Harry Whiteley - Miracles in Modern Magic

Cover

The Learned Pig Project presents

Miracles in Modern Magic by

Harry Whiteley This html version © 2000 José Antonio González Campos

Preface Introduction The Great Magic Kettle Act 

Description of the Performance from beginning to end

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The Secret Out

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How the Kettle is made to Steam

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A Word of Caution

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Preparation

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Presenting the Kettle Act

Miscellaneous Magical Marvels 

The Wandering Orange

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Destiny--A Novel Card Trick

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A Numerical Card Trick

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A New Hot Coffee Trick

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The Tin Trunk Release

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Hat, Candle, and Handkerchief Combination

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The Kari-Kari Bird Trick

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Production of a Solid Walking-Stick

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Inflated Balloons Produced from Hat

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An Original Billiard Ball Production

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The World in a Nutshell

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A Floating Billiard Ball

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An Improved Swallowing Wand

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Whiteley's Three-Card Trick

Preface

Miracles of Modern Magic Harry Whiteley Previous | | Next Previous Next | | Contents

Preface IN PRESENTING this work to the magical fraternity of England and America, I desire to thank "SELBIT" for his kind assistance. Having seen several attempts at a solution of the Kettle Mystery, none of which could be called workable, I place before the Conjuring world my original conception of the act, which from personal experience I know to be practical and workable. I also include several magical effects that are now for the first time made public, and I wish to thank MAX STERLING, CHAS. TRICKEY, and ED. FIELDEN for the effects they so kindly placed at my disposal. For the Balloon Trick and the Tin Trunk Escape I know not who to thank. To the remainder I must plead guilty to dressing up old tricks in new clothes. That this small effort of mine, when read, will find a place in your book-case is the wish of Yours as ever, HARRY WHITELEY.

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Introduction


Introduction "IT BOILS on ice." So read the headline on many a playbill. It afforded the penny-a-liner a catchy title for his copy, rejoiced the hard hearts of pantomime comedians, who welcomed a new victim for their "gags," and, lastly, transferred bright sovereigns from the pockets of the great and gullible British public to the banking accounts of magic kettle exhibitors. The life of the "Great Magic Kettle Act," to give the performance its full and imposing title, was singularly short for so striking a novelty; more strangely still, the very germ of its existence proved the cause of its death--we refer to liquid air. Was there ever such another glaring instance of the fallacy of providing the public with the key to a mystery? Gone, but not forgotten! Dead, but it shall rise again! These pages are dedicated to the memory of the departed, also to nurture its successor by explaining how the act may be genuinely duplicated, yet minus the expense of liquid air. Many and varied were the efforts of those who fain would boil their kettles at less than a guinea per litre (the price of liquid air during the craze), but we hardly know whether our sympathies were more with the professor or his audience when calcium carbide and water were the materials used to invoke a semblance of steam. If at times the "steam" was less apparent to the sight than it might have been, it is certain the odour was painfully plain to one other of the five senses. Another equally daring discovery, that ammonia and hydrochloric acid could be pressed into service for the production of the sought-for vapour, proved but one of many attempts to arrive at a solution of a ridiculously simple problem. However greatly kettle operators differed in conjuring steam, to a unit they plumped for a double pan in which to "boil" that necessary item of the entertainment--ice entertainment--ice cream. Ingenious or otherwise as the magical (not magic) kettle acts proved, the thorn in the side of their proprietors were the freezing experiments. In this particular we believe even the presentors themselves will agree the results were frosts; yet we hope to show how easily the genuine experiments may be secured at trifling cost.

Introduction

There is small room for doubt that some demand will always exist for a scientific kettle entertainment at a reasonable fee. Apart from this, the possibilities which must suggest themselves from practical knowledge of the subject under discussion lead us to believe that this modest manual will find a welcome in technical libraries.


The Great Magic Kettle Act


The Great Magic Kettle Act Description of the Performance from beginning to end The Secret Out How the Kettle is made to Steam A Word of Caution Preparation Presenting the Kettle Act

A Careful Description of the Performance from Beginning to End

DIRECTLY the curtain is raised we look for the kettle. There it is, slowly steaming on a stand, with a small spirit stove beneath. It is a most ordinary-looking ordinary-looking kettle, and we barely notice a large block of ice on a centre table, two side-tables containing metal goblets or beakers, various culinary utensils, flowers, grapes, and other things, when the operator makes his entrance. "Ladies and gentlemen," we hear him say, "I shall have the pleasure of conducting a series of experiments in which nature will contradict her own laws. Here you see the magic kettle slowly boiling over a stove. When I place it on this block of ice you will notice that instead of chilling the contents the kettle will be made to boil furiously." This suggestion the operator carries out with precisely the prescribed results--the kettle steams as though some imp of darkness were inside puffing out a steady cloud of vapour through the spout. Leaving it to boil thus for the moment, the lecturer offers to conduct a scientific laundry, for which he borrows a gentleman's hat and a lady's handkerchief--the first for the washtub, the last for the wash. Dropping the cambric inside the improvised tub he lifts the kettle from the ice, and lowering the spout well within the hat, tilts up the kettle, and as volumes of steam ascend from the hat we shudder for the safety of the borrowed articles when the fiery liquid shall have done its work. Here the kettle is placed on the


table while the operator condoles with the owners of his tub and its contents. Our misgivings were of course unwarranted; the handkerchief is shaken out, but although it still steams slightly it is nevertheless dry, and, we are assured, much improved in the wash. Buth whether there is a difference in the cleanliness of it is open to question. The hat, it would seem, must be nearly full of liquid from the kettle; and here we are tricked again--it is as dry as the proverbial herring,--and both articles are restored to their respective owners. "It is needless for an owner of a magic kettle to have empty pockets." This remark the operator illustrates by inserting the kettle spout in his various pockets and tipping up the still boiling vessel, seemingly filling his clothes with its very elusive contents. "If your watch won't go, oil it," is another of his facetious phrases, as he takes out his apparently gold chronometer and liberally soaks it. Then we are assured that the match-making industry is doomed. "Instead of vestas, carry a kettle on your watch-chain; it's so much more reliable in windy weather." The application of this remark is plain when, taking a cigar from his case, the demonstrator doses it with the kettle, this causing a flame to spring up at the proper point. There is no question of the smoke being other than ordinary, for the lecturer calmly smokes away at it just as though it were the most natural thing in the world to use steam instead of matches. Here the operator observes his kettle has become much "lighter," but whether this has reference to the cigar, or is meant to convey that the contents are exhausted, we are left to decide for ourselves while the entertainer retires behind the screen ostensibly to refill the article in question. When it is almost immediately brought forward again, we notice the kettle is now steaming but lightly, it being explained that to boil with its erstwhile fury it would have to be replaced on the block of ice. Other experiments, however, are started, and for the time being the kettle cannot be spared. A rubber ball is bounced to assure its genuineness, then dropped in one of the metal beakers we previously noticed. Some liquid from the kettle is poured over the ball, and, as with the hat and handkerchief experiment, experiment, clouds of steam rise from the goblet. The operator begins to shake the beaker from side to side, at first with no perceptible difference, but gradually the soft rubber ball hardens and knocks against the side of the goblet with crisp, sharp rings. "The ball is now as hard as steel, yet brittle as a piece of glass," says the exhibitor, picking out the same but now glistening ball. "Observe when I throw it on the floor it will break in hundreds of pieces." So saying, the ball is thrown down, when it splits with a report like a pistol shot, and pieces of it fly in all directions. A bunch of grapes is next experimented with. Some are thrown to the audience, others (about a dozen) dropped into a second goblet. The operation of pouring


liquid over the fruit is attended with similar results to the previous experiment--the experiment--the grapes harden and knock against the sides of the vessel which contains them. They are now emptied out on to a metal tray, our ears telling us the fruit is as hard as bullets. When some are thrown on the floor they split; others are thrown to the spectators, who find the grapes transformed into veritable hailstones. Chrysanthemums are treated in similar fashion. So soon as the flowers are dipped in a beaker containing more of the wonderful liquid the petals become hard and brittle, and when squeezed by the operator's fingers break in crisp pieces. Specimen chrysantemums in the petrified condition are presented to a few of the ladies present as souvenirs, with the remark: "Perhaps they will be appreciated the more if you retain the flowers in your warm fingers for ten minutes or so; they will then return to their normal condition." The most curious and convincing property of the liquid is doubtless shown in its power to solidify mercury. The operator pours a phial of quicksilver in a cardboard box, places this in a metal dish, pours some of the liquid over it, and when the cardboard wrapping is torn away, the operator holds a mercurial hammer with which he drives nails through wood. We are next invited to pass judgement on the entertainer's ability as a chef. He will fry us an omelette, substituting for the fire the block of ice, which it must be admitted appears in this instance to server the same purpose. An egg is broken into a frying-pan, some of the indispensable liquid is added, when at once the egg begins to fry, frizzling away for all world as though it were over the fiercest fire. "Some people like their eggs under-done, some well done," the chef observes; "I'm very much afraid this one is over-done." And so it is; so much so, in fact that nothing less than a hammer and chisel will induce the egg to leave the pan. When they do part company the egg is quite as hard as a piece of ice. This brings us to another and more interesting feat of cookery--the making of ice-cream. Eggs, sugar, and cream are beaten together in a basin, then poured in the pan of a chafing dish, with some liquid from the kettle in the bottom part of the dish. One might expect the block of ice to be employed somewhere during this experiment, but it is not to be. By all that's contrary, the chef places the chafing dish on the stand whereon we first saw the kettle at the beginning of the act, and the spirit stove burns briskly underneath! Evidently he is going to grill his ice-cream! Such, in fact, is the operator's intention. In a very little time the ice-cream is pronounced ready; portions are spooned from the dish on to biscuit wafers, and passed round for us to sample. Any hesitation we may have felt is dispelled when the lecturer tastes his own cooking, assuring us it is quite nice. "Done to a turn," he adds; and while we proceed to verify his assertion, the kettle is again taken behind the screen for some more liquid. The operator announces that he will now allow the kettle to boil again. It is placed on the ice and repeats its former defiance of nature by speedily starting to


steam. So soon as the boiling is at its height, the demonstrator, in bringing his lecture to a close, remarks: "I trust you have been interested with this series of experiments, and I propose to bring my entertainment to a close by setting fire to this large block of ice." The steam from the kettle is now directed straight on to the ice, and (wonder of wonders!) it takes fire right from the centre. The flames leap round the ice and rise to a height of two or three feet above it, and upon this somewhat extraordinary spectacle the curtain comes down--the act is over.

The foregoing is a straightforward, straightforward, unexaggerated description of the dish we are serving to you--the following, an equally honest explanation of the mystery.

The Secret Out THE liquid we guarantee will duplicate the effects produced by liquid air is ether, in which is evaporated solid carbonic acid. Cheap ether at 1s. 4d. per pound is quite as useful for our purpose as the higher-priced purer quality, quality, and one pound should last two or three shows. Ordinary methylated spirit may be substituted for ether, but we recommend the latter as more satisfactory. Solid carbonic acid is only obtainable from gas cylinders of liquid carbonic acid. These cylinders are used in many of the large meat shops and cold storage establishments for refrigerating purposes; yet, while a certain quantity of solid acid may be secured from these cylinders, this is by no means a trustworthy source, it being merely mentioned in passing solely in order that the interested reader may, with the co-operation of his butcher, test the accuracy of our statements at the cost of a few pence. Otherwise we are afraid the practicability of our instructions may be pooh-poohed, perhaps considered unrealiable, and condemned to imprisonment in a corner of your bookshelf without a fair trial. The makers of carbonic acid gas supply a special cylinder, with an interior syphon arrangement, which gives off a stream of liquid carbonic. This is precisely what we require for our experiments. Presuming we are in possesion of a cylinder of the carbonic acid, or to give it its chemical formula, CO 2, this difficulty presents itself: How can it be handled? The simplest method is to tie a flannel bag over the cylinder nozzle, and when all is secure to turn the key and allow some of the contents to escape. The liquid carbonic acid hisses through the nozzle into the bag, solidifies as it comes in contact with the air, and while the gas escapes through the flannel a solid deposit (like snow in appearance) is retained in the bag itself. The deposit, or "snow," is solid carbonic acid. The quantity obtained depends of course on the amount of liquid allowed to escape from the cylinder. In size the flannel bag should be about sixteen inches deep by twelve inches wide. For each full show enough


snow, as we shall hereafter call it, to half fill the bag is required, this taking about one minute in the accumulation. Having obtained the snow, it should be turned out on a tin dish to be made up into closely-packed cakes of about an inch in thickness and an inch and a half in diameter. A most convenient appliance for making these cakes is a wooden tube and rammer. A wooden gill measure with the bottom sawn off gives us an admirable tube or mould, and this has the added advantage of a handle, which users will appreciate owing to the intense coldness of the snow. For the rammer, a round stick nine inches long and easily fitting the mould is all that is required. To make a "snow cake," place the mould firmly on a metal tray, spoon some snow into the tube, and ram it down tight. Add more snow and continue ramming until the cake is of the required thickness, then raise the mould and push out the cake with the rammer. Each cake of the size mentioned is ample for one experiment. Place a snowcake in a metal goblet, drop in a rubber ball, pour a little ether over it, and in a very few seconds the ball will be frozen so hard that if dropped on the floor it will smash like glass. To explain the cause of this result briefly, it must be understood that so soon as ether or spirit comes into contact with the cake of carbonic acid the cake evaporates very rapidly, resulting in a lowering of the temperature to something like 150 degrees below freezing point. In this condition the combination gives off a steamlike vapour, and has every visible resemblance to water at boiling point.

How the Kettle is made to Steam WE VENTURE to digress a little for the moment to discuss the most desirable method by which to make the kettle steam. Without a doubt this can be achieved with carbonic acid and ether, yet an even better and cheaper result may be obtained by using ordinary builder's lime. In purchasing this lime hard lumps should be chosen, small pieces or droppings being of little use. The lumps should be broken into pieces the size of one's fist, as required, since in this way we can be assured of having our lime fresh. Three or four pieces of lime placed in a kettle, with half a pint of hot water added, ensure the kettle boiling splendidly in thirty seconds. If the kettle is not required to boil so suddenly, use water only to warm. By using half a pint only of water the lime will absorb all the moisture by the time the kettle fairly begins to steam, and there need be no fear of pouring anything in the shape of liquid therefrom, no matter how freely it be tilted. This part wants well experimenting with to obtain the desired results. The most suitable kettles are the ones with their spouts high up, this construction preventing the lime from reaching and clogging the stem, which misadventure might easily happen to a kettle of the low-down-spout variety.


Three kettles in all are required during the act--two for lime, one for ether. The lime kettles are not prepared in any way, and the arrangement we advise for the ether kettle is simplicity itself. Obviously the three kettles must be of one pattern, the one used for ether only differing from its fellows by reason of a tea-strainer kind of cup inside the kettle in front of the spout hole. This perforated cup is open at the top, and of a size to hold four snowcakes, which are dropped into this holder through the lid space. This arrangement is merely to keep the snow clear of the ether in the well of the kettle until the spirit is poured from the spout. When this is done the ether has naturally to pass through the cup, and, in passing, it sets the snow into evaporation, the result being a steamlike vapour issuing from the spout of the kettle, giving it an appearance of water boiling slightly.

A Word of Caution THE snow obtained from the cylinder is frightfully cold, and although it may be handled lightly, if retained for more than a second or two in the fingers, the holder exposes himself to the certain risk of painful frost bite. The snow must never, under any consideration, be corked or fastened up, as the constant evaporation which is taking place generates a gas which would burst any vessel from which there was no outlet. Therefore, when making the cakes, place them in a glass tumbler, and either cover it with a handkerchief or not, at will. If these instructions are remembered, there is no other danger except it be that of the snow vanishing, and this will assuredly happen if the cakes are made very long before they are required for use. When exposed to the air the snow evaporates away gradually. If left for more than an hour there would probably be no trace of its existence remaining. It is therefore advisable to make all your other preparations prior to running off the carbonic, leaving this until, say, fifteen minutes before the show. If used within thirty or forty minutes of their moulding the cakes should answer for all that is required of them. The syphon carbonic gas cylinders, costing 7s. 6d., are supposed to contain 28 lbs. of CO 2; generally there are about 30 lbs. in them. For a full act it will be necessary to run off from 3 lbs. to4 lbs. of gas, so that one cylinder should supply enough snow for seven to eight shows. The quantity of CO 2 in hand may be ascertained by weighing the cylinder, each one of which has is tare and gross weight impressed on the case.

Preparation IN ARRANGING the requirements for the Kettle Act, the reader cannot do better than prepare each of the following items, in the rotation in which they are given. First see to your block of ice. This should be square, and a well should be


chipped from the top as near to the back as possible. This well is to contain ether which is required for the blaze at the finish of the performance. One ounce of ether is plenty for this effect, but it must not be emptied in the ice-well until just before the rise of the curtain. A pint of water should be put to boil on a stove, to be ready for use when required a little later on. Now see to the lime-kettles by dropping four pieces of lime in each. The cigars require attention next, and it is advisable to prepare two or three, using for preference the thickest obtainable. With a heated iron burn out an inch-deep hole in the large end of each smoke, and insert firmly in the cavity a pea-sized portion of metal potassium. Thus prepared, the cigars should be placed in a tumbler in readiness on one of the stage tables. During this operation it is imperative that one's hand are quite dry; if they are at all damp when handling metal potassium it is liable to take fire. Before placing aside the potassium put two small pieces of the metal in a thin box-lid, together with a little of the naphta in which metal potassium is packed for safety. These pieces are required for lighting the ether in the ice-well, and are placed behind the block of ice. A glass jug must now be filled with "cream," which in reality is unfrozen ice-cream mixture, which is made as follows: One pint of milk thickened with cornflour, to which is added vanilla fravouring and castor sugar to taste, well boiled and allowed to cool. Such is the contents of the jug. And also required for the ice-cram making experiment are one egg, basin of white sugar, a dozen ice wafers, empty basin, egg whisk, two spoons, and a chafing dish. The remaining properties to be arranged to their own advantage and the operator's convenience, are a bunch of grapes, rubber ball, another egg, chrysantemums, tube of mercury, cardboard cardboard box, a small piece of stick, and a hammer and chisel. About three-quarters three-quarters of a pound of ether should now be poured in the well of the ether kettle. This quantity, be it noted, is more than is used in one demonstration, but it is advisable to have too much rather than too little; the ether remaining over from one show may be re-bottled and used again. Having concluded the arrangements already set forth, the next item is to run off the CO2 and make your snowcakes. Nine cakes are required, their distribution being one each in three beakers, two in a metal dish for the mercury freezing, one in the frying-pan for poaching the egg, and four in the cup of the ether kettle. All the loose snow remaining after making the cakes must be tightly packed in the base of the chafing dish, and the pan placed over the snow, to prevent as far as possible its evaporation. A screen should be placed in front of a table at the back of the stage, and on the table the operator must arrange his three kettles and pint jug full of hot water. All is now in readiness for the stage to be set and the experiments presented.


Presenting the Kettle Act THE description prefacing our explanation of the experiments now to be conducted was written largely with the object of acquainting the reader with the order and style in which the different effects are shown. Therefore we shall, in this concluding section, content ourselves with brief directions which, if properly followed, must assure a certain success. We assume the stage setting is finished, everything required in the act being in their right places. The operator first pours a half pint of hot water in one of his lime kettles, sets this above the spirit stove, and gives the word to "ring up." By the time his opening remarks are made and the kettle poised on the ice, it will be abundantly steaming. In tilting the kettle spout inside the borrowed hat for the washing trick, nothing issues but steam, which remark also applies to the effect of emptying some of the contents into the pockets. To light the cigars it is only necessary to hold them for a moment in the steam; almost so soon as the potassium in the cigar ends is reached by the steam a small flame springs up. The operator may draw at the lighted weed with impunity; there is no taste from the metal and no danger. This effect is worth repeating with other cigars. By this time the steaming power of the lime will be lessening, and this kettle is changed behind the screen for the one containing ether. To freeze or petrify the rubber balls, grapes, and flowers, it is only required to placethem in one of the beakers containing a snowcake, and pour a little ether over them. For the egg-poaching on the ice the proceeding is the same, using, of course, a frying-pan instead of a beaker. It is advisable to break the yolk in this instance, since the egg will freeze more quickly in this condition. Slightly more ether is required for the egg, owing to it being a larger area to cover than the other objects frozen, and the frying pan must be tilted to cause the ether to wash over its contents. When properly frozen, break the egg by hammering at it for the audience to see how hard it has become. Mercury is no more difficult to freeze than the objects already treated, although it returns more quickly to its normal condition. For the ice-cream making, first break an egg into the empty basin and beat it well up with a whisk. Now pour the cream into the basin and add a very little sugar, pretending you are using considerably more than is really the case. The mixture is now to be well beaten together and poured into the top pan of the chafing dish. To freeze the mixture, raise the pan and pour a good quantity of ether over the snow in the bottom half of the dish, at once clapping the pan back again. A little time is now wasted in lighting the spirit stove over which the chafing dish is to be placed. Some moments are also gained in laying out the ice wafers on a tray, by which time the cream will be frozen about half way up from the bottom. Begin spooning the underneath portion of cream out first, and dividing it on the wafers. By the time a dozen portions are served the whole of the mixture will be frozen


and the pan can be placed on a tray with a number of spoons, and passed round for any who wish to help themselves. Here the ether kettle is changed for the second lime kettle, in which the remaining water is poured. Placing it on the ice while making his concluding remarks, the operator waits for a few seconds until steam is well up, and then directs the spout round the sides of the ice, and secretly picks up the pieces of potassium from behind. In changing from one side of the ice to the other the potassium is let fall into the well of ether. At once the whole block of ice appears to catch fire, and will burn for quite two minutes, in which time the curtain has fallen and, we hope, been raised again for the operator to take a call.


The Wandering Orange


The Wandering Orange TWO cardboard tubes or cylinders and a couple of china plates are handed out for inspection. On their return the plates are laid separately on a table and one of the cylinders placed on each plate. An orange is now introduced which may be magically produced or otherwise at the conjurer's wish. The orange is dropped through one of the tubes on to the plate beneath, and after having raised the cylinder to show the fruit is really there the orange is commanded to pass to the second plate, previously shown empty. This transposition immediately takes place, and the orange can be passed to and fro at will. There is a charming simplicity in the secret of this pretty little trick which should recommend itself to many. When the orange is shown before being dropped through the first tube it is secretly attached to a hook at the end of a lenght of black thread fastened to the back edge of the table. By this means, according to the manner in which the tube is raised, it it possible to either show the orange on the plate or not. A few moments' practice will enable the reader to discover the proper movement. With regard to the second orange, which must also be fastened similarly to the first, this is procured from the table servante and secretly loaded into the second tube while standing it on the plate. In this way it will be seen how easy a matter it is to vanish and produce either orange when required. The requisite lenght of thread can only be determined by experiment, and will depend on the height of the tubes and width of table used.




Destiny--A Novel Card Trick THE following card combination is one of our own arranging, and will, we believe, make a welcome addition to our reader's répertoire. As a sequel to other tricks during the progress of which a sealed envelope has been resting in full view in the clip of a card stand the performer asks anyone in the audience to think of any card in the pack. Here attention is called to the envelope, and the conjurer asks for the name of the thought-of card. Having ascertained this, he takes the envelope between his finger and thumb, opens it, and abstracts another smaller envelope, also sealed, and hands both to the person naming the card. The latter gentleman is asked to open the second envelope, and when he does so s o a third one, also sealed, is found inside, and upon this being investigated a small card is discovered upon which is written: "The card destined to be chosen this evening is-----" the dash being substituted for the name of the identical card selected. For this trick fifty-two plain visiting cards are required--the number corresponding to a pack of playing cards. On each card must be written the quotation given in the preceding paragraph, with the addition of the name of a card until the whole pack has been named. This done, each card is sealed up in a small envelope, and then in a second one a trifle larger, taking the precaution to mark each outside envelope with a pair of dots (as used in marking playing cards) for the purpose of future identification. Having made up the full number, the envelopes must be stacked together in their suits and numerical order, starting with the Ace and finishing with the King. This arrangement gives us four packets of thirteen envelopes. These are all placed in the conjuror's trouser pocket, which, by the way, is constructed with four small divisions or lesser pockets used for separating the suits. All is now in readiness for the trick. When attention has been directed to the envelope, the conjuror stands with his hand naturally in his pocket. Directly the person thinking of the card names his choice the performer picks on the envelopes of the same suit, and then running the thumb along their edges counts till arriving at the packet required. This is no lengthy or difficult task, seven envelopes being the utmost it is required to count, for this reason--if the card selected is seven or under we count from the Ace, whereas when the chosen one is higher than seven we begin at the opposite end of the stackthe King. Possession of the correct envelope having been obtained,


the conjurer back-palms it (for preference with the first and third fingers), holding the little one open. When secure in this position the hand is abstracted from the pocket slowly, and, pointing with the open hand at the envelope on the stand, say: "Perhaps you are curious as to why this envelope has been here during my entertainment. I shall now show you." Walking carelessly to the envelope, it is taken with the finger and thumb; this action of its own accord bringing the back-palmed smaller envelope directly behind the larger one. In this position both can be passed from hand to hand without exposing the envelope behind. The larger envelope is torn open by the conjuror, and then the second one is drawn up from the back as though it were taken from the interior of the first. Both envelopes are now offered for inspection, the visiting card, which it would seem correctly predicts the person's thoughts, being finally discovered.


A Numerical Card Trick


A Numerical Card Trick THE following experiment is an adoption of a somewhat old trick. In its present form it has puzzled many leading conjurers, which, in our opinion, marks the problem good enough for publication. Handing the pack to any person to shuffle, he is asked to take notice of any card between one and twenty, carefully ascertaining at what number the card stands, counting down from the top of the pack. The conjurer here takes possesion of the cards and, requesting some other person to think of a number between twenty and forty, leaves the room while a decision is being arrived at. Taking advantage of his absence from the audience the performer quickly counts thirty cards from the top of the pack, and then replaces them on the top, this operation causing the order of the first thirty cards to be reversed. Returning to the room the conjurer asks for the number the chosen card stood from the top, and then the number selected between twenty and forty, promising to pass the chosen card to that number. Invariably the latter selection is thirty, and when such is the case the cards are in readiness; but should some other number be chosen the conjurer must equalise this by passing from the bottom to the top (when the number is over thirty) representing the difference between thirty and the selected number. When the selection is under thirty the difference must be passed from the top to bottom. Remarking, "We will commence to count at the number the card first stood," the conjurer suits the action to the word, and if the directions have been properly followed, on arriving at the selected number, the card chosen in the first instance will be discovered.


A New Hot Coffee Trick


A New Hot Coffee Trick THIS effect should make a capital addition to the Kettle Act, although it is certainly an admirable trick by itself. An ordinary looking kettle has, we will say, been resting innocently on the wizard's table throughout the performance. Into this the conjurer pours ground coffee and pure water. A few moments elapse and the kettle boils without being placed near a stove. Immediately the contents are poured from the kettle into cups and handed to the audience who pronounce the result to be most excellent coffee. The kettle is of the stamped variety with the spout high on the shoulder. Inside there is a cylinder fastened in the centre of the kettle and reaching nearly as high as the spout. This cylinder is fitted with a lid and provided with a spout of its own, which is continued half way along the spout of the kettle proper. The cylinder contains lukeward ready-made coffee, while the portion of the kettle round the cylinder is loaded with a few pieces of builder's lime. The ground coffee is dropped on to th elime, and also the water (which should have the chill just taken off) is poured in the same same outer cavity. So soon as the water acts upon upon the lime the kettle will steam and the lukewarm coffee boil. There is absolutely no taste of lime in the coffee poured from the kettle, and the only smell is the aroma of coffee.


The Tin Trunk Release


The Tin Trunk Release TO BE locked in a borrowed steel trunk and yet escape without injuring this curious prison reads like the impossible, and yet the secret is simplicity itself. In the majority of trunks at present used the hasp on the lid is fastened with a couple of small bolts and nuts, the lock on the body being secured in a similar manner. After entering the trunk the performer takes from his pocket a small screw key, and at once applies himself to unscrewing the nuts in the lid. By this time the box should have been lifted into the stage cabinet, and the curtains drawn. Now the imprisoned one pushes out the bolts securing the hasp, this allowing him to raise the lid and step out. With a duplicate key he opens the lock, replaces hasp on lid, screws bak the nuts, and then re-locks and brings forward for inspection the uninjured trunk. If the trunk manipulator can pick the trunk lock there is no occasion for him to procure a duplicate key, but how many manipulators can pick even the commonest of locks?




Hat, Candle, and Handkerchief Combination A HANDKERCHIEF is dropped in a hat covered with a plate, now a sheet of paper torn from a whole newspaper is shown empty and rolled into cone shape and the top folded in. A lighted candle is next removed from its stick, wrapped in a second piece of newspaper, and then replaced in the candlestick. The problem is to cause the handkerchief to vanish fromthe hat, then to tear up the ostensible candle and find it has disappeared, next to discover the handkerchief in the paper cone, and finally produce the lighted candle from the performer's pocket. The conjurer's wand lying on the table consists of a painted hollow brass tube through which a strong thread passes, attached at one end to the table and terminating at the opposite end in a small hook. The utility of this apparatus will appear later. One sheet of the newspaper used in the trick is prepared by pasting a second sheet over it, all sides being fastened with the exception of a small space at one of the corners. Inside this double piece of paper the duplicate handkerchief is concealed. The "candle" is simply a sheet of white glazed paper rolled to imitate the genuine article, with a tiny piece of real candle in the top end for lighting purposes. In the conjurer's pocket a genuine candle is placed; this is prepared by abstracting the wick and inserting in its place a silent striking match, with a small piece of emery cloth fastened in the pocket on which to light the candle in pulling it out. Before dropping the handkerchief in the hat it is attached to the hook end of the thread. In the dropping, a portion of the handkerchief is allowed to hang over the side of the hat, and this piece is pushed in with the wand. This action gives an opportunity for moving a little away from the table, this causing the thread to tighten and pull the handkerchief inside the wand. The wand is now placed aside, and a plata put over the hat as a cover. The candle should now be wrapped in a piece of newspaper and laid back in the candlestick, while the cone is constructed from a sheet torn in the spectator's


presence. In making this the open corner must be at the top left-hand side, which corner is gripped between the thumb and finger of the right hand and rolled from this position in order to bring the opening right into the cone. It now remains to crush the supposed candle between the hands, to show the hat empty, produce the handkerchief by withdrawing it from the cone, and, as a finale, to bring the lighted candle from the pocket.




The Kari-Kari Bird Trick by Chas. Trickey

FOR this exceptionally clever problem two cardboard cylinders claim our first attention. The largest cylinder is 9-1/2 inches long by 4-1/2 inches in diameter. The second tube is a trifle smaller, made to fit easily in the first cylinder, and provided at the top with a projecting hook of stiff black wire. This hook answers two purposes: it prevents the smaller cylinder from falling through the larger one, and, by engaging in a concealed wire bar fastened on the back of the birdcage, enables the conjurer to pull the outer tube free and leave the inner one behind , as occasion demands. The smaller tube has a bottom to it. Two tin covers or lids must be procured to fit either end of the largest cylinder. The birdcage used should be about 14 inches high, with wire top, front, and sides, and wood back. Inside the cage you have a live dove and a dummy head in the bottom. The smaller cylinder must be suspended by means of its hook on the back of the cage out of sight, the other tube, lids, and a glass tumbler being placed on the table. Now you are ready to present the trick. Pass the cylinder and covers for inspection, and ask a spectator to place a lid on one end of the tube. Now take this cylinder, and pick up the cage to let the door be seen, and load No.2 tube from the back of the cage into the first cylinder, placing this straight away on the table. The cage is now opened, and the dove brought out in the right hand, which has also secretly palmed the dummy head. The dove is transfered to the left hand, and the conjurer appears to wring its head off. What really happens is this: The head is simply tucked under the bird's left wing and retained there by pressure of the fingers of the left hand, while the dummy head is exhibited in the right and then thrown on the table. The bird is now taken back in the right hand without the head being released, and, picking up the cylinder in the left, the bird is thrust head down into the tube. Now, as if to make more room, the cage is lifted from the table and placed on a chair. This is the most subtle move in the trick. The cage passes with an upward movement in front of the cylinder, and the inner tube is hooked on to the bar at the back, and left there. The second lid is now placed on the cylinder, and this stood on an inverted tumbler. Anyone may now step up and open the cylinder, when, of course, they find the "bird has flown!"


To conclude the trick a duplicate dove should be produced from the coat of a gentleman who stepped up to examine the cylinder. Doubtless some of our readers may prefer to dispense with the head wringing. This, of course, will not interfere with the effect.


Production of a Solid Walking-Stick


Production of a Solid Walking-Stick By Chas. Trickey

A BLACK, silver-mounted, straight walking-stick is required. This is pushed through the breast of your dress waistcoat, passing down left trousers leg, where it rests in a tiny cloth pocket sewn inside the trousers slightly towards the heel. The ferrule end of the stick should go in first. The only other requirement is a large newspaper sheet. If considered necessary, the paper may be given for inspection; after which it is rolled in the form of a cone. In making this cone the conjurer tears a slit near the bottom, making a gash about three inches long in an upright direction. The paper is now brought to the front of the stage, in order that the audience may see there is nothing in it. In turning round to walk back, the handle end of the walking-stick is quickly drawn from the vest and pushed through the slit, and then turning, with the left side of the spectators, the conjuror shows his right hand empty, and plunging it into the cone draws out the stick. This should be handed to the audience, and the paper crushed up and thrown aside. It may be considered an improvement to vanish a duplicate stick before producing the one from the cone. This may be done with the aid of a glazed paper imitation of the original timber. The paper stick should lie on the table under three or four sheets of newspaper. A duplicate solid stick may be given for inspection, and apparently wrapped in one of the sheets of newspaper. Of course the genuine stick is left hidden under one of the sheets, while the paper one is substituted. When this one has been wrapped up, the package can be crushed and torn, which is all that may be desired in the way of proving the stick to have disappeared.


Inflated Balloons Produced from a Hat


Inflated Balloons Produced from a Hat THIS quite recent addition to the stock-in-trade of a conjurer is well worthy a place in many programmes. The balloons used should be of the wide neck kind, and may be obtained at any toy dealer at threepence each. Besides these a number of much smaller balloons are required (the smallest obtainable), which cost half a crown per gross. Bicarbonate of soda and tartaric acid prove the most reliable inflating agents, a quarter of a pound of each material sufficing to inflate about half a dozen balloons. The tartaric acid should be emptied in a jam jar of similar vessel, just covered with water and allowed to stand. With the assistance of a syringe this tartaric water is pumped into one of the small balloons until it attains the size of a small egg; it is then tied up at the mouth and inserted through the neck into the larger balloon. Into the latter is now placed a table-spoonful of bicarbonate of soda and then tightly tied up. When it is desired to inflate the balloon it is nonly necessary to squeeze it from the outside. The pressure breaks the skin of tartaric water, which, acting on the carbonate, causes an effervescence that fully expands the balloon in a few seconds. If using an opera or crush hat for the trick, four of the prepared balloons can be concealed beneath the springs, the hat lying closed on the table. This avoids the necessity of loading, which operation is necessary when an ordinary hat is used.


An Original Billiard Ball Production


An Original Billiard Ball Production THIS effective little trifle was first introduced by Mr. Max Sterling in 1892, and proved one of the most puzzling sleights in that entertainer's drawing-room drawing-room menu, and is now for the first time published. The performer displays both hands, apparently empty (by cross-palming), and places both hands perfectly flat, palm to palm,, facing the audience; the hands are then slowly opened from the wrists, the finger tips still touching while the fingers themselves are stretched as far apart as possible. A gentle turn is now made with both hands until the palms are outward toward spectators, and a billiard ball is discovered resting on the still-touching fingertips. Like many another good thing the secret is simplicity itself. A two and a quarter inch hollow rubber ball (cost twopence) is all that is required. A small hole is cut in one side after the manner of the handkerchief ball. This enables the ball to be crushed perfectly flat between the closed palms; on opening from the wrists the ball is retained palmed in the right hand until all fingers which must still touch at the tips, are apart. On turning the now open hands upward and outward, the palmed ball is released and runs down the fingers into the cradle naturally formed by the touching tips. The rubber may be enamelled or waxed and varnished red, and so real in appearance is the result that detection is impossible even at close quarters. The natural elasticity of the rubber causes it to at once resume its spherical shape the moment pressure of palms is released If any difficulty is experienced in the preparation of the ball, they may be procured to order through Ornum's Magical Stores or other dealers.




The World in a Nutshell ONE of the most graceful effects ever worked in a drawing-room, full of subtle humour, expectancy, and bewildering artistic dénoûement, is also culled from the répertoire of Mr. Max Sterling, who has staged it under the above title, without, however, claiming its conception. That gentleman informs the writer that it originally formed a special feature in the programme of the late Mr. Sydney Pridmore, of Hinckley, with whom he was closely associated. Through somewhat troublesome to prepare, the brilliant reception it always achieves well repays the time and labour expended, and in the hands of a skilful worker, possesed of gentlemanly address, will go far toward filling his date-book. On entering the room or platform a small parcel is introduced, already sealed and tied, and handed to one of the audience to hold. A lady's ring is borrowed adn vanished into the heart of the parcel held at the opposite side of the room. The parcel, on being opened by its custodian, is seen to contain a cokernut; this is broken with a neat small hammer, and in turn contains another parcel securely tied and sealed; the second parcel contains a lemon which, on being peeled, discloses another small parcel securely tied and sealed; this final parcel covers and egg; the egg is held at the finger tips of performer and broken by a tap of the hammer by one of the audience; both ends are thus pierced, and from the egg a small stem is seen projecting, which on being pulled out, through the egg itself, proves a dainty nosegay of flowers to which is attached the original borrowed ring tied to them by a neat bow of bebé ribbon; this is handed intact to the owner for verification, and as a souvenir of the illusion. As the "magical" reader may have by this conjectured, the whole secret lies in, first, the vanish of the ring borrowed, and second, in the loading of the flowers into the egg. The rest requires elaborate and careful preparation, therefore a minute detailed description is given of the parcel and its extraordinary contents. An ordinary egg is blown and dried, then tied up in thin brown paper and carefully sealed with wax. A large size lemon is the second requisite. The skin is divided lengthwise by a sharp clean cut with knife, and then gently peeled from the fruit that the juice may not saturate the skin itself. The two half-shells thus


obtained are placed over the parcel containing egg until they join again exactly. A stout sewing needle and strong white cotton joins them, or very small pins may be used. If this work is done well it should be impossible to detect the joining at close quarters. It must now be wrapped up, tied, and sealed. Finally, the cokernut--a fairly large one--should be selected, and broken with great care by light hammering whilst being revolved in the left hand; constant tapping all round the centre ensures a clean break. Remove the fruit from the two halves, apply seccotine to the edges of the shells, place in the prepared parcel, then join neatly, pressing tightly the while until it is firmly fixed. Should the join be too palpable a small amount of light earth or dust may be rubbed on to the exuding cement until the shell appears perfect; then it is ready for its wrapping of brown paper, and finally inthe cover of some favourite periodical. Mr. Sterling invariably used Pearson's Weekly, and wove several jokes around it which, however, can be applied to almost any popular journal. To the back of the trousers sew an ordinary tie-clip to hold the nosegay of flowers until wanted; also, a small pocket slightly below the thigh of the right leg, to hold the vanished ring. A neat hammer, penknife, piece of flash paper, and matches complete the list of properties. The hammer, etc., and parcel may remain on your table throughtout your programme if this is to form your grand finale, and in introducing it you may explain to your audience that: "Undoubtedly you have been wondering what the strange-looking parcel on my table has to do with the magical effects I have worked before you. The fact is simply this, it forms my constant travelling companion--in fact, my portmanteau, for it contains the world in a nutshell. The wizards of India never perform without it, and claim for it the marvellous property of collecting anything that may become mislaid or lost during an entertainment. If anyone present should lose their senses, or even more valuable property, all we have to do is to investigate the contents of the mystic parcel, to find the missing article reposing carefully packed within its centre. I will endeavour to give you an illustration of my argument. Kindly name anything you have recently missed, and I will assist in its recovery. What, your mother-in-law, sir? Certainly. All I have to do--beg pardon, thought better of it. Ah, well. Anything else? No! Then allow me to borrow some trifling article, that you may witness the full process. Will any lady trust me for a few moments with a diamond ring; one distinctive enough to preclude the possibility of my duplicating it? You will observe that the parcel is securely sealed and tied, and perfectly free from springs or trap-doors. Perhaps you will note that it is wrapped in the cover of Pearson's popular weekly, but Tit-bits Anwers quite well. So many valuable articles are always to be found within those covers--they contain the world in a nutshell." A volunteer is invited to hold the parcel within full view of the audience and as far away as possible from yourself. The borrowed ring is "for greater security" wrapped in a piece of flash paper (faked fold) and an athletic young gentleman is asked to blow upon the paper--usually the most consumptive-looking young man


is chosen as the victim;--several attempts are to be made in the blowing efforts--the paper can be unfolded again to prove the ring present. Accuse the assistant of not blowing in a straight direction--that of the upheld parcel. Light a match or candle, that he may see better, and in changing the paper from right to left hand for final blow, allow ring to drop into hand and transfer to hip pocket. Accidently catch paper in flame of candle; it is gone in a flash, and hands shown empty. Direct attention to the parcel, and to the gentleman's responsibility for the missing ring, should it not be recovered. Hand penknife to the holder of the parcel, with the request to open it carefully. While strings and seals are being cut assume a natural attitude with both hands under coat tails; take ring from pocket, and tie on to ends of bebé ribbon, then again into a neat double bow. By this time the first wrapper if off, and displays the cokernut. Bring forward both hands empty and show the nut round, remarking, "I may say I have the nuts grown for me on a very special tree." Take hammer, break the nut, and take out second parcel. Hand as before to be opened, then show the lemon--"Also grown for me upon a very special tree." With pocket-knife carefully peel lemon until third parcel is visible. Be sure and pocket the peel, that the secret joining may not be discovered. Get the last parcel opened, and, as egg is found, remark, "These are also grown for me on a very special tree--I mean, laid for me by a very special hen." Give hammer to your temporary assistant, and offer the egg to him at the tips of your right hand. Your left secures the button-hole and ring palmed with stem upwards towards fingers. When one end of egg is pierced, it is turned over and taken by the left hand, which secures the stem into the opening; the remaining end is similarly broken, and with the finger-tips of the right hand flowers are drawn stright through the egg itself, and handed to the lady who loaned the ring, with a few complimentary words terminating the trick.




A Floating Billiard Ball by Ed. Fielding

AFTER other sleights the performer offers to repeat a pass slowly, for the benefit of those who have not been able to follow his movements. The ball is taken in right hand, the left being about two feet away quite clear from the body. Now the ball floats from right hand to left and back again, and is then at once given for examination. To add to the effect the conjurer can bring his hands nearer together or farther apart at any time during the trick. The motive power is derived from a lead weight, two inches by one in size, provided with a grooved pulley wheel and guard, and our very old friend--black silk thread. Two dressmakers' eyes must first be sewn inside performer's trouser leg at the top, about one inch apart, and over the right trouser leg. The thread is now passed by a needle through the waistcoat from the inside, level with the top edge of right-hand pocket, and then again through waistcoat, this time from the outside, about one inch below the previous position. The needle is now taken off thread and teh ends tied together. The double thread is now passed through the eye nearest trouser fly, and put over the pulley wheel on weight, which is dropped down trouser leg. The thread is next passed through the second eye, and then secured by looping over one of the trouser buttons. In working the trick, while calling attention to the ball (which should be of light wood or ivorine), the first finger of right hand is slipped through the loop of thread from waistcoat and drawn out a few inches. When the left hand places the ball in right, the first finger of left hand goes between the threads, so that when hands are drawn apart a double thread, always taut, is provided, and along this set of lines the billiard ball runs from hand to hand, according to which is elevated. Immediately the trick is over, and the thread is slipped from the fingers, the concealed weight draws it back to the waistcoat, and leaves the performer free to show both his hands and the ball. The same apparatus can be used for the floating wand.


By using an indiarubber ball, coloured to match the solid one, a finer thread may be used, enabling the performer to perform it at quite close quarters.


An Improved Swallowing Wand


An Improved Swallowing Wand THE following will be found a most useful addition to the effect of the conjurer using the swallowing wand. By means of our improvement the wand may be pushed through the assistant's back or through a borrowed hat, since the nickel endpiece does not need covering as in the older method of presenting the trick. The wand used is a black wooden one with nickel ends, on one of the nickel ends is a sliding collar, and inside this is a second collar (which can be made of paper) painted black to resemble the wood portion of the wand. In working the trick, the unprepared end of stick is pushed against assistant's back, while the two faked ends (one of nickel and one of paper) are palmed on to the opposite extremity. Now, by slightly tilting the wand, the inside black collar slips out and travels down the wand, dropping over the bottom nickel end, this producing the illusion that the metal end has been really pushed into the assistant. The proceeding, now, is in the same manner as in the older trick; the sliding end being pushed along the wand (which passes up performer's sleeve) until within a few inches of the "victim's" body. To pull the wand out again, the left hand is brought into use, apparently to assist in extracting the stick which the audience are assured is stuck. In reality the left hand palms the black collar and holds the wand while the nickel fake is drawn upward. At the finish the black collar is retained in the left hand, the wand is thrown from the right (which conceals nickel end) to the audience for them to "discover the hidden spring."



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Whiteley's Three-Card Trick WE VENTURE to believe the following card trick will be as acceptable to readers as it has been welcomed by all audiences to whom we have introduced it. A pack of cards is handed to an assistant from the auditorium for him to pass round and permit three different persons to take one card each. Performer now asks that the cards may be marked for subsequent identification, after which the assistant has them placed back in the pack and shuffled, and then brings the cards back to the conjurer, who gives them a final mix, and then puts the pack in the inside breast-pocket of assistant's coat, asking him to "take the chair" for a few moments. The performer now comes among the audience, and just as he steps from the stage the assistant startles everyone by hastily jumping from his chair and indicating as delicately as possible, that a certain spot has been touched, and, if he is a good assistant, will make it apparent that his dignity has been hurt at the same time. On his turning to the chair to investigate the reason of his sudden rise in the world, the audience see a playing card sticking to his back. This card is proved to be the first one selected. The conjurer has now passed accross the room and asks for the name of the second card chosen. The card is named, and the performer at once picks out s ome inoffensive gentleman many yards from him, and requests that individual to remove the named card from his pocket! This is done, and the card is found to be the identical one in question. Returning to the stage the conjurer asks for the name of the third and last card. It is given, and he proceeds to inform his assistant that the cards have been highly-magnetised highly-magnetised and if he will rub the first three fingers of his left hand on his right arm briskly, and then, without allowing the magnetism to escape, quickly dip the fingers in the pocket and pull out one card--the selected one will rise into his hand. When this information has been acted upon the asistant's hand emerges from his pocket with the third marked card in his fingers. The requirements for this trick are a pack of long and short cards and plenty of cheek. The asistant has three cards taken from the long or wide pack and returns


to the stage. While the cards are being marked the conjurer changes the pack for the short or narrow ones, among which the three selected cards are collected. By a casual shuffle the conjurer brings these cards to the top, palms two off, and places the remainder (with the third chosen card uppermost) in the assistant's pocket. While doing this the assistant is asked to jump off the chair and pretend someone has run a pin in him directly the conjurer says, "One of the cards----" He is now seated in the chair and, while making him confortable, the performer pushes one of the palmed cards under the assistant's coat collar at the back, this now leaving one still palmed. Here the conjurer comes from the stage, and says: "Ladies and gentlemen, one of the cards----," here he looks at assistant if he has not taken his cue, and repeats: "One of the cards was----," and he should now be interrupted by the assistant's by-play. During the laughter which is incident always evokes, there is generally plenty of opportunity for dropping the palmed card in a gentleman's pocket, his hat, under a chair, or on a lady's hat. If no opportunity offers itself, lay your hand deliberately over some gentleman's pocket, push the card home, and speaking from the opposite side to withdraw his attention, say: "You won't mind me squeezing through--I want to get on the other side." It will now be apparent as to how the first two cards are discovered; the third method is probably known already. Given only three fingers wherewith to extract a card from his pocket, the assistant cannot fail to take the top one, which is of course what is desired, and this brings the trick, and also this modest manual to a FINIS

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Harry Whiteley - Miracles in Modern Magic

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