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diff --git a/36513-8.txt b/36513-8.txt new file mode 100644 index 0000000..3958f0f --- /dev/null +++ b/36513-8.txt @@ -0,0 +1,3904 @@ +The Project Gutenberg EBook of Water Wizardry, by Arthur Ainslie + +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: Water Wizardry + A collection of tricks in which water is the chief agent + +Author: Arthur Ainslie + +Release Date: June 24, 2011 [EBook #36513] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WATER WIZARDRY *** + + + + +Produced by David T. Jones, Ross Cooling, and the Online +Distributed Proofreading Canada Team at +http://www.pgdpcanada.net. (Book provided by the +Whitchurch-Stouffville Library, as part of the Art Latcham +Memorial collection on Magic) + + + + + + +This book was loaned by the Whitchurch-Stouffville Library, as part of the +Art Latcham Memorial collection on Magic. + + + + + =BRETMA MANUFACTURING CO.= + =INCORPORATING MUNRO'S MAGICAL MART (Ornum's).= + (Established 1889.) + + * * * * * + + =WHY NOT BE A CONJURER?= + +Now is the time to prepare to entertain your friends at Christmas. + +We supply a neat attaché case containing a compact Magical Entertainment +for a performance lasting from twenty to forty minutes, which we +guarantee will entertain and mystify both old and young. + +This case does not contain tin covers, or so-called tricks that are +useless, but it is a case consisting of several first-class Magical +Problems in portable form. + +Easy to perform. No sleight-of-hand required. Price, post free, 21s. +Particulars of cheaper boxes on application. + +There is nothing so entertaining as Magic for festive gatherings. + +Sleight-of-hand taught by experts. Why not take lessons? + +If you require a Conjurer for Banquets, Concerts, or Children's +Parties--Call, write, or 'phone for further information. + +We make Children's Entertainments a Speciality. + +WE ARE MANUFACTURERS OF ALL THE LATEST IDEAS IN MAGIC. + + * * * * * + + =THE BRETMA MANUFACTURING CO., 6 Union Court, Old Broad St.,= + Telephone No. 7363 London Wall. =LONDON, E.O. 2.= + + * * * * * + + =WILFORD HUTCHINSON= + =104 Whiteacre Road. ASHTON-UNDER-LYNE.= + + * * * * * + + PUBLISHER OF + ="THE CONJURER'S CHRONICLE."= + + Issued Monthly. + Price 3/- yearly. 4d. monthly. + + _LIST OF BOOKS & APPARATUS POST FREE._ + + + SOLE AGENT IN GREAT BRITAIN FOR + ="NEW AND ORIGINAL MAGIC."= + + By Ed. M. Massey. + Price 13/6, postage 9d. + + _DESCRIPTIVE LIST OF THIS EXCELLENT BOOK POST FREE._ + + * * * * * + + =KNOWN FOR HIGH-CLASS CONJURING APPARATUS AND BOOKS ON THE= + : : : : =ART OF MAGIC.= : : : : + + * * * * * + + _THE STANDARD BOOK ON CONJURING_ + + =The Modern Conjurer= + =AND DRAWING ROOM ENTERTAINER= + By C. LANG NEIL. + +Tricks by J. N. Maskelyne, Frank Kennard Trewey, Paul Valadon, Charles +Bertram, H. de Manche, T. Nelson Downs, Mdlle. Patrice, Ellis Stanyon. + +are explained and illustrated by 512 Photographs showing the exact +working of the various Illusions, reproduced directly from the conjurers +whose tricks are given. + + Third Edition.--Demy 8vo, cloth. Price 7/6 net. + + _"A thorough manual of the Conjurer's Art."--Spectator._ + + =C. ARTHUR PEARSON Ltd., 17 Henrietta St., LONDON, W.C. 2.= + + + + + =BOOK LIST FREE= + + =Magical Catalogue & Magazine 1/-= + + =5/6 Postage 5d. Numerous Halftone and Line Diagrams. : := + +[Illustration] + + MAGICAL + =ROPE TIES= + AND + =ESCAPES= + BY "HOUDINI." + +The publishers announce no expense has been spared in the production of +Magical Rope Ties and Escapes. Never has such a valuable collection of +Escape Secrets been offered to Magicians + + =WILL GOLDSTON LTD.= + Aladdin House, 14 Green Street, + LEICESTER SQUARE, LONDON, W.C. 2. + + =5/6 Postage 5d.= + + This Book is on sale at all Magical Depots and Booksellers. : : + + + =PRINCIPAL CONTENTS.= + + A Simple Release. + The Kellar Tie. + The Knotted Rope Tie. + Another Knotted Rope. + The Twin-Rope Tie. + The Jacobi Tie. + Three Effects with the Handcuff Tie. + An Added Effect for the Handcuff Tie. + The Tom Fool Knot. + The Double Header. + The Volunteer Release. + A Good Chair Tie. + The Revenge Tie. + The Comedy Tie. + The Thumb Tie: Another Method. + The Handkerchief Release. + Simplex Tie. + The Clothes Line Tie. + Under Water Escape. + Spectacular Escape. + The Big Wheel Release. + The North American Indian Tie. + The Russian Transport Tie. + Slade's Knots. + The Cotton Bandage Test. + Houdini's "Full View of Audience Release." + The Turned Vest. + The Broomstick Escapes. + Lock and Chain Sash Escapes. + The Spirit Sack. + Double Sack Challenge Escape. + Sack Escapes. + Valuable Information. + + + + + WATER WIZARDRY + + + + +[Illustration: HAMLEY'S CONJURING TRICKS] + + WRITE FOR COMPLETE ILLUSTRATED CATALOGUE, PRICE 6d., POST FREE. + + SHIPPERS and TRADE SUPPLIED. + + +[Illustration: HAMLEY'S CARD TRICKS] + +These Cabinets contain a selection of up-to-date Card Tricks, complete +with full instructions. All cards are the same pattern. + + No. 1 Cabinet. Price 5/-. Post free 5/9. + No. 2 Cabinet. Price 8/6. Post free 9/5. + No. 3 Cabinet. Price 12/6.} + No. 4 Cabinet. Price 22/8.} Post free. + Superb Cabinet. Price 45/-.} + + +[Illustration] + + CABINETS OF MAGIC. + + No. 1 Cabinet. Price 2/6. Post free 3/-. + No. 2 Cabinet. Price 8/-. Post free 6/9. + No. 3 Cabinet. Price 10/6.} + No. 4 Cabinet. Price 18/-.} + No. 5 Cabinet. Price 21/-.} Post free + No. 6 Cabinet. Price 30/-.} + + Advanced Cabinets. Prices 42/-, 63/- and 105/-. + Carriage extra. + + +[Illustration] + + BOXES OF PUZZLES. + +A Splendid Assortment of the Best Puzzles, mostly made of Boxwood. Full +directions are given with each Puzzle. + + No. 1 Box, 4/-. Post free 4/3. + No. 2 Box, 5/6. Post free 6/3. + No. 3 Box, 10/6. No. 4 Box, 21/-. + + +CABINET OF COIN TRICKS. + +[Illustration] + +This little Cabinet contains Eight Capital Coin Tricks. Each Coin is in +a Separate Division. + + Price 7/6. Post free 8/3. + + * * * * * + + =HAMLEY BROS., LTD., 86 & 87 HIGH HOLBORN, W.C. 1.= + BRANCHES: LONDON and SUBURBS-- (Wholesale and Retail.) + 29 & 29a Ludgate Hill. E.C. 4; 510a, 512 & 514 Oxford Street, W. 1; 200 + & 202 Regent Street, W. 1; 59 Knightsbridge, S.W. 3; 23 George Street, + Croydon. + + + + + WATER WIZARDRY + + A COLLECTION OF TRICKS IN WHICH WATER IS THE CHIEF AGENT + + BY + ARTHUR AINSLIE + + + _ILLUSTRATED BY 20 DIAGRAMS_ + + + London + C. Arthur Pearson, Limited + Henrietta Street, W.C. + 1922 + + + + + Printed in Great Britain at + _The Mayflower Press, Plymouth_. William Brendon & Son, Ltd. + + + + + CONTENTS + + + PAGE + + I. Little Tricks 11 + + The Impossible--"An old One"--A Quaint Mixture--The Shower + Bath--A Steady Hand--In the Soup--On the Edge + + II. Little Tricks--(_continued_) 26 + + Topsy Turvy--A Sporting Offer--A Feat of Dexterity--More + than Full--The Obedient Corks--A Peculiar Egg--The Suspended + Mug--The Sticky Glass--The Floating Pin--Washing a Card + + III. The Hydrostatic Tube (David Devant's Trick) 43 + + IV. The Passe-Passe Trick 50 + + V. The Rice Bowls 60 + + VI. The Indian Sands 75 + + VII. The Dissolved Card 83 + + VIII. Miscellaneous Water Tricks 96 + + The Wine and Water Trick (David Devant's method)--The + Vanishing Glass of Water--The Vanishing Water--The Aquarius + Tube--Links--The Milk Cans--Water from Waste Paper--Cotton + Wool to Water--Silk from Water + + + + + WATER WIZARDRY + + CHAPTER I + + LITTLE TRICKS + + +The following tricks are suitable for informal performances. These +tricks are easy, but I advise the amateur conjurer to try them over +privately a few times before showing them to an audience. The first +trick I call + + + The Impossible + +Three tumblers, a jug of water, and a piece of stiff paper about eight +inches by four are required. Pour the water into the tumblers until each +is about half full. Be very anxious--before an audience--to see that +there is the same quantity of water in each glass, not that this little +detail has anything to do with the actual working of the trick, but it +may lead people to think that it has--until they see you do the trick. + +Now, place the paper on the edges of two of the glasses, forming a kind +of bridge between them. Pick up the third glass and let it rest, while +the hand still holds it, on the paper bridge. Naturally, the paper will +sink down under the weight. Then you move the two glasses a little +nearer to each other and try again, and again the paper bends under the +weight of the glass you place on it. + +[Illustration: +{3 half-full glasses and piece of paper} +_THE APPARATUS_ + +{half-full glass supported by pleated paper on top of 2 half-full glasses} +_THE TRICK_ + +Fig. 1] + +You pretend to be in difficulties and encourage the "knowing ones" in +your audience to jeer at you as you try the trick again and again. You +explain that there is a way of resting the glass on the paper in such a +way that the paper shall not sink down. Some brainy person will then +say, "Impossible!"--or it is to be hoped that they will--because that +will give you the opportunity of saying: + +"Thank you. I remember it now. 'Impossible' happens to be the name of +the trick; thanks for giving me the clue. It won't be such a bad +trick--will it?--if I make a bridge between these two glasses with this +piece of paper and then place the other glass on the bridge. . . ." + +"With the water still in the glass," says one of your victims. + +"Of course--with the water still in the glass." + +Some members of your audience will be sure to say that it cannot be +done; others will beg to be allowed to think it out. You will probably +hear whispering: + +"The water in the glasses has something to do with it. Why was he so +jolly careful to get the same quantity of water in each glass? Now, wait +a minute. . . ." + +This is where you chuckle secretly. You invite anyone to come and try +the experiment. Your audience will suggest putting something under the +paper--a strip of cardboard or something of that kind. You work up the +excitement as you say: "No cardboard is used in the trick." + +Your audience will jump to the conclusion that something besides the +articles they see is used, but they are wrong. The trick can be done +when you know how to do it. + +When everyone has "given it up" fold the paper in pleats lengthwise, +open out the pleats a little, and rest the paper on the tops of two of +the glasses. The paper is then in corrugated form and it will bear the +weight of the third glass, half full of water, upon it. You have +achieved the "impossible." + +Of course you could do the trick in about half the time by merely +asking: "Can you do this?" and then proceeding to do it, but by working +up the trick in the way I have suggested you make it more effective. + +You will now see the necessity of a little private rehearsal with the +glasses and the paper that you are going to use. You have to make sure +that the paper is sufficiently thick, that the pleats are folded +properly (they must not be too wide) and that the glass is not too +heavy. The trick is quite simple with a "pony" glass, but as the base of +the glass is small the pleats of the paper must also be small; otherwise +you will have difficulty in balancing the glass on the paper. + + + "An Old One" + +If you have a small boy in your audience when you start to do your next +trick you will be sure to hear him say that he has seen it before and +that it is an old trick, but you need not let a little thing like that +worry you. The trick is old, but I have given it a little "twist" which, +I think, will leave the small boy guessing as to how it is done. + +You have a glass of water. You borrow a penny, throw a handkerchief over +it and ask someone to hold it over the glass; the penny is held by the +edges. You instruct the person helping you to drop the penny into the +glass of water when you say "Go!" They obey your instructions and the +penny is heard to drop into the water. (You will understand, of course, +that the handkerchief is draped round the glass, and so the penny is not +seen to fall.) You pull the handkerchief away and hold the glass up to +the light. The penny has vanished. + +The old way of doing this trick was with an eyeglass, which was +concealed in your hand. In throwing the handkerchief over the penny you +brought the eyeglass up and under the handkerchief while you kept the +penny concealed in your hand. The eyeglass was therefore dropped into +the glass and it sank to the bottom. By using a glass of the right size +it is possible to pour out the water without giving the trick away; the +eyeglass adheres to the bottom of the little tumbler. + +In all probability, therefore, at the conclusion of the trick the small +boy in your audience will say: + +"Now let's look at the tumbler." + +You pass it to him at once; he thinks he has "got you," but he hasn't. +The glass is empty. + +The little "twist" I have mentioned consists in using an eyeglass with a +hole in it. The hole enables you to attach the eyeglass by a short piece +of cotton to one corner of the handkerchief. The trick is doubly +effective when done in this way because at the beginning you can show +that you have only the penny in your hand. Arrange the handkerchief in +your pocket before commencing the trick; you will find it convenient to +have it either in your right trousers pocket or the left-hand inside +pocket of your coat; then you will be able to get at it easily. The +prepared corner, with the eyeglass resting on it, should be at the top. +When you take the handkerchief by the prepared corner from your pocket +the eyeglass will hang down behind the handkerchief and be hidden there. +Then take the handkerchief by the prepared corner in your left hand and +apparently place the penny under the handkerchief, but of course you +conceal the penny in your hand and bring up the eyeglass. Someone grasps +the eyeglass by the edge (through the handkerchief) and lets it fall +into the tumbler. You then take the handkerchief by the prepared corner +and pull it upwards quickly and then away from the glass. Put the +handkerchief into your pocket as you pour the water out of the glass to +show that the penny has vanished. The small boy may ask to see the +handkerchief again, and so you have taken the precaution to have another +handkerchief, bunched up in your pocket, in readiness. And this is the +handkerchief that you produce for inspection--if someone insists on +seeing "the handkerchief" but not otherwise. + + + A Quaint Mixture + +A soda-water tumbler, a jug containing from a quarter to half a pint of +water, and a cup of coffee with a little milk in it are needed for this +experiment. + +The trick is to pour both the coffee and the water into the big tumbler +and then separate them again. Possibly somebody will attempt this feat +by first placing a small tumbler in the large one, pouring the coffee +into the small tumbler and the water around it. But can it be said that +you pour both the coffee and the water into the tumbler when you really +pour the coffee into another glass placed inside the tumbler? No, that +solution does not work. + +Here is the way in which you carry out your intentions. + +Pour the coffee into the big tumbler and place on it a disc of thin +cardboard; the disc should reach nearly to the edge of the tumbler. Then +pour the water very slowly, a few drops at a time, on to the top of the +cardboard, which breaks the fall of the water. The water runs off to the +edge, and as the coffee is heavier than the water the latter remains on +the top. The cardboard disc floats upwards with the water, and so the +first half of the trick is accomplished. + +The separation of the liquids can be brought about in two or three ways. +For example, you can offer to drink the coffee without drinking the +water, and you achieve this apparent miracle by merely putting in a +straw and sucking up the coffee; in that way you have separated the two +liquids. + +With the help of a scent spray you can pump the water into the jug +again, taking great care, of course, not to disturb the surface of the +coffee. You can also take out nearly all the water with a small sponge +and the remainder with a piece of blotting paper. + + + The Shower Bath + +This is not really the title of the next trick, but it is sometimes +suitable for it when the trick is performed by a man who has never had a +rehearsal. It is quite a good trick to play on to somebody at a +Christmas party. Just tell your audience that instead of doing the next +trick yourself you will show somebody else how to do it. Then pour out a +glass of water, put a small plate on the top of it and, pressing the +plate with the left hand on to the glass and holding the glass with the +right hand, turn the lot over. Thus you have a glass of water inverted +on a plate. + +The trick is to drink the water, but in order to get the glass to your +mouth you must use only one hand. + +To do it--lift the plate with the glass upon it and place it on your +head. Balance it there for a second. Then, pressing the glass against +the plate with the right hand, bend down to the table until you can put +the glass on the table and leave the plate on the top of it. Then all +you have to do is to lift the plate and drink the water. + +There is another way of doing this trick, and if the first does not +result in a shower bath for the man who is trying it for the first time +the second way is almost sure to have that effect. + +After the glass of water is inverted on the plate, bend down until the +top of the head touches the bottom of the glass. Then, pressing the +plate against the glass slowly raise the head and stand erect. Stand +quite still, remove the plate, and then remove the glass and drink the +contents--if you like. + +[Illustration: +{forehead placed on inverted glass on plate, +then invert head so glass is upright} +Fig. 2] + +There is a kind of first cousin to this trick. Take two claret glasses. +Half fill one of them with water and place the empty glass on the top of +it. The trick is to pour the water into the empty glass and drink it, +but you must use only one hand and you are not to touch the top glass +with it. + +Pick up the two glasses together by taking the bottom one by the stem +(it is just as well to practise this with your own glasses and to stand +over a bed during the rehearsal) and then pull off the top one with +your mouth and hold it firmly between the teeth. Then you can pour the +water into it. Still holding the other glass in your hand place the +glass with the water on the top of it, and then, holding the two +together, you can drink the water. + + + A Steady Hand + +You can use one of the glasses for this trick. Half fill it with water +and then, tilting the glass, try to balance it on the edge of the foot. +With care and a little practice you can accomplish this feat by sheer +skill, but you simplify it considerably if you take the precaution to +slip a match under the table-cloth before you begin. If you are doing +the trick at a dinner table it is just possible that some evil-disposed +person may notice the little bump in the tablecloth caused by the match, +and so you prepare for that charge by tying a piece of cotton to the +match. The end of the cotton hangs down below the table-cloth close to +your hand, and directly you have done the trick you quietly pull the +match away, and then you can challenge Mr. Know-all to do the trick +himself. + + + In the Soup + +The soup in this case is represented with water, and you can use the +same glass; it should be about half full of water. Lay a piece of nice +shiny cardboard on the top of it--a piece about eight inches square is +large enough--and on the cardboard and exactly over the glass stand a +cork. On the top of the cork balance a tangerine orange. Now, if you +give a sharp knock to the cardboard with your right hand the cardboard +should go skimming away, taking the cork "off the premises" with it, and +the tangerine should drop into the water. + +This feat appears to be very difficult, but it is not; the weight of the +tangerine helps you. When you can do the trick every time with one glass +you can try it with two glasses--using a larger piece of cardboard, of +course--and then three glasses, and, finally, four. It is not so easy +then. + +This feat is often performed on the stage, but eggs--or, rather, +imitation eggs--are used in place of the tangerines, and the trick in +that form is difficult because the eggs are light. Don't follow up your +stroke when you are hitting the cardboard away. Just give it a sharp +knock and bring the hand to a standstill with a jerk. Look around you +before you do the trick; otherwise, you may hurt somebody with the +flying piece of cardboard. To avoid any accident of this kind get a +friend to stand a little to the side of your table so that he may catch +the cardboard. + +When the trick is performed on the stage a tea-tray is generally used, +and the raised edge of the tray adds considerably to the difficulty of +the trick. + + + On the Edge + +Hold a card by the sides between the fingers and thumb of the right +hand, the face of the card being towards the audience. Now, can you +balance a glass half full of water on the top of the card? + +[Illustration: + +_PLAN_ +{from front it looks like glass is balanced on edge of card, +from side you see index finger is helping to balance glass} + +_FRONT_ _SIDE_ + +Fig. 3] + +I know of four ways of doing this trick, but we need not take any notice +of the first because you are not likely to trouble to learn it; it +consists in actually doing what you profess to do--balance the glass. It +can be done, but you need a very steady hand and long practice. + +The second way is by the aid of a specially prepared card. This is made +of two cards, fastened together. + +Fold a card lengthways in half. Stick one-half to the back of another +card and then fold back the half which is not stuck so that the back of +the prepared card may appear to be the back of an ordinary card. + +Now, if you hold up this card by the sides you can easily fold the loose +half back a little when you are putting the glass on the edge of the +card, and thus you get a firm standing place for the glass. If you wish +to be able to throw this card down on the table without giving away the +secret (because there will naturally be a little curve in the part which +you folded back) you must make a little spring hinge by means of a strip +of india-rubber down the card. A card prepared in this way can be bought +at a conjuring shop. The trick is quite a good one when done in this +way, but, of course, it has this drawback. If you are performing at a +friend's house and you are using borrowed cards it is more than probable +that the backs of the borrowed cards will not match the back of the +trick card. Well, you can do the trick without the use of a specially +prepared card, and this brings us to the third method. + +Take any card and fold it in halves lengthways. Then fold it back again +and put it on the top of the pack. Of course, if you are performing with +a borrowed pack of cards you will have to seize your opportunity to do +this when the attention of the audience is directed to another trick, or +you can do it before your performance begins. + +Now, pick up the two top cards together and hold them in the right hand +in the way described, with the face of the lower card towards the +audience. You will understand, of course, that to the audience these two +cards must appear to be one card. When you take the glass with your left +hand and try to balance it on the top of the card the back of the left +hand is towards the audience and the hand nearly covers the whole of the +card. This gives you the chance of bending back the top card to make a +firm resting-place for the glass. The bending is done with the right +first finger. To assist you in keeping the cards nicely squared up while +you are bending back the top one place the right little finger under the +lower edge of the cards and the left middle finger and thumb at the +sides, the left thumb being just above the right thumb. Of course, the +left hand is held in this position for only a few moments while you are +balancing the glass. + +After you have done the trick in this way casually return the two cards +to the pack and shuffle the cards, thus getting the bent card out of +sight. + +The fourth method is, to my mind, the best of the lot, because you use +only one card. Hold it in the way described and bend it slightly, the +convex side being towards the audience. Now, in the act of balancing the +glass on the edge with your left hand just stick your right first finger +straight up behind the card and rest the glass partly on the edge of the +card and partly on the tip of your finger which, of course, is hidden +by the card. It will be necessary to hold the card up fairly high so +that no one can get a glimpse over the top of it. The trick is over so +quickly that no one notices that the first finger is concealed behind +the card. + + + + + CHAPTER II + + LITTLE TRICKS--(_continued_) + + +I have often thought that many conjurers--amateur and professional--take +themselves and their conjuring far too seriously. It is just as well to +unbend occasionally, and as a little change from tricks to spring a +simple catch on your audience. Here is one. + +Pour some water into a glass and cover it with an opera hat. Throw a +large cloth over the hat. + +"Now then," you say to your audience, "do you think that I can drink the +water without lifting the hat?" The answer is in the negative, as they +say in the House of Commons when they mean "No." + +Hold up the cloth so that it hides your face. The audience see both +hands on the top edge of the cloth and therefore are convinced that you +are not removing the hat. Make the sound of a man drinking from a glass. +(I confess that this part of the experiment is not all it ought to be!) +Then announce that you have performed the feat and drop the cloth. +Somebody will be sure to pick up the hat to see if the water is in the +glass; then you drink the water. You have performed the feat of drinking +the water without lifting the hat. + + + Topsy Turvy + +A more difficult experiment--until you know the secret. Ask someone to +put water into a glass when the glass is held upside down. Naturally, +they give it up. Then: + +Pour some water on a plate. Crumple up a small piece of paper, light it +and drop it into a tumbler; let it burn for a second or two and then +invert the glass over the plate. You will see the water rush into the +glass. You have kept your word and have put water into the glass when +the glass has been upside down. + + + A Sporting Offer + +Bend a wooden match into the form of a capital V, taking care not to +break the match. Lay the match on the top of a bottle and just at the +angle of the "V" place a threepenny bit. Tell someone that they may have +the coin if they can get it into the bottle, but they must not touch the +match, or the coin, or the bottle, or the table on which the bottle is +standing, and they must not blow the coin into the bottle. + +You have probably guessed--since this book has to do with water +tricks--that water must be used in this trick in some way. In that case +you are right. Drop a little water on the angle of the match; the wood +will expand, the "V" will open and the threepenny bit will drop into the +bottle. + + + A Feat of Dexterity + +Pour some water into a tumbler and balance two pennies on the edge of +the tumbler; the coins should be opposite to each other. + +The trick is to remove the coins together, using only a thumb and one +finger. + +To do this place the thumb on one coin and the first finger on the +other. Quickly slide the coins down the sides of the glass and bring the +first finger and thumb together, taking the coins with them. + +This is a feat of dexterity; it is not difficult, but you will not do it +at the first attempt. The water helps to steady the glass. + + + More Than Full + +If a glass is full of water it will not hold anything else; that is +obvious. But---- + +Fill a glass with water. Stand it on a level surface. Wipe the edge of +the glass very carefully, because for the purpose of this experiment it +must be quite dry. Then, with a steady hand bring the edge of a sixpence +to the surface of the water and let the coin go. If you are careful you +can put a dozen sixpences into the glass without causing the water to +run over the brim. + + + The Obedient Corks + +For this little experiment you want a nice large rose bowl, full of +water, and seven corks. The trick is to put the corks into the water +and to cause them to float in a perpendicular position. + +This is how you do it. Grasp all the corks in one hand, and hold them +under the water until they are thoroughly soaked. Then hold them in the +position you wish them to assume and let them go; they will remain close +together and in an upright position. + + + A Peculiar Egg + +The peculiarity of the egg used in this experiment is that it neither +floats on the top of a large glass of water nor sinks to the bottom, but +merely remains an inch or two under water all the time. + +Make a saturated solution of salt and half fill a big tumbler with it. +Then, with a spoon fill up the tumbler with ordinary water, putting it +in very steadily so that it does not mingle with the brine at the bottom +of the glass. Now if you drop an egg gently into the liquid--which looks +like ordinary water--the egg will sink down through the water, but will +come to a standstill on to the top of the brine. + + + The Suspended Mug + +This is an easy catch--more suitable for the garden than for the +drawing-room. + +Tie a piece of string to the handle of a mug. Hold the other end of the +string, so that the mug is suspended, and pour in all the water it will +hold in that position. + +Stand on a chair and ask for the services of an assistant. You tell +your assistant that you are going to cut the string, and it is his job +to catch the mug without spilling a drop of the water. The first +assistant naturally fails because you cut the string when he is not +expecting the mug to fall. Another assistant tries his luck; he probably +holds his hands just under the mug. You protest that that is not fair, +but you will try the trick, nevertheless. While talking you quietly move +the string until the mug is just over your victim's head, and then you +cut the string quickly. (Note. Don't try this trick with a bad-tempered +person, or you may spoil the party, and, obviously, the man must be +wearing a hard hat or the mug will hurt him badly.) + +You can keep the game going for quite a little time if you can induce +enough brave spirits to take a hand, but sooner or later someone is sure +to suggest that you try the trick yourself. You at once consent, and you +tell your audience that if they will cut the string you will most +certainly catch the mug directly it falls. While making this apparently +rash promise you quietly tie a little loop in the string and keep it +hidden with your hand for a moment. When your assistant is holding one +end of the string and everyone is prepared to see you get a ducking you +take your hand away from the loop, tell your assistant to cut the string +"just there" pointing to the loop, and you will catch the mug directly +it falls; of course, it will not fall. + +All this is only a catch, something to amuse people at a juvenile +garden party. To go to the opposite extreme, here is a little trick +which will "want doing" if it is to be done well. + + + The Sticky Glass + +Pick up a wineglass and fill it with water; while doing so say something +about the state of the glass; you can say that the stem feels a little +sticky, but perhaps it will do for the trick. Dip a small square piece +of paper into the glass of water and take it out again. This action +naturally spills a little of the water, so you fill up the glass once +more. Then you place the piece of wet paper on the top of the glass and +turn the glass over, and take the hand away. The paper remains over the +glass, and the water does not run out. + +If there is a schoolboy present he will be sure to tell you that there +is nothing in that; anybody can do it. It is even probable that the boy +will explain to you that the pressure of the air on the under surface of +the paper is greater than the pressure of the water in the glass. Hence +the apparent miracle. Let the dear boy prattle on. Then tell him that +you have not done the trick yet. + +Slowly take the paper away from the glass. The water remains. Put the +paper back again; turn the glass right end uppermost, remove the paper, +and show that you have nothing in your hands except the paper and the +wineglass of water. + +This is a capital little trick, but it needs practice. The edge of the +top of the glass should be ground perfectly flat, and the base should be +rather larger than the top. You also need a disc of celluloid with the +edge slightly sunk so that when the disc is placed on the glass it fits +there and cannot easily slip off sideways. + +[Illustration: _Paper disc_ _Paper_ + +_Celluloid Fake_ _Fake_ + +_PAPER PLACED ON BOTTOM OF GLASS_ _PAPER & FAKE COVER GLASS TOGETHER_ + +Fig. 4] + +Before commencing the trick dip this celluloid disc into some water and +place it under the base of the glass, the sunk edge being against the +glass. The water will cause the disc to adhere to the glass, and +therefore when you show the glass you have nothing concealed in your +hands. Fill the glass with the water and dip in the piece of paper. This +causes some of the water to overflow and you naturally want to pick up +the jug to fill it up again, but you are holding the glass in the left +hand and the wet paper in your right. To get the right hand free you +place the paper under the base of the glass and therefore under the +celluloid disc while you fill up the glass with water. Then, in putting +on the paper again you take the disc away with it and the disc goes +quietly on the top of the glass. It is advisable to make the water +overflow in the first place because you want to get the edge of the +glass wet. + +Press down on the paper and shape the paper round the glass and you need +not worry about the rest; the celluloid disc will adhere tightly and you +can wave the glass about after you have taken the paper away. You have +said something in the first part of the trick about the glass being +sticky, and you now mention that it must be very sticky, since all the +water has stuck to it. + +In replacing the paper on the top of your glass get your thumb nail +under the disc and lift it up. Then remove the paper with the disc under +it, place both under the glass, take away the paper, leaving the disc +stuck to the base of the glass and the trick is over. + +A similar trick is done with a tumbler, but as the base of an ordinary +tumbler is smaller than the top the disc of celluloid cannot be hidden +under the tumbler; it is usual to have it on a tray, and after wetting +the paper to place the paper over the disc and pick up both together. + +The tumbler used for this trick usually has a small hole made in one +side (if there can be any side to a round tumbler). At the beginning of +the trick the hole is closed with wax, and to conclude the trick the +conjurer holds the inverted glass with the paper on it over a glass +bowl, scrapes away the wax, thus admitting air, and the water rushes +out, carrying the paper and disc with it into the bowl. + +For a very much finer trick of this kind the reader is referred to +Chapter III, "The Hydrostatic Tube." + +We now return, for a moment, to our wineglass which was left at the +conclusion of the trick, with a celluloid disc adhering to its base. The +conjurer will naturally want to get rid of this disc at the earliest +opportunity, and so he provides his own opportunity by performing this + + + Feat of Dexterity + +First of all, the conjurer says that the base of the glass is wet. He +takes out a clean handkerchief to dry it and in so doing wipes away the +celluloid disc and puts it into his pocket. He pours a little of the +water out of the glass, which should not be more than about half full, +especially during the first rehearsals! + +The feat consists in looping the loop with the glass, by swinging it +right round with the hand, without spilling the water. It is as well to +rehearse the feat in the garden! + +Pick up the glass by holding the back of the hand towards the table and +getting the stem of the glass between the second and third fingers. +Extend the arm and then, with a quick semicircular sweep of the arm, +which should be held stiffly, bring the glass right round and deposit it +on the other side of the table. You want a little nerve, and the feat is +not difficult, but it appears to be. + +[Illustration: +{glass of water with stem held between index and middle finger, +inverted in arc, and placed back on table without spilling water} +Fig. 5] + +Japanese performers present a very spectacular feat of this kind in +which they use two large buckets tied to the ends of a rope. The buckets +are swung about at an alarming pace and in "impossible" positions +without a drop of water being spilled; centrifugal force explains the +mystery. + + + The Floating Pin + +This is a "quieter" trick. Give someone a bowl of water and ask them to +lay a pin on the surface of the water and leave it there. The pin +naturally sinks to the bottom of the bowl, whereupon you complain that +your directions have not been carried out properly; they are not likely +to be unless the person to whom you hand the pin happens to know the +secret of the trick. + +Lay a cigarette paper gently on the top of the water and put the pin on +the paper. In a few moments the paper will sink, leaving the pin +floating on the surface of the water. + + + Washing a Card + +You can begin this trick by asking someone if they have ever tried to +wash a playing card with water; if so, have they noticed the effect. You +ask for a pack of cards and begin the experiment by holding the pack in +the left hand, with the fingers on the lower side and the thumb on the +other. + +There is no harm in saying that the experiment is most successful with a +five-spot card, and you put, say, the five of clubs on the bottom of the +pack and therefore hold the pack with that card facing the audience. +Then, this is what you apparently do. + +Dip a finger into some water and rub on the pip at the lower corner +nearest to you. To dry the card you take your handkerchief from your +pocket and dab the corner. The audience see that you have apparently +washed away one of the pips. + +Turn the cards over in your hand, so that the blank corner is now at the +top and repeat the experiment with the pip which is now in the position +occupied by the first. This action reduces the number of pips on the +card to three, arranged diagonally across the face of the card. + +Repeat the experiment, but this time wash away the two corner pips at +once, leaving only one pip in the centre of the card. Then wash away +this pip and you have a blank card, which you hand out for examination. + +[Illustration: + +_WASHING OFF THE SPOTS_ + +{hold five of clubs, then wash off one club at a time until all gone} +_SPECIAL CARDS REQUIRED_ + +Fig. 6] + +To begin with, the request for the loan of a pack of cards is not quite +what it seems. You arrange with a kind friend in the audience to "find" +a pack of cards when you ask for one, and that person has no difficulty +in "finding" the pack which you have prepared for the trick and placed +in some convenient hiding-place in the house. + +The disappearance of the first pip is easily managed: You dip a finger +into the water, shake it, and rub the corner with a dry finger. Then +shake the pack as though you were trying to dry the card; this action +enables you to turn the pack, in a natural way, with its face towards +the floor and thus the audience do not see that the pip is still on the +card. Then you take your handkerchief from your pocket, and in so doing +secretly take out a five of clubs with one spot missing behind the +handkerchief. It is not a difficult matter, under cover of the +handkerchief and while pretending to dab the corner of the card, to slip +the prepared card on the face of the pack. Having done that, show your +hands and the handkerchief to your audience, to let them see that you +have not merely slipped the pip off the card, but have apparently +dissolved it in water and removed all trace of it. + +Directly after you have shown this card on the bottom of the pack turn +the pack over in the hand, so that the blank corner is now at the top. +Now if you bend the third and little fingers of the left hand slightly +they will conceal the pip at that corner, but before you bend the +fingers let the audience see the card. Now you have to exchange that +card for another with only three pips on it, the pips being diagonally +across the card. + +This prepared card is at the back of the pack. While you are talking +bring the right hand to the front of the pack, push up the back card +with the first finger of the left hand, extend the fingers of the right +hand and push the card to the tips of the fingers of the right hand, at +the same time slide the card down on to the face of the pack. + +This movement takes a long time to explain in print, but it is done in +the fraction of a second. All you apparently do is to bring the right +hand up to the pack to square up the cards. + +Directly you have the "three card" at the face of the pack, bend the +third and little fingers slightly and thus hide the place where the +missing pip ought to be. The card is now apparently the same card which +the audience saw before--a five spot with one spot missing. + +This time, when you dip a finger into the water and pretend to wash away +a spot you must work rather quickly, and as you take away the tips of +the third and little fingers to enable you to wash away the pip which is +supposed to be there, you must bring the right hand over the spot at +once, otherwise the audience will see that the spot is not there! This +time you have the advantage of being able to show the blank corner +directly you take away your right hand. Take out your handkerchief, dab +the corner with it and return it to your pocket. + +Now tell your audience that if you wish to rub away two spots at once +you have to use both hands. Take the cards in the right hand for a +moment while you dip a finger of the left hand into the water. In the +act of passing the cards from one hand to the other you slide the next +card from the back to the front; this card has one pip in the centre. +(If your cards have no index corners you can use the ace for this card.) + +While you dip the finger of the left hand into the water you must hold +the pack with the face card downwards; take it, in the same position, in +the left hand, while you dip a finger of the right hand into the water. +Then rub first one corner with the left hand and then the other corner +with the right hand and bring up the pack with the card facing the +audience, but hold the pack in both hands with the hands at the corners +(top and bottom) as though you were merely hiding the pips there. +Someone is sure to tell you to "take away your hands," and, apparently +reluctantly, you do so, disclosing the card with the single pip in the +centre. The laugh will then be in your favour, and you take advantage of +this temporary diversion to slip the next card from the back to the +front of the pack. Then hold the pack by the sides in the right hand +with the fingers right over the centre, and the audience will think that +the single pip is still there, being hidden by the fingers. + +To conclude the trick you can say that your fingers are damp enough to +manage one pip and you pretend to rub it off the face of the card, which +is thus blank. + +Take this card away in your right hand, and offer it to someone on your +left hand for examination, taking care to turn the pack down with its +face to the floor as you remove the blank card, otherwise the audience +will see the next card, which is the one-pip card. + +The object of handing the blank card to someone on your left is to +enable you to turn in that direction in a natural way, because directly +you have turned you drop the pack you are holding in the left-hand +pocket of your coat (or dinner jacket) and take from it another pack, +from which the five of clubs has been abstracted. This is important +because a juvenile audience is merciless to an amateur conjurer as a +rule and someone is sure to say: "Let us have a look at the cards." +Don't be in too great a hurry to hand them out for examination; always +"play" with the younger members of your audience when you get the chance +to do so. Of course, if the children are so exceedingly well behaved +that they do not ask to see the cards you must suggest that "perhaps you +would like to have a look at the cards," but I hope for your sake that +the children are not of that kind. An audience of very prim and proper +children may be easy to a conjurer, because they do not attempt to catch +him out, but in another sense they are very difficult because it is by +no means easy to engage and hold their attention. I much prefer an +audience of children who are quite natural and who are therefore always +eager to pounce upon any little weak point--or point which they think is +weak--in a trick. + +The preparation of the trick cards required for this trick is not a +difficult matter. If expense is no object the best plan is to buy +several packs of cards, with the backs all alike. A blank card usually +goes with each pack. If the cards have no index corners you need prepare +only two trick cards--one with four spots on it and one with three. To +get the spots, put a ten-spot card in cold water and let it soak until +you can peel away the face of it. Dry it on clean blotting paper. Then +cut out the spots very neatly and paste them on two of the blank cards, +taking care to get the pips at the corners in the right positions. + +The other method of preparing the cards (presuming that you do not wish +to invest in several packs) is to float off the backs of a couple of +cards, dry them, paste white paper on them and then stick pips on the +paper. The drawback to this method is that the paper will probably not +match the paper on the faces of the other cards in the pack. + + + + + CHAPTER III + + THE HYDROSTATIC TUBE + + +This trick is one of the many masterpieces of Mr. David Devant, and I am +greatly indebted to him for his permission to include a full description +of it in this book and to give his method of working the trick. + +It was Mr. Devant's custom to follow this trick with the "Wine and +Water," and he had an object in doing so, for the preparations for the +second trick assisted him in performing the first. + +On a tray on the table were four tumblers, the second and fourth of +which (counting from the performer's left hand) were inverted. Behind +the glasses there was a large glass lamp chimney with a piece of paper +tucked into one end, and a finger bowl, with two spouts, filled with +water, and a long hat pin. + +The effect of the trick--to the audience--was as follows. The performer, +having shown that the tube was not prepared in any way, closed one end +with a piece of paper (half the piece which had been tucked into the +tube at the commencement of the trick). He then filled the tube with +water and placed the other piece of paper on the top. He then removed +his hand from the lower piece and the water remained in the tube. He +explained that there was no trick about that, the pressure of the air +kept the paper in its place and so prevented the water from rushing out. + +He then removed the paper from the lower end of the tube and still the +water remained inside it. Then he took the paper from the top of the +tube, and still the water remained in the tube. Having replaced the +papers he picked up the large hat pin and held the tube over the bowl. +He pierced the upper paper with the pin and held it there for a moment. +Directly he withdrew the pin with the paper impaled on it the water fell +out of the tube into the bowl, carrying the lower paper with it. The +performer then showed once more that the tube was free from preparation +by rattling the pin inside it, and he at once went on with the "Wine and +Water" trick, using the water in the finger-bowl for that trick. + +And now for the explanation. Two small discs of glass which fitted over +the ends of the tube were required. The ends of the tube were ground +perfectly level and the glass discs were made with a "shoulder" (or sunk +edge), so that when once they were placed on the ends of the tube they +could not be moved laterally. The edges of these glass discs were also +ground perfectly flat and were made to fit exactly on the ends of the +tube. + +One of the glass discs had a hole in the centre, and this hole was +filled up, just before the commencement of the trick, with a little +piece of moistened soap. If the soap were prepared too long beforehand +it would become crumbly and dry; it has to be soft and damp. + +The other glass disc was not prepared in any way. Before the +commencement of the trick the disc with the hole in it was placed on the +top of the fourth tumbler--and therefore to the performer's right. The +other disc was laid on the top of the second tumbler in the row of four. + +The piece of paper tucked into the glass chimney was half of a double +sheet of note-paper. (Tear a double sheet from side to side.) + +And now for the actual performance. + +Begin by taking up the glass chimney, removing the paper, picking up the +hat pin and rattling it inside the chimney--thus showing that it is not +prepared in any way for the trick. + +Put the chimney down, pick up the paper and tear it in halves. (The +object of having half a double sheet is to enable the conjurer to tear +it easily; the crease is ready for him.) The action of tearing the paper +is proof that there is no trickery in the paper. + +Place one piece of paper on the top of the fourth tumbler (and therefore +over the disc with the hole in it). Dip the other piece of paper into +the glass bowl, shake it a little, and lay it on the top of the second +tumbler. Take the piece from the fourth tumbler, wet it in the same +way, and replace it on the top of the fourth tumbler. + +Thus both pieces of paper are now wet and are over the two glass discs. +Pick up the piece of paper on the second tumbler, secretly taking with +it the glass disc (which, of course, is under the paper) and place it on +the top of the tube, taking great care not to let the glass disc "talk" +against the top of the chimney; the audience must not hear the slightest +"chink" of glass knocking against glass. + +Now turn the tube over, holding the disc and paper in place, with the +second, third and little fingers underneath the paper, which should be +moulded round the end of the chimney. Fill the chimney with water, and +see that it is really full. Put the bowl down and pick up the other +paper, secretly getting the disc under it, and place the disc with the +paper over it on the top of the chimney. + +Mould the paper round the top of the chimney and turn the chimney over, +thus bringing the glass disc with the hole in it at the bottom of the +chimney. Press on the disc and then slightly relax the pressure; if it +is firmly in place you will feel that it is "sucking" and you can go on +to the first part of the mystery. + +Take your hand away from the lower end and the paper will naturally +remain in position. Then, holding the tube by the middle with the right +hand, peel the paper away slowly from the bottom of the tube and put +the paper between the lips for a moment while you take the top paper +away. In doing this you make use of an excellent little piece of +showmanship; you pretend to be very nervous. + +The tube is now held perfectly still for a second or two, and as the +audience know that it is full of water and cannot see that there is +anything either at the top or bottom of the tube, the effect is very +mysterious. + +Put the paper which was on the top under the lower end, pressing it well +round that end, and take the other piece from the lips and mould it +firmly round the top. Then invert the chimney, thus bringing the disc +with the hole in it to the top again. Again press the papers well round +both ends of the chimney. + +Remove the lower paper once more, and still the water remains in the +chimney. At this point in the trick Mr. Devant had an excellent line of +patter which I hope he will forgive me for giving away; it always +brought a round of laughter. "Supported entirely by voluntary +contributions." + +Replace the paper on the lower end of the chimney, and pick up the hat +pin. Place the pin in the top paper; of course, the pin passes through +the little plug of soap in the glass disc. As you take the pin out again +the air naturally gets in and the water begins to fall. (It will be +understood, of course, that at this stage of the trick you hold the +chimney over the bowl.) Directly you feel the water is moving put the +pin back into its place; this is a very important "move." + +The water rushes out, naturally taking the disc and paper at the lower +end with it. The pin is sticking through the top paper and therefore +through the top disc. Remove the pin, taking the disc and paper impaled +on it, and push the paper off into the bowl; while you do this you can +lift the first paper slightly out of the bowl, so that the top disc +sinks to the bottom on the top of the one already there. Then remove +both papers and hold up the bowl of water. All trace of the method you +employed for bringing about this very mysterious effect is now +concealed, for the glass discs cannot be seen at the bottom of the bowl. +You pick up the pin and once more rattle it in the glass chimney to show +that you have nothing inside it, and then you go on to the next trick. + +I have heard conjurers say that if they get one good trick out of a book +they have received excellent value for their money. If that be true--and +I, for one, certainly think it is--then, thanks to Mr. Devant, +purchasers of this book have no cause for complaint, for I know of no +finer trick with water than "The Hydrostatic Tube." + +One little helpful hint. When the conjurer is about to put the pin +through the top paper he may have a slight difficulty in finding the +exact place for it. A little stain on the plug of soap will help him to +find the right place at once. + +The trick needs a steady hand, and the conjurer must not know the +meaning of "nerves," but if he will see that the discs fit the ends of +the glass chimney perfectly and will carry out these directions he need +have no fear of any mishap. + + + + + CHAPTER IV + + THE PASSE-PASSE TRICK + + +This is a very old trick, but one which is seldom performed in its +original and proper form. After being out of fashion for a number of +years the trick has been recently revived, and there are now several +versions of the trick. To the best of my knowledge, however, all the +modern versions of the passe-passe trick omit one important detail--some +water or other liquid. + +In the original version of the trick the performer comes forward with a +bottle and a glass--if these things are not already on the table. (As a +matter of fact, it is a good plan to have two small tables on either +side of the stage for the presentation of this trick.) Two cardboard +cylinders, one fitting inside the other, are also required, together +with a small tin funnel. The bottle may be of the champagne kind, or a +wine bottle, or a beer bottle; the latter is generally the most +convenient; a Bass's label on the bottle serves as a kind of guarantee +that the bottle is "genuine." + +The performer pours water from the bottle into the glass; in fact, he +fills the glass with water. Finding that he has a little too much water +for his purpose he pours a little back into the bottle, using the +funnel to aid him in the task of getting the water into the bottle. He +then places the bottle on the table on his right and the glass on the +table on his left. + +The next thing to do is to show the cardboard covers to the audience, +and in doing this some little amusement may be caused by pretending that +you have something concealed in one of the covers. Thus, you lead off by +nursing the smaller cover carefully under one arm and showing the larger +cover. When this is returned to you slip it over the smaller cover, +withdraw the smaller, and hand that out for examination. The audience +will at once jump to the conclusion that you have concealed something in +the larger cover and will demand to be allowed to "look at the other." +Then the argument begins. + +"But you have already seen that one," you say. + +"Ah," comes the quick reply, "but you've slipped something from the +other one into that since we saw it." + +Take back the smaller cover, pass it through the larger one, and hand +that out for examination. The audience, being now convinced that there +is "some trick" in the covers, will demand to see both of them at once, +and with a show of reluctance you hand out both covers at once and the +audience laugh at themselves for being "had." Possibly, however, some of +the more knowing ones will still think that the covers "have something +to do with the trick"; if so, all the better for you, because in that +case those persons are on the wrong scent altogether. + +Having received the covers again you can assure your audience that the +covers are made in that way to save space in packing--a remark that is +sure not to be believed--and you go on to demonstrate the real use of +the covers. One covers the glass, the other the bottle. + +The trick is, of course, to make the glass of water and the bottle +change places. You pronounce the magical word, lift the covers, and show +that your command has been obeyed. Having done that it is as well to +raise the glass to let the audience see that there is water in it. Then +you cover the glass and the bottle again and cause them to return to +their original places, and once more you show that the two covers are +empty. + +Unknown to the audience the conjurer uses two bottles for this trick and +two glasses. The bottles are made of tin and are painted black to +resemble dark glass bottles. Neither bottle is quite "ordinary." One of +them has no bottom to it, and is therefore a mere shell. The other has +the bottom fixed in about half-way down, leaving room for a small glass +to be hidden in the bottle under the bottom. Close up against the neck +of this bottle there is fixed a tiny tin tube which passes down the neck +and then through the centre of the bottom. Therefore, if you merely pour +water into the neck of the bottle it remains in the bottle, but if you +insert a funnel into the top of the little tube and pour water into the +funnel you are really pouring the water into the glass hidden under the +bottom of the bottle. + +[Illustration: + +_Hole in back of bottle_ + +_BOTTLE NO 2._ + +{special bottle with straw to glass inside, +and hole in side so finger can hold glass against edge of bottle} +_Finger thro' hole_ + +_FRONT._ + +_LIFTING BOTTLE AND GLASS._ + +Fig. 7] + +Of course, both bottles must be exactly alike and the label on one must +match the label on the other; it is a good plan to have a little piece +"accidentally" torn off the label. At the outset of the trick a glass, +similar to the "visible" one, is placed in the small bottle (the one +holding the water); the shell bottle is placed over that bottle. To +enable the conjurer to pick up the bottles and glass together two small +holes are made in the backs of the bottles; the tip of the middle finger +passes through both holes and holds the glass against the interior of +the bottle. In order to prevent the glass from "talking" (making any +sound by knocking against the inside of the bottle) it is a good plan +to line the lower half of the bottle with cloth. + +The working of the trick will now be clear. Hold the bottle in the right +hand and the glass in the left. Pour out the water and stand the bottle +down, taking care to keep the side with the hole away from the audience. +Then apparently pour some of the water back into the bottle, but by +using the funnel you pour it into the glass below. When you are +practising the trick you can find out by experiment just how much water +to pour back in this way, and if you make a little scratch on the glass +you will guard against the fatal mistake of pouring in too much (because +you cannot get it back again) or pouring too little. Obviously, the +water you pour into the bottle (really into the glass below) should be +equal in quantity to that which you leave in the glass. + +Having settled this matter to your satisfaction place the glass on the +other table or, if you are performing with only one table, keep the +bottle and glass as far apart as possible; if they are close together +some members of your audience may be confused and forget on which side +is the bottle and which the glass. + +Now comes the business of handing round the cardboard covers for +examination. When you get them back again take care to hold the larger +one in the right hand. While pattering to your audience you quietly pass +the larger cover over the bottle, raise it, and then put the smaller one +over the bottle. In raising the larger cover you should nip it slightly +and so get the shell bottle inside it. + +A word of caution is here necessary. Do not forget that there is a hole +in the back of the bottle; when you place the cover containing the shell +bottle over the glass--which you do immediately after you have covered +the bottle with the smaller cover--you want to make sure that the hole +in the shell bottle is still at the back. Therefore, note carefully the +position of the hand when you raise the cover with the shell bottle +inside it, and when you place the cover over the glass see that your +hand assumes the same position. You will probably find it convenient to +stand behind the table and to keep your thumb at the back of the cover. + +Now the bottle and the glass are covered, and all you have to do to +cause them to change places is to raise both covers; you grip the one on +the right rather tightly, thus raising the bottle inside it and +disclosing the glass, and you hold the other loosely, thus leaving the +bottle in view. Cover the glass and bottle again and to cause them to go +back to their original positions first pick up the one on your +left--gripping tightly to hold the shell bottle inside it; then walk +over to the other and raise it, showing the bottle. + +This leaves you with the shell bottle inside the larger cover, and you +naturally have to get rid of it. Drop the cover over the bottle quickly +and then apparently attempt to put the other cover over it. It is +impossible to do this, of course, because the cover which held the +shell bottle is the larger of the two; therefore you raise the larger +cover again, leaving the shell bottle in its original position over the +other bottle. Then put the smaller cover inside the larger one, pick up +the bottle, taking care to hide the glass inside it, and place it behind +your screen or on a side table. Then take away the glass and you are +ready for the next trick. + +A word as to the appearance of the bottles and the covers. These can be +bought at a conjuring shop and you will find that, as the Scotsman said +of various brands of whiskey, "Some are better than others." You want a +bottle which looks exactly like the real thing, and the only way of +making quite sure of getting it is to take an empty bottle with you when +you are buying the trick. Note the slope of the "shoulder" of the +bottle. The labelling you can do yourself. + +As to the covers, take care that they fit properly and are not too +stiff. If the larger one is really a shade too small for the shell +bottle and is also too limp you will have difficulty in raising the +cover quickly and leaving the shell bottle on the table; the bottle will +get jammed in the cover and then--well--perhaps you had better tell the +audience that the trick has not happened yet, but you hope it will in +time! It is better to guard against such a catastrophe by having covers +of the right size; they must not be too large or too small. + +Although the trick is quite an easy one it requires more than a little +practice. The most important move of all is that which enables you to +get the shell bottle into the larger cover. You will find that the knack +of putting the cover quickly over the bottle and then lifting it up as +quickly with the shell bottle inside it is not learned in a moment; at +any rate, you cannot learn to do that in a natural way in a moment. To +get the move quite right put the cover over the shell bottle and lift it +without the shell inside; keep to the same movement when you lift the +cover with the shell bottle inside it. To guard against the dropping of +the shell you can place your little finger under the cover. + +I give a few suggestions for "patter." + +"A trick with a bottle and a glass. All kinds of tricks are done with +bottles and glasses, but this is not one of those tricks; this is a +perfectly harmless trick. At the risk of disappointing the male members +of my audience I may say at once that this bottle contains water. I +mention that because I noticed that one or two men seemed rather anxious +to come on the stage and assist in this experiment. They don't look so +anxious now. (_This as you pour out the water._) Just ordinary plain +water, the stuff that farmers and gardeners always want when they +haven't got it, and always grumble about when they have. If you live in +a town you grumble because you have to pay for it, whether you use much +or little; some people don't run any risk of using too much. I'm afraid +there's a little too much there--better put some back; it will do +another time. (_Pour with funnel into bottle._) There, that's just +right; now we can begin. I put the glass over there and the bottle here. +There are two other things used in this experiment; you see, this trick +ought to be done in the dark because it's rather dangerous, but as we +cannot have all the lights put out I have to put the glass and the +bottle into these little dark rooms; perhaps you would like to have a +look at them. (_Then follows the business, already explained, of having +the two covers examined._) + +"You will notice that both the covers fit over the bottle and, +therefore, over the glass, but as we have to cover both we put one on +the bottle and the other on the glass. If we were to put one on the +glass and the other over the bottle we could not do the trick. + +"Now I want somebody to say the magic word, because it doesn't always +work if I say it. Will someone please start talking about the weather. +That's easy. If you just say the word 'weather' I daresay it will do. +(_Look inside one of the covers._) It must have heard me; you see, the +weather is so changeable--it always is; that's why the word is so useful +to conjurers, although I once knew a conjurer who used a shorter word +when his trick went wrong. I don't think this trick has gone wrong so +far because you see the bottle and glass have changed places. (_Lift +covers and show them._) The worst of our magic word is that it works +only once in a trick. You might keep on saying: 'weather, weather, +weather, weather, weather' all day to the trick, but nothing would +happen--unless, of course, a kind policeman, thinking that you were +temporarily insane, took care of you. No, if we want the rest of the +trick to happen we have to whistle to the bottle to come back. You know +that beautiful song--'Whistle, and I shall hear.' Well, the bottle +always hears. (_Whistles._) Here it comes and here it is, and very +possibly we shall find that the glass has returned to its original +position." (_Show it._) + + + + + CHAPTER V + + THE RICE BOWLS + + +In presenting this trick the conjurer begins by showing two small bowls +on a tray. Into one of the bowls he places a little rice and covers it +with the other bowl. On lifting the uppermost bowl the conjurer shows +that the quantity of rice has increased; the lower bowl is now heaped up +with rice, some of which falls on to the tray. + +Using the empty bowl as a kind of scoop the conjurer removes some of the +surplus rice, letting it fall on the tray. Thus one bowl is now filled +to the brim with rice and the other is empty. + +Once more the conjurer places the empty bowl over the one containing the +rice, and once more he raises the empty bowl. All the rice has now +vanished, for it has been magically transformed into water, which the +conjurer pours from bowl to bowl. + +Thus there are two entirely different effects in this trick. A small +quantity of rice placed in a bowl increases in a mysterious manner; the +rice is afterwards changed into water. + +There are two entirely different methods for this trick. For one of them +two china bowls are required; for the other the bowls are of brass. I +used the latter method when I presented this trick at St. George's Hall, +and I prefer it to the other, especially if I am performing in a room. +However, the other method is the more popular of the two, and I will +explain that before giving away the secret of the other method. + +First, let me give a rough idea of the secret of the first method, in +which two china bowls are required, because this method admits of one or +two variations, and, of course, it is useless to describe these until +the reader knows just "how it is done." + +The edge of one of the bowls is ground perfectly flat. This bowl is then +filled nearly to the brim with water. A disc of thick celluloid of the +same size of the top of the bowl is also required. The disc should be +made with a "lip," so that when it is laid on the top of the bowl it +cannot easily be pushed off it. + +To prepare for the trick dip a finger into the water and run it round +the edge of the bowl; dampen the "lip" of the celluloid disc in the same +way. Then put the disc on the top of the bowl and press it down evenly +all round the edge. If the disc fits properly it will then be possible +to turn the bowl upside down without spilling the water; the disc will +adhere to the bowl. It is always advisable to have a disc specially made +to fit the bowl; then you may be certain that, with a reasonable amount +of care, accidents will not happen. If the disc fits properly you can +throw the bowl into the air and catch it without any fear of the disc +coming away from the bowl. + +After the disc has been properly fitted to the bowl wipe it thoroughly +dry and place it, upside down, on the tray on which a couple of wooden +matches have previously been placed; there is then no risk of the disc +adhering to the tray. The empty bowl is placed, upside down, over the +faked bowl, and with a bag of rice on the tray, you are ready to do the +trick. + +Pick up the empty bowl and show it to the audience. Fill it about half +full with rice and stand it on the table. Place the faked bowl on the +top of it and, holding the hands round the bowls, get them exactly +"together"--an easy thing to do because the bowls are the same size. + +Keeping the hands in the same position round the bowls pick up both +bowls together and reverse them, so that the faked bowl is now +underneath. Obviously, there must be some excuse for doing this; that +will be provided for in the "patter." The rice naturally falls on to the +top of the celluloid disc, and when the top bowl is lifted the rice +seems to have increased in quantity. + +Hold the empty bowl in both hands and scoop off some of the rice, +letting it fall on to the tray. Repeat the operation, taking a little +more rice away. In taking still a little more rice away get a finger +nail under the edge of the disc, and in apparently scooping off a little +more rice lift the disc under the bowl and place it on the tray; as the +disc with the rice on it is placed over the loose rice which fell on the +tray in the first instance it is not noticed. The latter part of this +"move" must be done fairly quickly, especially if one is performing at +close quarters, and the empty bowl is at once placed on the top of the +other bowl which now contains only water. To show the final effect is, +therefore, an easy matter. The top bowl is lifted with the right hand, +the other with the left hand, and the water is poured from bowl to bowl. + +[Illustration: + +_Celluloid Fake._ + +_Bowl "double filled" with rice_ + +_Fake_ + +_Removing Fake with rice_ + +Fig. 8] + +Now for the "variations" of the trick. The weak point of the trick is at +the beginning; only one bowl is shown to be empty. Is it not possible +that some of the very attentive members of your audience will notice +this fact and will say to themselves: "He showed us only one empty +bowl--wonder what's in the other?" Of course, people ought not to think +in this way, and some conjurers believe that they do not, but my +experience tells me that there are always some persons in every audience +who do not miss much when it comes to judging a trick and trying to find +out the method of the conjurer. + +Theoretically, when the conjurer picks up the faked bowl and holds it +upside down he convinces the audience that the bowl is empty. How can +there be anything in a bowl which is held upside down? Still, I think +you will admit that if you can show the interiors of both bowls at the +beginning of the performance you make it a much "stronger" trick than if +you show only one bowl and let the state of the other be taken for +granted. Besides, being an enthusiastic magician you will naturally want +to make your performance as nearly perfect as possible, and therefore +you will want to begin this trick by showing "two empty bowls." How are +you to do it? + +Obviously, one bowl has to be exchanged for the faked bowl, and that +means that the faked bowl has to be hidden at the beginning of the +trick. Here is a simple way of getting over that difficulty. + +Have a fairly large bag of rice. Place the faked bowl near the back of +the tray and the bag of rice in front of it; the bag can be shaped round +the bowl. You will also need a "servante" at the back of your table; +this can be either a small shelf or, better still, a bag with the mouth +slightly stiffened with a strip of whalebone. The "servante" is hidden +from the audience by the tablecloth, which hangs down in front of the +table. + +Proceed in this way. At the beginning of the trick stand on the +left-hand side of your table. Pick up a bowl in each hand, show the +bowls to the audience, put the one in the left hand on the table and +apparently put the other on the table behind the bag of rice; of course, +you really drop it into the bag or place it on the shelf at the back of +the table. Continue the movement of the arm until your right hand is +resting against the faked bowl which is hidden behind the bag of rice. +At the same moment pick up the bag of rice with the left hand. The +audience see two bowls on the table and naturally think that they are +the two bowls which you have just shown to them. One of the bowls has +not left their sight, and if you make the "change" skilfully no one will +suspect you of having made it. + +If you use this method of exchanging one ordinary bowl for the faked +bowl you should have a very small tray and a very small table; +otherwise, you have no excuse for apparently putting one bowl behind the +bag of rice. Why should you not put it at the side of the bag if there +is room for it there? Inquisitive people ask themselves these questions +sometimes. If you have a very small tray you naturally have to put the +second bowl down on the only vacant spot on it--behind the bag of +rice--but at the same moment you lift the bag. + +Directly you have picked up the bag of rice with the left hand you pass +it to the right, pick up the empty bowl with the left hand and pour some +rice into it. Take care to let the audience see that rice, and nothing +but rice, goes into the bowl. Then put the bag down, pick up the faked +bowl, and present the rest of the trick in the way described. + +This method is perfectly safe if you are performing on a small platform +or stage, so that your table is raised, but it is not practical in a +small room with the audience close to the table. If you wish to do the +trick under those difficult conditions I suggest that you use very small +bowls and have a box of rice in place of the bag. The exact size of the +box will depend on the size of the bowls. + +Dip both bowls (having first shown them to be empty) into the box and +scoop up as much rice as you can get into them. Pour the rice back into +the box. Do this two or three times, and while you are apparently doing +the same thing for the third time bury the bowl which you have been +holding in your right hand in the box of rice and bring up in its place +the faked bowl, which was hidden in the box before the commencement of +the trick. You must take care to remember the position of the faked bowl +in the box. + +In exchanging one bowl for another in this way your hand must not pause +in its movement down into the box and up again. To make quite sure of +getting the movement right practise in front of a looking-glass. First, +dip the two bowls into the box of rice and scoop up the rice into both +bowls. Remember just how your hands moved when you did that. Now start +again, but this time exchange the bowl in your right hand for the faked +bowl. + +[Illustration: + +_PLAIN BOWL_ + +_Escape Hole_ + +_Air Hole_ + +_Water_ + +_Plaster_ + +_FAKED BOWL_ + +Fig. 9] + +Now tilt the rice back into the box, and the audience should be +convinced that you have two empty bowls in your hands because both bowls +are now upside down. Put the faked bowl, upside down, on the table. Take +a little rice from the box with the right hand and let it fall into the +empty bowl; continue doing this until you have filled the bowl. Then +pick up the faked bowl and continue the trick in the way already +described. You will find it convenient to close the lid of the box and +to use the top of it as your table. + +If brass bowls are used no celluloid disc is required, and it is not +necessary to exchange one bowl for another; the secret of the trick +lies in the preparation of one of the bowls, and yet, at the beginning +of the trick, both bowls can be held with their interiors facing the +audience. Thus, the second method is altogether different from the +first. + +The shape of the two brass bowls is shown in the illustration. The faked +bowl has an inner lining fitted to it, with sufficient space between the +lining and the bowl itself to hold a considerable quantity of water. The +lining is of highly polished brass, like the rest of the bowl, and if it +is kept "on the move" it can safely be shown to the audience. People +think that the lining is really the interior of the bowl, and the fact +that they can see inside both bowls helps to convince them that the +bowls are unprepared. + +It will be obvious that the interior of the faked bowl is really much +smaller than that of the "plain" bowl; if, therefore, the latter bowl is +filled with rice and the faked bowl placed on the top and both bowls are +turned over together the quantity of rice appears to have increased +because it overflows. (The edge of the faked bowl is made to fit into +the edge of the other bowl, and thus the task of inverting the bowls is +simplified; they cannot slide apart.) + +Near the brim of the faked bowl there is a small air hole, and there is +another hole in the centre of the bottom of the bowl. To fill the space +between the inner lining and the bowl itself with water and to prevent +the water from falling out until you wish it to appear, proceed in this +way. + +Place the bowl in water and let it remain there until no more air +bubbles rise to the surface. Move the bowl once or twice in the water to +make sure that the space is properly filled. Lift the bowl out of the +water by the brim, but just before you get the brim clear of the water +put a finger on the air hole there; then the water will not run out of +the air hole at the bottom of the bowl. + +Keep the finger jammed down tightly on the air hole in the brim of the +bowl, wipe the outside of the bowl thoroughly dry and place a small +piece of adhesive rubber plaster over the air hole in the bottom of the +bowl. You can then turn the bowl upside down without any fear that the +water will escape through the air hole in the brim. Wipe the inside of +the bowl thoroughly dry and you are ready to start the trick. + +Place the faked bowl, upside down, on the table and the other bowl over +it. (You will understand, of course, that the bowls should be in this +position on the table when you are about to present the trick.) + +Pick up the plain bowl with the left hand and the faked bowl with the +right, and show the interiors of both bowls to the audience. Pour rice +into the plain bowl until it is nearly full, and put the faked bowl on +the top of it. Invert the two bowls together; when you separate them the +quantity of rice will have apparently increased, because the interior +of the faked bowl is really much smaller than that of the plain bowl. + +[Illustration: _Extracting rice from faked bowl._ + +Fig. 10] + +As there is no celluloid disc to get rid of there is no need to use the +empty bowl as a scoop with which to level the rice; in fact, it will be +inadvisable to use it. By using the bowl as a scoop one would merely +level the rice, whereas it is really necessary to get nearly all the +rice out of the faked bowl. Begin by levelling the rice with the left +hand while you hold the other bowl in front of it; just before you +replace the empty bowl bend the left fingers slightly and thus scoop out +as much of the rice as you can possibly get out in this way. You must +not let the audience see that you are really trying to empty the bowl, +and no harm is done if you leave a little rice in it. + +Replace the empty bowl on the top of the faked bowl, and invert both +bowls together; just before putting them on the table remove with the +left thumbnail the piece of rubber plaster which has covered the air +hole in the bottom of the faked bowl. (If you are performing in a hall +with part of the audience in a gallery, so that they can look down on to +the top of the bowls, it is as well to disguise the little piece of +rubber plaster with a touch of gold paint.) + +Directly the rubber plaster is removed the water will start to run out +into the bottom bowl, and here we come to one of the disadvantages of +this method. To my mind it is only a very trifling disadvantage, but I +know that some conjurers regard it almost as a serious defect. The water +runs out of the air hole slowly, and therefore it is necessary to +"patter" for about a minute while the water is dropping into the lower +bowl. (The exact time will depend on the size of the bowl.) + +Some conjurers do not talk at all during their performance; therefore +this method of doing the trick does not appeal to them. Some conjurers +who do talk during their performances are chary of pattering for a whole +minute without doing anything; they think that to do this looks as +though they were "holding up" the trick. Until you have pattered for a +whole minute without doing anything you do not realise what a very long +time one minute can seem to be; you must remember that, to some members +of the audience, at any rate, you appear to be talking for no reason +whatever. + +Well, I have presented this trick at St. George's Hall and at private +performances and, as I have said, I prefer this method to the one with +the china bowls. I admit, however, that a drawing-room conjurer may find +the preparation of the trick a little tiresome. I have known a conjurer +to prepare the faked bowl--fill it with water and seal it--before +setting out on his journey to give his performance, but I should not +care to risk doing that myself. If the air hole should get uncovered +there would be a tragedy! The question therefore arises--How are you to +prepare for the trick in a drawing-room? + +The simplest plan is to take a small pail--about as large as a child's +seaside pail--with you. Remember, the bowl has to be placed in the +water. Carry your own pail in your bag, and then all you have to ask for +is a large jug of water. Now, to continue with the presentation of the +trick. + +When the water has trickled through into the lower bowl pick up the top +one--the faked bowl--with the left hand, take the other bowl with the +right hand and pour some of the water into the faked bowl. There will be +more than enough water to fill this bowl, and so if you wish you can +pour some into a glass bowl on table. You will notice that in this form +of the trick both the rice and the water increase. + +I give some suggestions for "patter" which, of course, can be shortened +considerably if the conjurer is using china bowls. Some "silent" +conjurers dash through the trick in about half a minute, but it is as +well to let your audience see what you are doing. If you are going to +use brass bowls you should rehearse the trick very carefully, so that +you may be able to fill in the time while the water is running from one +bowl to another. + +"I will try and show you how to make a rice pudding--a new kind of rice +pudding. You cook it in two bowls, so as to give the rice room to swell. +Even then it isn't swell rice. Swell rice is the kind which is used at +weddings. A man doesn't mind how much of this (_pouring rice into bowl_) +he has thrown in his face on his wedding day, but he does object to cold +rice pudding more than five times a week after his wedding day. And he +often gets it! Believe me, he does. You will notice that by this method +of cooking (_lift the bowls, wave them in the air and finally invert +them_), the rice is cooked entirely by friction. No fire needed; +therefore no coal bill; therefore, the coal merchant goes broke. You see +what new methods lead to. I don't know if the rice is done yet; excuse +me for a moment while I listen to it. There is no sadder sight in this +world than an underdone rice pudding. Yes, I think it is done; anyhow +we'll chance it. (_Lift bowl, showing quantity of rice increased._) You +see, by this method your rice does not swell in the cooking; the more +you cook the more rice you get; there's far too much here. (_Level rice +off and replace bowl; if brass bowls are used invert them._) + +"Perhaps I ought to have explained at the beginning that this method of +cooking rice is rather slow; if the rice is at all aged and tough it +may take hours and hours--or even longer--to cook itself in a proper +manner; of course, this rice is strictly proper--highly refined. It can +be used for puddings, cakes, poultices, dog-biscuits and bill-stickers' +paste; it can also be used for waterproofing boots, and it is invaluable +for invalids. I once induced an invalid friend of mine to try some of my +patent rice pudding. The invalid got better at once--afraid of having to +face a second dose. It's dangerous stuff--rice pudding. Many a happy +home has been nearly wrecked--all through a cold, heavy, stodgy, +underdone, beastly rice pudding. Ladies, let it be a warning to +you. . . . I beg your pardon--I've been talking so much that I've been +forgetting my own cooking. (_Lift bowl and pour water from one bowl to +the other._) I'm very sorry. Really I must apologise. All the rice has +been cooked away--perhaps it's as well, because nobody really likes rice +pudding." + + + + + CHAPTER VI + + THE INDIAN SANDS + + +In its simplest form this trick consists in putting some silver sand +into a bowl of water and taking it out--perfectly dry. But the trick in +that form is hardly worth doing and certainly not worth the trouble +involved in its preparation. + +An important additional effect is produced by using sands of three +colours--red, white, and blue. The white sand is not really white, but +the natural colour of the sand. In this case, not only does the conjurer +take out the sand perfectly dry, but he takes out the sand of the colour +named by the audience. + +This is a trick which depends largely for its effect upon the +showmanship of the performer, for unless the audience are thoroughly +convinced that the bowl of water is what the conjurer says it is and +nothing more--an ordinary bowl nearly filled with ordinary water--and +unless the audience are further convinced of the fact that the sands of +different colours are poured into the bowl and are thoroughly stirred up +into the water they will not be properly surprised when the conjurer +comes to the climax of the trick. + +Therefore, the conjurer should lead off by giving the bowl out for +examination. The bowl can be either of glass, metal, or china. The trick +is most effective, I think, when a glass bowl is used; it should be a +large flat bowl. + +The different sands should be placed in bags, the red sand being in a +red bag, and so on. + +If the conjurer uses a glass bowl he should have the water in a large +glass jug. He leads off by holding up the bowl for inspection; then he +gives it out for examination. If he is performing in a room he should +have a box or some kind of stand on the table, so that everyone can see +the bowl during the whole of the performance. + +Having received the bowl back again the conjurer pours in the water, and +he should take note beforehand of the actual quantity required. If there +is too much water some of it may get splashed over the brim during the +performance of the trick, and if there is too little the trick is not +sufficiently effective; besides, with a little water the trick is more +difficult. + +The conjurer then picks up the red bag and pours out the sand, a little +at a time, on to his other hand; he should take care to let the audience +see that he has nothing concealed in his hand at the beginning of the +trick, and in pouring out the sand he should work slowly so that the +audience see that he pours out nothing else but sand. While he is doing +this he should hold his hand over the bowl, because some of the sand +will drop off his hand into the water. There will naturally be quite a +little mound of sand on his hand when the bag is empty. He then tips the +sand into the bowl and stirs it slightly. The dye will colour the water. + +He proceeds to empty the other two bags in the same way, taking great +care to let the audience see that the bags contain nothing but sand and +that he places nothing else in the water. At the end of these +proceedings the water will be thoroughly coloured. + +The conjurer, having turned up his sleeves, dips his right hand into the +water, and stirs it up. Then, displaying his empty hand to the audience, +he dips it into the water and takes out a handful of the wet sands and +holds it up so that the audience can see it. He returns the "mud" to the +bowl and washes off any sand from his hands. + +Once more he dips his hand into the bowl and takes it out closed. +Picking up a glass goblet with his other hand, he holds it under his +right hand from which dry red sand slowly trickles. When the hand is +empty he opens it, shows it to the audience, and puts the goblet down. +Then he washes his hands in the bowl, and repeats the performance with +the white sand and the blue, so that at the end of the trick the +audience can see the sands in the three goblets. At the conclusion of +the trick he can pour all the water with the sand "mud" into another +vessel and thus show once more that the bowl is not prepared in any way +for the trick. + +This splendid effect is brought about by very simple means. Most +conjurers hold the opinion that the best tricks are simple; this one is +both simple and easy. + +The principal secret consists in the preparation of small quantities of +the different sands. First of all a quantity of sand is dyed red and a +similar quantity is dyed blue, and both are left to dry. While they are +drying the conjurer can prepare the white sand. + +[Illustration: + +{bag of loose sand, with compressed sand of different colours in +different shapes} +Loose sand + +Faked sand + +_METHOD OF LOADING BAGS OF SAND WITH SAND BLOCKS._ + +_KEY SHAPES FOR FINDING COLOURS BY TOUCH._ + +Fig. 11] + +Place a small quantity in an old frying-pan and put it over the fire +until it is thoroughly hot. Then drop in a small piece of tallow candle. +When the grease melts stir it well into the sand, so that every grain is +covered. Then take the sand off the fire and press it down into little +moulds. + +As sands of three different colours are to be used in the trick it +follows that the prepared sands must be put in moulds of three +different shapes, because the conjurer merely has to feel in the water +for the particular blocks of sand that he requires at each dip. The +white sand can be put into little round, flat moulds, about as large as +four halfpennies stuck together. When these little round blocks of +prepared sand are cool they will be perfectly hard and waterproof. + +The red sand can be placed in small square moulds and the blue sand in +oval or round moulds; the shapes are immaterial so long as the conjurer +remembers them. + +The bags can be of paper. To prepare for the trick, turn one of the bags +upside down and push the bottom of it inwards. Then place two or three +of the blocks of sand of the right colour in the cavity at the bottom of +the bag. Then turn the bag over and fill it with ordinary sand of the +same colour. + +Prepare the other two bags in the same way. In picking up each bag from +the table, when you are going to do the trick, begin by lifting it about +an inch from the table with the left hand; then grasp it round the +middle with the right hand and hold the little finger under the bottom +of the bag to prevent the blocks of sand from falling away. The paper of +which the bags are made should be fairly stiff. + +When all the sand from one of the bags has been poured out on to the +hand--naturally a good deal of it will fall into the bowl--the conjurer +turns his hand over and lets the sand drop into the bowl; at the same +time he merely has to take his right little finger away from the bottom +of the bag and the blocks fall into the water. They drop behind the +falling sand, and being of the same colour they are not noticed by the +audience. + +If the conjurer does not care for this method of getting the prepared +blocks into the water he can have larger bags and have the prepared +blocks in them with the sand. In that case he dips his hand into a bag, +takes out a handful of sand, and lets it trickle back into the bag. He +does this once or twice; then he takes out a handful of sand and lets it +fall into the water, taking care to let the audience see that he puts in +nothing but sand. He repeats the action. Then, in taking another handful +of sand, he gets two or three of the blocks with it, lets some of the +sand fall into the water, brings his hand down close to the water, +releases the "blocks," brings his hand up again and releases the rest of +the sand from it. He can continue in this way until the bag is empty. + +If the performer is on a stage there is very little likelihood of the +audience seeing the blocks even if they are dropped from a height with +the sand, but in a room, with the audience close to the table, it is as +well to take every precaution against the discovery of the secret. + +As for the rest of the trick, the effect is produced entirely by +showmanship. In the hands of a capable performer the trick will cause a +sensation, but if it is presented in a slipshod careless way, so that +the audience are not thoroughly convinced at each stage of the trick +that there has been "no deception," then the trick will go for nothing. +For example, if the conjurer neglects to take out a handful of the wet +sand and show it to the audience, he misses a point. Of course, all that +the conjurer really has to do is to feel in the bowl for the particular +blocks of sand he requires. It is as well to have one or two more blocks +than are actually necessary. When the conjurer has taken out a handful +of the blocks he requires he merely has to crush them in his hand and +they fall in a shower of dry sand. + +A hint to the drawing-room performer. After the performance see that the +water is poured away at once; otherwise, if some of the younger and more +inquisitive members of your audience come round behind your screen at +the close of the performance they will be sure to want to know how this +trick was done, and if they get a glimpse of the water they may possibly +notice grease floating on the surface! + +Various other methods have been invented for keeping certain portions of +sand dry when other sand of similar colour is placed in water. Some +conjurers have done the sand up in little packets of grease-proof paper. +I have also heard of tiny air balloons being filled with sand. The great +drawback of any of these other methods is that when the conjurer is +letting the dry sand trickle away from his hand into the goblet he +cannot immediately let the audience see that he has nothing concealed in +his hand. He has to go at once to the bowl for the next handful and +leave the "fake," whatever it may be, in the bottom of the bowl. By +using the method I have described the conjurer gets the most convincing +effect, and if he prepares a large quantity of the different blocks of +sand at the same time the trick is really not troublesome. The exact +quantity of tallow required must be determined by experiment; it will +depend, of course, on the amount of sand which is being prepared. + +The object of using goblets for the display of the dry sands is to +enable the members of the audience in the front rows of seats to see the +sands. When one is performing to an audience composed chiefly of +children the first two or three rows of seats are usually occupied by +very small children, and from their positions they cannot see the top of +the table. Raise the object which you are going to place on the table +and you bring it within the view of everyone. + + + + + CHAPTER VII + + THE DISSOLVED CARD + + +Every good trick has a clear, logical conclusion. Although the conjurer +is apparently reversing one of Nature's laws he must also be more or +less reasonable in his performance. For example, if he tears up a piece +of paper into little pieces and then causes these pieces to form +together into four strips equal in length when laid end to end, to the +original piece, the conjurer is not behaving in a reasonable manner; he +should cause the little pieces to join together into one strip and the +audience must be led to believe that that strip is the original piece of +paper and that in some mysterious manner the conjurer has joined the +pieces together. The conjurer who does that brings his trick to what may +be called a "logical conclusion." + +I mention this matter here because it bears upon the trick which I am +about to explain. In its simplest--and crudest--form this trick consists +in causing a playing card placed into a jug of water to disappear; the +water is supposed to dissolve the card. I imagine, however, that no +intelligent audience would be satisfied with the trick in that form; +there is obviously something wanting, and that something is the magical +reappearance of the card. + +There are dozens of ways in which the trick could be completed--that is +to say, in which the card could be caused to reappear--but it must be +remembered that the card has apparently been dissolved in water, and +that therefore to bring the trick to the "logical conclusion" which is +the attribute of all good tricks, the water in which the card has +apparently been dissolved should be used in some way to bring about the +reappearance of the card. + +It seems to me that if we were to reproduce the card in a box, or case, +or frame which had previously been shown to be empty we should not have +a very convincing trick. It might be argued, of course, that if instead +of suggesting that the card is dissolved in water we suggest that it is +made to disappear from the water we may fairly be allowed to reproduce +the card in any way we please. To regard the trick in that way is to +destroy the plot of it and to substitute another plot. In the one case +the conjurer is suggesting to his audience that the card remains in the +water in a state of solution and in the other that the card has +disappeared altogether from the water. I think you get a much better +effect if you induce your audience to think that the water has dissolved +the card, and it is for that reason that I have given the title "The +Dissolved Card" to the trick. + +I propose, therefore, that we should present the trick in this way. The +conjurer brings forward a pack of cards, shuffles the cards with their +faces towards the audience, and asks someone in the audience to take a +card and to place it on the top of the pack. A glass jug, nearly full of +water, is then held up for inspection, and, lastly, a large dark silk +handkerchief--or muffler--is casually shown. If one of those very trying +persons who are always anxious to discover a conjurer's secrets appears +anxious to examine the handkerchief the conjurer will do well to pretend +that he is in a tight corner for a moment, but, somewhat reluctantly, he +allows the interrupter to examine the handkerchief; as a matter of fact, +the conjurer is not at all perturbed, because there is no "trick" about +the handkerchief. + +While the jug of water and the handkerchief are being exhibited the pack +of cards is on the table. The conjurer picks it up, removes the top card +and asks the person who took it to say if it is the card which was +chosen and placed on the top of the pack. The answer is sure to be, +"Yes." + +The conjurer holds the card in his left hand with its face towards the +audience, and his thumb and lingers pointing upwards. (The position of +the hand is important for the working of the trick, and therefore the +reader will do well to remember it.) + +The conjurer throws the silk handkerchief over the card and arranges it +neatly, so that the card is about in the centre of the handkerchief. +Bringing his right hand over the top of the handkerchief the conjurer +takes the card in that hand and holds it over the jug of water, while +with his left hand he drapes the handkerchief round the outside of the +jug, practically hiding it. Someone in the audience is asked to take the +card from the conjurer (holding it, of course, with the handkerchief +over it) and to drop it into the water at the word "Go!" When this is +done the handkerchief naturally drops down and covers the jug. The +conjurer picks up the jug with the left hand and whisking away the +handkerchief with the right hand shows that the water has dissolved the +card. + +The conjurer then brings forward two slates, and in order to get them +thoroughly clean wipes them with a small sponge which he dips into the +jug of water. The slates are dried, placed together, wrapped in a sheet +of newspaper and given into the possession of a member of the audience. +The audience are led to believe that the name of the card is to be +written magically on the slates, but when the person holding them takes +off the paper he finds to his surprise that the card is between the +slates and, as a matter of fact, the card is the identical card that was +chosen in the first place. + +This effect is brought about by means of a few subtle--but quite +easy--"moves" and the use of one little "fake." The jug of water is +standing on the conjurer's table; placed just behind it is the large +silk handkerchief folded in four, and behind the handkerchief is a +piece of transparent celluloid of the exact size of the cards which are +to be used; beside the piece of celluloid is the pack of cards. + +Picking up the cards, the conjurer shuffles them with their faces +towards the audience, thus showing--without directly calling attention +to the fact--that the pack is an ordinary one. The conjurer advances to +someone with the request that a card may be chosen. + +[Illustration: + +{shows card in hand, then covered by handkerchief slips card into sleeve +with other hand} +_Celluloid_ + +_CARD AS SHOWN_ + +_Celluloid_ + +_CONCEALING CARD_ + +Fig. 12] + +"Please take any card you like," says the conjurer. "Perhaps you would +like to take the pack in your hand and select a card at your leisure. +When you have made up your mind will you please put the card on the top +of the pack. . . . Have you done that? You'll know the card again when +you see it? Thank you. In order that everyone may remember the card I +will show it to the audience; there is no harm in my knowing what it +is." + +The conjurer receives the pack back again, lifts off the top card, shows +it to the audience, returns it to the pack and then, turning the pack +over, drops it face upwards on the table so that it falls on the top of +the piece of celluloid. If the cards spread a little when they fall, so +much the better. The conjurer then exhibits the jug of water. + +"A jug of water," he says. "If there were any trickery about this it +would be a transparent fraud, wouldn't it? But there is no trickery +about it; it's just the ordinary water that comes down from the clouds +and is charged for at the ordinary rates." (He puts the jug on the table +and picks up the handkerchief.) "A large silk handkerchief. Three +hundred silkworms had to work overtime for a fortnight to make the silk +for this handkerchief; it isn't one of those tiny little handkerchiefs." +(The conjurer shows both sides of the handkerchief and puts it down +again.) "And now I am going to see if you all have a good memory. Do you +remember what card was chosen and placed on the top of the pack? You do? +Well; let us see if you are right." + +It will be remembered that the cards are face upwards on the table. The +conjurer picks up the pack with his right hand (including with it the +piece of celluloid), turns it over, and places it in his left hand; +directly it is there the right hand is brought over the pack to square +it up. The left thumb then pushes the piece of celluloid over the edge +of the pack for about half an inch--the right little finger preventing +it from going too far--and the left thumb then pushes the top card +forward in the same way. Thus the piece of celluloid is now directly +over the top card, and the two can be lifted off the pack together and +exhibited as one card. The conjurer shows the card to the audience on +his right and then places it in his left hand and shows it to the +audience on his left. Great care must be taken to nip the piece of +celluloid and the card closely together, and when the card is in the +left hand the thumb should be behind it, the fingers in front and the +tips of the thumb and fingers should point upwards. + +The conjurer picks up the handkerchief with his right hand and throws it +over the card, at the same time saying: + +"I cover the card with the handkerchief. I do this because it is so much +easier than covering the handkerchief with the card. I want to get the +centre of the handkerchief just over the card." + +Directly the card is hidden by the handkerchief the conjurer pushes up +the piece of celluloid with his thumb, while with his fingers he slides +the card down a little way towards his wrist. In order to arrange the +handkerchief properly over the card the conjurer puts his right hand +under the handkerchief and lifts it into position, so that the centre is +over the card. While his right hand is under the handkerchief the +conjurer takes the card from the left hand and slips it for a moment +into the left sleeve, taking care to push it down, so that when his hand +is afterwards removed the card is hidden. The conjurer then brings his +right hand over the top of the handkerchief and, gripping the piece of +celluloid through the handkerchief, asks someone to hold it over the jug +of water; of course, that person naturally thinks that he is holding the +card, and the fact that the conjurer's hands are empty is proof that the +card must be under the handkerchief. + +The next step in the trick is very simple. Having draped the +handkerchief round the jug and asked the person holding what he believes +to be the card to release "the card" at the word "Go!" the conjurer +merely has to take the handkerchief away and hold up the jug; the +celluloid sinks to the bottom and is therefore invisible. The assistant +is thanked and he returns to his seat. + +The conjurer continues his patter: + +"For a time the card is dissolved in that water, but if you would care +to wait a few hours you will see the water gradually evaporate, leaving +a kind of impression of the card stamped upon the jug. If you want the +trick done quickly you have to send a special message to the good fairy +who arranges these things. You would like the trick done quickly? Very +well, then I must write the message to the fairy on one of these slates +and ask for an immediate reply." + +The conjurer picks up two ordinary slates and holds them in his left +hand. The palm of the hand should be facing the audience and the fingers +slightly bent. The ends of the two slates are rested on the fingers and +against the arm. + +"When writing to fairies," says the conjurer, "you must always have a +clean slate." He dips a little sponge into the jug of water and sponges +over the slate which is facing the audience; the slate is turned over +and the other side is washed. + +The conjurer now shifts the position of the slates. With his right hand +he grasps them near the ends which are resting on the left hand, and as +he does this he inserts the first and second fingers of his right hand +into his left sleeve and draws out the card, keeping it hidden behind +the slates. Directly he has done this the conjurer takes hold of the +slates with the left hand, holding them by their sides; his fingers keep +the card behind the slates. He should turn to his right when taking the +slates in the left hand. The next step is to slide out the under slate +by taking it with the right hand, while the left fingers keep the card +pressed against the slate which has been at the top. The slate which has +been taken away with the right hand is now placed on the top of the +other, both sides are cleaned, and the conjurer, taking a piece of +chalk, writes on the slate facing the audience: + +"Please hurry up." + +This slate is now drawn away with the right hand and placed under the +other, thus getting the card in between the two slates, which are then +wrapped in a sheet of paper and given to a member of the audience. The +conjurer picks up the jug of water for a moment and pretends to discover +suddenly that he has spoiled the experiment. + +"I quite forgot," he says, "when I was cleaning the slates that I was +using some of this water. There's no telling what may happen now; you +may find little bits of the card all over the slates when they are dry. +Would you mind having a look at them?" + +The person holding the slates unwraps them and finds the card in between +the two slates, and the conjurer finishes by suggesting that the fairy +has saved the situation. + +The only "move" in the trick which is not quite easy is that which the +conjurer makes to get the card out of his sleeve and hidden behind the +slates. A very little practice, for preference in front of a +looking-glass, will enable the conjurer to get over this difficulty; he +should bear in mind that what he is apparently doing is to lift the +slates with the right hand and take them by the sides with the left +hand. If those movements are practised until the conjurer can make them +without having to stop to think about them he can then go on to practise +making the same movements while, at the same time, he gets the card out +of his sleeve and hides it behind the slates, keeping it there with the +fingers of his left hand. This is quite easy, but for the benefit of +beginners who may wish for a still more simple method of doing the +trick I suggest the following. + +The card is "forced"; that is to say, the conjurer apparently allows the +person who is taking the card to have a free choice, but he really makes +sure that the person takes one particular card. An expert card conjurer +can "force" one particular card from an ordinary pack, but to do this is +not easy, and even an expert cannot be absolutely certain of forcing the +card which he wishes to use in a trick. Therefore, since the beginner is +out to make the trick as simple and sure as possible he should use a +"forcing pack," which consists of one card repeated, say, forty times; a +few other indifferent cards are placed on the top and below the forty. +The conjurer who is going to use a "forcing pack" should do some other +card trick with an ordinary pack and then exchange it for the "forcing +pack"; of course, the backs of the two packs must match. The conjurer +must also take care to hold the cards down when he is having one +selected, so that no one may get a glimpse under the cards. + +The card is taken and placed on the top of the pack as in the first +method, and the card is got rid of by being pushed down the left sleeve, +but the procedure afterwards is greatly simplified. + +One of the two slates used is a "flap" slate; that is to say, a loose +piece of cardboard painted to resemble a slate is laid inside it. The +cardboard is painted on both sides, and, therefore, when the ordinary +slate is placed on the top of the flap slate and both are turned over +together the "flap" falls into the ordinary slate. + +The working of this part of the trick will now be obvious. A card +similar to the one which has been forced is placed under the flap of one +of the slates. When the conjurer picks up this slate he must be careful +to hold the flap firmly with his thumb to prevent it from falling away. +He lightly sponges both sides of the slate (in reality one side of the +flap and one side of the slate); he then cleans the ordinary slate in +the same way and places it on the top of the flap. He cannot give the +slates to a member of the audience to hold, and, therefore, after he has +turned them over, to get the flap to fall, the conjurer merely places a +broad elastic band on them and stands them up for a moment against a +candlestick or some piece of apparatus on the table after he has written +the message to the fairy. + +By using a flap slate in this way the conjurer can produce a message on +one of the slates in addition to producing the card. The message is +written on one of the slates and is then covered with the flap; when the +flap falls the message and the card are both disclosed. Since the +conjurer apparently cleans all four sides of the two slates and leaves +them slightly damp he ought really to dampen the underside of the flap +and the side of the slate concealed by the flap before he begins the +trick; otherwise, someone with a very alert mind may point out at the +conclusion of the trick that although the conjurer wiped all four sides +of the slates with a damp sponge, two of them (really the underside of +the flap and the side of the slate which was concealed by the flap in +the first instance) are not quite dry. It is always as well to be +prepared for interruptions of that kind. + + + + + CHAPTER VIII + + MISCELLANEOUS WATER TRICKS + + +The average beginner usually despises a very easy trick, simply because +it is easy. Maybe it is for that reason that one seldom hears of a young +amateur including the "Wine and Water" trick in his repertoire. I once +heard a young amateur state his objection to the trick. + +"Oh, it's so obviously just a chemical experiment," he said. + +He was wrong. If the trick is presented properly it will not be "just a +chemical experiment" but a very entertaining little bit of magic--simple +in its effect, and very short. The trick used to be in the repertoire of +Mr. David Devant, and other notable magicians have performed it in +public. + +There are many ways of presenting the trick, but I do not think that +anyone has ever beaten Mr. Devant's method, which I give now with his +permission. The effect is so clear that the youngest child in the +audience can follow it. + +Standing in a row on a tray on the table are four tumblers and a small +glass jug, with water in it. The conjurer picks up the jug in one hand, +a glass in another, pours out a little water and returns it to the jug. +Then he puts the glass down and pours a little water into each glass; +the glasses should be about half full. The audience are--or should +be--surprised to see that although the liquid in the first and third +glasses is undoubtedly water, the second and fourth glasses contain +wine, or ink, or stout, or whatever the conjurer is pleased to call it; +it is a black fluid. + +The conjurer puts the jug down and, taking up the first and second +glasses, mixes the contents together, with the result that he gets one +glass full of "wine"; he pours this into the jug and all the water in +the jug is immediately turned into wine. The conjurer then mixes the +contents of the third and fourth glasses together, and he gets a glass +of clear water. Pouring this into the jug he causes all the "wine" in it +to change at once into clear water. Thus, at the finish of the trick the +conjurer returns to the point at which he started--with a jug of water +and four empty glasses. + +The whole secret is in the "doctoring" of the four glasses. The +preparations must be made carefully, and when presenting it in a strange +place it is always necessary to try it out beforehand, because the +quantities of the chemicals used which are sufficient to work the trick +in one district may be quite wrong for the water of another district. + +The glasses are prepared in this way. The first contains a teaspoonful +of a saturated solution of tannin; the second and fourth glasses contain +a few drops of a saturated solution of perchloride of iron, known to +some chemists as "steel drops"; the third glass contains a few drops of +a saturated solution of oxalic acid. + +The object of pouring water into the first glass and tipping it back +into the jug is to mix the tannin with the water in the jug. Directly he +has done this the conjurer must be brisk in his movements, because after +the tannin has been put in the water soon becomes slightly cloudy. + +The exact quantities of the chemicals required can only be determined by +experiment. Having settled that matter the conjurer has only to carry +out the instructions already given. The second and fourth glasses will +then have "wine" in them, and the first and third water. The contents of +the first and second mixed together will be "wine," and when poured into +the jug will cause the water left in the jug to change into "wine." The +oxalic acid in the third glass does the trick of taking all the colour +out of the contents of the fourth glass, and when he has poured that +into the jug the conjurer finishes, as he began, with a "jug of water." + +The jug should be taken away at once, because the water will probably +become dull and clouded in the course of a few minutes. The "water," by +the way, is poisonous; to avoid any chance of an accident the conjurer +should pour it away at once, and should also see that the glasses and +jug are well washed. + +If fairly large tumblers are used the steel drops can be "rinsed" round +the two tumblers (the second and fourth) just before the performance +begins, and those tumblers can then be placed upside down on a tray; +this position negatives the idea that there is anything in the tumblers +at the beginning of the trick. + + + The Vanishing Glass of Water + +To cause a glass of water to vanish is hardly a complete trick, but it +may well form part of many magical experiments. Thus, if you are +presenting the "Rice Bowls" (see Chapter V) you can proceed with the +trick up to the point when the rice has been secretly removed and the +water is in readiness for the final effect. Leave the bowls as they are, +one inverted on the other, and show a silk hat to the audience, letting +them see inside it. + +Now pick up a jug of water with your right hand and throw a large +handkerchief over your right arm. With the left hand take a tumbler from +the table, pour some water into it, and take it with the disengaged +fingers of the right hand, so that with your left hand you can take the +handkerchief from your right arm and throw it over the glass. + +Directly you have done this, hold the glass, through the handkerchief, +with the left hand and put the jug down on the table. The right hand +drapes the handkerchief round the glass. Pause for a second, and then +flick the handkerchief into the air. The glass of water has vanished. + +Go to the silk hat and take from it a glass full of rice. The glass is +apparently that which has just vanished and the rice is that which the +audience think is in the lower bowl. Then go to the bowls and "discover" +the missing water. + +[Illustration: + +{jug in one hand with glass of water in the other, then place jug on +table and drop glass, while covered with handkerchief, into jug} +_FIRST POSITION_ + +_Cloth or rubber bag_ + +_THE VANISH_ + +Fig. 13] + +The disappearance of the glass of water is managed in this way. The +handkerchief is really made of two handkerchiefs sewn together; sewn +between them, in the centre, is a round piece of cardboard of the size +of the top of the glass. When you throw the handkerchief over the glass +you get the disc of cardboard exactly over the top of the glass. Take +the glass in the left hand and tap it once against the top of the +jug--just to let the audience be convinced that it is there. Then, as +you take it away, drop it into the jug, which has been provided with a +cloth or india-rubber bag for its reception. The bag is stiffened at the +top. Of course, the cardboard disc conveys the impression that the glass +is still under the handkerchief. The jug must be either a china or a +metal one. + +If you wish to use the vanish of the glass of water in the way I have +suggested--in conjunction with the rice bowls--it will be necessary to +have an opera hat with a hinged flap in the centre. Cut a piece of stiff +cardboard of the size of the crown of the hat. To the centre of this +fasten, by means of strips of black linen, a small, semicircular piece +of cardboard, which will thus be hinged to the other piece. Cover the +whole of this "fake" with black silk and put it into the open hat. The +top of the hinged flap should be about half-way down the hat when the +flap is resting against one side of the hat. It is an easy matter to +hide a glass under the flap, and that glass is nearly filled with rice, +which is prevented from coming out by means of a little plug of paper. +By holding the fingers against the flap and the thumb on the brim of the +hat it is an easy matter to prevent the glass from falling out when you +casually hold the hat up for inspection by the audience. Keep the hat +moving, and the audience will not see the flap. Put the hat down, +letting the flap swing over to the other side of the hat. Then, when you +wish to produce the glass of rice all you have to do is to pull out the +plug of paper, leave it in the hat, and take out the glass. Pour the +rice out on to a tray and then produce the water from the bowl, and +pour it backwards and forwards from one bowl to another. + +If you are using the metal bowls this vanish of the glass of water helps +to fill in the time occupied by the water running from the top bowl to +the one underneath it. + + + The Vanishing Water + +Pour some water into a tumbler until it is about half full. Place a +short cardboard cylinder over the glass; when you lift the cylinder the +glass is empty, and the cylinder is held with one end facing the +audience; there is nothing inside it. + +This is a very simple "vanish." The glass has a detachable lining of +transparent celluloid which will hold water. The presence of the lining +in the glass is not noticed. All that the conjurer has to do is to take +care not to put too much water into the "glass," because if he does he +may find a difficulty in lifting the lining out in the only way in which +it can be lifted out. The cover is placed over the glass. In removing +the cover the conjurer holds it with his thumb outside and his middle +finger, which should be moistened, inside. Two fingers pull up the +celluloid lining and hold it tightly against the cover, which, of +course, hides it for a moment while the conjurer picks up the glass and +shows that the water has vanished. While he does this he puts the cover +down on his table for a moment and lets the celluloid lining sink +gently down into a "well" in the table. A "well" is the conjurer's name +for a hole in the top of the table. The top of the table is covered with +black velvet, and the inside of the hole is lined with the same +material. If there is a pattern of gold braid on the top of the +table--though even this is not necessary if one is performing on a +stage--the hole cannot be seen by the audience, even if they are a few +feet away from the table. + +[Illustration: + +_GLASS WITH CELLULOID LINING_ + +_REMOVING LINING FROM GLASS._ + +Fig. 14] + +The action of putting the cover down in a natural way, and not gingerly, +as though the conjurer was afraid of something inside it, must be +practised and, of course, the cover must be raised again at the earliest +possible moment and shown to be empty. + +The mere vanishing of water in this way is not a complete trick in +itself; it should be combined with other tricks. The milk can, +explained later on in this chapter, will serve for the purpose of the +reproduction of the water, and if the conjurer will provide himself with +an extra celluloid lining, load it with three or four handkerchiefs and +place it behind a hat or some piece of apparatus on the table, he can +easily build up a little trick. + +Having shown the milk can to be empty, he fills the glass, covers it, +and leaves it covered for a few moments while he shows some silk +handkerchiefs similar to those in the "fake." He "vanishes" these +handkerchiefs magically and shows his hands empty, or, if he prefers to +do so, he can have another prepared glass similar to the first and put +the handkerchiefs in that, so that he has a glass containing +handkerchiefs on one side of his table and a glass containing water on +the other, and the milk can in the centre. He lifts the cover from the +handkerchiefs and shows that they have disappeared; of course, the +"vanish" is managed in the same way, the celluloid lining of the glass +containing the handkerchiefs going down another "well" in the table. + +Then the conjurer vanishes the water in the way described and having got +rid of the "fake," lifts the cover to show that it is empty and puts it +down over a similar fake (but containing handkerchiefs similar to those +which have been vanished). This fake can be standing behind an opera hat +on the table, and the conjurer should take away the hat as he puts the +cover down over the fake. He must not convey the impression that he is +trying to hide the cover behind the hat. He then replaces the cover over +the empty tumbler. + +The position of things at this stage of the trick should be clear to the +audience. The milk can was shown to be empty; the conjurer has caused +some handkerchiefs and some water to vanish from two tumblers, one of +which is left uncovered. Going to the uncovered one the conjurer lifts +the cover and shows the handkerchiefs, and he can at once pour the water +from the milk can. + +I do not suggest for a moment that that would be a particularly good +trick to do; I merely describe it in order to start you thinking of some +other article which might be added to the water and the handkerchiefs to +make a still more puzzling trick. A glance through any catalogue of +tricks will surely enable you to concoct a very fair trick on these +lines. + + + The Aquarius Tube + +Now, here is a trick of a different kind, one which is quite complete in +itself. The inventor is unknown to me and I have not been able to +discover his name. In common with some other conjurers I have always +been under the impression that Mr. Claude Chandler invented this trick, +but he tells me that he is not the inventor and he does not know by whom +the trick was originated. + +The effect is quite simple and not difficult to obtain. The conjurer +comes forward with a small piece of brown paper in his left hand. He +shows both sides of it, rolls it into a tube and pours water into the +tube. To the surprise of the audience the water remains in the tube. The +conjurer puts two fingers into the lower end of the tube and draws out a +quantity of coloured paper ribbons, perfectly dry; when all the ribbons +are on the table there is quite a little mound of them. The conjurer +afterwards unrolls the paper and throws it on one side, showing that it +is not prepared in any way for the trick. + +That is the trick known as the Aquarius tube, but most conjurers would +naturally wish to extend it by producing flags from the paper ribbons, +and this would not be a difficult matter. + +In order to do this trick a small metal tube, closed at both ends, with +a hole in one end is required. The tube is about the height of a pony +glass, with a slightly smaller diameter. When the trick was first +invented the tube was made in the form of an "unspillable" ink-well. +(See illustration A.) Thus, when the water was poured in (in a way which +I will describe presently) there was no risk that the water would run +out even if the tube was inverted. The tube in that form was "safe," but +a little too safe, because of the difficulty of emptying it after a +performance; it had to be shaken vigorously to clear it of water. + +Mr. Harry Leat, therefore, improved the tube. (See illustration B.) It +will be seen that in the improved tube there is a short length of a very +small tube attached to the hole in the top of the tube, and in order to +facilitate the task of emptying the tube there is a hole at the other +end; this hole is closed during the performance of the trick by an +india-rubber plug. It will be noticed that in both tubes the base is not +flush with the lower edge, but is fastened about half an inch from the +edge. Thus, there is space at the bottom of the tube for a small coil of +paper ribbons. (The rubber plug comes in the centre of the coil.) + +[Illustration: + +_Sections of Water Fakes_ + +_Type B_ + +_Paper coil_ + +_Type A_ + +_External appearance_ + +Fig. 15] + +If a small quantity of water is poured into this tube it can be inverted +without any fear of the water running out, but, of course, if too much +water is used and the tube is turned upside down a small quantity of +water is bound to escape. For myself, I see no object in turning the +tube upside down. After the conjurer has made a tube of paper and has +poured water into it and has shown that the water does not run out from +the other end, I do not see that he gains anything by turning the tube +upside down. (It will be understood, of course, that the metal tube is +secretly introduced into the paper tube. I am coming to that.) + +Having poured the water into the tube the conjurer makes one or two +mystic passes over it and then pulls out the paper ribbons; directly +these have been well started they will uncoil and fall from the tube in +a heap on the table. + +How does the conjurer manage to get rid of the "fake" containing the +water? By camouflage. The "fake" tube is painted to match the ribbons. +When the ribbons have been produced the conjurer holds up a handful near +the end of the tube and calls attention to their colours. He then lets +the tube slide down out of the paper tube behind the ribbons and puts +the lot on the table again. The "fake," being the same colour as the +ribbons, is not noticed. If the conjurer has two or three handkerchiefs +on the table to act as a pad he can let the tube fall down on the table, +but he must bring the end of the paper tube as near to the table as +possible when the metal "fake" is to fall, otherwise there will be an +audible "thud." + +The "fake" is introduced into the paper tube in a very simple manner. +The piece of brown paper should be about fifteen inches square. The +conjurer holds this in his left hand with his fingers behind the paper +and thumb in front of it. Unknown to the audience the conjurer is +holding the "fake" behind the paper. In order to show both sides of the +paper the conjurer brings up the free end with his right hand until it +reaches the left thumb, which then takes it. At the same time he +releases the end which he has been holding with his left thumb and that +end naturally falls down. The audience have seen both sides of the +paper, but the "fake" is still behind the paper in the left hand. This +"move" is quite a natural one, and is very easy; if the conjurer will +try it in front of a mirror he will see that it is also deceptive. + +The conjurer, using both hands, now rolls the paper round the tube and +finally holds the tube near the lower end in his left hand; it is as +well to extend the little finger under the paper tube to prevent the +"fake" from falling. + +The water should be poured into the paper tube in a thin stream. The +quantity of water required must be ascertained by experiment. The +conjurer then makes a few mystic passes below and over the tube with his +right hand, puts two fingers into the lower end of the tube and starts +the ribbons; they will fall at once into a heap on the table. I should +mention that before loading the "fake" with the coil the outer ribbon on +the coil should be torn; if it is not the end of the falling ribbons +will be a ring of paper, which will look suspicious. The centre end of +the coil should also be pulled out half an inch, so that the conjurer +does not have to fumble to get hold of it. + +If the conjurer wishes to produce flags at the end of the experiment he +can have them in a bundle in a "well" in the table, and then all he has +to do is to pick up some of the ribbons with his left hand, at the same +time getting his thumb into a wire loop round the bundle. Then he breaks +the thread tied round the bundle and carries on to the end of the trick. + + + Links + +In this trick the conjurer fills a tumbler or goblet with water and +drops in a number of links from a chain. (A small brass curtain chain +which has been pulled to pieces answers well for the trick.) The +conjurer "fishes" into the tumbler with a long buttonhook and gets hold +of one of the links; all the others come with it, because the links are +joined together. + +Here we make use of what is known as a "mirror" glass. A thick cut-glass +tumbler is divided in the centre by two pieces of looking-glass cemented +together. The glass is held in the left hand with one side of the mirror +facing the audience; hidden in the compartment behind the mirror is a +short length of chain. Having filled the glass with water the conjurer +puts it down on the table for a moment while he draws attention to the +separate links. He picks up the mirror-glass with his left hand and +drops in all the separate links into the front compartment of the +glass. (The water helps to disguise the presence of the mirror in the +glass.) Then the conjurer brings his right hand over to the glass, takes +it in that hand and immediately brings his hand right round to his +right. Thus he has turned the glass round without having apparently done +anything out of the ordinary; the audience see what they believe to be +the separate links in the glass. The conjurer then takes the glass with +his left hand, the fingers, being in front of the glass, help to hide +the mirror. Then--well, the rest is easy! Directly the chain has been +taken out the conjurer should put the glass down behind some piece of +apparatus on the table; the audience cannot be permitted to gaze at it +for any length of time. + +[Illustration: + +{glass of water, with mirror in centre and chain on one side, +then drop in separate links on other side, but pull out chain} +_FRONT_ + +_Mirror_ + +_Chain_ _FRONT_ + +_LINKS DROPPED IN_ _CHAIN PRODUCED_ + +Fig. 16] + + + The Milk Cans + +You have seen the toy milk cans in a shop? By having two of these +"faked" in the way shown in the illustrations you can compose two or +three little tricks. I have already explained a trick in which one of +the cans can be used. + +[Illustration: + +{special can with angled partition so that when water is poured in it +won't come out unless turned around} +_Partition_ + +_SECTION OF CANS_ + +_EMPTY_ + +_WATER_ + +Fig. 17] + +It will be seen that if water is placed in one of the cans and the can +is held with the faked side downwards the can can be shown to be empty, +because the water will not run out, but if the can is held with the +faked side uppermost the water can be poured out. Of course, the +audience cannot be permitted to have a very close view of the interiors +of the cans. + +Here is one way of using two of these cans in a trick. Have one loaded +with water and the other empty. Show the audience that both are empty +and put them down on the opposite sides of your table. Pour water into +the can which really is empty and command it to pass to the other can. +You can then make the water travel invisibly back to the first can. + +In the course of your "patter" you will probably not miss the chance of +talking about the milk cans and the other liquid which is sometimes +supposed to be put into milk--an old joke, but one which audiences +almost seem to expect. + + + Water from Waste Paper + +For this trick you require two large aluminium drinking cups just alike. +One of them is filled with water and is then closed with an india-rubber +cap (procurable at any conjuring shop). Gummed on to this cap are little +bits of newspaper. The cup is then hidden in a box of pieces of +newspaper. + +Come forward with the empty cup in your hands and fill it with the paper +by dipping it into the box. Add a handful of paper with the left hand +and then tip the lot back into the box. Repeat the movements. At the +third attempt leave the empty cup hidden in the box of waste paper and +get hold of the cup filled with water. Add a little more paper to the +top of this cup with the left hand and then remove one or two pieces; +this helps to convince the audience that the cup is really filled with +loose bits of paper. Close the lid of the box and stand the cup on it. +Cover the cup with a small thick silk handkerchief. + +In removing the handkerchief you can easily "nip off" the rubber cover +with the thumb, and you leave it hidden in the handkerchief while you +pour the water out of the cup. + +By having two boxes--or one larger one--the trick can be repeated, but +it would not be advisable to produce water from both cups. Let the +second production be a surprise. If you are performing to children you +can have no better production than sweets, which, of course, you give +away. + +This trick is also performed with specially prepared cups with lids. The +cups in the boxes are closed with other lids (flush with the top), and +thus when they are brought up out of the boxes some loose paper is on +the top of each of the secret lids and the cups appear to be full of +paper. The "visible" lid is then put on to each cup, and when these lids +are removed they bring away with them the secret lids and the little +paper which was on the top of them. Then the real contents of the cups +are produced. + + + Cotton Wool to Water + +For this trick I use an old piece of apparatus known to conjurers as the +"coffee vase," and I mention it here because my method of using it +differs from that usually employed. + +The vase is a tall, straight one on a foot; it is usually made of +polished tin. There is a separate metal lining to this vase; this lining +is of the shape shown in the illustration. It will be seen that the +bottom of the lining does not come down to the bottom of the vase, and +that the outside part of the lining goes over the outside of the vase +and extends to the whole length of the vase. Therefore, it is impossible +to tell, from looking at the outside of the vase, whether the lining is +inside or whether the vase is what you say it is--an empty vase. + +[Illustration: + +_COVER_ + +_VASE_ + +_FAKE_ + +Fig. 18] + +There is also a cardboard cover which fits over the vase, a little metal +cup, acting as a lid, which fits loosely into the top of the lining, and +a lid with a knob for a handle which fits closely into this secret cup +or lid. The secret lid has a little cotton wool placed on it. + +This is the usual way of working the trick. The lining, with its +"secret" lid on the top of it, is placed inside the cover and stood +upon the table. The conjurer shows the vase, and as at the moment it is +free from preparation he can rattle his wand inside it and show that it +is really empty. He then fills it with cotton wool, taking care to put +in the wool in little pieces and not pressing it down. He then +"explains"--and I ask you to remember that this is not my way of +presenting the trick--that the original way of doing the trick was by +covering the vase with a cardboard cylinder. He puts on the cover and so +gets the lining into the vase. The lining, of course, has been +previously filled with coffee, or milk, or water, or some other liquid; +the bottom of the lining presses down the cotton wool in the vase into a +very small compass. + +Now, when the conjurer removes the cover the audience see the pieces of +cotton wool at the top of the secret lid on the lining, and apparently +no change has been made. The conjurer goes on to explain that the modern +method of doing the trick consists in merely putting "this little lid" +on the cotton wool. (Cotton wool, is easily compressible, and there is +sufficient space between the bottom of the lining and the bottom of the +vase for all the cotton wool which was placed loosely in the vase.) +Naturally, when the conjurer takes off the lid he brings away inside it +the secret lid and the little pieces of cotton wool which were on that +lid, and he can pour out any liquid which was in the "lining" to the +vase. + +Every trick has its weak point, and it seems to me that the weak point +of that version of the trick is found by the audience when they realise +that they are not permitted to see that the cover is empty before it is +placed over the vase. I admit that the appearance of the vase is not +altered in any way after the cover has been removed. The exterior is +just the same and the audience see the little pile of cotton wool at the +top. Still, I have never liked that method. + +I dispense with the secret lid or cup to the lining and, therefore, with +the "visible" lid to it. At the commencement of the trick I have the +inner lining, nearly filled with water, in the vase, and the cover +empty. I begin by showing that the cover really is empty, and to show +that it fits over the vase I drop it over the vase and lift it off +again. I replace the cover and then, as a kind of afterthought, say: "I +never showed you the vase; of course, there is nothing in that." This +time, when taking off the cover I take off the inner lining by pinching +the cover tightly and leave it for a moment hidden in the cover. Then I +fill the vase with cotton wool and put on the cover. The audience have +seen the cover empty and they have seen the empty vase filled with +cotton wool. Of course, when I take off the cover I can at once pour out +the water. + +It is advisable to have the cover made of tin. When you are putting a +cardboard cover with the metal lining inside it over the vase it is not +an easy matter to prevent the lining from knocking against the top of +the vase, and if you are performing at close quarters the audience may +hear the "chink" of metal against metal. You get over that difficulty by +having the cover made of tin. + +If you want to raise a laugh easily at the close of this trick you can +pretend to overhear someone say that the water is not real water. You at +once pour some into a cup and throw it--apparently--over the heads of +the audience, but instead of a shower of water they get a shower of +confetti. + +[Illustration: _Partition_ + +{special cup with partition, holding confetti on one side. water is +poured in other side but drains through hole into hollow saucer} +_Confetti_ + +_Hole in cup_ + +_Water_ + +_Hole in Saucer_ + +_Hollow Saucer_ + +Fig. 19] + +This is managed by means of a "confetti cup," which is a metal teacup on +a saucer. The cup is divided by a partition in the centre and the front +compartment is filled with confetti. There is a hole in the bottom of +the other compartment and it is there that you pour the water. Where +does the water go to? Into the saucer, which is somewhat suspiciously +thick. There is a hole in the centre of the saucer and the hole in the +bottom of the cup goes exactly over the hole in the saucer. Thus, when +the water is poured into the cup it finds its way directly into the +saucer and the cup can at once be lifted up. The trick is more suitable +for a stage than for a drawing-room; even a little confetti makes a big +litter in a room. Still, some good-natured hostesses, if asked if they +would have any objection to a litter of confetti in a room, would be +sure to reply: "Not the slightest, do what you like as long as you amuse +the children." + + + Silk from Water + +Most conjurers like to conclude a performance with a showy trick, one in +which they can produce a quantity of ribbons and flags, finishing up +with the production of a Union Jack--the bigger the better. + +[Illustration: + +{two cylinders, each with water in one portion and hidden flags in other} +_Hinged Flap_ _Rubber Cover_ + +_WATER_ _FLAGS ETC_ _FLAGS ETC_ _WATER_ + +_TYPE A._ _TYPE B._ + +Fig. 20] + +Here is a trick of that kind. The conjurer begins by showing a large +metal cylinder closed at one end. He rattles his wand inside it and +then holds it with its end facing the audience. But he does not hold it +perfectly still. If he is performing in a room with the front rows of +his audience close to him the utmost he can do--in the way of showing +the interior of the cylinder--is to point it to the audience on his +right and then bring it round with a quick sweep to the audience on his +left. It is as well to have an assistant for this trick, but the +assistant must be "in the know"--the conjurer's very own assistant, +because he--or, better still, she--is asked to hold the cylinder with +both hands while the conjurer fills it with water, and the conjurer +cannot allow a member of the audience to undertake that task. + +The water should be poured in from a height, so that the audience can +see that real water is used, and that it really does go into the +cylinder. The conjurer puts the jug down and peeps into the cylinder as +though he were expecting something to happen. Of course, the trick could +be brought to a conclusion at once, but you may well pause here for a +moment--just to "work up the excitement." + +You dip your hand into the cylinder and take it out dripping with water. +"Just wet water," you say, "very wet." Dip your hand in again. "Still +wet." Repeat the action, but this time you remark that here is something +which is "quite dry," and you take out an American flag. The little joke +may, or may not be, discovered by the audience, but probably some of the +older members will see it. You then continue to produce a quantity of +flags and finally finish up with the Union Jack, which, of course, must +be larger than any of the other flags you have produced. + +But the trick is not yet over, because as you produce the last flag your +assistant, knowing what to do, pours out the water from the cylinder. + +This effect is produced in a simple manner. The cylinder is divided down +the centre into two compartments. The top of the partition does not come +up to the top of the cylinder because one compartment, filled with flags +before the commencement of the trick, is closed with a little +semi-circular lid, and as this lid has to be opened before the flags can +be produced it follows that if it were level with the top of the +cylinder it would be seen. The whole of the interior is painted a dull +black. + +Care must be taken in pouring the water into the cylinder; if it is +poured on to the top of the lid there will be a visible splash above the +top of the cylinder, which would give the trick away. + +Your assistant, having rehearsed the trick with you, knows just what you +are going to do, and, therefore, when you dip your hand into the +cylinder for the third time to get at the first flag she tilts the +cylinder slightly towards you and holds it in such a way that you can +lift the lid quickly. + +Another cylinder for producing the same effect has the secret +compartment in the centre. The compartment is a round tube closed at the +mouth with an india-rubber cap. This cylinder usually has a foot to it, +and this makes it more convenient for the assistant to hold. Besides, +knowing that the secret compartment is in the centre the conjurer does +not have to be over careful as to the way in which he pours in the +water; as long as the spout of the jug is near the edge of the cylinder +he knows that he is safe. I used one of these cylinders at St. George's +Hall some years ago. + +It is advisable to produce a flag in the first place, because you are +then able to get away with the india-rubber cover behind it; the cover +can easily be pulled away and hidden afterwards as you put the flag +down. + +It is a good plan, after the production of the first flag, to take out a +number of compressible things. If you are performing to children they +will like nothing better than two or three bundles of carrots. These +imitation carrots are made with springs inside them, and they can be +packed in a very small compass. Imitation flowers, sausages, balls and +other things are also made in such a way that they can be packed in a +very small space, but when they are produced they expand to the usual +size. If you adopt this plan you apparently take out of the tube far +more than could possibly be put into it. These things can be followed +with a few "throw-outs," as they are called--little coils of bright +tissue paper ribbons; the conjurer gets hold of the end and throws the +coil away from him when the ribbons spread out, making a good display. +After these can come a large number of silk handkerchiefs of bright +colours, and finally the flags. + +Care should be taken in displaying all these things after they are +produced. You lose half the effect of the trick if you merely dump them +down in an untidy heap. One flag can be hung on the assistant's arm, +another over a chair, and another in front of the table, and so on, the +object being to leave the audience with some kind of a "spectacle." + +The one drawback to this very easy, but very effective trick is the +anti-climax produced by the water being poured out of the vase at the +end of the trick. You really want the end of the trick to be the +production of the big Union Jack, and yet if you do not have the water +poured out you lose some of the effect of the trick. + +You can get over this difficulty by producing the Union Jack in another +way, and this will give you a little more room in the vase for other +flags. Let the last of these be a Union Jack of the same size as the +others and drape it with the others over the back of a chair. Then have +the water poured out of the vase and the audience will think that you +have come to the conclusion of the trick and will begin to applaud--or +it is to be hoped they will! Then take several of the flags from the +back of the chair and produce a large Union Jack on a flagstaff; this +makes an excellent finish to the trick. + +The flagstaff is a telescopic one; the flag is pleated and rolled up, +and the staff is concealed in a little bag hung behind the chair over +which you drape the flags. To cause the staff to open, grasp the handle +tightly and "shoot" it out with its point towards the floor for a +moment; this is a very important point, because if you are performing in +a room you may, in the excitement of the moment, do someone a serious +injury if you merely "shoot" out the flag towards the audience. The +flagstaff should be of the kind known as "self-locking"; that is to say, +when every joint is out the staff can immediately be raised to a +vertical position without any fear that the staff will collapse; it will +remain rigid until you wish to close it. Wave the flag, allowing the +other flags to fall from your hands to the floor, and if you do not +finish your performance to loud applause the fault will not be yours. + + + + + =GAMAGES= + + =Conjuring Tricks for the Discerning Magician= + + * * * * * + +Send for our Complete Conjuring Catalogue, beautifully illustrated, post +free on application. + + + =Multiplying Plate.= + +[Illustration] + +A number of coins are counted upon the plate by one of the audience and +poured into an empty hat, where they most mysteriously multiply. This +plate is the best and cheapest on the market. Complete with full +instructions. Larger size, 2/-, post 4d.; smaller size, 1/3, post 3d. + + + ="Vest Pocket" Wine and Water Problem.= + +A glass jug of water and four tumblers are used. Upon pouring water into +the first glass, it remains perfectly clear, but upon pouring water into +the second tumbler, it immediately changes to a rich wine colour, and so +on until you have two glasses of wine and two of water. The contents of +the first and second glasses when mixed produce all wine, while the +second and third mixed, produce clear water. Finally, on all the liquor +being returned to the jug, the result is clear water. The contents of +the glasses may be tested without injury. Price 1/2, post 2d.; large +size, price 2/-. + + + =The Mysterious Hammer, Box, & Ball.= + +[Illustration] + +Complete with full instructions. Price 2/9, post 3d. + +The hammer is first given for examination and then the box with the ball +in it. The box is then closed, being empty, and the ball by a magic pass +is caused to appear in it. The performer now takes the hammer, and +holding his left hand under the table, knocks on the top of the ball, +which passes right through the table into the hand underneath it, and it +may all be again examined. + + + =The Magic Drawer Box.= + +This wonderful Drawer Box will produce or vanish borrowed articles at +command of performer. Easy to manipulate. Complete with full +instructions. Price 1/6, post 3d.; larger sizes, 2/6, 3/6, 4/6, 6/6, +post 4d. + + + The Mysterious Coin Trick. + +Coin produced and vanished as often as desired; simply wonderful, no +skill required, anyone can do it. Price 6d., post 2d. + + + =Gamage Cabinet of Card Tricks.= + +Contains a number of first-class card tricks, the same as performed by +our famous professional magicians. We wish to point out that it is +absolutely impossible to obtain a more complete and surprising set of +up-to-date card tricks at the price. Complete with full instructions and +apparatus. Price 24/6; large size, 35/-. + + + =The Tambourine.= + +[Illustration] + +You pass round for examination two nickel-silver hoops and a sheet of +white paper. You then place the paper between the hoops. Now, holding +the impromptu Tambourine at arm's length you make a hole in the middle +with the forefinger, and from this hole you pull over sixty yards of +paper ribbon and again give the Tambourine to the company to find out +the trick if they can. Complete with full instructions. Price 4/9, post +4d.; large size, 6/6, post 4d. + + + =Diminishing Billiard Ball.= + +The performer shows a full-sized billiard ball, but wishing for a +smaller one, passes his hand over it, when it is seen half the size; he +passes his hand over again, when it is seen much smaller. The ball +having been proved solid, is now invisibly passed away. Price, with full +instructions, 2/6, post 3d. + + + =The Havit Coin Trick.= + +[Illustration] + +Three pennies, after being covered with an empty and unprepared brass +cap, change into two pennies. A profitable trick. No practice required. +Price 1/3, post 2d. + + + =The Celebrated Hindoo Sand Trick.= + +A quantity of sand is placed in water and stirred up, but when those in +the secret take a handful out it is found perfectly dry. Price 6½d. per +box, post 2d. + + + =The Magician Monthly.= + +All about magic, of interest to the Man who is a Conjurer, and the Man +who would like to be. Specimen Copy, post free, 7½d. +Annual Subscription, 6/6. + + * * * * * + + =GAMAGES, HOLBORN, LONDON, E.C. 1= + + + + + =AMUSEMENT FOR THE HOME.= + + =Price 1/6 net each.= + + * * * * * + + =Fun on the Billiard Table.= + +A Collection of 75 Amusing Tricks and Games with Photographs and +Diagrams. + + By "STANCLIFFE." + + _Second Edition._ _Stiff Pictorial Wrapper._ + +"To say that no billiard room should be without this joyous and +ingenious little volume is nothing; there is no player, amateur or +professional, who would not get his money's worth out of +it."--_Sportsman._ + + + =Practice Strokes at Billiards.= + + For Tables of all sizes. + +Examples from the actual match play of Roberts, Dawson, Stevenson, +Mitchell, Spiller, Peall, and other leading Professional Players, with +their methods of scoring therefrom. With 110 Diagrams illustrating the +various strokes. + + New and Enlarged Edition. + + _In Stiff Pictorial Wrapper._ + +"Anyone possessing a billiard table, or having the necessary 'oof' to +pay for private practice, can soon astonish his friends and erstwhile +conquering opponents by studying this book."--_Sporting Times._ + + =Plays and Displays for Boy Scouts.= _In Stiff Boards._ + +This volume contains six long plays, varying from thirty to sixty +minutes in performance, also several shorter plays occupying from five +to fifteen minutes, and a number of recitations suitable for Scout +Entertainments. + +Instructions on How to Run a Scout Entertainment, The Art of Making-up +by Willie Clarkson, and How to make Scenery are also included. + + + _UNIFORM WITH ABOVE._ + + =Plays and Displays for Scout Entertainments.= + + Second Series. + +A new collection of PLAYS, RECITATIONS, and other items for BOY SCOUTS. + + + =How and What to Dance.= + + By GEOFFREY D'EGVILLE. + +The contents include:--The Etiquette of the Ball-room--Organizing a +Dance. Round Dances: The Waltz, Hesitation Waltz and +Boston--Polka--Gallop--Two Step, One Step--The Fox Trot--The Jazz +Step--Tango--Maxina--Valeta--Barn Dance--Canadian Three +Step--Schottische--Highland Schottische. Square Dances: +Lancers--Quadrilles--Waltz Cotillion--Caledonians--Parisian +Quadrille--Alberts. Country Dances. Morris Dancing. Maypole Dancing. +Etc. + + * * * * * + + =Price 2/- Each net.= + + + =Indoor Games for Children and Young People.= + + Edited by E. M. BAKER. + + _In Stiff Pictorial Paper Boards._ + +The contents include:--Indoor Games for a Wet Day--Games that can be +played alone--Sunday Games--Games for Christmas and Birthday +Parties--Home Stage Entertainments--Guessing Games--Table Games--Writing +and Letter Games--Round or Parlour Games--Artistic Productions--Home +Theatricals--Tableaux Vivants--The Art Exhibition--Forfeits, etc. + + + =Conjuring with Coins.= + + Including Tricks by + NELSON DOWNS + and other well-known Conjurers. + Edited by NATHAN DEAN. + +A splendid collection of Simple Tricks and many more advanced requiring +apparatus. + + + =Simple Conjuring Tricks that Anybody can Perform.= + + By WILL GOLDSTON. + + _Second Edition._ + +A splendid collection of Tricks with and without Apparatus, within the +scope of the beginner who wishes to amuse his friends at evening +parties, etc. + + * * * * * + + _The above Volumes may be had from all Booksellers and Railway + Bookstalls, or post free for 1s. 9d. or 2/4 each, from_ + + =C. ARTHUR PEARSON, Ltd., 17 Henrietta St., LONDON, W.C. 2.= + + + + + =AMUSEMENT FOR THE HOME.= + + IN STIFF PICTORIAL WRAPPERS + + =Price 2/- net each.= + + * * * * * + + =Card Tricks= + =Without Sleight of Hand or Apparatus.= + + By L. WIDDOP. + +A Volume which will give the Amateur or Semi-Professional, who does not +wish to spend a great deal of time in practice, material for +entertaining performances. Card Tricks presented in new forms and with +up-to-date patter. + + + =The Drawing Room Entertainer.= + +A Practical Guide to the Art of Amateur and Semi-Professional +Entertaining. + + By CECIL H. BULLIVANT. + +The Contents include:--Ventriloquism--Conjuring--Popular +Entertainments--The Drawing Room Comedian--The Sketch Artist--A Shadow +Show--Variety Programmes--Method and Management--How Best to Secure +Engagements. + + + =Recitations for Children.= + + By JENE BELFRAGE. + + _Second Edition_ + +A charming Collection of Poems (chiefly _copyright_) specially selected +as being suitable for Young People, with instructions for Reciting. + + + =Plays for Amateur Actors.= + +Containing Eleven Original Humorous Plays. + +With Hints for Amateur Theatricals. + + + =Heard this One?= + +The Newest Funny Stories collected and told by + + CHARLES VIVIAN, + + Editor of "The Novel Magazine." + + + =Card Games.= + + By PETER ALSTON. + +Including Bridge, Whist, Cribbage, and all the various games played +to-day. + + + =Magic Made Easy.= + + By DAVID DEVANT. + + A New Edition. + +A splendid collection of Conjuring Tricks by one of our leading +magicians. + + + =Matchstick Magic.= + +Puzzles, Games, and Conjuring Tricks with Matches. + + By WILL BLYTH, M.I.M.C. + +With a foreword by DAVID DEVANT. + + + =Ventriloquism= By Harold C. King; + + and + + =Juggling= By John E. T. Clark. + +Two subjects of interest to the Amateur and Semi-Professional +Entertainer contained in one volume. Both are dealt with in a lucid and +interesting way. + + + =Handkerchief Magic.= + + By WILL BLYTH, + + _Author of "Paper Magic," "Matchstick Magic," &c._ + +Tricks and Amusement with a Pocket Handkerchief, with a foreword by +CLIVE MASKELYNE. + + + =Irish Reciter and Reader.= + +Contains Selections from all the best writers of Ireland, +including--William Alexander, D.D. (Primate of Ireland), Katherine Tynan +Hinkson, Dora Sigerson Shorter, Alfred Percival Graves, W. H. Yeats, +Douglas Hyde, Lady Wilde, "Mr. Dooley," Lady Dufferin, Laurence Sterne, +Samuel Lover, and many others. + + + =Hand Shadows.= + + The Complete Art of Shadowgraphy. + + By LOUIS NIKOLA. + +In Stiff Pictorial Wrapper, with numerous illustrations showing how the +Shadows are produced. + + * * * * * + + _These Handbooks may be obtained through your Bookseller, or will be + forwarded post free on receipt of 2s. 4d. from_ + + =C. ARTHUR PEARSON, Ltd., 17 Henrietta Street, LONDON, W.C. 2.= + + + + + +End of the Project Gutenberg EBook of Water Wizardry, by Arthur Ainslie + +*** END OF THIS PROJECT GUTENBERG EBOOK WATER WIZARDRY *** + +***** This file should be named 36513-8.txt or 36513-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/6/5/1/36513/ + +Produced by David T. Jones, Ross Cooling, and the Online +Distributed Proofreading Canada Team at +http://www.pgdpcanada.net. 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