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The Learned Pig Project presentsMiracles in Modern Magic
byHarry Whiteley
This html version 2000 Jos Antonio Gonzlez Campos
Preface
Introduction
The Great Magic Kettle ActDescription of the Performancefrom
beginning to end
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The Secret Outl How the Kettle is made toSteam
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A Word of Cautionl Preparationl Presenting the Kettle Actl
Miscellaneous Magical MarvelsThe Wandering Orangel Destiny--A
Novel Card Trickl A Numerical Card Trickl A New Hot Coffee Trickl
The Tin Trunk Releasel Hat, Candle, and HandkerchiefCombination
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The Kari-Kari Bird Trickl Production of a SolidWalking-Stick
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Inflated Balloons Producedfrom Hat
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An Original Billiard BallProduction
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The World in a Nutshelll A Floating Billiard Balll An Improved
SwallowingWand
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Whiteley's Three-Card Trickl
Cover
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Miracles of Modern MagicHarry Whiteley
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Preface
IN PRESENTING this work to the magical fraternity of England and
America, Idesire to thank "SELBIT" for his kind assistance.
Having seen several attempts at a solution of the Kettle
Mystery, none of whichcould be called workable, I place before the
Conjuring world my originalconception of the act, which from
personal experience I know to be practical andworkable.
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. FIELDENfor 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 theremainder 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 isthe wish of
Yours as ever,
HARRY WHITELEY.
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Miracles of Modern MagicHarry Whiteley
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Introduction
"IT BOILS on ice." So read the headline on many a playbill. It
afforded thepenny-a-liner a catchy title for his copy, rejoiced the
hard hearts of pantomimecomedians, who welcomed a new victim for
their "gags," and, lastly, transferredbright sovereigns from the
pockets of the great and gullible British public to thebanking
accounts of magic kettle exhibitors.
The life of the "Great Magic Kettle Act," to give the
performance its full andimposing 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 thepublic with the key to a mystery?
Gone, but not forgotten! Dead, but it shall rise again! These
pages are dedicatedto the memory of the departed, also to nurture
its successor by explaining howthe 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 lessthan a guinea per litre (the price of liquid
air during the craze), but we hardlyknow whether our sympathies
were more with the professor or his audience whencalcium carbide
and water were the materials used to invoke a semblance ofsteam. If
at times the "steam" was less apparent to the sight than it might
havebeen, 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 bepressed into service for the production of the
sought-for vapour, proved but oneof many attempts to arrive at a
solution of a ridiculously simple problem.However greatly kettle
operators differed in conjuring steam, to a unit theyplumped for a
double pan in which to "boil" that necessary item of
theentertainment--ice cream.
Ingenious or otherwise as the magical (not magic) kettle acts
proved, the thorn inthe side of their proprietors were the freezing
experiments. In this particular webelieve even the presentors
themselves will agree the results were frosts; yet wehope to show
how easily the genuine experiments may be secured at trifling
cost.
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There is small room for doubt that some demand will always exist
for a scientifickettle entertainment at a reasonable fee. Apart
from this, the possibilities whichmust suggest themselves from
practical knowledge of the subject underdiscussion lead us to
believe that this modest manual will find a welcome intechnical
libraries.
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Miracles of Modern MagicHarry Whiteley
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The Great Magic Kettle ActDescription of the Performance from
beginning to endThe Secret OutHow the Kettle is made to SteamA Word
of CautionPreparationPresenting the Kettle Act
A Careful Description of the Performance from Beginningto
End
DIRECTLY the curtain is raised we look for the kettle. There it
is, slowlysteaming on a stand, with a small spirit stove beneath.
It is a mostordinary-looking kettle, and we barely notice a large
block of ice on a centretable, two side-tables containing metal
goblets or beakers, various culinaryutensils, flowers, grapes, and
other things, when the operator makes his entrance.
"Ladies and gentlemen," we hear him say, "I shall have the
pleasure ofconducting 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 thisblock of ice you will
notice that instead of chilling the contents the kettle will bemade
to boil furiously."
This suggestion the operator carries out with precisely the
prescribed results--thekettle steams as though some imp of darkness
were inside puffing out a steadycloud of vapour through the spout.
Leaving it to boil thus for the moment, thelecturer offers to
conduct a scientific laundry, for which he borrows a gentleman'shat
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 ofsteam ascend from the hat we
shudder for the safety of the borrowed articleswhen the fiery
liquid shall have done its work. Here the kettle is placed on
the
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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, butalthough it still steams slightly it is nevertheless
dry, and, we are assured, muchimproved in the wash. Buth whether
there is a difference in the cleanliness of it isopen to question.
The hat, it would seem, must be nearly full of liquid from
thekettle; and here we are tricked again--it is as dry as the
proverbial herring,--andboth articles are restored to their
respective owners.
"It is needless for an owner of a magic kettle to have empty
pockets." Thisremark the operator illustrates by inserting the
kettle spout in his various pocketsand tipping up the still boiling
vessel, seemingly filling his clothes with its veryelusive
contents.
"If your watch won't go, oil it," is another of his facetious
phrases, as he takes outhis apparently gold chronometer and
liberally soaks it. Then we are assured thatthe match-making
industry is doomed. "Instead of vestas, carry a kettle on
yourwatch-chain; it's so much more reliable in windy weather." The
application ofthis remark is plain when, taking a cigar from his
case, the demonstrator doses itwith the kettle, this causing a
flame to spring up at the proper point. There is noquestion of the
smoke being other than ordinary, for the lecturer calmly smokesaway
at it just as though it were the most natural thing in the world to
use steaminstead of matches.
Here the operator observes his kettle has become much "lighter,"
but whether thishas 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 screenostensibly to refill
the article in question. When it is almost immediately
broughtforward again, we notice the kettle is now steaming but
lightly, it being explainedthat to boil with its erstwhile fury it
would have to be replaced on the block ofice. Other experiments,
however, are started, and for the time being the kettlecannot be
spared.
A rubber ball is bounced to assure its genuineness, then dropped
in one of themetal beakers we previously noticed. Some liquid from
the kettle is poured overthe ball, and, as with the hat and
handkerchief experiment, clouds of steam risefrom the goblet. The
operator begins to shake the beaker from side to side, at firstwith
no perceptible difference, but gradually the soft rubber ball
hardens andknocks 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 theexhibitor, picking out the same but now glistening
ball. "Observe when I throw iton the floor it will break in
hundreds of pieces." So saying, the ball is throwndown, when it
splits with a report like a pistol shot, and pieces of it fly in
alldirections.
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
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liquid over the fruit is attended with similar results to the
previousexperiment--the grapes harden and knock against the sides
of the vessel whichcontains them. They are now emptied out on to a
metal tray, our ears telling usthe 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 intoveritable
hailstones.
Chrysanthemums are treated in similar fashion. So soon as the
flowers are dippedin a beaker containing more of the wonderful
liquid the petals become hard andbrittle, and when squeezed by the
operator's fingers break in crisp pieces.Specimen chrysantemums in
the petrified condition are presented to a few of theladies present
as souvenirs, with the remark: "Perhaps they will be appreciatedthe
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 itspower to solidify mercury. The operator pours
a phial of quicksilver in acardboard box, places this in a metal
dish, pours some of the liquid over it, andwhen the cardboard
wrapping is torn away, the operator holds a mercurialhammer with
which he drives nails through wood.
We are next invited to pass judgement on the entertainer's
ability as a chef. Hewill fry us an omelette, substituting for the
fire the block of ice, which it must beadmitted appears in this
instance to server the same purpose. An egg is brokeninto a
frying-pan, some of the indispensable liquid is added, when at once
the eggbegins 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
thatnothing less than a hammer and chisel will induce the egg to
leave the pan. Whenthey 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 ofice-cream. Eggs, sugar, and cream are beaten
together in a basin, then poured inthe pan of a chafing dish, with
some liquid from the kettle in the bottom part ofthe dish. One
might expect the block of ice to be employed somewhere duringthis
experiment, but it is not to be. By all that's contrary, the chef
places thechafing dish on the stand whereon we first saw the kettle
at the beginning of theact, and the spirit stove burns briskly
underneath! Evidently he is going to grillhis ice-cream! Such, in
fact, is the operator's intention. In a very little time
theice-cream is pronounced ready; portions are spooned from the
dish on to biscuitwafers, and passed round for us to sample. Any
hesitation we may have felt isdispelled 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 kettleis
again taken behind the screen for some more liquid.
The operator announces that he will now allow the kettle to boil
again. It isplaced on the ice and repeats its former defiance of
nature by speedily starting to
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steam. So soon as the boiling is at its height, the
demonstrator, in bringing hislecture to a close, remarks: "I trust
you have been interested with this series ofexperiments, and I
propose to bring my entertainment to a close by setting fire tothis
large block of ice." The steam from the kettle is now directed
straight on tothe ice, and (wonder of wonders!) it takes fire right
from the centre. The flamesleap round the ice and rise to a height
of two or three feet above it, and upon thissomewhat extraordinary
spectacle the curtain comes down--the act is over.
The foregoing is a straightforward, unexaggerated description of
the dish we areserving to you--the following, an equally honest
explanation of the mystery.
The Secret OutTHE liquid we guarantee will duplicate the effects
produced by liquid air isether, in which is evaporated solid
carbonic acid. Cheap ether at 1s. 4d. per poundis quite as useful
for our purpose as the higher-priced purer quality, and onepound
should last two or three shows. Ordinary methylated spirit may
besubstituted 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 storageestablishments for refrigerating
purposes; yet, while a certain quantity of solidacid may be secured
from these cylinders, this is by no means a trustworthysource, it
being merely mentioned in passing solely in order that the
interestedreader may, with the co-operation of his butcher, test
the accuracy of ourstatements at the cost of a few pence. Otherwise
we are afraid the practicabilityof our instructions may be
pooh-poohed, perhaps considered unrealiable, andcondemned to
imprisonment in a corner of your bookshelf without a fair
trial.
The makers of carbonic acid gas supply a special cylinder, with
an interiorsyphon arrangement, which gives off a stream of liquid
carbonic. This isprecisely what we require for our experiments.
Presuming we are in possesion of a cylinder of the carbonic
acid, or to give it itschemical formula, CO2, this difficulty
presents itself: How can it be handled?The simplest method is to
tie a flannel bag over the cylinder nozzle, and when allis secure
to turn the key and allow some of the contents to escape. The
liquidcarbonic acid hisses through the nozzle into the bag,
solidifies as it comes incontact 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,"
issolid carbonic acid. The quantity obtained depends of course on
the amount ofliquid allowed to escape from the cylinder. In size
the flannel bag should beabout sixteen inches deep by twelve inches
wide. For each full show enough
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snow, as we shall hereafter call it, to half fill the bag is
required, this taking aboutone minute in the accumulation.
Having obtained the snow, it should be turned out on a tin dish
to be made upinto closely-packed cakes of about an inch in
thickness and an inch and a half indiameter. A most convenient
appliance for making these cakes is a wooden tubeand rammer. A
wooden gill measure with the bottom sawn off gives us anadmirable
tube or mould, and this has the added advantage of a handle,
whichusers 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 somesnow into the
tube, and ram it down tight. Add more snow and continue
ramminguntil the cake is of the required thickness, then raise the
mould and push out thecake with the rammer.
Each cake of the size mentioned is ample for one experiment.
Place a snowcakein a metal goblet, drop in a rubber ball, pour a
little ether over it, and in a veryfew seconds the ball will be
frozen so hard that if dropped on the floor it willsmash like
glass.
To explain the cause of this result briefly, it must be
understood that so soon asether or spirit comes into contact with
the cake of carbonic acid the cakeevaporates very rapidly,
resulting in a lowering of the temperature to somethinglike 150
degrees below freezing point. In this condition the combination
gives offa steamlike vapour, and has every visible resemblance to
water at boiling point.
How the Kettle is made to SteamWE VENTURE to digress a little
for the moment to discuss the most desirablemethod by which to make
the kettle steam. Without a doubt this can be achievedwith carbonic
acid and ether, yet an even better and cheaper result may
beobtained by using ordinary builder's lime. In purchasing this
lime hard lumpsshould be chosen, small pieces or droppings being of
little use. The lumps shouldbe broken into pieces the size of one's
fist, as required, since in this way we canbe assured of having our
lime fresh. Three or four pieces of lime placed in akettle, with
half a pint of hot water added, ensure the kettle boiling
splendidly inthirty seconds. If the kettle is not required to boil
so suddenly, use water only towarm. By using half a pint only of
water the lime will absorb all the moisture bythe time the kettle
fairly begins to steam, and there need be no fear of
pouringanything in the shape of liquid therefrom, no matter how
freely it be tilted. Thispart wants well experimenting with to
obtain the desired results. The mostsuitable kettles are the ones
with their spouts high up, this constructionpreventing the lime
from reaching and clogging the stem, which misadventuremight easily
happen to a kettle of the low-down-spout variety.
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Three kettles in all are required during the act--two for lime,
one for ether. Thelime kettles are not prepared in any way, and the
arrangement we advise for theether 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-strainerkind of cup inside the kettle in front of the spout
hole. This perforated cup is openat the top, and of a size to hold
four snowcakes, which are dropped into thisholder through the lid
space. This arrangement is merely to keep the snow clearof 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 fromthe spout of the kettle,
giving it an appearance of water boiling slightly.
A Word of CautionTHE snow obtained from the cylinder is
frightfully cold, and although it may behandled lightly, if
retained for more than a second or two in the fingers, theholder
exposes himself to the certain risk of painful frost bite. The snow
mustnever, under any consideration, be corked or fastened up, as
the constantevaporation which is taking place generates a gas which
would burst any vesselfrom which there was no outlet. Therefore,
when making the cakes, place them ina glass tumbler, and either
cover it with a handkerchief or not, at will. If theseinstructions
are remembered, there is no other danger except it be that of
thesnow vanishing, and this will assuredly happen if the cakes are
made very longbefore they are required for use. When exposed to the
air the snow evaporatesaway gradually. If left for more than an
hour there would probably be no trace ofits existence remaining. It
is therefore advisable to make all your otherpreparations prior to
running off the carbonic, leaving this until, say, fifteenminutes
before the show. If used within thirty or forty minutes of their
mouldingthe cakes should answer for all that is required of them.
The syphon carbonic gascylinders, costing 7s. 6d., are supposed to
contain 28 lbs. of CO2; generally thereare 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
eightshows. The quantity of CO2 in hand may be ascertained by
weighing thecylinder, 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 dobetter than prepare each of the following items, in the
rotation in which they aregiven. First see to your block of ice.
This should be square, and a well should be
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chipped from the top as near to the back as possible. This well
is to contain etherwhich is required for the blaze at the finish of
the performance. One ounce ofether is plenty for this effect, but
it must not be emptied in the ice-well until justbefore the rise of
the curtain.
A pint of water should be put to boil on a stove, to be ready
for use whenrequired a little later on. Now see to the lime-kettles
by dropping four pieces oflime in each. The cigars require
attention next, and it is advisable to prepare twoor three, using
for preference the thickest obtainable. With a heated iron burn
outan inch-deep hole in the large end of each smoke, and insert
firmly in the cavity apea-sized portion of metal potassium. Thus
prepared, the cigars should be placedin a tumbler in readiness on
one of the stage tables. During this operation it isimperative that
one's hand are quite dry; if they are at all damp when
handlingmetal potassium it is liable to take fire. Before placing
aside the potassium puttwo small pieces of the metal in a thin
box-lid, together with a little of the naphtain which metal
potassium is packed for safety. These pieces are required
forlighting 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
unfrozenice-cream mixture, which is made as follows: One pint of
milk thickened withcornflour, to which is added vanilla fravouring
and castor sugar to taste, wellboiled and allowed to cool. Such is
the contents of the jug. And also required forthe ice-cram making
experiment are one egg, basin of white sugar, a dozen icewafers,
empty basin, egg whisk, two spoons, and a chafing dish.
The remaining properties to be arranged to their own advantage
and theoperator's convenience, are a bunch of grapes, rubber ball,
another egg,chrysantemums, tube of mercury, cardboard box, a small
piece of stick, and ahammer and chisel.
About three-quarters of a pound of ether should now be poured in
the well of theether 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 overfrom one show
may be re-bottled and used again.
Having concluded the arrangements already set forth, the next
item is to run offthe CO2 and make your snowcakes. Nine cakes are
required, their distributionbeing one each in three beakers, two in
a metal dish for the mercury freezing, onein the frying-pan for
poaching the egg, and four in the cup of the ether kettle. Allthe
loose snow remaining after making the cakes must be tightly packed
in thebase of the chafing dish, and the pan placed over the snow,
to prevent as far aspossible its evaporation.
A screen should be placed in front of a table at the back of the
stage, and on thetable the operator must arrange his three kettles
and pint jug full of hot water. Allis now in readiness for the
stage to be set and the experiments presented.
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Presenting the Kettle Act
THE description prefacing our explanation of the experiments now
to beconducted was written largely with the object of acquainting
the reader with theorder and style in which the different effects
are shown. Therefore we shall, inthis concluding section, content
ourselves with brief directions which, if properlyfollowed, must
assure a certain success.
We assume the stage setting is finished, everything required in
the act being intheir right places. The operator first pours a half
pint of hot water in one of hislime kettles, sets this above the
spirit stove, and gives the word to "ring up." Bythe time his
opening remarks are made and the kettle poised on the ice, it will
beabundantly steaming. In tilting the kettle spout inside the
borrowed hat for thewashing trick, nothing issues but steam, which
remark also applies to the effectof 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 smallflame 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 withother
cigars. By this time the steaming power of the lime will be
lessening, andthis 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 toplacethem in one of the beakers containing a
snowcake, and pour a little etherover them. For the egg-poaching on
the ice the proceeding is the same, using, ofcourse, a frying-pan
instead of a beaker. It is advisable to break the yolk in
thisinstance, since the egg will freeze more quickly in this
condition. Slightly moreether is required for the egg, owing to it
being a larger area to cover than theother objects frozen, and the
frying pan must be tilted to cause the ether to washover its
contents. When properly frozen, break the egg by hammering at it
for theaudience to see how hard it has become. Mercury is no more
difficult to freezethan the objects already treated, although it
returns more quickly to its normalcondition.
For the ice-cream making, first break an egg into the empty
basin and beat it wellup 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 mixtureis 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 thesnow in the bottom half of the dish, at once
clapping the pan back again. A littletime is now wasted in lighting
the spirit stove over which the chafing dish is to beplaced. Some
moments are also gained in laying out the ice wafers on a tray,
bywhich time the cream will be frozen about half way up from the
bottom. Beginspooning 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
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and the pan can be placed on a tray with a number of spoons, and
passed roundfor any who wish to help themselves. Here the ether
kettle is changed for thesecond lime kettle, in which the remaining
water is poured. Placing it on the icewhile making his concluding
remarks, the operator waits for a few seconds untilsteam is well
up, and then directs the spout round the sides of the ice,
andsecretly picks up the pieces of potassium from behind. In
changing from one sideof the ice to the other the potassium is let
fall into the well of ether. At once thewhole block of ice appears
to catch fire, and will burn for quite two minutes, inwhich time
the curtain has fallen and, we hope, been raised again for the
operatorto take a call.
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Miracles of Modern MagicHarry Whiteley
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The Wandering OrangeTWO cardboard tubes or cylinders and a
couple of china plates are handed outfor inspection. On their
return the plates are laid separately on a table and one ofthe
cylinders placed on each plate. An orange is now introduced which
may bemagically produced or otherwise at the conjurer's wish. The
orange is droppedthrough one of the tubes on to the plate beneath,
and after having raised thecylinder to show the fruit is really
there the orange is commanded to pass to thesecond plate,
previously shown empty. This transposition immediately takesplace,
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 shouldrecommend itself to many. When the orange
is shown before being droppedthrough the first tube it is secretly
attached to a hook at the end of a lenght ofblack thread fastened
to the back edge of the table. By this means, according tothe
manner in which the tube is raised, it it possible to either show
the orange onthe plate or not. A few moments' practice will enable
the reader to discover theproper movement. With regard to the
second orange, which must also be fastenedsimilarly to the first,
this is procured from the table servante and secretly loadedinto
the second tube while standing it on the plate. In this way it will
be seen howeasy a matter it is to vanish and produce either orange
when required. Therequisite lenght of thread can only be determined
by experiment, and will dependon the height of the tubes and width
of table used.
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Miracles of Modern MagicHarry Whiteley
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Destiny--A Novel Card TrickTHE following card combination is one
of our own arranging, and will, webelieve, make a welcome addition
to our reader's rpertoire. As a sequel to othertricks during the
progress of which a sealed envelope has been resting in fullview in
the clip of a card stand the performer asks anyone in the audience
to thinkof any card in the pack. Here attention is called to the
envelope, and the conjurerasks for the name of the thought-of card.
Having ascertained this, he takes theenvelope between his finger
and thumb, opens it, and abstracts another smallerenvelope, also
sealed, and hands both to the person naming the card. The
lattergentleman is asked to open the second envelope, and when he
does so a third one,also sealed, is found inside, and upon this
being investigated a small card isdiscovered upon which is written:
"The card destined to be chosen this eveningis-----" the dash being
substituted for the name of the identical card selected.
For this trick fifty-two plain visiting cards are required--the
numbercorresponding to a pack of playing cards. On each card must
be written thequotation given in the preceding paragraph, with the
addition of the name of acard until the whole pack has been named.
This done, each card is sealed up in asmall envelope, and then in a
second one a trifle larger, taking the precaution tomark 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, theenvelopes must be stacked together in their suits
and numerical order, startingwith the Ace and finishing with the
King. This arrangement gives us four packetsof 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 forseparating the suits. All is now in readiness for the
trick.
When attention has been directed to the envelope, the conjuror
stands with hishand naturally in his pocket. Directly the person
thinking of the card names hischoice the performer picks on the
envelopes of the same suit, and then runningthe thumb along their
edges counts till arriving at the packet required. This is
nolengthy 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 endof the stackthe King.
Possession of the correct envelope having been obtained,
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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 abstractedfrom the pocket slowly, and,
pointing with the open hand at the envelope on thestand, say:
"Perhaps you are curious as to why this envelope has been here
duringmy entertainment. I shall now show you." Walking carelessly
to the envelope, itis taken with the finger and thumb; this action
of its own accord bringing theback-palmed smaller envelope directly
behind the larger one. In this positionboth 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 isdrawn 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 wouldseem correctly
predicts the person's thoughts, being finally discovered.
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Miracles of Modern MagicHarry Whiteley
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A Numerical Card TrickTHE following experiment is an adoption of
a somewhat old trick. In its presentform it has puzzled many
leading conjurers, which, in our opinion, marks theproblem good
enough for publication.
Handing the pack to any person to shuffle, he is asked to take
notice of any cardbetween 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 thecards and, requesting some
other person to think of a number between twenty andforty, leaves
the room while a decision is being arrived at. Taking advantage
ofhis absence from the audience the performer quickly counts thirty
cards from thetop of the pack, and then replaces them on the top,
this operation causing theorder of the first thirty cards to be
reversed.
Returning to the room the conjurer asks for the number the
chosen card stoodfrom the top, and then the number selected between
twenty and forty, promisingto 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 othernumber be chosen
the conjurer must equalise this by passing from the bottom tothe
top (when the number is over thirty) representing the difference
betweenthirty and the selected number. When the selection is under
thirty the differencemust be passed from the top to bottom.
Remarking, "We will commence to countat the number the card first
stood," the conjurer suits the action to the word, andif the
directions have been properly followed, on arriving at the selected
number,the card chosen in the first instance will be
discovered.
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Miracles of Modern MagicHarry Whiteley
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A New Hot Coffee TrickTHIS effect should make a capital addition
to the Kettle Act, although it iscertainly an admirable trick by
itself. An ordinary looking kettle has, we will say,been resting
innocently on the wizard's table throughout the performance.
Intothis the conjurer pours ground coffee and pure water. A few
moments elapse andthe kettle boils without being placed near a
stove. Immediately the contents arepoured from the kettle into cups
and handed to the audience who pronounce theresult to be most
excellent coffee.
The kettle is of the stamped variety with the spout high on the
shoulder. Insidethere is a cylinder fastened in the centre of the
kettle and reaching nearly as highas the spout. This cylinder is
fitted with a lid and provided with a spout of itsown, which is
continued half way along the spout of the kettle proper.
Thecylinder contains lukeward ready-made coffee, while the portion
of the kettleround the cylinder is loaded with a few pieces of
builder's lime. The groundcoffee is dropped on to th elime, and
also the water (which should have the chilljust taken off) is
poured in the same outer cavity. So soon as the water acts uponthe
lime the kettle will steam and the lukewarm coffee boil. There is
absolutelyno taste of lime in the coffee poured from the kettle,
and the only smell is thearoma of coffee.
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Miracles of Modern MagicHarry Whiteley
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The Tin Trunk Release
TO BE locked in a borrowed steel trunk and yet escape without
injuring thiscurious 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 acouple of small bolts and nuts, the lock on the body
being secured in a similarmanner. After entering the trunk the
performer takes from his pocket a smallscrew key, and at once
applies himself to unscrewing the nuts in the lid. By thistime the
box should have been lifted into the stage cabinet, and the
curtainsdrawn. Now the imprisoned one pushes out the bolts securing
the hasp, thisallowing 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 forwardfor inspection the
uninjured trunk.If the trunk manipulator can pick the trunk lock
there is no occasion for him toprocure a duplicate key, but how
many manipulators can pick even thecommonest of locks?
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Miracles of Modern MagicHarry Whiteley
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Hat, Candle, and HandkerchiefCombination
A HANDKERCHIEF is dropped in a hat covered with a plate, now a
sheet ofpaper torn from a whole newspaper is shown empty and rolled
into cone shapeand the top folded in. A lighted candle is next
removed from its stick, wrapped ina second piece of newspaper, and
then replaced in the candlestick. The problemis to cause the
handkerchief to vanish fromthe hat, then to tear up the
ostensiblecandle and find it has disappeared, next to discover the
handkerchief in the papercone, 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 tubethrough which a strong thread passes, attached at
one end to the table andterminating at the opposite end in a small
hook. The utility of this apparatus willappear later.
One sheet of the newspaper used in the trick is prepared by
pasting a secondsheet over it, all sides being fastened with the
exception of a small space at one ofthe corners. Inside this double
piece of paper the duplicate handkerchief isconcealed.
The "candle" is simply a sheet of white glazed paper rolled to
imitate the genuinearticle, 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 abstractingthe wick and inserting in its place a silent
striking match, with a small piece ofemery 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 thethread. In the dropping, a portion of the handkerchief is
allowed to hang over theside of the hat, and this piece is pushed
in with the wand. This action gives anopportunity for moving a
little away from the table, this causing the thread totighten 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 thecandlestick, while the cone is constructed from a
sheet torn in the spectator's
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presence. In making this the open corner must be at the top
left-hand side, whichcorner is gripped between the thumb and finger
of the right hand and rolled fromthis 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 hatempty, produce the handkerchief by withdrawing it
from the cone, and, as afinale, to bring the lighted candle from
the pocket.
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Miracles of Modern MagicHarry Whiteley
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The Kari-Kari Bird Trickby Chas. Trickey
FOR this exceptionally clever problem two cardboard cylinders
claim our firstattention. 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, andprovided at the top
with a projecting hook of stiff black wire. This hook answerstwo
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 , asoccasion demands. The
smaller tube has a bottom to it. Two tin covers or lidsmust be
procured to fit either end of the largest cylinder. The birdcage
usedshould 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. Thesmaller cylinder must be suspended by
means of its hook on the back of the cageout 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 onone end of the tube. Now take this cylinder, and
pick up the cage to let the doorbe 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 dovebrought 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 headoff. What really happens is this: The head
is simply tucked under the bird's leftwing and retained there by
pressure of the fingers of the left hand, while thedummy head is
exhibited in the right and then thrown on the table. The bird isnow
taken back in the right hand without the head being released, and,
picking upthe cylinder in the left, the bird is thrust head down
into the tube. Now, as if tomake more room, the cage is lifted from
the table and placed on a chair. This isthe most subtle move in the
trick. The cage passes with an upward movement infront of the
cylinder, and the inner tube is hooked on to the bar at the back,
andleft there. The second lid is now placed on the cylinder, and
this stood on aninverted tumbler. Anyone may now step up and open
the cylinder, when, ofcourse, they find the "bird has flown!"
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To conclude the trick a duplicate dove should be produced from
the coat of agentleman who stepped up to examine the cylinder.
Doubtless some of ourreaders may prefer to dispense with the head
wringing. This, of course, will notinterfere with the effect.
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Miracles of Modern MagicHarry Whiteley
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Production of a Solid Walking-StickBy Chas. Trickey
A BLACK, silver-mounted, straight walking-stick is required.
This is pushedthrough the breast of your dress waistcoat, passing
down left trousers leg, whereit 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 acone. In making this cone the
conjurer tears a slit near the bottom, making a gashabout three
inches long in an upright direction. The paper is now brought to
thefront of the stage, in order that the audience may see there is
nothing in it. Inturning round to walk back, the handle end of the
walking-stick is quickly drawnfrom the vest and pushed through the
slit, and then turning, with the left side ofthe spectators, the
conjuror shows his right hand empty, and plunging it into thecone
draws out the stick. This should be handed to the audience, and the
papercrushed up and thrown aside.
It may be considered an improvement to vanish a duplicate stick
beforeproducing the one from the cone. This may be done with the
aid of a glazed paperimitation of the original timber. The paper
stick should lie on the table underthree or four sheets of
newspaper. A duplicate solid stick may be given forinspection, and
apparently wrapped in one of the sheets of newspaper. Of coursethe
genuine stick is left hidden under one of the sheets, while the
paper one issubstituted. When this one has been wrapped up, the
package can be crushed andtorn, which is all that may be desired in
the way of proving the stick to havedisappeared.
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Miracles of Modern MagicHarry Whiteley
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Inflated Balloons Produced from a Hat
THIS quite recent addition to the stock-in-trade of a conjurer
is well worthy aplace 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 numberof much smaller balloons are
required (the smallest obtainable), which cost half acrown per
gross.
Bicarbonate of soda and tartaric acid prove the most reliable
inflating agents, aquarter of a pound of each material sufficing to
inflate about half a dozenballoons. The tartaric acid should be
emptied in a jam jar of similar vessel, justcovered with water and
allowed to stand. With the assistance of a syringe thistartaric
water is pumped into one of the small balloons until it attains the
size of asmall egg; it is then tied up at the mouth and inserted
through the neck into thelarger balloon. Into the latter is now
placed a table-spoonful of bicarbonate ofsoda and then tightly tied
up. When it is desired to inflate the balloon it is nonlynecessary
to squeeze it from the outside. The pressure breaks the skin of
tartaricwater, which, acting on the carbonate, causes an
effervescence that fully expandsthe balloon in a few seconds.
If using an opera or crush hat for the trick, four of the
prepared balloons can beconcealed beneath the springs, the hat
lying closed on the table. This avoids thenecessity of loading,
which operation is necessary when an ordinary hat is used.
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Miracles of Modern MagicHarry Whiteley
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An Original Billiard Ball ProductionTHIS effective little trifle
was first introduced by Mr. Max Sterling in 1892, andproved one of
the most puzzling sleights in that entertainer's drawing-roommenu,
and is now for the first time published.
The performer displays both hands, apparently empty (by
cross-palming), andplaces both hands perfectly flat, palm to palm,,
facing the audience; the hands arethen slowly opened from the
wrists, the finger tips still touching while the fingersthemselves
are stretched as far apart as possible. A gentle turn is now made
withboth hands until the palms are outward toward spectators, and a
billiard ball isdiscovered resting on the still-touching
fingertips.
Like many another good thing the secret is simplicity itself. A
two and a quarterinch hollow rubber ball (cost twopence) is all
that is required. A small hole is cutin one side after the manner
of the handkerchief ball. This enables the ball to becrushed
perfectly flat between the closed palms; on opening from the wrists
theball is retained palmed in the right hand until all fingers
which must still touch atthe tips, are apart. On turning the now
open hands upward and outward, thepalmed ball is released and runs
down the fingers into the cradle naturally formedby the touching
tips.
The rubber may be enamelled or waxed and varnished red, and so
real inappearance is the result that detection is impossible even
at close quarters. Thenatural elasticity of the rubber causes it to
at once resume its spherical shape themoment pressure of palms is
released If any difficulty is experienced in thepreparation of the
ball, they may be procured to order through Ornum's MagicalStores
or other dealers.
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The World in a Nutshell
ONE of the most graceful effects ever worked in a drawing-room,
full of subtlehumour, expectancy, and bewildering artistic
dnoement, is also culled from therpertoire of Mr. Max Sterling, who
has staged it under the above title, without,however, claiming its
conception. That gentleman informs the writer that itoriginally
formed a special feature in the programme of the late Mr.
SydneyPridmore, of Hinckley, with whom he was closely
associated.
Through somewhat troublesome to prepare, the brilliant reception
it alwaysachieves well repays the time and labour expended, and in
the hands of a skilfulworker, 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 andtied, and handed to one of the audience to hold.
A lady's ring is borrowed adnvanished into the heart of the parcel
held at the opposite side of the room. Theparcel, on being opened
by its custodian, is seen to contain a cokernut; this isbroken with
a neat small hammer, and in turn contains another parcel
securelytied and sealed; the second parcel contains a lemon which,
on being peeled,discloses another small parcel securely tied and
sealed; this final parcel coversand egg; the egg is held at the
finger tips of performer and broken by a tap of thehammer by one of
the audience; both ends are thus pierced, and from the egg asmall
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 borrowedring tied to them by a neat bow of beb ribbon;
this is handed intact to the ownerfor 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 flowersinto the egg. The rest requires
elaborate and careful preparation, therefore aminute 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 andcarefully sealed with wax. A large size lemon is the
second requisite. The skin isdivided lengthwise by a sharp clean
cut with knife, and then gently peeled fromthe fruit that the juice
may not saturate the skin itself. The two half-shells thus
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obtained are placed over the parcel containing egg until they
join again exactly. Astout sewing needle and strong white cotton
joins them, or very small pins maybe used. If this work is done
well it should be impossible to detect the joining atclose
quarters. It must now be wrapped up, tied, and sealed. Finally,
thecokernut--a fairly large one--should be selected, and broken
with great care bylight hammering whilst being revolved in the left
hand; constant tapping allround 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 joinneatly,
pressing tightly the while until it is firmly fixed. Should the
join be toopalpable a small amount of light earth or dust may be
rubbed on to the exudingcement until the shell appears perfect;
then it is ready for its wrapping of brownpaper, and finally inthe
cover of some favourite periodical. Mr. Sterlinginvariably 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 offlowers
until wanted; also, a small pocket slightly below the thigh of the
rightleg, to hold the vanished ring.
A neat hammer, penknife, piece of flash paper, and matches
complete the list ofproperties. The hammer, etc., and parcel may
remain on your table throughtoutyour programme if this is to form
your grand finale, and in introducing it youmay explain to your
audience that: "Undoubtedly you have been wondering whatthe
strange-looking parcel on my table has to do with the magical
effects I haveworked before you. The fact is simply this, it forms
my constant travellingcompanion--in fact, my portmanteau, for it
contains the world in a nutshell. Thewizards of India never perform
without it, and claim for it the marvellousproperty of collecting
anything that may become mislaid or lost during anentertainment. If
anyone present should lose their senses, or even more
valuableproperty, all we have to do is to investigate the contents
of the mystic parcel, tofind the missing article reposing carefully
packed within its centre. I willendeavour to give you an
illustration of my argument. Kindly name anything youhave 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 maywitness the full process. Will
any lady trust me for a few moments with adiamond ring; one
distinctive enough to preclude the possibility of myduplicating it?
You will observe that the parcel is securely sealed and tied,
andperfectly free from springs or trap-doors. Perhaps you will note
that it is wrappedin the cover of Pearson's popular weekly, but
Tit-bits Anwers quite well. Somany valuable articles are always to
be found within those covers--they containthe world in a
nutshell."
A volunteer is invited to hold the parcel within full view of
the audience and asfar 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 isasked to blow upon
the paper--usually the most consumptive-looking young man
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is chosen as the victim;--several attempts are to be made in the
blowingefforts--the paper can be unfolded again to prove the ring
present. Accuse theassistant of not blowing in a straight
direction--that of the upheld parcel. Light amatch or candle, that
he may see better, and in changing the paper from right toleft 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 shownempty. Direct attention to the parcel, and to
the gentleman's responsibility for themissing 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 handsunder coat tails; take ring from
pocket, and tie on to ends of beb ribbon, thenagain into a neat
double bow. By this time the first wrapper if off, and displaysthe
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." Takehammer, 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 andpocket the peel, that the secret joining may
not be discovered. Get the last parcelopened, and, as egg is found,
remark, "These are also grown for me on a veryspecial tree--I mean,
laid for me by a very special hen." Give hammer to yourtemporary
assistant, and offer the egg to him at the tips of your right hand.
Yourleft 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 theegg itself, and
handed to the lady who loaned the ring, with a few
complimentarywords terminating the trick.
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A Floating Billiard Ballby Ed. Fielding
AFTER other sleights the performer offers to repeat a pass
slowly, for thebenefit of those who have not been able to follow
his movements. The ball istaken 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 oncegiven for
examination. To add to the effect the conjurer can bring his
handsnearer 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--blacksilk thread.
Two dressmakers' eyes must first be sewn inside performer's
trouser leg at thetop, about one inch apart, and over the right
trouser leg. The thread is now passedby a needle through the
waistcoat from the inside, level with the top edge ofright-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 threadand teh ends tied together. The double thread
is now passed through the eyenearest trouser fly, and put over the
pulley wheel on weight, which is droppeddown trouser leg.
The thread is next passed through the second eye, and then
secured by loopingover one of the trouser buttons. In working the
trick, while calling attention to theball (which should be of light
wood or ivorine), the first finger of right hand isslipped 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 goesbetween the threads, so that when hands are drawn apart a
double thread, alwaystaut, is provided, and along this set of lines
the billiard ball runs from hand tohand, according to which is
elevated.
Immediately the trick is over, and the thread is slipped from
the fingers, theconcealed weight draws it back to the waistcoat,
and leaves the performer free toshow both his hands and the
ball.
The same apparatus can be used for the floating wand.
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By using an indiarubber ball, coloured to match the solid one, a
finer thread maybe used, enabling the performer to perform it at
quite close quarters.
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Miracles of Modern MagicHarry Whiteley
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An Improved Swallowing WandTHE following will be found a most
useful addition to the effect of the conjurerusing the swallowing
wand. By means of our improvement the wand may bepushed through the
assistant's back or through a borrowed hat, since the
nickelendpiece 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 endsis 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'sback, while the two faked ends (one of nickel
and one of paper) are palmed on tothe opposite extremity. Now, by
slightly tilting the wand, the inside black collarslips out and
travels down the wand, dropping over the bottom nickel end,
thisproducing 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 endbeing pushed along the
wand (which passes up performer's sleeve) until within afew inches
of the "victim's" body.
To pull the wand out again, the left hand is brought into use,
apparently to assistin extracting the stick which the audience are
assured is stuck. In reality the lefthand palms the black collar
and holds the wand while the nickel fake is drawnupward. At the
finish the black collar is retained in the left hand, the wand
isthrown from the right (which conceals nickel end) to the audience
for them to"discover the hidden spring."
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Miracles of Modern MagicHarry Whiteley
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Whiteley's Three-Card TrickWE VENTURE to believe the following
card trick will be as acceptable toreaders 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 passround and
permit three different persons to take one card each. Performer
nowasks that the cards may be marked for subsequent identification,
after which theassistant has them placed back in the pack and
shuffled, and then brings the cardsback to the conjurer, who gives
them a final mix, and then puts the pack in theinside breast-pocket
of assistant's coat, asking him to "take the chair" for a
fewmoments.
The performer now comes among the audience, and just as he steps
from thestage the assistant startles everyone by hastily jumping
from his chair andindicating as delicately as possible, that a
certain spot has been touched, and, ifhe is a good assistant, will
make it apparent that his dignity has been hurt at thesame time. On
his turning to the chair to investigate the reason of his sudden
risein the world, the audience see a playing card sticking to his
back. This card isproved to be the first one selected.
The conjurer has now passed accross the room and asks for the
name of thesecond card chosen. The card is named, and the performer
at once picks out someinoffensive gentleman many yards from him,
and requests that individual toremove the named card from his
pocket! This is done, and the card is found to bethe identical one
in question.
Returning to the stage the conjurer asks for the name of the
third and last card. Itis given, and he proceeds to inform his
assistant that the cards have beenhighly-magnetised and if he will
rub the first three fingers of his left hand on hisright arm
briskly, and then, without allowing the magnetism to escape,
quicklydip the fingers in the pocket and pull out one card--the
selected one will rise intohis hand. When this information has been
acted upon the asistant's hand emergesfrom 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 ofcheek. The asistant has three cards taken from
the long or wide pack and returns
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to the stage. While the cards are being marked the conjurer
changes the pack forthe short or narrow ones, among which the three
selected cards are collected. Bya casual shuffle the conjurer
brings these cards to the top, palms two off, andplaces the
remainder (with the third chosen card uppermost) in the
assistant'spocket. While doing this the assistant is asked to jump
off the chair and pretendsomeone has run a pin in him directly the
conjurer says, "One of the cards----" Heis now seated in the chair
and, while making him confortable, the performerpushes one of the
palmed cards under the assistant's coat collar at the back, thisnow
leaving one still palmed.
Here the conjurer comes from the stage, and says: "Ladies and
gentlemen, one ofthe 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'sby-play. During the
laughter which is incident always evokes, there is generallyplenty
of opportunity for dropping the palmed card in a gentleman's
pocket, hishat, under a chair, or on a lady's hat. If no
opportunity offers itself, lay your handdeliberately over some
gentleman's pocket, push the card home, and speakingfrom the
opposite side to withdraw his attention, say: "You won't mind
mesqueezing through--I want to get on the other side."
It will now be apparent as to how the first two cards are
discovered; the thirdmethod is probably known already. Given only
three fingers wherewith to extracta card from his pocket, the
assistant cannot fail to take the top one, which is ofcourse what
is desired, and this brings the trick, and also this modest manual
to a
FINIS
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Miracles in Modern MagicCoverPrefaceIntroductionThe Great Magic
Kettle ActThe Wandering OrangeDestiny--A Novel Card TrickA
Numerical Card TrickA New Hot Coffee TrickThe Tin Trunk ReleaseHat,
Candle, and Handkerchief CombinationThe Kari-Kari Bird
TrickProduction of a Solid Walking-StickInflated Balloons Produced
from a HatAn Original Billiard Ball ProductionThe World in a
NutshellA Floating Billiard BallAn Improved Swallowing
WandWhiteley's Three-Card Trick