Chapter XVI · Miscellaneous Tricks. (continued 2)

Fig. 195.

Fig. 196.

The Cone, or Skittle. (La quille).—This is a block of polished boxwood, of the shape shown in Fig. 195, with a thin shell of the same material exactly covering it, and so closely resembling it in appearance, that the solid block and the hollow shell, seen apart, cannot be distinguished the one from the other. The cone is made in various sizes, from three inches in height by one and a half at the base, to seven inches in height by three at the base. It is worked with a paper cover, consisting of an open tube of cartridge paper about double the height of the cone, and tapering in such manner that its larger end shall fit loosely over the cone. The performer brings forward this paper tube in his right hand, and the cone (with the hollow shell upon it) in his left, taking care to hold his fingers beneath it in such manner that the solid cone cannot fall out. He first calls attention to the paper tube, which the audience are allowed to examine at pleasure. When it is returned to him, he says, “You are now quite satisfied that there is no preparation about this tube, which is, in fact, simply a cover for this block of wood.” As if merely suiting the action to the word, he covers the block with the tube, immediately removing it again, and carelessly laying the cover on the table. In removing it, however, he grasps it with a gentle pressure, and so takes off with it the hollow shell (see Fig. 196), of whose existence the audience have no suspicion. He continues, “Perhaps you would also like to examine the block, which you will find to be a plain, solid piece of wood, without mechanism or preparation of any kind.” The block having been duly examined, the supposed empty cover is placed upright upon the table; and the solid block having been disposed of by any means in the performer’s power, is ordered to pass invisibly under the cover, which being raised, the hollow shell is seen, appearing to the eye of the audience to be the block itself, and to have found its way there in obedience to the performer’s command.

The above is the working of the “cone” in its simplest and barest form, but no skilled performer would dream of presenting the illusion in such a common-place way. To make the trick effective, it should be so arranged as to make the cone apparently change places with some other article. There are many combinations which might be suggested, but we shall content ourselves with describing one or two of those in most general use. The smaller sized cones may be worked in conjunction with a goblet and ball (the same as those used for the Cups and Balls), in manner following:—Having tendered for inspection the cone and cover as already described, and placed them on the table, the performer offers the goblet and ball in like manner for inspection. When they are returned, he places them also upon the table, a little distance apart, and meanwhile palms a second ball, which should be in readiness either on the servante, or in one of his pochettes. He now places the paper cover (which, it will be remembered, contains the hollow shell) over the first ball on the table. “Pray observe,” he remarks, “that I have fairly covered over the ball” (here he raises and replaces the cover, pressing so as to lift the shell with it, and showing that the ball is still there). “The goblet, as you have seen, is perfectly empty.” (Here he raises the goblet, and, in replacing it, introduces the second ball under it, as described in the chapter devoted to the Cups and Balls.) “I shall now order the ball to pass from the cover under the goblet.” He waves his wand from the one to the other. “Presto! Prestissimo! Pass!” (He raises the goblet, and shows that the ball has (apparently) passed under it.) The first ball still remaining under the paper tube, he cannot at present raise it, so proceeds rapidly to the next stage of the trick, that the omission may not be noticed. “So far,” he remarks, “the trick is mere child’s play. The real difficulty is to pass the cone under the cover in place of the ball. However, I will make the attempt.” So saying, he picks up the cone with his right hand, and apparently transfers it to his left, really palming it, and immediately afterwards dropping his right hand to his side, and getting rid of the cone into the profonde. Then, taking two or three steps away from the table, still holding the left hand as if containing the cone, and looking towards the cover, he says, “One, two, three, Pass!” with a motion of the hand as if throwing something; immediately showing the hands empty, and lifting up the cover (but this time by the top, so as not to exert any pressure against its sides), and showing the hollow shell, which now conceals the ball, and is taken by the spectators to be the genuine cone. “We have succeeded pretty well so far, ladies and gentlemen,” he remarks; “it remains to be seen whether I shall be equally successful in bringing back the cone and ball to their original positions. I dare say you would all like to know how the trick is done, and therefore this time I will vary the mode of operation, and make the transposition visibly.” (Here he drops his right hand to the profonde, and secretly palms the solid cone.) “First the cone” (he passes his right hand, keeping the back towards the audience, upwards along the cover, and, as it reaches the top, brings the cone into view). “Pray once more assure yourselves that it is fair and solid. Now for the ball.” He picks up the ball with the left hand, and holding it between the finger and thumb, apparently transfers it, by the pass called the tourniquet (see page 150), to the right, forthwith getting rid of it into the profonde on the left side. “Pray observe that it does not leave your sight even for a moment.” Then holding his hand high above the paper cover, he makes a “crumbling” movement with it, immediately showing it empty, and lifting the cover with a slight pressure, so as to carry the shell with it, shows the ball beneath. The attention of the spectators being naturally attracted to the ball, it is an easy matter to let the hollow shell slip out of the paper cover upon the servante, and again to hand the cover for examination.

Some performers, instead of using the goblet, work the small cone with the “ball-box” (see page 296).

It is obvious that the directions above given will apply only where the cone is of a size so small as to be readily palmed, in which case it is hardly conspicuous enough to be used before a large audience. Where a cone of larger dimensions is employed, it is necessary to vary the mode of operation. We shall therefore proceed to describe the trick in its stage form, as worked by Herrmann and other public performers.

The cone in this case is about seven inches high, and is worked in conjunction with a “drawer-box” of such a size as to contain it easily. Having handed round for inspection the cover and cone, as already described, the performer suddenly remembers that he requires an orange, which he forthwith produces from his wand. (It is hardly necessary to observe that the orange is beforehand placed in readiness in one of the pochettes, and is produced from the wand in the manner described for producing a ball. See page 276). Laying down the orange on the table, he next exhibits the drawer-box, taking the drawer completely out, and, after showing it on all sides, replacing it. He then covers the orange on the table with the paper cover (containing the hollow shell), and places the solid cone in the drawer-box, which being of the kind described at page 345, he turns upon its side, with its top toward the audience. He meanwhile palms in his right hand, from his pocket or the servante, a second orange. He now announces that he is about to take the orange back again, which he does by passing his wand up the side of the cover, and immediately producing therefrom the second orange. He places this upon another table at a little distance, and covers it with a borrowed hat, making as he does so a feint of removing it, and slipping it into his tail pocket. He hears, or pretends to hear, some one remark that he took away the orange, and answers accordingly. “Oh! you think I took away the orange. Allow me to assure you that I did nothing of the kind.” (He lifts up the hat, and shows the orange in its place.) “I will cover it again; or, still better, to prove that I do not take it away, I won’t cover it at all, but leave it here in full view on the table.” He replaces it on the table, but this time places it on what is called a “wrist-trap,” in readiness for a subsequent disappearance. “Having taken the orange from under the cover,” he continues, “I have now to make the solid block vanish from the drawer, and take its place; but I shall do it this time invisibly. See, I have only to wave my wand from the one to the other, and the thing is done. The drawer is empty” (pulling out the false drawer only), “and here is the block” (he lifts the paper cover, and shows the hollow shell). “Now I come to the most difficult part of the trick, which is to bring both articles back to their original position. First, I will take the block of wood.” He covers the shell with the paper tube, and makes a movement of his wand from the cover to the drawer. “Pass! Let us see whether it has obeyed.” He this time pulls the drawer completely out, and lets the block fall heavily on the stage. “Now for the orange.” He places both hands round it, as if picking it up between them, and presses as he does so the spring of the trap, which opening, lets the orange fall through into the table. Bringing the hands, still together, immediately above the paper cover, he rubs them together as if compressing the orange, finally separating them and showing them empty, and immediately afterwards lifting the cover with the hollow shell, and showing the first orange beneath it.

It will be observed that the trick above described is, in some of its parts, very similar to that described at page 337. The mechanism of the wrist-trap will be found explained in the next chapter. In the meantime the student may produce the same effect without using a trap at all, by means of the sleight described at page 294.

Fig. 197.

Fig. 198.

The Cone and Bouquet.—This is another form of the cone trick, involving the use of rather more elaborate apparatus. The cone in this case is about five inches in height by three at the base, and tapers very slightly. It may be either of boxwood, as in the trick last described, or the block may be of any hard wood, and the hollow shell of tin to fit, each blacked and polished, so as to look exactly alike. It is used in conjunction with a paper cover as before, and two little bunches of flowers, exactly alike, and of such a size as to be just covered by the hollow shell. Each of these little bouquets is made upon a tin framework, consisting of a wire arch springing from a flat saucer-like base. (See Fig. 197.) A pedestal and cover complete the apparatus. The pedestal a (see Fig. 198) is cylindrical; and about six inches in height, by four across the top. Its upper surface consists of a circular plate of tin, working up and down piston-wise in the pedestal. This is forced upwards by a spiral spring, but yields to pressure, sinking vertically to a depth of four or five inches when necessary. The upper edge of the pedestal is slightly turned in all round, so that the top may not be pressed out altogether by the force of the spring. An outer casing of tin, b, fits over a, just so tightly as to resist the upward pressure of the spring when forced down by any object between the pedestal and this casing. The cover, c, is about double the height of a, and by means of a bayonet catch (see page 352) may be lifted off either with or without b at pleasure.

Fig. 199.

Fig. 200.

The pedestal is prepared for use by removing b, and placing one of the little bouquets on the top of a; then again putting on b, and forcing it down into its place, when the condition of the apparatus will be as shown (in section) in Fig. 199. The wire arch prevents the flowers being crushed out of shape by the pressure of the spring. The pedestal and cover are now brought forward and placed on the table; also the cone (with the shell on), the paper tube to cover it, and the remaining bunch of flowers. The paper tube is first exhibited, placed over the cone, and removed with the hollow cone within it, as in the last trick. The solid cone is then offered for examination, and having been duly inspected, is placed upon the pedestal. The performer makes a movement as if about to place over it the cover c, but checks himself in the act, and shows that this cover is empty and hollow throughout. He then puts on the cover, and reverting to the bunch of flowers on the table, covers it with the paper tube. He next announces that in obedience to his command, the block and the bunch of flowers will change places. He raises the paper tube, holding it by the top, and thus leaves behind the hollow shell, covering and concealing the bunch of flowers. He next takes off the cover of the pedestal, first, however, turning the bayonet catch, so as to lift off with the cover the casing b. The solid cone is carried off between the casing and the cover (see Fig. 200), while the action of the spring, the casing being removed, brings the concealed bunch of flowers to the top of the pedestal, in the position lately occupied by the cone. Having shown that the cone and the flowers have changed places, the performer next undertakes to bring them back to their original situation, which, by reversing the process, he does without difficulty.

The pedestal above described is a very useful piece of apparatus, being available either to produce, change, or vanish any article of appropriate size. A very effective trick may be performed therewith by causing an empty tumbler to appear full, or vice versâ. In this case, however, it should by no means be admitted that an exchange takes place, as the supposed filling of an empty glass with water by covering it with an evidently unsophisticated cover, is rather the more surprising phenomenon.

The Flying Glass of Water.—This capital trick was, we believe, first introduced to the public by Colonel Stodare, to whom the profession is indebted for many first-class illusions. The necessary apparatus consists of a couple of ordinary glass tumblers, exactly alike, with an india-rubber cover just fitting the mouth of one of them, and a coloured handkerchief of silk or cotton made double (i.e., consisting of two similar handkerchiefs sewn together at the edges), with a wire ring (of the size of the rim of one of the tumblers, or a fraction larger) stitched loosely between them, in such manner that when the handkerchief is spread out the ring shall be in the middle.

Fig. 201.

Fig. 202.

The performer, beforehand, nearly fills one of the tumblers with water, and then puts on the india-rubber cover, which, fitting closely all round the edge, effectually prevents the water escaping (see Fig. 201). The glass, thus prepared, he places in the profonde on his right side. He then brings forward the other glass and a decanter of water, and the prepared handkerchief, and in full view of the audience fills the glass with water up to the same height as he has already filled the one in his pocket, and hands round glass and water for inspection. When they are returned, he places the glass upon the table, a few inches from its hinder edge, and standing behind it, covers it with the handkerchief, first spreading out and showing both sides of the latter, proving, to all appearance, that there is no preparation about it. In placing the handkerchief over the glass, he draws it across in such manner as to bring the hidden ring as exactly as possible over the top of the glass. Then placing the left hand over the handkerchief, as shown in Fig. 202, he raises, apparently, the glass within the handkerchief, but really the empty handkerchief only, which is kept distended by the ring, and, at the same time, under cover of the handkerchief, gently lowers the glass of water with the other hand on to the servante. This is by no means difficult, as the pretended carefulness of the operator not to spill the water allows him to make the upward movement of the left hand as deliberate as he pleases. All that is really necessary is to take care to follow with his eyes the movement of the left hand, which will infallibly draw the eyes and the minds of the audience in the same direction. Having raised the supposed tumbler to a height of about two feet from the table, the performer brings it forward to the audience, and requests that some gentleman with a steady hand will favour him with his assistance. A volunteer having been found, and having given satisfactory replies as to the steadiness of his nerves, and the strength of his constitution generally, is requested to place his hand under the handkerchief and take the glass. As he proceeds to obey, the performer lets go of the handkerchief with the left hand, still retaining one corner with the right, and lets the right arm with the handkerchief drop to his side. Pretending to believe that the gentleman has taken the glass, and not to notice its disappearance, he turns carelessly aside, and brings forward a small table or chair, saying, “Put it here, please.” Looking, generally, somewhat foolish, the victim replies that he has not got it. If the performer is a good actor, he may here make some fun by pretending to believe that the victim has concealed the glass, and pressing him to return it. At last he says, “Well, if you won’t give it to me, I must find it for myself,” and he proceeds to tap with his wand the sleeves and pockets of the unfortunate individual, but without success, till, on touching him between the shoulders, he pretends to tell by the sound that the glass is there. “Yes, here it is,” he remarks. “I am sorry to be obliged to ask you to turn your back on the company, but to show them that there is no deception on my part, I am compelled to do so. Will you please turn round for one minute.” On his doing so, the performer, again shaking out the handkerchief, and showing both sides of it to prove it empty, spreads it over the back of the victim. Again he taps with his wand, which, striking the ring through the handkerchief, causes an unmistakeable hard sound to be heard; and then grasping the ring as before through the handkerchief, he deliberately raises it up in a horizontal position, the effect being as if the glass had again returned to the handkerchief. He then says, “I don’t think I will trouble this gentleman again; he is too much of a conjuror himself;” then turning rapidly to the audience, he says, “Catch, ladies and gentlemen,” and “flicks” the handkerchief quickly towards the spectators, who duck their heads in expectation of a shower. “Pardon me, ladies, I fear I alarmed you; but you need not have been afraid; I never miss my aim. That gentleman has the glass” (designating anyone he pleases). “May I trouble you to step forward one moment, sir?” On the person indicated doing so, the performer places him facing the audience, and under cover of his body takes the second glass out of the profonde, and throws the handkerchief over it, remarking, “Yes, ladies and gentlemen, here it is, in this gentleman’s tail pocket.” Then taking hold of the glass with the left hand beneath the handkerchief, he clips with the first finger and thumb, through the handkerchief, the edge of the india-rubber cover, and thus drawing off the cover inside the handkerchief, hands round the glass and water for inspection.

Fig. 203.

Two improvements have recently been made in this trick, which, though trifles in themselves, greatly heighten the effect. Upon a performance of the trick as already described, it is not uncommon to find some person, more acute than the average, guess that there is a ring in the handkerchief. The first of the improvements we have mentioned is designed to make the ring no longer a fixture, and yet to insure bringing it into the right position when necessary. This is effected by stitching the two handkerchiefs together, not only round the edge, as already explained, but also as shown by the dotted line in Fig. 203. This confines the ring to the triangular enclosure, a e d, within which, however, it is allowed to move freely, not being attached to the handkerchief in any way. If the handkerchief is held by the two corners a d (which should be distinguished by a mark of coloured silk or worsted, so as to be readily identified by the performer) the ring will take its proper place in the middle, as shown in the figure. If, on the other hand, the handkerchief be held by either the corners a b or c d, the ring will forthwith run into the angle a d e or d a e, as the case may be, and the handkerchief, if grasped a little below this particular corner, may be twisted or pulled through the hands ropewise, proving, with apparent conclusiveness, that there is no ring or shape concealed in it.

The second improvement is to have ready on the servante a small piece of sponge, recently dipped in water. This is picked up by the right hand of the performer as he places the genuine glass on the servante. When he has moved away from his table, at the moment of requesting his volunteer assistant to take the glass, he places the right hand for a moment under cover of the handkerchief, and squeezes the sponge, the water that immediately pours from it being, apparently, accidentally spilt, and so negativing any possible doubt on the part of the spectators that the glass is really in the handkerchief. With these two additions the trick is one of the most effective that can possibly be performed, whether in a drawing-room or on the public stage.

The Bowls of Water and Bowls of Fire produced from a Shawl.—After the explanation of the last trick, the reader will form a tolerably good guess at the means of performing this, which has puzzled thousands, and is still one of the most popular feats in the répertoire of the conjuror.

The performer comes forward with a shawl in his hand, which he spreads out and exhibits on both sides, to show (as is really the fact) that there is no preparation about it. The spectators being satisfied on this point, and the orchestra playing the “Ghost Melody” or other appropriate accompaniment, he swings the shawl about in time to the music, finally throwing it over his left shoulder and arm, the arm being held square before him. The arm now gradually sinks down, and the form of some solid object is seen defined beneath the shawl, which, being removed, reveals a glass bowl brimming with water, and with gold fish swimming about in it. This is repeated a second and a third time, the performer sometimes discarding the shawl, and borrowing a pocket-handkerchief among the audience for the production of the last bowl.

The bowls used are saucer-shaped, measuring six to eight inches in diameter, and one and a half to two inches in depth. Each is closed by an india-rubber cover, after the manner of the tumbler in the last trick. Thus secured, they are concealed about the person of the performer. The precise mode of concealment varies a little. Where three bowls are to be produced, one is generally carried beneath the coat-tails, in a sort of bag open at the sides, suspended from the waist, and the other two in pockets, opening perpendicularly, inside the breast of the coat or waistcoat, one on each side.

Sometimes, by way of variation, bowls of fire are produced. The bowls are in this case of thin brass. They have no covers, but the inflammable material (tow moistened with spirits of wine) is kept in position by wires crossing the bowl at about half its depth, and is ignited by a wax match, struck against the inside of the bowl under cover of the shawl and immediately dropped into the bowl, when the contents instantly burst into a blaze. Some bowls have a mechanical arrangement for igniting the tow, but we ourselves much prefer the simple bowls above described.

It was originally the practice to throw the shawl over a small round table, immediately removing it, and exhibiting the bowl upon the table. Modern performers discard the table, and produce the bowls in the midst of the audience.

The Bowl of Ink changed to clear Water, with Gold Fish Swimming in it.—The performer brings forward a goblet-shaped glass vase, six or eight inches in height, nearly full of ink. To prove that the ink is genuine, he dips a playing-card into it, and brings it up with the lower half stained a deep black. Next, taking a ladle, he ladles out a portion of the liquid, and pours it on a plate, which is handed round for inspection. He next borrows a handkerchief from one of the audience, and covering the vase with it, announces that, by the exercise of his magic power, he will transform the ink in the vase to water. On removing the handkerchief, this transformation is found to be accomplished, while a couple of gold fish, placidly swimming about in the bowl, sufficiently prove that the trick is not performed, as might be imagined, by means of some chemical reagent.

The explanation, though by no means obvious, is very simple. The liquid in the vase is plain water; but a bottomless black silk lining, fitting the vase, and kept in shape by a wire ring round its upper edge, gives it the appearance of ink to a spectator at a little distance. In removing the handkerchief, the performer clips with it the wire ring, bringing away the lining within the handkerchief, and revealing the clear water in the glass.

But the reader will naturally inquire, “How, then, are the blackened card and the genuine ink ladled out on the plate accounted for?”

Fig. 204.

The blackened card, though apparently an ordinary one, has the same figure, say a knave of diamonds, on both its sides; but the lower half of the one side is beforehand stained with ink. The performer dips it in with the unsoiled side toward the audience; but giving it a half-turn as he removes it, thereby brings the blackened side in front. The ink poured on the plate is accounted for with equal simplicity. The ladle (see Fig. 204) is of tin, having a hollow handle of the same metal, with a minute hole opening therefrom into the bowl. There is a similar small hole near to the top of the handle. The bowl is beforehand filled with ink, which is thence allowed to run into the handle; after which the upper hole is stopped with a little pellet of wax, or a small piece of paper is pasted over it. By reason of a well-known natural law, the liquid will not run out of the lower hole until the upper one is opened. As the performer dips the ladle apparently into the ink in the bowl, he scrapes off with his nail the wax or paper with which the upper hole is stopped, and the ink immediately runs into the bowl, whence it is poured upon the plate.

Fig. 205.

The Inexhaustible Bottle.—The same natural principle which prevents the ink from flowing into the bowl of the ladle until the upper hole is opened, is the basis of this old but still popular trick. The inexhaustible bottle, though in appearance an ordinary glass bottle, is in reality of tin, japanned black. Internally it is divided into three, four, or five separate compartments, ranged round a central space, and each tapering to a narrow-mouthed tube, which terminates about an inch within the neck of the bottle. A small pinhole is drilled through the outer surface of the bottle into each compartment, the holes being so placed that when the bottle is grasped by the hand in the ordinary way (see Fig. 205), each hole may be covered by one or other of the fingers or thumb. The central space is left empty, but the surrounding compartments are filled, by means of a funnel with a very tapering nozzle, with the wines or liquids expected to be most in demand, or to which it is intended to limit the spectators’ choice. A tray full of glasses, made specially of very thick glass, so as to contain in reality much less than they appear to do, completes the apparatus.

The performer comes forward with the magic bottle, followed by an attendant bearing the tray of glasses. He commences by openly pouring water into the bottle, and out again, so as indirectly to raise the inference that the bottle must be perfectly empty. The water, in truth, really passes into the centre space only, and thence runs out again as soon as the bottle is tilted. The fingers, meanwhile, are tightly pressed on the different holes, and thus excluding the air, effectually prevent any premature flow of wine from the various compartments. The performer, still holding the bottle mouth downwards, says, “You observe, ladies and gentlemen, that the bottle is now perfectly empty, and yet, by my magic art, I shall compel it to refill itself for your benefit.” He then, addressing various individuals, asks each whether he prefers port, sherry, gin, etc., and when the answer is given, has only to raise the finger stopping the air-hole of that particular compartment to cause the liquid named to flow from the bottle, stopping as soon as the finger is again pressed on the hole. It is a good plan, in order to prevent confusion, to place the liquors in the bottle in alphabetical order, commencing from the hole stopped by the thumb. Some performers increase the variety of the liquors produced, by placing beforehand in certain of the glasses a few drops of various flavouring essences. By this means a compartment filled with plain spirits of wine may be made to do duty for brandy, whiskey, etc., at pleasure, according to the glass into which the liquid is poured.

Fig. 206.

The trick is sometimes elaborated by the performer, by way of conclusion, apparently breaking the bottle, and producing therefrom a borrowed handkerchief or other article which has been made to disappear in some previous trick. This is effected by means of an additional speciality in the construction of the bottle. The compartments containing the liquids in this case terminate a couple of inches above the bottom of the bottle, and the part below this, which has a wavy edge, like fractured glass, is made to slip on and off. (See Fig. 206.) The performer, having produced the wines, pretends to crack the bottle all round by rapping it with his wand, and, having apparently cracked it, pulls the bottom off, and exhibits the handkerchief, which was beforehand placed in readiness therein. The two parts of the bottle joining with great nicety, there is little fear that the pretended crack will prematurely attract attention.

Where the trick is performed before a very large audience, a single bottle would not contain sufficient liquor to answer all the demands upon it. In this case it is necessary to change the bottle, sometimes more than once in the course of the trick. This is most frequently done under cover of a chair or table; but where the trick is performed on the stage, a more elaborate expedient is sometimes employed. The bottle used has in this case an outer shell or casing of tin, open at the bottom, the actual receptacle for the liquids being within this. When the bottle is exhausted, the performer with apparent carelessness places it upon a small table, standing against the side scene, pending the arrival of more glasses, or under any other convenient pretext. The bottle is, in truth, placed immediately over a small round trap, the performer being guided as to its proper position by a couple of small pins projecting upwards from the surface of the table, against which pins he pushes the bottle. The moment it is so placed, the assistant behind the scenes, who has his eye to a hole in the partition, and his arm extended within the table, opens the trap, pulls down the empty interior of the bottle, and instantly replaces it with a full one, which he holds in readiness, and at the moment when the performer again grasps the bottle to continue the trick (and thereby furnishes the necessary resistance), pushes it sharply up into its place.

Fig. 207. Fig. 208.

The Bottle and Ribbons.—This is another favourite bottle trick. The bottle is in this case also of tin, with an enclosed space round the sides to contain wine, commencing about an inch and a half from the lower end, and terminating just within the mouth. (See Fig. 207.) The bottle has no bottom, and there is thus a passage, in the shape of an inverted funnel, extending through its whole length. A cylindrical base or stopper (see Fig. 208) just fits into the space at the bottom of the bottle, and on this are fixed six or eight small reels or bobbins. On each of these is wound a yard or so of ribbon, each of a different colour. An upright wire rod springs from the centre of this base, terminating just within the neck of the bottle in a little flat piece of metal, perforated with as many holes as there are ribbons; and one end of each of the ribbons is brought up through one of these holes, and a little knot made upon it to prevent its slipping back again.

The ribbons being in position, and the space in the bottle duly filled with wine, the performer brings it forward, and, after pouring out a glass or two, asks some lady present which is her favourite colour, and on receiving an answer, gently taps the bottle with his wand, and immediately draws out with the tip of his forefinger from the neck, and presents to her, a ribbon of the desired colour. More wine is produced, alternately with fresh ribbons, until all are exhausted.

The above is the drawing-room form of the trick. Upon the stage, it is slightly varied. The same kind of bottle is used, but the internal provision of reels and ribbons is removed, so that the bottle remains a simple tin bottle, open at the bottom, with the funnel-shaped passage already mentioned extending through its entire length. The performer, having poured out a glass or two of wine, places the bottle on a stool or table, through the pillar of which is a hole or passage communicating with a corresponding hole in the stage. Beneath this is stationed the performer’s assistant, who is provided with a large number of various coloured ribbons, and a thin rod of three or four feet in length, with a small point or blunt pin at the top. The performer takes care always to repeat in an audible voice the name of the colour called for. This is a signal to the assistant to hitch one end of the ribbon in question on the top of the rod, and hold it in readiness beneath the stage. He does not, however, push it up through the bottle until warned by the sound of the tap of the wand on the bottle that the performer is ready to receive it. The performer, on his part, takes care, before tapping the bottle, to place his thumb upon the mouth, so as to prevent the rod passing too far. Sometimes a combination of colours is asked for, as, for instance, the tricolour, or any other national group of colours.

Alter having produced a reasonable number of ribbons, an effective finish may be made as follows:—A last colour or combination of colours having been demanded, the performer does not draw the ribbons, as hitherto, completely out of the bottle, but leaves them hanging down loosely on each side of it. He now announces that, at the word of command, the ribbons shall, of their own accord, return into the bottle. The assistant takes his cue accordingly, and at the third tap of the wand draws the ribbons smartly down again; their instantaneous disappearance within the bottle being exceedingly effective.

The New Pyramids of Egypt, or the Wine and Water Trick.—This trick may be very well worked in conjunction with either of the bottle tricks already described, and we therefore notice it in this place. Its effect is as follows:—The performer pours out a glass of wine and a glass of water, finally transferring both to a small decanter. Placing the decanter on a small round stand, and the empty glasses on similar stands on either side of it, he covers each with a pyramidal cover, and announces that at his command the mixed wine and water will again separate, and pass into the empty glasses, the spectators being allowed to choose into which of the glasses each element shall pass. The choice having been made, he fastens a tape or ribbon to the centre pyramid, and thence to each of the side ones, giving the audience to understand that, by a mysterious kind of capillary attraction, the wine and water will travel along this ribbon to their respective destinations. A few moments having elapsed, the ribbons are untied and the covers removed. The decanter is found to be empty, and the wine and water to have respectively returned to the glasses designated by the audience.

Fig. 209.

The glasses used have no speciality, but the decanter has a small hole in its under side. This is plugged with a pellet of wax, which, however, is instantly removeable at pleasure. Of the three stands, two (those on which the glasses stand) have no preparation, being mere raised shapes of tin. The third is similar in appearance, but is, in fact, a hollow box, with three or four little holes drilled in its upper side, for a purpose that will presently appear. Of the three covers, the centre one is hollow throughout, but the other two have each its upper portion occupied by a hollow chamber or reservoir, divided in two by a vertical partition, and tapering down to a tube with a very small opening. Each of these compartments has an air-hole at the top. (See Fig. 209.)

These two covers are beforehand prepared for the trick by filling the two compartments of each, one with wine, and the other with water. The air-holes are stopped with pellets of wax, but for the sake of distinction the “wine” compartment of each is plugged with red wax, and the “water” compartment with white wax. Any other distinguishing mark is, of course, equally good. So long as the air-holes are thus stopped, there is no fear of the liquid running out. The performer, having filled the glasses as already described, mixes the contents in the decanter, and in placing the latter on the stand, removes the wax plug from the bottom, thus allowing the wine to run out, and to percolate through the above-mentioned holes into the stand, where it remains. He next places the empty glasses on their respective stands, and places the covers over them. He then asks the audience into which of the glasses they desire that the wine shall travel, and into which the water. When they have made their decision, he has only to remove the red pellet from the cover which is over the glass into which the wine is to pass, and the white pellet from the opposite cover. The tying of the tape from cover to cover is merely designed to give time for the liquids to reach their respective destinations, and is, indeed, altogether dispensed with by many performers. The air-holes may be stopped by means of tinfoil pasted over them, instead of the wax, if preferred. The foil is instantly removeable by scraping with the nail.

Fig. 210.

The Mysterious Funnel.—This is a little appliance on the same principle, which may be incidentally introduced with good effect in the course of a wine trick. It is a tin funnel, made double throughout, with a space of half-an-inch or so between its inner and outer sides. It is, in fact, a funnel within a funnel, joined at the upper edges. (See Fig. 210.) It has an air-hole, a, generally on the under side of the handle. When required for use, the hidden space is filled with wine. The simplest way of doing this is to stop the spout of the funnel with the finger, and then to fill it with wine, which, seeking its own level, will gradually rise to the same height in the outer space as it stands at inside the funnel. This must, of course, be done with the air-hole open. When the space is filled, the air-hole is stopped, and the wine remaining inside the funnel allowed to run out. The funnel will now appear perfectly empty, and may be used as a funnel in the ordinary way.

The mode of using the funnel is somewhat after the following manner, subject, of course, to variation, according to the taste and invention of the performer:—

A juvenile is invited to take a glass of wine, the produce of either of the preceding tricks. When he has imbibed it, the performer asks a second juvenile whether he would like a glass also. The reply is pretty sure to be in the affirmative, but the performer pretends to find, when about to oblige him, that his store is exhausted. He begins to apologize for the supposed disappointment, but as if suddenly bethinking himself, says, “However, you shan’t be disappointed. If I can’t supply you in the natural way, I must do so in a supernatural way. Suppose we take back the wine this young gentleman has just drunk. I don’t suppose it will be any the worse. Let me see, where is my magic funnel. Oh, here it is. Let us make sure first that it is quite clean.” He pours water through it, and then holds it up to the light in such a manner that the audience can see right through, thus indirectly showing them that it is empty. “Now, sir” (addressing the youngster who has drunk the glass of wine), “I am going to take back that glass of wine. Be kind enough to bend your elbow, and hold it over the mouth of the funnel, so. And you, sir” (addressing the expectant), “perhaps you will be kind enough to take this young gentleman’s other arm, and work it gently up and down. In fact, we are going to transform him into a pump. Now, sir.” The performer holds the glass under the funnel, and as soon as the pretended pumping begins, opens the air-hole, when the wine runs into the glass, and is handed to the second young gentleman as a reward for his exertions.

Acted with spirit, this little interlude is sure of an uproarious reception from the juvenile portion of the audience, particularly if the operator possesses the magic bradawl described at page 332, and makes use of it to bore a small hole in the victim’s elbow before beginning to pump the wine from it.

Fig. 211.

The Box of Bran transformed to a Bottle of Wine.—While upon the subject of wine tricks we may mention this, which is by no means the least surprising of the illusions to which “the bottle” gives birth. The necessary apparatus consists of four pieces. First, a plain cylindrical tin box A (see Fig. 211), japanned to taste, and about six inches high by three in diameter. Secondly, B, a similar box, so far as external appearance is concerned, but materially different in its internal construction. This latter is bottomless, but has a horizontal tin partition at about three-quarters of an inch from the top. These two boxes have but one lid, which fits either indifferently. The third article is a cylindrical pasteboard cover (Fig. 212), closed at the top, and of such a size as to fit loosely over B, but an inch or two taller. The fourth item is a bottle, made of tin, japanned black, and of somewhat peculiar construction. (See Fig. 213.) As a measure of capacity, it terminates just below the shoulder, the remainder, or body of the bottle, being, in fact, merely a tube closed at the bottom, in which this upper portion works. A spiral spring within the body presses the neck portion upward into its proper position; but if pressure be applied, the neck portion will sink downward into the body, as shown in Fig. 214, in which condition it just fits into B. A small point projects from the lower part of the bottle, and corresponds with a bayonet catch at the bottom of B, which is in fact designed as a case or cover for the bottle.

Fig. 212.

Fig. 213.

Fig. 214.

For the performance of the trick the operator will require, in addition to the apparatus above mentioned, an oblong deal box, half full of bran. (Rice is sometimes used, but is not so good.) Any box will answer the purpose, so long as it is not less than fifteen inches or so in length, and nine in breadth and depth. In preparing for the trick, the first step is to fill the bottle, or the “fillable” portion thereof, with wine or some other liquid. The bottle is then corked; B is placed over it and pressed down, and the bayonet-catch fastened. In this condition, but without a lid, B is placed in the deal box, and buried in the bran. The box of bran being now brought forward and placed on the table, the performer is ready to begin the trick. He first draws attention to A, which he hands round for inspection, as also the pasteboard cover. When they are returned, he brings forward the box of bran, moving his hand backwards and forwards in it, and distributing a few handfuls to show its genuineness. Replacing the box on the table, he proceeds to fill A with bran. This he does by dipping A completely in the box, and scooping up the necessary quantity. As if to show all fair, he pours the bran out again into the box, and then makes a second dip to refill it. This time, however, he makes an exchange, and instead of bringing up A, brings up B, filling as he does so the shallow space at the top of the latter, which thus appears to be full to the brim. Placing it on the table, and putting the lid on, he places the pasteboard cover over it, and, addressing the company, volunteers to teach them how to extract wine from bran, and wine bottles from tin boxes. After a moment’s pause, and the orthodox touch with the wand, he removes the cover, giving it at the same time a slight twist, thus releasing the catch, and removing B within the cover. The spring within the bottle now meeting no resistance, presses the neck portion upwards into its proper position, with all the appearance of a genuine bottle; and as it, in its present condition, is considerably taller than B, it can hardly be suspected that it was a moment ago concealed in the latter, particularly as the performer immediately proceeds to give a further proof of its genuineness by pouring a glass of wine from it.

In connection with the above trick we may describe another useful piece of apparatus, known as

The Bran Bottle.—This is a bottle, which, being covered over for an instant, vanishes, leaving in its place a heap of bran. The bottle is, like that last described, of tin, with a false bottom or partition, about an inch below the shoulder, so that it holds about a glassful of wine. The place of the ordinary bottom is supplied by a disc of tin, with a raised shoulder round it, fitting loosely within the bottle, so as to drop out by its own weight, unless kept in place by some external pressure. The cover is a mere cylinder of pasteboard, closed at the top. The bottle is prepared for use by filling the lower portion with bran, and putting the bottom in place (where it is retained by the pressure of the fingers), then filling the upper part with wine. The performer first pours wine from the bottle, and then places it on a plate, ostensibly to show that it does not pass through any opening in the table, but really for a reason which will presently appear. He now places the cover over the bottle, and on again lifting it presses the sides slightly, and so lifts the bottle with it. The loose bottom, having no longer anything to hold it, remains on the plate, concealed by the bran which pours from the bottle, and into which the bottle is apparently transformed. Meanwhile, all eyes being drawn to the heap of bran, the performer lowers his hand, containing the cover, for an instant behind the table, and relaxing the pressure of his fingers, lets the bottle slip out on the servante, immediately coming forward with the cover, and carelessly showing that it is empty.

In combination with the Bran Bottle, the trick last above described is greatly heightened in effect, the bottle appearing under the cover which has just been placed over the tin box—the bran from the latter being found under the cover which a moment previously concealed the bottle, and the tin box being found to have passed into the large box of bran. The Bran Bottle may also be worked with great effect in combination with the trick of the “Bran and Orange,” described at page 335.

Fig. 215.

Fig. 216.

The Bran Glass.—This is an ingenious and very useful piece of apparatus. It is made in all sizes, from that of an ordinary wine-glass to a goblet large enough to hold a rabbit. Its effect is as follows:—The glass is brought forward apparently filled with bran to the brim. The performer proves its genuineness by taking up a handful of it, and scattering it over the stage. A brass cover is now placed over the glass, and instantly removed, when every particle of bran is found to have disappeared, and in place of it is found some article which had been conjured away at some earlier period of the trick. The explanation is very simple. The glass is shaped as shown in Fig. 215, with straight sides, tapering outwards. The supposed bran is really a hollow shape of tin, a, closed at the top, but open at the bottom, with bran gummed all over it, and a handful of loose bran spread on the top. At each side of its upper edge is a little wire point, just overpassing the edge of the glass. The cover (see Fig. 216), which is of such a size as to cover the glass as far as the upper part of its stem, has no speciality about it, save a shallow groove running round its upper edge on the inside, as shown by the dotted line. When the cover is placed on the glass, and pressed smartly down, the two points already mentioned are forced into this groove, which thus grips the tin shape, and when again removed, lifts it out of the glass, leaving behind whatever article may have been beforehand placed within.

Where the bran glass is of large size, the metal cover is indispensable; but for glasses not exceeding the ordinary tumbler size, it is preferable to cover the glass with a borrowed handkerchief only, the hollow shape being in this case made, not of tin, but of thin cardboard. The two points are dispensed with, but in place of them there should be a piece of thread, in length about double the diameter of the glass, fastened from side to side of the shape. This, hanging down on the side of the glass which is toward the performer, is caught hold of through the handkerchief, and thus handkerchief and shape are lifted together.

The Bran Glass may be made available in a variety of ways; the trick next following will afford a good practical illustration of its use.

Fig. 217.

To Fire Borrowed Rings from a Pistol, and make them Pass into a Goblet filled with Bran and covered with a Handkerchief, the Bran Disappearing, and being found elsewhere.—The glass used in this instance is of ordinary tumbler size. It is not brought forward as above, with the bran shape already in place, but empty, and may therefore be freely offered for inspection. With it is brought forward a wooden box, of any size and shape, filled with bran, and in this, ready to hand, is concealed the bran shape. We have already had occasion to describe the magic pistol, or rather pistol tube; but the tube used in this instance (see Fig. 217) has an additional peculiarity. It is of comparatively small size, being about two inches wide at the mouth. Within this mouth fits easily a tin cup, a, about an inch and three-quarters in depth, and having its edge turned over outwards all round, so as to afford a ready grip to the palm when it may be necessary to remove it. The pistol is beforehand loaded with powder, and the cup above described is placed in the mouth of the tube.

The performer begins by asking the loan of three rings, to be fired from his magic pistol. To preclude the possibility of their being exchanged, he requests the owners to drop them into the pistol themselves. First, however, by way of wad, he takes a small piece of white paper, and presses its centre portion into the mouth of the pistol tube, its edges projecting all round, and forming a sort of cup to receive the rings. Three rings having been offered, and dropped into the pistol, the performer closes over the edges of the paper, and presses them down with his wand, the effect being as if the rings were fairly rammed down into the pistol, though they really remain in the cup, just within the mouth. He now hands the pistol to one of the spectators, requesting him to hold it muzzle upwards above his head. In handing it to him, he places for a moment his own right hand over the mouth of the tube, his palm being flat upon it, and in again removing the hand lifts out and palms the cup (which the projecting edge enables him to do with perfect ease). He has thus obtained possession of the rings. (As the holder of the pistol has been instructed to hold it above his head, he is not very likely to look into it; but lest he should do so, and discover that the rings are already removed, it is well to place in the tube beforehand a piece of crumpled white paper, to represent that which contained the rings.)

The performer now hands round the glass for examination, and subsequently draws attention to the box of bran. While doing this he has little difficulty in getting the rings out of the cup and paper into his right hand. He then, holding the glass in his left hand, dips it into the box, and fills it with bran, which he forthwith pours slowly back again to prove its genuineness. Meanwhile, his right hand is engaged in fishing up the bran shape among the bran, placing it mouth upwards in the box, and dropping the rings into it. When he again dips the glass into the box, he slips it mouth downwards over the shape, immediately turning it into the natural position, and bringing it up, to all appearance, full of bran. As the rings were in the shape, they are, of course, now in the glass. He brushes the loose bran off the top, and then covers the glass with a borrowed handkerchief, taking particular notice on which side hangs the loop of thread. The person holding the pistol is now requested to take good aim, and fire at the glass. He does so, and the performer, lifting the handkerchief with the shape within it, lets the latter drop on the servante, and advancing with the glass, requests the owners to identify their rings.

The trick may either end here, upon the supposition that the bran has been blown away altogether by the explosion, or the bran may be shown to have passed to some other place. There are numerous methods of effecting this latter transposition. For instance, the pea vase (see page 351), first shown empty, may be used, or the bran may be made to fall out of a second borrowed handkerchief, by means of the bag shown at page 248, or may be found in the apparatus next described.

Fig. 218.

Fig. 219.

The “Domino-Box” (sometimes called the “Glove-Box”).—This is a little oblong box of walnut or rosewood, measuring about four inches in length by two inches in width, and an inch and a quarter in depth. It has a sliding lid, drawing out in the ordinary manner, but the whole box has a tightly-fitting inner lining, which may be pulled out, drawer fashion, with the lid. (See Fig. 218.) It is used as follows:—Any small article, say a glove or a lady’s handkerchief, is secretly placed inside this inner lining. The performer exhibits the box to the company, and to show that it is empty, turns it over towards them, and draws the lid nearly out, drawing out with it at the same time the inner lining or drawer also. (See Fig. 219.) From the position of the box, the drawer is, at a very short distance, completely hidden by the lid. The box is, of course, seen to be perfectly empty. The performer now closes it, and turning its right side upwards, places it on the table. He then proceeds with the next stage of the trick, and at the right moment again opens the box, or invites some one else to do so. This time the lid alone is drawn out, and the hidden article is found in the box.

Fig. 220.

There is another speciality about the Domino-box, which renders it available to cause the disappearance of a coin placed in it; though, as in the case of the “Rattle-box,” described in the chapter devoted to coin tricks, the coin is heard to rattle within it till the very moment of its disappearance. This is effected as follows:—Between the bottom of the drawer and that of the box proper is a very small space, just large enough to allow a shilling to lie between the true and false bottom. On the under side of the drawer, however (see Fig. 220, showing the under side of the drawer portion), are glued two thin slips of wood, gradually approaching each other, and thereby narrowing this space to a width of about half an inch. If when the lid is withdrawn with the drawer, as already explained, a shilling or sovereign is dropped into the box, and the box again closed, the coin will have plenty of room to rattle about as long as it remains at the end a, but if shaken down with a sharp jerk in the direction of the end b, it will become caught in the narrower portion of the opening, and will thenceforth be silent, unless it may suit the purpose of the performer to release it again, which he can do by a sharp downward jerk in the direction of a. Of course, as the coin is below the false bottom, it will appear to have vanished when the box is opened in the ordinary way.

The Domino-box is sometimes used to change a sovereign to its equivalent in silver, the “change” being beforehand wrapped in paper, and concealed in the drawer. It is sometimes also caused to fill itself with bonbons, in place of a coin deposited in it.

These boxes are usually made in pairs, alike in appearance, but the one is a simple box without any speciality, and may therefore be handed round for examination, the mechanical box being adroitly substituted at the right moment. The fact that two boxes are used is, of course, carefully concealed.

Fig. 221.

The Coffee Trick. (Coffee Berries changed to Hot Coffee, White Beans to Sugar, and Bran to Hot Milk).—The pieces of apparatus used in this trick are of brass or japanned tin, and are three in number, two being tall cylindrical vases, standing eighteen to twenty inches in height, the third a goblet-shaped vase, of about half that height. The latter is made upon the principle of the “bran glass,” above described, consisting of three portions (see Fig. 221), the goblet a, the cover c, and a shallow tray b, which fits into the goblet, and which, if the cover is pressed down smartly, and again removed, is lifted off with it. It differs, however, from the “bran shape” in the fact that b is open at top instead of at bottom, and is only about one-fifth the depth of the goblet, leaving therefore considerable space below it. This portion of the apparatus is prepared for use by placing in the goblet a quantity of hot milk, putting b in position above it, and finally filling b with loose bran.

Fig. 222.

The construction of the other two vases will be quickly understood upon an inspection of Figs. 222, 223. a is the vase, and c the cover fitting loosely over it, but between these two is a well, b, made double, so as to fit at once into and outside of a, after a mode of construction which we have more than once had occasion to notice. There is a bayonet-catch at the lower edge of c, corresponding with a pin or stud at the lower edge of b, so that c may be lifted off either with or without b. There is a similar catch at the lower edge of b, corresponding with a stud at the bottom of a, but cut in the opposite direction to the other catch, so that the action of unlocking a from b locks b to c, and vice versâ.

Fig. 223.

The vase a requires a special description. A shallow saucer of tin, d, just fits the interior of the vase, working up and down therein piston-fashion, but prevented from coming out altogether by the fact that the upper edge of a is slightly turned inwards all round. Below d is a spiral spring, whose action tends to force d to the top of the vase, as shown in Fig. 222. From the centre of d, however, there extends downwards through the spiral spring a piece of stiff wire e, with a crook, f, at the end. The foot of the vase is hollow throughout. If the saucer d is forced down by pressure from within, this wire, as soon as it reaches the position shown in Fig. 223, will hook itself within the foot of the vase, and so keep down d, until the crook is again released, when the whole will instantly return to the condition shown in Fig. 222. The bottom of the foot is open, so that the fingers can without difficulty find and release the crook when necessary.

The vases are prepared by pressing down d in each as shown by the dotted lines in Fig. 223, and filling the well of the one with hot coffee, and that of the other with loaf-sugar. Their respective covers are then placed over them. The attention of the audience is first directed to a couple of wooden boxes, each about half as long again as the vases, and ten or twelve inches in depth, one of which is filled with coffee-berries, and the other with white haricot beans. The performer now uncovers the vase which contains the coffee, first turning the bayonet-catch so as to lift off the well b with the cover, and shows, by holding the vase upside down and rattling his wand within it, that it is perfectly empty. He now fills it with coffee-berries, laying it down in the box to do so, and holding it by the foot with one hand while he shovels the berries into it with the other. Having completely filled it with the berries, he holds it aloft, and, to show that there is “no deception,” tilts it, and lets them run back again into the box. Again he dips it into the box, but, as he does so, releases the crook (which the fingers of the hand holding the vase are just in position to do), and thus lets d fly up to the top of the vase. Again he brings up the vase, apparently full as before, but really having only a mere layer of berries, of the depth of d, at the top. He now puts on the cover, the well in which again forces d and the superposed layer of coffee-berries down to make way for it, and causes the crook again to catch beneath the hollow of the foot. The same operation is now gone through with the vase whose well contains the sugar, and the box of white beans. The performer lastly takes from the third vase a handful of bran, which he scatters to show its genuineness, and then places the cover over it. The trick is now really completed. On removing the respective covers (taking care of course, first to turn the bayonet-catches in the right direction), the wells are released from the covers and locked to the vases, which are thus found full respectively of hot coffee and sugar, and, on removing the cover of the third vase, the bran is lifted off with it, and the milk is revealed.

Fig. 224. Fig. 225.

Some coffee vases, and more particularly those of French make, dispense with the bayonet-catch, replacing it by a peculiar arrangement inside the top of the cover. The upper edge of the well is slightly turned in all round, and the turning of the knob at the top of the cover causes three flat bolts or catches to shoot out circularly from the edges of a hollow disc, soldered to the top of the cover inside, and insert themselves under this projecting edge. (See Figs. 224, 225.) The mechanical arrangement by which this is effected is almost impossible to explain in writing, though it becomes readily intelligible upon an actual inspection of the apparatus, and will be understood without much difficulty after a slight study of the above diagrams, the arrow in each case indicating the direction in which the knob must be turned, in order to bring the bolts into the condition shown in the opposite diagram.

The Inexhaustible Box.—The inexhaustible box is, to all outward appearance, a plain wooden box, of walnut, mahogany, or rosewood, in length from twelve to twenty inches, and in depth and width from nine to fifteen inches. Whatever its dimensions, its width and depth, exclusive of the lid, must be alike. To prove that it is without preparation within, the performer turns it over on the table towards the spectators, and, lifting the lid, shows that it is perfectly empty. Again he closes it, and, turning it right side upwards, opens it once more, and instantly proceeds to take from it a variety of different articles. At any moment the box is again turned over towards the audience, and shown to be empty; but it is no sooner replaced, than the performer recommences taking from it toys, bonbons, etc., the supply being many times larger than could possibly be contained at one time in the box.

Fig. 226.

The bottom a b of the box (see Fig. 226) is moveable, working on a hinge b extending along its front. When the box is turned over to the front, this bottom piece does not turn over with it, but remains flat upon the table as before. A piece of wood b c, of exactly similar size and shape, is glued to a b at right angles. When the box stands right side upwards, this piece lies flat against the front of the box, whose upper edge is made with a slight “return,” so as to conceal it. When the box is turned over to the front, this piece, like the bottom, retains its position, while any object which had previously been placed in the box remains undisturbed, but hidden by this latter piece. (See Figs. 226, 227.) It is, of course, necessary that such object should be of such a size as not to overpass the arc which the edge of the box describes in its change of position, and the length from b to c must be exactly the same as that from a to b.

The mode of using the box will require little explanation. Any number of objects, not overpassing the limits we have mentioned, may be placed in the box, which, being then turned over, can be shown apparently empty. The box being replaced in its normal position, the articles are again within it, and can be produced at pleasure. The effect of “inexhaustibility” is produced as follows:—Each time that the performer turns over the box to show that it is empty, he takes from the servante, or from his pockets, and places upon a b, a fresh supply of articles, to be produced as soon as the box is again right side upwards.

Fig. 227.

It should be mentioned that the hinge at b is made to act freely, so that the bottom may by its own weight retain its position when the box is turned over, and not turn over with the box. Some boxes are made with a catch or pin at some part of a, so as to prevent a b falling prematurely while the box is being placed on the table, or while the performer carries round the box, and shows that, inside and out, it is without preparation. This, however, the performer may safely do, even without the use of any catch or fastening, by taking care to grasp the box, when carrying it, by its front edge, with his fingers inside it. The fingers will thus press b c closely against the front of the box, and will thereby effectually prevent a b from shifting its position. The box is, of course, in the case supposed, really empty. The performer has therefore to make an opportunity for introducing what may be needful into it; this he may do by remarking as he replaces it on his table, “You are by this time, ladies and gentlemen, tolerably well satisfied that there is nothing in this box; but for the greater satisfaction of those who may not have been able to see the interior as I carried it round, I will once more show you that it is absolutely empty.” So saying, he turns it over, and once more shows the interior, at the same time placing on a b whatever article he designs to produce.

Fig. 228.

The Japanese Inexhaustible Boxes.—This is a form of the same apparatus, in which an additional element of mystery is produced by the use of a box within a box. The inner box is an ordinary inexhaustible box, as last described, but made with a flat wooden lid, instead of the hollow or “box” lid used in the older form of the trick. The outer box just fits over the inner, and is, in fact, a mere cover for it, being an ordinary wooden box, save that it has no front. The two are brought on one within the other. The performer begins by taking the smaller box (which is ready filled with the objects to be produced) completely out of the larger, and shows that the latter is absolutely empty. He then places the two boxes together, as shown in Fig. 228, turning over the smaller box to show its interior, as already described. After this has been done, the smaller box is tilted back to its normal position within the larger, the lid of the latter being slightly lifted to allow it to pass, and then both lids being opened together, the production of the contents commences. The function of the larger box is, in fact, merely to act as a screen to the hinder part of the smaller, when turned over towards the audience. The only advantage of the Japanese over the ordinary box is that it may be worked on any table, and with spectators on all sides, but this advantage is counterbalanced by the drawback that nothing can be produced save what was originally in the box, neither can the smaller box be carried round, and shown empty. This, however, may be met by beginning the trick with the two boxes together, and then, after having brought to light the whole of the original contents, offering (for the pretended purpose of heightening the effect) to continue the trick without the aid of the outer box. The inner box may thenceforth be replenished from behind in the same way as the ordinary Inexhaustible Box.

The Inexhaustible Box is frequently made the vehicle for those distributions of bonbons, toys, etc., which to the juvenile mind form by no means the least attractive feature of a magical performance. It is also available for the production of flowers, multiplying balls (see page 307), goblets, bird-cages, and the miscellaneous assortment of articles generally associated with “hat” tricks. One of the most effective modes of using it is in connection with the very pretty trick next following.

The Feast of Lanterns.—The performer, having exhibited the box empty, as already described, turns it over again, and instantly produces from it a paper lantern of many colours, with a lighted candle in it. This he hands to his assistant or one of the company to hang up at some convenient part of the stage or room, and returning to the box produces another, and yet another, till ten or twelve, or even a larger number, have been produced, the box being every now and then turned over to prove it empty. The effect of a number of lanterns thus mysteriously produced from an empty box, and hung about the stage in all directions, is most brilliant. As the candles do not burn very long, and there may be some risk of the lanterns catching fire, it is well to make this trick the finale of the entertainment, and to allow the curtain to fall before the illumination has had time to lose its effect.

Fig. 229.

Fig. 230.

A great part of the effect of the trick lies in the very considerable bulk of the lanterns, three or four of which would apparently be more than sufficient to fill a box from which a dozen or so are produced. This arises from the construction of the lanterns themselves, which are of the kind used for Christmas-trees and illuminations, and when open offer a considerable cylindrical surface (see Fig. 229), though when closed they are little more than flat discs (see Fig. 230). They are placed in the box in the condition shown in the last-mentioned figure; but when lifted out by the wire at top, at once expand, concertina-fashion, and assume the shape shown in Fig. 229. They are lighted in sundry ways, one method being as follows:—Each lantern contains about three-quarters of an inch of candle, from which the wick has been removed, and a wax match inserted in its stead. Against the front of the box, or rather against the wooden flap b c (see Fig. 227), is glued a tablet d of sandpaper upon which to strike the match, and a gentle rub against this instantly lights the candle, when the lantern is immediately lifted out, as already explained. There is, however, an improvement whereby the lanterns are not only made to occupy much less space, but may be lighted simultaneously. In this case the little cylinder which forms the socket for the candle, and which should be about half an inch in diameter, instead of occupying the middle of the space at the bottom of the lantern, is placed at one side of such space. One of the lanterns, viz., that which is to be undermost when they are grouped together, has no further preparation; but the second, by the side of its own socket, has a round hole in the bottom, just large enough to give room for the socket of the first. The next, or third lantern, has two holes, allowing the passage of the sockets of the first and second. The fourth has three holes, the fifth four, the sixth five, the seventh six, and the eighth seven, so that when the lanterns are placed one upon another in proper order, the sockets of the lower lanterns come up in a circle through the holes in the bottom of the uppermost one. The tops and bottoms are made of tin, which is not only safe from catching fire, but occupies very little space. In this case the original wicks of the candles are retained, but are slightly moistened with turpentine to render them instantly inflammable, and are lighted by a lucifer or wax match struck in the ordinary way, the merest touch sufficing to ignite them. They may then be lifted out in rapid succession with great effect. A group of six or eight lanterns thus prepared may be produced from a borrowed hat, being previously concealed in the breast or tail-pocket of the performer, and “loaded” into the hat at any convenient opportunity. It is desirable in this case to have a friction tablet glued upon the top of the uppermost lantern to strike the match upon, as the hat lining is hardly adapted for that purpose.

Fig. 231. Fig. 232.

The lanterns above described are the most generally used, and are by much the easiest to manipulate. There is, however, a spherical lantern also obtainable at the toy-shops, which has a decidedly prettier effect. This form of lantern is, when shut up, as shown in Fig. 231. To develop it, the wires a and b are each made to describe a semi-circle, as shown by the dotted line, bringing the whole into the condition shown in Fig. 232, in which condition it is maintained by slipping the loop of a under b. The best plan for lighting in this case is to have a separate small piece of candle, prepared with a match wick, as above-mentioned, placed in readiness on the servante, and a small pin or sharp nail projecting upwards from the bottom of the box to act as a candlestick. The candles in the lantern will in this case need no special preparation. The performer first lights the prepared candle by rubbing it against the tablet, and then presses it down upon the upright pin we have mentioned. The other candles are in turn lighted from this, each lantern being put into shape before being lifted out of the box, which must in this case be of tolerable size, in order to admit of their ready development.

The Butterfly Trick.—This is a trick of Japanese origin, which became very popular two or three years since. In effect it is as follows:—The performer brings forward an ordinary fan, and a couple of bits of tissue-paper, each torn into a fanciful likeness of a butterfly. Taking these upon his hand, he gently fans them, the motion of the air speedily causing them to rise above his head. Still gently fanning them, he causes them to hover, now high, now low, now fluttering along the wall, now descending into a gentleman’s hat, whence they presently emerge to again flutter hither and thither at his pleasure.

The point that most strikes an attentive observer is the fact that, whether they fly high or low, the butterflies always keep together. Sometimes they may be a couple of feet apart, sometimes only a few inches, but they never exceed the above limit; and the spectator naturally concludes that an extraordinary degree of dexterity must be necessary to enable the performer to keep them from diverging more widely. Here, however, in truth lies the secret of the trick, which is, that the so-called butterflies are connected by a piece of very fine silk a couple of feet in length, which, when the butterflies are in motion, is absolutely invisible to the spectators. The remainder of the trick is a matter of practice, though it is less difficult than would be imagined by any one who had never attempted it.

Some performers have the silk thread attached to one of the buttons of the coat. This arrangement will be found greatly to facilitate the working of the trick.

The paper for the butterflies is better torn than cut, and should be as nearly as possible of the shape of a St. George’s cross, and about two inches square.

The Wizard’s Omelet. (Borrowed Rings and Live Doves produced from an Omelet.)—This is a trick which always produces a great sensation, whether performed upon the stage or in the drawing-room. Its effect is as follows: The performer produces either naturally or magically (e.g., from the egg-bag, or from the mouth of his assistant, as described at page 329) three eggs, which he hands round for examination. His assistant next borrows from the audience three ladies’ rings, receiving them, in order to prove that he does not tamper with them in any way, on the performer’s wand instead of in his hands. The wand, with the rings still upon it, is laid upon the table. The assistant next brings in an omelet pan, and places it, with its lid beside it, on the table. The performer breaks the eggs into it, dropping in shells and all—then pours some spirits over it, to which he sets fire, and while it is still blazing drops the rings from the wand into it. He brings it forward to show that the rings are really in the flames; and on returning to his table, claps the cover on the pan, and fires a pistol (any ordinary pistol) over it. Without a moment’s interval, he again removes the cover. All traces of the omelet and egg-shells have vanished, but in their place are found three live doves, each with a ribbon round its neck, to which is attached one of the borrowed rings.

The explanation of this surprising result is simplicity itself. The reader, with his present knowledge, will readily conjecture that, as to the rings, a substitution is effected; but he may not so easily guess the manner of such substitution. It will be remembered that the rings were collected by the assistant on the performer’s wand. This arrangement, which is ostensibly adopted to prevent, in reality facilitates an exchange. The assistant makes his collection with three dummy rings placed beforehand on the lower end of the wand, and concealed by the hand in which he holds it; which, we will suppose, is the right hand. In returning to the stage, he takes hold with the left hand of the opposite end of the wand, and allows the borrowed rings to run down into that hand, at the same moment releasing the dummy rings from the right hand, and allowing them to run upon the middle of the wand in place of the others. He now has the borrowed rings in his left hand, and (laying the wand with the substitutes on the table) carries them off with him to prepare for the dénouement of the trick.

Fig. 233.

The only other matter which will require explanation is the construction of the omelet pan. This is a shallow pan of brass or tin, about ten inches in diameter, by two and a half in depth. Within this is an inner pan, also of brass or tin, fitting tightly within it, but about half an inch less in depth. The lid is made with a very deep rim or shoulder all round, and just fits within the lining, though less tightly than the latter fits within the pan. (See Fig. 233, in which a represents the pan, b the lining, and c the lid.) The assistant, as soon as he gets behind the scenes, loops the borrowed rings to the ribbons, which are already tied round the necks of the three doves, and places the latter in b, immediately putting on c (the two together having the appearance of a simple cover), and brings forward the pan and cover. The performer now makes his omelet, and drops the substitute rings into it. In bringing forward the pan to show that the rings are really there, he takes care to avoid the owners of them, who would alone be likely to detect the substitution. When he claps on the cover, the trick is really done, the firing of the pistol being merely for effect. When the cover is again removed, the lining remains in the pan, concealing the omelet beneath it, and revealing the doves, with the rings attached to their necks.

The Rose in the Glass Vase.—The ingenious piece of apparatus which we are about to describe was, we believe, the invention of Robert-Houdin. It consists of a glass vase, on a foot, and with a glass lid, standing altogether eight to ten inches in height. This is placed on a square box-like plinth or pedestal, of wood covered with morocco, and measuring about eight inches square by six in height. The lid is placed upon the vase, which, being transparent, is clearly seen to be empty. A borrowed handkerchief is for a moment thrown over the whole, and again removed, when a handsome rose (natural or artificial) is seen to have mysteriously found its way into the vase; whence it is removed, and handed to the company for inspection.

Fig. 234.

The secret of this mysterious appearance is twofold, lying partly in the vase and partly in the pedestal. The vase, which at a little distance appears as simple and commonplace as any in a confectioner’s window, has a segment cut off one side, leaving an opening of about five inches in height by three and a half in width. (See Fig. 234.) This opening is kept turned away from the audience. The pedestal, like the vase, is closed on every side except the side remote from the spectators, which is open. A curved wire arm, with a “clip” at the end to receive the stalk of the rose, works up and down, describing a quarter of a circle, in this open space. A spring hinge, on which this arm works, impels it to assume the position shown in the figure, thus lifting the rose through the opening into the vase. The apparatus is set by forcing down the arm with the rose into the position indicated by the dotted lines, in which position it is retained by a little catch, until the performer, in the act of covering the vase with the handkerchief, presses a stud at the upper side of the pedestal. This withdraws the catch, and allows the rose to rise into the vase. Of course, the performer in taking out the flower does so from the top, and with proper precautions not to disclose the existence of the opening at the back of the vase.

The ingenuity of the reader will probably suggest to him combinations to make the trick more effective. To those who have not such ready invention, we may remark that the trick may be very effectively combined with that of the ball that changes to a rose, and vice versâ (see page 300), or a duplicate rose may be placed in the mouchoir du diable (described at page 195), and thence ordered to pass to the vase.

Fig. 235.

The Chinese Rings.—These are rings of brass or steel, in diameter from five to nine inches, and in thickness varying from a quarter to three-eighths of an inch. The effect of the trick to the spectator is as follows:—The rings are given for examination, and found to be solid and separate; but at the will of the operator they are linked together in chains of two, three, or more, becoming connected and disconnected in a moment, and being continually offered for examination. Finally, after the rings have become involved in an apparently inextricable mass, a slight shake suffices to disentangle them, and to cause them to fall singly upon the stage.

Fig. 236.

The sets of rings sold at the conjuring depôts vary in number, ranging from six to twelve. The set of eight, which is perhaps the most usual number, consists of one “key” ring, two single rings, a set of two linked together, and a set of three linked together. The “key” ring (see Fig. 235), in which lies the secret of the trick, is simply a ring with a cut or opening, a, in it. For use upon a public stage, where the performer is at a considerable distance from his audience, there may be a gap of an eighth of an inch between the ends, but for drawing-room use, they should just touch each other. Some rings are made to “clip” like an ear-ring, and some have the opening cut diagonally instead of square, but the simple square cut is, in our own opinion, the best.

Fig. 237.

We shall, in the first place, describe the trick as performed with the set of eight rings above mentioned, afterwards noticing the more elaborate performance with twelve. We must premise, however, that the manipulation of the rings admits of almost infinite variation, and that the practice of performers differs greatly as to the mode of working them.

Fig. 238.

Fig. 239.

Fig. 240.

Fig. 241.

The performer comes forward holding the eight rings in his left hand, arranged as follows. First (i.e., innermost), comes the set of three; then the “key” ring (the opening uppermost in the hand), then the set of two; and, lastly, the two single rings. Taking the first of these, he hands it to a spectator for examination; passing it when returned to another person, and carelessly handing a second ring to be examined in like manner. This should be done without any appearance of haste, and with an air of being perfectly indifferent as to how many of the rings are examined. The two “singles” having been duly inspected, the performer requests one of the spectators to take them both in his right hand, at the same time taking in his own right hand the next two rings, which, it will be remembered, are the set of two, though the audience naturally believe them to be, like the first, separate. “Now, sir,” the professor continues, “will you be good enough to link one of the rings which you hold into the other.” The person addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says the performer, in pretended surprise. “My dear sir, nothing is easier. You have only to do as I do. See!” Laying down the rest of the rings, he holds the two as in Fig. 236, and makes a gentle rubbing motion with the thumb upon the rings, and then lets fall one of them, which naturally drops to the position shown in Fig. 237. He now hands these two rings for examination. The spectators seek for some joint or opening, but none is found; and meanwhile the performer transfers the next ring (the “key”) to his right hand, keeping the opening under the thumb. He now takes back with the left hand the two single rings, immediately transferring one of them to the right hand, and with the ball of the thumb presses it through the opening in the key ring, into which it falls, with exactly the same effect as the apparent joining of the two linked rings a moment before. Again he separates and again joins the two rings. The second single ring is now made to pass through in like manner, making the combination shown in Fig. 238. The performer remarks, “We now have three joined together. Here are three more, as you see (shaking those in the left hand), all solid and separate, and yet at my will they will join like the others.” Making a rubbing motion with the thumb as before, he drops two of the three, one by one, from the hand, when they will appear as a chain of three. These he hands for examination, taking back the set of two, and linking them one after the other into the key ring, to which now four rings are attached. Again taking back the set of three, he links these also one by one into the key ring, which thus has seven rings inserted in it. (See Fig. 239.) Using both hands, but always keeping the opening of the key ring under one or the other thumb, he now takes off these seven rings, commencing with the two single ones, and again offering them for examination; then taking off the set of two. Last of all, he unlinks the set of three, and then, holding them at length in his left hand, joins the upper one to the key ring, thus making a chain of four, of which the key ring is the uppermost. He next takes the lowermost ring of the four, and links that into the key ring, bringing the four rings into a diamond shape, as shown in Fig. 240. Again unlinking the lower ring, he takes up the set of two, and connects them with the key ring, holding them up above it, thus making a chain of six, the key ring being third from the top. (See Fig. 241.) Taking the upper ring between his teeth, he links the two single rings into the key ring on either side, making the figure of a cross, as shown in Fig. 242. As the hands are now occupied in holding the single rings forming the arms of the cross, he can no longer keep the opening of the key ring concealed by the thumb, but it is extremely unlikely that among so many rings, so slight a mark in one of them will attract notice. Regaining possession of the key ring, he links all one by one into it, so as again to bring them into the condition depicted in Fig. 239. Then, holding the key ring with both hands, and with the opening downwards, about a couple of feet from the floor (see Fig. 243), he shakes the rings violently, at the same time gently straining open the key ring, when the seven rings will all in succession drop through the slit, and scatter themselves about the floor, the general impression being that they all fall separate, though the grouped sets, of course, remain still united.