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KING KOKO

KING KOKO OR

THE PRETTY PRINCESS AND THELUCKY LOVER

A CONJURING ENTERTAINMENT IN THE FORMOF A FAIRY TALE

WITH PRACTICAL INSTRUCTIONS

BY

PROFESSOR HOFFMANN AUTHOR OF

"MODERN MAGIC," "MORE MAGIC," "LATER MAGIC," ETC.

WITH ILLUSTRATIONS BY H. L. SHINDLER

LONDONCHATTLO & WINDUS

1904

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PRINTED BYWILLIAM CLOWES AND SONS, LIMITED,

LONDON AND BECCLES.

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PREFACE

This little book may, I believe, claim to be the first attempt to present a drawing-roomconjuring entertainment in the guise of a connected story.

A portion of the fairy tale thus practically illustrated by conjuring tricks was writtensome years ago for my own use, and was received with hearty approval by many juvenileaudiences. Coming recently across the manuscript, it struck me that with some amount ofrevision, and the addition of a second chapter, explaining how the marvels described are tobe accomplished, it might interest a larger public. This little book is the result.

In making my selection of magical effects, I have not aimed specially at novelty, buthave given the preference to such items as appeared to fit easily and naturally into the story.Where, however, I have introduced an old trick, it will be found to be so rejuvenated by thealtered mode of presentation as to be practically new.

In point of execution, none of the tricks describedpresent any serious difficulty; in fact, with one or two exceptions, all are within thecompass of the most modest amateur. On the other hand, all are, in their way, effective; andI venture to believe that the novelty of the setting may commend it to more skilledperformers.

I have made considerable additions to the original story, not with the idea oflengthening the performance (of which an hour should be the outside limit), but in order togive the narrator a wider range of selection. Many of the incidents are merely parentheticalto the plot, and may be omitted without any detriment to the general effect. An amplemargin in this particular has the advantage that it enables the performer to vary hisprogramme on different occasions.

The few requirements in the way of apparatus (of which a priced list is given at theend of the book) are, for the most part, of an inexpensive character, and extremely portable.The performer works throughout single-handed, no assistant being necessary.

LOUIS HOFFMANN.

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CONTENTS

[The figures in the first column denote the appropriate page in Chapter I. (the "Story"portion); and those in the second column the corresponding page in Chapter II., wherein theexplanation of the trick is given.]

TRICK PAGE PAGE1. THE INSTANTANEOUS PRODUCTION OF A ROSEIN THE PERFORMER'S BUTTONHOLE

14 62

2. THE MAGIC WAND SUSPENDED IN AIR WITHOUTVISIBLE SUPPORT

17 65

3. A BORROWED HALF-CROWN MELTED IN A CANDLE 20 7I

4. A BORROWED HALF-CROWN DISSOLVED IN AGLASS OF WATER

25 76

5. A GLASS OF WATER HELD UPSIDE DOWN WITH-OUT SPILLING

28 81

6. A SHOWER OF BONBONS MADE TO FALL FROM ABORROWED HANDKERCHIEF

29 83

7. A QUANTITY OF FLOWERS PRODUCED FROM ANEMPTY PAPER BAG

30 86

8. A BROKEN FAN MAGICALLY RESTORED 33 85

9. A BORROWED HANDKERCHIEF REDUCED TO LILLIPUTIANDIMENSIONS

34 90

10. A DRAWER, SHOWN EMPTY, REPEATEDLY BECOMES FULL 35 93

11. TWO CARDS MADE TO RISE AUTOMATICALLY FROM THEPACK

38 98

12. THE SAME CARDS, PLACED SEPARATELY IN DIFFERENTPIECES OF APPARATUS, ARE MYSTERIOUSLY BROUGHTTOGETHER

41 101

13. THE ANTI-GRAVITATION BALL, WHICH MOVES UPWARDS ONA CORD, INSTEAD OF FALLING

42 105

14. WRITING MAGICALLY PRODUCED UNDER GLASS IN A FRAME 44 106

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15. SIX AND FIVE PROVED CONCLUSIVELY TO BE THIRTEEN 46 108

16. WHITE SAND AND GREY SAND, MIXED TOGETHER IN WATER,BROUGHT OUT AGAIN SEPARATELY, QUITE DRY

47 109

17. THE RAINBOW WATER, CHANGING COLOUR AT COMMAND 48 116

18. THE MAGIC DIE, PROVED TO BE IN TWO PLACES AT THE SAMETIME

52 111

19-20. THREE NUMBERS ADDED TOGETHER WITHOUT SEEINGTHEM, AND THE TOTAL MADE TO APPEAR ON A SLATE,PREVIOUSLY CLEANED

55 117

APPENDIX 124

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FULL-PAGE ILLUSTRATIONS

TRYING TO MAKE GOLD ... ... Frontispiece. See p. 19

CHAPTER I.-THE STORYPAGE

KING KOKO 'AT THE POLICE COURT ... ... 21

THE PRINCESS AND HER FAIRY GODMOTHER ... ... 39

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KING KOKO C H A P T E R IT H E S T O R Y

L A D I E S and gentlemen, I have undertaken to amuse you this evening by telling you a fairytale. No doubt you have all heard many fairy tales in your time, but you didn't believe them.You were told about all sorts of wonderful things, but you had to take them on trust, and youwere not equal to it. But that was the old style of fairy tale. Mine is on a much more up-to-dateprinciple. Everything is solid, copper-bottomed fact. When, in the course of my story, I tell youabout some miraculous occurrence, I shall not ask you to take my word for it, but I shall let yousee it happen, then and there, for yourselves.

You will naturally wonder how I am going to manage it. I'm not a fairy myself; you cansee that at a glance. And, between ourselves, I shouldn't care to be. I'm not the figure for it, for.one thing; and I shouldn't fancy sitting on a mushroom, or tripping it on damp grass at twoo'clock in the morning, which is the fairies' notion of healthy enjoyment. That sort of thingmay be all very well for Mr. Puck, or for King Oberon and Queen Titania, but it's not mystyle.

But though I am not a fairy, I possess a good many magical powers. The fact is, I amlucky enough to own a genuine magic wand. My great-great-grandmother once did some littlekindness to a fairy lent her an umbrella on a wet night, or something of that sort andthe fairy, in return, gave her a magic wand, which has been preserved in our family eversince. Here it is. (He exhibits wand.) It is nothing particular to look at, as you see; but if youonly have a wand like this, and know how to use it, you can produce all sorts of wonderfuleffects, without any trouble at all.

For instance, on occasions like this, I always like to wear a flower in my buttonhole,but to-night I forgot to provide one. Now, if I didn't possess a magic wand, I should have togo without; but having the wand makes all the difference, as you will see. I shall supply thedeficiency by borrowing a rose from some young lady's cheek. I see a lady over there wholooks as if she could spare a rose. She smiles, which is a favourable sign. May I take a rosefrom your cheek, madam? Pray don't be alarmed; you won't miss it. I shall not even comenear you. I shall take it Marconi-fashion, by wireless telegraphy. I just wave the wand, andcall it to me so. (He makes believe to draw something from the lady indicated to himself,and place it in the buttonhole of his coat.) Thank you; it is a very pretty one. What do yousay? You don't see it! I dare say not; that is the peculiar nature of this kind of rose. You haveheard of "invisible green," haven't you? Well, this rose is "invisible red," so of course youcan't see it. But it's there, all the same.

You don't believe me, I see, so I suppose I must make it visible for you. It's easilydone if you have a magic wand. It only needs the mystic touch. Watch me carefully. Keepone eye on the buttonhole, and the other on the wand, and then I can't possibly deceive you,even if I wanted to do so. One Two Three! (A rose appears in the buttonhole.)

Now you can see the rose; a very charming specimen, as you must all admit. As I toldyou, it's all done by the power of the wand. Without it, the rose would have remainedpermanently invisible, and nobody would have been any the better for it.

I beg your pardon! I think I heard somebody say that the wand had nothing to do withit. She said, too it was a lady who said it that the wand, my revered great-great-grandmother's wand, was only a bit of stick. A bit of stick, indeed! Somebody will be sayingnext that I never had a great-great-grandmother. When I come to think of it, I'm afraid I can't

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prove that I ever had. I think I must ask you to assume my great-great-grandmother. But I canprove the magical qualities of her wand in the most convincing manner.

First, I should like some gentleman to examine it carefully. Take it into your ownhands, sir. I want you to be thoroughly satisfied that no trick or mechanism, of any sort orkind, is employed. You don't notice anything peculiar about it? No. Nor would you, howeverlong you might examine it, because, as a matter of fact, there isn't any. In one sense it is, asthe lady remarked, a mere ordinary piece of wood. But no ordinary piece of wood can do theextraordinary things this wand will do. I'll show you just one of them before I begin my story.

See! I just take it in my hands so (Fig. 1),* and magnetize it by drawing them apartonce or twice in opposite directions; first, the right hand, and then the left. And now, you see,when I open my hands, the wand does not fall, as you would naturally expect, but remainssuspended, by magnetic attraction, to the palms (Fig. 2). Or to the two thumbs only (Fig. 3) Or, again, it will hang vertically from one finger and thumb; it is all the same. From theright thumb (Fig. 4), or from the left thumb. (The wand is shown, self-suspended, ineach of the above positions.) Take the wand in your own hands, sir, and again examine it. Youwill find that there is absolutely no deception about the matter. In fact, there is no room fordeception. The only possible explanation is the one I have given you namely, that thissimple-looking piece of wood is a genuine magic wand.

This little interlude has made me all the longer in getting to my story. But it is yourown fault, ladies and gentlemen. You are so very sceptical. If you would only believeeverything I tell you at once, we should get on faster.

Once upon a time, in a certain country I say a certain country because I am notquite certain which it was, and I wouldn't deceive you, even in a little thing like that in acertain country there was a great king or, at any rate, a good-sized king namedKokolorum the Irascible. His subjects, for the most part, used to call him simply " Koko," re-serving the "lorum" for use on Bank Holidays and other State occasions. He was very plainhimself, both in his language and his features; but he had an extremely lovely daughter, thePrincess Belinda Maria Katinka Sophia Jerusha Penelope Elizabeth Anne. She had severalother names, which I can't remember for the moment; but. those will do to go on with infact, if you don't mind, we will merely call her "Belinda," for shortness. Her papa called her"Belle," which is shorter still; and the Court Mathematician calculated that he saved nearlythree-quarters of an hour every day by doing so.

I don't know exactly how old she was, but she was just at the age when girls arenicest, whatever that is. As a matter of course, she had a sweet-heart. His name was Otto vonSmith. He was a good-looking young fellow; his eyes were real peacock blue, and he had alovely auburn moustache. The King called it "ginger," but the Princess said it was auburn,and of course she must have known best.

Unfortunately, the King had a prejudice against the name of Smith, and ginger Imean auburn moustaches. He would, however, probably have become reconciled to thesetrifling defects, but for the influence of his Prime Minister, the Baron von Schwindelheim.Between ourselves, the Baron very much wanted to marry the Princess himself. He was anugly little man, with red hair and blue spectacles, and he had a slight cast in one eye, but hehad an idea that he was extremely good looking. He was a sort of man-of-all-work to theKing, who bullied him a good deal, but generally took his advice in the end; and he never lostan opportunity of saying something disagreeable about Von Smith.

* The diagrams here referred to will be found in the second chapter, wherein the working of the tricks is explained.

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I forgot to tell you that the King was a bit of an alchemist, and used to spend the bestpart of his time with the Baron in the back parlour, which he had had fitted up as alaboratory, trying to make gold. They never quite succeeded, though they came near it (sothey said, at least) several times. One day Von Schwindelheim showed the King a sovereignwhich he professed to have made while his Majesty was away, taking the chair at a Mothers'Meeting. The King bought it of him for fifteen shillings, and thought he had a great bargain,but it got him into trouble. It was such a very bad one that, when he tried to change it, he was"run in" by the police, and very nearly got six months. As he was a King, the magistrate lethim off with a caution.

However, though they never succeeded in making money, they discovered several newways of spending it. One was a peculiar process for melting silver. If some one will obligeme with the loan of a half-crown, I shall be happy to show it to you. Mark the coin, sir,please, that you may be sure of knowing it again. Silver, as I dare say you know, only melts,in a general way, at a very high temperature; but Von Schwindelheim had discovered that ifyou first mesmerise it a little by rubbing it with the fingers so you can melt it in theflame of a common candle, like this one. When I say " a common candle," I don't meananything offensive. I wouldn't hurt the feelings even of a candle. I mean any ordinary candle.

You see, the coin is getting soft already. (He bends it backwards and forwardsbetween the fingers.) There is no deception. This is your own half-crown, sir, is it not? Yourecognize your mark? Good. I will rub it a little more, to strengthen

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the influence; and now, when I hold it over the candle, it should melt right away into theflame. (He rubs coin over candle flame, and then shows fingers, empty.)

It has melted away, you see. The Baron persuaded the King that it was lost for ever sacrificed upon the altar of Science. But he himself knew better. As soon as his Majesty'sback was turned, he used to nip that little bright point you see at the top of the flame (that'sreally the coin) so, and take it out again. Of course it was in a melted condition, as yousee. You don't see anything? Well, no, perhaps not for the moment, because the coin is atpresent in a state of fusion; but you will directly. As it cools, it takes the form of a little ball-like this. (A small ball of bright metal appears at the finger-tips.)

Allow me to return your property, sir, with many thanks. What do you say youwould rather have your half-crown? My dear sir, this is your half crown, only a little bitaltered. Oh! you would rather have it in its original shape? You should have said that at first,and I wouldn't have altered it. However, I'll try if I can flatten it out a little for you. I won'tguarantee to make it quite as it was at first, but I'll do the best I can. Come, it iscertainly getting rather flatter. The pattern seems to be coming back again, too, and I can seefaint traces of your own mark. I have succeeded better than I expected. (He hands back coin toowner.) I am afraid you will find the coin still rather soft. I should recommend you to sit uponit for a little while, to prevent its curling up at the edges. When it once gets cold, it will be allright.

Now I'll show you another favourite experiment of King Koko's. Von Schwindelheimhad got hold of a mediaeval recipe for a hair restorer, and he used to make it up, and supply theKing with four-and-sixpenny trial bottles of it for fifteen-pence. He had even persuaded theKing to write him a flowery testimonial, illustrated with his own portrait, saying that if it hadn'tbeen for "Von Schwindelheim's Magic Scalp Fertilizer," he wouldn't have had a hair left on hishead. He had only a little fringe all round, as it was, so it wasn't much of a testimonial; but hewas photographed with his crown on, so the picture looked all right. I'll show you directly howthe Magic Fertilizer was made, but excuse my interrupting the story for a moment I havejust noticed that a young gentleman over there has an orange in his hair; and as I shall bewanting anorange presently, I may as well borrow it at once. (Takes orange from spectator's hair.) Thankyou, sir, this will be extremely useful to me. I will put it here on the table till it is wanted.

Let me see where was I when the young gentleman with the orange interrupted me?Oh yes! I was just going to tell you how the Magic Fertilizer was made. You take a glass ofwater, a pocket-handkerchief, and a half-crown. Of course, if any one will lend them to you,you need not take them. I would always rather borrow than steal, myself, so we will tryborrowing first.

Who will lend me another half-crown? I would rather not have the one I melted in thecandle just now; I am not quite sure that that is a good one. I should prefer a good old well-worn coin, if possible. When a coin has been a long time in use, there is more animalmagnetism about it, and animal magnetism goes a long way in conjuring. Make a good boldmark upon it, please, and keep it till I want it. And now may I also ask the loan of a smallpocket-handkerchief? I won't trouble anybody to lend me the water I have some here.

First, I will fill the glass. Will some gentleman oblige me by holding it? (The glass ofwater is handed to volunteer assistant.) Hold it well up, sir, that everybody may be able tokeep an eye upon it. Now I will ask somebody else to hold up the orange, on the point of thisknife. (These are handed to a second spectator.)

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Please observe, ladies and gentlemen, that up to this point I have not even touched thehalf-crown, which has till this last minute remained in the custody of the owner. I will nowtake it, and throw the handkerchief over it so. This is done in order to concentrate theelectric force, because naturally, unless the peristaltic anhelations of the prismatichyperdynamic are maintained, the parallelogram of forces is disturbed, and the cosmic aurano longer retains its hyperboloid connection with the hepatic reticulations. You will realize atonce that such must be the case. Now, sir (to the person holding the glass), I want you to takehold of the half crown through the handkerchief, and hold it just over the glass. When I say"Three," please drop it into the water. Attention, please. I want every body to hear it fall in.One-two-three! Now take off the handkerchief. The half-crown is no longer there, or rather, itis there, but it is completely dissolved in the water.

That constitutes the Magic Scalp Fertilizer; and Von Schwindelheim persuaded theKing that if he only rubbed this well into his cranium he would soon have a beautiful crop ofcurly hair silver hair, of course. He little thought that, as soon as his back was turned, theartful old Baron used to take the money out of the water again. At first sight that would seemto be rather difficult, considering that it is completely dissolved; but I'll show you how it wasdone.

Von Schwindelheim had discovered that orange juice has the curious faculty ofrestoring the silver to its original solid condition. So he used just to take an orange, stick iton the point of a knife, and pour a little of the Fertilizer over it like this (he suits the actionto the words), when the half-crown immediately passed into the orange. I have no doubt it hasdone so now. (To the holder.) Cut the orange open yourself, sir, please, and see whether thecoin has materialized. (This is done, and the half-crown is discovered inside.) Yes ; here is thehalf-crown, you see, with the owner's mark still upon it. It is rather wet, I am afraid. Allowme to wipe it for you. (He wipes coin with pocket-handkerchief.) That is better. (To thelender.) There is your half-crown, sir. Will you be good enough to look at the mark, and tellthe company whether that is really the coin you lent me? (The owner identifies the coin.)

Of course, when the silver is taken out of it, the magic hair restorer becomes just plainwater again. Von Schwindelheim used to eat the orange, and pocket the half-crown; but thepoor King kept on rubbing and rubbing, though, for all the good it did him, he might just aswell have rubbed his head against the parish pump.

There was, however, one curious thing about it. The water became more dense thanusual; and if you had a steady hand you might even turn the glass upside down, and it wouldnot fall out. I'll try it, though I don't know whether I shall succeed. I am afraid the half-crownwas hardly left in long enough to have the full effect. (He inverts the glass, but the waterdoes not escape.) It is all right, not-withstanding, you see. All that it needs is a steady hand,and plenty of nerve. My own idea is that the water is taken by surprise. It doesn't know whetherit is standing on its head or its heels, and while it is making up its mind it forgets to fall out. It'sreally very simple. Will some gentleman try it for himself ? Place your hand flat on the top ofthe glass. Now turn it over. And now take your hand away. (The waterfalls out.) Dear, dear!that is a pity. I fancy you were a little bit nervous. I warned you that it required a very steadyhand.

However, to return to the Princess and her lover. The King, as I have already told you,wouldn't have anything to say to Von Smith; and the young people would have been in despair,but fortunately, Belinda had a fairy godmother. Now, you know, fairy godmothers always givetheir god-child something extra special in the way of a christening present. Belinda's gift fromher godmother was rather a curious one. It was the sweetest breath in the world. I hardly know

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how to describe it. It was a combination of the scent of roses and violets and lilies of the valley,with just a suggestion, hardly enough to notice, of rum-punch.

As you would naturally expect, a breath of such a superior kind had sundry mysteriouseffects.* If a lady will lend me a handkerchief again, I'll show you one of them. If the Princesswanted a little light refreshment, she had no need to go into a pastry cooks shop, like otheryoung ladies. She had only to take her handkerchief like this, and breathe on it, when a showerof sweets immediately fell from it. Which young lady will hold this plate, and breathe for thePrincess? (The performer holds the handkerchief over the plate, with the four cornershanging down around it. When the lady breathes on it, a shower of bonbons falls on theplate.)

The King took it into his head that the spell lay in the handkerchief, so one day he gothold of one of Belinda's pocket-handkerchiefs, and made the Baron hold it for him. Then hetook a long breath, and blew as if he was playing the trombone. Who will blow for the King?(Some one does so, when an onion falls from the handkerchief.) But it doesn't do to tryexperiments in magic. It unfortunately happened that his Majesty had been having roast porkfor dinner; and you see the painful result.

Another magical effect of the Princess's breath was flower-growing; producing lovelyflowers out of nothing at all. She had no need of seeds to sow, or earth to sow them in. Shedidn't even trouble to go into the garden. She just took a sheet of white paper, twisted it into aconical bag, and fastened it with a pin like this. (He suits the action in each case to thewords.) Then she just breathed into it, and presently the flowers appeared.

I beg your pardon! I think I heard somebody say I had put something in the bag. Prayconvince yourselves that I have not done anything of the kind. I really feel hurt that youshould imagine I would be guilty of such a thing (particularly while you are looking straightat me). See for yourselves. Nothing here (showing left hand empty); nothing in the bag; andnothing here (showing right hand empty).

Now, if you have fully satisfied yourselves that I have nothing in my hands, and thatthe bag is absolutely empty, I will ask some young lady to breathe into it for the Princess.You will, madam? Thank you. A good long breath, please. Nothing in the bag as yet, is there?Breathe once more, please, to strengthen the influence.

Now, would the lady at the piano oblige with a little soft music; something aboutflowers, if possible say, "The Bluebells of Scotland," or "The Last Rose of Summer"? Ifind that a little music of that kind brings forward the flowers more rapidly; it makes themfeel more at home, perhaps.

Some of them ought to be here by this time (he glances into bag), but somehow theyseem a bit slow in arriving to-night. It is all right, though, for I can feel that the bag is gettingheavier. Yes, here is the first arrival; and when one makes a start, the others are never verylong in following. Here is another, and another. They are beginning to come quite fast now.(He takes flowers from the bag, at first singly, then three or four together.)

You will understand, no doubt, that these are not mere "common or garden" flowers.These are quite unique specimens. They are something like orchids, only more so. This one is atricosserorum. This is a pittapatta, and this one is a specimen of , crocodilla jocosa. Here is apiccalillia, and this one is a dinnabella furiosa. Botanists stand on their heads with excitementwhen I show them these flowers. They have never seen anything like them.

* It will be observed that four of such effects are described in the text, but not more than two, at most, should be exhibited on the same occasion.

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I haven't time to tell you the names of all of them; they are coming too rapidly. Herecome some more, and yet more. There is no room for, deception in the bag, at any rate for you see it is still quite full of flowers. I will pour them out into this basket. (He empties baginto basket accordingly.)

The bag is empty at last, and I will show you the paper once again, so that you may bequite sure that everything has been exactly as I have represented it. (He removes pin, andshows both sides of paper.) But the paper still seems heavier than it ought to be. There must bemore to come, some-where. Perhaps there are some on the other side. (He reforms the baginside out, and continues the production.) Yes, I thought so. Here is a shrimpsia, and here is ablobbinella bulgens. And here is another, and another. That's the worst of the fairies. Whenthey do begin, they never know when to leave off (He shows bag again full, and poursflowers into basket.) I must crumple up the paper, or this will go on for the rest of the evening.(He does so, and throws it aside.)

Another curious effect of the Princess's breath was mending things. I don't mean ugly,common things, like boots or broom-handles, but light fancy articles. For instance, I have herea fan belonging to a lady friend of mine. She has had the misfortune to break it, as you see.Now, in a general way, you would consider a fan in such a condition completely done for, andyou would throw it away. In fact, that's what my lady friend was going to do, but I asked her tolet me try the effect of the Princess's breath. (He shows broken fan, open, then closes it.) Whowill breathe for the Princess this time?You will, madam? Thank you. (The lady having breathed upon the fan, it is opened, andfound to be in perfect condition.) I told you how it would be. You see, the fan is completelyrestored.

But even now you haven't seen quite all the magical effects of the Princess's breath. Ifshe was going to the seaside for a week or two, she had no need to bother, like other youngladies, with a great big dress-basket, or even a hatbox. She could carry all her garments in abox no bigger than a tea-caddy. Here is her own particular travelling trunk. Of course, to gointo so small a space, the garments had to be reduced in size, and that's where the Princess'smagic breath came in useful again. I'll show you how it was done. Will some lady once morelend me a handkerchief, the smaller and finer the better?

Now we will suppose that this was the Princess's own handkerchief, and that shewanted to make it still smaller. She just breathed upon it so, waved it about a little so,rubbed it a little so, and squeezed it a little so; and when she spread it out again, it hadcome down to half its original size like this. (Handkerchief shown reduced to half size.) Ifshe wanted it smaller still, she had only to breathe on it again, and rub it a little more, and itimmediately became as small as this (handkerchief shown still further reduced), and couldbe packed up into just nothing.

You will understand, of course, that the effect wasn't confined to pocket-handkerchiefs. The Princess used to serve all her clothing in the same way. If any young ladywill oblige me with well, no, perhaps on this occasion we had better stop at handkerchiefs but whatever the garment was, the effect was precisely the same.

When the Princess wanted her things larger again, all she had to do was to breathe onthe other side of the article, rub it a little, and stretch it a little. That broke the spell, and itgradually got larger and larger. In fact, one day she kept on too long, and a nice littlehandkerchief got so large that the house-keeper had to take it into use as a tablecloth.

As I was telling you just now, this is the Princess's travelling trunk. You will noticethat its construction is peculiar; it's a sort of chest of drawers with only one drawer. It is very

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portable, and extremely elegant you can see that much for yourselves; but these are thesmallest of its recommendations. If you have a portmanteau like this, you never need beafraid of thieves. All you have to do is to pack up whatever you want, and when you havefinished, push in the drawer, and say softly, "Hey presto polypodium!" when all the articlesimmediately become invisible. Just now, you see, the drawer is empty. (He pulls out thedrawer, shows it empty, and closes it again.) Stop a bit, though ; I am not so sure about that.It feels rather heavy for an empty drawer. I see how it is! It is really full, but the contentshave been made invisible in the way I have described to you. To render them visible, we shallhave to reverse the spell. The question is, how to manage it. I have it! A touch of the magicwand will do it. (He touches it with the wand, and, opening drawer, shows that it is nowfull.) Yes; it is as I thought. It is full of the Princess's luggage. Here are some of herbelongings, made smaller in the way I told you about. (He exhibits articles of doll'sclothing.) And here is something else refreshments, I suppose, for her journey. Well, shecan't be going to travel to-night, anyhow, so I think I cannot do better than distribute theseamong the present company. (He distributes tablets of chocolate, etc., from the drawer.)

The drawer is empty now, at any rate. (He turns it upside down, then re-inserts it inits case.) At least, it seemed so a moment ago, but appearances are deceitful when there ismagic about. The box still seems heavier than it ought to be. (He again opens it.) Yes; hereis something else. Some of the Princess's bonnet-ribbons, no doubt. A good many of them,too. (He produces yard after yard of paper ribbon, finally pulling the drawer completelyout of the case, and showing it manifestly empty.)

Come, that is all out at last. There is no mistake about the drawer being empty thistime, as you can see for yourselves. (Standing the drawer on end, with the inside turnedtowards the spectators, he opens out the case, showing that likewise empty, then closes itagain and replaces the drawer.) Something still rattles inside, though. There must besomething in it that I didn't notice. (He pulls out the drawer once more.) Yes; here is apicture-postcard! And another and another! In fact, the drawer is full of them. I had betterdistribute these also. (He does so.)*

And now I had better put the Princess's own belongings back again. She will wantthese for her own use. (He replaces the doll's clothing and closes the drawer.) I just touchthe box with the wand the other end this time and the articles again become invisibletill further notice. (The drawer is once more opened and seen to be again empty.)

But to return to the Princess herself. Finding that the course of true love wasn'trunning smooth, off she went to her fairy godmother, and told her all about it. The fairylistened attentively to all she had to say. When she had quite finished (which took sometime), the old lady replied, "Your description of the young man sounds very nice, my dear;but before I can do anything for you, I must satisfy myself that he is sincerely attached to you,and not merely coming after you for your fortune." The Princess felt indignant that such athing could even be imagined possible; but she thought it best not to say anything. The oldfairy put on her spectacles, took down a magic book, and read a chapter or two in the originalJapanese. Then remarking, "Slantha gal mavourneen," or words to that effect, she took asmall box (here it is), a little silver table, and a pack of cards. (He exhibits the articles inquestion.) "Now, my dear," she said, "you shall be the Queen of Hearts, and your lover shallbe represented by let me see we will say, the Knave of Spades." "Can't you make him

* This final production is only practicable where the "dissecting" form of drawer-box is used. (See Chapter II.)

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Hearts too?" said the Princess, who rather fancied herself at Bridge. "Spades are such a verypoor suit." "Hearts let it be," said the old fairy.

The Princess naturally thought the fairy would look over the pack, and pick out thosetwo cards, but she went to work a much shorter way than that. She just dropped the pack intoa glass like this, and said, "Queen of Hearts and Knave of Hearts, attention!" And behold!these two cards immediately climbed up out of the pack, and fell upon the table,

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just as you see them now. (The two cards named rise up out of the pack, and fall upon thetable accordingly.)

I dare say some of you would like to know how this is done. Well, the fact is, a littlefairy gets into the glass, puts his shoulder under the cards, and pushes them up. You don'tbelieve it? Well, I didn't myself, at first; but there really is no other way to account for it.Here is the glass, and here are the cards. Have a look at them for yourselves. I should like tobe able to show you the fairy too, but I have never been quick enough to catch him.

"Now, my dear," said the old fairy, "we'll put you that is to say, the Queen ofHearts on this little silver table, and cover you up so." (He places the card as described,and the cover over it.) "And we'll put the Knave of Hearts that's your young man in thislittle box, and shut him up so." (This is also done.) "Now, if he really loves you, wildhorses won't hold him, much less a little box like that. He will escape from his imprisonment,and go and join your card on the little table. Abracadabra! Prestissimo! Fly!' Let us seewhether he has done so." (The box is opened, and is found empty.) "He has left the box,anyhow. And now let us see whether he has found his way to you on the little table. Yes; herehe is." (The table is uncovered, and the two cards are found together.)

The Princess clapped her hands. "Yes, my dear," said the fairy, "that is all very well,as far as it goes. That proves that he is sincerely attached to you; but I have still to besatisfied as to his moral character." The Princess very nearly said, "Oh, bother his moralcharacter!" (young people in love are so inconsiderate), but fortunately she refrained, or verypossibly the fairy wouldn't have helped her any more, and I shouldn't have had any story totell you. Her godmother picked up a magic ball, with a string running through it. Here it is.(He exhibits ball, as described.) "This, my dear," she said, "is my moral barometer. As yousee, the ball runs quite loosely on the string; but I shall put it under a magic spell, and then, ifyour lover is really a good young man I don't mean storybookically good, you know, butjust good enough to be nice the ball will move up the string."

This seemed so unlikely that the Princess couldn't help feeling a little bit nervous. Shesaid, "Oh you can't expect any young man to be good enough for that." But the old fairymerely remarked, "Ne plus ultra," or something of that sort, and the ball immediately beganto climb up the string-like this, as naturally as a toy monkey climbs up a stick. "That's allright," said the old fairy. "Now, my dear, I am satisfied that he is the right sort of young man.Tell him to go boldly to your papa, and ask for your hand, and if he gets into any difficulty,I'll get him out of it."

Before we go further, perhaps some gentleman would like to try the moral barometeron his own account. You will, sir? Ah! the ball runs down. Will some other gentleman try?The same result! Some other gentleman? (The ball in each case runs down the string.) Dear,dear! this is very sad. I am afraid you are none of you quite up to the old fairy's standard ofperfection. Really good young men are getting terribly scarce nowadays.

What do you say? Try it again myself? Oh, certainly! (He does so, and the ball againruns up the string.) I made up my mind in early life that I would be good as well as beautiful;and I have gone on that principle ever since. The moral barometer has no terrors for ME.

But to return once more to the Princess. After the fairy was satisfied, she began to geta little anxious herself. "Do you really think, godmamma," she said, "that papa will everconsent to my marriage with Otto? That old wretch of a Baron has told such dreadful storiesabout him." "Cheer up, my dear," said her godmother. "If I couldn't get the better of an oldfraud like Von Schwindelheim, I'd retire from the fairy business altogether. But if you wouldlike to make quite certain as to your future, my magic mirror will tell you your fortune at

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once." But suppose it should be an unlucky one?" said the Princess. "Faint heart never wonfair moustache," replied the fairy. (There seems to be something not quite right about thatremark; but that's what the fairy said, anyhow.) The Princess clasped her hands. "All right,"she said; "I'll risk it."

So the fairy produced the magic mirror. Here it is. (He exhibits a small picture frame,with plain dark background.) It isn't exactly a mirror, as you see, but it's a good-lookingglass, though it isn't a good looking-glass, and wouldn't reflect even a good-looking lass. Thisis a joke, ladies and gentlemen. It is a little complicated, and you may not see it at once; butif you persevere, it will dawn upon you gradually. Think it over at home, and if you don't seeit in a day or two, send me a postcard, and I will call and explain it.

At present, you see, the glass has merely a plain dark background, without any markor figure upon it. The old fairy held it up, and fanned it so. (He holds up the frame, andfans it, using the restored fan, if it has been introduced, to do so. If no fan is available, ahandkerchief may be used instead.)

`The Princess was breathless with excitement. She saw letters forming gradually uponthe dark back-ground, and presently she spelt out, "A-l-l w-i-l b-e w-e-l," whereupon sheclapped her hands, and jumped with joy. There is no deception about it, ladies andgentlemen; you can see the writing for yourselves. The spelling is a little defective, but thatproves its genuineness. Spirits never can spell. If you were to call up Chaucer orShakespeare, or even Lindley Murray himself, you would find he couldn't spell "for nuts."I've tried them.

So the Princess went home in capital spirits. Meanwhile, the King was consultingwith the Baron as to the best way of getting rid of the unwelcome suitor. The King scratchedhis head, and the Baron scratched his head, but nothing came of it. At last the Baronexclaimed, "I've got an idea." "You don't say so," said the King. " Make a note of it at once;you don't get 'em often. What is it?" "You must ask him riddles." "What on earth is the goodof that?" said the King. "Why, if he can't guess them, it will be clear that he is a stupid sort offellow, and not good enough for the Princess." "But suppose he guesses them, you old owl?"said his Majesty. "That's where the idea comes in," replied Von Schwindelheim, with a wink."You must ask him riddles of the catchy sort; the sort that haven't got any answers." TheKing slapped him on the back, and said, "Beshrew me, Baron, but thou art a crafty knave. Iwill e'en follow thy counsel."

So the next time Von Smith called, the King asked him, "Which would you say, 'Sixand five is thirteen, or six and five are thirteen?"' But Von Smith had been sold that waybefore. He politely but firmly replied that he shouldn't say either the one or the other. Hewould say, "Six and five are eleven." Whereupon the King, finding that he was not to becaught, flew into a tremendous rage. He said that was the old-fashioned way of counting, andunless Von Smith could prove that six and five were thirteen, he shouldn't marry thePrincess. "I will endeavour to do so, as your Majesty wishes it," replied Von Smith, who hadhad a private tip from the fairy. So he took a couple of plates, like these, and gave one to theKing to hold, and the other to Von Schwindelheim. Who will be the King, and who willrepresent the Baron? (A plate is handed to each of the two spectators volunteering.) Then hecounted out five shillings on the one plate, One, two, three, four, five;" and six on the other,"One, two, three, four, five, six." Then he mixed them together so (the coins are pouredfrom the one plate into the other), and when the King counted them again, the six and fivemade thirteen. Count them for yourselves, and see if it is not so.

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`But the Baron was not going to give in so easily. He surreptitiously pocketed two ofthe coins, and declared that Von Smith had counted wrong, and must submit to a further test."All right," said Von Smith. "Ask me a more difficult one." But the King said Von Smith wastoo good at riddles, and he would rather try something different.

Von Schwindelheim winked at the King, and said, "Never fear. I've got a poser forhim." There was a woman out in the street crying white sand and grey sand. "Who'll buy mywhite sand? Who'll buy my grey sand?" The Baron rushed out and bought a pennyworth ofeach (here it is, you see), and then he fetched the Royal washhand-basin. He took one or twohandfuls of the white sand, and one or two of the grey sand, put them in the water, and stirredthem well together like this. "Now," he said, "when this gay young springald separatesthose two lots of sand, your Majesty may safely let him marry the Princess." "So mote it be,"said the King, with a cheerful smile.

But, to his amazement and disgust, Von Smith just turned up his shirt-cuff-like this,dipped his hand in the water, and fished up, first the one, and then the other, lot of sand,perfectly dry, and not mixed in the least. (The sand of each colour is shown dry accordingly.)

The King was so annoyed that he smashed the washhand-basin over Von Schwindelheim'shead, a great part of the water going down his back. Von Smith claimed his Majesty'spromise, but the King said the sand wasn't properly mixed, and that he must submit toanother trial.

`After much cogitation, the King said he would be satisfied if Otto brought him a pintof Rainbow Water. You don't know, perhaps, what Rainbow Water is. It is water which hashad some bits of a broken rainbow dissolved in it, and which will show all the colours of therainbow in turn. Von Smith foolishly imagined that there must be plenty of it about; but hedidn't find it so. He inquired for it at seventeen different chemists' shops, without success.Not one of them had ever heard of it, but not one of them said so. Some said it wasn't usednow, and some that they were just out of it; but they all wanted him to take something elseinstead. One man said Hunyadi Water was much better than Rainbow Water; and anotherrecommended Mother Seigel's Syrup. One wanted him to try a new kind of soap; and anothertold him there was nothing to beat Keating's Powder. He got so angry at last that he had tokill two or three chemists to relieve his mind; after which he sat down and read right throughthe Encyclopaedia Britannica, but Rain-bow Water was not even mentioned in it, whichshows that the work is not really so up-to-date as it professes to be.

`At last he did what he ought to have done at first. He went and consulted the oldfairy, who happened to be taking afternoon tea with the Princess. She told him that RainbowWater was only to be got in one place in the world, and that was at the top of one of theUnapproachable Mountains, on the farther side of the Undiscovered Islands. The water wasguarded by a dragon, with a head as big as an omnibus, and a breath like a motor-car. It tookseven years to get there, and fourteen to get back if you ever came back at all, which wasexceptional.

Von Smith said a naughty word I really don't think you can blame him and thepoor little Princess began to cry. But the fairy merely smiled in a scientific sort of way. "Trustin me, my children, and all will yet be well. 'Propria quae maribus,"' she suddenly exclaimed,and poked the fire with her wand, when out of the very heart of the hot coals came a handsomebird, and roosted on the top bar of the grate. "What a lovely pheasant!" exclaimed the Princess."Pheasant! my dear," replied the fairy; "this isn't a pheasant; it's a phoenix." "You don't sayso?" said the Princess. "Is a phoenix a bird, then? I thought it was a Fire Insurance Office!"

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The fairy took no notice of the remark, but tipped all the sugar out of the sugar-basin,and gave one lump to the phoenix; after which she said, in commanding tones,"Cryptoconchoidosyphonostomata!" The phoenix flapped his wings, and, taking the sugar-basin in his beak, flew out of the window. In three minutes and three-quarters he was backagain. "Fastest time on record," said the fairy, looking at her stop-watch, and giving thephoenix the rest of the sugar. "And here, my dear," she continued, showing that the basin wasnow full, "here is your sample of Rainbow Water."

Von Smith decanted the water into a bottle here it is (performer exhibits carafe ofwater and six wine-glasses) and went off to the Palace with it under his arm. He borrowedhalf a dozen wine-glasses from the chief butler (all the King owned, as a matter of fact), putthem in a row before his Majesty and the Baron, and asked the band to play a little slow music."What ho!" he remarked, as he filled the first glass, and the water remained clear. "Gramercy!"he exclaimed, as he filled the second, wherein it became crimson. "Marry come up," and hefilled the third, wherein it became of a lovely blue. "By my halidame!" and in the fourth it wasviolet. (The glasses are filled in turn, with the results indicated.)

But at this moment Von Schwindelheim nudged the King, and said, sarcastically,"Chemicals!" "Chemicals in thy throat, base varlet," retorted Von Smith. (That was the wayhigh-class people talked in those days.) "Taste for thyself." And he offered Von Schwindelheimthe glass of clear water he had first poured out. The Baron declined, saying he never took it.The King also declined, so Von Smith drank a little himself, and poured the rest back into thedecanter (performer does so), to show that there was no deception, after which he again filledthe empty glass. "Potztausend," he remarked this time; and the water appeared a brilliantorange. He wiped the other two glasses with his handkerchief (performer does the same),merely observing, as he filled them, "Houp la!" and "Bismillah!" and the contents appeared asyou see them a beautiful scarlet and green.

But Von Schwindelheim, with a disagreeable smile, reminded the King that there areseven colours in the rainbow, and Von Smith had produced only six. Consequently, hemaintained, this could not be the real genuine Rainbow Water. There was no more of the waterleft, and they had broken a wine-glass, so they couldn't settle it, and the King said the youngman must submit to a further test.

Von Smith didn't much mind, because he knew the old fairy would help him out, and hethought the King must give in at last; but the next problem was a staggerer, and he couldn'thelp feeling a little bit nervous about it. He was required to prove that the same thing may be intwo places at the same time, which he knew was unusual. To gain time, he said he should haveto consult his solicitor; but of course he didn't. This time he went straight to the old fairy, andtold her, with a very long face, what he was required to do. She was amused at his feelingbothered over a little thing like that, and gave him a block of wood which she said had just thatpeculiar quality of being in two places at the same time, or a few more, if necessary. Here it is.(The performer exhibits a large die and a cover exactly fitting it.) I am obliged to keep itcovered up like this, or else it would be in half a dozen places, and I should never know whereto find it. There's nothing particular about the cover, so I should like you to examine itthoroughly. It is merely a square paste-board tube, open at each end. That is in order to allowthe block of wood to fly out at the top when I want it to. You see, the cover just fits the block.Now I should like you to examine the block itself. You will find it a good, honest, solid pieceof wood, as free from deception as I am myself which is saying a great deal.

But to return to Von Smith. He started off to the Palace, with the block under one arm,and the cover under the other. When he got there, he asked the King to lend him his crown. The

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King said he wouldn't trust him with half a crown, much less a whole one. With great presenceof mind, Von Smith laughed at the joke till he had to sit on the floor, and told the King that hewas a funnier man than Dan Leno; which pleased him so much that he said, if Von Smithwould promise not to produce any cannon-balls or rabbits from it, he would lend him his crownfor just five minutes. If any gentleman present happens to have a royal crown about him, I shallbe glad to borrow it. I might even make shift with a ducal coronet. Nobody offers! Well, then, Imust make a tall hat do instead. (A hat is borrowed.) Come to think of it, there's a crown in thishat, so it comes to almost the same thing.

Von Smith put the block of wood on the table like this, and covered it with the hat Ishould say, with the crown. "Now, your Majesty," he said, you can't deny that that block ofwood is under your crown. Now I am going to show you that it is also under this cover." "Stop abit," said the King. "No larks! Let's have a look at that cover." You see, the King thought people are so suspicious that he probably had another block of wood there already. Von Smithlooked at him more in sorrow than in anger. He took the King's scepter like this, and passed itright through the cover; in fact, he all but poked Von Schwindelheim's eye out, for he waspeeping in at the other end. (Wand passed through cover, and spectators allowed to see rightthrough it.) After that, both the King and the Baron couldn't help admitting that the cover reallywas empty. When he had quite convinced them, Von Smith turned it up on end so, and saidsoftly, "Arma virumque cano," and when he lifted it up again, there was the block, sure enough,under the cover. (The cover is lifted, disclosing die, and then again replaced.) VonSchwindelheim made a grab at the crown and lifted it up, expecting to find nothing under it; buthe was disappointed, for the block was still there, as at first (die again shown under hat), and theKing was going to admit that it really had been in two places at the same time. But the Barondisputed the fact. He declared that it was the quickness of the hand that deceived the eye, and thatVon Smith had only passed the block with great rapidity from the one place to the other; which,between you and me only don't tell anybody is how it was really done, for, you see, theblock is no longer under the cover (cover lifted, and shown empty), but only under the hat (dieshown accordingly), so that it wasn't actually in two places at the same time, though it travels soquickly that it comes to almost the same thing.

After a great deal of consultation, it was agreed that if Von Smith could add up threenumbers, one to be written by the King, one by the Princess her self, and one by VonSchwindelheim, he should really marry the lady. No doubt you will think that was the easiest taskof all. Just to add up three numbers. Why, anybody could do that! But I have omitted to mentionone rather important condition. Von Smith was to find out the total of the three numbers withoutseeing them, or knowing what they were, which makes a good deal of difference.

Von Smith knew that the fairy would help him out as usual, but he didn't see the fun ofbeing made a fool of indefinitely. So he said to the King, "Will your Majesty swear by the HolyPoker that if I succeed in this last test, you will let me marry the Princess without further ado?"

The King did not much like the idea of swearing by the Holy Poker, because it was a lawof that country that if any one swore by the Holy Poker, and did not keep his word, the HolyPoker was made red hot, and used after the manner of the Freemasons. Not being a Freemasonmyself, I can't tell you exactly what that is, but I am given to understand that it makes ituncomfortable for the party concerned to sit down for some time afterwards. However, the Baronwinked at him, and said, "Swear away, old chap; he can't possibly do it."

So the King swore by the Holy Poker, and Von Smith departed till the next Bank Holiday,when the grand trial was to come off. On the appointed day the whole Court assembled. TheKing sat on his throne, with the Princess on a chair of state on his right hand, and the Baron (who

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had had his hair curled for the occasion) in another on his left; while the Grand Panjandrum, withhis gold stick in his hand, marched up and down to keep order. There was a grand flourish oftrumpets, and then Von Smith appeared, with his Sunday clothes on, and a common slate (here itis) under his arm. He handed out three blank cards, like these one to King Koko, one to thePrincess, and one to Von Schwindelheim. Will two gentlemen and a lady be good enough torepresent those three exalted personages? Now, please, each take one of these cards, and write, assecretly as possible, a number of three figures, no more and no less, fold the card in half, andplace it in this little envelope. That is done? Now I will ask the last gentleman to fasten up theenvelope. (He takes the closed envelope from the holder.)

Then there was another flourish of trumpets, and the envelope with the three cards in itwas handed to the Grand Panjandrum. Who will under-take the duties of the Grand Panjandrum?It must be somebody who has not written a number. You will, sir? Then we will place theenvelope in your charge.

Von Smith asked no questions. He just cleaned his slate on both sides (slate cleanedaccordingly), showed it blank, as it is now, and threw it down on the ground. We will put ours onthe table, which will be handier. There was heard a sound of writing on the under side (you canhear it your-selves, if you listen attentively), and then he picked it up again. Meanwhile theGrand Panjandrum had been adding up the figures on his own account. Will you do so, sir, on theback of the envelope, as secretly as you possibly can? Here is the total," said Von Smith, turningup the under side of the slate. "It comes to 1585." And the Grand Panjandrum had to admit thatthe number was correct. You find it so, sir, do you not? (The figures are compared, and found tobe alike.)

Having sworn by the Holy Poker, the King dared not break his word, but he relieved hisfeelings by kicking Von Schwindelheim all round the Palace courtyard, for having persuaded himto swear, and got him into such a fix. But just as he was compelled to pause for lack of breath,the fairy appeared, in a chariot drawn by two mock turtles and a Welsh rabbit, and revealed thatVon Smith was the long-lost son of Rhodocanthus the Eleventh, King of Polypodia, and had justsucceeded to his father's kingdom. Whereupon King Koko's feelings underwent a completechange, and he kicked Von Schwindelheim round the courtyard again in the opposite direction,for having opposed so desirable a match.

There isn't much more to tell. The Baron, having lost his situation, turned quack doctor,and invented the celebrated "Blue Pills for Blue Devils." Unfortunately, he one day by mistaketook two of them himself, and he never smiled again. The memory of those pills was always withhim. He went through life with one hand constantly pressed against the lower part of hiswaistcoat. When he died, he became a family ghost, and haunted the Palace wine-cellar, still withhis hand in the same position.

The Prince and Princess were married the very next day. The King danced five danceswith the fairy godmother, and said he had never enjoyed himself so much in his life.

The moral of this story is obvious. Never be rude to a nice young man, even if his name is Smithand he has a ginger moustache, because he may be a prince in disguise. (Of course he may not,but you never can tell.) And never take quack pills.

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CHAPTER IIPRACTICAL EXPLANATIONS

THE first step of the intending performer will be the selection of the effects to be included in hisprogramme; the story being purposely so arranged as to allow of the omission of almost anygiven item without prejudice to the main plot. In any case, the narrative should be so farshortened as to occupy not more than an hour in delivery. Sam Weller's celebrated dictum as to"the great art of letter-writing," to make people "wish there was more of it," applies with evengreater force to conjuring.

Roughly speaking, about half the items will be found a sufficient number for a singleperformance. In making the selection, the better plan will be to decide in the first place what is tobe omitted. Some tricks may probably be ruled out at once by the fact that the performer does notpossess (and does not care to purchase) the necessary apparatus; and others may be excluded byreason of lack of confidence in his own powers. The tricks described demand, for the most part,very little skill in actual sleight of hand, and are within the compass of any one of ordinaryintelligence, and having the usual complement of hands and fingers. On the other hand, noconjuring trick can be effectively presented without a reasonable amount of practice. The actualamount necessary will vary in inverse ratio to the degree of natural aptitude.

Having made his selection, the next step of the neophyte should be to memorize, one byone, the appropriate sections of the story. It is not necessary that he should be able to give the"patter" verbatim, as set down; but, unless he has by nature "the gift of the gab," the more closelyhe sticks to a pre-arranged text, the better will it be for his own comfort, and the credit of hisperformance.

Simultaneously with the memorizing process, he should practise the execution of theparticular trick involved. When he has mastered each item singly, he should then rehearse hisintended programme as a whole, making his preliminary preparations as complete, and goingthrough every act as minutely, as he would for the actual "show."

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1. The Magical Production of a Flower in the Buttonhole.*This is an old trick, but of late years has been so little exhibited in public that it will be to

most audiences a complete novelty. Apart from the effect being in itself a pretty one, it has theincidental recommendation of calling attention, in a natural and striking way, to the pretendedvirtues of the magic wand.

For the purpose of the trick, the coat worn by the performer will require a little specialpreparation, viz. the insertion of an eyelet (similar to those used in ladies' corsets) in thesubstance of the coat, immediately behind the buttonhole in which the flower is to appear. Abutton must be sewn to the vest at the same (left) side, just over the trouser-pocket.

The rose used in the trick is an artificial one, the stalk of which has been cut off close tothe calyx. One or two green leaves are sewn to the outside of the flower, and a hole is made witha stiletto through its centre. Through this hole a short piece of thin but energetic black silk cord-elastic is drawn, and secured on the inner side of the flower by a fair-sized knot. The elastic isthen passed through the buttonhole and eyelet, and its free end, at a distance of about ten inches,formed into a loop, which is slipped over the button before mentioned. The length of the rubbershould be so regulated that it shall hold the flower taut against the buttonhole, though withoutsufficient strain to disarrange the set of the coat-lapel.

When the performer desires to show the trick, he draws the flower, just before making hisappearance, a few inches away from the buttonhole, and tucks it under the left armpit, retaining itthere by the pressure of the arm. He advances, holding his wand in the right hand. To produce theflower, he pronounces the words, "One-Two-Three!" accompanying each word with a quickwave of the wand. At the word "One!" he brings it smartly down across the buttonhole. At theword "Two!" he gives it an outward and upward swing to the right, and at "Three!" again bringsit across the button-hole, at the same moment elevating the left arm. The flower, being therebyreleased, flies to the button-hole, the sharpest eye being unable to detect the manner of itsarrival.*

There is another method of performing the trick, for which three advantages are claimed;first, that it is much less known; secondly, that the eyelet is dispensed with; and lastly, that theperformer can raise both arms as freely as he pleases before performing the trick, to thepuzzlement of any knowing ones who may happen to be acquainted with the older method.

In this case, a piece of stout sewing silk is used instead of the elastic cord. Of this, oneend is made fast to the rose. On the other end a needle is threaded. This is passed (from theoutside) through the buttonhole and the cloth beneath it. The needle is then removed, and a loopformed upon the end of the thread, which should be so regulated in point of length that when theflower rests against the buttonhole, the loop shall hang level with the lower part of the opening ofthe trouser-pocket. At this point a lady's black dress-hook is sewn, with its open end downwards.

The flower in this form of the trick is placed at the outset underneath the left breast of theperformer's coat. The left arm is carelessly elevated, to prove, to any one who may suspect thecontrary, that the flower is not under the arm, the hands being at the same time shown empty.The performer then pulls the thread with his left hand, at the same time rubbing the buttonholewith the fingers of the right, the flower being drawn into position under cover of this hand. Theloop is then hitched over the hook, thereby preventing the flower shifting from its place. A black* For list of articles required in the performance of the various tricks, with their approximate prices, see Appendix.

* Compare Modern Magic, p. 412. This and succeeding references to my larger works are inserted in the interest of readers who may possiblydesire to go more deeply into the subject of the trick under discussion. The explanations here given will, however, be found in each case fullysufficient, without recourse to any other source of information.

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bead, threaded on to the loop, will be found a material assistance in getting hold of it at the rightmoment. A still better plan is to make the loop of very thin black elastic, continued as single cordfor about three inches, and then joined to the thread.

Upon the whole, the method first described will probably be found the easier by thenovice. Continental conjurers, by the way, sometimes substitute a thread, wound on a watch-barrel, for the elastic; but I cannot see that anything is gained by the alteration.

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2. The Self=suspending Wand.

Figure 1 Figure 2

Figure 3

Figure 4

Figure 5

The qualities of the ideal wand for this trick are somewhat paradoxical. It should be both a lightand a dark one. In point of weight, it should be light. I myself, for this particular use, have a wandmade hollow from end to end, thereby securing the desired lightness without any alteration ofappearance. In point of colour, it is, desirable that the wand should be black, for a reason that willpresently appear. Ebony should however be avoided, as being unduly heavy. The mount at eachend should be of ivory, and it will be found an advantage to have a scarcely perceptible groove,no deeper or wider than the thickness of a finger-nail, cut at the points where the mounts meetthe body of the wand.

The above are, however, "counsels of perfection." It is possible to perform the trick withalmost any wand, and in default of the regular article, a short piece of rattan" or whangee"cane, or any cane with joints at short intervals, will make a very good substitute.

The working portion of the apparatus is on the person of the performer. It consists of acylindrical brass or leaden weight, about two inches in length and three-quarters of an inch indiameter. The ends are rounded, and in one of them a screw-eye is inserted. This weight issuspended within the right trouser-leg, in manner following. A needle is threaded with a piece offine but strong black silk thread, about four feet or four feet six in length. The needle is then

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thrust through the performer's vest from the inside, about level (assuming the vest to be of the"evening dress" kind) with the topmost button, and then in again, at a point one inch lower thanthat at which it came out. Both ends of the thread being thus brought within the vest, the needleis removed. The ends are knotted together, passed through the eye of the weight, and tiedsecurely. This done, the weight is allowed to slide gently down within the trouser, and the vest isbuttoned. All that remains outside the latter is the portion of thread, one inch in length, betweenthe holes where it emerged and re-entered. The performer, by inserting his right thumb beneaththis portion, can draw out the thread in a long loop, lengthening as he draws it farther out, butshortened again, by means of the downward pull of the weight, the moment the outward pressureis removed.

The dexterous use of this lengthening and shortening loop forms the whole secret of thetrick. Holding the wand, just previously examined, across his body, the performer slips the rightthumb under the thread, drawing it out, say, an inch and a half, and inserts the end of the wandwithin the bight thus formed, which he then pushes along the wand (at the same time lengtheningit out as may be necessary) till it reaches the middle.

The reader will now appreciate the reason for preferring a black wand. Against any partof such a wand, the thread is absolutely invisible, even at close quarters. If a wand of light colourbe used, the performer will have to keep at some distance from the spectators, unless, indeed, ajointed cane be used as a substitute, in which case all that is needed is to slip the loop over one ofthe joints, when it will be, as before, invisible. The operator must, however, in either case takecare, in his subsequent manipulations, not to let the spectators get a view of the thread against hiswhite shirt-front as a background, as this would at once give away" the trick.

But to return to the actual working. Having got the thread to the middle of the wand, theperformer grasps it as in Fig. 1, and proceeds to magnetize" it, by drawing each hand alternatelyto the outer end. Holding it horizontally before him, about a foot away from his body, he thenopens the hands, the wand retaining its position, as if attracted to them by some mysterious force,as in Fig. 2. Again closing the hands, he slides them outwards till each end of the wand is onlyheld between the forefinger and thumb. The fingers being then extended, the wand rests againstthe thumbs only, as in Fig. 3. Next, grasping the wand by the extreme end with the left hand, theperformer tilts it into a vertical position, and placing the right. hand behind it, holdsit suspended by the outward pressure of the thumb and little finger only. Again grasping thelower end with the left hand, he pushes up the silken loop with the thumb of the right until itrests in the little groove above described (p. 66) between the body of the wand and the ivorymount, when the wand remains suspended from the right thumb only, as in Fig. 4. The thumb, itwill be observed, is in this case below the loop. The left thumb may now be applied immediatelyabove the loop, and the right thumb removed, the wand being thus transferred from hand to hand.Once more the right thumb is applied below the loop. By a slackening of the pressure the wand isallowed to come within six inches or so of the body. The performer then offers the wand forexamination, as indicated in the "patter."

As he steps forward for this purpose, he folds the fingers down on the outer side of thewand, and in offering it for examination, tilts it, lower end foremost, into a horizontal position,when the loop is automatically drawn back off the wand, and the thread is drawn by the weightclose up to the vest, as at first.

With a little practice, it is possible to hold a light wand supported by the finger-tips,without any extraneous aid whatever. To do this, the four fingers must be spread out to theutmost, and laid along the middle portion of the wand, as in Fig. 5. The second and third fingersdraw the wand towards the performer, while the first and fourth force it away from him; this

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pressure in opposite directions affording just sufficient grip to support it. Held in this manner, itmay be handed to one person after another in the audience at the closest quarters. As in this casethere is manifestly no supporting medium save the hand itself, the average spectator accepts it asan article of faith that the same was the case in the earlier stages of the trick, in which casemagic" is the only feasible explanation.

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3. The Coin melted in the Candle.

Figure 6 Figure 7

Figure 8

Figure 9This is a trick of pure sleight of hand, and, well worked, is brilliantly effective. If the reader isnot confident of doing it justice, I would recommend him to omit it from his programme, for it istoo good to be spoilt by clumsy execution. It does not, however, offer any difficulty save such asa fairly adroit person can conquer with a little perseverance.

The first step will be for the operator to make himself expert in a little sleight known toconjurers as the "finger palm." To acquire it, take a half-crown in the right hand, held palmupwards, as shown in Fig. 6, the coin lying upon the second joint of the middle finger. Make themovement of placing the coin in the left hand, but simultaneously with the turning over of theright hand, separate the forefinger of that hand a little from the rest, and bring it over the edge ofthe coin, tilting the latter into an erect position between the first and second fingers, as in Fig. 7.The novice is recommended to practise this clipping process first with the hand at rest. Whenonce it has become familiar in this shape, he will find no greater difficulty in executing it withthe hand in motion.

The requirements for the trick consist of a candle-stick and lighted candle, and a little ballof tinfoil, crushed pretty closely together, so as to measure about five-eighths of an inch indiameter. This is impaled on the point of a black pin, thrust through the performer's vest (fromthe outside) on the left, near the centre, in such manner that the coin, thus suspended on the pin,shall be just covered by the lower edge of the vest.

Having borrowed the needful half-crown, the performer proceeds to "mesmerise" it. Todo this, he takes it, in the manner described for the finger palm, on the fingers of the right hand,and thence transfers it (in this case there being really "no deception") to a similar position on thefingers of the left. He then rubs it gently with the fingers of the right hand; picks it up with theright second finger and thumb, and holds it over the candle-flame. To show that it is becomingsoft, he takes it vertically between the two hands, fingers in front and thumbs behind, as shown inFig. 8. He then brings the knuckles towards each other till, they all but meet, repeating this threeor four times. By a curious optical illusion, the coin appears to bend with the movement of thefingers.

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At this point the performer exhibits the coin once more to the owner, that it may beidentified by the mark on it. When he professes to mesmerise" it for the second time, he takes itin the right hand and, ostensibly, de-posits it as before on the fingers of the left. But on thisoccasion he makes use of the finger palm, and so retains the coin between the first and secondfingers of the right hand, while with the tips of the same fingers he makes the rubbing motion asbefore on those of the left hand (whereon the coin is professedly lying). After a moment or two ofthis, he closes the fingers of the left hand against the thumb, as if holding the coin between them,and with the right hand picks up the candlestick, holding it between finger and thumb as in Fig.9, the coin, concealed as above in the hand, forming no obstacle to his doing so.* The coin,under these conditions, is completely masked by the thumb, and the candlestick can be broughtquite close to the spectators without revealing its presence.

Holding the left hand just above the candle, the performer proceeds apparently to rub thecoin away into the flame, and to show the hand empty. At the moment when he calls attention tothe (imaginary) bright spot in the flame, thereby drawing all eyes to the candle, he with the lefthand secures the foil ball from under the vest, and rolls it with the thumb between the roots of thesecond and third fingers. This done, with the thumb and fingers of this same hand he makes agrab at the flame, and under cover of a rubbing motion of the fingers, motived ostensibly by thesupposed heat of the metal, gradually works the ball with his thumb to the finger-tips andexhibits it.

Then, taking the ball between the thumb and finger-tips of the right hand (the half-crownbeing still concealed therein), he offers the ball to the owner of the coin, who naturally declinesto accept it. In order, professedly, to flatten it out, the performer brings the finger-tips of bothhands together, and, under cover of the movement, with the thumb rolls the foil ball (passingbelow the coin) between the roots of the second and third fingers of the right hand. The momenthe has done so, he presses the coin upwards with the thumb till it lies flat against the fingers. Hedoes not immediately exhibit it, but works it round and round for a moment or two between thefingers, gradually allowing its edges to be seen. Having professedly flattened it out, he draws itback with the right thumb so as to bring it just over the foil ball, which is thereby concealed, thehand being apparently quite empty save for the coin. The half-crown is then transferred to the lefthand, and thence handed back to the owner, none the worse for its supposed "dematerialization."

* The candlestick should, if possible, be one with a slender stem. If otherwise, the thumb and fingers should grasp itat the narrowest part, the presence of the coin being thereby more effectually concealed.

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4. The Half-crown dissolved in a Glass of Water.For the purpose of this trick the only special apparatus needed consists of a champagne tumblerand a disc of clear glass, exactly corresponding in size with the internal diameter of the tumblerat bottom. The disc may rest till needed in the right-hand vest-pocket of the performer. In his leftcoat-tail pocket is placed a small orange, specially prepared. A deep incision is made in one sideof it, and in the opening thus made is inserted a fairly old and smooth half-crown, with a crossboldly scratched on one side of it. Upon the table there should also be a plate, a dessert knife, anda carafe of water.

Figure 10

While the attention of the company is still occupied by the conclusion ofthe last trick (verifying the coin, examining the candlestick, and the like),the performer gets from the tail-pocket, and palms, the prepared orange.The presence of the orange in the hand may be masked by holding thewand by one end in the same hand, sloping upwards, with the left hand

resting on its opposite end. When the performer professedly catches sight of the orange in the spectator's hair, he steps quickly towards him, and, just as he reaches him,takes the wand in the left hand with a flourish, and, bringing the right hand somewhat behind thevictim's head, rolls the orange round his neck to the front.

To an expert, confident in his own powers, the position of the person operated uponwould be a matter of indifference. A novice, however, will find it advisable to select for thepurpose some one seated on the extreme left of the audience (as viewed from his ownstandpoint), the back of the hand in such case naturally screening the orange from the view of theother spectators till it has been actually produced.

Having thus secured the orange, the performer returns with it to his table, holding it atarm's length as if to show "no deception." Just before he reaches his goal, he transfers it to theleft hand (the left arm being in turn outstretched), and places it on the plate, the cut side, ofcourse, away from the spectators. During the moment of doing this, the right side of his body isnaturally hidden from view, and in that moment he gets from the vest-pocket, and palms in theright hand, the glass disc.

This done, and the few lines of appropriate patter delivered, he fills the glass with water,and hands it to some one to hold. He takes the orange, thrusts the knife into it in the cut alreadymade, and hands it, on the knife, to a second spectator at some distance from the first, with arequest that he will hold it up above his head, thus placing it out of the reach of inconvenientlyclose scrutiny. The next step is to obtain the loan of a marked half-crown and a handkerchief. Inthrowing the handkerchief over the coin, he substitutes for the latter the glass disc.

There are various ways of effecting this change. The plan I myself prefer is to press theglass disc with the thumb edgewise between the second and third fingers to the back of the hand,as in Fig. 10. The half-crown is then taken between the second finger and thumb of the samehand, and the handkerchief thrown over it with the left; but in the moment of doing so, a half-turn is given to the right hand, bringing the back of the hand uppermost. It is, therefore, the glassdisc over which the handkerchief descends, and which is, in reality, nipped with the left handthrough the fabric.

Another plan is to take the half-crown (with the back of the hand turned towards thespectators) between the thumb and first and second fingers; between which, a little lower down,the glass disc is already resting. The edge of the coin is inserted behind that of the glass disc,which (under cover of the handkerchief) is pushed up by the thumb while the coin is drawn downby the fingers.

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If, as may sometimes happen, the bottom of the glass (inside) is so small as exactly tocorrespond in diameter with that of a half-crown, the coin and disc may be shown, the one uponthe other (the coin, of course, foremost), and the coin withdrawn at the moment when thehandkerchief is brought over the disc.

Having, by one or the other of the above devices, got the glass disc (professedly the coin)under the handkerchief, the wizard hands it to the holder of the tumbler. He is instructed to holdit just over the water, the performer meanwhile draping the corners of the handkerchief gracefullyaround the glass. The disc, when dropped into the water, becomes invisible, and if the tumbler isone with a reasonably flat bottom, the water may even be poured back into the carafe, the discbeing retained, sucker-fashion, at the bottom of the glass by atmospheric pressure.

The performer having, in due course, shown that the coin is completely dissolved, nextproceeds to get it back again. This is a very straightforward matter. After pouring a few drops ofwater over the orange, he invites the holder to cut it open. This is done, and a half-crown(professedly the half-crown) is found embedded in it. The performer calls attention to the mark(ostensibly that made by the lender of the coin, but really his own). The acute reader willdoubtless have observed that, before passing it to the actual owner, he wipes it with his pocket-handkerchief. In so doing, he exchanges the substitute for the actual borrowed coin, which is thenagain (and this time correctly) identified.*

The reason for preferring a "well-worn" half-crown is twofold. First, because asking theloan of a coin of that description secures a fairly close resemblance to the substitute placedbeforehand in the orange; and secondly, because the glass disc, felt through the handkerchief,does not differ from such a coin as it would do from a new one, with the impression of the die insharp relief. A trifle, truly; but on such trifles" depends half the effect of magical illusions.

* As to this portion of the trick, compare Modern Magic, p. 170.

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5. The Inverted Glass of Water.This feat depends upon a scientific principle, namely, atmospheric pressure. The secret lies in theapplication to the mouth of the tumbler, at the right moment, of a disc of mica exactly coveringit. To ensure success, the rim of the tumbler should be ground mathematically flat, and moistenedbefore exhibiting the trick.

There are many ways of so disposing the mica disc that it shall be instantly available atthe right moment. It will be a useful exercise for the amateur to devise some satisfactory plan forhimself. A good enough one, for the present purpose, is to place it in a watch-pocket on the leftside of the vest, fairly high up, and covered by the coat, with about one-third of its diameterprojecting above the pocket. The disc so placed can readily be got into the right hand, andpalmed, a few moments before it is desired to bring it over the glass. The best way of doing thisis to cover the glass with the hand which contains the disc, bringing the latter exactly over themouth; after which the glass may be inverted, and the hand removed.

When it is desired again to remove the mica cover, the hand should be placed under theinverted glass, and the latter restored to its natural position. The disc may then be drawn off witha sidelong movement, before inviting some one else to try his skill.

The fuller the glass is, the more certain will be the result. If the glass has a good edge, itmay even be waved about, mouth downwards, without the smallest fear of a catastrophe.

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6. Producing Sweets from a Pocket-handkerchief.

Figure 11

Figure 12

For the production of this pretty effect, the performer must provide himself with a little whitemuslin bag, of the form shown in Figs. 11 and 12; the one representing the bag open and empty,the other "loaded," and closed for use. The "bag" is, in truth, two bags, conical in shape, sewnback to back, and each capable of being closed at pleasure by folding back a triangular flap(equal in length to that of the bag itself), and securing it by hitching a ring, attached to its outerangle, over a little hook sewn to the bag near its apex. A somewhat larger hook, just above,serves to suspend the bag, mouth downwards, behind any convenient object. If the bag be pickedup by its extreme point, and such point then inclined a little to the one side or the other, the pointof the lower hook on that side is naturally depressed. The ring slips off it; the mouth of the bagon that side opens, and the contents fall out.

For the purpose of the present trick, one side of the double bag is filled with bonbons(say, burnt almonds or chocolate creams, with a few sweets of smaller size), and in the other isplaced a small raw onion. The bag, thus "loaded," is concealed behind the "drawer-box" (whichis placed upon the table in readiness for a later trick), with the upper hook resting on its hinderedge. A plate should be beside it on the table.*

To show the trick, the operator throws the borrowed handkerchief over the drawer-box,about one-third of it hanging down behind the box, while he shows that the plate is merely aplate, and has nothing in it. These facts are self-evident, but the calling attention to them servesas an excuse for the momentary laying down of the handkerchief. It has a secondary motive, inthe fact that an audience which has been repeatedly invited to examine objects as to which thereis nothing whatever to find out, gradually begins to take it for granted that all the performer'sbelongings are of the same innocent character, and is the less disposed to inconvenient curiosityon occasions when he would rather avoid close inspection.

Having exhibited the plate, the conjurer steps back to his table, and picks up thehandkerchief by its central portion, allowing the four corners to hang down. As a matter of fact,he takes care to nip it just at the point where the handkerchief comes over the hook, so as to bringaway the double bag within it. When he desires to manifest the sweet-producing quality of thePrincess's breath, he has only to tilt the hook on the proper side a little; whereupon the bag opens,and a shower of bonbons falls out on the plate. By bending the apex of the bag, still within thehandkerchief, in the contrary direction, the other side is opened, and the onion makes itsappearance.

* If the drawer-box (or some similar piece of apparatus) is not available, the amateur may substitute for it, for theabove purpose, a pile of two or three books, laid one upon another. This forms a very convenient screen for smallobjects, inasmuch as it may be adjusted to any height most suitable.

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While the attention of the company is attracted to this last phenomenon, it is an ea