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Title: Peerless Prestidigitation - Being a collection of entirely new ideas and effects in - the fascinating art of modern magic
Author: Caston, Herbert de
Language: English
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Copyright Status: Not copyrighted in the United States. If you live elsewhere check the laws of your country before downloading this ebook. See comments about copyright issues at end of book.

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[Illustration: HERBERT DE CASTON.]




The Leading South African Magicians.


(_Entered at Stationers' Hall._)





In calling your attention to a deceptive entertainment, Legerdemain,
more generally known as Conjuring, a few introductory remarks may not
be out of place. The superstition that existed in the early ages, when
wizards and magicians were supposed to exist, time has not worn out;
the mystery that hangs over all professors of magic is still in part
retained. Many there are who class them amongst supernatural beings,
their seeming impossibilities are converted into positive realities,
their power supposed to be supreme. Now, were I, in this the twentieth
century, to stand before you professing to be a wizard or a
magician--or, in fact, to be that which I am not--endowed with
supernatural power, it would be looked upon as a gross insult to your
good sense; for in truth the only peculiarity of my profession is to
deceive--yours to detect. If my hands are quicker than your eyes, I
shall have the pleasure of deceiving you; but, on the contrary, if your
eyes are quicker than my hands, the reverse will be the result.



INTRODUCTORY SPEECH                                      3

THE LATEST CARD FORCE                                    5

THE PHANTOM CARD                                         6


DE CASTON'S DISCOVERY                                    9



A NEW HANDKERCHIEF COMBINATION                          22

THE "PHANTOM" COIN TRICK                                24


       *       *       *       *       *

All Tricks described in this book can be purchased at HAMLEY BROS., LTD.

Peerless Prestidigitation.


_Effect._--A pack of unprepared cards is shuffled by any member of the
audience and handed to the performer, who requests one of the
spectators to secretly note a card by simply raising a portion of the
pack whilst held in the hand of the performer, who turns his head away
whilst this is being done. The cards are again shuffled, and the
performer instantly names the selected card.


_Modus Operandi._--After the cards have been thoroughly examined and
shuffled by the spectators the performer takes the pack (face
downwards) and quietly bends them over his hand, the bend being so
slight that it is hardly noticeable. He then grasps the pack at one end
between the first finger and thumb of either hand, and requests a
spectator to select a card in the manner described above. It will be
found that the action of raising the cards causes a slight break at the
spectator's card, and enables the performer to insert his little finger
beneath the same and make the pass which brings the selected card to
the bottom. After getting a glimpse of the card the pack can be again
shuffled and the trick brought to a conclusion in any manner desired.


_Effect._--A pack of cards is spread face downwards upon the table, and
one of the audience is requested to choose five cards and hand the same
to the performer, who arranges the cards fan-shape in his hand. The
spectator is now asked to name any one of the five cards, after which
the performer drops the cards face _upwards_ upon the table, and, to
the astonishment of the audience, the named card has entirely vanished,
four cards only being visible. These cards are now turned face
downwards and mixed with the remainder of the pack, which it will be
remembered is still lying scattered upon the table. The performer,
showing his hands quite empty, now proceeds to select another five
cards, which he places face down upon the floor at the feet of his
temporary assistant and asks him to touch with a stick any one of the
five cards. The assistant does so, and, to his astonishment, the
touched card is turned over and seen to be the missing card.

_Modus Operandi._--When the pack has been spread face down upon the
table and the five cards handed to the performer, he asks for one of
the five cards to be named. This having been done, he gives the cards a
shuffle, and contrives to get the named card to the top, and secretly
reverses it. It will thus be seen that when the cards are dropped faces
up upon the other cards scattered about the table, the selected card
has apparently vanished. The four remaining cards are now turned over
and mixed with the others, the performer being careful not to lose
sight of the named card. Five cards are now taken seemingly at random
off the table, one of them of course being the selected card. The faces
of these five cards are not shown, but are immediately placed upon the
floor, care being taken to get THE card in the centre of the row. It
will be found that in nine cases out of ten the spectator invariably
touches the middle card, which, on being turned over, is found to be
the one he originally selected. Should the spectator, however, touch
any other card you simply revert to the well-known (to conjurers) dodge
of "Very well, we don't require this card," etc., etc.


_Effect._--Several cards having been selected and marked by the
audience are returned to the pack, which is thoroughly shuffled. The
cards rise from the pack whilst held in the performer's hand, and when
two-thirds of the card is visible. The performer requests the spectator
to remove his card himself, which he does, the card being drawn out
from about the centre of the pack. The remaining cards are produced in
a like manner, the effect being quite weird.


_Modus Operandi._--For the purpose of this most mystifying card effect
it is necessary to prepare a few cards by cutting an oblong slit in
each card wide enough to admit the first finger. These cards are then
placed in a side pocket, or _pochette_, and the remainder of the pack
handed to several spectators for the purpose of having cards selected
and marked. This having been done the performer proceeds to collect the
cards, each card when placed in the pack being brought to the top by
means of the pass, and after the last card has been returned, the
conjurer palms off all the selected cards and hands the pack out to be
shuffled. On again receiving the pack in his hands he immediately
replaces the palmed cards on top of the pack, and whilst calling
attention to what has been done as regards freedom of choice, marking,
shuffling, etc., he secretly secures the prepared cards and places them
upon the chosen ones. By keeping a couple of fingers across the back of
the pack it is an easy matter to casually show the front and back of
the cards, and a great deal should be made of the fact that no threads,
etc., are employed. When the first card (_i.e._, the last one returned
by the audience) is well out of the pack, the finger again covers the
slit and the pack is presented to the chooser for him to remove his
card and verify the mark. The other cards are similarly dealt with, and
the prepared ones are finally palmed off, disposed of, and the pack
again passed for inspection.



A pack of cards having been shuffled, the performer deals about fifteen
cards one by one face upwards upon the table, remarking, "You will
observe that the cards are thoroughly mixed." During this action (which
is the whole secret of this experiment) the performer secretly notes
the _fifth_ card from the top of the pack, and when gathering up the
cards takes care that the noted card is left in its original position.
He now makes four heaps of cards (faces down and about eight or ten
cards in each heap), taking the cards from the _bottom_ of the pack,
and when this has been done the conjurer quickly deals from the top of
the pack one card on to the top of each heap, immediately throwing the
next card (_i.e._, the noted one) face downwards to one of the
spectators, who is requested to remember the card (which has seemingly
been thrown out at random), and while he is doing so the performer is
busy dealing the remainder of the cards in his hands on to the top of
the four heaps. The spectator is now requested to place his card in any
heap he prefers, and put all the heaps together, and again thoroughly
shuffle, during which time the performer turns his back so as not to
see which heap the card is placed in. It is now an easy matter to tell
the name of the card, which should be done with hesitation and plenty
of dramatic gesture. Try this trick, and remember to work it at rather
a high rate of speed, and watch the effect on your audience.


_Effect._--Three white handkerchiefs are borrowed, a coloured one being
added to them (this being performer's own), and placed in a box; an
umbrella is shown, replaced in its case, and a change is commanded to
take place. The box is opened, and in place of the four handkerchiefs
is the umbrella cover, and upon opening the umbrella case the umbrella
is found minus the cover and the four handkerchiefs attached to its
ribs. The handkerchiefs are removed and laid on a table, the umbrella
being returned to the case, which is then placed aside.


One of the white handkerchiefs and a pair of sharp scissors are taken
to a spectator who is asked to mark the same, which he does, the result
being (to the consternation of the performer) a large piece cut out of
the centre. The performer apologises for the accident, and mentions
that by a similar misunderstanding one of his own handkerchiefs was
similarly treated the previous evening, in proof of which he shows a
coloured handkerchief with a piece cut out of the centre. He says he
will endeavour to restore the white handkerchief, and at the same time
he will restore the coloured one. He places the two handkerchiefs with
their respective loose centres in another piece of apparatus, and upon
removing them discovers to his horror that the white handkerchief has
the coloured centre and _vice versâ_. He makes a frantic endeavour to
unpick the stitches, finally giving it up in despair. Another piece of
apparatus is now introduced into which he places the two handkerchiefs,
and thinking that it would be more interesting if he used all the
borrowed handkerchiefs, he picks up the remaining handkerchiefs from
the table and places them along with the two unfortunates. The
performer announces that he is about to cut them all up, but before
commencing to do so bethinks himself of his own good handkerchief which
he removes and places in his pocket. After some by-play the
handkerchiefs are shown in dozens of strips, which are offered to the
respective owners to sort out, but this not meeting with the
approbation of the lenders, the performer introduces a dove-pan into
which he places the torn strips, and whilst descanting upon his trials
and troubles he holds a lighted candle near the dove-pan and the pieces
of cambric catch light. In order to extinguish the fire the performer
claps the lid on the pan, and on removing the cover, out fly two doves,
and the conjurer immediately removes the three borrowed handkerchiefs
and his own coloured one quite restored.

_Modus Operandi._--This combination will enable magicians to bring into
play some apparatus which they have probably put aside as obviously too
mechanical. Properly presented, no better effect can be wished for.


I shall not take up space by describing in detail the various pieces of
apparatus, the working, I take it, being well known to magicians of the
present day.

_You will require_:--

A CHANGING DRAWER BOX, with umbrella cover in one compartment.

UMBRELLA CHANGING TUBE: in one side is the skeleton umbrella with three
duplicate white handkerchiefs and one coloured handkerchief attached to
the bare ribs. The other division contains the unprepared umbrella.

BURNING GLOBE, containing a white handkerchief with coloured centre and
a coloured handkerchief with white centre.

HANDKERCHIEF MILL.--One of the compartments contains white and coloured
strips, which will be shown to the audience later, as the borrowed
handkerchiefs cut to pieces by the knives contained in the mill are

DOVE-PAN.--The pan only is placed on centre table, the lid and inner
lining being left behind the scenes to be brought on during the

THREE WHITE HANDKERCHIEFS (disposed of as mentioned above) to match
those you intend to borrow.

THREE COLOURED HANDKERCHIEFS--one has already been disposed of, the
second one is placed in your pocket and the third one is prepared by
cutting a piece out of the centre; this latter mutilated handkerchief
is laid on your table, both pieces being required.



A SMALL BOTTLE OF SPIRITS OF WINE, supposed by the audience to be




REVOLVER, loaded with blank cartridge.



_To perform_:--The conjurer requests the loan of several white
handkerchiefs. A number being offered, he accepts three, which he
throws over a chair back while he calls attention to the empty
condition of the drawer box. The performer now takes the borrowed
handkerchiefs one by one and places them in the box. After placing the
third handkerchief in the drawer box, he looks round as if for another
handkerchief, and remarks, "I should have borrowed _four_
handkerchiefs, but I will not trouble you again, I will use my own."
Drawing this (the coloured one) from his pocket and placing it in the
box with the three white ones, he closes the drawer. The drawer box is
now placed on a table or chair near the footlights. The performer next
introduces the umbrella tube, being careful to remove the lid from the
end containing the unprepared parasol, which he withdraws, opens, and
passes for inspection to prove its unpreparedness. The parasol being
returned is placed back into the tube, the lid put on, and in turning
to place the tube on the table, it (the tube) is reversed, which brings
the lid covering the division containing the skeleton umbrella towards
audience when laid on the table. The performer now commands a change to
take place, and picking up the box he pulls out the drawer containing
the parasol cover, which he removes and shows to audience. On opening
the umbrella tube, he withdraws the skeleton parasol with the four
duplicate handkerchiefs attached to the ribs; the four handkerchiefs
are unfastened and laid on the table, the audience believing them to be
those originally borrowed. The performer now selects one of the white
handkerchiefs, takes up the pair of scissors and asks one of the
spectators to mark the handkerchief so that he will know it again--the
conjurer holding the handkerchief in such a manner that the spectator
is compelled to cut a circular piece out of the centre. While the
gentleman is cutting the handkerchief, the assistant enters and removes
the drawer box and umbrella tube, as having been finished with, and
when behind the scenes he opens the box and removes the three borrowed
handkerchiefs and the performer's coloured one, all of which he folds
neatly and places in the inner lining of the dove-pan, finally putting
in the two doves and locking lid to lining by the usual bayonet catch.
During this time the performer has been apologising for the damage done
to the white handkerchief, and the owner not caring to accept his
property in its present condition, the performer calls attention to the
burning globe, and states that by placing the mutilated handkerchief in
the globe he can immediately restore it; at the same time he mentions
that "the previous evening I had the misfortune to have my own
handkerchief marked in a similar manner" (picks up coloured
handkerchief and loose centre from table and shows to audience), "and
will take the opportunity of restoring my own coloured handkerchief
whilst I am restoring the borrowed white one." After showing the globe
to be empty, the performer places the two damaged handkerchiefs, with
their respective loose centres, into same and gives the body of globe a
quarter-turn, which brings the compartment containing the white
handkerchief with coloured centre, and the coloured handkerchief with
white centre uppermost. After allowing the "spirits" due time to repair
the damaged MOUCHOIRS the performer requests one of the spectators to
remove the handkerchiefs, and on his doing so, it is found that the
centres have been sewn into the wrong handkerchiefs. The conjurer now
makes an attempt to undo the stitches, but finds it impossible, so
states that "I shall have to cut the handkerchiefs up in order to
restore them to their original condition." During this little bit of
by-play, the assistant enters, bringing with him, unostentatiously, the
lid of the dove-pan, which he places on the centre table, retiring
immediately with the brass globe, now finished with. The performer now
introduces the handkerchief mill and removes the knives in order to
show their sharpness, and the two handkerchiefs are placed in the empty
compartment (the other division, it will be remembered, contains the
strips of handkerchiefs); but on second thoughts the performer
considers that it is unfair not to treat all the handkerchiefs alike,
so he picks up the remaining two white handkerchiefs and the coloured
one from the table and places them also in the mill.

Before commencing to cut the handkerchiefs up, the performer removes
his own coloured one and places it in his pocket, remarking that "to
damage my own handkerchief would be ridiculous." The performer now
makes the knives revolve, and shortly afterwards pulls the strips of
handkerchiefs out of the second compartment and drops them into the
dove-pan, saying, "The damage to the handkerchiefs is irreparable, but
I will endeavour to iron the pieces and the lenders can sort them out
at their leisure. I believe it is necessary when doing any ironing to
sprinkle a little water over the objects to be ironed" (sprinkle strips
with spirits of wine from bottle) "and also to wax the iron, but as I
have no wax and no iron, I will light the candle and drop a little of
the melted wax on the pieces of handkerchiefs." Whilst lighting the
candle the conjurer carelessly drops the lighted match in the dove-pan,
the spirits of wine become ignited and there is a great blaze. The
performer gets excited and endeavours to blow out the flames, and not
being successful, he frantically grasps the lid of the pan and claps it
on to same, immediately afterwards picking up his revolver and firing
over the pan, finally removing the lid (which leaves the inner lining
inside pan) and allowing the doves to escape.

The handkerchiefs are now removed and handed back to their respective
owners, the performer's coloured handkerchief being returned to his

If the above description has been carefully followed it will be seen
that although an enormous amount of destruction has apparently been
going on, in reality only one white handkerchief is destroyed at each
performance of the experiment.


_Effect._--An egg is produced and wrapped in a handkerchief, which is
then placed over a chair back. A glass casket is next shown to be empty
and a piece of tape tied round same by a member of the audience. The
casket is suspended from a stand and covered with a borrowed
handkerchief. A Union Jack flag is produced and changes into an egg.
The casket is uncovered, and flag seen within. Handkerchief removed
from chair back, opened out, and egg has disappeared.


_You will require_:--A glass casket for handkerchief, double
handkerchief with slit in centre of one side, two small flags, one
ordinary and one hollow egg (with opening at side), a piece of red tape
long enough to go twice round the casket, candle in candlestick, box
of matches and a folding brass music stand carrying a frame in which is
suspended the casket. The casket has the front lid and two sides of
glass, the back and bottom being of wood. A wooden flap is hinged to
lower portion of back, and a small silk flag is roughly rolled up and
placed behind the flap, which is held up by a small catch operating
from back of casket. Casket can now be shown empty amongst the audience
without fear of flag or flap being seen. The hollow egg is vested, and
the second flag rolled up and placed in matchbox ready for production
from flame of candle. The ordinary egg can either be brought on openly
or magically produced. I prefer using one of the eggs I have previously
produced in the "four eggs at finger tips" trick.

_Modus Operandi._--Show the egg and wrap same in the double
handkerchief, taking care that the egg is placed in the slit; twist the
handkerchief round so as to show shape of the egg, and call attention
to the fact that the egg can be seen throughout the performance, and
lay same over chair back, egg towards audience. Show casket empty and
hand the tape to spectator, asking him to tie same round the casket,
the performer holding casket whilst it is being tied. It is now
suspended in the frame on stand (two small brass chains with hooks at
end being used for this purpose), and covered with borrowed
handkerchief. In the act of covering the casket, performer releases the
flap which drops down inside the casket, thus releasing the duplicate
flag previously placed therein. The candle is now lighted and the flag
produced from flame. While calling attention once more to the egg in
the handkerchief and to the empty (?) casket, the performer secures the
hollow egg from vest and proceeds to vanish the flag by working it into
the opening at the side of egg. When the flag is well tucked in, the
conjurer, without showing egg, explains what he is about to do--to
cause the egg to leave the handkerchief and appear in his hand, and the
flag to pass from his hand into the empty casket. _Presto!_ the hands
are opened, the egg is shown, and placed in a conspicuous position on
the table; the casket is uncovered and handed to spectator to untie the
tapes and remove the flag.

The performer now commences to introduce his _next_ trick, seemingly
forgetting about the handkerchief which is still hanging over chair
back, and of course the usual "smart" gentleman asks, "What about the
egg in the handkerchief?" Performer seems flurried, but otherwise takes
no notice of the remark, and pretends to be anxious to get on with his
next item. The audience insists that the egg is still in the
handkerchief, and performer then calls attention to the egg on the
table, which he asserts is the one he wrapped up in the handkerchief,
and "eggstracted" by magic. The audience do not believe it, so the
magician, with seeming reluctance, very gingerly picks up the
handkerchief from the chair and shakes same out (the handkerchief, not
the chair), and the egg is "found" to have disappeared, proving (?)
that the egg seen on table is the identical one which was wrapped up at
commencement of trick.

I am indebted to my esteemed brother magicians, Messrs. T. HAYES, W. G.
MALVERN, and J. HEMPSTEAD, for the description of the following
original and novel experiments:--



The requirements for this excellent trick are as follows:--A glass gas
chimney, four silk handkerchiefs--one red, one blue, and two white. A
small _fêke_--consisting of a brass tube about two inches long and just
large enough to slip over the forefinger of the right hand. There must
be soldered at the top of the _fêke_ on the outside, a piece of wire
forming a small hook. The _fêke_ should, for obvious reasons, be
covered with flesh-coloured silk.

A sheet of cartridge paper rolled up to form a tube and of such a size
as to fit over the glass cylinder is also required.

The presentation of the trick is as follows:--The performer commences
by showing an ordinary glass cylinder to be unprepared and free from
deception. The three handkerchiefs are next shown, and in placing them
on the table the blue handkerchief is casually dropped over the _fêke_
which is lying there loaded with a duplicate white handkerchief. The
red handkerchief is then picked up along with the cylinder and placed
in one end; then the blue handkerchief (and with it the _fêke_) is
inserted in the other end of the cylinder. The hook on the fêke engages
the rim of the cylinder, which prevents it from slipping down. The
performer now covers the cylinder with the tube of paper, and in doing
so the forefinger is pushed through the _fêke_, which action causes the
concealed handkerchief to appear between the blue and red
handkerchiefs, and when withdrawing the finger, the _fêke_ is brought
away on it, which, of course, cannot be seen owing to the
flesh-coloured silk.


The trick is now practically finished; all the performer has to do is
to vanish the white handkerchief into the _fêke_, which is removed from
the finger, and command the white handkerchief to appear between the
red and blue handkerchiefs in the cylinder. On removing the paper tube
this is seen to have been done.



The coin trick I am about to describe is most suitable for performing
in a room, and has the advantage of being easily mastered by anybody
after five minutes' practice. This sleight has perplexed many of the
world's leading magicians, amongst whom may be mentioned Mr. Horace


The effect of the trick is as follows:--The performer rolls up his
right sleeve to the elbow, and then sits down at a table. One of the
spectators is requested to sit down opposite him, and having obtained
the loan of a sixpence, he places the coin in his palm in full view of
everybody. The performer then closes his hand on the table, knuckles
upwards, and asks the spectator sitting opposite him to place his hand
on his (performer's), which he does, and then the performer, saying
"One! two! three! Pass!!" asks the spectator if he felt the coin leave
the hand and pass through _his_ (spectator's), to which, of course, the
answer is "No"; but, nevertheless, on the spectator removing his hand,
and the performer opening his, the coin is found to have completely
vanished. The hands are shown absolutely empty, fingers wide apart, no
palming being employed.

The effect of this little trick cannot be sufficiently judged by a
description in print, but must be put into actual practice to be
thoroughly appreciated.

_To perform._--When the performer (with right arm bared to elbow) asks
the spectator to place his hand on his (performer's), he brings his
left elbow on to the table and rests his head on his left hand--quite a
natural position--and when the spectator puts his hand on the
performer's (which in nine cases out of ten will be in the form of a
fist like performer's), the conjurer exclaims, "No, no! not that way;
put your hand _flat_ on mine," on saying which the spectator will
naturally remove his hand for an instant--and now comes the conjuring
part of the experiment. As the spectator removes his hand performer
raises his fist with a quick up-and-down motion, and as his hand
descends the coin is thrown through the bottom of fist into left
sleeve. This motion must be done very smartly and at the right moment,
but with a little practice will be found quite easy of accomplishment.

It will now be clear that when the spectator again puts his hand on top
of the performer's, the trick is done, and it does not take much of a
magician to cause the disappearance of the coin. Of course, should the
spectator at first place his hand _flat_ on your fist, the same formula
is gone through as before, only _vice versâ_.



_Effect._--Appear with wand in hand, and after usual introductory
patter lay wand on table and pick up a piece of white tissue
paper--size, say, 6 by 4 inches. Roll this up into a ball and place on
the palm of the left hand; then, shaking it to and fro, it gradually
assumes the form of an egg. Lay this on the table while you light a
candle (ready in candlestick); pick up the egg again and hold it over
the candle to harden it. In a minute show the egg and have the same
examined. Make a few passes--limited only by the skill of the
performer--eventually placing it in the left hand (back to audience)
and command it to pass; show empty hand, at the same time point to
candle on table, when the audience see the egg balanced on top of same.
Take it off and bring forward with candle and show. Replace the candle
and pick up a handkerchief. Cover egg with handkerchief and taking hold
of egg through same, gather up the four loose ends and give to someone
to hold. Take up your pistol and fire at same, and laying down pistol,
pick up plate and ask assistant to place the handkerchief on it; then
open out handkerchief, and in centre in place of the egg he finds
original piece of paper (initialed previously if desired).

Now take piece of paper, and laying down plate and handkerchief, make a
fist of left hand and push paper in at top, draw it out at bottom of
hand, when it is seen to have changed to a white silk handkerchief.
Show this both sides, holding it at two top corners; then roll it up
rope fashion, and pulling hands apart, a handkerchief is seen in both
hands--one white and one yellow (here you may remark "The white and
yolk; simply a question of colour"). Now roll these two together in the
hands, and hold in right hand over candle, saying, "I will hard-boil
it," and show the egg again. Pass for examination, asking if it is a
good one; on reply of "Yes," say "Well, I have my doubts, but we will
test it." Throw it in the air two or three times and the egg
disappears, you remarking, "I was afraid there might be a chicken in

_Explanation._--When you pick up piece of paper at first, you take up
with it a "skin" egg, neatly folded, with a thin strip of paper round
it to prevent it prematurely expanding. It is this that is placed in
palm of left hand, and paper strip torn loose. Lay gently on table and
light candle, and as you lay down matchbox with right hand (right side
to audience), palm egg in left hand from hip pocket or vest. Pick up
"skin" egg and hold over candle, presently remarking "It's getting
hot"; suddenly place it apparently in the left hand (really crushing it
up and finger palming), and show palmed egg in left hand. After sundry
"passes" "vanish" to candle. This is worked on same principle as "Card
in Candle," or "Card on Ale Bottle," using a half shell (cut
lengthwise). When you go to take egg, remove with left hand and place
in right, in which is original egg still palmed. The shell fits on
this, so only one egg appears. Pick up the candlestick in left hand,
and bring it forward to show it quite unprepared, allowing the _fêke_
to fall forward flat on table.


Replace the candle and pick up the handkerchief. This has an oval wire
shape in centre covered by a piece of the same material as the
handkerchief--this fits over egg, which presses out handkerchief into
proper shape. When you pretend to take hold of the egg through
handkerchief, you really seize this--allowing egg to drop into right
palm out of sight. Gather up the four ends of the handkerchief with
this hand, which adds cover for egg. Let go top (egg?) with left hand
and ask assistant to hold handkerchief for you. In handing it to him
first take it in your left hand and let your right fall naturally to
side, and either "vest" or "_profonde_" egg. Now take up pistol and
fire at egg (?) in handkerchief, and picking up the plate or tray, lay
down pistol and ask assistant to lay handkerchief with the egg gently
on it. With your other hand open out handkerchief--when he sees roll of
paper on same. (This is original piece, palmed in when pretending to
place egg in. The wire frame holds it in position.) Let your assistant
open out the paper and verify mark (if one was made). Meanwhile, lay
down the plate and handkerchief on the table, at the same time palming
small _fêke_ containing white silk handkerchief in left hand. Now take
back piece of paper from assistant and thank him; then make left hand
into a fist and push the paper in at top till all is in. This pushes
out handkerchief from the _fêke_ into the palm; then secretly remove
_fêke_ on finger, continuing the pushing with another finger (old
idea). Now draw out silk handkerchief from bottom of left hand--show it
by holding it at the top corners, in front of you--gradually raise
right hand and lower left; as you do so, seize the corner of the yellow
handkerchief which protrudes through one of waistcoat buttonholes. (I
have a small black bead sewn to the corner to make this easy.) As soon
as yellow handkerchief is clear, the left hand should have reached
buttonhole and now seizes last corner; then a quick turn (ropewise)
rolls up the yellow in the white. Pull hands apart gently, retaining
end of yellow handkerchief in one hand and the end of white in the
other, and let the audience see both, one in each hand. Now roll these
up in the hands, "balling" them well, and hold over candle (or a
Stodare egg can be used, making all safe). After a minute, show egg,
saying, "It's getting hot!"--change from hand to hand, thus changing
for real original egg, which you had just before palmed from vest or
pocket, and hand for examination. The final vanish is, of course, into
the _profonde_ and needs no explanation.



=Boxes of Conjuring Tricks=, 1/3, 2/9, 5/10, 11/-, 15/8, post free.
Larger sizes, 21/-, 30/-, 42/-, 63/- to 10 guineas.

=Cabinets of Card Tricks=, 2/9, 5/10, 10/11, 21/9, post free. Larger
sizes, 42/- and 63/-, carriage on receipt.

=Boxes of Puzzles=, 2/9, 5/10, 10/11, 21/9, post free. Superb Cabinet,
63/-, carriage on receipt.

=Boxes of Assorted Wire Puzzles=, price 6d., post free 8d. Large size,
1/-, post free 1/3.

=Cabinet of Coin Tricks=, containing eight tricks, 6/3, post free.

=Cabinet of Amusing Jokes=. Latest Novelty, very funny and laughable,
containing thirteen surprises, price 10/10, post free.



=Cabinet of Hand Shadows=, complete with book by David Devant. Price
1/-, post free 1/3. Without book 9d., post free 1/-.

=A Complete Set of "Shadowgraphy."= Containing every piece of apparatus
named in the book. There are about twenty different pieces, exactly the
same as used by Trewey. Price only 3/6, post free 3/9.

=Sets of Figures= as described in the book "Shadow Entertainments," by
A. Patterson, at prices as follows, post free:--Broken Bridge, 5/3;
Ally Sloper's Menagerie, 2/9; Barnaby's Bull, 3/-; Mrs. Bugg's Chimney,
2/9; Old Tagg's Day School, 2/9; Down our Alley, 4/3; The Haunted
House, 6/9; Marine piece, 4/6; Set of Characters, 2/9; Book only,
describing above sets, 1/-, post free 1/2.

=Ventriloquial Heads= at 5/-, 6/6, 10/6, 15/-, 17/6, 24/-, post free
5/4, 6/10, 11/-, 16-, 18/6, 25/-.

=Ventriloquial Figures=, 15/-, 21/-, 30/-, 40/-, 63/-, 84/-, and 105/-
each; carriage on receipt.

Any Special Figure made to order. A large assortment of Ventriloquial
Books. List post free.

=Original Dialogues= written from 3/6 to 42/-.

=Sets of Punch and Judy Figures= from 5/6. List post free.

A Large Variety of =Marionette Figures=. List post free.

=Hat Coils=, six bright colours in each, cut and made by machinery,
rolled very tight, price 2-1/2d. each, post free 4d.; by the dozen (not
less) 2/3, post free 2/9.

=7-in. Tambourine Coils=, white, 3d. each, post free 6d. each; by the
dozen (not less) 2/9, post free 3/5.

=Flowers of Enchantment=, best double flowers, silk leaves, shaded,
unequalled, price 1/1 per dozen, post free; or 7/6 per 100, post free
7/9. Cheaper quality Paper Flowers, very effective, bright colours,
price 6d. per dozen, post free 7d.; or 2/6 per 100, post free 2/7.

=Multiplying Flags=, best quality, bright colours, very effective.
First size, 8d. per gross; second size (7 ins. by 5 ins.), 6d. per
dozen; third size (14 ins. by 10 ins.), 1/- per dozen; fourth size (19
ins. by 15 ins.), 1/4 per dozen; fifth size (29 ins. by 20 ins.), 1/7
per dozen; postage 3d. extra. Any size made to order.

=Flash Paper= 4d. per sheet, 8d. per packet, 4/3 per quire, post free.

=Grand Complete Illustrated Catalogue=, price 6d., post free.

=CHAPEAUGRAPHY, or Twenty-five Heads under one Hat.=--A complete Set of
Apparatus, Book, etc., for Chapeaugraphy. An immense success for Public
Entertainments, Private Parties, Bazaars, Penny Readings, etc. Price
10/- complete, post free 10/6. Book only, price 6d., post free 7d.


              { 35, NEW OXFORD STREET, W. C.
HAMLEY        { 29, LUDGATE HILL, E.C.
BROS., LTD.,  { 510A & 512, OXFORD STREET, W.
Branches,     { 200 & 202, REGENT STREET, W.
London.       { 59, KNIGHTSBRIDGE, S.W.
              { 86 & 87, HIGH HOLBORN, W.C. (HEAD WAREHOUSE.)


In which is merged BLAND'S MAGICAL PALACE.

Conjuring Tricks
Of all Kinds.
At all Prices.

We have actually IN STOCK thousands of splendid tricks which can be
easily, but deceptively, shown immediately on purchasing, after merely
having read the clear and explicit instructions which are included with
each trick.

Prices from 4d. to £25.

All tricks described in this book can be obtained at HAMLEY BROS., LTD.

=Ventriloquial Dolls and Heads= of every description.

=Punch and Judy Shows and Figures= from 5/6 to 6 guineas.

="Make-Up"= of every description at lowest professional prices.

=Shadowgraphy and Chapeaugraphy= Outfits for Professionals and

=Puzzles=, =Practical Jokes=, and all kinds of funny Novelties, always
in stock in immense varieties, etc., etc.

N.B.--We have Agents all over the world to keep us posted in "the very
latest," which is always to be obtained _first_ at our Grand Magical

Lessons given in Sleight of Hand, Ventriloquism, &c.


="Some Modern Conjuring."= By Donald Holmes. Price =4/-=, post free

="Entertaining."= By "Albertus." Price =1/-=, post free =1/2=.

="The Art of Modern Juggling."= By "Anglo." Usual Price =4/6=, reduced
to =2/6=, post free =2/8=.

="Problems in Mystery."= By Max Stirling. Price =2/6=, post free =2/8=.

="Aids to Wizardry."= By E. D'Egerdon. Price =2/-=, post free =2/2=.

="Patter Books,"= in 2 volumes. By "Selbit." Price =6d.= each vol.,
post free =7d.=

Ideas for Illusions, etc., worked out.


GRAND ILLUSTRATED CATALOGUE (nearly 1,000 Illustrations) post free on
receipt of 6d., stamps or P.O.

              { 35, New Oxford Street, W.C.
HAMLEY        { 29, Ludgate Hill, E.C.
BROS., Ltd.,  { 510a & 512, Oxford Street, W.
Branches,     { 200 & 202, Regent Street, W.
London,       { 59, Knightsbridge, S.W.
              { 86 & 87, High Holborn, W.C. (Head Warehouse.)

       *       *       *       *       *

Transcriber's Notes

Italicized text is shown within _underscores_.

Bold text is shown within =equal signs=.

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