Professor Hoffman - King Koko

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KING KOKO

KING KOKO OR

THE PRETTY PRINCESS AND THE LUCKY LOVER A CONJURING ENTERTAINMENT IN THE FORM OF A FAIRY TALE WITH PRACTICAL INSTRUCTIONS

BY

PROFESSOR HOFFMANN AUTHOR OF "MODERN MAGIC," "MORE MAGIC," "LATER MAGIC," ETC.

WITH ILLUSTRATIONS BY H. L. SHINDLER

LONDON CHATTLO & WINDUS 1904

KING KOKO

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.

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PREFACE This little book may, I believe, claim to be the first attempt to present a drawing-room conjuring entertainment in the guise of a connected story. A portion of the fairy tale thus practically illustrated by conjuring tricks was written some years ago for my own use, and was received with hearty approval by many juvenile audiences. Coming recently across the manuscript, it struck me that with some amount of revision, and the addition of a second chapter, explaining how the marvels described are to be accomplished, it might interest a larger public. This little book is the result. In making my selection of magical effects, I have not aimed specially at novelty, but have given the preference to such items as appeared to fit easily and naturally into the story. Where, however, I have introduced an old trick, it will be found to be so rejuvenated by the altered mode of presentation as to be practically new. In point of execution, none of the tricks described present any serious difficulty; in fact, with one or two exceptions, all are within the compass of the most modest amateur. On the other hand, all are, in their way, effective; and I venture to believe that the novelty of the setting may commend it to more skilled performers. I have made considerable additions to the original story, not with the idea of lengthening the performance (of which an hour should be the outside limit), but in order to give the narrator a wider range of selection. Many of the incidents are merely parenthetical to the plot, and may be omitted without any detriment to the general effect. An ample margin in this particular has the advantage that it enables the performer to vary his programme on different occasions. The few requirements in the way of apparatus (of which a priced list is given at the end of the book) are, for the most part, of an inexpensive character, and extremely portable. The performer works throughout single-handed, no assistant being necessary. LOUIS HOFFMANN.

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CONTENTS [The figures in the first column denote the appropriate page in Chapter I. (the "Story" portion); and those in the second column the corresponding page in Chapter II., wherein the explanation of the trick is given.] PAGE

PAGE

1. THE INSTANTANEOUS PRODUCTION OF A ROSE IN THE PERFORMER'S BUTTONHOLE

TRICK

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2. THE MAGIC WAND SUSPENDED IN AIR WITHOUT VISIBLE SUPPORT

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3. A BORROWED HALF-CROWN MELTED IN A CANDLE

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4. A BORROWED HALF-CROWN DISSOLVED IN A GLASS OF WATER

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5. A GLASS OF WATER HELD UPSIDE DOWN WITHOUT SPILLING

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6. A SHOWER OF BONBONS MADE TO FALL FROM A BORROWED HANDKERCHIEF

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7. A QUANTITY OF FLOWERS PRODUCED FROM AN EMPTY PAPER BAG

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8. A BROKEN FAN MAGICALLY RESTORED

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9. A BORROWED HANDKERCHIEF REDUCED TO LILLIPUTIAN DIMENSIONS

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10. A DRAWER, SHOWN EMPTY, REPEATEDLY BECOMES FULL

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11. TWO CARDS MADE TO RISE AUTOMATICALLY FROM THE PACK

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12. THE SAME CARDS, PLACED SEPARATELY IN DIFFERENT PIECES OF APPARATUS, ARE MYSTERIOUSLY BROUGHT TOGETHER

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13. THE ANTI-GRAVITATION BALL, WHICH MOVES UPWARDS ON A CORD, INSTEAD OF FALLING

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14. WRITING MAGICALLY PRODUCED UNDER GLASS IN A FRAME

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15. SIX AND FIVE PROVED CONCLUSIVELY TO BE THIRTEEN

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16. WHITE SAND AND GREY SAND, MIXED TOGETHER IN WATER, BROUGHT OUT AGAIN SEPARATELY, QUITE DRY

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17. THE RAINBOW WATER, CHANGING COLOUR AT COMMAND

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18. THE MAGIC DIE, PROVED TO BE IN TWO PLACES AT THE SAME TIME

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19-20. THREE NUMBERS ADDED TOGETHER WITHOUT SEEING THEM, AND THE TOTAL MADE TO APPEAR ON A SLATE, PREVIOUSLY CLEANED

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APPENDIX

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FULL-PAGE ILLUSTRATIONS

TRYING TO MAKE GOLD ... ... Frontispiece. See p. 19

CHAPTER I.-THE STORY KING KOKO 'AT THE POLICE COURT

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THE PRINCESS AND HER FAIRY GODMOTHER

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KING KOKO C H A P T E R I THE STORY L A D I E S and gentlemen, I have undertaken to amuse you this evening by telling you a fairy tale. No doubt you have all heard many fairy tales in your time, but you didn't believe them. You were told about all sorts of wonderful things, but you had to take them on trust, and you were not equal to it. But that was the old style of fairy tale. Mine is on a much more up-to-date principle. Everything is solid, copper-bottomed fact. When, in the course of my story, I tell you about some miraculous occurrence, I shall not ask you to take my word for it, but I shall let you see it happen, then and there, for yourselves. You will naturally wonder how I am going to manage it. I'm not a fairy myself; you can see that at a glance. And, between ourselves, I shouldn't care to be. I'm not the figure for it, for. one thing; and I shouldn't fancy sitting on a mushroom, or tripping it on damp grass at two o'clock in the morning, which is the fairies' notion of healthy enjoyment. That sort of thing may be all very well for Mr. Puck, or for King Oberon and Queen Titania, but it's not my style. But though I am not a fairy, I possess a good many magical powers. The fact is, I am lucky enough to own a genuine magic wand. My great-great-grandmother once did some little kindness to a fairy ― lent her an umbrella on a wet night, or something of that sort ― and the fairy, in return, gave her a magic wand, which has been preserved in our family ever since. Here it is. (He exhibits wand.) It is nothing particular to look at, as you see; but if you only have a wand like this, and know how to use it, you can produce all sorts of wonderful effects, without any trouble at all. For instance, on occasions like this, I always like to wear a flower in my buttonhole, but to-night I forgot to provide one. Now, if I didn't possess a magic wand, I should have to go without; but having the wand makes all the difference, as you will see. I shall supply the deficiency by borrowing a rose from some young lady's cheek. I see a lady over there who looks as if she could spare a rose. She smiles, which is a favourable sign. May I take a rose from your cheek, madam? Pray don't be alarmed; you won't miss it. I shall not even come near you. I shall take it Marconi-fashion, by wireless telegraphy. I just wave the wand, and call it to me ― so. (He makes believe to draw something from the lady indicated to himself, and place it in the buttonhole of his coat.) Thank you; it is a very pretty one. What do you say? You don't see it! I dare say not; that is the peculiar nature of this kind of rose. You have heard of "invisible green," haven't you? Well, this rose is "invisible red," so of course you can't see it. But it's there, all the same. You don't believe me, I see, so I suppose I must make it visible for you. It's easily done ― if you have a magic wand. It only needs the mystic touch. Watch me carefully. Keep one eye on the buttonhole, and the other on the wand, and then I can't possibly deceive you, even if I wanted to do so. One ― Two ― Three! (A rose appears in the buttonhole.) Now you can see the rose; a very charming specimen, as you must all admit. As I told you, it's all done by the power of the wand. Without it, the rose would have remained permanently invisible, and nobody would have been any the better for it. I beg your pardon! I think I heard somebody say that the wand had nothing to do with it. She said, too ― it was a lady who said it ― that the wand, my revered great-greatgrandmother's wand, was only a bit of stick. A bit of stick, indeed! Somebody will be saying next that I never had a great-great-grandmother. When I come to think of it, I'm afraid I can't

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prove that I ever had. I think I must ask you to assume my great-great-grandmother. But I can prove the magical qualities of her wand in the most convincing manner. First, I should like some gentleman to examine it carefully. Take it into your own hands, sir. I want you to be thoroughly satisfied that no trick or mechanism, of any sort or kind, is employed. You don't notice anything peculiar about it? No. Nor would you, however long you might examine it, because, as a matter of fact, there isn't any. In one sense it is, as the lady remarked, a mere ordinary piece of wood. But no ordinary piece of wood can do the extraordinary things this wand will do. I'll show you just one of them before I begin my story. See! I just take it in my hands ― so (Fig. 1),* and magnetize it by drawing them apart once or twice in opposite directions; first, the right hand, and then the left. And now, you see, when I open my hands, the wand does not fall, as you would naturally expect, but remains suspended, by magnetic attraction, to the palms (Fig. 2). Or to the two thumbs only (Fig. 3) ― Or, again, it will hang vertically from one finger and thumb; it is all the same. From the right thumb (Fig. 4), or from the left thumb. (The wand is shown, self-suspended, in each of the above positions.) Take the wand in your own hands, sir, and again examine it. You will find that there is absolutely no deception about the matter. In fact, there is no room for deception. The only possible explanation is the one I have given you ― namely, that this simple-looking piece of wood is a genuine magic wand. This little interlude has made me all the longer in getting to my story. But it is your own fault, ladies and gentlemen. You are so very sceptical. If you would only believe everything I tell you at once, we should get on faster. Once upon a time, in a certain country ― I say a certain country because I am not quite certain which it was, and I wouldn't deceive you, even in a little thing like that ― in a certain country there was a great king ― or, at any rate, a good-sized king ― named Kokolorum the Irascible. His subjects, for the most part, used to call him simply " Koko," reserving the "lorum" for use on Bank Holidays and other State occasions. He was very plain himself, both in his language and his features; but he had an extremely lovely daughter, the Princess Belinda Maria Katinka Sophia Jerusha Penelope Elizabeth Anne. She had several other names, which I can't remember for the moment; but. those will do to go on with ― in fact, if you don't mind, we will merely call her "Belinda," for shortness. Her papa called her "Belle," which is shorter still; and the Court Mathematician calculated that he saved nearly three-quarters of an hour every day by doing so. I don't know exactly how old she was, but she was just at the age when girls are nicest, whatever that is. As a matter of course, she had a sweet-heart. His name was Otto von Smith. He was a good-looking young fellow; his eyes were real peacock blue, and he had a lovely auburn moustache. The King called it "ginger," but the Princess said it was auburn, and of course she must have known best. Unfortunately, the King had a prejudice against the name of Smith, and ginger ― I mean auburn ― moustaches. He would, however, probably have become reconciled to these trifling defects, but for the influence of his Prime Minister, the Baron von Schwindelheim. Between ourselves, the Baron very much wanted to marry the Princess himself. He was an ugly little man, with red hair and blue spectacles, and he had a slight cast in one eye, but he had an idea that he was extremely good looking. He was a sort of man-of-all-work to the King, who bullied him a good deal, but generally took his advice in the end; and he never lost an opportunity of saying something disagreeable about Von Smith. *

The diagrams here referred to will be found in the second chapter, wherein the working of the tricks is explained.

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I forgot to tell you that the King was a bit of an alchemist, and used to spend the best part of his time with the Baron in the back parlour, which he had had fitted up as a laboratory, trying to make gold. They never quite succeeded, though they came near it (so they said, at least) several times. One day Von Schwindelheim showed the King a sovereign which he professed to have made while his Majesty was away, taking the chair at a Mothers' Meeting. The King bought it of him for fifteen shillings, and thought he had a great bargain, but it got him into trouble. It was such a very bad one that, when he tried to change it, he was "run in" by the police, and very nearly got six months. As he was a King, the magistrate let him off with a caution. However, though they never succeeded in making money, they discovered several new ways of spending it. One was a peculiar process for melting silver. If some one will oblige me with the loan of a half-crown, I shall be happy to show it to you. Mark the coin, sir, please, that you may be sure of knowing it again. Silver, as I dare say you know, only melts, in a general way, at a very high temperature; but Von Schwindelheim had discovered that if you first mesmerise it a little by rubbing it with the fingers ― so ― you can melt it in the flame of a common candle, like this one. When I say " a common candle," I don't mean anything offensive. I wouldn't hurt the feelings even of a candle. I mean any ordinary candle. You see, the coin is getting soft already. (He bends it backwards and forwards between the fingers.) There is no deception. This is your own half-crown, sir, is it not? You recognize your mark? Good. I will rub it a little more, to strengthen

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the influence; and now, when I hold it over the candle, it should melt right away into the flame. (He rubs coin over candle flame, and then shows fingers, empty.) It has melted away, you see. The Baron persuaded the King that it was lost for ever ― sacrificed upon the altar of Science. But he himself knew better. As soon as his Majesty's back was turned, he used to nip that little bright point you see at the top of the flame (that's really the coin) ― so, and take it out again. Of course it was in a melted condition, as you see. You don't see anything? Well, no, perhaps not for the moment, because the coin is at present in a state of fusion; but you will directly. As it cools, it takes the form of a little balllike this. (A small ball of bright metal appears at the finger-tips.) Allow me to return your property, sir, with many thanks. What do you say ― you would rather have your half-crown? My dear sir, this is your half crown, only a little bit altered. Oh! you would rather have it in its original shape? You should have said that at first, and I wouldn't have altered it. However, I'll try if I can flatten it out a little for you. I won't guarantee to make it quite as it was at first, but I'll do the best I can. Come, it is certainly getting rather flatter. The pattern seems to be coming back again, too, and I can see faint traces of your own mark. I have succeeded better than I expected. (He hands back coin to owner.) I am afraid you will find the coin still rather soft. I should recommend you to sit upon it for a little while, to prevent its curling up at the edges. When it once gets cold, it will be all right. Now I'll show you another favourite experiment of King Koko's. Von Schwindelheim had got hold of a mediaeval recipe for a hair restorer, and he used to make it up, and supply the King with four-and-sixpenny trial bottles of it for fifteen-pence. He had even persuaded the King to write him a flowery testimonial, illustrated with his own portrait, saying that if it hadn't been for "Von Schwindelheim's Magic Scalp Fertilizer," he wouldn't have had a hair left on his head. He had only a little fringe all round, as it was, so it wasn't much of a testimonial; but he was photographed with his crown on, so the picture looked all right. I'll show you directly how the Magic Fertilizer was made, but – excuse my interrupting the story for a moment ― I have just noticed that a young gentleman over there has an orange in his hair; and as I shall be wanting an orange presently, I may as well borrow it at once. (Takes orange from spectator's hair.) Thank you, sir, this will be extremely useful to me. I will put it here on the table till it is wanted. Let me see – where was I when the young gentleman with the orange interrupted me? Oh yes! I was just going to tell you how the Magic Fertilizer was made. You take a glass of water, a pocket-handkerchief, and a half-crown. Of course, if any one will lend them to you, you need not take them. I would always rather borrow than steal, myself, so we will try borrowing first. Who will lend me another half-crown? I would rather not have the one I melted in the candle just now; I am not quite sure that that is a good one. I should prefer a good old wellworn coin, if possible. When a coin has been a long time in use, there is more animal magnetism about it, and animal magnetism goes a long way in conjuring. Make a good bold mark upon it, please, and keep it till I want it. And now may I also ask the loan of a small pocket-handkerchief? I won't trouble anybody to lend me the water – I have some here. First, I will fill the glass. Will some gentleman oblige me by holding it? (The glass of water is handed to volunteer assistant.) Hold it well up, sir, that everybody may be able to keep an eye upon it. Now I will ask somebody else to hold up the orange, on the point of this knife. (These are handed to a second spectator.)

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Please observe, ladies and gentlemen, that up to this point I have not even touched the half-crown, which has till this last minute remained in the custody of the owner. I will now take it, and throw the handkerchief over it – so. This is done in order to concentrate the electric force, because naturally, unless the peristaltic anhelations of the prismatic hyperdynamic are maintained, the parallelogram of forces is disturbed, and the cosmic aura no longer retains its hyperboloid connection with the hepatic reticulations. You will realize at once that such must be the case. Now, sir (to the person holding the glass), I want you to take hold of the half crown through the handkerchief, and hold it just over the glass. When I say "Three," please drop it into the water. Attention, please. I want every body to hear it fall in. One-two-three! Now take off the handkerchief. The half-crown is no longer there, or rather, it is there, but it is completely dissolved in the water. That constitutes the Magic Scalp Fertilizer; and Von Schwindelheim persuaded the King that if he only rubbed this well into his cranium he would soon have a beautiful crop of curly hair – silver hair, of course. He little thought that, as soon as his back was turned, the artful old Baron used to take the money out of the water again. At first sight that would seem to be rather difficult, considering that it is completely dissolved; but I'll show you how it was done. Von Schwindelheim had discovered that orange juice has the curious faculty of restoring the silver to its original solid condition. So he used just to take an orange, stick it on the point of a knife, and pour a little of the Fertilizer over it – like this (he suits the action to the words), when the half-crown immediately passed into the orange. I have no doubt it has done so now. (To the holder.) Cut the orange open yourself, sir, please, and see whether the coin has materialized. (This is done, and the half-crown is discovered inside.) Yes ; here is the half-crown, you see, with the owner's mark still upon it. It is rather wet, I am afraid. Allow me to wipe it for you. (He wipes coin with pocket-handkerchief.) That is better. (To the lender.) There is your half-crown, sir. Will you be good enough to look at the mark, and tell the company whether that is really the coin you lent me? (The owner identifies the coin.) Of course, when the silver is taken out of it, the magic hair restorer becomes just plain water again. Von Schwindelheim used to eat the orange, and pocket the half-crown; but the poor King kept on rubbing and rubbing, though, for all the good it did him, he might just as well have rubbed his head against the parish pump. There was, however, one curious thing about it. The water became more dense than usual; and if you had a steady hand you might even turn the glass upside down, and it would not fall out. I'll try it, though I don't know whether I shall succeed. I am afraid the half-crown was hardly left in long enough to have the full effect. (He inverts the glass, but the water does not escape.) It is all right, not-withstanding, you see. All that it needs is a steady hand, and plenty of nerve. My own idea is that the water is taken by surprise. It doesn't know whether it is standing on its head or its heels, and while it is making up its mind it forgets to fall out. It's really very simple. Will some gentleman try it for himself ? Place your hand flat on the top of the glass. Now turn it over. And now take your hand away. (The waterfalls out.) Dear, dear! that is a pity. I fancy you were a little bit nervous. I warned you that it required a very steady hand. However, to return to the Princess and her lover. The King, as I have already told you, wouldn't have anything to say to Von Smith; and the young people would have been in despair, but fortunately, Belinda had a fairy godmother. Now, you know, fairy godmothers always give their god-child something extra special in the way of a christening present. Belinda's gift from her godmother was rather a curious one. It was the sweetest breath in the world. I hardly know

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how to describe it. It was a combination of the scent of roses and violets and lilies of the valley, with just a suggestion, hardly enough to notice, of rum-punch. As you would naturally expect, a breath of such a superior kind had sundry mysterious effects.* If a lady will lend me a handkerchief again, I'll show you one of them. If the Princess wanted a little light refreshment, she had no need to go into a pastry cook’s shop, like other young ladies. She had only to take her handkerchief like this, and breathe on it, when a shower of sweets immediately fell from it. Which young lady will hold this plate, and breathe for the Princess? (The performer holds the handkerchief over the plate, with the four corners hanging down around it. When the lady breathes on it, a shower of bonbons falls on the plate.) The King took it into his head that the spell lay in the handkerchief, so one day he got hold of one of Belinda's pocket-handkerchiefs, and made the Baron hold it for him. Then he took a long breath, and blew as if he was playing the trombone. Who will blow for the King? (Some one does so, when an onion falls from the handkerchief.) But it doesn't do to try experiments in magic. It unfortunately happened that his Majesty had been having roast pork for dinner; and you see the painful result. Another magical effect of the Princess's breath was flower-growing; producing lovely flowers out of nothing at all. She had no need of seeds to sow, or earth to sow them in. She didn't even trouble to go into the garden. She just took a sheet of white paper, twisted it into a conical bag, and fastened it with a pin ― like this. (He suits the action in each case to the words.) Then she just breathed into it, and presently the flowers appeared. I beg your pardon! I think I heard somebody say I had put something in the bag. Pray convince yourselves that I have not done anything of the kind. I really feel hurt that you should imagine I would be guilty of such a thing (particularly while you are looking straight at me). See for yourselves. Nothing here (showing left hand empty); nothing in the bag; and nothing here (showing right hand empty). Now, if you have fully satisfied yourselves that I have nothing in my hands, and that the bag is absolutely empty, I will ask some young lady to breathe into it for the Princess. You will, madam? Thank you. A good long breath, please. Nothing in the bag as yet, is there? Breathe once more, please, to strengthen the influence. Now, would the lady at the piano oblige with a little soft music; something about flowers, if possible ― say, "The Bluebells of Scotland," or "The Last Rose of Summer"? I find that a little music of that kind brings forward the flowers more rapidly; it makes them feel more at home, perhaps. Some of them ought to be here by this time (he glances into bag), but somehow they seem a bit slow in arriving to-night. It is all right, though, for I can feel that the bag is getting heavier. Yes, here is the first arrival; and when one makes a start, the others are never very long in following. Here is another, and another. They are beginning to come quite fast now. (He takes flowers from the bag, at first singly, then three or four together.) You will understand, no doubt, that these are not mere "common or garden" flowers. These are quite unique specimens. They are something like orchids, only more so. This one is a tricosserorum. This is a pittapatta, and this one is a specimen of , crocodilla jocosa. Here is a piccalillia, and this one is a dinnabella furiosa. Botanists stand on their heads with excitement when I show them these flowers. They have never seen anything like them. *

It will be observed that four of such effects are described in the text, but not more than two, at most, should be exhibited on the same occasion.

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I haven't time to tell you the names of all of them; they are coming too rapidly. Here come some more, and yet more. There is no room for, deception ― in the bag, at any rate ― for you see it is still quite full of flowers. I will pour them out into this basket. (He empties bag into basket accordingly.) The bag is empty at last, and I will show you the paper once again, so that you may be quite sure that everything has been exactly as I have represented it. (He removes pin, and shows both sides of paper.) But the paper still seems heavier than it ought to be. There must be more to come, some-where. Perhaps there are some on the other side. (He reforms the bag inside out, and continues the production.) Yes, I thought so. Here is a shrimpsia, and here is a blobbinella bulgens. And here is another, and another. That's the worst of the fairies. When they do begin, they never know when to leave off (He shows bag again full, and pours flowers into basket.) I must crumple up the paper, or this will go on for the rest of the evening. (He does so, and throws it aside.) Another curious effect of the Princess's breath was mending things. I don't mean ugly, common things, like boots or broom-handles, but light fancy articles. For instance, I have here a fan belonging to a lady friend of mine. She has had the misfortune to break it, as you see. Now, in a general way, you would consider a fan in such a condition completely done for, and you would throw it away. In fact, that's what my lady friend was going to do, but I asked her to let me try the effect of the Princess's breath. (He shows broken fan, open, then closes it.) Who will breathe for the Princess this time? You will, madam? Thank you. (The lady having breathed upon the fan, it is opened, and found to be in perfect condition.) I told you how it would be. You see, the fan is completely restored. But even now you haven't seen quite all the magical effects of the Princess's breath. If she was going to the seaside for a week or two, she had no need to bother, like other young ladies, with a great big dress-basket, or even a hatbox. She could carry all her garments in a box no bigger than a tea-caddy. Here is her own particular travelling trunk. Of course, to go into so small a space, the garments had to be reduced in size, and that's where the Princess's magic breath came in useful again. I'll show you how it was done. Will some lady once more lend me a handkerchief, the smaller and finer the better? Now we will suppose that this was the Princess's own handkerchief, and that she wanted to make it still smaller. She just breathed upon it ― so, waved it about a little ― so, rubbed it a little ― so, and squeezed it a little ― so; and when she spread it out again, it had come down to half its original size ― like this. (Handkerchief shown reduced to half size.) If she wanted it smaller still, she had only to breathe on it again, and rub it a little more, and it immediately became as small as this (handkerchief shown still further reduced), and could be packed up into just nothing. You will understand, of course, that the effect wasn't confined to pockethandkerchiefs. The Princess used to serve all her clothing in the same way. If any young lady will oblige me with ― well, no, perhaps on this occasion we had better stop at handkerchiefs ― but whatever the garment was, the effect was precisely the same. When the Princess wanted her things larger again, all she had to do was to breathe on the other side of the article, rub it a little, and stretch it a little. That broke the spell, and it gradually got larger and larger. In fact, one day she kept on too long, and a nice little handkerchief got so large that the house-keeper had to take it into use as a tablecloth. As I was telling you just now, this is the Princess's travelling trunk. You will notice that its construction is peculiar; it's a sort of chest of drawers with only one drawer. It is very

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portable, and extremely elegant ― you can see that much for yourselves; but these are the smallest of its recommendations. If you have a portmanteau like this, you never need be afraid of thieves. All you have to do is to pack up whatever you want, and when you have finished, push in the drawer, and say softly, "Hey presto polypodium!" when all the articles immediately become invisible. Just now, you see, the drawer is empty. (He pulls out the drawer, shows it empty, and closes it again.) Stop a bit, though ; I am not so sure about that. It feels rather heavy for an empty drawer. I see how it is! It is really full, but the contents have been made invisible in the way I have described to you. To render them visible, we shall have to reverse the spell. The question is, how to manage it. I have it! A touch of the magic wand will do it. (He touches it with the wand, and, opening drawer, shows that it is now full.) Yes; it is as I thought. It is full of the Princess's luggage. Here are some of her belongings, made smaller in the way I told you about. (He exhibits articles of doll's clothing.) And here is something else ― refreshments, I suppose, for her journey. Well, she can't be going to travel to-night, anyhow, so I think I cannot do better than distribute these among the present company. (He distributes tablets of chocolate, etc., from the drawer.) The drawer is empty now, at any rate. (He turns it upside down, then re-inserts it in its case.) At least, it seemed so a moment ago, but appearances are deceitful when there is magic about. The box still seems heavier than it ought to be. (He again opens it.) Yes; here is something else. Some of the Princess's bonnet-ribbons, no doubt. A good many of them, too. (He produces yard after yard of paper ribbon, finally pulling the drawer completely out of the case, and showing it manifestly empty.) Come, that is all out at last. There is no mistake about the drawer being empty this time, as you can see for yourselves. (Standing the drawer on end, with the inside turned towards the spectators, he opens out the case, showing that likewise empty, then closes it again and replaces the drawer.) Something still rattles inside, though. There must be something in it that I didn't notice. (He pulls out the drawer once more.) Yes; here is a picture-postcard! And another ― and another! In fact, the drawer is full of them. I had better distribute these also. (He does so.)* And now I had better put the Princess's own belongings back again. She will want these for her own use. (He replaces the doll's clothing and closes the drawer.) I just touch the box with the wand ― the other end this time ― and the articles again become invisible till further notice. (The drawer is once more opened and seen to be again empty.) But to return to the Princess herself. Finding that the course of true love wasn't running smooth, off she went to her fairy godmother, and told her all about it. The fairy listened attentively to all she had to say. When she had quite finished (which took some time), the old lady replied, "Your description of the young man sounds very nice, my dear; but before I can do anything for you, I must satisfy myself that he is sincerely attached to you, and not merely coming after you for your fortune." The Princess felt indignant that such a thing could even be imagined possible; but she thought it best not to say anything. The old fairy put on her spectacles, took down a magic book, and read a chapter or two in the original Japanese. Then remarking, "Slantha gal mavourneen," or words to that effect, she took a small box (here it is), a little silver table, and a pack of cards. (He exhibits the articles in question.) "Now, my dear," she said, "you shall be the Queen of Hearts, and your lover shall be represented by ― let me see ― we will say, the Knave of Spades." "Can't you make him *

This final production is only practicable where the "dissecting" form of drawer-box is used. (See Chapter II.)

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Hearts too?" said the Princess, who rather fancied herself at Bridge. "Spades are such a very poor suit." "Hearts let it be," said the old fairy. The Princess naturally thought the fairy would look over the pack, and pick out those two cards, but she went to work a much shorter way than that. She just dropped the pack into a glass ― like this, and said, "Queen of Hearts and Knave of Hearts, attention!" And behold! these two cards immediately climbed up out of the pack, and fell upon the table,

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just as you see them now. (The two cards named rise up out of the pack, and fall upon the table accordingly.) I dare say some of you would like to know how this is done. Well, the fact is, a little fairy gets into the glass, puts his shoulder under the cards, and pushes them up. You don't believe it? Well, I didn't myself, at first; but there really is no other way to account for it. Here is the glass, and here are the cards. Have a look at them for yourselves. I should like to be able to show you the fairy too, but I have never been quick enough to catch him. "Now, my dear," said the old fairy, "we'll put you ― that is to say, the Queen of Hearts ― on this little silver table, and cover you up ― so." (He places the card as described, and the cover over it.) "And we'll put the Knave of Hearts ― that's your young man ― in this little box, and shut him up ― so." (This is also done.) "Now, if he really loves you, wild horses won't hold him, much less a little box like that. He will escape from his imprisonment, and go and join your card on the little table. ‘Abracadabra! Prestissimo! Fly!' Let us see whether he has done so." (The box is opened, and is found empty.) "He has left the box, anyhow. And now let us see whether he has found his way to you on the little table. Yes; here he is." (The table is uncovered, and the two cards are found together.) The Princess clapped her hands. "Yes, my dear," said the fairy, "that is all very well, as far as it goes. That proves that he is sincerely attached to you; but I have still to be satisfied as to his moral character." The Princess very nearly said, "Oh, bother his moral character!" (young people in love are so inconsiderate), but fortunately she refrained, or very possibly the fairy wouldn't have helped her any more, and I shouldn't have had any story to tell you. Her godmother picked up a magic ball, with a string running through it. Here it is. (He exhibits ball, as described.) "This, my dear," she said, "is my moral barometer. As you see, the ball runs quite loosely on the string; but I shall put it under a magic spell, and then, if your lover is really a good young man ― I don't mean storybookically good, you know, but just good enough to be nice ― the ball will move up the string." This seemed so unlikely that the Princess couldn't help feeling a little bit nervous. She said, "Oh you can't expect any young man to be good enough for that." But the old fairy merely remarked, "Ne plus ultra," or something of that sort, and the ball immediately began to climb up the string-like this, as naturally as a toy monkey climbs up a stick. "That's all right," said the old fairy. "Now, my dear, I am satisfied that he is the right sort of young man. Tell him to go boldly to your papa, and ask for your hand, and if he gets into any difficulty, I'll get him out of it." Before we go further, perhaps some gentleman would like to try the moral barometer on his own account. You will, sir? Ah! the ball runs down. Will some other gentleman try? The same result! Some other gentleman? (The ball in each case runs down the string.) Dear, dear! this is very sad. I am afraid you are none of you quite up to the old fairy's standard of perfection. Really good young men are getting terribly scarce nowadays. What do you say? Try it again myself? Oh, certainly! (He does so, and the ball again runs up the string.) I made up my mind in early life that I would be good as well as beautiful; and I have gone on that principle ever since. The moral barometer has no terrors for ME. But to return once more to the Princess. After the fairy was satisfied, she began to get a little anxious herself. "Do you really think, godmamma," she said, "that papa will ever consent to my marriage with Otto? That old wretch of a Baron has told such dreadful stories about him." "Cheer up, my dear," said her godmother. "If I couldn't get the better of an old fraud like Von Schwindelheim, I'd retire from the fairy business altogether. But if you would like to make quite certain as to your future, my magic mirror will tell you your fortune at

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once." “But suppose it should be an unlucky one?" said the Princess. "Faint heart never won fair moustache," replied the fairy. (There seems to be something not quite right about that remark; but that's what the fairy said, anyhow.) The Princess clasped her hands. "All right," she said; "I'll risk it." So the fairy produced the magic mirror. Here it is. (He exhibits a small picture frame, with plain dark background.) It isn't exactly a mirror, as you see, but it's a good-looking glass, though it isn't a good looking-glass, and wouldn't reflect even a good-looking lass. This is a joke, ladies and gentlemen. It is a little complicated, and you may not see it at once; but if you persevere, it will dawn upon you gradually. Think it over at home, and if you don't see it in a day or two, send me a postcard, and I will call and explain it. At present, you see, the glass has merely a plain dark background, without any mark or figure upon it. The old fairy held it up, and fanned it ― so. (He holds up the frame, and fans it, using the restored fan, if it has been introduced, to do so. If no fan is available, a handkerchief may be used instead.) `The Princess was breathless with excitement. She saw letters forming gradually upon the dark back-ground, and presently she spelt out, "A-l-l w-i-l b-e w-e-l," whereupon she clapped her hands, and jumped with joy. There is no deception about it, ladies and gentlemen; you can see the writing for yourselves. The spelling is a little defective, but that proves its genuineness. Spirits never can spell. If you were to call up Chaucer or Shakespeare, or even Lindley Murray himself, you would find he couldn't spell "for nuts." I've tried them. So the Princess went home in capital spirits. Meanwhile, the King was consulting with the Baron as to the best way of getting rid of the unwelcome suitor. The King scratched his head, and the Baron scratched his head, but nothing came of it. At last the Baron exclaimed, "I've got an idea." "You don't say so," said the King. " Make a note of it at once; you don't get 'em often. What is it?" "You must ask him riddles." "What on earth is the good of that?" said the King. "Why, if he can't guess them, it will be clear that he is a stupid sort of fellow, and not good enough for the Princess." "But suppose he guesses them, you old owl?" said his Majesty. "That's where the idea comes in," replied Von Schwindelheim, with a wink. "You must ask him riddles of the catchy sort; the sort that haven't got any answers." The King slapped him on the back, and said, "Beshrew me, Baron, but thou art a crafty knave. I will e'en follow thy counsel." So the next time Von Smith called, the King asked him, "Which would you say, 'Six and five is thirteen, or six and five are thirteen?"' But Von Smith had been sold that way before. He politely but firmly replied that he shouldn't say either the one or the other. He would say, "Six and five are eleven." Whereupon the King, finding that he was not to be caught, flew into a tremendous rage. He said that was the old-fashioned way of counting, and unless Von Smith could prove that six and five were thirteen, he shouldn't marry the Princess. "I will endeavour to do so, as your Majesty wishes it," replied Von Smith, who had had a private tip from the fairy. So he took a couple of plates, like these, and gave one to the King to hold, and the other to Von Schwindelheim. Who will be the King, and who will represent the Baron? (A plate is handed to each of the two spectators volunteering.) Then he counted out five shillings on the one plate, “One, two, three, four, five;" and six on the other, "One, two, three, four, five, six." Then he mixed them together ― so (the coins are poured from the one plate into the other), and when the King counted them again, the six and five made thirteen. Count them for yourselves, and see if it is not so.

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`But the Baron was not going to give in so easily. He surreptitiously pocketed two of the coins, and declared that Von Smith had counted wrong, and must submit to a further test. "All right," said Von Smith. "Ask me a more difficult one." But the King said Von Smith was too good at riddles, and he would rather try something different. Von Schwindelheim winked at the King, and said, "Never fear. I've got a poser for him." There was a woman out in the street crying white sand and grey sand. "Who'll buy my white sand? Who'll buy my grey sand?" The Baron rushed out and bought a pennyworth of each (here it is, you see), and then he fetched the Royal washhand-basin. He took one or two handfuls of the white sand, and one or two of the grey sand, put them in the water, and stirred them well together ― like this. "Now," he said, "when this gay young springald separates those two lots of sand, your Majesty may safely let him marry the Princess." "So mote it be," said the King, with a cheerful smile. But, to his amazement and disgust, Von Smith just turned up his shirt-cuff-like this, dipped his hand in the water, and fished up, first the one, and then the other, lot of sand, perfectly dry, and not mixed in the least. (The sand of each colour is shown dry accordingly.) The King was so annoyed that he smashed the washhand-basin over Von Schwindelheim's head, a great part of the water going down his back. Von Smith claimed his Majesty's promise, but the King said the sand wasn't properly mixed, and that he must submit to another trial. `After much cogitation, the King said he would be satisfied if Otto brought him a pint of Rainbow Water. You don't know, perhaps, what Rainbow Water is. It is water which has had some bits of a broken rainbow dissolved in it, and which will show all the colours of the rainbow in turn. Von Smith foolishly imagined that there must be plenty of it about; but he didn't find it so. He inquired for it at seventeen different chemists' shops, without success. Not one of them had ever heard of it, but not one of them said so. Some said it wasn't used now, and some that they were just out of it; but they all wanted him to take something else instead. One man said Hunyadi Water was much better than Rainbow Water; and another recommended Mother Seigel's Syrup. One wanted him to try a new kind of soap; and another told him there was nothing to beat Keating's Powder. He got so angry at last that he had to kill two or three chemists to relieve his mind; after which he sat down and read right through the Encyclopaedia Britannica, but Rain-bow Water was not even mentioned in it, which shows that the work is not really so up-to-date as it professes to be. `At last he did what he ought to have done at first. He went and consulted the old fairy, who happened to be taking afternoon tea with the Princess. She told him that Rainbow Water was only to be got in one place in the world, and that was at the top of one of the Unapproachable Mountains, on the farther side of the Undiscovered Islands. The water was guarded by a dragon, with a head as big as an omnibus, and a breath like a motor-car. It took seven years to get there, and fourteen to get back ― if you ever came back at all, which was exceptional. Von Smith said a naughty word ― I really don't think you can blame him ― and the poor little Princess began to cry. But the fairy merely smiled in a scientific sort of way. "Trust in me, my children, and all will yet be well. 'Propria quae maribus,"' she suddenly exclaimed, and poked the fire with her wand, when out of the very heart of the hot coals came a handsome bird, and roosted on the top bar of the grate. "What a lovely pheasant!" exclaimed the Princess. "Pheasant! my dear," replied the fairy; "this isn't a pheasant; it's a phoenix." "You don't say so?" said the Princess. "Is a phoenix a bird, then? I thought it was a Fire Insurance Office!"

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The fairy took no notice of the remark, but tipped all the sugar out of the sugar-basin, and gave one lump to the phoenix; after which she said, in commanding tones, "Cryptoconchoidosyphonostomata!" The phoenix flapped his wings, and, taking the sugarbasin in his beak, flew out of the window. In three minutes and three-quarters he was back again. "Fastest time on record," said the fairy, looking at her stop-watch, and giving the phoenix the rest of the sugar. "And here, my dear," she continued, showing that the basin was now full, "here is your sample of Rainbow Water." Von Smith decanted the water into a bottle ― here it is (performer exhibits carafe of water and six wine-glasses) ― and went off to the Palace with it under his arm. He borrowed half a dozen wine-glasses from the chief butler (all the King owned, as a matter of fact), put them in a row before his Majesty and the Baron, and asked the band to play a little slow music. "What ho!" he remarked, as he filled the first glass, and the water remained clear. "Gramercy!" he exclaimed, as he filled the second, wherein it became crimson. "Marry come up," and he filled the third, wherein it became of a lovely blue. "By my halidame!" and in the fourth it was violet. (The glasses are filled in turn, with the results indicated.) But at this moment Von Schwindelheim nudged the King, and said, sarcastically, "Chemicals!" "Chemicals in thy throat, base varlet," retorted Von Smith. (That was the way high-class people talked in those days.) "Taste for thyself." And he offered Von Schwindelheim the glass of clear water he had first poured out. The Baron declined, saying he never took it. The King also declined, so Von Smith drank a little himself, and poured the rest back into the decanter (performer does so), to show that there was no deception, after which he again filled the empty glass. "Potztausend," he remarked this time; and the water appeared a brilliant orange. He wiped the other two glasses with his handkerchief (performer does the same), merely observing, as he filled them, "Houp la!" and "Bismillah!" and the contents appeared as you see them ― a beautiful scarlet and green. But Von Schwindelheim, with a disagreeable smile, reminded the King that there are seven colours in the rainbow, and Von Smith had produced only six. Consequently, he maintained, this could not be the real genuine Rainbow Water. There was no more of the water left, and they had broken a wine-glass, so they couldn't settle it, and the King said the young man must submit to a further test. Von Smith didn't much mind, because he knew the old fairy would help him out, and he thought the King must give in at last; but the next problem was a staggerer, and he couldn't help feeling a little bit nervous about it. He was required to prove that the same thing may be in two places at the same time, which he knew was unusual. To gain time, he said he should have to consult his solicitor; but of course he didn't. This time he went straight to the old fairy, and told her, with a very long face, what he was required to do. She was amused at his feeling bothered over a little thing like that, and gave him a block of wood which she said had just that peculiar quality of being in two places at the same time, or a few more, if necessary. Here it is. (The performer exhibits a large die and a cover exactly fitting it.) I am obliged to keep it covered up like this, or else it would be in half a dozen places, and I should never know where to find it. There's nothing particular about the cover, so I should like you to examine it thoroughly. It is merely a square paste-board tube, open at each end. That is in order to allow the block of wood to fly out at the top when I want it to. You see, the cover just fits the block. Now I should like you to examine the block itself. You will find it a good, honest, solid piece of wood, as free from deception as I am myself ― which is saying a great deal. But to return to Von Smith. He started off to the Palace, with the block under one arm, and the cover under the other. When he got there, he asked the King to lend him his crown. The

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King said he wouldn't trust him with half a crown, much less a whole one. With great presence of mind, Von Smith laughed at the joke till he had to sit on the floor, and told the King that he was a funnier man than Dan Leno; which pleased him so much that he said, if Von Smith would promise not to produce any cannon-balls or rabbits from it, he would lend him his crown for just five minutes. If any gentleman present happens to have a royal crown about him, I shall be glad to borrow it. I might even make shift with a ducal coronet. Nobody offers! Well, then, I must make a tall hat do instead. (A hat is borrowed.) Come to think of it, there's a crown in this hat, so it comes to almost the same thing. Von Smith put the block of wood on the table ― like this, and covered it with the hat ― I should say, with the crown. "Now, your Majesty," he said, “you can't deny that that block of wood is under your crown. Now I am going to show you that it is also under this cover." "Stop a bit," said the King. "No larks! Let's have a look at that cover." You see, the King thought ― people are so suspicious ― that he probably had another block of wood there already. Von Smith looked at him more in sorrow than in anger. He took the King's scepter ― like this, and passed it right through the cover; in fact, he all but poked Von Schwindelheim's eye out, for he was peeping in at the other end. (Wand passed through cover, and spectators allowed to see right through it.) After that, both the King and the Baron couldn't help admitting that the cover really was empty. When he had quite convinced them, Von Smith turned it up on end ― so, and said softly, "Arma virumque cano," and when he lifted it up again, there was the block, sure enough, under the cover. (The cover is lifted, disclosing die, and then again replaced.) Von Schwindelheim made a grab at the crown and lifted it up, expecting to find nothing under it; but he was disappointed, for the block was still there, as at first (die again shown under hat), and the King was going to admit that it really had been in two places at the same time. But the Baron disputed the fact. He declared that it was the quickness of the hand that deceived the eye, and that Von Smith had only passed the block with great rapidity from the one place to the other; which, between you and me ― only don't tell anybody ― is how it was really done, for, you see, the block is no longer under the cover (cover lifted, and shown empty), but only under the hat (die shown accordingly), so that it wasn't actually in two places at the same time, though it travels so quickly that it comes to almost the same thing. After a great deal of consultation, it was agreed that if Von Smith could add up three numbers, one to be written by the King, one by the Princess her self, and one by Von Schwindelheim, he should really marry the lady. No doubt you will think that was the easiest task of all. Just to add up three numbers. Why, anybody could do that! But I have omitted to mention one rather important condition. Von Smith was to find out the total of the three numbers without seeing them, or knowing what they were, which makes a good deal of difference. Von Smith knew that the fairy would help him out as usual, but he didn't see the fun of being made a fool of indefinitely. So he said to the King, "Will your Majesty swear by the Holy Poker that if I succeed in this last test, you will let me marry the Princess without further ado?" The King did not much like the idea of swearing by the Holy Poker, because it was a law of that country that if any one swore by the Holy Poker, and did not keep his word, the Holy Poker was made red hot, and used after the manner of the Freemasons. Not being a Freemason myself, I can't tell you exactly what that is, but I am given to understand that it makes it uncomfortable for the party concerned to sit down for some time afterwards. However, the Baron winked at him, and said, "Swear away, old chap; he can't possibly do it." So the King swore by the Holy Poker, and Von Smith departed till the next Bank Holiday, when the grand trial was to come off. On the appointed day the whole Court assembled. The King sat on his throne, with the Princess on a chair of state on his right hand, and the Baron (who

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had had his hair curled for the occasion) in another on his left; while the Grand Panjandrum, with his gold stick in his hand, marched up and down to keep order. There was a grand flourish of trumpets, and then Von Smith appeared, with his Sunday clothes on, and a common slate (here it is) under his arm. He handed out three blank cards, like these ― one to King Koko, one to the Princess, and one to Von Schwindelheim. Will two gentlemen and a lady be good enough to represent those three exalted personages? Now, please, each take one of these cards, and write, as secretly as possible, a number of three figures, no more and no less, fold the card in half, and place it in this little envelope. That is done? Now I will ask the last gentleman to fasten up the envelope. (He takes the closed envelope from the holder.) Then there was another flourish of trumpets, and the envelope with the three cards in it was handed to the Grand Panjandrum. Who will under-take the duties of the Grand Panjandrum? It must be somebody who has not written a number. You will, sir? Then we will place the envelope in your charge. Von Smith asked no questions. He just cleaned his slate on both sides (slate cleaned accordingly), showed it blank, as it is now, and threw it down on the ground. We will put ours on the table, which will be handier. There was heard a sound of writing on the under side (you can hear it your-selves, if you listen attentively), and then he picked it up again. Meanwhile the Grand Panjandrum had been adding up the figures on his own account. Will you do so, sir, on the back of the envelope, as secretly as you possibly can? “Here is the total," said Von Smith, turning up the under side of the slate. "It comes to 1585." And the Grand Panjandrum had to admit that the number was correct. You find it so, sir, do you not? (The figures are compared, and found to be alike.) Having sworn by the Holy Poker, the King dared not break his word, but he relieved his feelings by kicking Von Schwindelheim all round the Palace courtyard, for having persuaded him to swear, and got him into such a fix. But just as he was compelled to pause for lack of breath, the fairy appeared, in a chariot drawn by two mock turtles and a Welsh rabbit, and revealed that Von Smith was the long-lost son of Rhodocanthus the Eleventh, King of Polypodia, and had just succeeded to his father's kingdom. Whereupon King Koko's feelings underwent a complete change, and he kicked Von Schwindelheim round the courtyard again in the opposite direction, for having opposed so desirable a match. There isn't much more to tell. The Baron, having lost his situation, turned quack doctor, and invented the celebrated "Blue Pills for Blue Devils." Unfortunately, he one day by mistake took two of them himself, and he never smiled again. The memory of those pills was always with him. He went through life with one hand constantly pressed against the lower part of his waistcoat. When he died, he became a family ghost, and haunted the Palace wine-cellar, still with his hand in the same position. The Prince and Princess were married the very next day. The King danced five dances with the fairy godmother, and said he had never enjoyed himself so much in his life. The moral of this story is obvious. Never be rude to a nice young man, even if his name is Smith and he has a ginger moustache, because he may be a prince in disguise. (Of course he may not, but you never can tell.) And never take quack pills.

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CHAPTER II

PRACTICAL EXPLANATIONS THE first step of the intending performer will be the selection of the effects to be included in his programme; the story being purposely so arranged as to allow of the omission of almost any given item without prejudice to the main plot. In any case, the narrative should be so far shortened as to occupy not more than an hour in delivery. Sam Weller's celebrated dictum as to "the great art of letter-writing," to make people "wish there was more of it," applies with even greater force to conjuring. Roughly speaking, about half the items will be found a sufficient number for a single performance. In making the selection, the better plan will be to decide in the first place what is to be omitted. Some tricks may probably be ruled out at once by the fact that the performer does not possess (and does not care to purchase) the necessary apparatus; and others may be excluded by reason of lack of confidence in his own powers. The tricks described demand, for the most part, very little skill in actual sleight of hand, and are within the compass of any one of ordinary intelligence, and having the usual complement of hands and fingers. On the other hand, no conjuring trick can be effectively presented without a reasonable amount of practice. The actual amount necessary will vary in inverse ratio to the degree of natural aptitude. Having made his selection, the next step of the neophyte should be to memorize, one by one, the appropriate sections of the story. It is not necessary that he should be able to give the "patter" verbatim, as set down; but, unless he has by nature "the gift of the gab," the more closely he sticks to a pre-arranged text, the better will it be for his own comfort, and the credit of his performance. Simultaneously with the memorizing process, he should practise the execution of the particular trick involved. When he has mastered each item singly, he should then rehearse his intended programme as a whole, making his preliminary preparations as complete, and going through every act as minutely, as he would for the actual "show."

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1. The Magical Production of a Flower in the Buttonhole.* This is an old trick, but of late years has been so little exhibited in public that it will be to most audiences a complete novelty. Apart from the effect being in itself a pretty one, it has the incidental recommendation of calling attention, in a natural and striking way, to the pretended virtues of the magic wand. For the purpose of the trick, the coat worn by the performer will require a little special preparation, viz. the insertion of an eyelet (similar to those used in ladies' corsets) in the substance of the coat, immediately behind the buttonhole in which the flower is to appear. A button must be sewn to the vest at the same (left) side, just over the trouser-pocket. The rose used in the trick is an artificial one, the stalk of which has been cut off close to the calyx. One or two green leaves are sewn to the outside of the flower, and a hole is made with a stiletto through its centre. Through this hole a short piece of thin but energetic black silk cordelastic is drawn, and secured on the inner side of the flower by a fair-sized knot. The elastic is then passed through the buttonhole and eyelet, and its free end, at a distance of about ten inches, formed into a loop, which is slipped over the button before mentioned. The length of the rubber should be so regulated that it shall hold the flower taut against the buttonhole, though without sufficient strain to disarrange the set of the coat-lapel. When the performer desires to show the trick, he draws the flower, just before making his appearance, a few inches away from the buttonhole, and tucks it under the left armpit, retaining it there by the pressure of the arm. He advances, holding his wand in the right hand. To produce the flower, he pronounces the words, "One-Two-Three!" accompanying each word with a quick wave of the wand. At the word "One!" he brings it smartly down across the buttonhole. At the word "Two!" he gives it an outward and upward swing to the right, and at "Three!" again brings it across the button-hole, at the same moment elevating the left arm. The flower, being thereby released, flies to the button-hole, the sharpest eye being unable to detect the manner of its arrival.* There is another method of performing the trick, for which three advantages are claimed; first, that it is much less known; secondly, that the eyelet is dispensed with; and lastly, that the performer can raise both arms as freely as he pleases before performing the trick, to the puzzlement of any knowing ones who may happen to be acquainted with the older method. In this case, a piece of stout sewing silk is used instead of the elastic cord. Of this, one end is made fast to the rose. On the other end a needle is threaded. This is passed (from the outside) through the buttonhole and the cloth beneath it. The needle is then removed, and a loop formed upon the end of the thread, which should be so regulated in point of length that when the flower rests against the buttonhole, the loop shall hang level with the lower part of the opening of the trouser-pocket. At this point a lady's black dress-hook is sewn, with its open end downwards. The flower in this form of the trick is placed at the outset underneath the left breast of the performer's coat. The left arm is carelessly elevated, to prove, to any one who may suspect the contrary, that the flower is not under the arm, the hands being at the same time shown empty. The performer then pulls the thread with his left hand, at the same time rubbing the buttonhole with the fingers of the right, the flower being drawn into position under cover of this hand. The loop is then hitched over the hook, thereby preventing the flower shifting from its place. A black *

*

For list of articles required in the performance of the various tricks, with their approximate prices, see Appendix.

Compare Modern Magic, p. 412. This and succeeding references to my larger works are inserted in the interest of readers who may possibly desire to go more deeply into the subject of the trick under discussion. The explanations here given will, however, be found in each case fully sufficient, without recourse to any other source of information.

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bead, threaded on to the loop, will be found a material assistance in getting hold of it at the right moment. A still better plan is to make the loop of very thin black elastic, continued as single cord for about three inches, and then joined to the thread. Upon the whole, the method first described will probably be found the easier by the novice. Continental conjurers, by the way, sometimes substitute a thread, wound on a watchbarrel, for the elastic; but I cannot see that anything is gained by the alteration.

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KING KOKO 2. The Self=suspending Wand.

Figure 1

Figure 2

Figure 3

Figure 5

Figure 4

The qualities of the ideal wand for this trick are somewhat paradoxical. It should be both a light and a dark one. In point of weight, it should be light. I myself, for this particular use, have a wand made hollow from end to end, thereby securing the desired lightness without any alteration of appearance. In point of colour, it is, desirable that the wand should be black, for a reason that will presently appear. Ebony should however be avoided, as being unduly heavy. The mount at each end should be of ivory, and it will be found an advantage to have a scarcely perceptible groove, no deeper or wider than the thickness of a finger-nail, cut at the points where the mounts meet the body of the wand. The above are, however, "counsels of perfection." It is possible to perform the trick with almost any wand, and in default of the regular article, a short piece of “rattan" or “whangee" cane, or any cane with joints at short intervals, will make a very good substitute. The working portion of the apparatus is on the person of the performer. It consists of a cylindrical brass or leaden weight, about two inches in length and three-quarters of an inch in diameter. The ends are rounded, and in one of them a screw-eye is inserted. This weight is suspended within the right trouser-leg, in manner following. A needle is threaded with a piece of fine but strong black silk thread, about four feet or four feet six in length. The needle is then

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thrust through the performer's vest from the inside, about level (assuming the vest to be of the "evening dress" kind) with the topmost button, and then in again, at a point one inch lower than that at which it came out. Both ends of the thread being thus brought within the vest, the needle is removed. The ends are knotted together, passed through the eye of the weight, and tied securely. This done, the weight is allowed to slide gently down within the trouser, and the vest is buttoned. All that remains outside the latter is the portion of thread, one inch in length, between the holes where it emerged and re-entered. The performer, by inserting his right thumb beneath this portion, can draw out the thread in a long loop, lengthening as he draws it farther out, but shortened again, by means of the downward pull of the weight, the moment the outward pressure is removed. The dexterous use of this lengthening and shortening loop forms the whole secret of the trick. Holding the wand, just previously examined, across his body, the performer slips the right thumb under the thread, drawing it out, say, an inch and a half, and inserts the end of the wand within the bight thus formed, which he then pushes along the wand (at the same time lengthening it out as may be necessary) till it reaches the middle. The reader will now appreciate the reason for preferring a black wand. Against any part of such a wand, the thread is absolutely invisible, even at close quarters. If a wand of light colour be used, the performer will have to keep at some distance from the spectators, unless, indeed, a jointed cane be used as a substitute, in which case all that is needed is to slip the loop over one of the joints, when it will be, as before, invisible. The operator must, however, in either case take care, in his subsequent manipulations, not to let the spectators get a view of the thread against his white shirt-front as a background, as this would at once “give away" the trick. But to return to the actual working. Having got the thread to the middle of the wand, the performer grasps it as in Fig. 1, and proceeds to “magnetize" it, by drawing each hand alternately to the outer end. Holding it horizontally before him, about a foot away from his body, he then opens the hands, the wand retaining its position, as if attracted to them by some mysterious force, as in Fig. 2. Again closing the hands, he slides them outwards till each end of the wand is only held between the forefinger and thumb. The fingers being then extended, the wand rests against the thumbs only, as in Fig. 3. Next, grasping the wand by the extreme end with the left hand, the performer tilts it into a vertical position, and placing the right. hand behind it, holds it suspended by the outward pressure of the thumb and little finger only. Again grasping the lower end with the left hand, he pushes up the silken loop with the thumb of the right until it rests in the little groove above described (p. 66) between the body of the wand and the ivory mount, when the wand remains suspended from the right thumb only, as in Fig. 4. The thumb, it will be observed, is in this case below the loop. The left thumb may now be applied immediately above the loop, and the right thumb removed, the wand being thus transferred from hand to hand. Once more the right thumb is applied below the loop. By a slackening of the pressure the wand is allowed to come within six inches or so of the body. The performer then offers the wand for examination, as indicated in the "patter." As he steps forward for this purpose, he folds the fingers down on the outer side of the wand, and in offering it for examination, tilts it, lower end foremost, into a horizontal position, when the loop is automatically drawn back off the wand, and the thread is drawn by the weight close up to the vest, as at first. With a little practice, it is possible to hold a light wand supported by the finger-tips, without any extraneous aid whatever. To do this, the four fingers must be spread out to the utmost, and laid along the middle portion of the wand, as in Fig. 5. The second and third fingers draw the wand towards the performer, while the first and fourth force it away from him; this

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pressure in opposite directions affording just sufficient grip to support it. Held in this manner, it may be handed to one person after another in the audience at the closest quarters. As in this case there is manifestly no supporting medium save the hand itself, the average spectator accepts it as an article of faith that the same was the case in the earlier stages of the trick, in which case “magic" is the only feasible explanation.

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KING KOKO 3. The Coin melted in the Candle.

Figure 6

Figure 7

Figure 8 Figure 9

This is a trick of pure sleight of hand, and, well worked, is brilliantly effective. If the reader is not confident of doing it justice, I would recommend him to omit it from his programme, for it is too good to be spoilt by clumsy execution. It does not, however, offer any difficulty save such as a fairly adroit person can conquer with a little perseverance. The first step will be for the operator to make himself expert in a little sleight known to conjurers as the "finger palm." To acquire it, take a half-crown in the right hand, held palm upwards, as shown in Fig. 6, the coin lying upon the second joint of the middle finger. Make the movement of placing the coin in the left hand, but simultaneously with the turning over of the right hand, separate the forefinger of that hand a little from the rest, and bring it over the edge of the coin, tilting the latter into an erect position between the first and second fingers, as in Fig. 7. The novice is recommended to practise this clipping process first with the hand at rest. When once it has become familiar in this shape, he will find no greater difficulty in executing it with the hand in motion. The requirements for the trick consist of a candle-stick and lighted candle, and a little ball of tinfoil, crushed pretty closely together, so as to measure about five-eighths of an inch in diameter. This is impaled on the point of a black pin, thrust through the performer's vest (from the outside) on the left, near the centre, in such manner that the coin, thus suspended on the pin, shall be just covered by the lower edge of the vest. Having borrowed the needful half-crown, the performer proceeds to "mesmerise" it. To do this, he takes it, in the manner described for the finger palm, on the fingers of the right hand, and thence transfers it (in this case there being really "no deception") to a similar position on the fingers of the left. He then rubs it gently with the fingers of the right hand; picks it up with the right second finger and thumb, and holds it over the candle-flame. To show that it is becoming soft, he takes it vertically between the two hands, fingers in front and thumbs behind, as shown in Fig. 8. He then brings the knuckles towards each other till, they all but meet, repeating this three or four times. By a curious optical illusion, the coin appears to bend with the movement of the fingers.

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At this point the performer exhibits the coin once more to the owner, that it may be identified by the mark on it. When he professes to “mesmerise" it for the second time, he takes it in the right hand and, ostensibly, de-posits it as before on the fingers of the left. But on this occasion he makes use of the finger palm, and so retains the coin between the first and second fingers of the right hand, while with the tips of the same fingers he makes the rubbing motion as before on those of the left hand (whereon the coin is professedly lying). After a moment or two of this, he closes the fingers of the left hand against the thumb, as if holding the coin between them, and with the right hand picks up the candlestick, holding it between finger and thumb as in Fig. 9, the coin, concealed as above in the hand, forming no obstacle to his doing so.* The coin, under these conditions, is completely masked by the thumb, and the candlestick can be brought quite close to the spectators without revealing its presence. Holding the left hand just above the candle, the performer proceeds apparently to rub the coin away into the flame, and to show the hand empty. At the moment when he calls attention to the (imaginary) bright spot in the flame, thereby drawing all eyes to the candle, he with the left hand secures the foil ball from under the vest, and rolls it with the thumb between the roots of the second and third fingers. This done, with the thumb and fingers of this same hand he makes a grab at the flame, and under cover of a rubbing motion of the fingers, motived ostensibly by the supposed heat of the metal, gradually works the ball with his thumb to the finger-tips and exhibits it. Then, taking the ball between the thumb and finger-tips of the right hand (the half-crown being still concealed therein), he offers the ball to the owner of the coin, who naturally declines to accept it. In order, professedly, to flatten it out, the performer brings the finger-tips of both hands together, and, under cover of the movement, with the thumb rolls the foil ball (passing below the coin) between the roots of the second and third fingers of the right hand. The moment he has done so, he presses the coin upwards with the thumb till it lies flat against the fingers. He does not immediately exhibit it, but works it round and round for a moment or two between the fingers, gradually allowing its edges to be seen. Having professedly flattened it out, he draws it back with the right thumb so as to bring it just over the foil ball, which is thereby concealed, the hand being apparently quite empty save for the coin. The half-crown is then transferred to the left hand, and thence handed back to the owner, none the worse for its supposed "dematerialization."

*

The candlestick should, if possible, be one with a slender stem. If otherwise, the thumb and fingers should grasp it at the narrowest part, the presence of the coin being thereby more effectually concealed.

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4. The Half-crown dissolved in a Glass of Water. For the purpose of this trick the only special apparatus needed consists of a champagne tumbler and a disc of clear glass, exactly corresponding in size with the internal diameter of the tumbler at bottom. The disc may rest till needed in the right-hand vest-pocket of the performer. In his left coat-tail pocket is placed a small orange, specially prepared. A deep incision is made in one side of it, and in the opening thus made is inserted a fairly old and smooth half-crown, with a cross boldly scratched on one side of it. Upon the table there should also be a plate, a dessert knife, and a carafe of water. While the attention of the company is still occupied by the conclusion of the last trick (verifying the coin, examining the candlestick, and the like), the performer gets from the tail-pocket, and palms, the prepared orange. The presence of the orange in the hand may be masked by holding the wand by one end in the same hand, sloping upwards, with the left hand Figure 10 resting on its opposite end. When the performer professedly catches sight of the orange in the spectator's hair, he steps quickly towards him, and, just as he reaches him, takes the wand in the left hand with a flourish, and, bringing the right hand somewhat behind the victim's head, rolls the orange round his neck to the front. To an expert, confident in his own powers, the position of the person operated upon would be a matter of indifference. A novice, however, will find it advisable to select for the purpose some one seated on the extreme left of the audience (as viewed from his own standpoint), the back of the hand in such case naturally screening the orange from the view of the other spectators till it has been actually produced. Having thus secured the orange, the performer returns with it to his table, holding it at arm's length as if to show "no deception." Just before he reaches his goal, he transfers it to the left hand (the left arm being in turn outstretched), and places it on the plate, the cut side, of course, away from the spectators. During the moment of doing this, the right side of his body is naturally hidden from view, and in that moment he gets from the vest-pocket, and palms in the right hand, the glass disc. This done, and the few lines of appropriate patter delivered, he fills the glass with water, and hands it to some one to hold. He takes the orange, thrusts the knife into it in the cut already made, and hands it, on the knife, to a second spectator at some distance from the first, with a request that he will hold it up above his head, thus placing it out of the reach of inconveniently close scrutiny. The next step is to obtain the loan of a marked half-crown and a handkerchief. In throwing the handkerchief over the coin, he substitutes for the latter the glass disc. There are various ways of effecting this change. The plan I myself prefer is to press the glass disc with the thumb edgewise between the second and third fingers to the back of the hand, as in Fig. 10. The half-crown is then taken between the second finger and thumb of the same hand, and the handkerchief thrown over it with the left; but in the moment of doing so, a halfturn is given to the right hand, bringing the back of the hand uppermost. It is, therefore, the glass disc over which the handkerchief descends, and which is, in reality, nipped with the left hand through the fabric. Another plan is to take the half-crown (with the back of the hand turned towards the spectators) between the thumb and first and second fingers; between which, a little lower down, the glass disc is already resting. The edge of the coin is inserted behind that of the glass disc, which (under cover of the handkerchief) is pushed up by the thumb while the coin is drawn down by the fingers.

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If, as may sometimes happen, the bottom of the glass (inside) is so small as exactly to correspond in diameter with that of a half-crown, the coin and disc may be shown, the one upon the other (the coin, of course, foremost), and the coin withdrawn at the moment when the handkerchief is brought over the disc. Having, by one or the other of the above devices, got the glass disc (professedly the coin) under the handkerchief, the wizard hands it to the holder of the tumbler. He is instructed to hold it just over the water, the performer meanwhile draping the corners of the handkerchief gracefully around the glass. The disc, when dropped into the water, becomes invisible, and if the tumbler is one with a reasonably flat bottom, the water may even be poured back into the carafe, the disc being retained, sucker-fashion, at the bottom of the glass by atmospheric pressure. The performer having, in due course, shown that the coin is completely dissolved, next proceeds to get it back again. This is a very straightforward matter. After pouring a few drops of water over the orange, he invites the holder to cut it open. This is done, and a half-crown (professedly the half-crown) is found embedded in it. The performer calls attention to the mark (ostensibly that made by the lender of the coin, but really his own). The acute reader will doubtless have observed that, before passing it to the actual owner, he wipes it with his pockethandkerchief. In so doing, he exchanges the substitute for the actual borrowed coin, which is then again (and this time correctly) identified.* The reason for preferring a "well-worn" half-crown is twofold. First, because asking the loan of a coin of that description secures a fairly close resemblance to the substitute placed beforehand in the orange; and secondly, because the glass disc, felt through the handkerchief, does not differ from such a coin as it would do from a new one, with the impression of the die in sharp relief. A trifle, truly; but on such “trifles" depends half the effect of magical illusions.

*

As to this portion of the trick, compare Modern Magic, p. 170.

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5. The Inverted Glass of Water. This feat depends upon a scientific principle, namely, atmospheric pressure. The secret lies in the application to the mouth of the tumbler, at the right moment, of a disc of mica exactly covering it. To ensure success, the rim of the tumbler should be ground mathematically flat, and moistened before exhibiting the trick. There are many ways of so disposing the mica disc that it shall be instantly available at the right moment. It will be a useful exercise for the amateur to devise some satisfactory plan for himself. A good enough one, for the present purpose, is to place it in a watch-pocket on the left side of the vest, fairly high up, and covered by the coat, with about one-third of its diameter projecting above the pocket. The disc so placed can readily be got into the right hand, and palmed, a few moments before it is desired to bring it over the glass. The best way of doing this is to cover the glass with the hand which contains the disc, bringing the latter exactly over the mouth; after which the glass may be inverted, and the hand removed. When it is desired again to remove the mica cover, the hand should be placed under the inverted glass, and the latter restored to its natural position. The disc may then be drawn off with a sidelong movement, before inviting some one else to try his skill. The fuller the glass is, the more certain will be the result. If the glass has a good edge, it may even be waved about, mouth downwards, without the smallest fear of a catastrophe.

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KING KOKO 6. Producing Sweets from a Pocket-handkerchief.

Figure 12 Figure 11

For the production of this pretty effect, the performer must provide himself with a little white muslin bag, of the form shown in Figs. 11 and 12; the one representing the bag open and empty, the other "loaded," and closed for use. The "bag" is, in truth, two bags, conical in shape, sewn back to back, and each capable of being closed at pleasure by folding back a triangular flap (equal in length to that of the bag itself), and securing it by hitching a ring, attached to its outer angle, over a little hook sewn to the bag near its apex. A somewhat larger hook, just above, serves to suspend the bag, mouth downwards, behind any convenient object. If the bag be picked up by its extreme point, and such point then inclined a little to the one side or the other, the point of the lower hook on that side is naturally depressed. The ring slips off it; the mouth of the bag on that side opens, and the contents fall out. For the purpose of the present trick, one side of the double bag is filled with bonbons (say, burnt almonds or chocolate creams, with a few sweets of smaller size), and in the other is placed a small raw onion. The bag, thus "loaded," is concealed behind the "drawer-box" (which is placed upon the table in readiness for a later trick), with the upper hook resting on its hinder edge. A plate should be beside it on the table.* To show the trick, the operator throws the borrowed handkerchief over the drawer-box, about one-third of it hanging down behind the box, while he shows that the plate is merely a plate, and has nothing in it. These facts are self-evident, but the calling attention to them serves as an excuse for the momentary laying down of the handkerchief. It has a secondary motive, in the fact that an audience which has been repeatedly invited to examine objects as to which there is nothing whatever to find out, gradually begins to take it for granted that all the performer's belongings are of the same innocent character, and is the less disposed to inconvenient curiosity on occasions when he would rather avoid close inspection. Having exhibited the plate, the conjurer steps back to his table, and picks up the handkerchief by its central portion, allowing the four corners to hang down. As a matter of fact, he takes care to nip it just at the point where the handkerchief comes over the hook, so as to bring away the double bag within it. When he desires to manifest the sweet-producing quality of the Princess's breath, he has only to tilt the hook on the proper side a little; whereupon the bag opens, and a shower of bonbons falls out on the plate. By bending the apex of the bag, still within the handkerchief, in the contrary direction, the other side is opened, and the onion makes its appearance.

*

If the drawer-box (or some similar piece of apparatus) is not available, the amateur may substitute for it, for the above purpose, a pile of two or three books, laid one upon another. This forms a very convenient screen for small objects, inasmuch as it may be adjusted to any height most suitable.

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While the attention of the company is attracted to this last phenomenon, it is an easy matter for the operator to smuggle away the tell-tale bag.

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KING KOKO 7. The Broken Fan restored.

Figure 13

Figure 14

This curious effect (which is extremely marvellous to the uninitiated) is a very simple matter, so far as the performer is concerned. It is produced by a peculiarity (almost impossible to explain in writing) in the construction of the fan. The tapes by which it is held together are so arranged that, if it is opened one way (say, from left to right), it falls apart, as in Fig. I3. If opened in the opposite direction, from right to left, it forms a complete fan, as in Fig. 14, and may be used accordingly. It is not, however, advisable to allow it to be handled, as a chance opening in the wrong direction would again reduce it to a graceful ruin.

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8. The Magical Production of Flowers. This very pretty trick depends upon the skilful use of a number of "spring" flowers. These are not, however, the ordinary "flowers that bloom in the spring, tra la!" but flowers with petals of silk or paper; so arranged, upon a delicate V spring at the centre of each, as to fold flat under pressure, again expanding to their normal dimensions the moment such pressure is removed.* They are made in various shapes, qualities, and sizes, and at various prices, ranging from four shillings and sixpence per hundred to one shilling or more per dozen. For the first stage of the present trick the cheaper flowers will answer the purpose well enough, but in the second an admixture of the better kind, to be offered for closer inspection, adds to the effect. We will suppose that the performer has provided himself with a hundred or so of the cheaper flowers, and three or four dozen of the more elaborate. There will be found at the conjuring depots various wire clips and other contrivances for holding a number of them in a compressed condition till needed. A simple and Figure 15 effective "fake " for the present purpose may be made of a couple of discs of cardboard, each about two and a half inches in diameter, with a shallow notch on each side, as depicted in Fig. 15. To one surface of each is pasted one of the "spring" flowers in its expanded condition, and to the other a similar flower, but without spring, and pasted down flat. The two discs are held together, with the expansible flowers inwards, by a rubber band, and between them are packed a goodly number of the loose "spring" flowers. These, carefully arranged, lie so closely that a hundred, or nearly, may be packed between such a pair of discs as above mentioned. One such packet, containing about eighty of the cheaper class of flowers, is bestowed under the performer's vest on the left side. The other packet should have a little addition, in the shape of a bit of thin wire, passed through the rubber ring, and formed into a loop large enough to admit the thumb. This second packet is placed just inside the front of the vest, also on the left side, the wire loop being nearest the opening, and so placed that the performer can find it instantly by feel, without using the eyes to look for it. The method of introduction into the paper cone is as follows: The remark which the performer professes to overhear, to the effect that he has put something into the bag, is imaginary, but has the effect of creating an opportunity for his really doing so a few moments later. He first shows the left hand, empty. He then calls attention to the inside of the bag, held in the right hand. While all eyes are drawn in that direction, he secures in the left hand, and palms, the packet from under the vest. As he now wants to show the right hand empty, it is but natural for him to take the bag in the left hand, and this he does by grasping it at the mouth, with the fingers inside. When the lady has "breathed" as requested, he re-transfers the bag to the right hand, which grasps it by the opposite end. In making the transfer, he makes a half-turn to the right (the bag in this position screening the fingers of the left hand), and under cover of this double movement lets the packet of flowers slide down to the bottom. In picking out the first two or three specimens, he so arranges the packet within the bag that the right hand, grasping it outside, shall be able to exert a pressure on the outer edges of the cardboard discs, at opposite ends of the rubber band. This forces the discs apart in the centre, releasing the flowers, and causing them to well out into the bag, as described. The second "load" is introduced in the act of forming the bag for the second time. While holding the paper outspread before him with both hands, the performer introduces the right *

Compare More Magic, p. 390.

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thumb within the wire loop, draws out the packet, and forms the paper into a cone around it. This will present no difficulty after a little practice. From this point the production of the flowers runs upon the same lines as that of the first packet. The object of pasting flowers on each side of the two cardboard discs is, as the reader will doubtless have surmised, that they may, if accidentally caught sight of among the flowers after production, appear to be themselves merely flowers like the rest, and so excite no suspicion as to their real purpose.

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9. Reducing a Handkerchief to Lilliputian Dimensions. The successive diminutions in size of the borrowed handkerchief are effected by the dexterous use of a little appliance known to conjurers as a "handkerchief-vanisher." Of this there are many forms. One of the most suitable for the present purpose is as illustrated in Fig. 16. It consists of a tube of brass or thin copper, tapering to a point at one end. It is divided vertically into two compartments, one a little larger than the other, and is japanned, externally, black. In length it may be two and a half, and in diameter one and a half, inches. At the apex of its closed end is a small Figure 16 hole, through which is passed a six-inch length of black silk cord, secured on the inside by a knot. The opposite end of this cord is secured to a piece of elastic, passing up the left sleeve. This, again, is attached to the outside of the vest (by means of a loop sewn on for that purpose) between the shoulders, and is of such a length that, when the arm hangs down by the side, the tube shall rest within the sleeve, about four inches above the wrist.* For the purpose of the trick I am describing, the smaller compartment of the tube is "loaded" with a white handkerchief of fine texture and about nine inches square, to one corner of which is attached a still smaller handkerchief, three inches square. This latter is folded accordion-fashion, in three pleats one way, and then three pleats the other way, so as to be, when folded, only one inch square. The means of attachment is a bit of very fine white thread passed with a needle through all the folds, and tied end to end, so as to hold them closely together till the thread is broken. To show the trick, the performer, while exhibiting the borrowed handkerchief hanging down by one corner from his right hand, lets the left hand rest for a moment on his hip. This, by shortening the arm, allows the vanisher to sink down into the left hand, which secures it. The hands are then brought together, and the performer, under pretence of merely rubbing the handkerchief between them, works it gradually into the empty compartment, at the same time bringing into view the nine-inch handkerchief from the other compartment. When the one is fairly in, and the other fairly out, he straightens the arms with a forward thrust, simultaneously relaxing his hold on the vanisher, which forthwith flies up the sleeve. His next step is to spread out the nine-inch handkerchief, keeping the still smaller one on the rear side of it. He then breaks the thread, packs the nine-inch handkerchief into as small a compass as possible, and shows in its place the three-inch handkerchief, duly spread out; this forming, with proper care, an ample cover for the larger one, which is, a little later, dropped into a pocket, or behind some article on the table. There is no real difficulty about the necessary manipulation, but it needs some practice to perform it neatly. In good hands the illusion is perfect. In those of a " duffer," the less said about it the better. The three-inch handkerchief may, a little later, be again exchanged, after a similar fashion, for the borrowed one, which, with a view to such reproduction, should not be packed too tightly into the tube. When it has been reproduced, the performer may, if he pleases, proceed, in accordance with the patter, to make it (apparently) larger. This is done by taking it by two diagonally opposite corners, twisting it rope-wise, and, with much appearance of muscular effort, stretching it longitudinally. The illusion depends upon two points. First, that the diagonal of a square fabric is considerably longer than either of its sides, though in an outspread condition this is not noticed. Secondly, that the performer, at the outset of the trick, in twisting the handkerchief as above, *

As to other suitable forms of the apparatus, see More Magic, p. 220, and Later Magic, p. 242.

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manages (while still leaving the extreme corners visible) to secure a certain amount of "slack," which, in course of the stretching process, he bit by bit releases. The performer should not return the handkerchief in the "stretched" condition, but (professedly out of consideration for the feelings of its owner) again “reduce" it by a little makebelieve compression; then opening it out square, as at first.

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KING KOKO 10. The Magic Travelling Trunk, shown Empty, then Full.

Figure 17

Figure 18

Figure 19

Figure 20

The piece of apparatus which here figures as a travelling trunk, is familiarly known to conjurers as a "drawer-box." Its special quality is that, though actually full, it may be made to appear empty. It is thus available for the magical production, or reproduction, of any article which it is large enough to contain. There are few conjuring appliances which have a wider range of utility, though of late years the prevailing fashion of working with a minimum of visible apparatus has caused the drawer-box to be somewhat neglected. It consists of a drawer working in an outer case (usually of polished walnut or mahogany) just large enough to contain it (Fig. I7). Its dimensions vary according to the size of the articles which it is intended to accommodate, which may range from a live rabbit down to a playing-card. The drawer (Fig. 18) is in two parts, the one working inside the other. The inner one is a complete drawer, save that it has no knob in front. The outer one is a mere "shell," so to speak, having front, sides, and bottom, but no inner end. When this is pulled out, it naturally brings with it the inner portion also; the two appearing as one, and disclosing the contents of the latter. The performer can, however, by pressing a stud underneath the outer case, hold back the inner drawer, in which case the "shell" comes out alone, and the apparatus appears to be empty, though the inner drawer may be actually full. The shell drawer cannot be drawn completely out of the case, as its lack of an inner end would thereby be disclosed; but the drawer is shown empty by turning the whole apparatus on its side towards the audience. To prepare the drawer-box for the trick in hand, the performer first "loads" the bottom of the genuine drawer with one or more paper "coils." These, which are not unlike the coils used for the telegraphic "tape" machine, may be had in different sizes, ranging in diameter from three

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inches upwards, and in a variety of colours. Two or more of these, according to size, are packed into the bottom of the inner drawer, so tightly that it can be turned upside down without their falling out; and so, apparently, proved empty. Upon these may be laid small tablets of chocolate, bon-bons, etc., for distribution, all closely packed, and on these, again, a few articles of doll's under-linen, suitable to a doll of, say, ten inches in height. The last-mentioned articles are first produced from the drawer, and the bonbons distributed among the juveniles. The drawer is then (apparently) proved empty by turning it upside down (taking due precaution against allowing the spectators to see the inside), after which it is replaced in the case, closed, and again opened. The performer then, getting hold of the inner end of one of the coils, begins to draw it out, professedly as one of the Princess's ribbons. After the first two or three yards have been produced, he inserts the end of his wand in one of the loops thereby formed, and draws the paper out by moving the wand rapidly round and round in vertical circles. One or two coils so developed make a tremendous show of paper; so much so, indeed, that it seems, to the uninitiated, incredible that such a quantity could ever have been contained in the drawer. There is a variety of the drawer-box, as illustrated in Figs. 19 and 20, known as the "dissecting" drawer-box. In this form of the apparatus the top, sides, and bottom of the outer case are hinged to the hinder end, and may be opened out, as shown in Fig. 20, after the drawer is completely emptied, to prove that there is no possible place for the further concealment of any article. And yet, when the case is put together again, and the drawer reinserted, it is found to be again filled, say, with picture-postcards, as indicated in the story. The secret here lies in the fact that the upper part of the case is not flat, but shaped like the lid of a sarcophagus, and hollow. It is closed on the under side by a thin wooden panel, which, if the drawer be pushed smartly home after a particular fashion, is released, and drops into the drawer (the bottom of which it just covers) with all that may have been packed above it.

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11. Calling Cards from the Pack. This is a simplified version of a trick familiar to conjurers under the name of "the rising cards." It is worked after various fashions, some of them rather complicated. In the present case the procedure is very simple. The only requirements are a pack of cards, a tumbler (with perpendicular sides) large enough to contain them in an upright position, and about a yard and a half of fine black thread. To prepare for the trick, a notch, a quarter of an inch deep, is made midway in one end of any indifferent card. A knot is formed on one end of the thread, which is then forced down into the notch; the knot (drawn close up to it) resting against the face of the card. The card thus prepared is placed, notch up-wards, in the middle of the pack, the thread passing over the upper ends of the cards which may be behind it. The two cards destined subsequently to appear are then forced down into the hinder half of the pack, in such manner as to carry down with them a portion of the slack of the thread. The knave is first inserted, and then, a little farther back, the queen. The effect of this arrangement is that if the pack be held in an upright position, and the thread pulled, the two cards will be forced upwards, first the queen (being the hindermost), and then the knave. The necessary support for the pack is obtained by placing it, as described, in a tumbler (preferably one with a foot), wherein it of necessity stands upright. It only remains to discover a way to pull the thread unperceived and unsuspected by the spectators. There are many ways of effecting this object. In the present case, the following will be found as good as any. Into the hinder edge of the table-top, just behind the position of the glass when in use, fix a tiny brass or iron screw-eye. Lay the pack, prepared as above, face down on the table near the glass, and pass the thread through the screw-eye. To its free end attach a little ring of blackened wire, the smaller the better. Lay this on the hinder corner of the table, at the side at which you pro-pose to stand when working the trick, and arrange the slack of the thread in a zigzag between this and the glass, in such manner that it cannot be fouled by anything upon the table. The only other requirement will be to have sewn to the seam of your trouser-leg, on the side which in working will be nearest to the table, and at the level of the finger-tips when the arm hangs straight down, a lady's dress-hook, with the opening upwards. This also should be black, and of the smallest size procurable. At the appropriate moment, the performer, standing, we will suppose, at the right-hand side of the table (as viewed by the spectators), steps up to it, and with the left hand picks up the pack of cards, and drops it (thread end uppermost) into the glass. This should be done deliberately and daintily, the pack being picked up with finger and thumb only, as if to emphasize the fact that there is "no deception" in the matter. Meanwhile, the right hand picks up the little ring, and slips it over the hook. The performer now steps aside to the full length of the thread. The hands should be elevated and held apart at arm's length, as a sort of tacit proof that they take no part in causing the effect which follows. The magic wand, held in the right hand, is then waved over the glass, the performer at the same moment slowly making a half turn, so as to bring his left side forward, and his right to the rear. This movement produces the necessary "pull" upon the thread, and causes the two cards to rise in succession. An alternative plan is, after waving the wand above the glass as above described, to let the arm fall to the side, when the pressure of the wand upon the thread produces the necessary pull. The two cards having appeared, the performer, while delivering the bit of "patter" as to "how it's done," lifts the ring off the little hook, and lets it fall, with the thread, on the floor. He then steps up to the table, and, grasping the glass with the left hand, takes out the pack with the right; in so doing freeing the knotted end of the thread from the notch in the card. This operation, by the way, may be facilitated by forming the knot round a tiny black bead; this being more

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readily scraped out with the finger-nail than the knot only. The glass and cards are then handed for examination, but, of course, tell no tales.

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KING KOKO 12. A Card made to pass from one Place to Another.

Figure 21

Figure 22

Figure 23

This effect is purely mechanical, demanding from the story-teller practically nothing save the possession of the two needful pieces of apparatus. Of these, the first (Fig. 21) is a miniature table, of nickelled brass, standing usually three or three and a half inches high. The table-top is circular, about four inches in diameter, and has its outer edge turned down about a quarter of an inch all round. To this is adapted a second top, of thin brass or tin, in appearance precisely similar, and fitting loosely over the first. A lid or cover, so arranged as to fit tightly over the false top, completes the apparatus. For the present purpose, the little table is prepared by laying a spare queen of hearts and knave of hearts on the true table-top, and covering them with the false top. At the right moment, the queen of hearts which has just risen from the pack is laid upon the false top, and the cover over all. When this is again removed, it carries with it the false top, and the two cards lying on the true top are revealed. Of the second piece of apparatus, the "card-box," wherein the knave of hearts is placed, and whence that card vanishes in order to rejoin the queen of hearts on the little table, there are several varieties. The simplest (see Fig. 22) is a little flat box, of walnut or mahogany, just large enough in point of length and breadth to contain a playing-card; say, four inches by three, and one inch in depth. It consists of two equal sections, hinged together, and as both are polished all over, either may in turn be regarded as box or lid, according as the one or the other happens to be uppermost. With the box is used, unknown to the spectators, a thin slab of wood, a, fitting loosely within it, and corresponding in grain and general appearance with its internal surface. The box, it should be mentioned, is so hinged that it opens out flat, like a book. To "vanish" the card, the performer opens the box out flat, as above mentioned, the loose slab naturally remaining in the side which was previously undermost. He places the card, not in this, but in the opposite side, and then closes the box by turning over the side holding the slab, which is thus brought uppermost. The slab naturally falls into the new lower side, and when the

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box is again opened, the card has vanished, being covered by the slab. The same effect may, if preferred, be produced by laying the card upon the slab, folding down the unoccupied side upon it, and turning the box over afterwards. A more elaborate form of "card-box" is shown in section in Fig. 23. The moveable flap is in this case not detached, but is pivoted against the hinder corners of the bottom. The tension of a spring causes it to lie normally against the back of the box; but it may be folded down flat on the bottom, and secured in that position by a little catch. The act of closing the box, however, withdraws the catch; whereupon the flap flies up again to a perpendicular position, concealing between itself and the back any card previously laid upon it.

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13. The Rising Ball. This is a very ingenious piece of apparatus, and its performance is extremely puzzling to the uninitiated, though, as a test of character, it is perhaps scarcely to be implicitly relied on. An examination of the accompanying sectional diagram (Fig. 24) will afford a clue to its secret. It will be observed that the cord which, to outward appearance, passes straight through the ball, does not actually do so, being, in fact, two independent cords. The ball, which is about four inches in diameter, contains a double pulley-wheel, working on an axis at right angles to the course of the cord. Each wheel has a deep flange, but the periphery Figure 24 of the one is more than double that of the other. The cord passing out at the top is coiled on the smaller wheel, to which its inner end is secured. The cord which passes out at the bottom is in like manner attached to, and coiled round, the larger wheel. If the upper cord be held in the hand, and the lower one left slack, the ball runs down, unwinding the cord from the smaller, and coiling it on the larger wheel. But if, with the ball in the same position, a pull is simultaneously applied to both cords, the result is different. The one cord being coiled on a small wheel, and the other on a large one, the latter, from its greater leverage, gets the mastery. The cord on the large wheel is unwound, thereby winding up the cord on the small wheel. The upper cord being thus shortened, the ball is compelled to rise. There are tassels, of slightly different pattern, at the opposite ends of the cord. This little distinction, though not marked enough to be noticed by outsiders, enables the performer to make sure of having the ball right side uppermost. The best way of exhibiting it is to hold the upper cord in one hand, and then pull upon the lower with the other. If any sceptical spectator should desire to try his skill, the ball is handed to him wrong side up, when he might pull till doomsday without inducing it to rise.

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KING KOKO 14. The Magic Mirror.

This trick rests upon a novel use of a piece of apparatus designed for a quite different purpose. The apparatus in question is known as a "sand frame," and its ordinary function is to cause the appearance of a playing-card or carte-de-visite under the glass, in place of the plain background previously shown. In size it is usually about six inches by four and a half, and in appearance like an empty photograph frame; the space for the photo being filled up with what is taken to be rough grey or brown paper. As a matter of fact, however, what is really seen is a thin layer of grey or brown sand. The supposed "glass" is in reality two glasses; and the sand, when the frame is placed in a certain position, lies between them. There is, however, a hollow space within what we will call, for the sake of distinction, the upper end of the frame (both are exactly alike in appearance); and if the frame be reversed, so as to bring this end undermost, the sand runs away into such space, revealing a card or picture previously inserted behind the inner glass. There is an opening at the back, closed by a small door, to allow of such insertion. The frame is first shown with the sand between the two glasses, and therefore, to all appearance, empty. After some appropriate "patter," it is placed, upright, with its back to the company, or with its face covered with a handkerchief. In so placing it, the performer inverts it, when the sand at once begins to trickle away into the secret cavity, and the card or other object previously inserted under the double glass becomes visible. For the purpose of the present trick, the performer writes, in a very rough way, on a piece of grey or brown paper corresponding in tint with the sand used, the words "All wil be wel," and inserts this behind the glass. The frame is in this case turned over in the hand, and the movement of the fan masks the gradual disappearance of the sand. This is a more artistic method than covering the frame, after the usual fashion, with a handkerchief. Should this particular item not be included in the programme, the sand frame may (if preferred) be utilized in place of the slate for the purpose of the concluding trick.

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15. Proving that Six and Five are Thirteen. This, again, is an effect produced by purely mechanical means. One of the plates used is a "faked" article, having a double bottom, and between the two surfaces a flat tube, closed at one end, and just wide and deep enough to admit a shilling. Two such coins are placed beforehand in this tube. The six coins are counted out on the plate, which a spectator is then asked to hold in front of him with both hands, the performer taking care so to hand it to him that the opening of the tube shall be at the point farthest from his (the assistant's) body. At the appropriate moment, he is brought face to face with the holder of the second plate, and is asked to pour the six coins upon it. He naturally does so by tilting the plate in a forward direction, when the concealed coins slip out of the tube, and join company with the remainder.

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16. The Separated Sand. There are two methods of performing this trick. The first is to prepare the sand, each colour separately, by heating it in a frying-pan over a fire, till it is hot enough to just "brown" a card thrust into it, and then stirring well into it a small quantity of tallow or mutton suet. This must be done so thoroughly that each grain participates in the water-proofing operation. Sand so treated, unlike unprepared sand, has the quality of "binding." If pressed together, it will form a solid mass which will remain under water for some little time without disintegration, and may be taken out again still cohering, though a rubbing movement of the fingers instantly reduces it to its original condition of dry sand, its appearance not being at all altered by the treatment it has undergone. Sand thus prepared may be procured, ready for use, at any good conjuring depot. This is the clue to the trick. The two paper bags exhibited each contain, in addition to the loose sand, a lump of prepared sand of the same colour. When about to show the trick, the performer dips his hand into one of the bags, brings out a handful of the sand, and lets it run down on to one of the plates. He takes a handful in like manner from the second bag, and pours it on the other plate. The contents of both plates are then poured into the water, but these are scarcely sufficient for his purpose. He therefore adds a few more handfuls from each bag, and in course of so doing allows the two masses of prepared sand to slip down into the water, which he stirs with his hand, so as to make it muddy, and prevent the lumps being seen at the bottom. At the proper moment he dips his hand in, secures one of the lumps, and after giving it a gentle squeeze to get rid of any water that may adhere to the outer surface, crumbles it over a plate, and shows it dry. The alternative and preferable method (the invention, I believe, of Mr. Charles Bertram) is to wrap up a handful of unprepared sand, of each colour, in a piece of goldbeater's skin or waterproof paper. The operator twists the top round once or twice, and ties it tightly with a piece of thin twine. He then cuts off any superfluous material with a pair of scissors, and makes the opening watertight with sealing-wax. This also serves, by its colour, to denote that of the sand within. The appropriate packets are placed in the bags containing the loose sand of corresponding colour, and the trick is from this point worked after the same fashion as already described. The wrappers break under the pressure of the fingers; and when they have delivered up their contents are returned, under pretext of rinsing the fingers, to the basin, where they sink to the bottom. There is a more elaborate form of the trick, in which sand of several different colours is used; the sand being dyed to the requisite tints. For the present purpose, ordinary silver sand and brown sand will afford a sufficient contrast.

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17. The Die which passes from one Place to Another.

Figure 25

Any reader who has ever dabbled in conjuring, even to the most limited extent, is pretty sure to be familiar with the "die" trick in its ancient form; but, for the benefit of those less instructed, I will briefly describe it. The apparatus consists of three parts; a solid wooden die, usually painted black, with white spots (as a in Fig. 25); a shell die, of tin or cardboard, passing over the solid one and exactly like it, and a pasteboard cover, more or less ornamental in appearance, fitting easily over the shell die. The relative proportions of the two latter items are so adjusted that if the outer case, when passed over the shell, is lifted with pressure, it brings the shell with it; but if without pressure, it comes away alone. In working the trick, the performer first calls attention to the wooden die, handing it carelessly for examination, that there may be no doubt of its solidity. Taking it back again, he remarks, "And here I have a cover just fitting over it." As if merely suiting the action to the word, he passes the cover, containing the shell die, over the solid one, and immediately lifts it off again, leaving the shell die behind, and hands the cover for examination. The solid die and shell are naturally taken to be the former only. Borrowing two hats, he remarks, "I am going to pass this die, which, as you see, is pretty solid, through the crown of one hat into the other." At the words "pretty solid," he drops die and shell together into one of the hats, the resulting "thud" serving as an indirect proof of the solidity which he claims. He then takes out again, apparently the die just dropped in, but in reality the shell only, keeping its open end away from view. Inverting the second hat on the first, he places the shell, open side down, on the crown of the former, and passes the cover over it. When he again lifts the cover, which he does with a little gentle pressure, the shell is lifted within it, the two (as one) being shown empty and the wand rattled within, while the solid die, ostensibly the one just seen, is found to have “passed" into the hat. The trick in the above form is one which every schoolboy knows, and which the mildest of amateurs, even in an Eton jacket, would hardly venture to exhibit. But, in the improved shape which I am about to describe, it is a really excellent trick, and will puzzle those who are acquainted with the old method quite as much as those who know nothing whatever about it. The solid die, a (Fig. 25), is identical with that of the old version, but instead of the cubical "cover," a square pasteboard tube, c, fitting loosely over the die, and in length just double that of one of its sides, is used. One end of this, the uppermost in use, has the edge slightly turned in all round. The "shell" die is retained, but with a difference. The side opposite the open end is not a fixture, but is attached, by means of a cloth hinge, to the side which in use is kept to the rear; forming the "lid " to a sort of bottomless box, as b in the same figure. If it is picked up,

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within the cover, with the hinged edge to the rear, and the cover is then tilted back into a horizontal position, the "lid" falls back, and lies flat along the hinder side of the cover, which in such condition may be seen right through, proving, apparently, to the most sceptical person, that it is absolutely empty. With the aid of this ingenious piece of apparatus, the required proof that the die is in two places at the same time becomes a comparatively easy matter. The cover is first shown, the "shell," with "lid" closed, being at that stage on the solid die. The cover is then passed over the die, as if merely to show what it is meant for, and lifted off again with the shell within it, the solid die being then in turn handed for inspection. The trick is now practically done. The solid die is placed under the hat representing the royal crown. The cover, first shown horizontally, "end on" to the spectators, and further proved empty by passing the wand in at one end and out at the other, is then placed upright on the table. The "lid" of the shell naturally falls; and when the cover is again lifted, without pressure, the shell (to all appearance the solid die) is exposed to view. The performer, again covering it and lifting the hat, shows that he has fulfilled his undertaking. The die was clearly in two places at the same time. Having done this, he reveals (professedly) "how it was done" by again lifting the cover (with a little pressure and a backward tilt), and showing that the die has made its escape from it.

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18. The Rainbow Water. The requirements for this feat are a carafe of water, duly prepared, six wine-glasses on a tray, and a small glass funnel. To prepare the carafe, the performer must provide himself with aniline dyes (in powder) of six different colours; say, crimson, blue, violet, orange, scarlet, and green. Mixing glycerine and water in equal proportions, he moistens therewith a minute quantity of each of the colours, rubbing it down to the consistency of cream. We will regard the glasses as being numbered, according to their order on the tray, 1, 2, 3, 4, 5, and 6. Of these, Nos. 1, 5, and 6 are left unprepared, but the other three each have at bottom a little dab of one of Figure 26 the pigments, crimson in No. 2, blue in No. 3, and violet in No. 4. Similar little dabs are applied to the lip of the carafe (see Fig. 26), orange at the point a, scarlet at b, and green at c. The opposite side, d, of the lip is left open. With this preliminary explanation, the working of the trick will present little difficulty. In filling glasses 1, 2, 3, 4 (as also in the preceding tricks if the same water is used for them), the performer takes care so to hold the carafe that the water shall pass out over the unprepared side, d, of the neck. The natural result is that the water in glass No. 1 remains clear, while that in Nos. 2, 3, and 4, dissolving the pigment therein, becomes crimson, blue, and violet respectively. After pouring back the water in glass No. 1 (which he does by means of the funnel), he fills the same glass again, but this time pours the water out over the point a, thus producing orange colour. By pouring out over b and c respectively, he produces scarlet and green in the two remaining glasses. The addition of a little whisky or rectified spirit to the water, in the proportion of about one part in eight, is recommended as tending to make the colours dissolve more quickly.

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19-20. The Mysterious Addition. This trick is really two tricks in one, consisting of (1) the discovery of the total of the three numbers, and (2) the production of such total, in a magical way, upon the slate. It will be convenient to discuss them separately. It is humiliating to have to confess it, but the performer, even with the assistance of any number of fairy godmothers, is wholly unable to discover the total of the three numbers written down by the three spectators. What he actually does is to disclose the total of three numbers previously written down by himself. Each such number, of three figures, is written in pencil on a card, the size of a gentleman's visiting-card, in a different style; say, one bold and heavy, one faint and scratchy, and the third in rather minute characters. We will suppose that the numbers decided upon are 730, 551; and 304, making, it will be observed, a total of 1585. Each card is folded in half, and the three are placed in a small envelope, about an inch and a half square, such as is frequently used , in shops to enclose the customer's " change." This the performer may place on his table, or a side table; with a second envelope, of similar appearance, but empty, laid upon the top of it. Close beside these should be laid three blank cards to correspond, and three pencils. When he proposes to show the trick, the performer picks up with the left hand the pencils and the three cards, and with the right the two envelopes (as one); the prepared one, which was undermost, coming naturally next to the fingers. By means of a little manipulation, which the novice will readily discover for himself upon experiment, the prepared envelope may be drawn back so as to rest inside the hand, against the second joints of the second and third fingers, in which position it is an easy matter to keep it concealed from the spectators. The pencils and cards are distributed, and three numbers, each of three figures, duly written. The cards, folded in half, are placed in the empty envelope. The performer then asks who will represent the Grand Panjandrum, and add up the figures. While waiting for some one to volunteer, he holds up the envelope just received between the fingers and thumbs of both hands, in so doing getting the envelope containing the known numbers in front of the other, which is then pushed by the left thumb into the right hand, in the position previously occupied by the prepared one. The envelopes are thus "changed," and it is the numbers on the cards in the latter which are really added up. The second portion of the trick consists of the revelation of the sham total, by producing it upon the apparently clean slate. There are many ways of doing this, and I must content myself with describing two of them, one with a prepared, and one with an ordinary, slate.* The "slate" used for this purpose is generally not made of slate at all, but of carbonized mill-board, on which a slate-pencil writes with equal facility, and which is very much thinner and lighter than slate itself. The use of this material excites no suspicion, inasmuch as what are known as "memorandum" and "book" slates are habitually made of it. The trick slate in its simplest form consists of a slab of this material; framed in the usual way, with a loose slab to correspond lying over it within the frame, and so covering over any writing which may be upon it. Both of the visible surfaces may be cleaned as freely as the performer pleases; after which, by getting rid of the loose slab, he can expose the hidden writing. The problem is how to do this without the knowledge of the spectators. To that end, the inner surface of the loose slab is sometimes covered with the same material as that of the tablecover, on which it may therefore be allowed to slip out, without attracting observation. Another *

For further information on this subject, the reader is referred to an excellent little work by Mr. W. E. Robinson, Spirit Slate Writing and Kindred Phenomena. London: Sampson Low, Marston & Co.; New York: Munn & Co.

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plan is to have the inner surface covered with a piece cut from a newspaper, and to lay the slate on a similar newspaper when showing the trick. A neater method, and one which I should recommend for the present purpose, is to use a "book" slate, with a loose slab, dropping from the one side into the other when the slate is closed, after the fashion of the card-box described at p. 102. With a little care in manufacture, such a slate may be so adjusted that it can be handed round among the audience after the disclosure of the figures. To that end, each of the inner edges of the frame on each side is slightly chamfered, but not to quite the same extent. In the one side (that on which the word or number to be produced is written) the moveable slab should fit quite loosely. In the opposite side, on the other hand, it should, when pressed home, fit tightly; so much so, that to get it out again, it must be prised out with the point of a table-knife. The working of the trick will now be pretty obvious. The total (in this case, 1585) is written on what I may call the more open side of the slate, and the moveable slab inserted over it. The performer cleans the visible surfaces. He then closes the "book" in such manner that the side which held the loose slab shall be uppermost, and lays it on the table or floor. When he again picks it up, and opens it, the loose slab has fallen into the opposite side, and the writing is exposed. A quick downward pressure with the thumbs forces the loose slab home in its new quarters, when the slate may be passed round for inspection, without any fear of its telling tales. My own method of working the slate trick in a case of this kind is a good deal more audacious, but by no means difficult, if the performer's nerve is to be relied on. I have a sort of tailor's thimble (my own is of boxwood, but metal or celluloid would probably be the better material), in the front portion of which (i.e. that covering the ball of the thumb) a little piece of French chalk is set, like the stone of a ring. This rests, till needed, mouth upwards, in the right vest-pocket, pushed well up against the inner corner, in which position it can be instantly secured by dipping the tip of the thumb into the pocket. By then slightly bending the thumb, it is brought inside the hand, and out of sight. The trick is in this case worked with an ordinary school slate, of small size. After cleaning this on both sides with a damp cloth, I take it upright in the left hand, and show one side to the company; then transfer it to the opposite hand, which has meanwhile secured the "thimble," and show the opposite side in like manner. While the slate is thus held, in an upright position, by the fingers of the right hand, the thumb writes the desired figures on the hinder side; the French chalk making no sound. The slate is then thrown down with this side downwards. When it is in due course picked up again, the writing is revealed. Whichever method of working be adopted, the performer will do well to take back the three "faked" cards from the Grand Panjandrum at the first opportunity, as, if they got into wrong hands, it might be discovered that the numbers on them were not those actually written by the spectators.

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APPENDIX LIST OF APPARATUS NECESSARY FOR THE PERFORMANCE OF THE TRICKS ABOVE DESCRIBED. 1. The Flower to appear in the Buttonhole.-This may either be home-made, or purchased at a conjuring depot, the price ranging from sixpence to a shilling. 2. The Self-supporting Wand.-A hollow wooden wand, specially adapted for the purpose of this trick, but also available for general use, will cost from 2s. upwards, or, complete with brass weight, from 3s. 6d. 3. Coin melted in Candle.-The only special requirement in this case is a bit of tinfoil three or four inches square, crushed into a ball about five-eighths of an inch in diameter. Any candlestick may be used but for the reason stated in the text, one with a slender stem is preferable. 4. The Half-crown melted in a Glass of Water.-The champagne tumbler for this trick, with glass disc complete, may be bought from nine-pence upwards, or the disc alone for sixpence. The bottom of the tumbler, inside, should be as flat as possible, and the disc should exactly fit it. 5. The Inverted Glass of Water.-A half-pint tumbler, with mica cover, for this trick, is sold at 1s. 6d. A better plan, however, in this particular case, is to adapt a disc of thin mica to the same glass which is used for the purpose of the preceding trick. A sheet of mica may be trimmed to any shape desired with a pair of scissors. A glass disc, with a rebate round the edge, so that it fits, to an infinitesimal extent, inside the tumbler, is preferred by many performers. The apparatus in this shape costs 4s. 6. Sweets from Pocket-handkerchief.-The muslin bag for this trick may very well be home-made. If purchased at a conjuring depot, its cost will be about 1s. 6d. 7. The Broken Fan restored.-The special fan used in this case may be purchased for 2s. 6d., or of more elegant pattern, and more highly finished, for 4s. 6d. 8. The Magical Production of Flowers.-The prices of the flowers used vary very widely, according to material, finish, and size. Paper flowers, of fair quality, may be bought from 4s. 6d. to 8s. per hundred. With surrounding leaves of silk, and of more artistic character, they cost 10s. per hundred. The paper used to form the bag is ordinary "cartridge." 9. The Reduced Pocket-handkerchief.-The particular form of "vanisher" described in the text should be procurable for about 2s. Other forms range from 2s. 3d. to 4s. 6d. The miniature handkerchiefs used in the trick (measuring nine inches and three inches respectively) may be home-made. The material should be a very fine cambric. 10. The Magic Travelling Trunk.-The "drawer-box" (the technical name of the piece of apparatus which in this case figures under the above title) is manufactured in many different shapes and sizes, and with wide differences of material and finish. A drawer-box, sufficiently large for use as described in the text, may be purchased from 5s., or even less, to a guinea, at which latter price a large and handsome box, of polished walnut or mahogany, can be obtained. If, however, the performer desires to exhibit the final and most startling effect (taking the box apart, and yet making a further production from it) he must use the form known as the "dissecting" drawer-box. This is a much more elaborate affair, and costs usually a couple of guineas.

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The coils of paper, which can only be procured at a conjuring depot, are priced according to size. The smallest, which are three inches in diameter and half an inch thick, cost twopence each, or 1s. 6d. per dozen. Coils 5-1/2 inches in diameter cost four-pence each, or 3s. 6d. per dozen. Seven inch-coils, white, are 4s. per dozen; coloured, 7s. per dozen. The coils used should be of such a size as to fit, either laid singly or side by side, tightly within the bottom of the drawer. If, as purchased, they are too large, they may be reduced in size by winding off and removing a few yards from the outside. The doll's clothing may be procured at any toy shop. Messrs. Hamley supply it at 3s. 6d. per set. 11. Calling Cards from the Pack.-The only requirements for the above trick are an ordinary pack of cards, a piece of black silk thread, with ring (and hook fixed to receive it) as described in the text, and a tumbler to contain the cards. To be suitable for its purpose, the tumbler must have perpendicular sides, and be of such internal diameter as to accommodate the cards comfortably, without binding. The trick is more effective if the cards are made to rise from a glass with a foot. Handsome goblets, of heavy make, specially adapted for this trick, are sold at 5s. each. Silk thread, 4d. per reel. 12. A Card made to pass from one Place to Another.-The little "card-table," made of polished brass, costs 3s. Larger size, 4s. The "card-box," in the simpler form described at page 102, costs, usually, 1s. 6d. In more elaborate forms, it ranges from 3s. to 15s. 13. The Rising Ball.-This ball costs, 1-1/2 inches in diameter, 5s. Larger sizes, for stage use, 8s. 6d. 14. The Magic Mirror.-The "sand frame," which figures in the text under the above title, may be purchased from 2s. upwards. 15. Proving that Six and Five are Thirteen.-The piece of apparatus here used may either take the form of a metal tray, purchaseable from 1s. 6d. to 6s. 6d., or a china plate, costing 2s. to 3s., according to size and pattern. The plate is, in my own opinion, to be preferred. 16. The Separated Sand,-The preparation of the sand, for use in the method first described, is rather a troublesome and disagreeable process. Readers who prefer to avoid it may purchase coloured sand, loose, at 25. per quart; and blocks to match, for breaking up in the hand, 3d. each. I am not aware that any price is quoted by the depots for sand done up in waterproof packets, as described in the second method. 17. The Travelling Die.-The improved die described in the text may be had for 5s. A larger size, suitable for stage use, costs 10s. 6d. 18. The Rainbow Water.-A sufficient supply of aniline dyes, in powder, for several performances, may be purchased of any chemist or oilman for 6d. They are sold in glass tubes at 1d. each. 19-20.-The Mysterious Addition and Slate-writing.-The main requirement in this case is the trick slate. A single slate adapted for the purpose will cost about 2s., and a double or book slate about 4s. 6d. The cards and square envelopes may be procured of any stationer for a few pence. The “thumb-ring" used in the alternative form of the trick is not a stock piece of apparatus; but I should think 2s. 6d. would be a reasonable price for it. The figures above given, which should be regarded as approximate only, have been obtained by comparison of the prices quoted by various dealers. Any reader desiring more

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precise information cannot do better than procure the illustrated catalogue of Messrs. Hamley Brothers, 231, High Holborn, W.C. Messrs. Hamley are the largest London makers, and their prices may be regarded as representing standard rates for apparatus of satisfactory quality.

THE END PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.