards are not disturbed. Then take the four top cards, and spreading
+them on the table, faces upward, ask your friend if his card is among
+them. Of course, he will say "No." While he is looking at the cards on
+the table "slip" (_Hercat's Card Tricks_, p. 10) one of the bottom cards
+to the top of the pack. To do this moisten the tips of the two middle
+fingers of the left hand, and holding the pack in that hand with the
+moistened fingers against the face of the bottom card, with the thumb
+and two middle fingers of the right hand raise the rest of the cards
+slightly and the card adhering to the moistened fingers will be carried
+to the top of the pack. Again spread the four top cards on the table and
+repeat the enquiry. If he says "No," repeat the former process until he
+says, "Yes, my card is in that lot." You, of course, know it is the card
+you "slipped" from the bottom of the pack. You then tell him to gather
+up all the cards and shuffle them thoroughly; then place the pack on the
+table, put his hand over it and look you steadily in the eye. You place
+your hand over his and say, "I can read your thoughts, you took the
+----," naming his card. This is an easy trick to perform and causes
+great amazement.
+
+
+THE REJECTED RECRUITS--A LAUGHABLE TRICK
+
+Select a king and the four knaves and lay the king on the table face
+upward. Tell the company that the king is recruiting for the army and
+accepts the knave of clubs, which you place on the king's right. The
+knave of spades, which you place on the left, he rejects. The knave of
+diamonds is accepted and placed on the right. The knave of hearts is
+declined, and placed on the left.
+
+Now ask your audience how it is that the king, being in want of
+recruits, accepts two and refuses two.
+
+The answer will puzzle those not acquainted with the trick. It is as
+follows: Two of the knaves have but one eye each, and are consequently
+medically unfit.
+
+
+A NOVEL CARD EFFECT
+
+EFFECT.--A five-spot card is passed for examination, a two spot of the
+same suit is then placed face down on the five; after rubbing the cards
+slightly and separating them a spot is found to have passed from the
+centre of the five on to the two spot, making a four spot and a three
+spot. The pack is afterwards shown to be quite an ordinary one without
+any apparent preparation.
+
+PREPARATION.--Remove from the pack the five, four, three, and two of any
+suit. Place the remainder of pack face down on the table. Now place the
+five spot face up on the back of the pack, the two spot face down on the
+five, the four face up on the back of the two, and the three spot face
+down on the four. Then remove the three top cards, without in any way
+altering their order, and place them on the face of the pack so that the
+two spot is showing, and turn the five spot face down, so that the pack
+appears to be without preparation.
+
+PRESENTATION.--Show pack held in left hand and call special attention to
+the two spot on the bottom of the pack, then lift off the five-spot card
+and pass it to a spectator with the remark that the centre spot is loose
+and can be transferred at will to any other card; while the card is
+being examined you secretly count off the three other prepared cards at
+the bottom of the pack and keep them separated from the rest with the
+index finger of left hand. Now take back the five-spot card and place it
+on the back of the pack, with its face side toward audience. Then with
+the first two fingers and thumb of right hand take the three other cards
+from bottom of pack and show them as one card only: namely, the two
+spot. This movement is best executed by slightly pushing down the three
+cards with the index finger of left hand until a sufficient amount of
+projection is obtained for the fingers and thumb of right hand to grip.
+Now place the apparent two-spot card face toward, and on to the five
+spot; proceed by gently rubbing the back card with the index finger of
+right hand, and lift the top card and show it to be a three spot, while
+the card facing is found to be a four spot, which you also remove. The
+back of the two-spot card will then be seen and the pack appear to be an
+unprepared one.
+
+
+AN ARTFUL CARD FORCE
+
+PRESENTATION.--First secretly note what the top card of the pack is.
+Then proceed by asking a spectator to state what card he wishes you to
+use by giving you a number. After having received the number you proceed
+to count the cards face down on to a table until you reach that number,
+at the same time mentioning that the last card counted is the one you
+are to use. You pause for a moment, apparently thinking, then say, it is
+possible that the spectator may think that you already know the card as
+you counted them yourself, you consider that it would only be fair to
+allow him to count them himself. At the same time you replace the
+counted cards, and hand the pack to spectator, with the request that he
+counts down to the number previously stated. This, of course, has the
+effect of bringing the known top card into position at his number, so
+that it is quite an easy matter to follow on with any trick in which the
+sleight-of-hand force is necessary. This seems very simple, but try the
+effect; even our advanced friends will find it extremely useful.
+
+
+ANOTHER EASY CARD FORCE
+
+REQUISITES.--An ordinary pack of cards and two extra cards stuck
+securely together.
+
+Place the double card below a previously noted card. Hold the pack in
+the left hand so that the thumb can pass readily down the cards at the
+upper corner. Now pass the thumb of the right hand down the cards so as
+to ruffle them. You will find that the thumb is automatically stopped at
+the double card. By requesting a spectator to take the card immediately
+above the break in the pack, you can then proceed with any trick in
+which a forced card is necessary. Numerous other uses for the double
+card will readily occur to my readers from the hint given.
+
+
+A SIMPLE BUT PUZZLING CARD TRICK
+
+Place the pack face down on the table and cover it with a serviette.
+Then request a member of the company to put his hand under the serviette
+and take a card at random; to be careful not to let you see it but show
+it to the company and then return it to the pack and to square the pack
+through the serviette after the card has been replaced. You then lift up
+the side of the serviette nearest to you and at once produce the card.
+
+EXPLANATION.--When the company are looking at the card slip your hand
+under the serviette and turn the pack over, and, of course, you can at
+once detect the "faced" card when it is replaced. On withdrawing it with
+your right hand turn the pack over with your left and lift off the
+serviette.
+
+
+
+
+SIMPLE COIN TRICKS
+
+
+HOW TO DETECT A MARKED COIN
+
+Place ten coins--say shillings--in any empty finger-bowl and request a
+member of the company to select one, put a private mark on it, and then
+holding it in his closed hand, to close his eyes and think of the
+appearance of the coin very hard. In about a minute pick up the bowl,
+and going to him, request him to open his eyes; gaze in them, and then
+make a few mesmeric passes over his face. Then request him to drop the
+coin he holds in the bowl and to mix it up thoroughly with the other
+nine shillings. Now ask some one to blindfold you; when this is done
+place your hand in the bowl, and picking up the shillings one at a time,
+you can at once detect his, which you throw across the table to him for
+confirmation. The secret is that the coin held in the person's hand has
+obtained a certain degree of warmth and can at once be detected in
+consequence.
+
+
+A PENETRATIVE SHILLING
+
+Sew a halfpenny in the corner of your handkerchief and place the latter
+in your pocket ready for the trick. Borrow a shilling and request the
+lender to put a private mark on it. Take out your handkerchief and
+pretend to place the shilling under it, instead of which pick up the
+corner containing the halfpenny, place it in the centre and grasp it
+through the handkerchief with your left hand, while you let the marked
+shilling drop in the palm of your right. Ask a member of the company to
+hold the shilling (the halfpenny in the centre) in the handkerchief a
+few inches above the table. Then pick up an empty glass with your right
+hand, hold it under the table, and request the person who holds the
+handkerchief to let it fall on the table. The coin in the handkerchief
+will be heard to strike the latter and at the same time you drop the
+shilling from the palm of your right hand into the glass and place the
+latter on the table, while with your left hand you pick up the
+handkerchief and shake it, being careful not to allow the halfpenny to
+strike the table again while you are doing so. Request the person who
+lent the shilling to take it out of the glass and say if it is the one
+bearing his private mark.
+
+
+ANOTHER SIMPLE TRICK
+
+Here is another simple trick with a sixpence. Put a small piece of wax
+on it, and place it, the waxed side uppermost, in the centre of a
+handkerchief. Then put one of the lower corners of the handkerchief over
+the coin and ask some one to put his finger on it and press it. Then
+move the second lower corner of the handkerchief over the other corner,
+telling your assistant to move his finger while you do so. Next cover
+the two lower corners with the two upper corners of the handkerchief in
+the same manner, and ask your assistant if he is sure the sixpence is
+still there. Of course he will say yes; he can feel it. Then tell him to
+raise his finger. When he does so, take the two upper corners in your
+hands, and raise the handkerchief, when the coin will appear to have
+vanished. Of course, it is sticking to the lower corner of the
+handkerchief.
+
+
+A COIN TO DISAPPEAR FROM YOUR CHEEK AND REAPPEAR AT YOUR ELBOW
+
+While sitting at the table turn up your right sleeve, and, taking a
+half-crown or penny, rub it against your cheek, and then, as if by
+accident, drop it on the table. Pick up the coin and repeat the process,
+this time resting your elbow on the table, as you explain, to steady it.
+Move your hand from your cheek, and the coin has disappeared, and with
+your left hand produce it from your elbow. Then say, "I will reverse the
+experiment and send the coin back." Place your empty hand against your
+face and your left hand containing the coin under your elbow. After
+rubbing your face and chin, show the coin again in your right hand and
+your left hand empty. You require two coins for this trick, one palmed
+in your left hand. When you rub the coin against your face the second
+time, drop it inside your collar and produce the palmed coin from your
+elbow. When you "reverse the experiment," take the coin from your collar
+as you are rubbing your face and chin and drop the other coin from your
+left hand into your handkerchief spread over your knees.
+
+
+TWO VANISHED HALF-CROWNS
+
+This trick requires considerable practice, but is a very effective one.
+Take the two coins in your right hand, and throw them repeatedly, one at
+a time, into the other hand until the audience begin to think it is a
+"sell." Then, offering your left hand (in which the coins are supposed
+to be) to some one, say: "Well, you try to do it." Open your hand, and
+the coins have disappeared.
+
+EXPLANATION.--The last time you throw only one half-crown, and instead
+of throwing the second, bring the right hand down quickly, and at the
+same time jerk the coin in your left hand upwards into your right, and
+it will strike the coin retained there. The clink will be heard, and by
+closing your left hand quickly you will lead the company to suppose both
+coins are in that hand. Half-crowns are the best coins for the trick
+owing to their weight.
+
+
+A DIVINATION
+
+Request a member of the company (seated) to place a shilling or florin
+upon each knee, and cover them with his hands with his fingers stretched
+out. You then tell him, when you turn your back, to raise one of the
+coins and tap his head with it twelve times just above his ear; then
+replace it on his knee and cover it with his hands as before; and you
+will tell him, on examining the coins, which one he raised.
+
+The examination of the coins has really nothing to do with the trick.
+All you have to do is to look at the person's hands; the blood leaves
+the hand that has been raised, and when it is again placed beside the
+other the difference in colour is most perceptible.
+
+I have performed this trick hundreds of times in drawing-rooms, and it
+has never been detected, but created great surprise.
+
+
+AN EFFECTIVE BUT SIMPLE TRICK
+
+Stick a halfpenny (or a shilling) under the edge of a table secretly
+with a small piece of wax. Show another halfpenny to the company, and
+when it is returned to you, place it in front of you on the table while
+you turn up your sleeves. Then place the fingers of your left hand under
+the table, and with your right hand sweep the halfpenny on the table
+into your left, at the same time getting hold of the halfpenny under the
+table, taking care that one coin does not strike the other. Then place
+your right hand over your left, and pretend to rub the halfpenny the
+audience have examined very vigorously, and, showing both coins, say you
+have rubbed one halfpenny into two. You can improve on this trick by
+using four halfpence on the table and one stuck under the edge. Sweep
+two coins into your left hand, get possession of the stuck halfpenny,
+and close your hand. Hold it up, and say: "There are two halfpennies on
+the table, and I have two in this hand." Picking up the two halfpennies
+with your right hand, tell the company that you intend to pass one of
+them into the other hand. Then lay both hands flat on the table, lift
+your left hand, and show three halfpennies under it. Slide your right
+hand off the table, leaving one halfpenny behind, and carrying the
+second coin away with your fingers. As your hand leaves the table, press
+the halfpenny with your thumb against your two middle fingers, and nip
+it with your first and little fingers. Remove your thumb, and you will
+find you can hold it securely "palmed." Then with the right hand sweep
+the three halfpennies back into the left hand, at the same time letting
+the "palmed" coin fall with them. Close your fingers over them quickly,
+and picking up the remaining halfpenny from the table with your right
+hand, say: "I intend to make this halfpenny join its companions. One,
+two, three--go!"
+
+Pushing it with your thumb against your two middle fingers, palm it as
+before, and throw the four coins which you hold in your left hand on the
+table. While the attention of the company is on them, drop the "palmed"
+coin in your pocket.
+
+
+CHANGING APPLE AND COINS
+
+Procure two small apples exactly alike, and in the bottom of one scoop
+out a hole large enough to hold a pile of three sixpences. Make a
+conical cover out of cartridge paper large enough to cover the apple and
+about nine inches in height. Obtain six sixpences, three of which place
+in a pile on an inverted glass goblet. Conceal the other three and the
+hollow apple in your left hand. Ask some one to examine the cover, and,
+on receiving it back, transfer it to your left hand and slip it over the
+apple. Then give the duplicate apple for examination, and, taking the
+cover by its lower part, and the apple concealed in it, place both over
+the three sixpences on the glass. Take the apple that has been examined,
+and put it under the table with your left hand, hold it between your
+knees, and say: "I command this apple to pass through the table and take
+the place now occupied by the three sixpences, and the sixpences to fall
+into my hand." Bring your left hand from under the table and show the
+coins, lift up the cover and show the apple on the glass. Then reverse
+the procedure. Cover the apple on the glass; place the three sixpences
+under the table; secure the apple held between your knees and roll it on
+the table; lift up the cover and hollow apple together, and, dropping
+the latter into your lap, show the former is empty. This trick should be
+performed sitting.
+
+
+AN OBEDIENT SIXPENCE
+
+Place two half-crowns (or pennies) on the table and a sixpence between
+them. Then cover the coins with an inverted wine-glass, the edges of the
+latter resting upon the larger coins. Challenge any one to remove the
+sixpence without touching the glass or the money. It is done very
+easily, and in an amusing manner. You have only to scratch the
+tablecloth with your finger-nail in the direction you wish the coin to
+come, saying: "Come hither, sixpence," and it will at once obey you.
+
+
+COIN AND GLASS
+
+Cover the mouths of two glasses with newspaper, by gumming it on them,
+and trim off the edges neatly.[A] Stand them inverted upon two pieces of
+newspaper in such a manner that the type on the paper over the glasses
+fairly corresponds with that on the paper on the table. Make two cones
+of newspaper to fit closely over each glass. Unobserved by the company,
+place a penny under the glass on your left, which will of course be
+concealed by the paper on the mouth of the glass. Then borrow a penny,
+and, placing the cone over the glass on your right, lift the latter
+covered by the former from the table; lay the borrowed penny on the
+newspaper, and cover with the glass and cone. You call attention to the
+fact that there is nothing under the other glass, and you then cover it
+with the second cone. You now tell the company that at your word of
+command the penny will leave one glass and travel invisibly over the
+table to the other glass. You lift the cone from the glass on your
+right, under which the borrowed penny was placed, and the coin is not to
+be seen. Then, lifting both the cone and glass together on your left,
+the concealed penny is brought into view. You now announce your
+intention of sending the penny back. Place the covered glass over the
+penny and replace the cover over the glass on your right. "One, two,
+three--go!" you exclaim and, lifting the cone off the glass on your
+left, the penny under it appears to have disappeared, and on removing
+the other glass, still covered by the cone, the borrowed penny will once
+more be seen. This trick can be worked with one glass only and the penny
+made to appear to drop through the table in your hand placed under the
+latter ready to catch it (the penny, of course, being already palmed in
+your hand); but the use of two glasses makes the trick more effective,
+and it can be repeated many times without fear of detection. The paper
+upon which the glasses stand can, of course, be examined; but the
+glasses when removed from the paper must be covered with the cones, or
+the paper cover on the mouth of each will be seen.
+
+[A] This piece of apparatus neatly constructed can be obtained at a
+trifling cost at any of Messrs. Hamley Bros.' Conjuring Depots, London.
+
+
+A SIMPLE EXPERIMENT WITH FOUR SHILLINGS
+
+Borrow four shillings; place one on the palm of each hand, and, holding
+the palms upward, close your fingers over them. Then request a member of
+the company to place the other two coins on the nails of your two middle
+fingers; and announce your intention of throwing a coin from one hand to
+the other, explaining it is rather a difficult feat to accomplish with
+your hands closed. Make one or two movements with your hands, and then,
+as if accidentally, drop the two shillings resting upon your nails upon
+the table. Apologising for your clumsiness, request some one to replace
+the coins on your nails, saying you will have another try. Now give your
+hands a jerk upward; open them and catch the coins on your nails, one in
+each hand, and tell the company you have accomplished your purpose and
+sent one coin flying invisibly through the air from one hand to the
+other. To verify your assertion open your hands and show three coins in
+one hand and only one in the other.
+
+EXPLANATION.
+
+When you make the first attempt, and appear to fail, in the upward
+movement of your hands you open them and allow the shilling resting upon
+the nail of your left hand to slip into the palm, while you permit the
+coin in the palm of your right hand to fall, with the one above it on
+the nail, on the table. If this is done neatly the company will suppose
+it is the two coins from the nails which have fallen. You now have two
+shillings in your left hand and none in your right. In the second
+attempt you have only to catch the shillings resting on your nails in
+the manner described, and on showing one shilling in your right hand and
+three in your left, your statement that one has travelled invisibly from
+one hand to the other will appear to be correct.
+
+
+PUZZLE OF TEN HALFPENCE
+
+Place ten halfpence in a row upon the table, then taking up any one of
+the series, place it upon another, with this proviso, that you pass over
+just two halfpence each time. Repeat this until there is not a single
+halfpenny left. Let the following figures represent the halfpence:--
+
+                          1 2 3 4 5 6 7 8 9 10
+
+Place No. 4 upon No. 1; No. 7 upon No. 3; No. 5 upon No. 9; No. 2 upon
+No. 6; and No. 8 upon No. 10. A little practice will enable the reader
+to do this puzzle without referring to the figures.
+
+
+HOW TO INCREASE YOUR WEALTH
+
+Obtain three sixpences exactly alike, place one in your pocket and stick
+the other two with a small piece of wax under the edge of the table
+about an inch apart. After showing other tricks produce the sixpence
+from your pocket and show it to the company to prove it is an ordinary
+coin. Pull up your sleeves, and if the table has a cover turn it back.
+Place the coin on the table near the edge over the concealed sixpences,
+and showing your right hand is perfectly empty place your thumb over the
+coin and rub it vigorously backwards and forwards on the table. At the
+same time run your first and second fingers under the table, and
+securing one of the coins sticking there move it and the coin under your
+thumb simultaneously off the table, and pinching them together between
+your thumb and finger, say: "I will show you how to double your capital.
+I am going to rub this sixpence into two sixpences." Then showing your
+other hand is empty use the left thumb and finger to assist in the
+rubbing, and gradually separate the two coins and exhibit them. Then
+putting the sixpence with the wax in your pocket place the other one
+near the edge of the table and repeat the trick, saying: "See, I have
+now trebled my capital." Do not allow the company to examine the waxed
+coins.
+
+
+A NEAT COIN TRICK
+
+Procure three coins (pennies or half-crowns) exactly alike. Scratch a
+cross on two, and in the third bore a hole, in which fasten a short
+piece of black elastic cord. The other end of the elastic tie round your
+ankle, taking care that the coin does not hang below your trouser leg.
+Put one of the marked pennies in your left-hand trousers pocket and drop
+the other one unobserved into the pocket of some one present, or give it
+to a confederate to hold. Commence by borrowing a similar coin to those
+you are using and mark it like the others. Hold it between the thumb and
+finger of the right hand, and, giving it a twist, spin it on the table,
+then snapping your fingers over it, catch the edge of the coin and it
+will fly up your sleeve. Close your hand and say, "I will make this coin
+fly up my sleeve, travel round my back, and pass down my other sleeve."
+In the meantime you have secured the penny in your pocket and concealed
+it in your left hand. Open your right hand, showing it is empty, and
+then show the penny in the other hand. Lower your right hand, the penny
+in your sleeve will drop into it, and you can pocket it unobserved. Then
+ask for the loan of a cap and walking-stick. Request some one to hold
+the stick, while you hold the cap in your left hand. Pick up the penny
+with your right hand and pretend to place it on the floor. In doing so
+substitute the coin attached to the elastic, and, stretching the latter,
+hold the coin on the floor while you cover it with the cap, and ask the
+person who has the stick to place its end on the coin through the cap
+and keep it there until you tell him to move it. Then say, "I command
+this coin to leave the cap and pass into Mr. So-and-So's pocket. Move
+the stick, please, and then lift up the cap." On the removal of the
+stick the coin will fly under your trouser leg, and, of course, when the
+cap is lifted it is no longer on the floor. On the person whose name you
+mentioned putting his hand in his pocket he will find the coin you
+placed there, which you return to the person from whom you borrowed the
+penny.
+
+
+A SUBTLE IMPROMPTU EFFECT WITH A COIN
+
+EFFECT.--A coin dropped down the sleeve is slowly rubbed out through the
+cloth at the elbow.
+
+REQUISITES.--Two coins exactly alike.
+
+PRESENTATION.--First secretly place one of the coins between the buttons
+at the end of your left coat sleeve. Then stand with your right side
+towards spectators with the left arm extended, but slightly bent at the
+elbow. After having the coin examined, proceed to drop it down the
+sleeve of the extended arm, when it will fall to the elbow, and ask a
+spectator to feel that it is really there. Proceed by placing thumb of
+right hand on the side of sleeve toward spectators, and the fingers at
+the back, and rub the hand up and down the sleeve from the elbow to the
+cuff, and at the same time secretly gain possession of the coin between
+the buttons and bring it down behind the sleeve towards the elbow. Now
+with a slow pinching movement bring the coin down between the thumb and
+fingers and apparently out through the cloth of the sleeve, meanwhile
+moving the left arm up and down slightly. The coin left in the sleeve
+can be secretly got away by dropping the arm and allowing it to fall
+into the hand and then pocketed.
+
+
+AN ORIGINAL COIN SWINDLE
+
+Palm a halfpenny in your right hand and ask a friend (be sure he _is_
+your friend) to lend you a shilling. Pick up a glass, invert it, and
+place the borrowed shilling on its bottom. Then ask your friend whether
+the coin is on the top or bottom of the tumbler. He will naturally look
+surprised at such a question; and you then say,--"Ah, I see you know the
+trick." Slide the shilling off the glass into your right hand, and as
+your friend holds out his hand to receive it back, drop the concealed
+halfpenny into it. The chances are ten to one that he will place the
+coin in his pocket without glancing at it. Unless you really desire to
+swindle your friend out of elevenpence halfpenny you will, of course,
+explain to him how he has been "had."
+
+
+A CROSS
+
+Place seven coins on the table, five in a row and one above and one
+underneath the centre coin. Then challenge any one to form a cross with
+these coins by moving two only, all the arms of the cross to have the
+same number of coins. After many attempts and failures show how easy it
+is to accomplish by taking the two coins at the ends of the row and
+placing them upon the coin in the centre.
+
+
+
+
+SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC.
+
+
+A KNOT THAT CANNOT BE DRAWN TIGHT
+
+Tie a single over-hand knot in a handkerchief, and holding it in your
+left hand, give one end to some one, telling him to pull at a given
+signal. As he is about to do so, slip your left thumb underneath and,
+letting go the end hanging over your left hand, allow the handkerchief
+to run between your thumb and forefinger, when it will come out without
+any knot (Fig. 4).
+
+                             [Illustration]
+                                Fig. 4.
+
+
+TO TIE AN INSTANTANEOUS KNOT IN A HANDKERCHIEF
+
+Hold the handkerchief in both hands; give it a twist; blow on it, and a
+knot instantly appears in its centre.
+
+Hold the handkerchief as shown in Fig. 5.
+
+                             [Illustration]
+                                Fig. 5.
+
+Then while in the act of blowing on it bring the hands together quickly,
+throw the end _a_, held in the right hand, between the two middle
+fingers of the left hand and over _b_; at the same time grasp _b_
+between the two middle fingers of the right hand (Fig. 6); pull _a_
+under _b_ with the left hand and _b_ under _a_ with your right, and the
+knot is made. With practice you will be able to do this imperceptibly.
+
+                             [Illustration]
+                                Fig. 6.
+
+
+HALF A BURNT MESSAGE FOUND RESTORED IN A CANDLE
+
+Procure two candles and from one cut one-third off, in which piece drill
+a hole lengthwise and remove the wick. Put this piece in your pocket and
+place the other candle in a candlestick. Give a small piece of paper to
+a member of the company and request him to write a short sentence on it.
+Tear the paper in two, and giving him half, retain the other half
+yourself, which you fold up. Have a similar piece of paper, folded,
+concealed in your right hand, and as you turn to get the candle (which
+should be lighted), substitute one for the other. Burn the plain piece
+of paper in the candle, and obtaining the piece of candle from your
+pocket put your hands behind your back, and, having rolled up the half
+message, work it into the hole in the piece of candle. In order to gain
+the time to do this stoop over the lighted candle and make several
+unsuccessful attempts to blow it out. When the paper is in the piece of
+candle give one good hard blow and extinguish the light. With the piece
+of candle concealed in your left hand, take the candle out of the
+candlestick, lay it on the table, and with a knife cut off the burnt
+end, which throw away and divide the remainder into three equal parts.
+Then ask the person who wrote the message to select one piece. When he
+does so pick up the selected piece with your right hand and pretend to
+transfer it to your left, but retain it in the right and show the piece
+concealed in your left, which you present to the person who wrote the
+sentence and request him to pull out the piece of paper, which he will
+find to be the corresponding half of the piece in his possession.
+
+
+TWO GOOD RING TRICKS
+
+Take a common ring, about the size of a wedding-ring, and suspend it to
+the centre of your handkerchief by a piece of cotton four inches long.
+You can hold the handkerchief up by the corners with the ring hanging in
+front of you, and the latter will not be noticed. Then let the
+handkerchief fall over your left hand and the ring in your palm. Request
+the loan of a wedding-ring, and, having obtained one, put it under the
+handkerchief, drop it in your palm, and pick up the other ring, which
+push up in the centre of the handkerchief, requesting some one to hold
+it there. Next take a drinking-glass in your right hand and request the
+person to drop the ring in it and the handkerchief over it. Shake the
+glass, and the ring will be heard to rattle inside. Then stand the glass
+in the palm of your left hand with its bottom over the borrowed ring,
+which is concealed there. With your right hand pinch the centre of the
+handkerchief and lift it up quickly, of course, carrying the suspended
+ring with it, being very careful not to let the ring strike the glass.
+The glass is seen to be empty; lift it up and show the ring underneath.
+Say, "You see, the ring has passed through the bottom of the tumbler."
+
+A similar and a better trick can be performed with a short cane--say
+about eighteen inches long--instead of a glass. Commence as in the
+previous trick, and after you have asked some one to hold the suspended
+ring through the handkerchief, show the cane, and, holding your left
+hand back upward, push it through the latter and the borrowed ring, and
+grasp the cane with, of course, the ring on it, in the centre. With your
+right hand take the ring and handkerchief from the person who holds
+them, and request him to take hold of each end of the cane. Now lower
+the handkerchief until it hides your left hand, when you must move the
+latter away, leaving the ring on the cane concealed by the handkerchief.
+Then let the suspended ring fall out of the handkerchief, and if it
+strikes the cane so much the better. Whip the handkerchief away, and the
+ring on the cane will be seen. How that ring could have got on the cane
+while the ends of the latter were being held will puzzle everybody.
+Pocket the handkerchief with the suspended ring at once, and don't allow
+it to be examined.
+
+
+
+
+SIMPLE ARITHMETICAL PROBLEMS
+
+
+TO ASCERTAIN A NUMBER THOUGHT OF
+
+Every schoolboy knows the old puzzle: Think of a number; double it; add
+10, divide by 2, subtract number thought of; and 5 left. Here is a great
+improvement upon that problem, which I have seen puzzle some excellent
+accountants.
+
+Think of a number; multiply by 3; if the result is odd, add 1 and divide
+by 2; multiply by 3; if result be odd, add 1, and again divide by 2. By
+how many 9's is the result divisible?
+
+On receipt of that information you at once give the number thought of.
+One of the most puzzling features of the trick is that no 9's are
+obtainable in the result should either 1, 2, or 3 be thought of, as the
+following will show:--
+
+                     Number thought of   1   2   3
+                           multiply by   3   3   3
+                                        ---     ---
+                                         3       9
+                     Add                 1       1
+                                        --- --- ---
+                     Divide by 2         4   6  10
+                                         2   3   5
+                     Multiply by         3   3   3
+                                            --- ---
+                                             9  15
+                     Add                     1   1
+                                        --- --- ---
+                     Divide by 2         6  10  16
+                                         3   5   8
+
+As will be seen, none of these results is divisible by 9, yet the number
+thought of is correctly given in each instance.
+
+SOLUTION.--When the number thought of is multiplied by 3, you ask the
+question, "Is the result odd or even?" If the answer is "odd," make a
+mental note of _one_; then proceed. "Add one and divide by two. Is the
+result odd or even?" If the answer is again "odd," make a mental note of
+_two_; and proceed. "Add one and divide by two. How many nines are
+obtainable in the result? I do not want to know what the surplus is."
+
+The above figures illustrate that when 1 is the number thought of there
+is only an addition of 1. When 2 is the figure, no addition is required
+to the first result; but the second result being 9, 1 is added and _two_
+noted, which, of course, is the figure thought of. When 3 is thought of
+two additions are necessary, one to the 9 and one to the 15, making a
+total of _three_ to be remembered, which represents the original number.
+When 4 or any succeeding number is thought of the final result is always
+divisible by 9, and in your mental calculation each 9 must represent 4,
+to which you add the figures you have previously noted.
+
+EXAMPLES.
+
+Number thought of 4 x 3 = 12 / 2 = 6 x 3 = 18 / 2 = 9.
+
+Here we have one 9, which represents 4, the number thought of.
+
+Number thought of 7 x 3 = 21 + 1 = 22 / 2 = 11 x 3 = 33 + 1 = 34 / 2 =
+17. From which is obtainable only one 9, which represents 4, to which
+you add 1 for the first addition of 1, and 2 for the second addition,
+making a total of 7, the number thought of.
+
+Number thought of,
+
+                            11
+                         x   3
+                           ----
+                            33
+                         +   1  note 1
+                           ----
+                       / 2  34
+                            17
+                         x   3
+                           ----
+                            51
+                         +   1  note 2
+                       / 2  52
+                           ----
+                            26  two 9's = 8 = 11
+
+
+HOW TO NAME A NUMBER WHICH HAS BEEN ERASED
+
+Request a member of the company to write a row of figures, the number of
+which is immaterial, add them together and subtract the addition from
+the row. Then to cross out any figure from the result, add the remaining
+figures together and give you the total, when you will tell him which
+figure he has erased. Of course, you do not see his figures and can
+leave the room while he makes them.
+
+                                EXAMPLE.
+
+                                567219 = 30
+                             -      30
+                               --------
+                                567189
+
+We will suppose he crosses out 7, which makes the addition of the row,
+minus that figure, 29. He gives you that result and you at once name the
+crossed off figure. There are two ways of arriving at the answer. The
+simplest and quickest way is to add the units in the result together
+until only one figure remains and deduct it from 9. For instance, we
+will take 29. Add the 2 and 9 together, which make 11; add 1 and 1
+together and you have 2, which deduct from 9, leaving 7, the figure
+erased in the above example.
+
+Supposing 1 was the figure erased, the addition of the remaining figures
+would then be 35; 3 + 5 = 8, 9 - 8 = 1, the figure crossed off.
+
+The second method is to reckon the next multiple of 9 above the figures
+given you; for instance, supposing they are 29, the next multiple of 9
+is 36. Deduct 29 from it and it leaves 7, the erased figure. If either 9
+or 0 is erased the result is the same. You can get out of the
+difficulty, on being told you are wrong, by saying (in case you have
+given 9), "Yes, I see it is a nought; I thought it had a tail, so
+mistook it for a nine." If you have named 0 and it turns out to be 9,
+you can say, "Oh, I didn't notice the tail; of course I should have said
+nine."
+
+
+A LESSON IN THE CORRECT FORMATION OF A FIGURE
+
+Request a friend to write the following figures:--
+
+                            1 2 3 4 5 6 7 9
+
+Take the paper from him and, after pretending to scrutinise the row, ask
+him to point out which figure he considers most imperfectly made. If he
+should select the 1, say, "You had better practise making that figure.
+Oblige me by multiplying the row by nine." When he does so the result
+will be
+
+                           1 1 1 1 1 1 1 1 1
+
+Then say, "After this practice you will be able to make better ones in
+future."
+
+If he selects the 4 request him to multiply by 36 and the result will be
+
+                           4 4 4 4 4 4 4 4 4
+
+Whichever figure he selects, mentally multiply it by 9 and request him
+to multiply the row by the result. If he thinks 9 the most imperfectly
+made figure, you, of course, tell him to multiply by 81 and the result
+will be all 9's.
+
+
+FOUR NINES PROBLEM
+
+How can four 9's be written so that they will make 100?
+
+                               SOLUTION.
+
+                                 99 9/9
+
+
+AN ANSWER TO A SUM GIVEN IN ADVANCE
+
+Ask some one to start a sum in addition by writing the top line of four
+figures. We will suppose he writes 1912. You mentally subtract the 2 and
+place it before the 1, making 21,910, which figures write on a piece of
+paper, which you fold up and lay on the table. You then ask a second
+person to place four figures under the first line. Then add a line
+yourself, which must be a deduction of the second line from four 9's.
+Ask a third person to add four figures to those already written. Then
+add another line yourself, making it a deduction of the third person's
+figures from four 9's. Request a fourth person to add up the sum and
+tell him you have already done so, and he will find the answer on the
+table. The sum will appear something like this:--
+
+                                   1912
+                                   7234
+                                   2765
+                                   4891
+                                   5108
+                                --------
+                                 21,910
+
+Which answer corresponds with the figures on the paper, which has been
+on the table the whole time. If you have in the company two friends upon
+whom you can rely as confederates, previously arrange with them to write
+the third and fifth lines, explaining to them that they must deduct the
+line immediately preceding theirs from 9's and make their lines the
+products. This adds greatly to the mystery of the trick.
+
+
+AN ARITHMETICAL PUZZLE
+
+Take 9 from 6; from 9 take 10, and from 40 take 50, and you will find 6
+remains.
+
+                               SOLUTION.
+
+                      FROM SIX | FROM IX | FROM XL
+                      TAKE  IX | TAKE  X | TAKE  L
+                           S   |      I  |      X
+
+
+AN ARITHMETICAL MYSTERY
+
+Thirteen commercial travellers arrived at an inn, and each desired a
+separate room. The landlady had but 12 vacant rooms, which may be
+represented thus:--
+
+          ----------------------------------------------------
+          | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 |
+          ----------------------------------------------------
+
+But she promised to accommodate all according to their wishes. So she
+showed two of the travellers into room No. 1, asking them to remain a
+few minutes together. Traveller No. 3 she showed into room No. 2,
+traveller No. 4 she showed into room No. 3, traveller No. 5 into room
+No. 4, traveller No. 6 into room No. 5, and so on until she had put the
+twelfth traveller into Room No. 11. She then went back to where she had
+left the two travellers together, and asking the thirteenth traveller to
+follow her, led him to No. 12, the remaining room. Thus all were
+accommodated. Ask your friends to explain the mystery.
+
+
+HOW TO TELL HER AGE
+
+Girls of a marriageable age do not like to tell how old they are, but
+you can find out by following the subjoined instructions, the young lady
+doing the figuring: Tell her to put down the number of the month in
+which she was born, then to multiply it by 2, then to add 5, then to
+multiply it by 50, then to add her age, then to subtract 365, then to
+add 115, then tell her to tell you the amount she has left. The two
+figures to the right will tell you her age and the remainder the month
+of her birth. For example, the amount is 822, she is twenty-two years
+old and was born in the eighth month (August).
+
+
+A RACE IN ADDITION
+
+Tell a friend that you will race him in counting from 1 to 100, and
+guarantee to win, under the following conditions: You will allow him to
+start first, at any number from 1 to 10, and you are both to have the
+privilege of adding any figure up to 10 to the last number called. For
+instance, we will suppose he starts with 5. You call 15, having mentally
+added 10 to his number. He then calls 20, having added 5; and so on,
+until 100 is reached. Until he sees through the trick you will win every
+time, and even then you will win if you start first and commence at 1.
+In that case, as he can only add 10, his first call could not exceed 11,
+to which you immediately add 1 and call 12. If his next call is 22, you
+say 23. No matter what his additions may be, the numbers you must always
+reach first are 12, 23, 34, 45, 56, 67, 78, and 89. When you call the
+latter number, as he can only add 10 to it, your next call will, of
+course, be 100. By this you will observe that, although you can only add
+10 to your opponent's last number, you in reality add 11 to your own. So
+you are, so to speak, always 1 ahead of him. If, when you suggest the
+trick, you see your friend is not familiar with it, you can give him the
+option of starting first, and you need not pick up the thread of your
+winning numbers until you reach 50, adding low numbers to his additions,
+which will help to puzzle him; but he will soon see that it is necessary
+to reach 89; then he will notice you strike 78 and 67. When you see he
+is getting on the right track, pick up the winning numbers earlier, and
+at last insist that you must now start first. In starting with a person
+who does not know the trick it is advisable, and more puzzling, to dodge
+about at first and not get on the track of the winning numbers until 56
+or 67. But if your friend knows the trick and starts at 1 you cannot
+beat him. I have seen good accountants puzzle for hours over this little
+trick, which was invented by Mr. William Lawtey, a dear old friend of
+mine.
+
+
+TO PREDICT THE HOUR YOUR FRIEND INTENDS TO RISE ON THE FOLLOWING MORNING
+
+Request your friend to make up his mind as to the time he intends to
+rise on the following morning, and then to mention an entirely different
+hour to you. To the latter you mentally add twelve, and giving him the
+number of the total, request him to look at his watch, and starting at
+the hour preceding the one he has selected for rising, to count
+backwards until he reaches the number you have given him, beginning with
+the number which he previously gave you. Ask him to state the hour at
+which he stops, which he will find is the one he selected for rising.
+For instance; supposing your friend intends to rise at nine and gives
+you four. To four you mentally add twelve and request him to start at
+the hour before his getting-up time (which would be eight) and count
+sixteen backwards on the face of the watch, starting with the number he
+gave you--four--and when he reaches sixteen his finger or pencil will
+rest upon nine, the hour he selected for getting up.
+
+
+
+
+MATCH PUZZLES
+
+
+EXPERIMENT WITH TEN MATCHES
+
+Lay ten matches side by side (Fig. 7) and request some one to lift each
+match singly, and passing it over two matches, cross a third match with
+it until there are five crosses on the table (Fig. 8). Two matches (and
+only two whether crossed or single) must be passed over at a time.
+
+                      1  2  3  4  5  6  7  8  9  10
+                      |  |  |  |  |  |  |  |  |  |
+                      |  |  |  |  |  |  |  |  |  |
+                      |  |  |  |  |  |  |  |  |  |
+                                Fig. 7.
+
+                        \ /  \ /  \ /  \ /  \ /
+                         \    \    \    \    \
+                        / \  / \  / \  / \  / \
+                                Fig. 8.
+
+The secret is that No. 1 must be crossed first and No. 9 second, or the
+trick cannot be accomplished.
+
+The following are the correct moves: 4 over 2 and 3 and crossed on 1; 6
+over 7 and 8 and crossed on 9; 8 over 7 and 5, crossed on 3; 2 over the
+3 and 5, crossed on 7; the 10 over the 9 and 7, crossed on 5.
+
+
+THE MAGIC NINE
+
+Make the figure 9 with a long tail with matches (Fig. 9) and tell a
+member of the company to think of a number, which must exceed the number
+of matches in the tail; and, commencing at the first match in the
+latter, count mentally round the figure, stop when he reaches the number
+thought of, and then, recommencing at the match he stopped at, count the
+reverse way, this time avoiding the tail, and continuing on the upper
+part of the 9 until he again reaches the number he selected, when you
+will point to the match he has stopped at. This you can do very easily,
+for if there are seven matches in the tail he will, of course, stop at
+the seventh match on the left from the tail, as will be seen by the
+numbering on the diagram, which assumes he thought of fifteen. Each time
+the puzzle is tried vary the length of the tail by taking some matches
+out of the latter and adding them to the upper part of the figure, or
+vice versa. If this is not done the stop will always be made at the same
+match, which will give the trick away.
+
+                             [Illustration]
+                                Fig. 9.
+
+
+TRIANGLES WITH MATCHES
+
+Make three equilateral triangles with six matches. Of course, two can be
+made with five matches; but then there is one over, and how to make a
+third triangle with only one match is a puzzler. It is as easy as
+possible. Make a triangle with three matches, and stand the other three
+upon end inside the triangle in the form of a tripod (Fig. 10).
+
+                             [Illustration]
+                                Fig. 10.
+
+Here is another triangular puzzle. With five matches form two
+equilateral triangles. Tell the company they are to remove three
+matches; then add two and make two more equilateral triangles. This is
+only a "sell." You do not say where the two matches are to be added. You
+add them to the three removed, and form the same figure over again (Fig.
+11).
+
+                                  /|\
+                                 / | \
+                                /  |  \
+                                \  |  /
+                                 \ | /
+                                  \|/
+                                Fig. 11.
+
+
+MATCH SQUARES
+
+Make nine squares with twenty-four matches (Fig. 12). Then request some
+one to remove eight matches, and without touching those left, to leave
+two perfect squares.
+
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                               |  |  |  |
+                                -- -- --
+                                Fig. 12.
+
+Fig. 13 shows the solution.
+
+                                -- -- --
+                               |        |
+                                   --
+                               |  |  |  |
+                                   --
+                               |        |
+                                -- -- --
+                                Fig. 13.
+
+
+YOUR OPPONENT MUST TAKE THE LAST MATCH
+
+Place twenty-five matches in a row on the table. Request some one to
+select one end of the row and to take one, two, or three matches from
+it, you having the same privilege at the other end; and you guarantee he
+will be compelled to take the last match no matter how he may vary the
+number he takes.
+
+The secret is to remove four matches each time between you. For
+instance, if your opponent takes three you take one; if he takes two you
+take two; if he takes one you take three and so on. It is obvious if
+four matches are taken six times one match will be left on the table,
+which your opponent must take.
+
+
+A SHAKESPEAREAN QUOTATION
+
+Lay five matches on the table and request a member of the company to
+form a well-known quotation from Shakespeare by the addition of three
+more matches (Fig. 14). "But," some one will say, "how does KINI
+represent a Shakespearean quotation?" Your reply is obvious: "Can't you
+see KINI is 'a little more than kin, but rather less than kind'?"
+
+                         | /  |    |\   |    |
+                         |/   |    | \  |    |
+                         |\   |    |  \ |    |
+                         | \  |    |   \|    |
+                                Fig. 14.
+
+
+NUMERAL
+
+Place five matches on the table and challenge any one to make them into
+thirteen without breaking any of them, and then, without moving them, to
+make eight by the use of a card. The solution will be found in Fig. 15.
+
+                              \ /  |  |  |
+                               \   |  |  |
+                              / \  |  |  |
+                                Fig. 15.
+
+To make eight, hide the lower half of the row from sight, and it of
+course shows viii.
+
+
+SIX AND FIVE MAKE NINE
+
+Place six matches on the table and request a person to add five more in
+such a manner as to make nine. The solution is shown in Fig. 16.
+
+                                              _____
+                    |\   |    |    |\   |    |
+                    | \  |    |    | \  |    |_____
+                    |  \ |    |    |  \ |    |
+                    |   \|    |    |   \|    |_____
+                                Fig. 16.
+
+
+THE ARTFUL SCHOOLBOYS
+
+At a certain school were four long dormitories, built in the form of a
+square, in which thirty-two boys occupied beds, as shown by matches in
+Fig. 17.
+
+                            ||||  ||||  ||||
+
+                            ||||        ||||
+
+                            ||||  ||||  ||||
+                                Fig. 17.
+
+By this arrangement the master, in going his rounds at night, counted
+twelve boys in each corridor. One night four boys absented themselves
+from the school, and the remaining boys rearranged themselves in such a
+manner that the master was still able to count twelve boys in each
+corridor, and the absence of their four comrades was not noticed. How
+they did it is shown in Fig. 18.
+
+                            |||||  ||  |||||
+
+                             ||          ||
+
+                            |||||  ||  |||||
+                                Fig. 18.
+
+The four absentees returned on the following night, accompanied by four
+friends; but the master was unable to notice the addition, for he again
+counted twelve boys in each dormitory. The new arrangement was as Fig.
+19.
+
+                             |||  ||||||  |||
+
+                            ||||||      ||||||
+
+                             |||  ||||||  |||
+                                Fig. 19.
+
+There were now thirty-six boys sleeping in the dormitories, and next
+night they were joined by four more, which brought the number up to
+forty, and yet the master only counted twelve in each dormitory on his
+rounds that night. How the new distribution was made is shown in Fig.
+20.
+
+                          ||   ||||||||   ||
+
+                       ||||||||        ||||||||
+
+                          ||   ||||||||   ||
+                                Fig. 20.
+
+Next night four more chums popped in for a snooze, making a total of
+forty-four, and again the master was bamboozled by the following
+readjustment (Fig. 21).
+
+                             [Illustration]
+                          |   ||||||||||   |
+
+                     ||||||||||        ||||||||||
+
+                          |   ||||||||||   |
+                                Fig. 21.
+
+History is silent upon the subject of the arrangement at the
+breakfast-tables.
+
+The proper way to present this puzzle to your friends is to lay
+forty-four matches on the table, and after showing the initial
+arrangement, allow them to work the rest out for themselves.
+
+
+WHAT ARE MATCHES MADE OF?
+
+Arrange fourteen matches as in Fig. 22, and tell your friends to take
+away any three matches they may select without disturbing the others,
+and replace one in any position they may choose in such a way as to show
+what matches are made of. They will endeavour to form the word "wood";
+but Fig. 23 gives the correct solution.
+
+                      -----   -----          -----
+                     |     | |     | \    / |     |
+                     |     | |     |  \  /  |     |
+                     |     | |     |   \/   |     |
+                      -----   -----          -----
+                                Fig. 22.
+
+                              -----          -----
+                     |       |     | \    / |
+                     |       |     |  \  /  |-----
+                     |       |     |   \/   |
+                      -----   -----          -----
+                                Fig. 23.
+
+
+A SHEEP PEN
+
+Arrange eight matches as shown in Fig. 24, and state that this
+enclosure, formed by eight hurdles, is supposed to hold one hundred
+sheep. Ask your friends how many more hurdles would be required to
+enable the enclosure to contain two hundred sheep? The reply is
+generally eight more, and your friends will be surprised to learn that
+only two more hurdles are required--one at each end across the
+enclosure. Three hurdles being moved to admit of the introduction of the
+additional two, the pen will, of course, be doubled in size.
+
+                          -----  -----  -----
+                         |                   |
+                         |                   |
+                         |                   |
+                          -----  -----  -----
+                                Fig. 24.
+
+
+POST AND RAIL PUZZLE
+
+Put the following question to the company: Supposing there was a tunnel
+through a hill and a post and rail fence was constructed through it, and
+another fence was made exactly above it, over the hill, how many more
+posts would be required for the latter route, supposing they were the
+same distance apart by both routes?
+
+After several calculations have been made you can astonish the company
+by telling them that exactly the same number of posts would be required
+for both routes, which you can prove by making a rough sketch of the
+diagram, Fig. 25, and placing matches on it to represent the posts.
+
+                             [Illustration]
+                                Fig. 25.
+
+
+
+
+SIMPLE MISCELLANEOUS TRICKS
+
+
+A GOOD AFTER-DINNER TRICK
+
+Procure an egg, an apple, an orange, and two dozen nuts. Place the
+latter on a plate, and request three persons during your absence from
+the room to each pocket one of the three former, asserting that you will
+eventually state in whose pockets the different articles are to be
+found. On returning to the room present to one of the persons you have
+asked to assist you one nut, to a second person two nuts, and to the
+third three nuts, which will of course leave eighteen nuts on the plate.
+You must mentally name the person to whom you gave one nut "number one,"
+to the person holding two nuts "number two," and the one who has three
+nuts "number three."
+
+Announce your intention of again leaving the room, and request your
+three assistants to help themselves during your absence to nuts as
+follows--the one holding the apple to take the same number of nuts you
+presented him with, the one who has the egg to twice as many as you gave
+him, and the holder of the orange to four times as many as he originally
+received.
+
+Impress on them that the number of nuts they take must be _in addition_
+to those they already hold.
+
+On returning to the room you glance at the nuts remaining in the plate
+and at once call for the egg, apple, and orange from their respective
+holders.
+
+EXPLANATION.
+
+You must memorise the following Latin words: Attento, Beato, Cantores,
+Erocat, Fortasse, Glossema, numbering them 1, 2, 3, 4, 5, and 7. The
+initials of these words, it will be observed, are the first six letters
+of the alphabet, omitting D, which is not required; A, of course,
+standing for Apple, E for Egg, and O for Orange.
+
+On returning to the room after your second absence count the number of
+nuts remaining on plate, refer to the Latin words, and you have the key.
+Supposing there are only two nuts left, take the second word, Beato, and
+reject the consonants, when the vowels will remain in proper order, E,
+A, O. The E being first shows the egg is in the pocket of the person
+whom you have designated as "number one." The A being second indicates
+"number two" has the apple, and the O, the third letter, means "number
+three" holds the orange.
+
+Supposing there are seven nuts left, take the seventh word, Glossema,
+reject the consonants as before, and pick out the vowels, O, E, A, which
+proves "number one" person holds the orange, "number two" the egg, and
+"number three" the apple, and so on with the other Latin words, the
+remaining number of nuts always indicating the word from which you are
+to select the vowels. This trick may be repeated _ad lib._ without fear
+of detection.
+
+
+TO REMOVE A SERVIETTE RING FROM A TAPE HELD ON THE THUMBS OF ANOTHER
+PERSON
+
+Obtain a piece of tape, or string, about three feet in length and tie
+the ends; pass this loop through a serviette ring and the ends of the
+loop over the thumbs of a friend (Fig. 26).
+
+                             [Illustration]
+                                Fig. 26.
+
+Take hold of the tape with your left forefinger at A and pull it forward
+and down; with your right forefinger pull the tape at B, from
+underneath, forward and upward, which will cause the two parts to cross
+each other. Then with your right forefinger and thumb place the tape B
+over the thumb D; move the ring toward D and with your right forefinger
+and thumb take the tape at C from underneath and carry it also over the
+thumb D. Take hold of the ring and pull it gently, as you slip your left
+forefinger out of the loop A, when it will at once be released without
+the tape leaving either thumb.
+
+
+AN EXPERIMENT IN GRAVITY
+
+Give a person two half-crowns and request him to hold them horizontally
+between the tips of his thumb and finger of his right hand, the coins
+touching each other. Then request him to drop the lower coin in his left
+hand and you will tell him which side will come uppermost. First note
+which side of the coin is underneath when you place them in position,
+for that will be the uppermost side when it reaches his left hand. The
+lower coin will turn completely over in the act of falling: nothing can
+prevent it. The distance between the hands should be from fourteen to
+sixteen inches.
+
+
+A SCISSORS FEAT
+
+Hold a pair of scissors on the first two joints of your little fingers
+with your palms upward, their blades pointing to the floor (Fig. 27).
+Then throw the points over toward you, turning your hands at the same
+time and bringing your knuckles back to back, the scissors standing out
+straight from you (Fig. 28).
+
+                             [Illustration]
+                                Fig. 27.
+
+                             [Illustration]
+                                Fig. 28.
+
+I have never seen any one accomplish this simple feat until they learned
+the secret. When you throw the scissors over on the palms of your hands,
+with their points toward your chest, allow the blades to rest there for
+an instant with the tips of your little fingers touching your palms
+through the scissors' bows; then bring the backs of your fingers
+together with your hands closed and the points of the scissors outward.
+The uninitiated, instead of allowing the bows to slip to the points of
+the little fingers, hold them tight on the second joints and, of course,
+fail.
+
+
+ANOTHER TRICK WITH A PAIR OF SCISSORS
+
+This trick consists of fastening the scissors securely to the back of a
+chair with a piece of string and then removing them without cutting or
+untying the string. First make a loop of a piece of string about two
+feet in length and pass the double end through one of the bows and the
+two loose ends through the loop and pull tight. Next pass the two single
+ends through the other bow of the scissors and tie them to the back of
+the chair. The puzzle is how to remove them, which is simple enough when
+you know how. Loosen the loop and draw it upwards and pass it through
+the other bow, and then over both bows and points, when the scissors
+will be free.
+
+
+AN INDESTRUCTIBLE CIGARETTE PAPER
+
+Take three cigarette papers, fold one up into a very small square, and
+paste it lightly on the top right corner of the second paper. The third
+paper roll lengthwise, and conceal it in your ear. Show the first paper
+between both thumbs and fingers, your right thumb on the pasted corner,
+then proceed to tear it up into squares, placing the pieces in front of
+each other before tearing again. When it is in pieces about the size of
+the pasted square, under the shelter of your left hand, with its back to
+the audience, separate the pieces from the square and hold the latter up
+between your right thumb and finger. Then, pretending to moisten your
+left forefinger on your tongue, slip the pieces in your mouth and
+conceal them there, and carefully unfold the square held in the other
+hand, when the paper will appear to have been restored. You then roll
+the paper length wise, and say, "I will swallow it." Put it in your
+mouth and pretend to do so. Putting your left hand to your ear, say, "I
+will now reproduce from my ear." Pull out the paper concealed there very
+carefully, and as you turn to lay it on your table allow the pieces in
+your mouth to drop into your hand.
+
+
+TO CUT AN APPLE IN TWO WITH YOUR FINGER
+
+With a needle and strong thread take a stitch of about half an inch in
+its side, leaving several inches of the thread hanging from where you
+puncture it. Reinserting the needle in the hole it made coming out, take
+another stitch of half an inch, and again reinsert the needle where it
+came out. Take similar stitches all round the apple until the needle
+comes out of the first hole made, and then cross the two ends of the
+thread and pull them steadily until all the thread comes out of the
+hole. The apple is now cut through, although the skin does not show it.
+
+Slip this apple in your pocket, and during dessert select an apple as
+much like the prepared one as possible. Having previously placed your
+serviette over your knees, with the prepared apple in it, drop the apple
+just selected and pick up the former with your right hand while you turn
+your plate over with your left hand. Putting the apple on its side on
+the inverted plate, laying your forefinger on the apple you give the
+former a smart blow with your right fist, when the apple will fall in
+two pieces.
+
+
+A TRICK WITH DOMINOES
+
+Take a full set of dominoes--twenty-eight pieces--turn them face
+downward on the table; shuffle them thoroughly; then tell the company to
+turn them over and match them in the ordinary way, while you take a seat
+at the other end of the room with your back to the table. They can
+blindfold you if they wish. As soon as all the pieces are matched you
+call out the numbers shown at the two ends of the row. Return to the
+table, turn the dominoes over again, shuffle them as before with the
+right hand; again turn your back, and call out the end numbers. You can
+repeat this any number of times without detection, unless some one
+should count the pieces and find only twenty-seven. Each time you have
+shuffled them you have dropped a piece concealed in your right hand, and
+extracted and palmed another. One piece taken from a set of dominoes
+invariably indicates by its numbers the numbers at the two ends of a row
+when the pieces are all properly matched.
+
+
+AN ESCAPE
+
+Ask some one to tie your wrists together with a handkerchief, and then
+to pass a cord between your arms behind your tied wrists, and hold the
+ends securely. Have towel or cloth thrown over your hands, and after a
+very brief interval tell the person who holds the ends of the cord to
+pull. When he does so, the latter will pass from your hands and fall on
+the floor. You remove the cloth, and show that your wrists are still
+tied together.
+
+EXPLANATION.--When your hands are covered, move your elbows out, which
+will separate your wrists, push the second finger of your right hand
+between them, and with it pull the bight of the cord through the bandage
+round your wrists, slip it over one hand, and when your assistant pulls
+the cord it will pass off clear of your hands.
+
+
+CIGARETTE PAPERS AND SERVIETTES
+
+Screw three cigarette papers up into pellets and cover each of them with
+a folded serviette. Then lift the serviette on your right with your left
+hand (to show that the pellet is still there) and transfer it to your
+right, holding it with your thumb on top and fingers underneath, and
+re-cover the pellet. As you do this nip the pellet between the tips of
+your first and second fingers in such a way that it does not show in
+front of them as you withdraw your hand palm upwards. Then raise the
+centre serviette with your left hand, transfer it to your right, as
+before, and re-cover the pellet, and as you do so, drop the pellet
+concealed between your fingers under it. Then raise the third serviette
+with your left hand, transfer it to your right, re-cover the pellet,
+and, in doing so, nip the latter between your fingers, as you did the
+first one. Then say: "There are three pellets on the table covered by
+serviettes. I command the one here (pointing to the one on your left) to
+travel invisibly to the centre serviette." Turn the serviette over, and
+show the pellet has gone. Then lift the centre serviette with your left
+hand, and show the two pellets under it. Transfer it to your right hand,
+and, in replacing it, drop the concealed pellet. Then say: "We have now
+two pellets under the centre serviette, and one under this one"
+(pointing to the one on your left). "I command this one to join its
+fellows." Lift the serviette as you speak, and show the pellet has gone;
+lift up the centre serviette, and the three pellets will be found
+together.
+
+
+FOUR CIGARETTE PAPERS
+
+This is a variation of the previous trick. Roll up five cigarette papers
+into pellets. Conceal one at the root of the left thumb, and form a
+square with the others on the table. Show your hands empty (the
+concealed pellet will not be observed if properly held), and cross your
+hands over the pellets on the table. With the tips of your right fore
+and second fingers nip one of the pellets on your left, and at the same
+time drop the pellet concealed in your left hand between the two on your
+right. Move both hands away quickly, and one of the pellets on your left
+will appear to have travelled invisibly under your right hand. Again
+cross your hands, passing your right hand under the left, and as you do
+so drop the pellet concealed between your fingers, covering it at once
+with the left hand. Then nip the remaining pellet with your right first
+and second fingers, as before, and, on lifting your hands, all four
+pellets will appear on your right. You can get rid of the remaining
+pellet by dropping it on the floor, or on your lap if you are sitting at
+the table.
+
+
+A HINDOO SWINDLE
+
+This effect is practically unknown to the Western Conjurer, but has been
+one of the stock-in-trade among magicians in India for years. It
+involves a principle (that of transfer) which is capable of extensive
+development in the use of modern magic.
+
+REQUISITES.--(1) A piece of brittle unglazed earthenware. (A piece of
+substance akin to thin flowerpot is used in India.) (2) A stick of
+specially prepared soft charcoal.
+
+A piece of earthenware is given, upon which a spectator is requested to
+write his initials with a piece of charcoal supplied. The correct
+preparation of this charcoal was conveyed to me by a Hindoo, and is as
+follows: Procure a piece of boxwood or beech, the former for preference,
+place it in the fire until reduced to a red glowing mass, remove it with
+tongs and immediately place it into a thick jar and cover up very
+tightly till cool.
+
+The earthenware is taken by the performer and crushed up under his heel.
+The spectator is then asked to wave his right hand over the broken
+pieces, and upon the palm being turned upwards the absolute initials in
+all detail are found imprinted upon his hand.
+
+PRESENTATION.--Hand the piece of earthenware to the spectator, together
+with the charcoal; request that his initials shall be written on the
+earthenware in a space marked the size of the tip of the index finger.
+After this has been done, you take it back between the thumb and index
+finger of the right hand, the finger over the initials exerting a firm
+pressure which has the effect of transferring the writing to the latter.
+Then place the earthenware under your heel and crush it.
+
+Now request the spectator to wave his right hand over the pieces. After
+this has been done for a few seconds, boldly take hold of the hand (your
+index finger firmly pressing upon its palm) and suggest that the hand is
+not quite over the pieces, suiting the action to the word by slightly
+pulling the hand forward; this has the effect of re-transferring the
+reversed initials on to the spectator's palm, to be discovered a little
+later upon the hand being turned over.
+
+
+THE ELUSIVE MATCH--A CAPITAL IMPROMPTU TRICK
+
+EFFECT.--A match apparently thrown away persists in reappearing in
+closed hand.
+
+REQUISITES.--A box of ordinary safety matches, together with an extra
+match top, broken off about half an inch long.
+
+PRESENTATION.--First conceal the extra match top between the tips of the
+index and second finger of the right hand. Now give the box of matches
+to a spectator, and request that the tops of three of the matches be
+broken off about half an inch long and handed to you. You then place
+these upon the table and proceed to pick them up one at a time with the
+right hand, and throw them into the left (each time closing that hand)
+as follows: The first is thrown in quite fairly, the second one is also
+thrown in but is secretly accompanied by the one which you have
+previously concealed at the finger-tips, the third one you pick up and
+apparently throw away, but really retaining it at the finger-tips as
+above mentioned. You now open the left hand and throw three match tops
+on to the table instead of the supposed two; apparently the one thrown
+away has secretly travelled back to the left hand. This trick can be
+repeated about three times without fear of detection, as you always have
+a fourth match top in readiness at the finger-tips. Properly worked it
+proves a very bewildering little trick.
+
+
+
+
+                                HERCAT,
+
+	Of the Egyptian Hall, Queen's Hall, Shaftsbury Theatre,
+	    Lyceum Theatre, The Tivoli, Crystal Palace, &c.,
+
+           _Illusionist, Ventriloquist, Comedian, & Author,_
+
+                           CAN BE ENGAGED FOR
+
+                   EVENING PARTIES, 'AT HOMES,' &c.,
+
+                                 IN HIS
+
+                   REFINED & ORIGINAL ENTERTAINMENT.
+
+                           SEND FOR CIRCULAR.
+
+             LESSONS IN SLEIGHT OF HAND and VENTRILOQUISM.
+
+  _Permanent Address_:--
+  Care of 'THE ERA,'
+  5 Tavistock Street, Strand,
+  London. W.C.
+
+
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+DEAN'S PLAYS FOR YOUNG ACTORS AND HOME PERFORMANCE.
+
+_Size 7-1/2 by 5-1/2 inches. Bound gilt edges, fancy illustrated cover._
+
+_The figures after the titles denote number of characters in each Play._
+  M _male_; F _female_.
+
+
+*Beauty and the Beast.* By Miss CORNER, Illustrated by N. WESTRUP. 18th
+Edition. (M 2, F 4.)
+
+*Whittington and his Cat.* By Miss CORNER. 12 illustrations by ALFRED
+CROWQUILL. 11th Edition. (M 6, F 3.)
+
+*Cinderella and the Glass Slipper.* By Miss CORNER. 9 illustrations by
+BEALE. 12th Edition. (M 2, F 5.)
+
+*Puss in Boots; or, The Miller's Favourite Son.* By Miss CORNER. 6
+illustrations by NOYES LEWIS and G. PRIOR. 6th Edition. (M 8, F 5.)
+
+*Children in the Wood.* By Miss CORNER. Illustrated by F. HOLMS. 15th
+Edition. (M 5, F 2.)
+
+*Sing a Song of Sixpence.* By C. M. WHELPTON. (M 9, F 7.)
+
+*Princess Olone San.* By AMY WHINYATES. (M 3, F 5.)
+
+*Little Bluebell and the Will o' the Wisp.* A play in 3 Acts for little
+children. By AIMEE. Illustrated by N. WESTRUP. 4th Edition. (M 10, F 4.)
+
+*Prince Bulbo.* Dramatised from Thackeray's "Rose and the Ring." By AMY
+WHINYATES. Illustrated by ARTHUR HITCHCOCK. 3rd Edition. (M 6, F 7.)
+
+*Gabrielle; or The Red Cap of Liberty.* By AMY WHINYATES. With 4
+illustrations and chromo cover. (M 7, F 3.)
+
+*Aladdin and the Wonderful Lamp.* By AMY WHINYATES. 4th Edition. (M 3,
+F 5.)
+
+*The Astrologer's Spell.* A Persian sensational drama. By AVERALL. (M 4,
+F 4.)
+
+*Little Dewdrop and Jack Frost.* (M 2, F 3.); and *Fairy Rosebud and the
+Enchanted Maypole.* By AMY WHINYATES. With 4 illustrations each, by A.
+BEALE. (M 3, F 7.) 4th Edition.
+
+*Sir Rupert and Cecily; or the Young Cavalier.* By AMY WHINYATES. With 2
+illustrations by C. ANDRE. (M 4, F 2).
+
+*Blue Beard.* By AMY WHINYATES. With 4 illustrations by JOHN PROCTOR.
+(M 4, F 3.)
+
+*The Princess and the Pirate.* By AMY WHINYATES. (M 7, F 5, and Supers.)
+
+*The Queen of Hearts.* By B'Ar. A Fairy Play in 3 Acts. (M 6, F 4, and
+Supers.)
+
+*King Lear.* By F. SPENCER. Abridged edition, adapted for children.
+(M 11, F 3, Knights, Soldiers and Attendants.)
+
+*The Plum Cake.* By Miss C. M. WHELPTON. (M 10, F 10.)
+
+*The Royal Red Rose.* In 3 Acts. By AMY WHINYATES. (M 10, F 6.)
+
+*The Sleeping Beauty.* By E. B. BAYLY. (M 7, F 10.)
+
+*Ali Baba.* By AMY WHINYATES. (M 5, F 3.)
+
+*The Yellow Dwarf.* By AMY WHINYATES. (M 3, F 5.)
+
+
+
+
+Books for Elocutionists & Plays.
+
+SIXPENNY CHARACTER SKETCHES AND COMEDIETTAS.
+
+_Humorous, Satirical and Pathetic._
+
+_The figures after each Play denote the number of characters in it._
+  M _male_; F _female_.
+
+
+*Men's Wrongs--Women's Rights*--By JULIA CHANDLER.
+
+*Rummy Fares.* A Cabman's Story. By ROBERT OVERTON.
+
+*A Terrible Race.* A Sporting Ballad for Recitation. By CAMPBELL
+RAE-BROWN.
+
+*Bill Muggins.* By ROBERT OVERTON.
+
+*Me & Bill.* By ROBERT OVERTON.
+
+*A Domestic Syndicate.* By KATE FREILLIGRATH KROEKER.
+
+*The Amateur Stage.* By BENJAMIN CLAYTON. A Capital Handbook for
+Amateurs.
+
+*A Blue Book for Sale.* By M. BEETHAM-EDWARDS. (M 2, F 3.)
+
+*The Two Clerks.* A Musical Comedietta. By GEORGE J. GOODRICH. (M 4,
+F 3.)
+
+*Two of Eve's Daughters.* By FRANCIS W. MOORE. (M 2, F 3.)
+
+
+
+
+SIXPENNY PLAYS FOR YOUNG ACTORS.
+
+  M _males_; F females.
+
+
+*Puss in Boots: or, The Miller's Favourite Son.* By Miss CORNER. (M 8,
+F 5.)
+
+*Prince Bulbo.* Dramatised from Thackeray's "Rose and the Ring." By AMY
+WHINYATES. (M 6, F 7.)
+
+*Jack's Ashore.* A Sailor Play. By MAUD HODGES. (M 8.)
+
+*The True Story of Catherine Parr.* By ELSA D'ESTERRE KEELING. (M 2,
+F 6.)
+
+*How Matilda, First Queen of England, was Wooed and Won.* By ELSA
+D'ESTERRE KEELING. In 4 Acts (M 6, F 7, and Supers.)
+
+*The Amateur Stage.* By BENJAMIN CLAYTON.
+
+*Aladdin.* By AMY WHINYATES. (M 3, F 5.)
+
+*Beauty and the Beast.* By Miss CORNER. Illustrated by N. WESTRUP. 18th
+Edition. (M 2, F 4.)
+
+
+
+
+Dean's Shilling Books for Elocutionists.
+
+_Crown 8vo._
+
+
+*Queer Fish.* Character Sketches. By ROBERT OVERTON. _7th Edition_, with
+preface by Mrs. STIRLING.
+
+*A Round Dozen.* Character Sketches. By R. OVERTON. _4th Edition._
+
+*Speech Studies.* Studies of Poems, with Recitations, Anecdote Sketches,
+and Articles connected with Elocution. By EDWIN DREW.
+
+*Sylvia's Ride for Life,* and other Original Ballads for Recitation and
+the Fireside. By FREDERICK G. WEBB.
+
+*Ryder's Last Race,* and other Humorous Ballads for Recitation. By
+CAMPBELL RAE BROWN. Author of "Kissing Cup's Race."
+
+*Rhymes of the Times;* Serious Ballads for Recitation. By CAMPBELL RAE
+BROWN.
+
+*Con O'Donnell,* and other Ballads. By E. OWENS BLACKBURNE.
+
+*Elocution made Easy.* By EDITH HERAUD, Elocutionist.
+
+*Ten Minutes.* Short Prose Tales and Recitations. By ROBERT OVERTON.
+
+*Dean's Children's Recitations,* Compiled by MAUD DEAN. _Limp cloth._
+
+*Humorous Pieces.* By FRANCIS W. MOORE.
+
+*Tableaux Vivants and Living Waxworks,* with directions for stage
+management. By G. J. GOODRICK.
+
+*Waterworks.* By ROBERT OVERTON.
+
+*The Record Reciter.* By ROBERT OVERTON.
+
+*The Child's Prize Reciter.* Compiled by M. DEAN.
+
+
+
+
+Dean's 2/6 Plays and Reciters.
+
+
+*The Overton Entertainer.* By ROBERT OVERTON.
+
+*Humorous Plays.* By FRANCIS W. MOORE.
+
+
+
+Dean's 6d. Reciters. _Limp Cloth 6d. each._
+
+
+*Only a Little Brown Sparrow, and other Recitations for Children.*
+Compiled by MAUD DEAN.
+
+*Poetry for Children.* Compiled by MAUD DEAN.
+
+*Humorous Pieces*, Series I. By FRANCIS W. MOORE.
+
+    "       "        "   II.       "        "
+
+    "       "        "  III.       "        "
+
+*Holiday Yarns.* By ROBERT OVERTON.
+
+*A Bald Bold Man.*    "       "
+
+*The Child's Recitation Book.* Mrs. FAYLE.
+
+*Half a Dozen.* By ROBERT OVERTON.
+
+*Five Favourites.*   "       "
+
+
+
+
+[Illustration: Hamley's Conjuring Tricks]
+
+Established 1760
+
+The most reliable and up-to-date firm in the world for Conjuring Tricks,
+Puzzles, Novelties, &c.
+
+
+  COIN TRICKS.       [Illustration]    BOXES OF TRICKS.
+  [Illustration]                       1/4, 2/9, 5/10,
+  5/6 Cabinet.                         11/-, 15/9, 22/-,
+  5/11 post free                       post free.
+
+                   Larger Sizes--30/-, 42/-, 63/-. Carriage on receipt.
+
+
+  [Illustration]
+  1/- per box.
+  1/3 post free.              [Illustration]
+                     2/10, 5/10, 10/5, 20/5, 43/-,    JOKES.
+  Assorted           and 64/-, post free.             1/-, post free 1/3
+  Puzzles,                                            2/6,  "    " 2/10
+  2/10, 5/10,                                         [Illustration]
+  11/-, 22/-                                          Splendid fun
+  each,
+  post free.
+
+
+                    Write for Illustrated Catalogue.
+
+                       35 NEW OXFORD STREET, W.C.
+
+            | 29 Ludgate Hill, E.C. 200 & 202 Regent St., W.
+  BRANCHES: | 510a & 512 Oxford Street, W.
+            | 59 Knightsbridge, S.W.
+            | 86 & 87 High Holborn, W.C.
+
+
+
+
+TRANSCRIBER'S NOTE
+
+
+List of changes from the printed edition (in parentheses the original
+text):
+
+  p. 5: "Hindu" changed to "Hindoo" to match the text (A Hindu Swindle)
+
+  p. 7: "--a Laughable Trick" added to Contents entry. (The Rejected
+        Recruits)
+
+  p. 8: question mark added to Contents entry. (What are Matches Made
+        of)
+
+  p. 8: changed "of" into "in" in Contents entry. (An Experiment of
+        Gravity)
+
+  p. 9: "someone" changed to "some one". (request someone to select a
+        card)
+
+  p. 20: closing quote removed. (Which leaves five." The suit)
+
+  p. 22: "anyone" changed to "any one". (that anyone is at liberty)
+
+  p. 24: closing quote added. (You moved ---- cards. When you)
+
+  p. 29: word "a" added. (requesting spectator)
+
+  p. 30: duplicated "the" removed. (pick up the the bowl)
+
+  p. 35: "someone" changed to "some one". (Ask someone to examine)
+
+  p. 44: missing period added. (Fig 4)
+
+  p. 49: "multiply" changed to "divide". (add 10, multiply by 2)
+
+  p. 51: added missing minus sign in the displayed subtraction. (30)
+
+  p. 52: period changed to comma (3 + 5 = 8. 9 - 8 = 1)
+
+  p. 67: missing period added. (Fig 25)
+
+  p. 72: "scissor's" changed into "scissors'" (the scissor's bows)
+
+  p. 73: changed hyphen into space. (CIGARETTE-PAPER) (cigarette-papers)
+
+  p. 82: "Eves'" changed into "Eve's". (Two of Eves' Daughters)
+
+  p. 84: missing "l" added. (Ludgate Hi l)
+
+  p. 84: missing "i" added. (H gh Holborn)
+
+... and some apparently missing or hardly visible periods and slashes
+added in the advertisement pages.
+
+
+
+
+
+End of the Project Gutenberg EBook of More Conjuring, by Hercat
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING ***
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