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PREFACE
PREFACE
The tricks described in the following pages are of my own invention, and for the most part are entirely new departures: not only the effects produced, but the appliances by means of which they are produced, being original. From the nature of the case, it follows that few of the items described have been submitted to the supreme test of performance in public, but all have been thoroughly thought out; most of the root-ideas having in fact been simmering in my mind for more than two years past. One
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LATEST MAGIC
LATEST MAGIC
The little appliances to be presently described are the outcome of ideas which, after a long period of incubation in my note-books, have ultimately taken concrete form in what, I venture to believe, will be found to be practical and useful items of magical apparatus. I may further claim that they combine in an exceptional degree absolute innocence of appearance with a wide range of practical utility. Examples of their uses are indicated in the following pages, but the inventive reader will find
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MAGICAL MATS
MAGICAL MATS
The first to be described are of two different kinds, to be known as the “Card” and “Coin” Mat respectively. They are in appearance simply circular table—or plate mats, with an ornamental border as depicted in Fig. 1, and about seven inches in diameter. In the centre of each is an embossed shield, ostensibly a mere ornament, but in reality serving, as will presently be seen, an important practical purpose. Fig. 1 To the casual observer the two mats look precisely alike, but there are in reality
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THE FAIRY FLOWER-POTS
THE FAIRY FLOWER-POTS
These are, strictly speaking, only flower-pot cases, called in French cache-pots . They may be of leather or cardboard, ornamented on the outside, but plain black inside, their general appearance being as shown in Fig. 4. They have neither top nor bottom, and when not in use, can be opened out flat or rolled up as in Figs. 5 and 6, for greater portability. Fig. 4 Fig. 5 Fig. 6 The pair, when needed for use, are exhibited in the first instance as one only, the one within the other. The professedl
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PATTER APPROPRIATE TO THE FAIRY FLOWER-POTS
PATTER APPROPRIATE TO THE FAIRY FLOWER-POTS
The flower-pots may be introduced as follows: “Permit me to call your attention to one of my latest improvements. Conjurers have a foolish fancy, as I dare say you have noticed, for borrowing other people’s hats. If a conjurer wants to collect money from the air, he collects it in a hat. If he wants to make an omelette, he cooks it in a hat. If he wants to hatch a few chickens, he does it in a hat. And, for fear of accidents, he never uses his own hat, but always borrows somebody else’s. It’s ve
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ADHESIVE CARDS AND TRICKS THEREWITH
ADHESIVE CARDS AND TRICKS THEREWITH
I believe I may safely claim that the device I am about to describe was, until I disclosed it some months ago in the Magazine of Magic , an absolute novelty. It consists in the preparation of one card of a pack (or, better still, of a spare card, to be substituted at need for its double), by rubbing one or other of its surfaces, shortly before it is needed for use, with diachylon, in the solid form. We will suppose, in the first instance, that the back of the card is so dealt with. The rubbing d
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THE MISSING CARD
THE MISSING CARD
The requirements for this trick consist of two complete packs of cards and an extra card, which we will suppose to be the knave of diamonds. One of the two packs, which we will call A , has on top a card made adhesive at the back as above described, and its own knave of diamonds at the bottom. The other pack, B , is wholly unprepared. The first step is to offer pack B to be shuffled, and when it is returned to palm on to it the spare knave of diamonds, after which the pack is left temporarily fo
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BLACK ART MATS AND BLACK ART PATCHES
BLACK ART MATS AND BLACK ART PATCHES
The Black Art Table has long since established itself in the affections of the conjurer as one of his most effective aids. At a stage performance the presence of one or more such adjuncts is almost a matter of course, but the drawing room performer finds many occasions when, for one reason or another, the use of such an aid is precluded. Some wizards, as a matter of personal convenience, decline to burden themselves with more artistic luggage than can be bestowed in an ordinary handbag. Others,
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A MAGICAL TRANSPOSITION
A MAGICAL TRANSPOSITION
Prepare two cards, say an eight of hearts and a seven of spades, by blackening all their edges save one of the narrow ends, [4] and backing each with velvet matching the mat. Lay the two cards so treated face down with the white edge towards yourself on the mat at some little distance apart, or preferably on separate mats. Force corresponding cards on two members of the company and deliver an oration to something like the following effect: “We hear people talk sometimes about the quickness of th
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THE DETECTIVE DIE
THE DETECTIVE DIE
This is another of the new departures dependent upon the use of the velvet mat. Broadly stated, the effect of the trick is as follows. One of a group of six different cards laid out in a row or rows repeatedly changes place with some other, the position which it occupies, or to which it has moved, being indicated by the cast of an ordinary die. This may be repeated any number of times. [5] The requirements for the trick are as follows: 1. The Velvet Mat. This should be one with a plain surface,
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THE DISSOLVING DICE
THE DISSOLVING DICE
To be worked on a Black Art Table The requisites for this trick are as under: 1. Three small billiard balls, one red, two white. 2. A white half-shell to correspond, vested or placed in a pochette. 3. Three hollow wooden dice, each of such a size as just to contain one of the balls, and lined inside with velvet to prevent “talking.” One side of each is left open, but the opening can be closed at pleasure by the insertion of a loose side with a beveled edge. When this is in position, the die appe
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WHERE IS IT?
WHERE IS IT?
This is another of the tricks dependent on the novel application of the black art principle. For programme purposes the trick may, if preferred, be entitled “The Erratic Shilling.” Its effect may be broadly described as follows: A marked shilling, lent by some member of the company, after being professedly magnetised or mesmerised by rubbing, is laid upon a black velvet mat and covered with a playing card, face down. Two other cards are laid (also faces down), one on each side of the first, at a
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ARITHMETIC BY MAGIC
ARITHMETIC BY MAGIC
Preparation. The two “flower-pots” ( see page 5 ), separated, are placed upon the table. Also the card mat ( see page 1 ), loaded with the ten of any given suit, say diamonds, taken from the pack performer is about to use, and a double-faced card, representing on the one side the seven, and on the other the three of the same suit. The deuce and five of same suit to be laid on the top of the pack. Performer, advancing pack in hand, palms off the two top cards, and offers the rest to be shuffled.
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THOSE NAUGHTY KNAVES
THOSE NAUGHTY KNAVES
This item may be described, if preferred, as “Knavish Tricks.” Requirements. Card mat loaded with knaves of spades, hearts and diamonds, taken from the pack in use. Knave of clubs on top of pack. Presentation. Advance, palming off the knave of clubs, and offer pack to be shuffled. When it is returned, force the knave on one of the company. Borrow a hat, and after showing that it is empty, place it, crown downwards, on the table. Receive back the drawn card upon the mat, remarking that you will p
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MAGNETIC MAGIC
MAGNETIC MAGIC
Requirements. Card mat, loaded with a single known card (precise nature optional). Pack of cards with corresponding card at top. A horseshoe magnet, the larger the better for the sake of effect. The two flower-pots, placed at some distance apart, preferably on separate tables. We will suppose that the card selected for the purpose of the trick is the ten of spades. Performer advances, and delivers patter to something like the following effect. “By way of a change, I should like now to show you a
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THE TELEPATHIC TAPE
THE TELEPATHIC TAPE
Requirements. Two or three yards of half-inch tape or ribbon, wound on a reel, to which its inner end is secured, and having a loop on its outer end. Coin mat made adhesive, and two packs of cards, which we will call A and B respectively. From pack A take a court card (say the queen of diamonds), and press it face down against the waxed side of the mat: then turn this over, and place the rest of the pack upon its unprepared side. On the top of pack B lay the corresponding card, in readiness for
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A CARD COMEDY
A CARD COMEDY
This may be otherwise described for programme purposes as “A Royal Row,” or “A Row in a Royal Family.” Preparation. Card mat loaded with two kings of hearts: one of them taken from the pack to be used: the other a spare card. The king of clubs and queen of hearts to be laid on top of pack. The two flower-pots on table. Presentation. Advancing to the company, palm off the two top cards, and hand the pack to be shuffled. This done, force the palmed cards on two different persons. Then say, “I want
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A ROYAL TUG OF WAR
A ROYAL TUG OF WAR
Preparation. Card mat to be loaded with king of hearts and king of diamonds, not taken from the pack in use. Flower-pots on table. Performer advances with ordinary pack, delivering patter to something like the following effect. “It is not generally known, ladies and gentlemen, what a lot of human nature there is about a pack of cards. They have their likes and dislikes, and their little tempers, just as we have. Some of them are bosom friends; others again hate each other like rival suitors to t
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SYMPATHETIC CARDS
SYMPATHETIC CARDS
Preparation. Card mat loaded with two cards of different denomination, say the queen of clubs and the knave of diamonds, taken from the pack . Flower-pots on table. Presentation. Force the corresponding cards of same colour (in this case the queen of spades and the knave of hearts), lay the pack aside, and take the drawn cards back face down on the mat, leaving them thus on table till needed. The patter may run as follows: “As I think I have mentioned before, the cards of a pack, from long assoc
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TELL-TALE FINGERS
TELL-TALE FINGERS
The discovery, in some more or less mysterious way, of an unknown card is one of the stock feats of the conjurer, and indeed in one shape or another is one of the most hackneyed of card tricks. But the wise magician never discards a good trick simply because it is an old one. He repolishes it, adds a bit here, takes away a bit there, presents it in a new shape and with new patter, and behold! the “chestnut” of yesterday becomes a latest novelty of today. To obtain the maximum effect from a trick
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DIVINATION DOUBLY DIFFICULT
DIVINATION DOUBLY DIFFICULT
This trick, though it merely rests upon a combination of methods already familiar to the expert, may as a whole fairly claim to be a complete novelty. The mise en scène is so simple, and the room for deception apparently so small, that to the uninitiated it seems like a genuine miracle. Unlike most card tricks, it is even better adapted to the stage than to the drawing-room. The effect of the trick, baldly stated, is that the performer divines the nature of nine cards, selected apparently quite
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A NEW LONG CARD PACK AND A TRICK DEPENDENT ON ITS USE
A NEW LONG CARD PACK AND A TRICK DEPENDENT ON ITS USE
Some few months ago I was shown by a clever amateur, Mr. Victor Farrelly, a pack of cards prepared, after a method of his own, to replace in a more subtle form, the familiar biseauté pack. Mr. Farrelly’s plan is to round off, in a very minute degree, three of the corners of an ordinary pack. If a given card be turned round in a pack so treated, it is obvious that its unfiled corner will project, to a microscopic extent, beyond those above and below it, rendering the card instantly discoverable b
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THE MASCOT COIN BOX
THE MASCOT COIN BOX
This is a little device on the same principle as the well-known flat card-box, but adapted for use with coins, and with an addition which largely increases its utility inasmuch as it will not only enable the performer to “change” or “vanish,” but to get instant and secret possession of a coin placed in it. The box (see Fig. 14) is of ebonized wood, unpolished, and in size about three inches square. It consists of two parts ( a and b ), which are alike in size and appearance, so that either half
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MONEY-MAKING MADE EASY
MONEY-MAKING MADE EASY
Requirements. Coin mat loaded with two double pennies, shell side undermost. Lighted candle and velvet mat (with pocket) on table. Presentation. Performer comes forward with coin mat hanging down in his right hand (mouth of loaded space upwards), and asks for the loan of a penny, marked in some conspicuous way. Receiving it on the mat, he shows it, so placed, to the persons, seated on each side of the owner, in so doing making it obvious to them, without remark, that his hands are otherwise empt
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THE MISSING LINK
THE MISSING LINK
At an early period of my magical career, I devised a trick to which I gave the name of Concatenation Extraordinary , and which will be found described in Later Magic , page 94. In effect it consisted of the magical welding of a number of loose iron links into a continuous chain. It was performed by the aid of a Black Art table, a bottomless tumbler, and a silk thread. “Though I say it that shouldn’t,” it was an ingenious trick, and I was very proud of it. Unfortunately, some good natured friend
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CULTURE EXTRAORDINARY
CULTURE EXTRAORDINARY
The root-idea of this item must be credited to Signor Antonio Molini, the inventor of the very effective stage trick known as Le Souper du Diable . The principle on which that trick is worked is so subtle, and withal so simple, that it is surprising that it has not long since been applied to the production of less bulky objects than the tablecloth, eatables and drinkables which figure in the Satanic supper. The following is an application of the Signor Molini’s idea on a scale better adapted to
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THE BOUNDING BEANS
THE BOUNDING BEANS
This is another application of the principle introduced by Signor Molini and utilised in the trick last described. The requisites for the trick are as follows: (1) Mirror glass; at the outset, empty. (2) Two tubes of cardboard, sheet brass, or zinc, as A and B in Fig. 17. The height and width of A are about 3½ and 2½ inches respectively. B is a little taller, but a trifle less in diameter. (3) A third tube, C, with its lower edge turned inward an eighth of an inch all around. This tube is a litt
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LOST AND FOUND
LOST AND FOUND
This trick may be worked either upon a black art table or black art mat. We will assume that the latter is used. The requisites for this trick will in such case be as follows: 1. The mat. This may be a small circular one, a few inches in circumference without pocket. 2. A handkerchief, fourteen or fifteen inches square, of some gaudy pattern, carefully folded and placed in a square Japanese handkerchief box. [10] 3. A circular velvet patch as described ante , in the chapter dealing with novel ap
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THE RIDDLE OF THE PYRAMIDS
THE RIDDLE OF THE PYRAMIDS
This, in good hands, will be found a very effective trick. I have the less hesitation in saying so, because the assertion is only to a very limited extent self-praise. The idea of the effect to be produced was my own, as also to a certain extent the method of producing it. I had even got so far as to devise, in anticipation, suitable patter. When, however, I proceeded to put my ideas into practice I found myself pulled up by unexpected obstacles. The object to be attained, as will be seen by the
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THE MIRACLE OF MUMBO JUMBO
THE MIRACLE OF MUMBO JUMBO
The items needed for the presentation of this trick are as follows: (1) A miniature pagoda of quaint design. It consists of five circular sections, resting one upon another as illustrated in Fig. 21. The trick in effect consists of the automatic re-adjustment of these sections after being taken apart and shown lying apparently haphazard on a Japanese tray. For drawing-room use the pagoda is about six inches high and the same diameter across the base. For stage purposes it may be made a trifle la
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THE STORY OF THE ALKAHEST
THE STORY OF THE ALKAHEST
The requirements for this trick are as follows: (1) Two wands, exactly alike in appearance. One of them to be that just used in some previous trick or tricks (which we will call No. 2), and the other, prepared as to be presently explained, to be secretly substituted for it immediately before the presentation of the present trick. This can be easily done by the aid of a couple of pairs of cup-hooks fixed behind the table or a chair after the manner described in “Later Magic,” p. 126; or the wands
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THE ORACLE OF MEMPHIS
THE ORACLE OF MEMPHIS
This is of the nature of a magical toy rather than a conjuring trick proper, but its exhibition may form a pleasant interlude in the course of a social entertainment. I invented it at an early stage of my magical career, and exhibited it on various occasions for the amusement of friends, but made no further use of it. The apparatus has been put aside, and has been out of sight, out of mind, for many years past. Coming across it accidentally some short time ago, I was agreeably surprised to find
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THE MYSTERY OF MAHOMET[16]
THE MYSTERY OF MAHOMET[16]
The reader is probably familiar with the trick known as “The Silver Tube and Ball.” If not, it may be stated that the “tube” is of metal, nickelled, and about eight inches long by one and a half in diameter. With it is used an ebony ball, which is made to pass into and out of the tube in a very surprising way. The secret lies partly in the fact that half way down, the internal diameter of the tube is very slightly narrowed, forming a sort of “choke,” so that a ball dropped into it at the upper e
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THE BEWILDERING BLOCKS
THE BEWILDERING BLOCKS
The blocks which give its title to this trick are inch-square wooden cubes, three in number, as illustrated in Fig. 32. Each is coloured black on two of its opposite sides; these in use being made top and bottom. The four remaining sides are in the case of one block red, of another white, and of a third blue. The only other item of apparatus known to the spectators is a square cardboard tube, as depicted in Fig. 33. This is about five inches long, and of such dimensions laterally as to let eithe
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AN “OD” FORCE
AN “OD” FORCE
To avoid misconception, it may be well to state at once that the peculiar spelling of the word “od” in the above title is not a printer’s error. The explanation will be found in the patter, which is founded on a discovery claimed to have been made by a scientist at one time of world-wide renown, and the responsibility for so spelling the word rests with him. For programme purposes the reader is at liberty to re-name the trick according to his own fancy. “Mysterious Motion,” or “Moved by Magic” w
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THE MYSTERY OF THE THREE SEALS
THE MYSTERY OF THE THREE SEALS
This is a trick involving some little trouble in the way of preparation, and perhaps a little more than average address on the part of the performer, but on the other hand it costs little; for all the needful appliances may be homemade, and in the hands of an expert the trick will amply repay the time and trouble expended upon it. Baldly stated, its effect consists in the magical introduction of a marked coin into the innermost of a nest of three envelopes, each securely sealed. Fig. 36 The requ
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THE WIZARD’S POCKETBOOK
THE WIZARD’S POCKETBOOK
This is an extremely small volume, consisting in fact of six pages only, and no letterpress, the instructions for its use being embodied in a separate leaflet. On each of its pages are miniature reproductions of thirty-six playing cards, six in a row; every card of the pack being represented once at least among the whole number. The object of the book is to enable the owner to discover the name of a card drawn (or merely thought of) by some member of the company. The chooser is only asked to loo
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CONCERNING PATTER
CONCERNING PATTER
It will doubtless have been observed that I have in the foregoing pages been somewhat lavish in respect of patter. I have done so for two or three reasons. First, in order to enable the reader to form a better estimate of the effect of the trick presented, duly clothed and coloured, to the mind of the spectator. A trick described, however minutely, from the mere mechanical or technical point of view, gives scarcely more idea of its actual effect than the rough charcoal sketch of the artist does
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THE USE OF THE WAND
THE USE OF THE WAND
Closely connected with the subject of patter is the use of the wand, which in my own opinion cannot be too sedulously cultivated. To the cases in which the wand itself forms the prominent item of the trick, I devoted a special chapter in “Later Magic.” To these therefore I need not further refer. More important, however, is the part played by the wand from the point of view of general utility. In the first place, it is the only remnant of the traditional outfit of the magician. Time was, when th
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A FEW WRINKLES[21]
A FEW WRINKLES[21]
Every conjurer who has in him, as all conjurers should have, the creative instinct of the artist, and aims therefore at putting something of himself into his work, must of necessity be to some small extent an amateur mechanic. The hints which follow are addressed to the reader in that capacity. I have no pretension to teach him how to do things in the way of construction, but merely to make the doing of them easier. Though relating to matters in themselves small, the “tips” which follow may safe
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L’ENVOI
L’ENVOI
With these last lines I lay down my pen, as I have long since laid down the wand. I do so with regret, for writing about magic has always been to me a labour of love, but failing energy and failing eyesight warn me that my day is over, and that “the night cometh, wherein no man can work.” When I first began to discourse of magic, I had the whole field, in a literary sense, to myself. That state of things has long since ceased to be. Fertile brains and ready writers have taken up my task, and mag
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