A. Anderson - The Black Art

HOW TO DO

THE BUCK AST Containing a complete description of t h e mysteries of Magic and Sleight of Hand, together with m a n y wonderful experiments.

BY A. ANDERSON.

ILLUSTRATED.,

NEW F R A N K

YOHK:

TOU.SEY,

Publisher,

04 AND HI! ,\OFNN MOORE STREET.

Entered according to Act of Congress, in t h e year 1805, l i j FRANK

TOUSEY,

in tho Office of tho Librarian of Congress a t W a s h i n g t o n , D. C.

HOW TO DO

T H E BLACK A R T

INTRODUCTION. THE chief requisites f o r success in tho p e r f o r m a n c e of tho black a r t is m a n u a l d e x t e r i t y a n d self-confidence; n i m b l e fingers a n d a cool t e m p e r . A n y one w h o e x h i b i t s f e a t s of l e g e r d e m a i n , will do well to r e m e m b e r t h a t ono of t h e best m e t h o d s of d i v e r t i n g tho a t t e n t i o n of tho audienco f r o m t h e action of y o u r Angers, is to keep t a l k i n g ; t h e m o r e d i v e r t i n g y o u r t a l k , t h e less a t t e n t i o n will tho audience give to your m a n i p u l a t i o n of t h e object w h i c h h a s to bo moved or c h a n g e d w i t h o u t t h e i r knowledge. Never a t t e m p t t o p e r f o r m a n y t r i c k in public till you h a v e practiced it in p r i v a t e , a n d a r e perfect in i t s performance. D o n ' t r e p e a t a t r i c k if you aro a s k e d t o do so, b u t tell y o u r audience y o u will s h o w t h e m ono of tho s a m e n a t u r e , t h o u g h a l i t t l e d i f f e r e n t . If you 4re a s k e d t o r e p e a t , you m a y be sure some one half guesses h o w t h o t r i c k is done, a n d wishes t o m a k e c e r t a i n . D o n ' t tell your a u d i e n c e b e f o r e h a n d t h e p a r t i c u l a r s of t h o t r i c k you are g o i n g to exhibit, a s t h e r e b y you half bet r a y yourself. A n d , should t h e trick be detected, k e e p your t e m p e r .

The Jumping

F«ather.

Cut a piece of sheet-brass into the shape of a lozenge, about two inches a n d a half long a n d one inch broad. Bend it exactly in t h e middle, b u t leave t h e t w o points sufficiently wide a p a r t to give a spring t o t h e t w o sides when they are brought together. Roll a t h i n s t r i p of paper once or twice l o u n d t h e points of this spring, a f t e r bringing them together, and m a k e it f a s t w i t h a piece of w a f e r ; but, as this f a s t e n i n g would not hold long (the wafer being wet), secure it also w i t h a piece of t h r e a d , which is to be removed, of course, w h e n t h e s p r i n g Is required. H a v e three f e a t h e r s of various colors a n d sizes, a n d when about to perform the trick, hold t h e spring above described concealed in t h e hollow of t h e h a n d . Borrow a penny a n d t h r o w it into a basin, which, of course, you m u s t previously s h o w to t h e spectators t h a t they m a y see it Is e m p t y . T h r o w in a t t h e s a m e t i m e t h e little spring, a n d t h e n place t h e three feathers in t h e basin, ar.d request the company to choose which of t h e feathers is to j u m p out. W h e n they have made t h e choice, place t h e feather selected—under t h e pretence of a r r a n g i n g t h e feathers in a particular manner—upon the end of t h e spring. Now inform the audience t h a t t h e feather is made to j u m p by no mechanical means, b u t by virtue of a w o n d e r f u l chemical preparation. Have some colored w a t e r ready in a little bottle a n d pour over the spring. The w a f e r will be rapidly softened, and che spring, suddenly let loose, will jerk t h e feather into t h e air. Then t a k e u p t h e basin, empty t h e spring a n d t h e coin into t h e h a n d , a n d restore t h e money to the owner.

H o w

to B r e a k a Stone w i t h a B l o w of the

Fist.

Select two stones, flints are best, each f r o m three to six inches long, and about half as thick ; lay one flat on t h e ground, a n d place one end of the other stone upon it, raising the reverse end to a n angle of forty-flve degrees, a n d j u s t over t h e center of t h e stone (with which it m u s t form a T), supporting It in t h a t position by a piece of t h i n t w i g or stick, one, or one a n d a half inch long. If you n o w

Bharply strike tho raised stone about t h e middle, w i t h t h e little linger side o£ t h e fist, the stick will give way, and t h e stone be broken into f r a g m e n t s . The stones, however, m u s t be laid very carefully a n d so t h a t they may not slip, otherwise t h e experiment will be sure to fail.

To Melt

Money

in a Walnut ing the

Shell w i t h o u t

Injur-

Shell.

B e n d a n y thin coin a n d p u t it into a half a w a l n u t shell: t h e n place t h e shell on a little p l a t e to keep it steady. Then All t h e shell with a m i x t u r e made of three p a r t s very dry powdered nitre, one p a r t of flowers of s u l p h u r and n little fine s a w d u s t . Set light to this, a n d you will And t h e m e t a l melted a t the bottom of t h e shell in t h e form of a b u t t o n , which will become h a r d when the b u r n i n g matter a r o u n d it Is consumed.

H o w to P u l l out ot Y o u r

Mouth Yards

of

Ribbon,

etc., o f w h a t e v e r C o l o r y o u P l e a s e .

P u l l i n g ri6bons out of your m o u t h is a laughable triek, a n d Conjurers m a k e money by it. They will sell to you ribbons of any length, by p u t t i n g into their m o u t h t h e end of one length, as they pull out another to t h e exact end of every yard, m a k i n g it appear as if the several pieces were all one. They%ecretly tie k n o t s which they rest a g a i n s t their teeth ; t h e n they cut off t h e s a m e w i t h o u t being seen, because t h e m o v e m e n t s of their Angers aro hid by paper shavings held in g r e a t q u a n t i t y between their teeth, whereby t h e beholders are doubly deceived, seeing as much ribbon as will All a h a t , a n d t h e s a m e of w h a t e v e r color you please to require, d r a w n by even yards out of tho m o u t h , a n d t h e juggler t a l k s as if his m o u t h w a s empty. There is a common street trick of d r a w i n g out a whole pyramid of tape f r o m t h e lips, b u t t h e above is a f a r greater trick.

The Burning Five-Dollar

Bill.

If you dip a five-dollar bill in p u r e brandy, and hold it in the flame of a candle until it takes Arc, it will spread all over in a sheet of ilame, and yet do no h a r m to the no towhatever. Fiery Writing

in

tho

Dark.

Place a small piece of solid phosphorus in a quill, and write with it some words upon paper. W h e n the paper is carried into a dark room tho writing will appear beautifully luminous. W r i t i n g b y t h e R a y a of t h e

Sun.

Dissolve a sufficient quantity of chalk in aquafortis, to make it of tho consistency of milk, and add to t h a t a strong solution of silver. P u t this liquor in a glass decanter, well stopped; then cut out from a paper tho letters you wish to appear, and paste tho paper on the decanter, which you will place in the sun in such a m a n n e r t h a t its rays may pass through the spaces cut out of the paper and fall on the surface of t h e liquor. T h a t p a r t of tho glass through which the rays pas3 will t u r n black, and t h a t under the paper will remain white. You m u s t be careful not to remove the bottle during the time of operation. You may mark f r u i t while growing by pasting on it your initials in paper, and allowing it to remain on the tree exposed to the sun for a few days. The p a r t covered by the paper will bo lighter colored t h a n the other p a r t . A

L o u d Report,

like t h a t ot a Tobacco

a Gun,

coming

from

Pipe.

Mix a powder composed of one ounce of saltpetre, one ounce of cream of tartar, and half an ounce of sulphur, pulverized separately, then mixed. P u t a single grain of this powder into a tobacco pipe, and when it takes fire It will produce an astonishingly loud report, though without breaking t h e pipe.

To Write

in tho

Dark.

Two planes of ebony, of equal l e n g t h a n d breadth, simil a r to a parallel ruler, a n d joined a t each end by racks, tho side of which is g r a d u a t e d to tho w i d t h of t h e lino ro. quired, will serve as a sure guide ; a n d a blind person, or a person i'.i t h e d a r k may, by t h e use of this i n « t r u m e n t , writo w i t h tho g r e a t e s t accuracy. If ivory tablets, or a slate, is used, a line wire d r a w n w i t h a stcol point, may be readily felt by the point of the pencil. Philosophy

Puzzled.

This f e a t 1s really a n excellent one, a n d h a s astonished crowds of spectators. I t w a s one of tho favorites of a lato professor, by whom it w a s promulgated. Before you perform it in public you m u s t practice it until you a r e perfect in private, for it would be a pity to spoil its effect by maki n g a blunder in it. Begin by s t a t i n g t h a t you aro a b o u t p e r f o r m i n g w h a t you have no d o u b t will bo regarded as a very e x t r a o r d i n a r y manoeuvre, and you will leave t h e comp a n y to decide upon w h a t principal of n a t u r a l philosophy it is accomplished. The mode of performance is as follows : L a y a piece of wood across tho p a l m of your l e f t h a n d , which keep wide open, w i t h tho t h u m b a n d alt tho fingers f a r a p a r t , lest you bo suspected of s u p p o r t i n g t h e wood w i t h t h e m . N e x t t a k e your left w r i s t in your r i g h t h a n d , a n d g r a s p it tightly, for t h e purposo as you s t a t e , of giving t h e h a n d more steadiness. N o w suddenly t u r n tho back of your left h a n d uppermost, a n d as your w r i s t moves in your r i g h t h a n d , stretch o u t t h e forefinger of your r i g h t h a n d , a n d as soon as tho wood comcs undermost, support it with such forefinger. You m a y now s h a k e t h e h a n d , a n d a f t e r a m o m e n t or two, allow t h e wood to drop. I t is t w o to one b u t t h e spectators will suppose it t o be produced by tho action of t h e air, a n d t r y t o do it t h e m s e l v e s ; but, of course, they m u s t , unless you h a v e performed t h e f e a t so a w k w a r d l y a s to bo discovered, fail in its performance. If you h a v e no objection t o reveal t h e socret, you can do it again, a n d while they a r e gravely philosophizing upon it, suddenly lift up your h a n d and expose t h e trick.

8

HOW

TO DO T H E

BLACK

ART.

To M a k e a R i n g Suspend by a B u r n t

Thread.

Soak a piece of thread in strong salt and water, tie it to a wedding ring, and you may burn it in a flame, but it will sustain the ring.

*

The Handkerchief Cut, T o r n a n d

Mended.

. Two of the company are requested to como forward, and a handkerchief is given to them, which they are to hold by the four corners; a f t e r w a r d s several other handkerchiefs are borrowed from tho company, and as they are gathered they are p u t into t h e first one to make a b u n d l e ; when a dozen have been filled up, the two persons who hold the bundle causo a third person to take one of them out by chance, and this third person is requested to examine the marks, etc., and to cut oil a corner with a pair of scissors ; other persons may also cut off pieces if they choose, after which the handkerchief is entirely torn to pieces. All t h e shreds are to be collected, and a f t e r being sprinkled with some drug, are folded up, and tied tight w i t h a ribbon to press them into a small compass; they are p u t u n d e r a glass, and u n f o l d e d ; t h e company recognize t h e marks, and the astonished spectators cannot perceive any r e n t in the handkerchief. Explanation,—One of the company is in confederacy, who, having had t w o handkerchiefs exactly alike, gives one to the confederate who is hidden behind the scene and throws the other on the stage to be used in the trick. Care is taken to p u t this one on t h e top of t h e heap, although they are seemingly mixed a t hazard. The person to whom you address yourself to take one by chance takes n a t u r a l l y t h e uppermost, and, if you perceive t h a t another is taken, you request t h e m to mix t h e m well, under pretence of completing t h e trick, and then, under pretence of settling them, you regain the confederate handkerchief, and hand the bundle to some other of the company, whose countenance indicates less suspicion, who p u t s his hand to the bundle of handkerchiefs, and good-humoredly takes out tho first. When the handkerchief has been torn and well folded, it is p u t under a glass on a table, near a partition.

On the part of the table where it is placed there is a small trap, which opens to let it fall into a drawer. The confederate, hid behind t h e scene, passes his h a n d into tho table to substitute t h e second in tho place of the first handkerchief ; ho then s h u t s the trap, which so neatly fits t h e space it opens into as to appear one uninterrupted surface, and deceives t h e eye of the most acute and incredulous spectator.

The Burnt Handkerchief, Borrow a pocket handkerchief from one of t h e company, t u r n up your coat sleeves, show t h a t you have nothing concealed about your h a n d s or up your sleeves, burn a piece out of the center of the handkerchief, blow it o u t a n d roll it up, and touch it w i t h your wand, exclaiming at the same t i m e : " H a n d k e r c h i e f , as you were 1" shake it out, and you will find it all right again. Explanation.—Before commencing this trick provide yourself with a small piece of calico, or linen, apiece about three inches square, and place it, not under your coat sleeves, b u t under your shirt sleeve on t h e left hand, and then you are ready to perform the trick. Borrow a handkerchief, show t h a t you liavo nothing concealed about your h a n d s or sleeves, t a k i n g care not to t u r n round t h e hand to the company which contains the piece in the sleeve; a t t h e same time t a k e the handkerchief and lay it across your left hand, p u t the r i g h t hand underneath, and t a k e the piece from your shirt sleeve and bring it forward to t h e t o p ; then a s k t h e owner if you may burn t h e handkerchief ; very likely he or she may say " N o , " then you s a y : " T h a n k you," and begin to burn i t ; tell him t h a t you will burn it down to as f a r as your fingers, because you k n o w if you burn it f u r t h e r w h a t the consequences will b e ; then when you have b u r n t nearly all t h e piece, blow it out, and, as you roll up t h e handkerchief, place the piece remaining u n b u r n t between t h e t h u m b and forefinger of the right hand ; keep on rolling up the handkerchief, and when you walk u p to your table for your magic wand you drop the little piece behind it, a n d ' a t the same time taking up your

!

w a n d , e x c l a i m - " H a n d k e r c h i e f , as y o u w e r e , " a n d o n s h a k i n g i t o u t i t w i l l be f o u n d t o be a l l r i g h t a g a i n .

The W a t e r

Trick.

P r o c u r e t w o pieces o f glass a b o u t s i x ' i n c h e s square, j o i n a n y t i v o o f t h e i r sides, a n d separate t h o opposite sides i w i t h a p i e c e o f w a x , so t h a t t h e i r s u r f a c e s m a y f o r m a n a n g l e of a b o u t t w o or three d e g r e e s ; i m m e r s e t h i s apparatus i n water, and the w a t e r w i l l riso between the plates and f o r m a beautiful geometrical llgure.

The Tumbling

Egg.

F i l l a q u i l l w i t h q u i c k s i l v e r ; seal i t a t b o t h ends w i t h g o o d h a r d w a x . T h e n b o i l a n egg. T a k e a s m a l l pieco of shell off and t h r u s t i n the q u i l l w i t h the q u i c k s i l v e r ; lay I t o n t h o g r o u n d a n d i t w i l l j u m p a b o u t t i l l a l l t h e h e a t is gone. I f y o u p u t q u i c k s i l v e r i n t o a bladder a n d w a r m i t aftor y o u have b l o w n i t o u t a n d secured it, i t w i l l s k i p about i n the same manner.

To Make Blood Flow

From

a

Knife.

G e t a s m a l l pieco of sponge a n d d i p i t i n t o some r e d l i q u i d h a v i n g t h o a p p e a r a n c e o f b l o o d . P l a c e obis b e h i n d y o u r ear. T u r n u p y o u r sleeve a n d e x h i b i t y „ u r h a n d s t o s h o w t h e r e is n o t h i n g i n t h e m . T h e n t a k e a c o m m o n table-knife and hand it round for examination. On taking it back grasp it fully in your hand, that you m a y have a n o p p o r t u n i t y of t a k i n g h o l d of t h e s p o n g e u n p e r c e i v e d . Say t h a t , w h e n e v e r y o u p e r f o r m t h i s t r i c k , w h i c h is borr o w e d f r o m t h e b l a c k a r t , y o u are a f r a i d somo diaoolical agency m a y w i t h e r your a r m , and you should request t h a t one of the spectators w i l l m a k e a cross o n y o u r e l b o w . W h e n the person w h o complies w i t h y o u r request comes f o r w a r d , bend your a r m back, raising i t a l i t t l e a n d bringi n g f o r w a r d t h e e l b o w , w h i l e t h e h a n d is n a t u r a l l y b r o u g h t n e a r t h e e a r , a n d t h e s p o n g e m a y be t a k e n u p u n -

perceived. W h e n t h o cross has been d u l y made, y o u should strotch out y o u r a r m at f u l l length, a n d squeezing t h e h a n d l e of t h e k n i f e a g a i n s t t h e sponge, b l o o d w i l l bo seen t o d r o p f r o m i t s p o i n t . Y o u c a n , of course, h i d o t h o s p o n g e a f t e r w a r d s , as y o u h a v e t o w i p e y o u r h a n d a f t e r performing this trick, and can slip i t unperceived into your pocket handkerchief.

Tho Card Nailed to the W a l l by a Pistol

Shot.

A c a r d is d e s i r e d t o bo d r a w n , a n d t h e p e r s o n w h o chose it requested to tear of! a corner and keep it, t h a t ho m a y k n o w t h e c a r d ; t h e c a r d so t o r n i s t h e n b u r n t t o c i n d e r s , a n d a p i s t o l is c h a r g e d w i t h g u n p o w d e r w i t h w h i c h t h o ashes of t h o c a r d aro m i x e d . I n s t e a d o f a b a l l a n a i l , w h i c h is m a r k e d b y some of t h o c o m p a n y , is p l a c e d i n t h o b a r r o l ; t h e p a c k of c a r d s is t h e n t h r o w n u p i n t h o a i r , t h o p i s t o l i s fired, a n d t h e b u r n t c a r d a p p e a r s n a i l e d a g a i n s t t h o w a l l . T h o b i t of t h o c o r n e r w h i c h w a s t o r n off Is t h e n c o m p a r e d w i t h i t a n d i s f o u n d e x a c t l y t o fit, a n d t h o n a i l w h i c h f a s t e n s i t t o t h o w a l l Is r e c o g n i z e d b y t h e persons who marked it.

Exjilanation.—When t h o p e r f o r m e r sees t h a t a c o r n e r has been t o r n f r o m tho chosen c a r d he r e t i r e s a n d m a k e s a similar tear on a like card ; r e t u r n i n g to the theatro he a s k s f o r t h e c h o s e n c a r d a n d passes i t t o t h o b o t t o m of t h o p a c k a n d substitutes a d r o i t l y i n t h o placo the card w h i c h h e h a s prepared, w h i c h ho b u r n s i n s t e a d of t h o first. W h e n t h o p i s t o l is l o a d e d l i e t a k e s i t i n h i s h a n d s , u n d e r t h o prctence of s h o w i n g h o w t o d i r e c t i t ; h e a v a i l s h i m self of t h i s o p p o r t u n i t y to open a hole i n t h e barrel near the touch-hole, t h r o u g h w h i c h the nail falls by its o w n w e i g h t i n t o h i s h a n d . H a v i n g s h u t t h i s passage c a r e f u l l y ho requests some of t h e c o m p a n y t o p u t m o r e w a d d i n g i u t h e p i s t o l ; w h i l s t t h a t is doing, ho carries tho n a i l a n d card to his confederate, w h o q u i c k l y nails the card to a s q u a r e piece of w o o d , w h i c h stops h e r m e t i c a l l y a space l e f t open i n t h e p a r t i t i o n a n d i n t h e tapesfry, b u t w h i c h is n o t perceived, as i t is c o v e r e d by a piece of t a p e s t r y s i m i l a r t o t h o rest of t h e r o o m , a n d b y w h i c h m e a n s w h e n t h e n a i l e d

c a r d is p u t i n i t is n o t perceived. T h e piece of t a p e s t r y w h i c h covers i t is nicely, fastened on the one end w i t h t w o p i n s , a n d t o t h e o t h e r a t h r e a d is fastened, one e n d of w h i c h t h e c o n f e d e r a t e h o l d s i n h i s h a n d . A s s o o n as t h e r e p o r t of t h e p i s t o l is h e a r d t h e confederate d r a w s his t h r e a d , b y w h i c h m e a n s t h o piece of t a p e s t r y f a l l s b e h i n d a glass, a n d t h e card appears—tho same t h a t w a s m a r k e d , i and w i t h the nail that was p u t i n the pistol. The pistol ' i s , of c o u r s e , m a d e s p e c i a l l y f o r t h e p e r f o r m a n c e o f t h i s trick. N . B . — I f a n y one suspects t h a t t h e n a i l has been s t o l e n o u t of the pistol, y o u persist i n t h e contrary, a n d beg the c o m p a n y a t t h e n e x t e x h i b i t i o n t o be f u r t h e r c o n v i n c e d ; y o u t h e n are t o s h o w a p i s t o l ; w h i c h y o u t a k e t o pieces t o s h o w t h a t a l l is f a i r . W i t h o u t p r e p a r a t i o n y o u c h a r g e i t w i t h a n a i l w h i c h is m a r k e d b y a confederate, o r y o n s h o w i t to m a n y persons to a v o i d its being m a r k e d — i n this case t h e c a r d i s n a i l e d w i t h a n o t h e r n a i l ; b u t t o p e r s u a d e t h e c o m p a n y t h a t i t is t h e same, y o u b o l d l y assert t h a t t h e n a i l wa3 m a r k e d b y several persons, a n d y o u request tho spectators t o v i e w i t a n d be convinced.

Arithmetical Conjuring

Tricks.

C o m b i n a t i o n s of n u m b e r s s o m e t i m e s p r o d u c e r e s u l t s t h a t are, to say t h e least, v e r y a s t o n i s h i n g . T o t e l l a person's age a f t e r t h a t person has p e r f o r m e d a v e r y i n t r i c a t e calcul a t i o n , o f w h i c h y o u see n o t h i n g b u t t h e r e s u l t , s m a c k s r a t h e r of t h e d i a b o l i c a l , a n d i n o l d e n t i m e s m i g h t h a v e led the m a g i c i a n t o the stake. T h e f o l l o w i n g is an ingenious trick: T o tell w h o has the Ring, a n d on w h i c h

Finger.

Y o u p r o c u r e a n o r d i n a r y finger r i n g a n d g i v e i t t o t h e c o m p a n y , t e l l i n g t h e m t o s e t t l e a m o n g t h e m s e l v e s w h o is to wear it, a n d y o u w i l l a f t e r w a r d s discover w h o has it. W h e n they have arranged that matter you call upon t h e m t o f o r m a line, and you n u m b e r them, they keeping their h a n d s concealed. A l s o y o u are t o i n s t r u c t t h e m t h a t i n t h e a r i t h m e t i c a l c a l c u l a t i o n s t h e r i g h t h a n d s c o u n t as 1, t h e l e f t h a n d s as 2; that the fingers a r e n u m b e r e d 1 t o 5—

the t h u m b being N o . 1 ; a n d t h a t the j o i n t s of t h e fingers a r e n u m b e r e d f r o m 1 t o 3 — t h e n a i l j o i n t b e i n g N o . 1. O f c o u r s e t h e y a i i k n o w w h o h a s t h e r i n g , o n w h i c h fing e r a n d w h i c h j o i n t o f t h e f i n g e r ; y o u h a v e t o find o u t , a n d you do i t t h u s : Y o u b i d t h e b e s t a r i t h m e t i c i a n o f t h e m fix i n h i s o w n m i n d t h e n u m b e r of t h e person w h o has t h o r i n g ; l e t h i m m e n t a l l y m u l t i p l y t h a t n u m b e r b y 2, t h e n a d d 5 t o t h e p r o d u c t , t h e n m u l t i p l y t h a t s u m b y 5, t h e n a d d 10 t o t h e p r o d u c t , t h e n a d d t h o n u m b e r of t h e h a n d o n w h i c h t h e r i n g is, i. e „ 1 i f i t is o n a r i g h t h a n d , 2 i f o n a l e f t ; t h e n m u l t i p l y b y 10, t h e n a d d t h o n u m b e r o f t h e finger, 1 i f o n t h u m b , 2 i f o n f o r e f i n g e r , e t c . ; t h e n m u l t i p l y b y 10 a g a i n , t h e n a d d the n u m b e r of the j o i n t on w h i c h the r i n g rests, t h e n t o t h a t s u m a d d a n y n u m b e r less t h a n 50, y o u n a m i n g the n u m b e r ; then tell you the grand total. F r o m that g r a n d t o t a l y o u s u b t r a c t t h e s u m o f 3500, a n d w h a t e v e r w a s t h o l a s t n u m b e r added, t h e r e s u l t w i l l bo f o u r figures b y w h i c h y o u t e l l t h e p e r s o n t h e b a u d t h o finger a n d t h c j o i n t u p o n w h i c h t h e r i n g w i l l bo f o u n d . I l c r o is a n examplo: Suppose the r i n g is g i v e n t o e i g h t people, w h o dccidc a m o n g s t themselves t h a t N o . 4 shall place i t o n the first j o i n t of tho forefinger of his r i g h t hand. M u l t i p l y his n u m b e r by 2 Add Multiply by 5 A d d 10 A d d 1, t h e n u m b e r o f r i g h t M u l t i p l y b y 10 A d d 2, t h e n u m b e r o f t h o M u l t i p l y b y 10

: hand finger

A d d 1, f o r t h e n u m b e r o f t h e j o i n t A d d a n y n u m b e r u n d e r 50, say 40

= = = --=

8 13 05 75 70 700 762 7620 7621 7070

T h e r e s u l t , w h i c h h e t e l l s y o u , i s 7670, f r o m w h i c h y o u s u b t r a c t 3500, p l u s 49, t h e l a s t n u m b e r a d d e d ; y o u find r e m a i n i n g -1121, w h i c h s h o w s t h a t N o . 4 p e r s o n h a s t h e r i n g on No. 1 or r i g h t hand, No. 2 or forefinger, No. 1 joint.

A

Person h a v i n g Gold i n one h a n d a n d Silver in the other, y o u tell i n w h i c h h a n d is tho G o l d and i n w h i c h the Silver.

T e l l t h o p e r s o n t h a t t h e h a n d h o l d i n g t h e g o l d c o u n t s 4, t h e silver h a n d 3 ; o r y o u m a y choose o t h e r n u m b e r s , b u t t h e g o l d m u s t bo e v e n , a n d t h o s i l v e r o d d . B i d h i m m u l t i p l y t h a t w h i c h i s i n t h e r i g h t h a n d (3 o r 4 as i t m a y bo g o l d o r s i l v e r ) b y 3, a n d m u l t i p l y t h o l e f t h a n d n u m b e r b y 2. T h e n b i d h i m a d d t h e t w o p r o d u c t s t o g e t h e r , a n d a s k h i m i f t h e s u m t o t a l Is a n o d d o r a n e v e n n u m b e r . I f i t i s a n e v e n n u m b e r , ' t h e g o l d w i l l be i n h i s r i g h t h a n d ; b u t i f i t i s a n o d d n u m b e r , t h o g o l d w i l l be i n h i s l e f t . I f g o l d a n d s i l v e r chance t o bo scarce, s u b s t i t u t e pence a n d h a l f pence. To A n d out a Person's B i r t h d a y

by

Arithmetic.

Y o u t e l l a p e r s o n t h a t y o u w i l l find h i s o r h e r b i r t h d a y by calculation, a n d begin by b i d d i n g t h a t person w r i t e d o w n , i n figures, w i t h o u t l e t t i n g y o u see i t , th.e d a y o f t h o m o n t h on which born ; then in a line w i t h it the number the m o n t h takes i n the Calender—as 1 for January, 2 for F e b r u a r y , 3 f o r M a r c h , etc. T h u s , a p e r s o n b o r n o n t h e 1st o f J a n u a r y w o u l d p u t d o w n 11, w h i l e o n e b o r n o n t h o l a s t d a y o f t h o y e a r w o u l d w r i t e 3112. T h e n b i d t h e p e r s o n m u l t i p l y this n u m b e r by 2 ; then to tho product add 5 ; t h e n m u l t i p l y by 50; t h e n to the product a d d t h o correct a g o l a s t b i r t h d a y ; f r o m t h a t s u b t r a c t 305, a n d t h e n t o t h a t r e m a i n d e r a d d 115. A s k t h e p e r s o n t o t e l l y o u t h e r e s u l t — t h e l a s t r o w of figures—from t h a t y o u can t e l l the d a y a n d m o n t h of b i r t h , a n d t h e age last b i r t h d a y . F o r i n s t a n c e , suppose a p e r s o n b o r n o n t h e 1st of J a n u a r y , 1809, t h a t p e r s o n w o u l d p u t d o w n 1 f o r t h e d a y , 1 f o r t h e m o n t h , = 1 1 ; o r i f b o r n 28 o f F e b r u a r y , w o u l d p u t d o w n 28 f o r t h e d a y , 2 f o r t h e m o n t h , = 2 8 2 . I n t h e l a t t e r case, 282 m u l t i p l i e d b y 2 Add 5 . . . ... Multiply by 5 0 . . . A d d ago last b i r t h d a y S u b t r a c t 305 A d d 115

... ... (17)

=

501 5G0 28150 28107 28302 28217

v

I I o t h e n t e l l 3 y o u t h e r e s u l t , 28217. W e l l , a g l a n c e w i l l t e l l y o u w h e t h e r t h e p e r s o n i s 7 o r 17 y e a r s o l d — y o u A n d he is 17; h e w a s b o r n i n t h e 2 n d m o n t h of t h o y e a r , a n d o n t h o 28th d a y of t h a t m o n t h .

To Mako a Card J u m p

out of a Pack and

along tho

Bun

Table.

T h i s is a n e x t r a o r d i n a r y t r i c k i f w e l l m a n a g e d . T a k e a p a c k of cards, a n d l e t a n y person d r a w a c a r d he m a y fancy best, a n d a f t e r w a r d s p u t I t i n t o t h e p a c k i n such a m a n n e r as t o k n o w w l i e r o t o p l a c e y o u r h a n d o n I t a g a i n ; t h e n t a k e a piece of w a x , a n d placc i t u n d e r tire t h u m b nail of your r i g h t hand; then fasten a hair to y o u r t h u m b , a n d t h o other e n d of tho h a i r to the card ; n o w spread tho p a c k of cards open on t h o table a n d say : " I f y o u are a f r i e n d y o u w i l l j u m p o u t of t h o pack." T h e r i g h t card w i l l t h e n j u m p o u t o n t h o t a b l e as y o u m o v e y o u r h a n d towards you.

H o w

to Change Pour

Aces

into Four

Knaves.

M a k e a p a c k of e i g h t cards, f o u r k n a v e s a n d t h e same n u m b e r o f a c e s ; p l a c e e a c h k n a v e a n d ace e v e n l y t o gether, a n d place t h e e i g h t cards a t t h o b o t t o m of a complete pack of cards. T h e n shuffle t h o pack i n such a mann e r t h a t o n o ace m a y l i e u p p e r m o s t , o r so t h a t y o u m a y k n o w w h e r e i t lies alwayB ; let y o u r pack, w i t h three or f o u r cards m o r e , lie close t o g e t h e r , i m m e d i a t e l y u p o n a n d w i t h t h a t a c e ; t h e n m a k i n g some speech t o a m u s e t h e a u d i e n c e , c o n t r i v e t o w o r k y o u r fingers i n s h u f f l i n g q u i c k l y so as t o c o n f u s e t h e m , w h i l e y o u a p p e a r t o d r a w t h e f o u r aces ( o n o a f t e r t h e o t h e r ) , a n d l a y t h e m o n t h e t a b l e , face d o w n w a r d s , w h i l e , i n r e a l i t y , a l t h o u g h y o u s h o w e d t h e m t h e aces s i n g l y , b y t h o a d r o i t m o v e m e n t s o f y o u r hands you replaced t h e m i n the pack, a n d s u b s t i t u t e d the f o u r k n a v e s , w h i c h , c r y i n g " P r e s t o c h a n g e 1" y o u t u r n u p a n d s h o w t h e m , as i f t h o f o u r aces w e r e t r a n s f o r m e d i n t o four knaves, m u c h to their amusement and surprise.

Cards Mysteriously

Changed.

T a k e t w o cards, one d i a m o n d s , t h e o t h e r spades. S p l i t t h e m i n s u c h a m a n n e r as t o r e d u c e t h e p a i n t e d s i d e t o h a l f i t s u s u a l t h i c k n e s s ; t h e n , w i t h , a razor, peel o f f scales o f p a p e r t i l l i t b e c o m e s of t h e c o n s i s t e n c y o f t i s s u e p a p e r . N o w cut, o u t a s p a d e p i p a n d a d i a m o n d p i p . S p r e a d a l i t t l e t a l l o w o n t h e b a c k of b o t h p i p s . S t i c k t h o d i a m o n d p i p u p o n t h e q u e e n of s p a d e s , so as t o c o n c e a l t h e s p a d o p i p , a n d t h e spade p i p u p o n t h o queen of d i a m o n d s , coveri n g t h e d i a m o n d p i p . T h e a p p e a r a n c e o f t h e c a r d s so a l t e r e d w i l l b y c a n d l e l i g h t be c o m p l e t e l y d e c e p t i v e . C a l l o n the spectators to look a t the cards f r o m a distance, t h e n p l a c e t h e m i n a h a t t o be h e l d a l o f t , a n d p u t t h o o t h e r i n a second h a t , b o t h a b o u t f o u r paces d i s t a n t . T u r n the sleeves o f y o u r c o a t u p , a n d h o l d o u t y o u r h a n d s t o p r o v e t o the company t h a t there is n o t h i n g concealed i n t h e m . T h e n w a l k u p t o one h a t a n d r e m o v e t h e false p i p f r o m t h o card w i t h i n i t , a n d passing to the second h a t , w i t h y o u r hands stretched out to show t h a t they are still e m p t y go t h r o u g h t h e s a m e p r o c e s s as w i t h t h e f i r s t . N o w s t a n d i n t h e m i d d l e of t h o r o o m a n d c r y o u t : " O n c e — t w i c e — t h r i c e I P a s s . " T h e t w o h a t s m a y t h e n be l o o k e d i n t o , a n d t h e cards t a k e n o u t a n d s h o w n , to the a s t o n i s h m e n t of t h e spectators a t t h e r a p i d a n d m y s t e r i o u s change.

Tricks with

Money.

P l a c e a q u a r t e r o n t h e t i p s o f t h e m i d d l e a n d t h i r d fing e r , so t h a t i t s h a l l r e s t t h e r e o f i t s o w n w e i g h t . B y n o w t u r n i n g the hand w i t h the knuckles uppermost, and quickl y c l o s i n g t h e fingers i n t o t h o p a l m , t h e c o i n m a y be h e l d securely by the c o n t r a c t i o n of the t h u m b , a n d the h a n d s t i l l appear t o c o n t a i n n o t h i n g . T h i s is c a l l e d palming, and, w i t h a l i t t l e practice, n e a r l y e v e r y f e a t df s i m p l e lege r d e m a i n m a y be p e r f o r m e d b y i t s m e a n s . C a r e , o f c o u r s e , m u s t be t a k e n n o t t o expose t h e c o i n by a n y r e v e r s e d m o v e m e n t of the hand.

How

to Steal Three

Ducks.

A g e n t l e m a n once s e n t h i s s e r v a n t w i t h n i n e d u c k s i n a bag upon w h i c h was the following direction : " T o MIT. M A T T H E W MOIIUI.T.', W I R A I X

DUCKS."

T h e s e r v a n t h a d less o£ h o n e s t y t h a n i n g e n u i t y a b o u t h i m , a n d s t o l e t h r e e of t h e d u c k s . H e n e i t h e r erased a letter nor a word, nor substituted a n e w direction. Now h o w d i d he manage i t ?

Solution: H e m e r e l y numeials, thus:

placed the letter S

" T o M N . M A T T H E W MUDDLK, WITH S I X

H o w

to S h o w

Empty

before

the

DUCKS."

the H e n and E g g Bag, and f r o m an

Bag

to

bring

afterwards a Iiive

a

Hundred

Eggs

and

Hen.

T a k e t w o or three y a r d s of calico, or p r i n t e d linen, a n d m a k e a double bag, a t tho m o u t h of w h i c h , on the side n e a r e s t y o u , y o u m u s t m a k e f o u r o r five l i t t l e p u r s e s , i n e a c h of w h i c h y o u m u s t p l a c e t w o o r t h r e e e g g s . When y o u h a v e filled t h a t s i d o n e x t t o y o u , h a v e a h o l e m a d e a t one e n d of y o u r bag, so t h a t n o m o r e t h a n t w o or t h r e e eggs c a n c o m e o u t a t once. Y o u m u s t also h a v e a n o t h e r b a g , w h i c h i s so e x a c t l y l i k e t h e first t h a t i t s h a l l be i m possible to d i s t i n g u i s h one f r o m the other, i n w h i c h y o u w i l l p u t a hen, a n d h a n g i t on a h o o k on the side w h e r e y o u s t a n d . T h e t r i c k is p e r f o r m e d t h u s : P u t b o t h y o u r hands i n t o the egg bag, then t u r n i t inside out, saying : " L a d i e s a n d g e n t l e m e n , y o u see t h a t t h e r e i s n o t h i n g i n side m y bag," a n d w h i l e t u r n i n g i t again, c o n t r i v e to slip some of t h e eggs o u t of t h e p u r s e s ; t h e n t u r n y o u r b a g a g a i n a n d s h o w t h e c o m p a n y t h a t i t is e m p t y ; i n t u r n i n g i t a g a i n y o u c o m m a n d m o r e eggs t o come o u t , a n d w h e n t h e y are a l l o u t b u t one, y o u t a k e t h a t one a n d s h o w i t t o the company ; then drop the egg bag and take up the hen bag a n d shake o u t y o u r hen, pigeon, or any other f o w l .

The Dancing

Egg.

P r e p a r e a piece o l b l a c k s i l k t h r e a d a b o u t t h r e e feet i n l e n g t h , w i t h a n e m p t y egg fastened b y a k n o t a t one end of i t . P l a c e t h e egg-shell i n one of y o u r p o c k e t s . Then t a k e a f u l l egg, a n d h a v i n g a l l o w e d t h e s p e c t a t o r s t a exa m i n e i t a n d see i t i s n o t p r e p a r e d f o r t h e p u r p o s e , p l a c e it in a hat. N o w take an empty handkerchief and lay it on tho h a t , c o n t r i v i n g to place tho e m p t y egg w i t h tho thread attached, unobserved, beneath the pocket handkerchief, saying, " I a m obliged to p u t t h i s handkerchief w i t h t h e h a t , f o r fear w h e n t h e egg begins t o j u m p i t s h o u l d be broken." H a v i n g placed the f u l l egg beneath the handk e r c h i e f s t e p b a c k t h r e o o r f o u r paces, a n d t a k e a n e m p t y h a t i n one h a n d , w h i l e w i t h a n u m b e r of j o c u l a r sayings, the h a t w i t h t h e e g g is m o v e d a l i t t l e d i s t a n c e a w a y f r o m t h e b o d y . T h e e g g - s h e l l w i l l i n t h a t w a y bo b r o u g h t o u t u p o n t h e b r i m , a n d if the other h a t is placed a t a s h o r t distance, t h o egg, w i t h a s l i g h t j e r k , m a y be m a d e t o j u m p i n t o i t , a n d t h a t c a n b o r e p e a t e d as o f t e n as i s w i s h e d .

To Mako an E g g stand on E n d on a

Looking-glass.

To accomplish this trick let the performer take an egg i n h i s h a n d , a n d w h i l e he keeps t a l k i n g a n d s t a r i n g i n t h e face of h i s audience, g i v e i t t w o o r t h r e e h e a r t y s h a k e s ; t h i s w i l l b r e a k t h e y o l k of t h e egg, w h i c h w i l l s i n k t o one end, a n d consequently m a k e it more heavy, b y w h i c h , w h e n i t is s e t t l e d , y o u m a k o i t , w i t h a s t e a d y h a n d , s t a n d u p o n t h e g l a s s ; t h i s w o u l d bo i m p o s s i b l e w h i l e i t continued In its proper state.

The Beer

Trick.

T a k e a c o m m o n w i n e - g l a s s , fill i t w i t h p o r t e r . O n t h e t o p of t h e p o r t e r place a s m a l l pieco of p a p e r c u t n e a t l y r o u n d i n t h e s h a p e o f a five-cent p i e c e . Now, with a steady hand, p o u r g e n t l y w i t h a teaspoon enough w a t e r to fill u p t h e g l a s s , a n d t h e w a t e r w i l l float o n t h e t o p . R e move the paper, a n d y o u m a y t h e n engage to d r i n k t h o

p o r t e r b e n e a t h w i t h o u t t a k i n g u p a d r o p of w a t e r . You m u s t s u c k t h e beer w i t h a s t r a w . T h o w a t e r w i l l be f o u n d perfectly clear a t tho b o t t o m .

To pass a T u m b l e r

through a

Tablo.

Place yoursolf on the opposite side of tho table to tho spectators, h a v i n g spread, u n p q r c c i v c d , a handkerchief across y o u r knees. T a k e a t u m b l e r , w h i c h , h a v i n g cove r e d w i t h p a p e r , y o u w i l l m o l d as n e a t l y as p o s s i b l e t o t h e shape of t h o glass. W h i l e g i v i n g u t t e r a n c e t o some cabalistic words, drop tho glass i n t o y o u r handkerchief u n p e r c e i v c d , a n d as t h e p a p e r r e t a i n s i t s s h a p o , t h o lookers-on w i l l believe t h e t u m b l e r t o be s t i l l b e n e a t h i t . Passing tho glass w i t h tho left h a n d under the table, y o u n o w crush tho paper d o w n w i t h your right, w h e n the glass w i l l appear to have been sent t h r o u g h tho table.

H o w

to eat F i r e a n d b l o w with a Pair

of

it up i n your

Mouth

Bellows.

A n o i n t y o u r t o n g u e w i t h liquid storax, a n d y o u m a y p u t a p a i r of t o n g s r e d - h o t i n t o y o u r m o u t h w i t h o u t i n j u r i n g yourself, a n d lick t h e m t i l l they aro cold. B y the a s s i s t a n c e of t h i s o i n t m e n t , h a v i n g y o u r m o u t h p r e p a r e d i n t h i s m a n n e r , y o u m a y t a k e w o o d , coals, etc., o u t of t h e fire a n d cat t h e m w i t h o u t i n j u r y . D i p t h e m i n t o brims t o n e p o w d e r , , a n d t h e firo w i l l s e e m m o r e s t r a n g e ; b u t the s u l p h u r p u t s o u t t h e coal, a n d s h u t t i n g y o u r m o u t h close p u t s o u t t h e s u l p h u r ; t h e n y o u m a y c h u m p t h e coals i a n d s w a l l o w t h e m , w h i c h m a y be d o n e w i t h o u t h u r t i n g t h e b o d y ; a n d if y o u p u t a piece of l i g h t e d c h a r c o a l i n t o y o u r m o u t h , y o u m a y a l l o w a p a i r of b e l l o w s t o bo b l o w i n g i n y o u r m o u t h constantly, s h o w i n g , to t h o surprise of every beholder, tho appearance of a b u r n i n g furnace. Bo sure, after the performance, t o w e l l clean y o u r m o u t h , or i t w i l l cause s a l i v a t i o n .

To m a k o a L i v e F i s h j u m p off a

Plate.

I ' l a c e a l i v e flounder o n a s h e e t o f z i n c i n a p l a t e , a n d t o u c h h i s b a c k w i t h a piece of copper or s i l v e r w h i l s t t h e l a t t e r is t o u c h i n g t h e zinc. T h o e l e c t r i c i t y p r o d u c e d w i l l g e n e r a l l y c a u s e t h e f i s h t o t a k e a flying l e a p .

T h e Learned. S w a n , or Goose. To perform this trick you require a large earthenware h o w l , p a i n t e d o n t h e inside of t h e r i m w i t h t h e l e t t e r s o f the alphabet, or w i t h numbers. A s m a l l artificial s w a n is placed u p o n t h e w a t e r i n t h e center of t h i s b o w l , a n d a n y s p e c t a t o r is i n v i t e d to say w h i c h l e t t e r or w h i c h n u m b e r t h e b i r d shall s w i m to. U p o n the n u m b e r or l e t t e r being m e n t i o n e d , t h e t o y s w a n q u i t s i t s s t a t i o n i n t h o m i d d l e of t h o b o w l a n d s w i m s t o t h a t p a r t of t h e r i m o f t h e b o w l u p o n w h i c h t h e figure o r l e t t e r i s d r a w n ; o r i t w i l l g o r o u n d the b o w l f r o m letter to letter t i l l it has spelt out the n a m e of a n y person present. T h i s w i l l n o d o u b t astonish m a n y people, b u t t h e t r i c k is e a s i l y e x p l a i n e d . T h e s w a n b e i n g c u t o u t o f a piece o f c o r k has i n its b o d y a p i n o r n a i l of i r o n , a n d t h e m a g i c i a n h a s i n h i s h a n d — p e r h a p s c o n c e a l e d i n a p i e c e o f b r e a d as t h o u g h he w o u l d feed t h e b i r d — a p o w e r f u l m a g n e t . The h a n d c o n t a i n i n g t h e m a g n e t is b r o u g h t o v e r t h e l e t t e r or f i g u r e r e q u i r e d , a n d t h e b i r d n a t u r a l l y is a t t r a c t e d t o i t .

A

Capital Triek w i t h a

Watfih.

• T h i s t r i c k is excessively s i m p l e , b u t n o n e t h e less astonishing. _ To perform i t you must have a confederate among the audience, w h o has a double w a t c h pocket, c o n t a i n i n g t w o watches exactly alike i n every particular. I f they have a c r e s t o r a m o n o g r a m e n g r a v e d o n t h e b a c k o f e a c h , so m u c h t h e b e t t e r , f o r t h e a u d i e n c e w i l l be t h e m o r e t h o r o u g h l y deceived. Y o u m u s t also have a d u m m y w a t c h s i m i l a r i n appearance. I n p r e p a r i n g t h i s t r i c k pass r o u n d t o s e v e r a l of t h e

aud-

i e n c e a b o x t h a t h a s a { a l s o t o p i n s i d e so c o n t r i v e d t h a t w h e n t h e f a l s e c o v e r i s u p , a n d t h o b o x unlocked i t c a n n o t c o m e d o w n , a n d w h e n looked r e a d i l y f a l l s t o t h e b o t t o m . A s p r i n g a t t h e b a c k m u s t cause i t t o rise w h e n w a n t e d ; i n t h i s false t o p t h o d u m m y w a t c h is concealed. W h e n t h e box has been e x a m i n e d , w h i c h of course appears e m p t y , p l a c e i t o n a s t o o l a t o n e s i d e o f t h o p l a t f o r m , and lock i f . N o w aslc o n e of t h o s o m p a n y t o l e n d y o u a w a t c h ; l i e r e i s s u r o t o be a l i t t l e h e s i t a t i o n , a n d y o u r c o n f e d e r a t e m u s t b e t h e first t o o i l e r . A f t e r h a v i n g l o o k e d a t t h o w a t c h y o u pass i t to several of tho c o m p a n y , b e g g i n g t h e m to n o t i c e it particularly. Y o u now t u r n to your platform t a k i n g care n o t to go near y o u r confederate or the box, h o l d i n g t h e w a t c h b y t h o r i n g i n s u c h a m a n n e r t h a t a l l c a n bco i t . Y o u m a y n o w i n d u l g e i n a b i t of b a n t e r w i t h t h e o w n e r of the w a t c h , o p e n i n g i t a n d e x a m i n i n g i t a p p a r e n t l y v e r y attentively, saying: " A h , jeweled in four holes; no doubt t h i s w a t c h c o s t a t l e a s t t w o h u n d r e d a n d fifty d o l l a r s . Ah,

I see," (pretending to read an inscriplioninsUle

the cane).

" T h i s w a t c h w a s p r e s e n t e d t o y o u by a f r i e n d f o r a part i c u l a r service r e n d e r e d . W e l l , I s h o u l d be v e r y s o r r y t o d o a n y i n j u r y to t h i s w a t c h , b u t as I h a v e been u n f o r t u n a t e once or t w i c e i n p e r f o r m i n g t h i s t r i c k , a n d h a d t o pay rather heavily for it, perhaps I h a d better r e t u r n it a n d t r y o n e o f l e s s v a l u e . (Make a &tep or two towards

your confederate, and then appear lo have decided.) No, I ' l l c h a n c e i t . I s u p p o s e i f I f a i l t h i s t i m e a c h e c k f o r five h u n d r e d d o l l a r s w i l l s e t t l e t h e m a t t e r ? " (Your confeder-

ate should now shou'Jhat he repeals lending you the watch and beg you to return it, exhibiting as much nervous fear of your injuring his watch as possible ; and, when he finds you obdurate, threatenlo call a policeman to compel you to giveit tip.) I f t h i s b y - p l a y is w e l l c a r r i e d o u t , t h e a u d i e n c e w i l l b y t h i s t i m e be w r o u g h t u p t o a p i t c h o f g r e a t c u r i o s i t y ; a n d y o u m u s t t a k e t h e o p p o r t u n i t y w h i l e t h e i r eyes are m o s t l y t u r n e d to y o u r confederate t o pass the w a t c h u p y o u r sleeve b y a t t a c h i n g t o i t a h o o k f a s t e n e d t o a piece o f s t r o n g e l a s t i c , o n e e n d of w h i c h i s firmly s e w n u n d e r the arm, and the h o o k end placed near your wrist. Y o u n o w say, " I t is too late, s i r ; y o u r w a t c h h a s g o n e . I t w a s i n i n y h a n d safe a m o m e n t ago, b u t y o u h a v e m a d e

so m u c h noise t h a t y o u h a v e f r i g h t e n e d i t a w a y ; can y o u t e l l m e w h e r e i t is, f o r X h a v e n o t m o v e d f r o m t h i s s p o t ? W e l l , i f y o u c a n n o t , p e r h a p s I c a n . I w i l l sco w h e t h e r i t i s i n t h i s b o x . " ( U n l o c k the box and take out the dummy.) " H e r e is y o u r w a t c h , s i r ; i t has n o t g o n e f a r a w a y . " " T h a n k y o u , " says y o u r confederate, e a g e r l y r i s i n g a n d holding out his hand.for the watch. " D o n ' t be i m p a t i e n t , s i r ; I h a v e n o t d o n e w i t h i t y e t . J e r e m i a h (to your attendant), b r i n g m e t h o a n v i l a n d a hammer." T h i s h a v i n g been b r o u g h t , y o u p o u n d a w a y a t the w a t c h , t a k i n g caro t h a t t h o shivers of t h o b r o k e n glass aro heard, a n d w h e n the d u m m y is i n a n i n d i s t i n g u i s h a b l e mass, y o u p u t tho r e m n a n t s i n t o t h e b o x again, l o c k i t , press t h e s p r i n g t h a t causes t h e false t o p t o rise, a n d a s k y o u r confederate if he t h i n k s i t possible f o r t h a t w a t c h to be r e s t o r e d t o i t s o r i g i n a l f o r m . Y o u n o w t a k e t h o b o x a m o n g t h e a u d i e n c e , a n d unlocked, a s k h i m t o seo i f h i s w a t c h i s t h e r o . I f c o u r s e h o C a d s the box empty, a n d appears greatly distressed; y o u yourself p r e t e n d t o bo p u z z l e d , a n d express a f o a r t h a t y o u havo made a mistake, and return to your platform to scarch for it. A sudden idea strikes you, a n d y o u ask y o u r c o n f e d e r a t e : " A s i t flew o u t o f m y h a n d s so m y s teriously i n t o t h a t box, are y o u sure t h a t i t has n o t f l o w n q u i t e as m y s t e r i o u s l y o u t o f t h a t b o x i n t o y o u r w a t c h p o c k e t ?" Y o u r confederate n o w produces the duplicate w a t c h , a n d w i t h m a n y c o m p l i m e n t s o n y o u r cleverness, s h o w s i t to several a b o u t h i m t o convince t h e m t h a t i t is the same w a t c h t h a t they before examined.

The Decapitation

Trick.

T h e stage represents a catafalque h u n g w i t h black velv e t o r n a m e n t e d w i t h s i l v e r . I n t h e c e n t e r t h e r e is a l a r g o t a b l e w i t h a cover t h a t descends w i t h i n a f e w inches of the floor. T h e p r e s t i d i g i t a t o r p r e s e n t s t h e s u b j e c t w h o m h e Is t o

decapitate, lays h i m u p o n c u t s off h i s head a n d

the table, a n d

deposits it

F i g . 1.—THE t h e feet of

the subject at

t a k i n g a saber,

upon a plate lying

near

CATAFALQUE.

t h e end of the tabic.

Then the

spectators are i n v i t e d t o pass i n procession u p o n t h e s t a g e a n d to t o u c h the head in order to assure themselves t h a t i t is s t i l l l i v i n g .

Explanation.—Tho

t a b l e u p o n w h i c h t h e s u b j e c t lies is

p r o v i d e d w i t h a d o u b l e b o t t o m t h a t rests u p o n pegs f i x e d

F i g . 2.—THE DOUBLE BOTTOMED in the

f o u r legs.

In

this double

confederate, the make-up

bottom

of w h o s e

TABLE. is concealed

a

h e a d is s u c h as t o ro-

s e m b l e t h a t of t h e p e r s o n t o be d e c a p i t a t e d . A r e s e m b l a n c e is o b t a i n e d b y p r o v i d i n g t h e t w o p e r s o n s w i t h s i m i l a r false beards a n d eyebrows. T h e t a b l e is p r o v i d e d w i t h a t r a p i n t o w h i c h t h o s u b j e c t l o w e r s h i s head. T h e door of t h e t r a p t u r n s a n d a false head places itself a g a i n s t t h e shoulders. T h e operator conceals t h i s s u b s t i t u t i o n by p l a c i n g h i m s e l f b e t w e e n t h e s p e c t a t o r s a n d t h e s u b j e c t . T h e n h e t a k e s a s a b e r , passes i t b e t w e e n t h e s h o u l d e r s a n d t h e f a l s e h e a d (a p a r t o f w h i c h representing the divided neck remains near the s h o u l d e r s ) , a n d seizes t h e h e a d b y t h e h a i r i n o r d e r t o c a r r y i t to t h o p l a t e . I n c a r r y i n g i t he presses a b u t t o n t h a t has t h e effect of o p e n i n g a t u b e w h e n c e a r e d l i q u i d r e s e m b l i n g b l o o d escapes. I n depositing the head upon the plate the prestidigitator hides i t f r o m view. T h e confederate in the table opens a t r a p f o r m e d i n the b o t t o m o f t h e p l a t e , r e m o v e s t h e f a l s e h e a d a n d causes h i s o w n t o appear i n place of it.

F i g . 3.—AFTER THE DECAPITATION. T h e spectators defile along the r a i l i n g a n d m a y t o u c h t h e head i n o r d e r t o assure t h e m s e l v e s t h a t i t is l i v i n g , b u t t h e a r r a n g e m e n t of t h e r a i l i n g does n o t p e r m i t t h e m to touch the body.

HOW

TO

New

HO

THE

BLACK

Sliick Shake

ART.

25

Puzzle.

T h i s is s i m p l y c o n s t r u c t e d as f o l l o w s : T a k e a circular wooden or card box about 3 in. by 2

F i g . 1. ( f i g . 1). f n s i d c t h i s b o x fix a n o t h e r o f c a r d b o a r d , 3 4 of a n i n c h s q u a r e , 2 3-4 i n . l o n g ( f i g . 2). H a l f w a y u p fig. 2, a n d e x a c t l y o n o n e o f t h e a n g l e s ,

F i g . 2. b o r e a h o l e a b o u t 3-10 o f a n i n c h i n d i a m e t e r . T h o b o r e s h o u l d be p e r f e c t l y s m o o t h a n d c l e a r o n t h e i n s i d e . Take a piece of w i n e c o r k a b o u t a n i n c h l o n g , a n d w i t h a n ordin a r y c o r k c u t t e r c u t a h o l e a b o u t 3-10 d i a m e t e r t h r o u g h the center lengthways.

C u t a n o t c h i n o n e e n d o f t h e c o r k so t h a t i t m a y f i t o v e r the angle on the box ; then fix it l l r m l y over the hole i n

F i g . 3. t h e a n g l e o f t h o b o x , so t h a t t h e h o l e s i n t h e c o r k c o m m u n i c a t e (see d o t t e d l i n e , f i g . 4.) B e f o r e t h e c o r k is f i x e d , a p i e c e o f c l o t h , o r o t h e r s o f t m a t e r i a l , s h o u l d be g l u e d o v e r t h e o u t e r e n d of t h e c o r k , so as t o c o v e r t h e h o l e . F l a c e t h r e e o r d i n a r y s h o t i n fig. 3, a n d fix t h e c a r d e n d s p e r m a n e n t l y o n t h e b o x . F i g . 4 s h o w s fig. 3 fixed i n p l a c e . W i t h a b r a d a w l bore f o u r s m a l l holes a t equal distances a p a r t r o u n d t h e m i d d l e o f fig. 1. N o . 1 of t h o s e h o l e s s h o u l d be e x a c t l y i n a l i n e w i t h t h e o u t e r e n d of t h e c o r k , t h e o t h e r three holes are of no consequence.

F i g . 4. Paste a circular label, w i t h t h e w o r d s " S h i c k S h a k e " t h e r e o n , o n t h e t o p a n d b o t t o m of t l i e p u z z l e , a n d see t h a t

HOW

TO

DO

THE

BLACK

AUT.

i n e a c h case t h o l e t t e r I i n Shiclc comes e x a c t l y o v e r

27 the

F i g . G. No. 1holo referred to. open tho puzzle.

O f c o u r s e i t s h o u l d bo I m p o s s i b l e t o

limn to Use the Puzzle. Present one of t h o c o m p a n y w i t h tho puzzlo, and ask h i m t o shako i t w e l l w i t h o u t r a t t l i n g it, if he can. T h i s h e w i l l find i m p o s s i b l e ; t h e n o f f e r t o d o i t y o u r s e l f . As y o u t a k e t h e p u z z l e , g l a n c e a t t h o w o r d " S h l c k " a n d sco i n w h i c h d i r e c t i o n t h e l e t t e r I Is p o i n t i n g , a n d t h e n w i t h o u t l o o k i n g y o u w i l l e a s i l y bo a b l e t o f e e l t h o N o . 1 h o l e opposite. H o l d tho puzzlo behind your back for a mom e n t , so t h a t i t c a n n o t bo s e e n . K e e p the No. 1 hole d o w n w a r d s a n d shako quietly horiz o n t a l l y f r o m e n d t o end. T h i s w i l l cause t h o shots t o e n t e r t h e h o l e i n t h e c o r k , w h e r e t h e y r e m a i n s i l e n t . X'roduco t h o box a n d shako i t before the c o m p a n y , t a k i n g care, h o w e v e r , t o keep the N o . 1 hole s l i g h t l y d o w n w a r d s . W h e n passing i t to anyone, t i l t tho box s l i g h t l y so t h a t No. 1 hole comes u p w a r d s , a n d t h o r a t t l i n g w i l l a t once r e c o m m e n c e . N o . 1 i s o n l y a term, t h e h o l e s h o u l d n o t b o numbered.

Tricks

in

Prestidigitation.

Multiplication of Coins.—In p r e s t i d i g i t a t i o n , v e r y s i m p l e e x p e r i m e n t s , t h a t s e e m c h i l d i s h as s o o n as t h e s e c r e t o f t h e m Is k n o w n , o f t e n p r o d u c e q u i t e a n e f f e c t d u r i n g t h o performance a n d causo t h e spectators m o r e surprise t h a n d o m a n y s k i l l f u l a n d c o m p l i c a t e d t r i c k s . S u c h is t h o ease w i t h t h o o n o w e a r c a b o u t t o d e s c r i b e .

U p o n a s m a l l r e c t a n g u l a r t r a y of j a p a u n e i l sheet i r o n , s i m i l a r t o t h o s e i n c o m m o n use, a r e p l a c e d s e v e n c o i n s ( F i g . 1). A s p e c t a t o r i s a s k e d t o r e c e i v e t h e s e i n h i s h a n d a n d to p u t t h e c o i n s b a c k u p o n t h e t r a y , one by one, a n d t o c o u n t t h e m w i t h a l o u d v o i c e as he d o e s so. I t i s t h e n f o u n d t h a t the n u m b e r has doubled, there being fourteen i n s t e a d o f s e v e n . T h e s a m e o p e r a t i o n r e p e a t e d g i v e s as a result t w e n t y - o n e coins.

A

B

C

4

A s m a y be seen i n t h e s e c t i o n i n F i g . 3, t h e t r a y h a s a double bottom, f o r m i n g an interspace a l i t t l e wider t h a n t h e t h i c k n e s s o f o n e o f t h e c o i n s , a n d w h i c h is d i v i d e d

jiow

to

no

Tiin

black

art.

20

breadthwise i n t o t w o equal compartments by a partition, 13. T h e s e t w o c o m p a r t m e n t s a r a c l o s c d a l l a r o u n d , s a v e a t t h e e n d s of t h e t r a y , w h e r e t h e r e a r e . t w o a p e r t u r e s , A a n d C, t h a t i n l e n g t h a r e d o u b t e t h e d i a m e t e r o f t h e c o i n s . I n this Interspace are concealed f o u r t e e n coins, soveu o n each side. W h e n t h o c o n t e n t s of t h e t r a y aro e m p t i e d i n t o t h e h a n d of a spectator t h o coins concealed i n one of t h e c o m p a r t m e n t s d r o p a t t h o s a m e t i m e , ( F i g . 2). T h o o p e r ator then takes the tray i n his other h a n d a n d thus natur a l l y seizes i t a t t h e e n d a t w h i c h t h o n o w e m p t y c o m p a r t m e n t exists, a n d t h i s a l l o w s t h o seven coins t h a t aro cont a i n e d i n t h e o t h e r c o m p a r t m e n t t o j o i n t h e f i r s t ones, w h e n t h e l a t t e r are r a p i d l y e m p t i e d i n t o t h e h a n d s of t h o spectator f o r the second t i m e . A squaro tray, w i t h a double b o t t o m d i v i d e d i n t o f o u r compartments byjdivisions r u n n i n g diagonally f r o m one corner to another, w o u l d p e r m i t of increasing the n u m b e r of coins f o u r t i m e s . L e t us say, however, t h a t s k i l l f u l prestidigitators dispense w i t h t k e d o u b l e b o t t o m . T h o y h o l d t he coins sometimes under the tray w i t h their fingers extended, a n d sometimes on the tray, under their thumbs, and renew t h e i r s u p p l y several t i m e s f r o m secret pockets s k i l l f u l l y a r r a n g e d I n v a r i o u s p a r t s of t h e i r c o a t , w h e r e t h e s p e c t a tors are far f r o m suspecting the existence of t h e m .

The Wine and the Water,—After h a v i n g d o n e c o n s i d e r a b l e t a l k i n g , as r e q u i r e d b y h i s p r o f e s s i o n , a p r e s t i d i g i t a t o r is excusable f o r a s k i n g p e r m i s s i o n of h i s s p e c t a t o r s t o refresh h i m s e l f i n t h e i r presence, especially if h e i n v i t e s one of t h e m t o come t o keep h i m c o m p a n y . A n a s s i s t a n t t h e n b r i n g s i n u p o n a t r a y t w o c l a r e t glasses a n d t w o p e r f e c t l y t r a n s p a r e n t decanters, one of w h i c h contains red wine and the other water. Tho prestidigitat o r asks his guest t o select one of t h o t w o decanters a n d leave the o t h e r f o r h i m s e l f . N o h e s i t a t i o n is possible. T h e g u e s t h a s t e n s t o s e i z e t b o w i n o a n d e a c h i m m e d i a t e l y fills his glass. H o w a s t o n i s h i n g 1 U p o n i t s c o n t a c t w i t h t h o glass the w i n e changes i n t o w a t e r a n d the w a t e r becomes w i n e . J u d g e of t h e h i l a r i t y of t h e spectators a n d t h e amazement of the v i c t i m ! The pretsnded w i n e was nothi n g b u t the f o l l o w i n g composition: 1 g r a m m e permangan-

a t o of p o t a s h a n d 2 g r a m m e s s u l p h u r i c a c i d d i s s o l v e d i n 1 q u a r t o f w a t e r . T h i s l i q u i d is i n s t a n t a n e o u s l y decolorized o n e n t e r i n g t h o glass, a t t h e b o t t o m of w h i c h has been placed a f e w d r o p s of w a t e r s a t u r a t e d w i t h h y p o s u l p h i t e of soda. A s f o r t h e w a t e r i n t h e second d e c a n t e r , t h a t h a d had considerable alcohol added t o it, and a t t h e b o t t o m of t h o glass t h a t w a s t o receive i t h a d been p l a c e d a s m a l l p i n c h o f a n i l i n e r e d , w h i c h , as w e l l k n o w n , possesses s t r o n g t i n c t o r i a l p r o p e r t i e s . T h e glasses m u s t be c a r r i e d a w a y i m m e d i a t e l y , since i n a f e w i n s t a n t s t h e w i n e change d i n t o w a t e r loses i t s l i m p i d i t y a n d assumes a m i l k y appearance.

A

Scotch M o n e y

Box.

Tho accompanying figure represents a novel money box w h i c h a c o n t r i b u t o r t o La Nahirc c a m e a c r o s s i n E d i n b u r g h . T h o b o x <1), w h i c h i s o f w o o d , i s p r o v i d e d a t i t s upper p a r t w i t h a d r a w e r . I n t h e n o r m a l position of the b o x , t h e d r a w e r c a n be opened, b u t n o t w i t h d r a w n . I f a c o i n be p l a c e d i n t h e d r a w e r a n d t h e l a t t e r b e c l o s e d a n d t h e n reopened, t h e coin w i l l have disappeared, a l t h o u g h the drawer apparently contains no aperture. T h e i n g e n i o u s m e c h a n i s m o f t h e b o x i s a r r a n g e d as f o l l o w s : T h e b o d y of t h e d r a w e r consists of a t h i c k piece of w o o d c o n t a i n i n g a c i r c u l a r c a v i t y . T h e b o t t o m is h i n g e d , a n d w h e n t h e d r a w e r is p u l l e d out, applies itself a g a i n s t t h e b o d y of t h e l a t t e r , a n d d r o p s a g a i n w h e n i t is closed. I n fact, i t a b u t s a g a i n s t the l o w e r edge of t h e c a v i t y , a n d rises ge'ntly w i t h o u t the least resistance b e i n g f e l t . T h e t r a v e l o f t h e d r a w e r is l i m i t e d b y a n a i l m o v a b l e i n a c a v i t y c l o s e d b y a p l u g . I f i t be d e s i r e d t o e m p t y t h e b o x , i t suffices t o t u r n i t u p s i d e d o w n , w h e n t h e n a i l w i l l re-enter a n d t h o d r a w e r c a n bo t a k e n o u t . N o . I s h o w s t h e box open. T h o o n l y s i g n of t h e m o v a b l e b o t t o m is t h e e x t r e m i t y of i t s a x i s , m a r k e d i n t h e figure by a s m a l l d o t a t t h e l o w e r p a r t of t h e d r a w e r , t h e sides of w h i c h guide it perfectly. I n No. 2 the box is i n v e r t e d , a n d

HOW

TO

DO

THE

BLACK

ART.

31

i t w i l l be s e e n t h a t t h e r e i s n o p r o j e c t i o n t o p r e v e n t t h e

drawer f r o m being w i t h d r a w n . No. 3 shows i n w h i c h t h o d r a w e r is e m p t i e d .

the

manner

The Sand Frame Trick. T h e s a n d f r a m e is a v e r y i n g e n i o u s l y c o n s t r u c t e d l i t t l e a p p a r a t u s w h i c h is e m p l o y e d i n d i f f e r e n t t r i c k s o f prest i d i g i t a t i o n f o r c a u s i n g t h e disappearance of a c a r d , a phot o g r a p h , a sealed l e t t e r , a n a n s w e r w r i t t e n u p o n a sheet of paper, etc. I n a p p e a r a n c e i t -is a s i m p l e p l u s h - c o v e r e d f r a m e , t h e b a c k of w h i c h opens w i t h a h i n g e behind a glass, w h i c h , at first sight, presents n o t h i n g peculiar.

I

I n r e a l i t y , t h e r e are t w o glasses s e p a r a t e d f r o m each o t h e r by a n i n t e r v a l of t h r e e m i l l i m e t e r s . T h e l o w e r side

i THE SAND FBAME. o f t h e f r a m e i s h o l l o w a n d f o r m s a r e s e r v o i r filled w i t h v e r y fine b l u e s a n d . I n t h e i n t e r i o r t h e d o o r i s c o v e r e d w i t h b l u e p a p e r o f t h e s a m e s h a d e as t h e s a n d . T h e c a r d , p o r t r a i t , o r l e t t e r t h a t is s u b s e q u e n t l y t o a p p e a r i s p l a c e d i n the f r a m e in advance, but, i n order to render It invisible, t h e l a t t e r is h e l d v e r t i c a l l y , t h e r e s e r v o i r a t t h e t o p . T h e s a n d t h e n f a l l s a n d fills t h e space t h a t s e p a r a t e s t h e

t w o glasses, a n d t h o b l u e surface t h u s f o r m e d b e h i n d t h o f i r s t g l a s s s e e m s t o b e t h o b a c k of t h e f r a m e . I n o r d e r t o cause t h o a p p e a r a n c e of t h o concealed object, t h o f r a m e is placed vertically w i t h the reservoir at tho bottom, a n d c o v e r e d w i t h a s i l k h a n d k e r c h i e f . I n a f e w seconds t h o s a n d w i l l h a v e d i s a p p e a r e d . T h o d o o r t h a t closes t h o b a c k m a y be o p e n e d b y a s p e c t a t o r a n d t h e f r a m e s h o w n c l o s o b y , p r o v i d e d t h a t i t bo h e l d v e r t i c a l l y i n o r d e r t o p r e v o n t t h e s a n d f r o m a p p e a r i n g b e t w e e n t h o t w o glasses. F i g . 2 s h o w s t h e f r a m o as seen f r o m b e h i n d . T h o d o o r , P , i s s e e n o p e n , a n d a t S is seen t h o s a n d f a l l i n g b e t w e e n t h e t w o glasses. I n t h o section a t t h e side, V a n d V are t h e t w o glasses, P , t h o door, a n d R , t h o reservoir. W e have supposed here an e x p e r i m e n t made b y means of t h e s m a l l foot, A , u p o n w h i c h t h o spectator has placed t h e s e v e n of h e a r t s . T h o c a r d passes i n t o t h e f r a m e . To t e l l t h e t r u t h , i t i s r e m o v e d b y t h e c o v e r , C, a l o n g w i t h the t h i n disk, D, t h a t covered tho foot, A , and u p o n w h i c h i t w a s placed. I t w i l l bo s a i d t h a t w o h a v e hero t o d o w i t h a d o u b l e b o t t o m . A l l o w t h o cover, C, before coveri n g t h e c a r d , a n d t h o f o o t , A , a f t e r t h e e x p e r i m e n t i s finished, t o be e x a m i n e d . I s t h o cover a s k e d f o r again? One w i l l h a s t e n t o s h o w i t w i t h o u t s a y i n g t h a t t h e b a c k edge of t h e t a b l e has j u s t been s t r u c k w i t h i t i n o r d e r t o cause the disc, D , a n d tho card t o f a l l o n to a shelf.

A

Brioche Baked in a

Hat.

T h i s o l d t r i c k a l w a y s amuses t h e spectators. S o m e eggs a r e b r o k e n i n t o a p o r c e l a i n vessel, s o m e f l o u r is a d d e d t h e r e t o , a n d t h e r e is e v e n i n c o r p o r a t e d w i t h t h e paste t h o e g g shells a n d a f e w d r o p s of w a x or stearine f r o m a nearb y c a n d l e . T h o hole h a v i n g b e e n p u t i n t o a h a t ( F i g . 1), t h e l a t t e r is passed t h r e e t i m e s o v e r a flame, a n d a n excell e n t brioche, b a k e d t o a t u r n , is t a k e n o u t of t h i s n e w set of c o o k i n g u t e n s i l s . A s f o r t h o o w n e r of t h e h a t , w h o has passed t h r o u g h a state of g r e a t apprehension, ho finds w i t h e v i d e n t s a t i s f a c t i o n ( a t l e a s t i n m o s t cases) t h a t h i s head gear h a 3 preserved n o traces of t h e m i x t u r e t h a t w a s poured into it. Fig. 2 shows the apparatus employed by prestidigitators t o b a k e a b r i o c h e i n a h a t . A is a n e a r t h e r n o r p o r c e l a i n

vessel ( i t m a y a l s o be o f m e t a l ) i n t o w h i c h e n t e r s a m e t a l l i c c y l i n d e r , B , w h i c h i s p r o v i d e d w i t h a flange a t o n e of i t s e x t r e m e t i e s , a n d is d i v i d e d b y a h o r i z o n t a l p a r t i t i o n i n t o t w o u n e q u a l c o m p a r t m e n t s , c a n d d. T h e i n t e r i o r of t h e

A BRIOCHE BAKED IN A H A T . p a r t d i s p a i n t e d w h i t e so as t o i m i t a t e p o r c e l a i n . F i n a l l y w h e n t h e c y l i n d e r , B , is w h o l l y i n s e r t e d i n t h e v e s s e l , A , i n w h i c h i t i s h e l d b y f o u r s p r i n g s , r, r , r , r, fixed t o t h e sides, t h e r e is n o t h i n g t o d e n o t e a t a s h o r t d i s t a n c e t h a t t h e v e s s e l , A , i s e m p t y , j u s t as i t w a s p r e s e n t e d a t t h e beg i n n i n g of t h e e x p e r i m e n t .

T h o p r e s t i d i g i t a t o r lias secretly introduced into tho h a t the s m a l l cake a n d tho apparatus, B, by m a k i n g them tall s u d d e n l y f r o m a b r a c k e t affixed to t h o back of a chair. T h a t a t l e a s t i s t h o m o s t p r a c t i c a l m e t h o d of o p e r a t i n g . T h e v e s s e l , A , a b o u t w h i c h t h e r o i s n o t h i n g p e c u l i a r , is, of course, s u b m i t t e d t o t h e e x a m i n a t i o n of t h o spectators. T h e o b j e c t o f a d d i n g t h e f l o u r is t o r e n d e r t h e p a s t o less fluid a n d t o t h u s m o r e c e r t a i n l y a v o i d t h o p r o d u c t i o n o f stains. Tho cake being arranged under the apparatus, B, in tho space, <1, t | i e c o n t e n t s o f t h o v e s s e l , A , p o u r e d f r o m a cert a i n h e i g h t , f a l l i n t o t h e p a r t , c, o f t h o a p p a r a t u s ; t h e n t h o v e s s e l , g r a d u a l l y b r o u g h t n e a r e r , is q u i c k l y i n s e r t e d i n t o t h e h a t i n o r d e r t o seize t h e r e i n , a n d a t t h o s a m e t i m o remove, tho receptable, B , w i t h its contents a n d leave o n l y t h e calco. F i g . 3 shows this last operation. W o have i n t e n t i o n a l l y s h o w n t h e pare, B , p r o j e c t i n g f r o m t h e vessel, A , b u t i t w i l l be u n d e r s t o o d t h a t i n r e a l i t y i t m u s t b o i n s e r t e d u p t o t h e b a s e a t t h o m o m e n t a t w h i c h t h o vessel, A , i n t r o d u c e d i n t o t h e h a t , i s c o n c e a l e d f r o m t h e eyes of t h o spect a t o r s . T h e p r e s t i d i g i t a t o r n o n o t h e less c o n t i n u e s t o m o v e h i s A n g e r a l l a r o u n d t h e i n t e r i o r o f t h e d o u b l e vess e l as i f t o g a t h e r u p t h o r e m a i n d e r o f t h o p a s t e , w h i c h h o m a k e s believe t o t h r o w i n t o t h o h a t , u p o n t h e r i m of w h i c h ho e v e n a f f e c t s t o w i p e h i s Angers, t o t h e g r e a t disq u i e t u d e of t h e g e n t l e m a n to w h o m It belongs. T h e e x p e r i m e n t m a y bo c o m p l i c a t e d b y A r s t b u r n i n g a l c o h o l o r f r a g m e n t s o f p a p e r i n t h e c o m p a r t m e n t c, of t h o apparatus. Some prestidigitators even add a l i t t l e Beng a l fire. B u t l e t n o o n o i m i t a t e t h a t a m a t e u r p r e s t i d i g i t a tor who, w i s h i n g to render the experiment more brilliant, p u t i n t o t h e receptacle such a q u a n t i t y of p o w d e r t h a t a d i s a s t e r s u p e r v e n e d , so t h a t i t b e c a m e n e c e s s a r y t o t h r o w w a t e r i n t o the b u r n i n g h a t i n order to extinguish tho n a s c e n t fire.

So

Simple,

T h e t r i c k , f e a t , p u z z l e , o r w h a t e v e r t i t l e m a y be g i v e n t o i t t h a t I a m a b o u t t o describe, a n d , if possible, e x p l a i n ( f o r I a m w e l l a w a r e m y t a s k i s n o e a s y one), c a n n o t bo

called n e w , since I can r e m e m b e r seeing m y f a t h e r perf o r m i t as l o n g as I c a n r e m e m b e r a n y t h i n g , b u t a t t h e same t i m o X never s a w i t done b y anyone except those t o w h o m he h a d t a u g h t i t , a n d I t h e r e f o r e c o n c l u d e i t is n o t g e n e r a l l y k n o w n . I t is f a r t o o g o o d a n d p u z z l i n g a t r i c k

is e x a s p e r a t i n g l y d i f f i c u l t to g r a s p a n d l e a r n , e v e n a f t e r y o u h a v e a g a i n a n d a g a i n b e e n s h o w n t h e modus operandi. A n o t h e r g o o d p o i n t i n i t s f a v o r i s t h a t so l i t t l e i s req u i r e d for its performance, n o t h i n g m o r e t h a n a r i n g of s o m e k i n d , a t a b l e n a p k i n r i n g i s as g o o d as a n y t h i n g , a n d t h i s is g e n e r a l l y a v a i l a b l e a t t h e t i m e w h e n t h i s k i n d of t r i c k tells best, viz., a f t e r d i n n e r . I n order t h a t t h e diag r a m s m a y be clear I h a v e n o t d r a w n a n a p k i n r i n g , b u t o n e o f s t r i n g , as t h i s d o e s n o t h i d e t h e p o s i t i o n o f t h e f i n -

t w o f o r e f i n g e r s i n t o i t f r o m d i f f e r e n t s i d e s , as i n fig. 1, a n d t u r n t h e fingers r o u n d e a c h o t h e r s l o w l y , l e t t i n g t h e d i r e c t i o n b e a w a y f r o m y o u r b o d y . T h e n c l o s e t h e finger a n d t h u m b o f e a c h h a n d r o u n d t h e r i n g , see fig. 2, a n d b r i n g i n g t h o t i p s of t h e f o u r t o g e t h e r , o p e n t h e m a s i n fig. 3, a n d drop tho ring.

I t sounds simplo enough, doesn't it? A n d yet, if you succeed i n d o i n g i t i n y o u r l l r s t h a l f dozen a t t e m p t s I s h a l l

bo a s t o n i s h e d , a n d i f y o u d o i t once, i t is n o reason y o u w i l l do i t a g a i n u n t i l y o n h a v e g o t the one a n d all-importa n t fact i n t o y o u r head, viz., t h a t w h e n ' y o u b r i n g tho tips o f t h o f i n g e r s a n d t h u m b s t o g e t h e r , t h o t i p of t h o finger o f t h e r i g h t h a n d m u s t r e s t o n t h e t i p of tho t h u m b of t h e l e f t , a n d vice versa, a n d t h e n i n o p e n i n g t h e m k e e p t h o first fingers a n d t h u m b s j o i n e d t o g e t h e r s t i l l , a n d t h o r i n g w i l l a t once bo free. T h i s e x p l a n a t i o n , I fear, m a y s o u n d d i f f i c u l t , b u t i f y o u practico w i t h t h o i l l u s t r a t i o n s before y o u , y o u o u g h t t o be able t o g e t h o l d of t h e k n a c k . A t a b l e n a p k i n r i n g is b e t t e r t o e x h i b i t w i t h t h a n t h o piece o f s t r i n g I h a v e d r a w n , because i t r a t h e r v e i l s t h o w a y i n w h i c h t h o fingers are joined. Y o u w i l l havo capit a l f u n i f a n y one, n o t k n o w i n g t h e t r i c k , endeavors t o d o i t . H i s e f f o r t s w i l l be hopeless. Y o u m a y s h o w h i m a g a i n a n d a g a i n , a n d e v e n p u t h i s figers r i g h t f o r h i m , a n d y e t h o . w i l l f a i l , I h a v e set a w h o l e table f u l l of people h a r d a t w o r k t w i s t i n g away at their rings, and i m p l o r i n g me to " s h o w t h e m j u s t once m o r e , a n d to do i t s l o w l y a n d the > b e a u t y of i t is, t h a t h o w e v e r s l o w l y y o u d o i t , i t is n o t a [ b i t m o r e easy t o grasp. T o onlookers, the t w i s t i n g of t h o fingers r o u n d a n d r o u n d a p p e a r s t o be a n i m p o r t a n t f e a t u r e o f t h e p e r f o r m a n c e , a n d a n y o n e a t t e m p t i n g i t i s cert a i n to t w i s t d i l i g e n t l y for a t i m e before ho a t t e m p t s to j o i n t h e fingers, a n d , o f c o u r s e , t h e t w i s t i n g c a n be s h o w n a s s l o w l y as y o u l i k e , a n d y e t n o t d i s c l o s e t h o t r i c k ; b u t if you w a n t to havo f u n w i t h tho learner never o m i t the twisting.

38

IIOAV A n

TO

DO

TIIE

BLACK

Ingenious Ring

ART.

Trick.

Though not claiming strict originality for the

accompa-

n y i n g t r i c k , I have reason to believe that- i t is f a r f r o m c o m m o n . I t is q u i t e t w e n t y years since I first became ar-

q u a i n t e d w i t h it, a n d I have only revealed its " mysteries " to a b o u t h a l t a dozen cronies. W i t h these exceptions, a n d t h e " e x c e p t i o n s " thoy have m a d e — I do n o t t h i n k m a n y persons are capable of p e r f o r m i n g the t r i c k ; at least I never m e t anybody, neither have I k n o w n the most cuto to execute it, t h o u g h I have repeated the t r i c k again and a g a i n . So I a m of o p i n i o n i t w i l l i n t e r e s t m y boy friends, a n d d e c i d e d l y e n a b l e t h e m t o score one. I n r e t u r n 1 m u s t a s k a f a v o r . W h e n y o u are asked h o w it's done, t e l l y o u r f r i e n d s t o b u y t h i s b o o k a n d seo f o r t h e m s e l v e s . I n the accompanying illustrations I h a v e a i m e d at " s i m p l i c i t y of c o m p r e h e n s i o n , " before a r t i s t i c design. B u t i f you carefully read m y explanations, and minutely study the designs, I predict success—though not perhaps exactly at the first attempt. Y o u m u s t first procure y o u r sister or younger brother, o r , i f n o t b l e s s e d w i t h e i t h e r , a c h u m , t o a c t as a s s i s t a n t . W h i c h e v e r i s c h o s e n , t h e y m u s t first bo b o u n d t o s e c r e c y by t h r e a t s of d i r e f u l p e n a l t i e s if t h e y d i v u l g e w h a t t h e y see. B u t i f y o u p r e f e r k e e p i n g t h e t r i c k t o y o u r s e l f , a couple of pegs i n a door, a b o u t eighteen inches a p a r t , w i l l d o v e r y w e l l f o r " t h u m b s . " I h a v e i l l u s t r a t e d t h e t r i c k as i t s h o u l d bo p e r f o r m e d . ,

N o w a l l t h i s m u s t seem v e r y mysterious. Y e t y o u m a y safely i n f o r m y o u r audience t h e r e is n o t h i n g m y s t e r i o u s a b o u t i t , t h o u g h t h e r e is n o m i s t a k e " t h e q u i c k n e s s o f t h e h a n d d e c e i v e s t h e e y e , " so s o m e d e x t e r i t y o u g h t t o be acquired. Of course the audience w i l l n o t believe you—it n e v e r does 1 I t i s p o s s i b l e y o u a r o e v e n d o u b t i n g me J S o I proceed. P r o c u r e a piece of m o d e r a t e l y s t o u t , s m o o t h s t r i n g , a b o u t a y a r d l o n g . T i e the. ends t o g e t h e r b y a secure k n o t ; If i n pu&lic, a l l o w some person i n the audience to supply the s t r i n g a n d t i e t h e k n o t — i t m a y be s a t i s f a c t o r y t o t h e m , and w i l l not prove detrimental to you. Then ask for a r i n g — n o t o f a n e n g a g e d y o u n g l a d y , as s h e m a y o b j e c t t o remove it. N o w ask some one to v o l u n t e e r for assistant. Pass tho s t r i n g t h r o u g h t h o r i n g , a n d ( l o o p each e n d o v e r y o u r ass i s t a n t ' s t h u m b s , w h o s e h a n d s m u s t be h e l d i n t h e p o s i t i o n o f fig. 1 ; b u t y o u r s t r i n g a n d r i n g w i l l n o t y e t a p p e a r as

there shown. S o u t h e n a n n o u n c e i t is y o u r i n t e n t i o n t o remove the r i n g f r o m the s t r i n g w i t h o u t removing either of the loops f r o m y o u r assistant's t h u m b s . ( I n parenthesis I m a y here say t h a t R. n . a n d l . n . a p p l y t o t h e assistant's r i g h t a n d l e f t hands, a n d r . it. n . t o performer's r i g h t h a n d , i.e., y o u r s e l f . I t h a s n o t b e e n n c c e s s a r y t o s h o w t h e performer's left hand. Observe t h a t the k n o t w h e r e t h e ends of the s t r i n g arc tied rests against y o u r assistant's r i g h t t h u m b , a n d t h a t t h e r i n g is n e a r i t t o o . T h e p o s i t i o n s o f t h e k n o t a n d r i n g a r e s h o w n a t R II, P i g . 1. N o w t o a r r a n g e t h e s t r i n g as there shown. P l a c e t h e f o r e f i n g e r of t h e r i g h t h a n d o n t h e top p i e c e o f string, about m i d w a y between your assistant's hands. T a k e the b o t t o m s t r i n g between tho forefinger and t h u m b of the left hand, m i d w a y between y o u r forefinger w h i c h rests on t h e t o p s t r i n g , a n d y o u n g assistant's r i g h t t h u m b . T o describe t h e m o v e m e n t w h i c h ensues is d i i l i c u l l , a n d y o u m u s t endeavor t o f o l l o w m e closely. P u l l tho top string towards you w i t h your right-hand forefinger; at t h e same t i m e pass t h e b o t t o m s t r i n g u p w a r d a n d o v e r t o w a r d s your assistant's left t h u m b , u p o n w h i c h you m u s t l o o p i t against t h o s u n . I f y o u h a v e u n d e r s t o o d m e , t h e r e l a t i v e p o s i t i o n s o f r i n g , s t r i n g a n d h a n d s w i l l be a s s h o w n a t F i g . 1. S t u d y t h i s i l l u s t r a t i o n c a r e f u l l y , so as t o be sure y o u h a v e i t r i g h t before p r o c e e d i n g t o t h e n e x t movement. . O n no account m u s t y o u m o v e y o u r r i g h t - h a n d forefinger f r o m the loop i t retains u n t i l I t e l l you. W i t h y o u r l e f t h a n d pass t h o r i n g t o w a r d s y o u r a s s i s t a n t ' s r i g h t t h u m b as f a r as i t w i l l g o . Between the r i n g a n d his r i g h t t h u m b t h e s t r i n g w i l l be c r o s s e d . C a r e f u l l y o b s e r v e w h i c h i s t h e top s t r i n g . I f y o u m i s t a k e i t , y o u w i l l s p o i l the t r i c k . T a k e i t between the forefinger a n d t h u m b of y o u r left hand, and loop i t o n your assistant's left t h u m b , a l s o against t h e s u n . F i g . 2 f u l l y i l l u s t r a t e s t h e r e l a t i v e p o s i t i o n s . I t w i l l be o b s e r v e d t h a t t h e s t r i n g , b y l o o p i n g , has d r a w n y o u r assistant's h a n d s closer together. I t is n o w necessary t o c a l l y o u r audience's a t t e n t i o n t o the fact t h a t , t h o u g h y o u havo placed loops u p o n y o u r a s s i s t a n t ' s t h u m b , y o u h a v e n o t t a k e n a n y l o o p off". Then

t e l l h i m t o close h i s t h u m b s a n d forefingers " t h a t t h e r e m a y b e n o d e c e p t i o n , " a n d a l s o t o press h i s h a n d s g e n t l y a p a r t . Release t h e loop h e l d b y y o u r r i g h t - h a n d forefinger, a n d give the r i n g a sharp p u l l w i t h y o u r l e f t hand— a n d t h a t is h o w i t ' s done.

Disappearance of

a

Coin.

A m a r k e d c o i n is p l a c e d i n a r e c t a n g u l a r b o x , w h e n c e i t i n s t a n t a n e o u s l y passes i n t o a r o u n d b o x w h i c h is n o t r e a c h e d u n t i l seven o r e i g h t o t h e r boxes, inclosed one w i t h i n a n o t h e r , h a v e been opened i n succession. Fig. 1 shows h o w tho coin drops f r o m tho box In which i t w a s placed i n t o t h e h a n d of t h e p r e s t i d i g i t a t o r , u n d e r o n o of t h e e n d pieccs w h i c h is a d h e r e n t t o t h e covcr, a n d c o n s e q u e n t l y leaves a n o p e n i n g w h e n t h e l a t t e r is d r a w n out. T h e spectators, however, are persuaded t h a t tho c o i n is s t i l l i n t h e b o x , since t h e y t h i n k they h e a r i t s t r i k e a g a i n s t t h e s i d e s o f i t w h e n t h o b o x is s h a k e n , a l t h o u g h the s o u n d is r e a l l y produced t h r o u g h the mechanism s h o w n i n F i g . 2. A t A i s s e e n t h e l o w e r p a r t o f a f i r s t b o t t o m ; Z is a s t r i p of m e t a l m o v a b l e h o r i z o n t a l l y u p o n a v e r t i c a l a x i s f o r m e d of a n a i l w h i c h traverses i t v e r y near one of i t s e x t r e m i t i e s , w h i l e t h e o t h e r e x t r e m i t y moves f r o m one side to t h e other, a c c o r d i n g to the line indicat e d b y d o t s i n t h e figure, w h e n t h o b o x is s h a k e n f r o m r i g h t t o l e f t a n d l e f t t o r i g h t ; r is a s p r i n g d e s i g n e d t o separate t h e c o r r e s p o n d i n g p a r t of t h o second b o t t o m of the box, m o v a b l e t h r o u g h a t i l t i n g m o t i o n u p o n a horiz o n t a l axis t h a t separates i t i n t o t w o unequal parts in tho d i r e c t i o n of i t s l e n g t h . A t B is s e e n a v e r t i c a l s e c t i o n o f t h o b o x a n d o f t h e d o u b l e b o t t o m , w h i c h i s n o t e v e r y w h e r e of t h e s a m e t h i c k ness. U n d e r s u c h c i r c u m s t a n c e s , t h r o u g h t h o a c t i o n o f t h e s p r i n g , t h e side of t h i s second b o t t o m bears a g a i n s t t h e s t r i p of m e t a l a n d renders i t i m m o v a b l e , even w h e n o n o s h a k e s t h o b o x , w h i c h , f o r g r e a t e r s e c u r i t y , is t h e n grasped in pressing tho point, D, w i t h tho t h u m b , tho o t h e r fingers b e i n g u n d e r n e a t h . I f , o n t h o c o n t r a r y , t h e b o x i s h e l d b y t h e o p p o s i t e s i d e , a n d t h e fingers p r e s s i n s u c h a w a y as t o b e n d t h e s p r i n g a n d s l i g h t l y i n c l i n e t h e

double b o t t o m , t h e s t r i p of m e t a l , set a t l i b e r t y , produces, o n s t r i k i n g a g a i n s t t h e s i d e s of t h e b o x , t h e s a m e s o u n d t h a t w o u l d be m a d e b y t h e c o i n w e r e i t i n c l o s e d t h e r e i n .

D I S A P P E A R A N C E OP A C O I N , L e t us a d d t h a t t h i s s e c o n d b o t t o m i s c o v e r e d e x t e r n a l l y w i t h black cloth glued all around and well stretched over t h e edge of t h e f o u r v e r t i c a l sides of t h e b o x . W h i l e the spectators t h i n k they hear the coin in the b o x , t h e p r e s t i d i g i t a t o r goes t o g e t t h e second one, w h i c h , as w e h a v e s a i d , c o n t a i n s a c e r t a i n n u m b e r o f o t h e r s t h a t

F i g . 3 s h o w s i n section. B u t i n advance, a l l the covers o n t h e one h a n d a n d a l l t h e boxes o n t h e o t h e r h a v e been p l a c e d o n e w i t h i n a n o t h e r , t h u s p e r m i t t i n g o£ a l l o f t h e u i b e i n g c l o s e d b y .1 s i n g l o m a n e u v e r a f t e r t h e c o i n h a s b e e n placed i n tho central a n d smallest box. • A s s h o w n i n F i g . 4, t h e c o v e r s a r e h e l d i n p l a c e w i t h t h o m i d d l e f i n g e r of t h e r i g h t h a n d . I n order t h a t they m a y f i t p e r f e c t l y u p o n t h e i r r e s p e c t i v e b o x e s , t h o w h o l e is s l i g h t l y s h a k e n , a n d , i f n e e d bo, t h e s i d e o f t h e e x t e r n a l b o x i s s t r u c k a f e w t i m e s w i t h t h o m a g i c w a n d as i f t o p o i n t i t out to tho spectators. T h o r e c t a n g u l a r b o x is t h e n grasped i n such a w a y t h a t n o s o u n d i s h e a r d a n y l o n g e r , a n d Is i m m e d i a t e l y o p e n e d t o s h o w t h a t i t is e m p t y . T h e n tho r o u n d boxes arc opened one a f t e r the other. T h e spectators, i n v i e w of t h o s h o r t t i m e r e q u i r e d f o r t h i s operation, cannot conceive t h r o u g h w h a t iryigic process i t h a s b e e n p o s s i b l e t o c a u s e t h e c o i n ( w h i c i i c o u l d n o t h a v e b e e n c h a n g e d , s i n c e t h o s i g n w i t h w h i c h I t is m a r k e d b e a r s w i t n e s s of t h a t ) t o p a s s so r a p i d l y t o t h o center of a l l these boxes.

. Thought

Reading.

F o r s o m e f e w y e a r s p a s t i t h a s been t h e f a s h i o n t o e x p e r i m e n t i n w h a t is g e n e r a l l y k n o w n as " t h o u g h t r e a d i n g , " a n d n o d o u b t m a n y astonishing results have been attaine d b y t h e p r o f e s s o r s o f t h e a r t . N o t o n l y h a s i t b e e n exh i b i t e d i n p u b l i c b y c l e v e r p e r f o r m e r s , s u c h as S t u a r t C u m berland, A l f r e d Capper, and I r v i n g Bishop, b u t amateurs m a y o c c a s i o n a l l y be m e t w i t h a t e v e n i n g p a r t i e s , w h o , f o r t h e e n t e r t a i n m e n t of t h e i r friends, are w i l l i n g to e x h i b i t t h e i r powers ; a n d very often w i t h most puzzling results. W h e t h e r there really is a n y t h i n g i n the m a t t e r , or whether t h e i r performances are o n l y clever tricks. I m u s t leave o t h e r s t o j u d g e ; i t i s n o t m y p u r p o s e t o d i s c u s s t h e question. T h e y d o find p i n s h i d d e n i n m o s t e x t r a o r d i n a r y places, a n d t h e y do r e a d t h e n u m b e r s of b a n k notes w i t h o u t , as f a r as t h e a u d i e n c e i s a w a r e , h a v i n g h a d a n o p p o r t u n i t y of g a i n i n g t h e i r k n o w l e d g e . H o w I t is done I m u s t l e a v e o t h e r s t o e x p l a i n , i f t h e y w i l l , b u t t h e o b j e c t of t h i s

paper is to s h o w o u r readers h o w t h e y can a m u s e t h e i r f r i e n d s a n d g a i n kudos f o r t h e m s e l v e s b y e x h i b i t i n g t h e i r proficiency in a branch of the m y s t i c art, and t h a t w i t h o u t a n y m o r e t r a i n i n g t h a n c a n be g a i n e d i n t e n m i n u t e s . I t h i n k t h o best p l a n b y w h i c h I can e x p l a i n m y m e t h o d a n d m a k e i t c l c a r w i l l be t o g i v e a d e s c r i p t i o n of a s e a n c e , a n d t h e n i n i t i a t e m y r e a d e r s i n t o t h e modus operandi, , Before I commence I m a y state t h a t 1 c a n n o t p r o m i s e in; v a r i a b l e success ( i n t h i s I a m l i k e a l l o t h e r t h o u g h t r e a d e r s ) , b u t so f a r I h a v e n e v e r f a i l e d , a n d v e r y f e w p r o f e s s e d t h o u g h t readers c a n say t h i s m u c h . W e w i l l i m a g i n e t h a t a p a r t y of f r i e n d s are g a t h e r e d together i n t h e d r a w i n g - r o o m , a n d t h a t the conversation has t u r n e d u p o n t h o u g h t reading. O u r a m a t e u r professor i n t h e a r t t h e n s a y s i n t h e m o s t c a r e l e s s m a n n e r h e c a n ass u m e (for i t adds i m m e a s u r a b l y t o t h e effect of h i s perf o r m a n c e i f i t a p p e a r s t o bo i m p r o m p t u ) : " W e l l , l a d i e s a n d g e n t l e m e n , t h o u g h I d o n o t s e t u p t o be a r e g u l a r p r o fessor of t h o u g h t r e a d i n g , y e t I f o u n d o u t q u i t e b y accid e n t a s h o r t t i m e since t h a t n a t u r e has g i f t e d m e w i t h a c e r t a i n a m o u n t of p o w e r i n t h i s d i r e c t i o n , a n d i f i t w o u l d amuse you, I a m w i l l i n g to attempt an experiment or t w o this evening-" T h i s o f f e r , y o u m a y be s u r e , w i l l b e r e c e i v e d w i t h e n t h u s i a s m b y t h o s e p r e s e n t , f o r t h e r e w i l l bo c e r t a i n t o b e a m o n g t h e gnests some, a t a n y rate, w h o have n e v e r w i t nessed a n e x h i b i t i o n of t h o u g h t r e a d i n g , a n d w h o a r e a n x i o u s t o h a v e a n o p p o r t u n i t y o f d o i n g so. Y o u c o n t i n u e : " R e m e m b e r , if y o u please, t h a t I w i l l n o t p r o m i s e t o be successful, f o r i n t h i s m a t t e r success d e p e n d s l a r g e l y u p o n t h o c o n d i t i o n of s u s c e p t i b i l i t y i n w h i c h m y b r a i n is a t t h e time, and t h a t I cannot tell u n t i l I a t t e m p t tho experiments ; at any rate I w i l l do m y b e s t ; and should X fail I m u s t crave y o u r k i n d i n d u l g e n c e . " I t is a l w a y s w e l l t o commence w i t h this w a r n i n g , for i t gives a greater effect t o y o u r s u b s e q u e n t success, a n d p r o v i d e s a l o o p h o l e f o r e s c a p e in case y o u s h o u l d f a i l . " T h e c o n d i t i o n s u n d e r w h i c h I m a k e t h e a t t e m p t are s o m e w h a t d i f f e r e n t f r o m those of tho regular performers, b u t I do not fancy you w i l l t h i n k t h e y d e t r a c t f r o m t h e e x t r a o r d i n a r y n a t u r e of t h e experiment.

" I n t h o first p l a c e i t i s n e c e s s a r y t h a t sorao l a d y o r g e n t l e m a n s h o u l d a c t as a m e d i u m ; s o m e o n e b e t w e e n w h o s o m i n d a n d m y o w n t h e r e is s y m p a t h y . P e r h a p s you, s i r , " a d d r e s s i n g a g e n t l e m a n p r e s e n t , " w o u l d n o t m i n d assisting mo in this capacity. Pardon me for a moment." You g o u p t o h i m , l a y y o u r h a n d o n h i s f o r e h e a d , close y o u r eyes a n d s t a n d p e r f e c t l y s t i l l a n d s i l e n t f o r a m i n u t e , w h i l e the remainder of the guests w a t c h you in wonder. Then y o u o p e n y o u r eyes, a t t h o s a m e t i m o h e a v i n g a s i g h o f e x h a u s t i o n , a n d say : " N o , s i r , I a m a f r a i d I n e v e r c o u l d s u c c e e d w i t h y o u ; t h e r e i s n o t a n a t o m o f s y m p a t h y bet w e e n u s . I t w o u l d o n l y be c o u r t i n g f a i l u r o w e r e I t o a t t e m p t a n y t h i n g . M a d a m , w i l l y o u a i d m e ? " O n receivi n g t h e lady's consent go t h r o u g h the same performance w i t h h e r , b u t d o n o t l e t y o u r s i g h e x p r e s s n e a r l y so m u c h e x h a u s t i o n , a n d s m i l e as y o u s a y , " W i t h t h i s l a d y I h a v e n o t the slightest fear i n m a k i n g tho a t t e m p t ; o u r m i n d s are i n pcrfect s y m p a t h y , and I do not anticipate a n y diffic u l t y i n reading her t h o u g h t s . N o w , w h i l o I a m out of the r o o m w i l l tho company settlo a m o n g themselves on some s m a l l article, a u y t h i n g y o u l i k e , f r o m a p i n to a p u m p - h a n d l e , a n d , ' h a v i n g d o n e so, w i l l o n o o f y o u , a c c o m panied by the medium, take that article into a dark room a n d hide i t i n t h o m o s t secret place y o u can t h i n k of? B u t y o u m u s t a l l o w t h o m e d i u m t o k n o w w h o r e i t is p l a c e d . A n d I w i l l ask t h i s l a d y w h o has consented to act i n t h a t c a p a c i t y t o fix h e r t h o u g h t s m o s t i n t e n t l y u p o n t h o h i d d e n object, f o r tho more concentrated her t h o u g h t s arc tho e a s i e r w i l l be m y t a s k . " F r o m tho t i m e I leave t h i s r o o m before y o u have even s e t t l e d o n w h a t y o u are g o i n g to conceal, I do n o t w i s h t o c a s t m y eyes o n t h o m e d i u m u n t i l I h a v o f u l f i l l e d m y t a s k , f o r i f s h e w i l l o n l y fix h e r t h o u g h t s s u f f i c i e n t l y I h o p e t o b e a b l e t o r e a d t h e m t h r o u g h b r i c k w a l l s q u i t e as e a s i l y as if she w o r e s t a n d i n g a t m y side. " I c a n p e r f o r m t h o e x p e r i m e n t j u s t as w e l l i n t h o l i g h t , b u t I t h i n k y o u w i l l a l l a d m i t t h a t i t is a f a r m o r e exacti n g t e s t of m y p o w e r s i f I a m s u c c c s s f u i i n a r o o m f r o m w h i c h e v e r y a t o m of l i g h t i s e x c l u d e d . T h e s e a r o t h o o n l y c o n d i t i o n s — I w i l l r u n t h e m o v e r a g a i n t h a t t h e y m a y bo q u i t e clear. Y o u settlo o n somo s m a l l object, w h i c h one

of the party, accompanied by the medium, takes into a d a r k r o o m a n d hides;; y o u t h e n keep t h o m e d i u m u n d e r lock and key, if you like, at any rate where I shall not h a v e t h e s l i g h t e s t chance of c o m m u n i c a t i n g w i t h her, i n a n y f o r m or shape. She f i x i n g h e r m i n d i n t e n t l y o n t h e h i d d e n object, X w i l l go i n t o the d a r k r o o m a n d do m y beit. t o discover the article. I s t h a t q u i t e clear ? V e r y w e l l , p a r d o n me one m o m e n t . " Y o u s t a n d behind the m e d i u m , place y o u r hands r o u n d t h e u p p e r p a r t o f h e r h e a d w i t h t h e fingers r e s t i n g o n t h e t e m p l e s , close y o u r eyes, s t a n d p e r f e c t l y s i l e n t , a n d a l l o w t h e muscles of y o u r face t o w o r k a n d t w i t c h , a n d t h e n , w i t h a deep s i g h , r e m o v e y o u r h a n d s a n d leave t h e r o o m without uttering a word. F o r t h e s a k e of e x a m p l e w e w i l l i m a g i n e t h e c o m p a n y h a s s e l e c t e d t h o s c a r f - p i n o f a g e n t l e m a n as t h e o b j e c t t o be h i d d e n , a n d one of t h e i r n u m b e r goes w i t h t h e m e d i u m i n t o t h e d i n i n g - r o o m i n w h i c h t h e r e is n o l i g h t , t h e g a s h a v i n g been t u r n e d o u t , a n d conceals t h o p i n i n one of t h e m e t a l leaves w h i c h o r n a m e n t t h o gaselier, h a n g i n g f r o m t h e ceiling. The hider and the m e d i u m come f r o m tho r o o m , a n d c l o s e t h e d o o r . W o r d i s t a k e n t o y o u t h a t a l l is r e a d y . Y o u e n t e r t h e d a r k r o o m , close t h e d o o r b e h i n d you, and if w i t h i n the n e x t three m i n u t e s you do n o t emerge h o l d i n g tho hidden p i n y o u arc a duffer, a n d unw o r t h y o f c r e d e n c e as a t h o u g h t - r e a d e r . T h e m a n i f e s t a t i o n , o r w h a t e v e r y o u m a y p l e a s e t o c a l l it, t o the u n i n i t i a t e d appears m a r v e l o u s , whereas i t is r e a l l y m o s t s i m p l e , a n d d e p e n d s n o t so m u c h o n y o u as o n y o u r m e d i u m , w h o m u s t be a n accomplice. A s a r u l e i n conj u r i n g , t h e use of a c c o m p l i c e s m a r k s a l o w s t a n d a r d of t h e a r t , b u t t h e r e a r e cases i n w h i c h t h e y c a n be l e g i t i m a t e l y m a d e u s e o f , a n d t h i s is o n e o f t h e m . I t w i l l be a f a i r t e s t o f t h e p o w e r s o f d e c e p t i o n possessed b y t h e t h o u g h t reader If he can conceal t h e f a c t t h a t t h e p e r s o n h e selects as a m e d i u m is a n accomplice. T h e w h o l e secret of t h e t r i c k consists i n t h e m e d i u m l e a v i n g h i s o r h e r w a t c h o n , o r as n e a r as i t i s p o s s i b l e t o place i t to, t h e h i d d e n a r t i c l e . T h i s p r o c e e d i n g c a n n o t be seen b e c a u s e t h e r o o m i s d a r k , a n d w h e n t h o t h o u g h t r e a d e r e n t e r s a n d closes t h e d o o r b e h i n d h i m , a l l h e has t o

d o is t o s t a n d p e r f e c t l y s i l e n t a n d l i s t e n . H e w i l l i m m e d i a t e l y h e a r t h e t i c k i n g of t h o w a t f c h , a n d , h a v i n g f o u n d i t , he m u s t search a l l r o u n d i t t i l l ho discovers somo a r t i c l e l i k e l y t o be t h e o n o h i d d e n . I t s o m e t i m e s h a p p e n s t h a t i t is i m p o s s i b l e f o r t h e m e d i u m t o place t h o w a t c h t o u c h i n g t h e a r t i c l c , a n d t h e r e m a y bo ono or t w o t h i n g s i n close p r o x i m i t y ; t h e n i t is t h o best course f o r t h o t h o u g h t - r e a d e r t o select t h e a r t i c l e w h i c h appears t o bo m o s t o u t of p l a c e i n t h e p o s i t i o n . I n m y o w n p e r f o r m a n c e s I t a k e care t o p r o v i d e m y s e l f w i t h a box of silent matches, and directly I enter the room I l i g h t o n e , a n d g i v e m y eyes as w e l i as m y c a r s a c h a n c e of d i s c o v e r i n g t h e w a t c h ; h a v i n g f o u n d t h a t , a second m a t c h g e n e r a l l y is s u f f i c i e n t t o d i s c o v e r t h e h i d d e n a r t i c l o . M y first a t t e m p t i n this line was w h e n the scarf-pin was h i d d e n i n t h e gaselier. M y m e d i u m h a d p e r f o r m e d his p a r t f a i t h f u l l y , a n d p l a c e d h i s w a t c h i n t h e l e a f as w e l l . I h e a r d t h e t i c k i n g , but.for some t i m e I could n o t conceivo w h e r e tho sound came f r o m . I w a l k e d r o u n d and r o u n d t h e r o o m , l i s t e n i n g i n t e n t l y . I t a l w a y s seemed t o bo a t t h e same distance f r o m me, a n d I was g r o w i n g f a i r l y puzz l e d w h e n m y eyes f e l l o n t h e g a s e l i e r , a n d t h e n e x t i n s t a n t I h a d f o u n d t h e p i n . I t m a y be o f s e r v i c e t o s o m o w o u l d - b e t h o u g h t - r e a d e r s if I m e n t i o n a f e w l i k e l y places i n w h i c h articles are often conccalcd. F o r somo reason o r other, p i n s are t h o f a v o r i t e article f o r c o n c e a l m e n t ; a f t e r t h e m c o m e a r t i c l e s f r o m t h e p o c k e t s , s u c h as k n i v e s , p e n cil-cases, b u t t o n - h o o k s , o r t h i m b l e s . P i n s are o f t e n h i d d e n b y s t i c k i n g t h o m i n t o t h e w a l l s , i n w h i c h case ( i f t h e y a r e s u f f i c i e n t l y f i r m ) t h e w a t c h c a n be h u n g o n t h e m , o r else p l a c e d o n t h e f l o o r i m m e d i a t e l y beneath t h e m . T h e y aro also t h r u s t u p to t h e i r heads i n t h e p a d d i n g a n d s e a t s of c h a i r 3 , w h e n t h e w a t c h c a n b o l a i d on t h e m . W i t h o t h e r objects, a c o m m o n place of concealment is w i t h i n or beiow some o r n a m e n t on the c h i m n e y piece, o r , if there aro books l y i n g a b o u t , b e t w e e n t h o l e a v e s . T h e f e a t s e e m s so w e l l - n i g h i m p o s s i b l e f o r a n a m a t e u r to p e r f o r m t h a t y o u w i l l n o t o f t e n f i n d people p i c k d i f f i c u l t p l a c e s of c o n c e a l m e n t . F i n a l l y , I w o u l d advise half a n hour's practlco w i t h y o u r m e d i u m before a t t e m p t i n g to give a p e r f o r m a n c e ; a n d

w h e n y o u a r e i n d o u b t as t o h a v i n g h i t o n t h e r i g h t a r t i c l e , i t is w e l l , o n e n t e r i n g t h e r o o m w h e r e t h e g u e s t s a r e a w a i t i n g you, to c o m p l a i n of the m e d i u m h a v i n g allowed his m i n d to w a n d e r f o r a second or t w o ; a n d then, should y o u r s e l e c t i o n p r o v e a t f a u l t , y o u h a v e s o m e o n o else beside y o u r i n f a l l i b l e self t o bear t h o b l a m e .

Experiments

in

Black Art by

Chemistry.

KIT A s t h e r e i s s o m e d a n g e r i n p e r f o r m i n g t r i c k s o f t h i s k i n d , t h e y s h o u l d be m a n a g e d w i t h e x t r e m e c a u t i o n , a n d "on n o a c c o u n t be a t t e m p t e d b y v e r y y o u n g a n d i n e x p e r i enced persons.

To Obtain Fire from

Water.

T h r o w a s m a l l q u a n t i t y of p o t a s s i u m on t h e surface of a l i t t l e w a t e r i n a basin. I m m e d i a t e l y a rose-colored flame w i l l be p r o d u c e d . A n y c h e m i s t w i l l s u p p l y t h e q u a n t i t y f o r several of those e x p e r i m e n t s for a v e r y s m a l l s u m .

To Give a Party a Ghastly

Appearance.

Take half a p i n t of spirits, and, h a v i n g w a r m e d it, p u t a h a n d f u l o f s a l t w i t h i t i n t o a b a s i n ; t h e n s e t i t o n fire, a n d i t w i l l h a v e t h e effect of m a k i n g every person l o o k hideous. T h i s f e a t m u s t be p e r f o r m e d i n a r o o m .

The Fire and Wine Bottle. P r o c u r e a t i n b o t t l e w i t h a t u b e n e a r l y as l a r g e as i t s neck, passing f r o m the b o t t o m of the neck to t h o b o t t o m o f t h e b o t t l e , i n w h i c h t h e r e m u s t be a h o l e o f a size t o c o r respond w i t h it. B e t w e e n the tube and the neck of the b o t t l e l e t t h e r e be s u f f i c i e n t s p a c e t o a l l o w y o u t o p o u r i n some wine, w h i c h w i l l r e m a i n i n the bottle outside t h e t u b e . B e g i n t h e t r i c k b y p o u r i n g a glass of w i n e o u t of the bottle, t h r o u g h w h i c h a confederate w i l l t h r u s t a burni n g f u z e e i n t o t h o t u b e , so t h a t , a t y o u r c o m m a n d , fire i s e m i t t e d f r o m t h e m o u t h o f t h e b o t t l e . A s s o o n as t h e f i r e is e x t i n g u i s h e d , or w i t h d r a w n , y o u can t a k e u p the b o t t l e again and pour out more wine.

IIOAV

TO

BO

THE

BLACK

ALTT.

40

The Fiery Flush, L e t a q u a n t i t y of m i n u t e i r o n filings d r o p u p o n t h e f l a m e o f a c a n d l e f r o m a sheet of p a p e r a b o u t e i g h t o r t e n i n c h e s a b o v e i t ; as t h e y d e s c e n d i n t h e flame t h e y w i l l e n t e r i n t o a vivid and sparkling combustion.

To Boil a Liquid

Without

Fire.

P u t i n t o a t h i n p h i a l t w o p a r t s of o i l of v i t r i o l a n a o n e p a r t of w a t e r ; b y s t i r r i n g t h e m w e l l t o g e t h e r , t h o m i x t u r e i n s t a n t l y becomes h o t , a n d acquires a t e m p e r a t u r e above t h a t of b o i l i n g w a t e r .

To Procure Hydrogen Gas. P r o c u r e a p h i a l w i t h a c o r k s t o p p e r , t h r o u g h w h i c h is t h r u s t a p i e c e of t o b a c c o - p i p e . I n t o t h e p h i a l p u t a f e w pieces of z i n c , o r s m a l l i r o n n a i l s ; o n t h i s p o u r a m i x t u r e of e q u a l p a r t s o f s u l p h u r i c a c i d ( o i l of v i t r i o l ) a n d w a t e r , p r e v i o u s l y m i x e d i n a tea cup t o prevent accidents. Rep l a c e t h e c o r k s t o p p e r w i t h t h e piece of t o b a c c o - p i p e i n i t ; t h e h y d r o g e n gas w i l l t h e n bo l i b e r a t e d t h r o u g h t h e p i p e i n a s m a l l s t r e a m . A p p l y t h e flame of a c a n d l e or t a p e r t o t h i s s t r e a m , a n d i t w i l l i m m e d i a t e l y t a k e fire, a n d b u r n w i t h a c l e a r flame u n t i l a l l t h e h y d r o g e n i n t h e p h i a l be exhausted. I n this experiment the zinc or iron, by t h e a c t i o n of t h e a c i d , becomes o x y g e n i z e d , a n d is d i s s o l v e d , thus t a k i n g the oxygen f r o m the sulphuric acid and water; t h e h y d r o g e n ( t h e o t h e r c o n s t i t u e n t p a r t o f t h e w a t e r ) is t h e r e b y l i b e r a t e d a n d ascends.

To Copy Writing with a Flat-iron. M i x a l i t t l e sugar i n the i n k w h i c h is used f o r the w r i t i n g . L a y a sheet of u n s i z e d p a p e r , t h a t is, s o f t w h i t e paper, d a m p e d w i t h a sponge, o n tho w r i t t e n paper, a n d p a s s i n g l i g h t l y o v e r i t a flat-iron, m o d e r a t e l y h e a t e d , a c o p y m a y e a s i l y be t a k e n .

To make Fringe appear about the Flame of a Candle, P r o c u r e t w o pieces o f p l a t e - g l a s s , m o i s t e n t w o o f t h e i r sides w i t h w a t e r , p u t t h e m t o g e t h e r , a n d l o o k t h r o u g h t h e m at the candle, w h e n y o u w i l l perceive t h e flame surrounded w i t h beautifully colored friuges. T h i s is t h o

effect of m o i s t u r e i n t e r m i x e d w i t h p o r t i o n s o f a i r , a n d presents an appearance s i m i l a r to dew.

To Produce Instantaneous

Light upon Ice.

T h r o w u p o n ice a s m a l l p i e c e of p o t a s s i u m , a n d i t w i l l burst into a bright flame. _

To make Paper

Fireproof.

T o accomplish this, d i p a sheet l u t i o n of a l u m w a t e r , a n d w h e n t w o or t h r e e t i m e s . W h e n i t is m a y p u t i t i n t h e flame o f a c a n d l e

To Melt Lead-in

o f p a p e r i n a s t r o n g sod r y repeat t h e process thoroughly dried, you and it will not burn.

Paper.

P r o c u r e a v e r y s m o o t h b a l l of lead a n d w r a p i t u p i n a pieco of paper, t a k i n g care t h a t t h e r e be n o w r i n k l e s i n i t , a n d t h a t i t be e v e r y w h e r e i n c o n t a c t w i t h t h e b a l l . Hold i t i n t h i s s t a t e o v e r t h e flame o f a t a p e r , a n d t h e l e a d w i l l be m e l t e d w i t h o u t t h e paper b e i n g b u r n t . T h e lead, w h e n once fused, w i l l i n a s h o r t t i m e pierce t h e p a p e r , a n d , of course, r u n t h r o u g h .

To Melt Steel as easily as

Lead.

W i t h a p a i r o f t o n g s o r p i n c e r s h o l d a piece of steel i n t h e fire t i l l i t is r e d h o t , t h e n t o u c h i t w i t h a s t i c k of b r i m s t o n e , w h e n t h e c o n t a c t w i l l cause t h e steel t o m e l t a n d drop like a liquid.

A Light that Burns for a Tear. P u t a s t i c k of p h o s p h o r u s i n t o a l a r g o d r y p h i a l , n o t corked, and it w i l l give a l i g h t sufficient to discern any o b j e c t i n a r o o m w h e n p l a c e d c l o s e t o i t . I f t h e p h i a l be k e p t i n a cool place, w h e r e t h e r e is n o g r e a t c u r r e n t of a i r , i t s l u m i n o u s appearance w i l l be r e t a i n e d f o r several months.

Flame Extinguished

by Gas.

P l a c e a l i g h t e d c a n d l e i n a j a r , a n d l e t c a r b o n i c g a s bo p o u r e d u p o n i t f r o m a n o t h e r j a r . I n a f e w seconds t h e flame w i l l be e x t i n g u i s h e d , t h o u g h t h o e y e i s i n c a p a b l e o f o b s e r v i n g t h a t a n y t h i n g is p o u r e d o u t .

IIOW

TO

DO

THE

BLACK

ART.

51

The Tobacco- Pipe Cannon. T a k e o f s a l t p e t r e o n e o u n c o , c r c a m of t a r t a r ono ounce, s u l p h u r h a l f a n ounce, beat t h e m to powder separately, t h e n m i x t h e m t o g e t h e r . I ' u t a g r a i n i n t o a p i p e of t o b a c co, a n d w h e n i t i s l i g h t e d i t w i l l g i v e t h e r e p o r t of a m u s k e t , w i t h o u t b r e a k i n g t h e p i p e . B y p u t t i n g as m u c h as m a y l i e o n y o u r n a i l i n a piece of p a p e r , a n d s e t t i n g l i r e t o i t , t r e m e n d o u s r e p o r t s w i l l bo t h e r e s u l t .

Prince Rupert's Detonating Glass llombs. T h o s e m a y be m a d e i n t h e f o l l o w i n g m a n n e r : D r o p s o m e s m a l l pieces o f c o m m o n g r e e n g l a s s , w h i l e r e d h o t , i n t o cold w a t e r , w h e n they w i l l assume a tear-like f o r m . The spherical p o r t i o n w i l l bear v e r y r o u g h t r e a t m e n t , b u t tho i n s t a n t t h e s m a l l e s t p a r t i c l e of t h e t a i l be b r o k e n o f f t h e w h o l e Hies i n t o c o u n t l e s s f r a g m e n t s . M a n y e x p e r i m e n t s m a y be p e r f o r m e d w i t h these c u r i o u s d r o p s , b u t , b e i n g a t t e n d e d w i t h d a n g e r , a r e o m i t t e d here.

To Wash the Sands in Molten Lead, T a k e o n e o u n c e of q u i c k s i l v e r , t w o ounces of g o o d bolea m m o n i a c , h a l f a n o u n c e of c a m p h o r , a n d t w o ounces of a q u a - v i t a e ; m i x t h e m t o g e t h e r a n d p u t t h e m i n t o a braze n m o r t a r , b e a t i n g t h e m w i t h a pestle. R u b t h e hands a l l o v e r w i t h t h i s o i n t m e n t , a n d t h e y m a y bo p u t i n t o m e l t e d lead w i t h i m p u n i t y ; the metal being poured upon them w i l l n e i t h e r b u r n n o r scald.

To Make an Artificial

Earthquake and Volcano.

M i x e q u a l p a r t s of p o u n d e d s u l p h u r a n d i r o n f i l i n g s , a n d h a v i n g f o r m e d tho w h o l e i n t o a paste w i t h water, bury a c e r t a i n q u a n t i t y of i t ( f o r t y o r fifty p o u n d s f o r e x a m p l e ) a t a b o u t t h e d e p t h of a f o o t b e l o w t h e s u r f a c e of t h e e a r t h . I n t e n o r t w e l v e s h o u r s a f t e r , i f t h o w e a t h e r be w a r m , t h o earth w i l l swell and burst, and t h r o w u p flame, w h i c h w i l l enlarge the aperture, scattering a r o u n d a y e l l o w a n d blackish dust.

To Produce Fire from Cane, T h e Chinese r a t t a n s , w h i c h a r e u s e d w h e n s p l i t f o r m a k i n g cane c h a i r s , w i l l , w h e n d r y , i f s t r u c k a g a i n s t e a c h o t h -

er, g i v e l i r e ; a n d are used a c c o r d i n g l y i n some places i n l i e u o f flint a n d s t e e l .

To Soften Iron or Steel. E i t h e r of t h e f o l l o w i n g s i m p l e m e t h o d s w i l l m a k e i r o n o r s t e e l as s o f t as l e a d : 1. T a k e a l i t t l e c l a y , c o v e r y o u r i r o n w i t h i t , t e m p e r i t i n a charcoal fire. 2. W h e n t h e i r o n o r s t e e l i s r e d h o t , s t r e w h e l l e b o r e o n it. 3. Q u e n c h t h o i r o n o r s t e e l i n t h o j u i c e o r w a t e r o f c o m - . m o n beans.

To Fill with SmoJce Tivo Apparently

Empty

Bottles.

R i n s e o u t one b o t t l e w i t h h a r t s h o r n , a n d a n o t h e r b o t t l e w i t h s p i r i t of s a l t ; n e x t b r i n g t h e b o t t l e s t o g e t h e r m o u t h t o m o u t h ; b o t h w i l l a t o n c e bo p e r v a d e d w i t h w h i t e v a pors. T h e v a p o r s i n q u e s t i o n are composed of sal a m m o niac—a s o l i d body g e n e r a t e d b y t h o u n i o n of t w o i n v i s i b l e gases.

To Make Luminous

Writing in the Dark.

F i x a s m a l l pieco of s o l i d p h o s p h o r u s i n a q u i l l , a n d w r i t e w i t h i t u p o n p a p e r ; if t h e p a p e r be t h e n p l a c e d i n a d a r k r o o m the w r i t i n g w i l l appear beautifully luminous.

To Make Bed Fire. T h e b e a u t i f u l r e d fire - w h i c h is used i n t h e t h e a t e r s is composed of t h e f o l l o w i n g i n g r e d i e n t s : F o r t y p a r t s of d r y n i t r a t e o f s t r o n t i a n , t h i r t e e n p a r t s o f finely p o w d e r e d s u l p h u r , five p a r t s o f c h l o r a t e of p o t a s h , a n d f o u r p a r t s of s u l p h u r e t of A n t i m o n y .

To Make Green Fire. T a k e o f flour o f s u l p h u r t h i r t e e n p a r t s , o f n i t r a t e o f b a r y t a s e v e n t y - s e v e n , o f o x y m u r i a t e o f p o t a s s i a five, o f m e t a l l i c arsenic t w o , of c h a r c o a l three. T h e n i t r a t e of b a r y t a s h o u l d be w e l l d r i e d a n d p o w d e r e d .

To Make Wine or Brandy Float on

Water.

To perform this seeming impossibility, take a tumbler h a l f f u l l of w a t e r , a n d p l a c i n g a piece of t h i n m u s l i n o v e r

t h o t o p of t h o same, g e n t l y s t r a i n t h o b r a n d y or w i n o t h r o u g h t h o m u s l i n , a n d i t w i l l r e m a i n p n t h e t o p of t h o water.

To Make Beautiful

Transparent

Colored Water,

T h e f o l l o w i n g l i q u o r s , w l i i e h aro colored, being m i x e d , produce colors very different f r o m their o w n . The y e l l o w t i n c t u r e o f s a f f r o n a n d t h e r e d t i n c t u r o of roses, w h e n m i x e d , p r o d u c e a green. B l u e t i n c t u r o of violets a n d b r o w n s p i r i t of s u l p h u r produce a c r i m s o n , R e d t i n c t u r o o f roses a n d b r o w n s p i r i t s o f h a r t s h o r n m a k e a b l u e . B l u e t i n c t u r o of v i o l e t s a n d b l u e s o l u t i o n of copper g i v e a viol e t color. B l u e t i n c t u r o of cyanus a n d bluo s p i r i t of sal a m m o n i a c , colored, m a k e green. B l u o s o l u t i o n of H u n g a r i a n v i t r i o l a n d b r o w n l y e of potash m a k e y e l l o w . B l u o s o l u t i o n o f H u n g a r i a n v i t r i o l a n d r e d t i n c t u r o o f rosos m a k e black. B l u e t i n c t u r e of cyanus aud green solution of copper produce red.

Colored Flames. A v a r i e t y of rays of l i g h t aro e x h i b i t e d b y colored flames, w h i c h a r o n o t t o be seen i n w h i t e l i g h t . T h u s p u r e h y d r o g e n g a s w i l l b u r n w i t h a b l u e flame, i n w h i c h m a n y u f t h e rays of l i g h t aro w a n t i n g . T h o flame of a n o i l l a m p c o n t a i n s m o s t o f t h o r a y s w h i c h are w a n t i n g i n t h e s u n l i g h t . A l c o h o l m i x e d w i t h w a t e r , w h e n h e a t e d o r b u r n e d , a f f o r d s a flamo w i t h n o o t h e r r a y s b u t y e l l o w . T h e f o l l o w i n g s a l t s , i f finely p o w d e r e d , a n d i n t r o d u c e d i n t o t h e e x t e r i o r flame o f a c a n d l e , o r i n t o t h e w i c k o f a s p i r i t l a m p , w i l l c o m m u n i c a t e t o t h o flame t h e i r peculiar colors: C h l o r i d e of S o d a ( c o m m o n s a l t ) Y e l l o w . <{ of P o t a s h , , . Pale v i o l e t , tt of L i m e . . . . B r i c k red. a of S t r o n t i a , , . B r i g h t crimson, t( of L i t h i a . . . . Red. n of B a r y t a . . . . A p p l e green, .t of Copper . . . B l u i s h green. Borax Yellow, O r e i t h e r o f t h e a b o v e s a l t s m a y be m i x e d w i t h s p i r i t o f w i n e , as d i r e c t e d , f o r R e d E i r e .

Orange Colored Flame. B u r n s p i r i t of w i n e o n c h l o r i d e of c a l c i u m , a substance o b t a i n e d b y e v a p o r a t i n g m u r i a t e of l i m e t o dryness.

Emerald Green Flame. B u r n s p i r i t of w i n e o n a l i t t l e p o w d e r e d n i t r a t e of silver.

Instantaneous

Flame.

H e a t together p o t a s s i u m a n d s u l p h u r , a n d t h e y w i l l instantly b u r n very vividly. H e a t a l i t t l e n i t r e o n a fire s h o v e l , s p r i n k l e o n i t flour o f s u l p h u r , a n d i t w i l l i n s t a n t l y b u r n . I f i r o n f i l i n g s be t h r o w n upon red hot nitre, they w i l l detonate and b u m .

Two Liquids Make a

Solid.

Dissolve chloride of l i m e in w a t e r u n t i l i t w i l l dissolve no m o r e ; measure o u t a n equal q u a n t i t y of oil of v i t r i o l ; b o t h w i l l be t r a n s p a r e n t fluids ; b u t i f e q u a l q u a n t i t i e s o f e a c h be s l o w l y m i x e d a n d s t i r r e d t o g e t h e r , t h e y w i l l become a s o l i d mass, w i t h t h e e v o l u t i o n of s m o k e or f u m e s .

Two

Solids M a k e a

Liquid.

R u b t o g e t h e r i n a m o r t a r e q u a l q u a n t i t i e s of t h e cryst a l s o f G l a u b e r s a l t s a n d n i t r a t e of a m m o n i a , a n d t h e t w o salts w i l l s l o w l y become a l i q u i d .

A Solid Opaque Mass Makes a Transparent

Liquid.

T a k e t h e s o l i d m i x t u r e of t h e s o l u t i o n s of m u r i a t e of l i m e a n d c a r b o n a t e of potash, p o u r u p o n i t a v e r y l i t t l o n i t r i c acid, a n d t h e s o l i d opaque mass w i l l be c h a n g e d t o a transparent liquid!

Two Cold Liquids Mako a Hot

Ono.

M i x f o u r d r a m s of s u l p h u r i c acid (oil of v i t r i o l ) w i t h ono d r a m of c o l d w a t e r , s u d d e n l y , i n a c u p , a n d t h e m i x t u r e w i l l b o n e a r l y h a l f as h o t a g a i n aa b o i l i n g w a t e r .

\

To Make

Ieo.

A l t h o u g h t h i s t r i c k Is p e r f o r m e d b y m e a n s o f c h e m i c a l s , y e t i t s p r o d u c t is o b t a i n e d r e a l l y b y t h o use of m e c h a n i c a l l a w s . W o m u s t r e m e m b e r t h a t ico i s e x a c t l y t h e s a m o t h i n g as w a t e r so f a r as i t s c o m p o s i t i o n i s e o n c e r n c d , d i f f e r i n g o n l y i n i t s s t a t e of d e n s i t y . I c e , w a t e r a n d s t e a m d i i l e r j n d e n s i t y t h r o u g h t h e poss e s s i o n o f a g r e a t e r o r less q u a n t i t y of h e a t . H e n c e , t h o t u r n i n g o f w a t e r i n t o ice r e a l l y i s a case o f t h e o p e r a t i o n of mechanical iaws. N o w for tho experiment. P u t into a wide-mouthed jamj a r a s m a l l e r g l a s s v e s s e l c o n t a i n i n g t h e w a t e r t o bo f r o z e n . A r o u n d t h e l a t t e r p u t a m i x t u r e o f s u l p h a t e of soda (Glauber's salt) a n d h y d r o c h l o r i c a c i d ( s p i r i t s of s a l t s ) . T h e p r o p o r t i o n s m u s t be e i g h t i p a r t s o f t h e f o r m e r t o five o f t h o l a t t e r . T h e a c t i o n of these t w o c h e m i c a l s o n one a n o t h e r is t o c a u s e a c o l d o f fifteen t o s e v e n t e e n d e g r e e s b e l o w z e r o , o r f o r t y - s e v e n degrees b e l o w f r e e z i n g p o i n t . T h e s a m e r e s u l t m a y be o b t a i n e d b y m i x i n g e q u a l p a r t s of n i t r a t e of a m m o n i a a n d water. I n w i n t e r t i m e w h e n t h e s n o w is o n t h e g r o u n d , a m i x t u r e of one p a r t s n o w a n d one p a r t c o m m o n t a b l e s a l t a n intense cold of t w e n t y degrees b e l o w zero is o b t a i n e d . F r o m t h i s l a s t f a c t w e see h o w s t u p i d a r e t h o s e p e o p l e w h o s p r i n k l e t h e s a l t o n t h e p a v e m e n t s t o g e t r i d of t h o snow. True, the latter melts, b u t only after the product i o n of I n t e n s e c o l d , w h i c h i s t h e c a u s e o f m a n y d i s e a s e s , n o t o n l y s l i g h t ones l i k e c o l d s a n d c h i l b l a i n s , b u t t o o o f t e n t h e f o r e r u n n e r s of c o n s u m p t i o n a n d o t h e r l u n g troubles.

Curious

Change of

Colors.

L e t t h e r e be n o o t h e r l i g h t t h a n a t a p e r i n t h e r o o m ; t h e n p u t on a p a i r of d a r k - g r e e n spectacles, a n d h a v i n g c l o s e d o n e eye v i e w t h e t a p e r w i t h t h e o t h e r . Suddenly r e m o v e t h e spectacles a n d t h e t a p e r w i l l assume a b r i g h t r e d a p p e a r a n c e ; b u t i f t h e s p e c t a c l e s be i n s t a n t l y rep l a c e d , t h e e y e w i l l be u n a b l e t o d i s t i n g u i s h a n y t h i n g f o r a s e c o n d o r - t w o . T h e o r d e r of c o l o r s w i l l t h e r e f o r e be as f o l l o w s : green, red, green, black.

The Metallic

Colors.

T h e p r o d u c t i o n of M o b i l i ' s c i r c l e is a n e l e c t r o - c h e m i c a l experiment, very simple and amusing, w h i c h only requires either a battery or a magneto-electric machine. I n o r d e r t o p r o d u c e a n u m b e r o f c i r c l e s of v a r i o u s des c r i p t i o n s a n d b r i l l i a n t colors, a B u n s e n b a t t e r y is used I n preference. Place i n a saucer, or a n o r d i n a r y r o u n d d i s h , a s m a l l p l a t e of s t e e l o r u i c k e l , c o n n e c t e d b y a b r a s s w i r e w i t h the n e g a t i v e pole. T h e b o t t o m o f t h e s a u c e r m u s t be c o n n e c t e d w i t h

the

p o s i t i v e p o l e o f t h e b a t t e r y . T h e n t h e r e m u s t be p o u r e d on the p l a t e a s o l u t i o n of acetate of lead. T h e w i r e w h i c h connects the >aucer m u s t - b e near tho m e t a l plate, b u t without.touching the latter.

A f t e r a l i t t l e w h i l e a red spot w i l l appear on the plate, a n d soon a f t e r i t w i l l r a p i d l y e x t e n d a n d f o r m concentric circles of p r i s m a t i c colors. W i t h a l i t t l e practice a boy can calculate the t i m e i t takes t o j o b t a i n t h e m o s t b e a u t i f u l c o l o r i n g s , a n d so v a r y t h e eff e c t s p r o d u c e d . C a r e m u s t be t a k e n , w h e n t h e o p e r a t i o n is t e r m i n a t e d , to w a s h t h e m e t a l l i c p l a t e a n d let i t d r y . T h e c o l o r s a r e d u e t o t h o d e c o m p o s i t i o n of t h e l i g h t t h r o u g h t h e excess of t h e p e r o x i d e of l e a d d e p o s i t e d o n t h e surface of tho plate. I n order to obtain good results, t h o m e t a l l i c p l a t e m u s t be c a r e f u l l y polished, a n d t h e s o l u t i o n of lead w e l l filtered. O n e m a y p r o d u c e d i f f e r e n t f o r m s of figures, i n v a r y i n g t h e m o d e , b y m e a n s of a b r a s s w i r e b e n t i n t h e f o r m o f a l e t t e r or a design.

M o b i l i ' s circles resemble N e w t o n ' s r i n g s . T h e colors are intense,'and very pretty. The renowned experimentalist discovered this phenomen a i n 1820. S i n c e t h e n v a r i o u s m o d i f i c a t i o n s h a v e been i n t r o d u c e d . 1 I t is o f t e n r e s o r t e d t o f o r o r n a m e n t i n g s m a l l objects, l i k e b u t t o n s , pearls, j e w e l r y , etc.

Invisible

Inks.

B y m e a n s of these m a y bo c a r r i e d o n a correspondence w h i c h is b e y o n d t h o d i s c o v e r y of a l l n o t i n t h e secret. W i t h ono class of these i n k s t h e w r i t i n g becomes v i s i b l e only w h e n moistened w i t h a p a r t i c u l a r solution. T h u s , if w e w r i t e t o y o u w i t h a s o l u t i o n of s u l p h a t e of i r o n t h o letters are i n v i s i b l e . O n t h e receipt of o u r l e t t e r , y o u r u b over t h e sheet a feather or sponge, w e t w i t h a s o l u t i o n of n u t galls, a n d t h o l e t t e r s b u r s t f o r t h i n t o sensiblo b e i n g a t once, a n d aro p e r m a n e n t . I f w e w r i t e w i t h a s o l u t i o n of sugar of l e a d a n d y o u m o i s t e n w i t h a sponge or pencil dipped i n w a t e r impregnated w i t h sulphuretted hydrogen, tho letters w i l l appear w i t h metallic brilliancy. I f w e w r i t e w i t h a w e a k s o l u t i o n of s u l p h a t e of copper, and you apply ammonia, the letters assume a beautiful b l u e . W h e n t h e > m m o n i a e v a p o r a t e s , as i t d o e s o n e x p o s u r e t o t h e s u n o r [ f i r e , t h e w r i t i n g d i s a p p e a r s , b u t m a y be r e v i v e d a g a i n as b e f o r e . I f y o u w r i t e w i t h o i l o f v i t r i o l v e r y m u c h d i l u t e d , so as to prevent its destroying the paper, the manuscript w i l l be i n v i s i b l e e x c e p t w h e n h e l d t o t h e fire, w h e n t h e l e t t e r s w i l l appear black. W r i t e w i t h cobalt dissolved in d i l u t e d m u r i a t i c acid ; t h e l e t t e r s w i l l be v i s i b l e w h e n c o l d , b u t w h e n w a r m e d they w i l l appear a bluish green.

Invisible Yellow Ink. Steep m a r i g o l d flowers seven or t i l l e d vinegar. Press the flowers w h i c h i s t o be k e p t i n a b o t t l e w e l l have it s t i l l more clear, add, w h e n water.

e i g h t days i n clear disand strain the liquor, corked. I f you w o u l d y o u use i t , s o m e p u r e

To make the characters visible w h i c h you w r i t e w i t h t h i s i n k , pass a Bponge over t h e p a p e r , d i p p e d i n t h e following solution: T a k e a q u a n t i t y o f flowers o f p a n s y , o r t h e c o m m o n v i o let, bruise them in a mortar w i t h water, strain the liquor i n a cloth, and keep i n a bottle.

Invisible Red Ink. T o t h e p u r e s p i r i t s o f v i t r i o l o r n i t r e , a d d e i g h t t i m e s as m u c h w a t e r . U s e t h e above s o l u t i o n of v l o l e t j t o m a k e visible the characters w r i t t e n w i t h this i n k .

Invisible Violet Ink. E x p r e s s t h o j u i c e of lemons, a n d keep i t i n a b o t t l e w e l l corked. U s e tho violet i n f u s i o n to m a k e tho w r i t i n g visible.

Invisible Green Ink. D i s s o l v e s a l t of t a r t a r , clear a n d d r y , i n a sufficient quant i t y of river water. U s e tho violet solution to render I t visible. Secrets t h u s w r i t t e n w i l l n o t be b r o u g h t t o t h e k n o w l e d g e o f a s t r a n g e r , b e c a u s e h e does n o t k n o w t h o s o l u t i o n w h i c h w a s used i n w r i t i n g , a n d therefore k n o w s n o t w h a t to apply to b r i n g out the letters.

H o w

to R u b Out T w e n t y

Chalka

At Five Times, Rubbing Out Every Time an Odd One. T o do this t r i c k , y o u m u s t m a k e t w e n t y chalks or l o n g s t r o k e s u p o n a b o a r d , as i n t h e m a r g i n : T h e n b e g i n a n d c o u n t b a c k w a r d s , as 2 0 , 1 0 , 1 8 , 1 7 , r u b o u t t h e s e f o u r , t h e n p r o c e e d , s a y i n g 10, 15,14, 13, r u b o u t t h e s e f o u r , a n d b e g i n a g a i n — , 12,11, 10, 9 , — r u b o u t t h e s e , a n d p r o c e e d a g a i n , — 8 , 7, 0, 5,— t h e n r u b o u t t h e s e , a n d l a s t l y say—4, 3, 2 , 1 ; w h e n t h e s e f o u r a r e r u b b e d o u t , t h e w h o l e 20 a r e r u b b e d o u t a t five t i m e s , a n d e v e r y t i m e a n o d d o n e , t h a t is, 17th, 1 3 t h , 0 t h , 5 t h a n d 1 s t . T h i s is a t r i c k w h i c h i f o n c o s e e n m a y bo e a s i l y r e t a i n e d ; a n d t h e o n l y p u z z l o a t first is, i t not occurring to tho m i n d to begin to r u b them o u t b a c k w a r d s ; i t Is s i m p l e as a n y t h i n g possib l y c a n be, a n d m i g h t d o v e r y w e l t w h e n p e o p l e

1— 2— 3— 4— 5— 0— 7— 8— 0— 10— 11— 12— 13—

are social a n d g o o d h u m o r e d t o g e t h e r ; b u t w h e n t h e y a r e flushed w i t h l i q u o r , a n d f r a c t i o u s b y

14— 15—

n a t u r e , I a d v i s e a l l t h o s e w h o l o v e peace a n d q u i e t n e s s n o t t o bo c u r i o u s t o k n o w w h a t t h e y c a n n o t d i r e c t l y c o m p r e h e n d , as o n e w o r d b r i n g s o n a n o t h e r , a n d t h o c o n s e q u e n c o m a y be m o v e m e n t of t h e h a n d s ; o r y o u m a y , i n s t e a d o f d e c e i v i n g others, deceivo yourself.

1G— 17— 18— 19— 20—

To P o u r C o l d W a t e r I n t o a

Kettlo

And Make it Come Out Hot Without the Aid of Fire. Y o u give a p i n t of cold w a t e r to one of the company, a n d t a k i n g off t h o l i d of t h e k e t t l e , y o u request h i m t o p u t i t into i t ; you then p u t tho lid on the k e t t l e ; take t h e p i n t , a n d t h e e x a c t q u a n t i t y of w a t e r comes o u t of t h e kettle boiling hot.

Explanation. T h i s t r i c k is p e r f o r m e d b y a k e t t l e w i t h t w o b o t t o m s , b o i l i n g w a t e r h a v i n g been p r e v i o u s l y c o n v e y e d i n t o i t t h r o u g h t h e nose, t h e r e is n o passage f o r t h e c o l d w a t e r , w h i c h is p u t i n w h e r e t h e l i d is o f f ; c o n s e q u e n t l y t h e h o t w a t e r can alone pour out. , T h i s t r i c k m a y be v a r i e d , a n d f o r t h e b e t t e r , as t h e h e a t o f t h e w a t e r m a y b e t r a y i t , s h o u l d t h e b o t t o m of t h e k e t t l e be f u l l . Y o u m a y t h e r e f o r e propose t o c h a n g e w a t e r i n t o wine or punch. A coffee p o t m a y be m a d e on a s i m i l a r p l a n ; b u t a k e t t l e is preferable, i t b e i n g m o r e l i k e l y , f r o m i t s size a n d b r e a d t h , t o baffle t h e e x a m i n a t i o n of t h e curious. T h i s t r i c k m a y also be i m p r o v e d b y a n a d d i t i o n a l exp e n s e , so t h a t w h a t e v e r l i q u o r i s o n e i t h e r b o t t o m m a y be p o u r e d o u t occasionally. F o r t h i s p u r p o s e t h e r e m u s t be a double passage to t h e nose o f t h e k e t t l e , a n d secret s p r i n g s t o s t o p . e i t h e r passage.

IIOW

TO

DO

TIIE

BLACK

The Cannon Ball

ART.

01

Tripk.

T h e illusionist b o r r o w s f r o m tho audience t w o hats, w h i c h l i e p l a c e s u p o n t h o t a b l e , a n d 6 y w a y of d i v e r s i o n gives a brief l e c t u r e u p o n head-dresses i n general, a n d h a t s i n p a r t i c u l a r . " S h o w m o h i s h a t , " says t h e professor, " a n d I w i l l describe t h o m a n . Hero's y o u r ' f l a t b r i m , ' that's a fast m a n . Here's your ' broad brim,' that's a m a n o f peace. Here's your ' u n b r u s h e d either-wayf r o n t ' h a t ; that's a n u n t i d y bachelor. Here's your ' wellw o r n ' but still 'decent' hat, that's a family man. A G i b u s I t h a t ' s a p l a y - g o e r . " A n d t h u s ho proceeds. Now t a k i n g t h o b o r r o w e d h a t s f r o m t h o t a b l e he advances t o the company, w h e n , lo ! on t u r n i n g t h e m over, o u t falls t h e c a n n o n balls, r o l l i n g o n the floor w i t h tho voico of t h u n d e r . T h e secret is t h i s : — A n y w o r k m a n u s i n g a l a t h e c a n t u r n a b a l l of w o o d of a size b i g e n o u g h t o g o i n t o a l i a t . W h e n s u c h is procured, a hole a b o u t t w o Inches deep a n d t h e size of t h e f i n g e r is m a d e i n i t . T h e b a l l is t h e n p a i n t e d a n d b l a c k - l e a d e d , a n d m a d e t o a p p e a r as m u c h l i k e t h o r e a l t h i n g as p o s s i b l e . B y t h o s i m p l e c o n t r i v a n c e o f t h e h o l e , t h e b a l l c a n be l i f t e d u p i n t h e s a m e w a y , a n d w i t h as m u c h oaae as a t h i m b l e . A t t h e s i d e o f t h e t a b l e t h a t is f u r t h e s t f r o m t h o a u d i e n c e placo t h e balls, raised o n a stool a n d a f e w books, to nearly t h e level o f t h o t a b l e . W h e n t h e h a t s a r e t a k e n u p , t h e r e w i l l bo no-difficulty whatever i n p u t t i n g the balls i n t o t h e m unp e r c e i v e d , b e c a u s e as y o u d r a w t h e h a t s o v e r t h e s i d e o f the table you can p u t o n tho " t h i m b l e ; " t h e n by bending t h e finger t h e b a l l is I n t h e h a t .

T o C h a n g e t h o C o l o r of

a Bird or

Flower.

T o a c c o m p l i s h t h i s m e t a m o r p h o s i s , i t Is n e c c s s a r y t o h a v e c a r t h e r n vases w h i c h h a v e l l t t l o e d g e s o r r i m s n e a r t h e i r m o u t h s , a n d s h o u l d be o f a s i z e s u f f i c i e n t l y l a r g e t o h o l d suspended t h e b i r d o r f l o w e r w h i c h y o n i n t e n d placi n g m t h e m . Y o u s h o u l d l i k e w i s e be p r o v i d e d w i t h stop-

pers of c o r k , of a d i a m e t e r e q u a l t o t h a t of t h e i r m o u t h s . T o m a k e a n e x p e r i m e n t u p o n s o m e b i r d , i t is n e c e s s a r y t o commence by m a k i n g a hole i n the stopper sufficiently l a r g e t o c o n t a i n t h e n e c k of t h o b i r d w i t h o u t s t r a n g l i n g i t . T h i s done, y o u d i v i d e t h e d i a m e t e r of t h e stopper i n t o t w o e q u a l p a r t s , so as t o f a c i l i t a t e t h e p l a c i n g o f i t a r o u n d the neck w i t h o u t doing i n j u r y to the bird. The t w o parts being b r o u g h t together, y o u place a t the b o t t o m of t h e vase a n o u n c e of q u i c k l i m e , a n d b e n e a t h t h a t a q u a r t e r o f a n ounco of sal a m m o n i a c . W h e n y o u perceive t h e effervescence c o m m e n c e t o t a k e place, y o u p r o m p t l y i n s e r t t h o s t o p p e r , t o w h i c h t h e b i r d is a t t a c h e d , l e a v i n g t h o n e c k outside. T h e p l u m a g e of t h o b o d y , exposed t o t h i s effervescent vapor, w i l l become i m p r e g n a t e d w i t h the various colors produced by t h i s chemical c o m b i n a t i o n . Remove the stopper a n d tho bird, and you w i l l perceive its feathers c h a r g e d w i t h d i v e r s shades. T w o o r three m i n u t e s serve t o produce t h i s effect, f o r y o u r u n t h e r i s k of s t i f l i n g t h e b i r d , if exposed for a n y l e n g t h of t i m e t o t h i s vapor. In e x p e r i m e n t i n g u p o n a flower, t h e h o l e I n t h e s t o p p e r n e e d o n l y be l a r g o e n o u g h t o h o l d t h e s t e m , w h i c h s e r v e s t o s u s p e n d i t i n t h o a i r d u r i n g t h e o p e r a t i o n , w h i c h w i l l be c o m p l e t e d i n one or t w o m i n u t e s .

The Most Wonderful Stories of Thrill, inn Adventures Ever Published, Rivaling Even Jules Verne. THESE GREAT STORIES

By

"NONAME," ARE PUBLISHED I N

FRANK READE LIBRARY. PRICE 5 CENTS. B e l o w w i l l be found t h e latest i s s u e s : No. «9 From Zone t o Zone; or, The Wonderful Trip of Frank Reade, J r . , With His Latest Air-Sbip. 70 Frank Reade, J r . , and Ills Electric Prairie Schoonor; or. Fighting tho Mexican Horse Thieves. 71 Frank Reade, J r . , and Uis Electric Cruiser of t h e Lakes; or, A Journey Through Africa by Water. 72 Arift in Africa; or, Frank Reade, J r . , Among the Ivory H u n t e r s With His New Klectric Wagon, 73 Six Weeks in the Clouds; or, Frank Reado, J r . ' s Air-Ship, the T h u n derbolt of the Skies. T4 Frank Keade, J r . ' a Electric Air Racer; or. Around t h e Globo in Thirty Days. 76 Frank Reade, J r . , and Ilis Flying Ice Ship; or, Driven Adrift tn tho Frozen Sky. 76 Frank Reade, J r . , and His Electric Sea Engine; or. Hunting for « SuDken Diamond Mine. 77 Frank Reade, J r . Exploring a Subraaraine Mountain; or, Lost a t t h o Bottom of the Sea. 78 Frank Reade, J r . ' s Electric Buckboard; or, Thrilling Adventures in North Australia. 79 Frank Roade, J r / e Search for t h e Sea Serpent; or. Six Thousand Miles Under the Sea. 80 Frank Reade, J r . ' « Desert Explorer; or, T h e Underground City of the Sabtra. 81 Frank Reade, J r . ' s New Electric Air-8h>p the " Z e p h y r ; " or. From North to South Around t h e Globe, f a r t I . 82 Frank Reade, J r . ' s New Electric Air-Ship t h o " Z e p h y r ; " or, From North t o South Around t h e Globe. P a r t I I . 83 Across the Frozen Soa; or, Frank Reade, J r . ' s Electric Snow Gutter. F o r sale b y a l l newsdealers I n t h e U n i t e d S t a t e s a n d Canada, o r s e n t t o y o u r address, postage free, o n receipt o f the price, 5 cents. Address

FRANK TOUSEY, Publisher, Box

2730.

34 and 88 North Moore

St., N . V .

100 LAUGHS IN EACH BOOK. The f i n Gent Comie Library. EACH BOOK COMPLETE AND

FULLY

ILLUSTRATED.

T h o f o l l o w i n g Is a l i s t o f t h o l a t e s t

issues:

No, 66 Mike Mcttuinnessj or, Traveling for Pleasure, by Tom Tenner 66 T h e Shortys' Christmas S U R D S , by Peter Pad 67 T h e Bounce Twins, or. The Two Worst Boyfl in the World, by 8am Smiley 68 Nimble Nip, the Imp of the School, by Tom Teaser 69 8 a m Spry, t i e New York D r u m m e r ; or, Business Before Pleasure, by Peter Pad 70 Muldoon Out West, b r l orn Teaser 71 Those Quiet Twins, by Peter Pad 72 Muldoon, the Fireman, by Tom Teaser 73 A Rollinr Stone; or. J a c k Ready's Life of F a n , by Peter Pad 74 An Old Boy; or, Moloney After Education, by Tom Teaser 75 Tumbling Tim; or, Traveling With a Cirous, by Peter Pad 76 J u d g e Cleary's Country Court, by Tom Teaser 77 J a c k Ready's School Scrapes, by Peter P a d 78 Muldoon, the Solid Man, by Tom Teaser 79 J o e J u n k , the Whaler; or, Anywhere for Fun, by Peter Fad tO The Deacon's Son; or, The I m p of the Village, by Tom Tearer 81 Behind the Scenes; or, Out With a New York Combination, by Peter Had 8'2 The Funny Four, by Peter Pad 83 Muldoon's Base Ball Club, by Tom Teaser 84 Mnidoon's Base Ball Club in Boston, by Tom Teaser 85 A Bad Kger; or. Hard to Crack, by Tom Teaser 86 S a m : or, The Troublesome Foundling, by Pet«r Pad 87 Muldoon's Uase Ball Club in Philadelphia, by Tom Teaser b* Jimmy Crimes; or. Sharp, Smart and Sassy, by Tom Tenser 89 I.ittle Tommy Bounce; or, Something Like H i s Dad, by Peter Pad 90 Muldoon's Picmo, by Tom Teaser 91 Little Tommy lioanceon His Travels; or, Doing America for Fun, by Peter Pad 92 Boarding-School: or, Sam Bowser at Work and Play* by Peter Pad 93 Next Door; or, T h e Irish Twins, by Tom Teaser j

F o r sale b y a l l newsdealers i n t h e U n i t e d States a n d Canada, o r sent t o y o u r address, postage free, o n receipt o f the price, 5 cents. Address

FRANK TOUSEY, Publisher, Box 2730.

3 4 a n d 36 N o r t h Moore St.,I f . Y .

Send Your Name and Address For Our Complete Catalogs, Sent Free'of Charge.

OUR 10 CENT HAND BOOKS. USEFUL, ISSTltUCriVK AXO AMUSIXO.

Containing valuable Information on almost every subject. such »* I V r l t i t t J J , S p e a k i n g , D a n r i n c , C w t k l u f j * also. II u 1 e s *,f K t i i j u e t t e , ' I ' l l A i ( o t Y t-,,t t i l o q n i s m , l i u u i s t it: K x m c i s e s , a ml 'l'lK- x l r n r e o f l i c i f e n s e , e t c . , t v. No. No. 1. N A P O L E O N ' S ORACULUM ifc A N D 41. I I O W ' I ' O W H I T E TN AN AL1HTM. 15. T I I K1H O Y S OP NEW YORK M I N D R E A M HOOK. M I I I i L G U I D E AN1) J U K I ! 2. H O W T O DO T R I C K S . HOOK. 3. H O W TO 1'LIRT. 46. HOW TO M A K E A N D USE ELEC4. H O W TO DANCE. TRICITY. 6. H O W TO M A K E LOVE. 6. H O W TO JIECOMK AN A T H L E T E . 47. IIOW TO B R E A K , H I D E A N D D R I V E A HORSE. 7. HOW TO K E E l ' UllvDS. 8. H O W ' I ' O BECOME A S C I E N T I S T . 48. HOW T O B U I L D A N D S A I L CANOES 9. IIOW TO BECOME A V E N T R I L O 40. HOW TO DEBATE. QUIST. 61). I I O W TO STUFF BIRDS A N D 10. HOW TO IIOX. AN1.M A LS. 11. IK IW TO W R I T E L O V E L E T T E R S 12- HOW TO W1UTE L E T I'ERS TO 51. IIOW TO DO T R I C K S W I T H CARDS, LADIES. 13. H O W III DO I T ; On, BOOK O F 52. IIOW TO P L A Y liAHDS. ETIQUETTE. 63. HOW TO WU1TI! LETTERS. 11. HOW TO M A K E C A N D Y . 61. HOW TO K E E P A N D MANA(3K 15. IIOW TO BECOME 14it'll PETS. Hi. HOW'I'O K E E l ' A W I N D O W G A R - 55. HOW TO COLLECT STAMPS A M ) COINS. DEN. 56. H o U ' T o BECOME AN E N G I N E E R ... IIOW TO Hit ESS. 1«. ItOW I'O BECOME B E A U T I F U L . 67. HOW TO J U K I ! MUSICAL 1NUNITED STKL.'V ES'I'S ID. F R A N K T O U S E V ' S S T A T E S D I S T A N C E TABLES, 58. IIOW I'O I'.ECCMIC A DUTEC'I 1V15 P O C K E T COMPANION A N D 53.'HOW TO M A K E A i l l A O l C L A N GUIDE. TURN. •20. IIOW TO ENTERTAIN' AN EVEN- CO. HOW TO BECOME A 1'IIOTO ING P A R T Y . GRAPLLER. 21. IIOW I'O H U N T AND F I S H . 61. HOW TO BECOME A BOU'I.EK. •11. IIOW'I'O DO S E C O N D S I G H T . 62. HOW T O UKI'OMI! A \VEST •2.!. HOW T O E X P L A I N D R E A M S . POINT MILITARY CADET. '24. HOW TO W l t l l ' E L E T T E R S T O 03. HOW TO BECOME A N A V A L GENTLEMEN. CADET. 25. IIOW TO BECOME A GYMNAST. 64. HOW TO M A K E E L E C T R I C A L MACHINES. 26. n o w I ' O ROW, SAIL A N D B U I L D 65. MIILDOON'S .HIKES. A BOAT. 27. H O W TO R E C I T E A N D HOOK OE CO. HOW T o DO P U Z Z L E S . 67. HOW TO DO E L E C T R I C A L RECITATIONS, THICKS. "ill! Ni'.U' TO T E L L I'OIU'UNES 87 M u ^ ^ M J E W j i l E A N I N V E N T O R 6*. IIOW T o DO C H E M I C A L T R I C K S 6110 c e m s each.

sjelf-

Send Dicta

YOUI

and Address

Catalogst4NK

for

Our Katcst Illustrated

Catalogue.

TOCSEY, Publisher, 3 4 & 36

NORTH MOORE ST.