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Title: The Juggler's Oracle - or, The Whole Art of Legerdemain Laid Open
Author: Boaz, Herman
Language: English
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THE
JUGGLER’S ORACLE;
OR,
THE WHOLE ART
OF
Legerdemain Laid Open:
CONSISTING OF
_ALL THE NEWEST AND MOST SURPRISING_
TRICKS AND EXPERIMENTS,
WITH
CARDS,
CUPS AND BALLS,
CONVEYANCE OF MONEY AND RINGS,
BOXES,
FIRE,
STRINGS AND KNOTS;
WITH
MANY CURIOUS EXPERIMENTS
_By Optical Illusion, Chymical Changes, and
Magical Cards, &c._
THE WHOLE
Illustrated by upwards of Forty Wood Engravings.
BY THE SIEUR H. BOAZ,
THIRTY YEARS PROFESSOR OF THE ART.
LONDON:
PRINTED FOR WILLIAM COLE,
10, NEWGATE STREET.
PRINTED BY G. H. DAVIDSON,
IRELAND YARD, DOCTORS’ COMMONS.
CONTENTS.
Page.
Description of the Operator 1
TRICKS WITH CARDS.
1. To deliver Four Aces, and to convert them into Knaves 2
2. Method of making the Pass 3
3. The Card of Divination 4
Another Way 5
4. The Four Confederate Cards 5
5. The Fifteen Thousand Livres 5
6. The Magic Ring 7
7. The Card in the Mirror 8
8. The Marvellous Vase 9
9. The Nerve Trick 10
10. To make the Constable catch the Knave 11
11. To change a Card into a King or Queen 11
12. To tell a Person what Card he took Notice of 12
13. To tell what Card is at the Bottom, when the Pack is shuffled 12
14. Another Way, not having seen the Cards 12
15. To tell, without Confederacy, what Card one thinks of 13
16. To make a Card jump out of the Pack, and run on the Table 13
17. To tell a Card, and to convey the Same into a Nut or
Cherry-Stone 13
18. To let Twenty Gentlemen draw Twenty Cards, and to make
one Card every Man’s Card 13
19. To transform the Four Kings into Aces, and afterwards to
render them all Blank Cards 13
20. To name all the Cards in the Pack, and yet never see them 15
21. To show any one what Card he takes Notice of 15
22. To tell the Number of Spots on the Bottom Cards, laid
down in several Heaps 16
23. To make any two Cards come together which may be named 17
24. Card nailed to the Wall by a Pistol-shot 17
25. To tell what Card one thinks of 19
26. Another Way 19
27. To make a Card jump out of an Egg 20
28. The Little Sportsman 20
CUPS AND BALLS.
29. To pass the Balls through the Cups 22
30. A still more Extraordinary Mode of Playing at Cups and
Balls 26
CONVEYANCE OF MONEY, &c.
31. To convey Money from one Hand to the other 28
32. To convert Money into Counters, and the Reverse 28
33. To put a Sixpence into each Hand, and, with Words, bring
them together 29
34. To put a Sixpence into a Stranger’s Hand, and another into
your own, and to convey both into the Stranger’s Hand
with Words 29
35. To show the same Feat otherwise 29
36. To throw a Piece of Money away, and find it again 30
37. To make a Sixpence leap out of a Pot or to run along a
Table 30
38. To make a Sixpence sink through a Table, and to vanish out
of a Handkerchief 30
39. To know if a Coin be a Head or Woman, and the Party to
stand in another Room 31
40. To command Seven Halfpence through the Table 31
41. To command a Sixpence out of a Box 32
42. To blow a Sixpence out of another Man’s Hand 32
43. To make a Ring shift from one Hand to another, and to make
it go on whatever Finger is required, while Somebody
holds both Arms 33
44. To transfer a Counter into a Silver Groat 34
45. To make a Silver Twopence be plain in the Palm of your
Hand, and be passed from thence wherever you like 35
46. To convey a Sixpence out of the Hand of one that holds it
fast 35
47. To convey a Shilling from one Hand into another, holding
your Hands apart 36
48. To transform any small Thing into any other Form, by folding
of Paper 36
49. Another Trick of the same Nature 36
50. A Watch recovered after being beaten to Pieces in a Mortar 37
TRICKS WITH BOXES, &c.
51. The Egg-Box 38
52. The Penetrative Guinea 39
53. The Chest which opens at Command 40
54. The Melting-Box 41
55. Trick upon the Globe-Box 42
56. Trick with the Funnel 44
57. The Magical Bell and Bushel 44
58. Out of an Empty Bag to bring upwards of an Hundred
Eggs; and, afterwards, a living Fowl 45
59. Bonus Genius; or, Hiccius Doctius 46
60. To make a Knife leap out of a Pot 47
61. To turn a Box of Bird-seed into a living Bird 47
EXPERIMENTS WITH FIRE.
62. To produce a Carmine Red Flame 48
63. An Orange-coloured Flame 48
64. To make Balloons with Soap and Water that catch Fire and
detonate 48
65. A Brilliant Blue Flame 49
66. An Emerald Green Flame 49
67. Loud Detonations, like the Discharge of Artillery 49
68. A Well of Fire 50
69. To make a Room seem all on Fire 50
70. To walk on a Hot Iron Bar, without Danger of Burning 50
71. To eat Fire, and blow it up in your Mouth with a Pair of
Bellows 50
72. To Light a Candle by a Glass of Water 52
73. Fulminating Powder 52
74. To set Fire to a Combustible Body by the Reflection of Two
Concave Mirrors 52
75. To give the Faces of the Company the Appearance of Death 53
76. To dispose two Little Figures, so that one shall light a
Candle, and the other put it out 53
77. To construct a Lantern which will enable a Person to read
by Night, at a great Distance 53
TRICKS WITH STRINGS, KNOTS, &c.
78. To cut a Lace asunder in the Middle, and to make it Whole
again 54
79. To burn a Thread and make it Whole again with the Ashes 54
80. To pull many Yards of Ribbon out of the Mouth 55
81. To cut a Piece of Tape into Four Parts, and make it Whole
again with Words 55
82. To unloose a Knot upon a Handkerchief, by Words 57
83. To draw a Cord through the Nose 58
84. To take Three Button-Moulds off a String 59
OPTICAL ILLUSIONS.
85. The Multiplying Mirror 60
86. The Magic-Lantern 61
87. The Phantascope 61
88. The Enchanted Mirrors 63
89. The Wonderful Phantoms 64
90. The Real Apparition 65
91. To draw a Deformed Figure, which will appear well proportioned
from a certain Point of View 67
CHEMICAL CHANGES.
92. To change the Colour of a Rose 67
93. To turn Water into Wine 67
94. Arbor Dianæ; or, the Silver Tree 68
95. The Lead Tree 68
96. The Tree of Mars 68
97. To form a Metallic Tree, in the Shape of a Fir 69
98. To make a Gold or Silver Tree, to serve as a Chimney
Ornament 69
99. Sympathetic or Secret Inks 70
100. Preparation of Green Sympathetic Ink 70
101. Blue Sympathetic Ink 70
102. Yellow Sympathetic Ink 71
103. Purple Sympathetic Ink 71
104. Rose-coloured Sympathetic Ink 71
105. Application of the Secret Inks 71
106. A Drawing which alternately represents Winter and Summer
Scenes 71
107. Demonstration of the various Strata of Earth which cover
the Globe 72
108. To freeze Water in the Midst of Summer, without the
Application of Ice 72
MISCELLANEOUS TRICKS AND EXPERIMENTS.
109. To swallow a long Pudding made of Tin 73
110. An artificial Spider 74
111. To pass a Ring through your Cheek 74
112. To cut a Hole in a Cloak, Scarf, or Handkerchief, and by
Words to make it Whole again 75
113. The Dancing Egg 75
114. To make three Figures Dance in a Glass 76
115. To shoot a Swallow, and to bring him to Life again 77
116. Singular Trick with a Fowl 77
117. To put a Lock upon a Man’s Mouth 77
118. To thrust a Bodkin into the Forehead, without Hurt 79
119. To thrust a Bodkin through your Tongue 79
120. To appear to cut your Arm off, without any Hurt or Danger 80
121. Tricks with a Cat 80
122. To make a Calf’s Head bellow, when served up to Table 81
123. To make a Ball rise above the Water 81
124. Mode of sealing Letters, whereby the Impression cannot be
taken 81
125. The Enchanted Egg 82
126. To cut a Man’s Head off, and to put the Head into a Platter,
a Yard from the Body 82
127. To cause Beer to be wrung out of the Handle of a Knife 83
128. To cut a Glass by Heat 84
THE
JUGGLER’S ORACLE.
LEGERDEMAIN, OR SLEIGHT-OF-HAND,
Is an art whereby a person seems to work wonderful, incredible, and
almost impossible feats. There is no supernatural or infernal agency
in the case; for every trick is performed by nimbleness, agility, and
effrontery.
_The Operator._
The Operator, or Conjurer, should be a person of bold and undaunted
resolution, so as to set a good face upon the matter, in case of the
occurrence of any mistake whereby a discovery of the nature of the
trick in hand may take place by one of the spectators.
He ought to have a great variety of strange terms and high-sounding
words at command, so as to grace his actions, amaze the beholders, and
draw their attention from the more minute operations.
He ought likewise to use such gestures of body as may help to draw off
the attention of the spectators from a strict scrutiny of his actions.
In showing feats and juggling with cards, the principal point consists
in the shuffling them nimbly, and always keeping one card either at
the bottom or in some known place of the pack, four or five cards from
it; hereby you will seem to work wonders, for it will be easy for you
to see one card, which, though you be perceived to do it, will not be
suspected, if you shuffle them well afterwards; and this caution I must
give you, that, in reserving the bottom card, you must always, whilst
you shuffle, keep it a little before or a little behind all the cards
lying underneath it, bestowing it either a little beyond its fellows
before, right over the fore-finger, or else behind the rest, so as the
little finger of the left hand may meet with it, which is the easier,
readier, and better way. In the beginning of your shuffling, shuffle
as thick as you can, and, in the end, throw upon the pack the nether
card, with so many more, at the least, as you would have preserved for
any purpose, a little before or a little behind the rest, provided
always that your fore-finger (if the pack lie behind) creep up to meet
with the bottom card; and, when you feel it, you may then hold it until
you have shuffled over the cards again, still leaving your _kept card_
below. Being perfect herein, you may do almost what you like with cards
by this means: what pack soever you use, though it consist of eight,
twelve, or twenty cards, you may keep them still together unsevered,
next to the card, and yet shuffle them often, to satisfy the admiring
beholders. As for example, and for brevity sake, to show divers feats
under one:--
_To deliver Four Aces, and to convert them into Knaves._
Make a pack of these eight cards, viz. four knaves and four aces;
and, although the eight cards must be immediately together, yet must
each knave and ace be evenly set together, and the same eight cards
must lie also in the lowest place of the pack; then shuffle them so
always, at the second shuffling; so that, at the end of shuffling the
said pack, one ace may lie undermost, or so as you may know where it
goeth and lieth always: I say, let your aforesaid pack, with three or
four cards more, lie inseparable together, immediately upon and with
that ace. Then using some speech or other device, and putting your
hands, with the cards, to the edge of the table, to hide the action,
let out, privately, a piece of the second card, which is one of the
knaves, holding forth the pack in both your hands, and showing to the
standers-by the nether card, which is the ace, or kept card, covering
also the head or piece of the knave, which is the next card, and, with
your fore-finger, draw out the same knave, laying it down on the table;
then shuffle them again, keeping your pack whole, and so have your two
aces lying together at the bottom. And, to reform that disordered card,
and also to grace and countenance that action, take off the uppermost
card of the bunch, and thrust it into the midst of the cards, and
then take away the nethermost card, which is one of your said aces,
and bestow it likewise; then you may begin as before, showing another
ace, and instead thereof lay down another knave, and so forth, until,
instead of four aces, you have laid down four knaves; the spectators,
all this while, thinking that four aces lie on the table, are greatly
amused, and will wonder at the transformation. You must be well
practised in shuffling the pack, lest you overshoot yourself.
TRICKS WITH CARDS.
_Method of making the Pass._
This art consists in bringing a certain number of cards from the bottom
of the pack to the top. I shall explain the method of doing it, before
proceeding further, as many of the following recreations depend on the
dexterous performance of this manœuvre. Hold the pack of cards in your
right hand, so that the palm of your hand may be under the cards. Place
the thumb of that hand on one side of the pack, the first, second, and
third fingers on the other side, and your little finger between those
cards that are to be brought to the top, and the rest of the pack. Then
place your left hand over the cards, in such a manner that the thumb
may be at C, and the fingers at B, according to the following figures:--
[Illustration:
B
+---------------+ +-----+
| Bottom. | | Top |
| 2 | | |
| Thumb | | |
| 3 | | |
| | | |
| 4 | | |
| Little finger | | |
+---------------+ +-----+
C
]
The hands and the two parts of the cards being thus disposed, you draw
off the lower cards, confined by the little finger and the other parts
of the right hand, and place them, with an imperceptible motion, on
the top of the pack. It is necessary, before you attempt any of the
recreations that depend on making the pass, that you can perform it so
dexterously that the eye cannot distinguish the motion of your hand;
otherwise, instead of deceiving others, you will expose yourself. It
is also proper that the cards make no noise, as that will occasion
suspicion. This dexterity is not to be attained without some practice.
It is sometimes usual to prepare a pack of cards, by inserting one or
more that are a small matter longer or wider than the rest; and that
preparation will be necessary in some of the following recreations.
_The Card of Divination._
Have a pack in which there is a longer card than the rest; open the
pack at that part where the long card is, and present the pack to a
person in such a manner that he will naturally draw that card. He is
then to put it into any part of the pack, and shuffle the cards. You
take the pack and offer the same card in like manner to a second or
third person; observing, however, that they do not stand near enough
to observe the card each other draws. You then draw several cards
yourself, among which is the long card; and ask each of the parties if
his card be among those cards, and he will naturally say yes, as they
have all drawn the same card. You then shuffle all the cards together,
and, cutting them at the long card, you hold it before the first
person, so that the others may not see it, and tell him that is his
card. You then put it again in the pack, and, shuffling them a second
time, you cut again at the same card, and hold it in like manner to the
second person; and so of the rest.
If the first person should not draw the long card, each of the parties
must draw different cards; when, cutting the pack at the long card, you
put those they have drawn over it, and, seeming to shuffle the cards
indiscriminately, you cut them again at the long card, and show one
of them his card. You then shuffle and cut again, in the same manner,
and show another person his card, and so on; remembering that the card
drawn by the last person is the first next the long card; and so of the
others.
_Another Way._
This recreation may be performed without the long card, in the
following manner: let a person draw any card whatever, and replace it
in the pack; you then make the pass, and bring that card to the top of
the pack, and shuffle them without losing sight of that card. You then
offer that card to a second person, that he may draw it, and put it
in the middle of the pack. You make the pass, and shuffle the cards a
second time, in the same manner, and offer the card to a third person;
and so again to a fourth or fifth.
_The Four Confederate Cards._
You let a person draw any four cards from the pack, and tell him
to think of one of them. When he returns you the four cards, you
dexterously place two of them under the pack, and two on the top. Under
those at the bottom you place four cards of any sort, and then, taking
eight or ten from the bottom cards, you spread them on the table, and
ask the person if the card he fixed on be among them. If he say no, you
are sure it is one of the two cards on the top. You then pass those
two cards to the bottom, and, drawing off the lowest of them, you ask
if that is not his card. If he again say no, you take that card up,
and bid him draw his card from the bottom of the pack. If the person
says his card is among those you first drew from the bottom, you must
dexterously take up the four cards that you put under them, and,
placing those on the top, let the other two be the bottom cards of the
pack, which you are to draw in the manner before described.
_The Fifteen Thousand Livres._
You must be prepared with two cards like the following:--
[Illustration]
and with a common ace and five of diamonds. The five of diamonds, and
the two prepared cards, are to be disposed thus:--
[Illustration]
and, holding them in your hand, you say,--“A certain Frenchman left
fifteen thousand livres, which are represented by these three cards, to
his three sons; the two youngest agreed to leave their 5000, each of
them, in the hands of the elder, that he might improve it.” While you
are telling this story, you lay the five on the table, and put the ace
in its place, and at the same time artfully change the position of the
other two cards, that the three cards may appear as in the following
figure:--
[Illustration]
You then resume your discourse. “The eldest brother, instead of
improving the money, lost it all by gaming, except three thousand
livres, as you here see.” You then lay the ace on the table, and,
taking up the five, continue your story. “The eldest, sorry for having
lost the money, went to the East Indies with these 3000, and brought
back 15,000.” You then show the cards in the same position as at
first. To render this deception agreeable, it must be performed with
dexterity, and should not be repeated, but the cards immediately put in
the pocket; and you should have five common cards in your pocket, ready
to show, if any one should desire to see them. Another recreation of
this sort may be performed with fives and threes, as follows:--
[Illustration]
_The Magic Ring._
Make a ring large enough to go on the second or third finger, in which
let there be set a large transparent stone, to the bottom of which must
be fixed a small piece of black silk, that may be either drawn aside or
expanded by turning the stone round. Under the silk is to be the figure
of a small card. Then make a person draw the same sort of card as
that at the bottom of the ring, and tell him to burn it in the candle.
Having first shown him the ring, you take part of the burnt card, and,
reducing it to powder, you rub the stone with it; and, at the same
time, turn it artfully round, so that the small card at bottom may come
in view.
_The Card in the Mirror._
Provide a mirror, either round, like the following figure,
[Illustration]
or oval; the frame of which must be at least as wide as a card. The
glass in the centre must be made to move in the two grooves, C D and
E F; and so much of the silvering must be scraped off as is equal
to the size of a common card. Observe that the glass be likewise
wider than the width of the card. Then paste over the part where the
quicksilver is rubbed off a piece of pasteboard, on which affix a card
that exactly fits the space, which must at first be placed behind the
frame. This mirror must be placed against a partition, through which
are to go two strings, by which an assistant in the adjoining room can
easily move the glass in the grooves, and consequently make the card
appear or disappear at pleasure.
Matters being thus prepared, you contrive to make a person draw the
same sort of card with that fixed to the mirror, and place it in the
middle of the pack: you then make the pass, and bring it to the bottom:
you then direct the person to look for his card in the mirror, when
the confederate, behind the partition, is to draw it slowly forward,
and it will appear as if placed between the glass and the quicksilver.
While the glass is being drawn forward, you slide off the card from the
bottom of the pack, and convey it away. The card fixed to the mirror
may easily be changed each time the experiment is performed. This
recreation may also be made with a print that has a glass before it,
and a frame of sufficient width, by making a slit in the frame, through
which the card is to pass; but the effect will not be so striking as in
the mirror.
_The Marvellous Vase._
Place a vase of wood or pasteboard, like the following:--
A B, on a bracket L, to the partition M.
[Illustration]
Let the inside of this vase be divided into five parts,
_c, d, e, f, g_; and let the divisions _c_ and _d_ be wide enough to
admit a pack of cards, and those of _e, f, g_, one card only. Fix
a thread of silk at the point H, the end of which, passing down the
division _d_, and over the pulley I, runs along the bracket L, and
goes out behind the partition M. Take three cards from a piquet pack,
and place one of them in each of the divisions, _e, f, g_, making the
silk thread or line go under each of them. In the division _c_ put the
pack of cards, from which you have taken the three cards that are in
the other divisions. Then take another pack of cards, at the bottom of
which are to be three cards of the same sort with those in the three
small divisions, and, making the pass, bring them to the middle of the
pack, and let them be drawn by three different persons. Then give them
all the cards to shuffle, after which place the pack in the division
_d_, and tell the parties they shall see the three cards they drew
come, at their command, separately out of the vase. An assistant behind
the partition then drawing the line with a gentle and equal motion, the
three cards will gradually rise out of the vase. Then take the cards
out of the division _c_, and show that those three cards are gone from
the pack. The vase must be placed so high that the inside cannot be
seen by the company. You may perform this recreation also without an
assistant, by fixing a weight to the end of the silk line, which is to
be placed on a support, and let down at pleasure, by means of a spring
in the partition.
_The Nerve Trick._
Having previously looked at a card, bid the person draw one, taking
care to show him that which you know; when he has it, let him put it at
the bottom; let him shuffle the cards, then look at them again, and,
finding the card, place it at the bottom; then cut them in half; give
the party that half which contains his chosen card at the bottom, to
hold between his finger and thumb, just at the corner; bid him pinch
them as tight as he can; then striking them pretty sharply, they will
all fall to the ground, except the bottom one, which is the card he has
chosen. This is a very curious trick, and, if cleanly done, is really
astonishing. It may be accounted for from the nature of the nerves,
which are always more retentive when any thing is attempted to be
taken, either by force or surprise.
_To make the Constable catch the Knave._
Take a pack of cards, and look out the four knaves; lay one of them
privately on the top of the pack, and the other three down upon the
table, saying, “_Here, you see, are three knaves got together, about no
good you may be sure_;” then lay down a king beside them, saying, “But
here comes the constable and catches them together: ‘_Oh, says he, have
I caught you? Well, the next time I catch you together, I’ll punish
you severely for all your rogueries._’ ‘_Oh_,’ but say they, ‘_you
shan’t catch us again together in haste_;’ so they conclude to run
three several ways. ‘_Well, I’ll go here_,’ says one (so take one of
the knaves, and put him at the top of the pack). ‘_And I’ll go here_,’
says another (so put him at the bottom). ‘_Then I’ll go here_,’ says a
third (so put him in the middle). ‘_Nay_,’ says the constable, ‘_if you
run, I’ll make sure of one; so I’ll follow the first_.’” Then take the
king and put him at the top, and let any one cut the cards asunder two
or three times; then deal, cut the cards one by one, and you shall find
three together, and the constable with them.
_Note._--This feat would be best done with a pack of cards that has two
knaves of that sort which you put in the middle.
_To change a Card into a King or Queen._
To do this, you must have the picture in your sleeve, and, by a swift
sleight, return the card, and fetch out the picture with a back
bending. The manner of doing this is better learnt by frequent trials
than can be taught by many words. But, if you would do this feat, and
yet hold your hand straight and unmoved, then you must peel off the
spots or figure of a card, as thin as you can, and just fasten it on
the picture with something that will make it stick a little; then,
having shown the spots or figure of the card, you may draw it off,
and roll it up with your thumb into a very narrow compass, holding it
undiscovered, between the inside of the thumb and the ball of your
fore-finger; and so produce the picture, to the admiration of the
beholders.
_To tell a Person what Card he took Notice of._
Take any number of cards, as ten, twelve, and then, holding them with
their backs towards you, open four or five of the uppermost, and,
as you hold them out to view, let any one note a card, and tell you
whether it be the first, second, or third from the top; but you must
privately know the whole number of those cards you took. Now shut
up your cards in your hands, and take the rest of the pack, which
place upon them; then knock their ends and sides upon the table; so
it will seem impossible to find the noted card, yet it may easily be
done, thus: subtract the number of cards you held in your hand from
fifty-two, the whole number in the pack, and to the remainder add the
number of the noted card; so the same shall be the number of the noted
card from the top; therefore take off the cards one by one, smelling to
them till you come to the noted card.
_To tell what Card is at the Bottom, when the Pack is shuffled._
When you have seen a card privately, or as though you marked it not,
lay the same undermost, and shuffle the cards till your card be again
at the bottom. Then show the same to the bystanders, bidding them
remember it. Now shuffle the cards, or let any other shuffle them, for
you know the card already, and therefore may, at any time, tell them
what card they saw, which, nevertheless, must be done with caution or
show of difficulty.
_Another Way, not having seen the Cards._
If you can see no card, or be suspected to have seen that which you
mean to show, then let a bystander shuffle, and afterwards take the
cards into your own hands, and, having shown them, and not seen the
bottom card, shuffle again, and keep the same cards as before you are
taught; and either make shift then to see it when their suspicion is
past, which may be done by letting some cards fall, or else lay down
all the cards in heaps, remembering where you laid the bottom card;
then see how many cards lie in some one heap, and lay the flap where
your bottom card is upon that heap, and all the other heaps upon the
same; and so, if there were five cards in the heap whereon you laid
your card, then the same must be the sixth card, which now you must
throw out, or look upon with suspicion, and tell them the card they saw.
_To tell, without Confederacy, what Card one thinks of._
Lay three cards at a distance, and bid a bystander be true, and
not waver, but think on one of the three, and by his eye you shall
assuredly perceive which he thinks on; and you shall do the like if you
cast down a whole pack of cards with the faces upwards, whereof there
will be few, or none plainly perceived, and they also court cards; but
as you cast them down suddenly, so must you take them up presently,
marking both his eyes and the card whereon he looks.
_To make a Card jump out of the Pack, and run on the Table._
Take a pack of cards, and let any one draw a card that he likes best,
and afterwards take and put it into the pack, but so as you know where
to find it at pleasure. Then take a piece of wax, and put it under the
thumb-nail of your right hand, and thus fasten a hair to your thumb,
and the other end of the hair to the card. Now spread the pack of cards
open upon the table, and, making use of any technical words or charms,
seem to make it jump on the table.
_To tell a Card, and to convey the Same into a Nut, or Cherry-Stone._
Take a nut or cherry-stone, and burn a hole through the side of the
top of the shell, and also through the kernel, if you will, with a
hot bodkin, or bore it with an awl, and with a needle pull out the
kernel, so as the same may be as wide as the hole of the shell; then
write the name of the card on a piece of fine paper, and roll it up
hard. Put it into the nut or cherry-stone, and stop the hole up with a
little wax, and rub the same over with a little dust, and it will not
be perceived; then let some bystander draw a card, saying, “_It is no
matter what card you draw_,” and, if your hands so serve you to use the
cards well, you shall proffer him, and he shall receive, the same card
that you have rolled the name of up in the nut. Now take another nut
and fill it up with ink, and stop the hole up with wax, and then give
that nut which is filled with ink to some boy to crack, and, when he
finds the ink come out of his mouth, it will cause great laughter. Many
other feats of this kind may be done, so as to keep the company in good
humour.
_To let Twenty Gentlemen draw Twenty Cards, and to make one Card every
Man’s Card._
Take a pack of cards and let any gentleman draw one; then let him put
it into the pack again, but be sure where to find it again at pleasure;
then shuffle the cards again, and let another gentleman draw a card;
but be sure that you let him draw no other than the same card as the
other drew, and so do for ten or twelve, or as many cards as you think
fit; when you have so done, let another gentleman draw another card,
but not the same, and put that card into the pack where you have kept
the other one, and shuffle them till you have brought both the cards
together; then showing the last card to the company, the other will be
considered a more wonderful achievement.
_To transform the Four Kings into Aces, and afterwards to render them
all Blank Cards._
A clever juggler will take four kings in his hand, and apparently show
them to the bystanders, and then, after some words and charms, he will
throw them down upon the table, taking one of the kings away, and
adding but one other card; then taking them up again, and blowing upon
them, he will show you them transformed into blank cards, white on both
sides; then throwing them down as before, with their faces downwards,
he will take them up again, and, blowing upon them, will show you four
aces.
This trick is not inferior to any that is performed with cards, and yet
is very pretty.
To perform it, you must have cards made for the purpose, _half cards_
we may call them; that is, one half kings and the other half aces; so,
laying the aces one over the other, nothing but the king will be seen,
and then, turning the kings downwards, the four aces will be seen; but
you must have two whole cards, one a king to cover one of the aces, or
else it will be perceived, and the other an ace to lay over the kings,
when you mean to show the aces; then, when you would make them all
blank, lay the cards a little lower, and hide the aces, and they will
appear all white. The like you may make of four knaves, putting upon
them the four fives; and so of the other cards.
_To name all the Cards in the Pack, and yet never see them._
To do this, you must privately drop a little water or beer, about the
size of a crown-piece, upon the table before which you sit; then rest
your elbows upon the table, so that the cuffs of your sleeves may meet,
and your hands stick up to the brims of your hat; in this posture
your arms will hide the drop of water from the company; then let any
one take the cards and shuffle them, and put them into your hands;
also let him set a candle before you, for this trick is best done by
candlelight. Then holding the cards in your left hand, above the brim
of your hat, close up to your head, so that the light of the candle may
shine upon the cards, and holding your head down, so in the drop of
water, like a looking-glass, you shall see the shadow of all the cards
before you. Now draw the finger of your right hand along upon the card,
as if you were feeling it, and then lay it down. Thus you may lay down
all the cards in the pack, one by one, naming them before you lay them
down, which will seem very strange to the beholders, who will think
that you have _felt them_ out.
_To show any one what Card he takes Notice of._
Let any one take a card out of the pack, and note it; then take part of
the pack in your hand, and lay the rest down upon the table, bidding
him lay his noted card upon them; then, turning your back towards the
company, make as though you were looking over the cards in your hand,
and put any card at the fore-side; and, whilst your are doing this
privately, wait till the cards are laid out in heaps, to find what the
bottom cards are. Bid any one take four cards of the same number, viz.
four aces, four deuces, four trèys, and any other number not exceeding
ten (for he must not take court cards), and lay them out; then take the
remaining cards, if any such there be, and divide their number by four,
and the quotient shall be the number of spots of the four cards; if
twelve cards remain, then on each bottom card are trèys, and, if there
be no remaining cards, then the four bottom cards are aces.
_To tell the Number of Spots on the Bottom Cards, laid down in several
Heaps._
Bid any one take the whole pack of cards in his hand, and, having
shuffled them, let him take off the upper card, and, having taken
notice of it, let him lay it down upon the table, with its face
downwards, and upon it let him lay so many cards as will make up the
number of spots on the noted card, _e. g._ twelve. If the card which
the person first took notice of was a king, queen, knave, or a single
ten, bid him lay down that card with its face downwards, calling
it ten; upon that card let him lay another, calling it eleven, and
upon that another, calling it twelve; then bid him take off the next
uppermost card, saying, “_What is it?_” Suppose it were a nine, laying
it down on another part of the table, and calling it nine, upon it let
him lay another, calling it ten; upon it another, calling it eleven;
and upon it another, calling it twelve; then let him look on the next
uppermost card: and so let him proceed to lay them out in a heap, in
all respects as before, till he has laid out the whole pack; but, if
there be any cards at the last (I mean if there be not enough to make
up the last noted card twelve), bid him give them to you; then, to
tell him the number of all the spots contained in all the bottom cards
of the heaps, do thus:--from the number of heaps subtract four, and
multiply the remainder by fifteen, and to the product add the number of
those remaining cards which he gave you, if any did remain; but, if
there were but four heaps, then those remaining cards alone show the
number of spots sought.
_Note._--You ought not to see the bottom cards of the heaps, nor should
you see them laid out, or know the number of cards in each heap;
it suffices if you know the number of heaps and the number of the
remaining cards, if any such there be: and therefore you may perform
this feat as well standing in another room as if you were present.--You
must have a whole pack.
_To make any two Cards come together which may be named._
When any one has named what two cards he would have come together, take
the cards and say, “_Let us see if they are here or not, and, if they
are, I’ll put them as far asunder as I can_;” then, having found the
two cards proposed, dispose them in the pack, and cause them to come
together.
This trick would seem much more strange, if, when you have brought the
proposed cards together, by laying them in heaps, you lay the heap
wherein the proposed cards are at the bottom of the pack, and then
shuffle the cards; cut them asunder somewhere in the middle; thus the
proposed cards will be found together in the middle of the pack, which
will seem very strange.
_Card nailed to the Wall by a Pistol-shot._
A card is desired to be drawn, and the person who chooses, is requested
to tear off a corner, and to keep it, that he may know the card; the
card so torn is then burnt to cinders, and a pistol discharged with
gunpowder, with which the ashes of the card are mixed. Instead of a
ball, a nail is put into the barrel, which is marked by some of the
company; the pack of cards is then thrown up in the air, the pistol
is fired, and the card appears _nailed_ against the wall. The bit of
the corner which was torn off is then compared with it, and is found
exactly to fit; and the nail which fastens it to the wall is recognised
by the persons who marked it.
_Explanation._--When the performer sees that a corner of the chosen
card has been torn off, he retires, and makes a similar tear on a like
card. Returning, he asks for the chosen card, and passing it to the
bottom of the pack, he substitutes expertly in its place the card which
he has prepared, which he burns instead of the first. When the pistol
is loaded, he takes it in his hand, under the pretence of showing how
to direct it, &c. He avails himself of this opportunity to open a hole
in the barrel, near the touchhole, through which the nail falls by its
own weight into his hand: having shut this passage, he requests one of
the company to put more powder and wadding into the pistol; whilst that
is doing, he carries the nail and card to his confederate, who quickly
nails the card to a piece of square wood, which stops a space left open
in the partition, but which is not perceived, as it is covered with a
piece of tapestry, similar to the rest of the room; and by which means,
when the nailed card is put on, it is not perceived; the piece of
tapestry which covers it is nicely fastened on the one end by two pins,
and on the other a thread is fastened, one end of which the confederate
holds in his hand. As soon as the report of the pistol is heard, the
confederate draws his thread, by which means the piece of tapestry
falls behind a glass; the card appears the same that was marked, and
with the nail that was put in the pistol. It is not astonishing that
the trick, being so difficult by its complexity to be guessed at,
should have received such universal applause.
N. B. After the pistol has been charged with powder, a tin tube may
be slipped upon the charge, into which the nail being rammed along
with the wadding, by inclining it a little, in presenting it to one
of the spectators to fire, the tube and contents will fall into the
performer’s hand, to convey to his confederate. If any one suspects
that the nail has been stolen out of the pistol, you persist in the
contrary, and beg the company at the next exhibition to be farther
convinced; you then are to show a pistol, which you take to pieces,
to show that all is fair, without any preparation; you charge it with
a nail, which is marked by some person in confederacy with you, or
you show it to many people, on purpose to avoid its being marked. In
this case the card is nailed with another nail; but, to persuade the
company that it is the same, you boldly assert that the nail was marked
by several persons, and you request the spectators to view it, and be
convinced.
_To tell what Card one thinks on._
Take twenty-one cards, and begin to lay them down three in a row, with
their faces upwards; then begin again at the left hand, and lay one
card upon the first, and so on the right hand, and then begin at the
left hand again, and so go on to the right; do this till you have laid
out the twenty-one cards in three heaps, but, as you are laying them
out, bid any one think of a card, and, when you have laid them all out,
ask him which heap his card is in; then lay that heap in the middle,
between the other two. Now lay them all out again into three heaps, as
before, and, as you lay them out, bid him take notice where his noted
card goes, and put that heap in the middle, as before. Then, taking the
cards with their backs towards you, take off the uppermost card, and,
smelling to it, reckon it one; then take off another, and, smelling to
it, reckon it two; this do till you come to the eleventh card, for that
will always be the noted card after the third time of laying them out,
though you should lay in this manner ever so often. You must never lay
out the cards less than three times, but as often above as you please.
This trick may be done by any odd number of cards that may be divided
by three.
_Another Way to tell what Card is noted._
When one has noted a card, take it and put it at the bottom of the
pack; then shuffle the cards till it comes again to the bottom; then
see what is the noted card, which you may do without being taken notice
of; when you have thus shuffled the cards, turn them with their faces
towards you, and knock their ends upon the table, as though you would
knock them level; and, whilst you are so doing, take notice of the
bottom card, which you may do without suspicion, especially having
shuffled them before; then, when you know the card, shuffle them again,
and give them to any of the company, and let them shuffle them, for
you know the card already, and may easily find it at any time.
_To make a Card jump out of an Egg._
To do this wonderful feat you must have two sticks, made both of one
size, so that no person can know one from another; one of these sticks
must be made so as to conceal a card in the middle, thus: you must have
one of your sticks turned hollow quite through, and then an artificial
spring to throw the card into the egg at pleasure. The operation is
thus:--Take and peel any card in the pack, which you please, and roll
it up. Now put it into the false stick, and there let it lie until you
have occasion to make use of it. Now take a pack of cards, and let any
body draw one; but be sure to let it be the same sort of card which you
have in the hollow stick. The person who has chosen it is now to put
it into the pack again, and, while you are shuffling them, let it fall
into your lap. Then, calling for some eggs, desire the person who drew
the card, or any other person in the company, to choose any one of the
eggs. When they have done so, ask the person if there be any thing in
it? He will answer that there is not. Now take the egg in your left
hand, and the hollow stick in your right, and then break the egg with
the stick.
[Illustration]
Having let the spring go, the card will appear in the egg, to the
great amazement of the beholders. Now be sure to conceal the hollow
stick, and produce the solid one, which place upon the table for the
examination of those who are curious.
_The Little Sportsman._
This is a little pasteboard figure which holds a bow, with an arrow,
which it shoots at the instant required, and hits a paper placed
opposite, on the top of a pedestal:
[Illustration]
This paper is divided into several squares, which are numbered, and the
arrow flies and always hits the number chosen by one of the company.
The action of the spring which impels it is restrained by a little pin,
which the confederate lets go at pleasure, by moving the levers hid
in the table; when you push this pin, the arrow flies with rapidity
to the paper, like the operation of a lock of a musket, when you pull
the trigger. In placing the automaton on the table, you may place it
in such a manner that the arrow be directed towards one of the circles
numbered on the paper. To cause that number to be chosen against which
the arrow is pointed, you must present to the spectator cards numbered,
and dexterously make him choose the number required, which depends on
peculiar address, that is scarcely possible to be described by words;
it may in general be said to come under the following heads:--First,
to put at the bottom one of the cards to be chosen; secondly, to keep
it always in the same place, although you mix, or pretend to mix, the
cards; thirdly, to pass the card to the middle, when you present the
pack; fourthly, to pass many cards before the hands of the spectator,
to persuade him that he may choose indifferently; fifthly, to pass
these same cards with such rapidity, that he cannot take any but the
card intended; sixthly, to slip complaisantly into his hand the card
you wish to be taken, at the very moment when, the better to deceive
him, you beg of him graciously to take which card he chooses.
CUPS AND BALLS.
_To pass the Balls through the Cups._
You must place yourself at the farther end of the table, and provide
three cups made of tin; you must likewise have your black magical
stick, to show your wonders withal. You are also to provide four small
cork balls, to play with; but do not let any more than three of them be
seen upon the table.
N. B.--Always conceal one ball in the right hand, between the middle
finger and the ring finger; and be sure you make yourself perfect to
hold it there, for by this means all the tricks of the cups are done.
Now say something to the following effect:--
Three cups, you see, have I got here,
’Tis true they are but tin;
Silver and gold are much too dear
For me to conjure in.
Now, Ladies and Gentlemen, here are no equivocations at all;
But, if your eyes are not as quick as my hands, I shall deceive you all.
View them well within,
View them all round about;
Where there’s nothing in,
There’s nothing can come out.
Then take your balls privately between your fingers, fling one of them
upon the table, and say thus--
The first trick that I learned to do
Was out of one ball to make two:
Ah! since it cannot better be,
Of these two I will soon make three,
Which is called the first trick of dexterity.
So then you have three balls on the table to play with, and one left
between the fingers of your right hand.
_The Position of the Cups is thus_--
[Illustration:
1 2 3
]
Lay your three balls upon the table; then say, “_Ladies and Gentlemen,
you see here are three balls, and here are three cups; that is, a cup
for each ball, and a ball for each cup._” Then taking the ball which
you have in your right hand (which you are always to keep private) and
clapping it under the first cup; and, taking up one of the three balls
with your right hand, seem to put it into your left hand, but retain
it still in your right, shutting your left hand in due time; then say,
“_Presto, begone._”
[Illustration]
Then taking the second cup up, say, “_Ladies and Gentlemen, you see
there is nothing under my cup_;” so clap the ball under that you
have in your right hand, and then take the second ball up with your
right hand, and seem to put it into your left, but retain it in your
right, shutting your left hand in due time, as before, saying, “_Vado,
begone._”
[Illustration]
Then taking the third cup up, saying, “_Ladies and Gentlemen, you see
there is nothing under my last cup_,” clap the ball under your right
hand, and, taking the third ball up with your right hand, seem to put
it into your left hand, but retain it in your right hand; so, shutting
your left hand in due time, as before, saying, “_Presto, make haste_”: so
you have your three balls come under your three cups, as thus, and so
lay your three cups down upon the table.
[Illustration]
Then with your right hand take up the first cup, and clap the ball
under that you have in your right hand; saying, “_Ladies and Gentlemen,
this being the first ball, I’ll put it in my pocket_;” but that you
must still keep in your right hand to play withal.
[Illustration]
So take up the second cup with your right hand, and clap that ball
under which you have concealed, and then take up the second ball with
your right hand, and say, “_This likewise I take and put into my
pocket._”
Likewise take up the third cup, and, clapping the cup down again,
convey the ball that you have in your right hand under the cup; then
take the third ball, and say, “_Ladies and Gentlemen, this being the
last ball, I take this and put it in my pocket._” Likewise then say to
the company, “_Ladies and Gentlemen, by a little of my fine powder of
experience I’ll command these balls under the cups again_,” as thus:--
[Illustration]
So lay them all along the table, to the admiration of the beholders.
Then take up the first cup, and, clapping the ball under that you have
in your right hand, and taking the first ball up with the right hand,
seem to put the same into your left hand, but retain it still in your
right hand; then say, “_Vado, quick, begone when I bid you, and run
under the cup._”
[Illustration]
Then taking that cup up again, and flinging it under that you have in
your right hand, you must take up the second ball, and seem to put it
into your left hand, but retain it in your right, saying, “_Ladies and
Gentlemen, see how the ball runs on the table._”--So, seeming to fling
it away, it will appear thus:--
[Illustration]
Now, taking the same cup up again, clap the ball under as before; and,
taking the third ball in your right hand, seem to put it under your
left, but still retain it in your right hand; then with your left hand
seem to fling it in the cup, and it will appear thus:--
[Illustration]
All the balls being under one cup.
If you can perform these feats with the cups and balls dexterously, you
may change the balls into apples, pears, plums, or living birds, as
your fancy leads you.
_A still more Extraordinary Mode of Playing at Cups and Balls._
You must provide six cups made of the same size and metal (persons
with hands, as seen above, require only three), but keep three of them
concealed in the juggling-bag until they are required.
The trick performed by the three first cups is as follows:--Take out of
the bag your three cups, and place them on a table. You must have balls
of cork provided, and concealed, but one ball must be on the table.
Then say, “_Ladies and Gentlemen_,” turning up your three cups (though
at the same time you must have a ball concealed), “_you see there is
nothing under my cups; I take and put this cup here; I put the second
there; and the third there_.” The ball you have hid must be clapped
under one of the cups at the time you were placing them.
You must have a tin bottom in the inside of one of your cups, and
holes punched in it like a grater. Then say, “_Ladies and Gentlemen_,”
(taking the ball off the table, and placing it on the cup the ball is
under), “_observe, I cover this ball with this cup_,” clapping the
third cup on the other two; then say, “_Presto, I command the ball from
under the middle cup to the bottom._” Then taking off the first and
second cups, the ball, they think, is gone to the bottom; whereas the
ball that is laid on the top of the undermost sticks fast to the grater
that covers it, and, when the cup is turned up, it is the ball that was
conveyed first that appears.
Next place, take the ball that is on the table, and say, “_Ladies and
Gentlemen, there is but one ball left_,” clapping the cup with the tin
bottom, where the ball is concealed, over that ball on the table, so as
that ball that was sticking to the tin falls down, and makes two; then
clapping the cup down, convey another ball you have secured, and say,
“_Vene tome_;” then say, “_Ladies and Gentlemen, there are three balls
and three cups_;” first having secured two balls (having some strange
gestures of body and speech to take off the eyes of the spectators), at
the same time taking up one of the cups, but putting it down on one of
the balls, with the two balls secured; then clap the second cup on the
second ball, and the third cup on the third ball.
Now say, “_I’ve covered the three balls._” Then turn up one cup, and
say, “_There is the first ball_;” then turn up the other, saying,
“_There is the second ball._” Then take up either of the balls, and lay
it on the top of the third cup, and cover it with the cup that has the
tin bottom, clapping the third cup in the place of the other two; say,
“_Ladies and Gentlemen, there is one ball at the bottom, one in the
middle, and the third and last ball I strike through the board, saying,
‘Presto, be gone.’_”
Now, you must understand, the third ball you drop, the second sticks to
the tin grater, and three balls appear under the lowermost cup; then
place your three balls on the table, and your cups opposite the balls;
then say, “_I cover this ball with this cup, and I cover this third
ball with this one cup._” Then turning up one cup, take up the ball,
and say, “_Presto, I command you under the second cup_;” but at the
same time you must retain the ball, for the ball that was sticking to
the tin is dropped, and makes two; then clapping the cup down, with the
ball that you have retained, turn up the cup, and say, “_I’ll strike
this ball to the other two_;” and drop that ball, being three before.
Next place the balls and cups as they were before; then clap the first
cup on the first ball, and the second on the second; then take up the
cup with the grater, which generally is in the middle, saying, “_I’ll
put this cup in my bag_;” and take up this ball, saying, “_I’ll put
this ball in my bag_;” and take up the next ball, saying, “_I’ll put
this ball in my bag too_,” clapping under the cup at the same time the
ball you have retained. At last, say, “_I shall have too many balls_,”
or something to that purpose; seem in a fury, and toss your cups away;
then put them into your juggling-bag, that, when you show the other
three, the company may think they were the first cups.
CONVEYANCE OF MONEY, &c.
The conveyance of money is not much inferior to the tricks with Cups
and Balls, but much easier to perform. The principal place to hold the
coin is the palm of the hand; and the best piece to play with is a
sixpence. But, by practice, all coins will be alike, unless they are
very small, and then they must be kept between the fingers, almost at
the fingers’ ends; whereas the ball is to be kept below, near the palm.
The coin ought never to be too large, as that will considerably impede
the clever conveyance of it.
_To convey Money from one Hand to the Other._
Hold open your right hand and lay therein a sixpence, and on the top of
it place the top of your left middle finger, which press hard upon it,
at the same time using hard words. Then suddenly draw away your right
hand from the left, seeming to have left the coin there, and shut your
hand cleverly, as if it still were there. That this may appear to have
been truly done, take a knife, and seem to knock against it, so as to
make a great sound. This is a pretty trick, and, if well managed, both
the eye and ear are deceived at the same time.
_To convert Money into Counters, and the Reverse._
Another way to deceive the lookers-on is to do as before, with a
sixpence, and, keeping a counter in the palm of your left hand,
secretly, seem to put the sixpence therein, which being retained still
in the right hand, when the left hand is opened, the sixpence will seem
to be turned into a counter.
_To put a Sixpence into each Hand, and, with Words, bring them
together._
He that hath once attained to the faculty of retaining one piece of
money in his right hand may show a hundred pleasant deceits by that
means, and may manage two or three as well as one. Thus, you may seem
to put one piece into your left hand, and, retaining it still in your
right, you may, together therewith, take up another like piece, and
so, with words, seem to bring both pieces together. A great variety of
tricks may be shown in juggling with money.
_To put a Sixpence into a Stranger’s Hand, and another into your own,
and to convey both into the Stranger’s Hand with Words._
You take two sixpences evenly set together, and put the same, instead
of one sixpence, into a stranger’s hand, and then, making as though
you put one sixpence into your own hand, with words, you make it seem
that you convey the sixpence in your own into the stranger’s hand; for,
when you open your said left hand, there shall be nothing seen, and he,
opening his hand, shall find two sixpences, which he thought was but
one.
_To show the same Feat otherwise._
To keep a sixpence between your fingers serves especially for this and
such like purposes: hold your hand, and cause one to lay a sixpence
upon the palm thereof, then shake the same up almost to your finger’s
end, and putting your thumb upon it, you may easily, with a little
practice, convey the edge betwixt the middle and fore-finger whilst you
proffer to put it into your other hand (provided always that the edge
appears not through the fingers, on the back side); take up another
sixpence, which you may cause another stander-by to lay down, and put
them both together, either closely, instead of one into a stranger’s
hand, or keep them still in your own hand, and, after some words
spoken, open your hands, and, there being nothing in one hand, and both
pieces in the other, the beholders will wonder how they came together.
_To throw a Piece of Money away, and find it again._
You may, with the middle or ring finger of the right hand, convey a
sixpence into the palm, with the same hand, and, seeming to cast it
away, keep it still, which, with confederacy, will seem strange: to
wit, when you find it again, where another has placed the like piece.
But these things cannot be done without practice; therefore. I will
proceed to show how things may be brought to pass with less difficulty,
and yet as strange as the rest, which, being unknown, are much
commended; but, being known, are derided, and nothing at all regarded.
_To make a Sixpence leap out of a Pot or to run along a Table._
A juggler takes a sixpence and throws it into a pot, or lays it on the
middle of a table, and, with enchanted words, causes the same to leap
out of a pot, or run towards him or from him along the table, which
seems miraculous till you know how it is done, which is thus: Take a
long black hair of a woman’s head, fasten it to the rim of a sixpence,
by means of a little hole driven through the same with a Spanish
needle. In like sort you may use a knife or any small thing; but if you
would have it go from you, you must have a confederate, by which means
all juggling is graced and amended.
This feat is the stranger if it be done by night, a candle being placed
between the spectators and the juggler, for by that means their eyes
are hindered from discerning the deceit.
_To make a Sixpence sink through a Table, and to vanish out of a
Handkerchief._
A juggler will sometimes borrow a sixpence and mark it before you,
and seem to put the same in the middle of a white handkerchief, and
wind it so as you may the better see and feel it; then he will take
the handkerchief and bid you feel whether the sixpence be there or
no; and he will also require you to put the same under a candlestick,
or some such like thing; then he will send for a basin of water, and,
holding the same under the table, right against the candlestick, he
will use certain words of enchantment, and, in short, you shall hear
the sixpence fall into the basin. This done, let one take off the
candlestick, and the juggler take the handkerchief by a tassel and
shake it; but the money is gone, which seems as strange a feat as
any whatsoever, but, being known, the miracle is turned to a jest;
for it is nothing else but to sew a sixpence into a corner of the
handkerchief, finely covered with a piece of linen a little bigger than
your sixpence, which corner you must convey, instead of the sixpence
given you, into the middle of your handkerchief, leaving the other in
your hand or lap, which afterwards you seem to pull through the table,
letting it fall into the basin.
_To know if a Coin be a Head or Woman, and the Party to stand in
another Room._
This is done by confederacy: he that lays it down, says, “_What is
it?_” and that is a sign it is a head; or he says, “_What is it now?_”
and that is a sign it is a woman: cross and pile in silver is done the
same way. By confederacy, divers strange things are done: thus, you
may throw a piece of money into a pond, and bid a boy go to such a
secret place where you have hid it, and he will bring it, and make them
believe it is the same that you threw into the pond, and no other.
So let a confederate take a shilling and put it under a candlestick on
a table a good distance from you; then you must say, “_Gentlemen, you
see this shilling_;” then take your hand and knock it under the table,
and convey it into your pocket; then say, “_The shilling is gone; but
look under such a candlestick and you will find it._”
_To command Seven Halfpence through the Table._
To do this, you must employ a tinman to make holes, with room enough
for a die to go in and out, and let him clap a good halfpenny upon
them all, and so make them fast, that nobody can tell them from true
ones. Then get a cap to cover your halfpence, also a cap and a die for
the company to fling, to amuse them; when you are thus provided, the
manner of performing is thus:--Desire any body in the company to lend
you seven halfpence, telling them that they will soon be returned; then
say, “_Gentlemen, this is made just fit for your money_;” then clapping
your cap on, desire somebody in the company to fling that die, and, in
so doing, take off the cap, and convey your false money into it, so
that the company may not see you put it in; then with your cap cover
the die, while with your right hand you take up the true money, and put
it into the left under the table, saying, “_Vado, begone; I command the
die to be gone, and the money to come in the place_;” so take up the
cap, and the die is gone, and the money is come. Having covered the
money again with the cap, taking the true money with your right hand,
and knocking under the table, also making a jingling, as though the
money was coming through the table, fling them on the table, and say,
“_There is the money_,” and, with your right hand, take off the cap,
saying, “_And there is the die_;” so convey the false money into your
lap, and there is the cap likewise.
_To command a Sixpence out of a Box._
You must get a box turned with two lids (one must be a false one), and
there put the counter, so that it may rattle; and you must have a small
peg or button to your box, to hinder the counter from jingling, and at
the bottom of the box you must have half a notch made, just fit for a
sixpence to come out. So, to perform this feat, you must desire any
body to lend you a sixpence, and to mark it with whatever mark he may
please; then let him put it into the box himself; afterwards put the
cover on, and, by shaking the box, the sixpence will come into your
hand, when you may dispose of it as you please.
_To blow a Sixpence out of another Man’s Hand._
Blow on a sixpence, and immediately clap it into one of the spectator’s
hands, telling him to hold it fast; then ask him if he is sure he has
it. He, to be certain, will open his hand and look. Then say to him,
“_Nay, but if you let my breath go off, I cannot do it._” Then take
it out of his hand again, blow on it, and, staring him in the face,
clap a piece of horn in his hand, and retain the sixpence, shutting
his hand yourself. Bid him hold his hand down, and slip the sixpence
into one of his cuffs; then say, “_I command the money you hold in your
hand to vanish; Vade, now see._” When they have looked, they will think
it is changed by virtue of your stone. Then take the horn again, and
say, “_Vade_;” and then say, “_You have your money again._” He then
will begin to marvel, and say, “_I have not._” Then say to him again,
“_You have; and I am sure you have got it: is it not in your hand? If
it be not there, turn down one of your sleeves, for it is in one, I am
sure_;” where he, finding it, will not a little wonder.
_To make a Ring shift from one Hand to another, and to make it go on
whatever Finger is required, while Somebody holds both Arms._
Desire some person in company to lend you a gold ring, recommending him
at the same time to make a mark on it, that he may know it again. Have
a gold ring of your own, which you are to fasten by a small piece of
catgut string to a watch-barrel, which must be sewn to the left sleeve
of your coat. Take in your right hand the ring that will be given
you: then, taking with dexterity, near the entrance of your sleeve,
the other ring fastened to the watch-barrel, draw it to the fingers’
ends of your left hand, taking care nobody perceives it. During this
operation, hide between the fingers of your right hand the ring that
has been lent to you, and fasten it dexterously on a little hook, sewed
on purpose on your waistcoat, near your hips, and hid by your coat.
You will, after that, show your ring, which you hold in your left hand;
then ask the company on which finger of the other hand they wish it to
pass. During this interval, and as soon as the answer has been given,
put the before-mentioned finger on the little hook, in order to slip
on it the ring; at that moment let go the other ring, by opening your
fingers. The spring which is in the watch-barrel, not being confined
longer, will contract and make the ring slip under the sleeve without
any body perceiving it, not even those who hold your arms: as, their
only attention being to prevent your hands from communicating, they
will let you make the necessary motions. These must be very quick, and
always accompanied by stamping of the foot.
After this operation, show the assembly that the ring is come on the
other hand; make them remark that it is the same that had been lent
to you, or that the mark is right. Much dexterity must be made use of
to succeed in this entertaining trick, that the deception may not be
suspected.
_To Transfer a Counter into a Silver Groat._
Take a groat, or a smaller piece of money, and grind it very thin on
one side; then take two counters, and grind them, the one on one side,
and the other on the other side; glue the smooth side of the groat
to the smooth side of the counter, joining them as close together as
possible, especially at the edges, which may be so filed that they
shall seem to be but one piece; to wit, one side a counter and the
other side a groat. Then take a little green wax, for that is softest,
and therefore best, and lay it on the smooth side of the counter, as it
does not much discolour the groat; and so will that counter, with the
groat, cleave together as though they were glued, and, being filed even
with the groat and the other counter, it will seem so perfectly like an
entire counter, that, though a stranger handle it, he cannot betray it;
then, having a little touched your fore-finger, and the thumb of your
right hand, with soft wax, take therewith this counterfeit counter,
and lay it openly upon the palm of your left hand, wringing the same
hard, so as you may leave the glued counter with the groat apparently
in the palm of your left hand, and the smooth side of the waxed counter
will stick fast upon your thumb, by reason of the wax wherewith it is
smeared: and so you may hide it at your pleasure (always be sure to lay
the waxed side downward, and the glued side upward); then close your
hand, and, in or after closing thereof, turn the piece, and so, instead
of a counter, which they suppose to be in your hand, you shall seem
to have a groat, to the astonishment of the beholders, if it be well
handled. The juggler must not leave any of his tricks wanting for hard
and break-jaw words.
_To make a Silver Twopence be plain in the Palm of your Hand, and be
passed from thence wherever you like._
Put a little red wax, not too much, upon the nail of your longest
finger; then let a stranger put a two-penny piece into the palm of
your hand, and shut your fist suddenly, and convey the two-penny piece
upon the wax, which, with use, you may so accomplish, as no man shall
perceive it; then, and in the meantime, use words of course, and
suddenly open your hand; hold the tips of your fingers rather lower
than the palm of your hand, and the beholders will wonder where it is
gone; then shut your hand suddenly again, and lay a wager whether it
be there or no, and you may either leave it there or take it away at
pleasure. This, if it be well handled, hath more admiration than any
other feat of the hand.--Note: This may be best done by putting the
wax upon the two-penny piece, but then you must put it into your hand
yourself.
_To convey a Sixpence out of the Hand of one that holds it fast._
Stick a little wax upon your thumb, and take a bystander by the
fingers, showing him the sixpence, and telling him you will put the
same into his hand; then wring it down hard with your waxed thumb, and,
using many words, look him in the face, and, as soon as you perceive
him look in your face, or on your hand, suddenly take away your thumb,
and close his hand, and it will seem to him that the sixpence remains.
If you wring a sixpence upon one’s forehead, it will seem to stick
when it is taken away, especially if it be wet; then cause him to hold
his hand still, and, with speed, put out into another man’s hand, or
into your own, two sixpences instead of one, and use words of course,
whereby you shall make the spectators believe, when they open their
hands, that, by enchantment, you have brought both together.
_To convey a Shilling from one Hand into another, holding your Hands
apart._
It is necessary to mingle some merry pranks among your grave miracles,
as, in this case of money, to take a shilling in each hand, and,
holding your arms abroad, to lay a wager that you will bring them both
into one hand without bringing them any nearer together; the wager
being laid, hold your arms abroad, like a rod, and, turning about with
your body, lay the shilling out of one of your hands, upon the table,
and, turning to the other hand, so you shall win your wager.
_To transform any small Thing into any other Form, by holding of Paper._
Take a sheet of paper, and fold or double the same, so as one side be
a little longer than the other; then put a counter between the two
sides of the leaves of the paper, up to the middle of the top of the
fold; hold the same so as it be not perceived, and lay a sixpence on
the outside thereof, right against the counter, and fold it down to the
end of the longer side. When you have unfolded it again, the sixpence
will be where the counter was, so that some will suppose you have
transformed the money into a counter; and with this many tricks may be
done.
_Another Trick of the same Nature._
Take two papers, three inches square each, divided into two folds, of
three equal parts on either side, so as each folded paper remains one
inch square; then glue the back side of the two together, as they are
folded, and not as they are opened, and so shall both papers seem to
be but one, and, which side soever you open, it shall appear to be the
same, if you have handsomely done the bottom, as you may well do with
your middle finger, so that, if you have a sixpence in one hand, and
a counter in the other, you show but one, and you may, by turning the
paper, seem to change it; this is best performed by putting it under a
candlestick or a hat, and, with words, seem to do the feat, which is by
no means an inferior one.
_A Watch recovered after being beaten to Pieces in a Mortar._
A watch is borrowed from one of the company, and, being put into
a mortar, another person is shortly after requested to beat it to
pieces with a pestle. It is then shown to the company, entirely
bruised; in a few minutes the watch is restored entire to its owner,
who acknowledges it to be his property. It is easy to devise that,
to effect this, the mortar must be placed near a concerted trap, and
that it must be covered with a napkin, to afford an opportunity to the
confederate to substitute another watch, unperceived by the company.
In order to succeed in the illusion of this trick, you must take care
to provide yourself with a second watch, somewhat resembling the first
in the size, case, &c. which will not be very difficult, as you may
either be furnished with a watch by a person with whom the matter is
preconcerted, or by addressing yourself to some one whose watch you
have before observed, and procured yourself one like it. After having
placed all the pieces in the mortar, you must cover them a second time
with a napkin, and whilst you amuse the company with some trick or
story, you afford time to your confederate to take the bruised pieces
away, and replace the first watch in the mortar.
TRICKS WITH BOXES, &c.
_The Egg-Box._
[Illustration]
This is the Egg-box, put together like two beehives--one on the top of
another. The following is the under-shell,
[Illustration]
covered over artificially with the white thin skin of a real egg. The
upper shell is of the same shape, but
[Illustration]
larger, and is merely the lid of the box. The following
[Illustration]
is the lower part of the box. Put B, which is the outward shell,
upon C, and both upon D, which arrangement puts all in readiness for
the performance of the trick. Now call for an egg, and bid all the
bystanders look at it, to see that it is a real egg. Then take off
the upper part, B C, with your fore-finger and thumb, and placing the
egg in the box, say, “_Ladies and Gentlemen, you see it fairly in the
box_;” and, uncovering it again, say, “_You shall see me fairly take
it out_;” putting it into your pocket in their sight. Now open your
box again, and say, “_There’s nothing_;” close your hand about the
middle of the box, and, taking B by the bottom, say, “_There is the egg
again_;” which appears to the spectators to be the same that you put
in your pocket; then clapping that on again, and taking the lid of C
between your fore-finger and thumb, say, “_It is gone again._”
_The Penetrative Guinea._
Provide a round tin box, of the size of a large snuff-box, and likewise
eight other boxes, which will go easily into each other, and let the
least of them be of a size to hold a guinea. Each of these boxes should
shut with a hinge, and to the least of them there must be a small lock,
that is fastened with a spring, but cannot be opened without a key; and
observe, that all these boxes must shut so freely, that they may be
all closed at once. Place these boxes in each other, with their tops
open, in the drawer of the table on which you make your experiments;
or, if you please, in your pocket, in such a manner that they cannot
be displaced. Then ask a person to lend you a new guinea, and desire
him to mark it, that it may not be changed. You take this piece in one
hand, and in the other you have another of the same appearance, and,
putting your hand in the drawer, you slip the piece that is marked into
the least box, and, shutting them all at once, you take them out. Then
showing the piece you have in your hand, and which the company suppose
to be the same that was marked, you pretend to make it pass through
the box, and dexterously convey it away. You then present the box, for
the spectators do not yet know there are more than one, to any person
in company, who, when he opens it, finds another, and another, till he
comes to the last, but that he cannot open without the key, which you
then give him; and, retiring to a distant part of the room, you tell
him to take out the guinea himself, and see if it be that he marked.
This trick may be made more surprising by putting the key into the
snuff-box of one of the company; which you may do by asking for a
pinch of snuff: the key, being very small, will lie concealed among
the snuff. When the person who opens the box asks for the key, tell
him that one of his friends has it in his snuff-box, which will cause
much amazement and merriment. This part of the trick may be done with a
confederate.
_The Chest which opens at Command._
There is a little figure of Mahomet within the chest, in the body of
which is a spring, made of brass wire, twisted in a spiral form. By
this means the little figure, though higher than the chest, can, by
the accommodation of the spring, be contained within when it is shut,
as the spring in the body closes and shortens. The chest is placed on
levers concealed in the table, which communicate their motions by the
assistance of the confederate to the bolt and lock. As soon as the
staple is disengaged, the spring in the body of the figure, finding no
resistance but the weight of the lid, forces it open.
_The Melting-Box._
The melting-box is made in the fashion of a screw, so that the lips may
hang without discovery.
[Illustration: F G]
F is the outer part of the box; G, the first inside part;
[Illustration: H I]
H, the second inside part; and I, the round case, made of leather,
with a button on the top, and wide enough to slip on and off, half in
the bottom of the box, into which put a small quantity of quicksilver,
killed or amalgamated, which may be done with the shavings of pewter.
In the second part, which is H, let there be six single pence: put
these in the first or outermost part, then put G to H, and the box is
perfect.
When you go to show this trick, desire any in the company to lend you a
sixpence, saying, “_you will return it safe_”; requesting, withal, that
none will meddle with any thing they see, unless you desire them, lest
they prejudice you and themselves. Then take the cap off your box, and
bid any one see it and feel it, that there be no mistrust; so likewise
take the box entire, holding your fore-finger on the bottom, and your
thumb on the upper part, turning it upside-down, and say,--“_You see
here is nothing_:” then putting in the sixpence, put the cap over the
box again; as the box stands covered upon the table, put your hand
under the table, using some cant words; then take off the cap with your
fore-finger and thumb, so as you pinch the innermost box with it and
set it gently on the table; then put the dead quicksilver out of the
lower part, into your hand, turning the box with the bottom upwards,
and stirring it about with your fore-finger; then say, “_Here you see
it melted, now I will put it in again, and turn it into single pence_;”
suddenly take the cap as you took it off, and return it again; bid them
blow on it; then take off the cap as you did before, only pinching the
uppermost lid in it, and setting it upon the table; hold the box at
the top and bottom, with your fore-finger and thumb; then put the six
single pence, after they are viewed, and seen to be so, in again, and
return the cap as before, saying, “_Blow on it if you would have it
in the same form you gave it me_;” then taking the cap by the bottom,
holding the box as before, put out the sixpence, and return the box
into your pocket. This is a very good sleight, if well performed.
_Trick upon the Globe-Box._
This is a trick not inferior to the best that is shown with boxes: it
is a box made of four pieces, and a ball, so big as is imagined to be
contained therein; the ball serves in the same way as the egg does in
the egg-box, only to deceive the hand and eye of the spectators: this
ball, made of wood or ivory, is thrown out of the box upon the table,
for every one to see that it is substantial; then, putting the ball
into the box, and letting the standers-by blow on the box, taking off
the upper shell with your fore-finger and thumb, there appears another,
and of another colour,--as red, blue, yellow, or any variety of colours
upon each ball that is so imagined to be, which, indeed, is no more
than the shell of wood, ingeniously turned and fitted for the box, as
you may see in the following figures:--
[Illustration: N L]
[Illustration:
P M
R O
Q S
]
L is the outer shell of the globe, taken off the figures M N, an inner
shell; O, the cover of the same; P, the other inner shell; Q, the cover
of the same; R, the third shell; S, that which covers it. These globes
may be made of more or less variety, according to the wish of the
operator.
_Trick with the Funnel._
[Illustration]
You must get a double funnel; that is, two funnels soldered one within
the other, so that you may, at the least end, pour in a quantity of
wine or water; this funnel you must have ready filled beforehand, with
whatsoever liquor you please, and call for some of the same kind; then
draw the funnel, and, setting your middle finger under the bottom of
it, bid somebody (or do it yourself) pour it full, and drink it up
before them, and turn the broad end of the funnel downwards, saying,
“_Gentlemen, all is gone_;” and in a thrice turn yourself about, and,
in turning, pronounce some term of art; withdraw your finger from the
narrow end, and let the liquor out between the funnels, and it will be
thought to be that which you drank out of the funnel, and so you may
persuade them it is the same.
_The Magical Bell and Bushel._
This bushel must be turned neatly, like the egg-boxes, so that they
cannot find out where it opens; and you must have a false lid to clap
on and off, and upon that false lid glue some bird-seed; and then you
must have a true lid made to clap neatly upon the false one; now you
must have your artificial bell to show with your bushel.
You may make your bell with wood or brass; but it must be made to
unscrew at top, that it may hold as much seed as your bushel will when
it is filled; and you must have the handle of your bell made with a
spring, so as to let the seed fall down at your word of command.
[Illustration]
The manner of using them is as follows:--Fill the top with bird-seed,
before you begin to exhibit, saying, “_Ladies and gentlemen, you see I
have nothing in my bell_,” (which they cannot do, if you hold it by the
handle,) “_nor have I any thing in my bushel; therefore I will fill the
bushel with bird-seed_.” In filling it, clap on the false lid, and no
person will be able to discover the deception.
Now ask any one of the company to hold it in their hands whilst you
command all the seed to appear under the magic bell. Then clap the true
lid on, and ring the bell; accordingly, the seed will be gone out of
the bushel into the bell, to the great wonder of the bystanders.
_Out of an Empty Bag to bring upwards of an Hundred Eggs; and,
afterwards, a living Fowl._
First, buy two or three yards of printed calico, or linen, and make a
double bag, at the mouth of which, on that side next you, make four
or five little purses, in each of which put two or three eggs, and do
so till you have filled that side next to you. Have a hole made at
one end of the bag, that no more than two or three eggs may come out
at once. Then have another bag like unto that exactly, that one must
not be known from the other; put a hen into that bag, and hang it on
a hook on the side you stand. The manner of performing it is thus:
take the egg-bag and put both your hands in it; then turn it inside
out, and say, “_Ladies and gentlemen, you see here is nothing in my
bag_;” and in turning it again you must slip some of the eggs out of
the purses, as many as you think fit: then turn your bag again, and
show the company that it is empty, and in turning it command more eggs
to come out. When all are come out but one, you are to take that egg
and show it to the company, and then drop down the egg-bag and take
up the hen-bag. Now, shake out the hen, pigeon, or other fowl. This,
altogether, is a noble trick, if well executed.
_Bonus Genius; or, Hiccius Doctius._
[Illustration]
You must have the figure of a man made of wood, about the bigness of
your little finger, the head whereof must be made to take off and put
on at pleasure, by means of a wire that is in the neck; also, you must
have a cloth cap, with a little bag within, to convey the head into;
the bag must be neatly made, that it may not easily be perceived; show
your man to the company, and say, “_Ladies and gentlemen, this I call
my Bonus Genius_;” then show the cap, saying, “_This is his coat_;”
say moreover, “_look now as steadfastly as you can, nevertheless I
will cozen you, for therefore am I come_;” then hold your cap above
your face, and take your man in your right hand, and put his head
through the hole of the cap, saying, “_Now he is ready to go on any
message I have to send him,--to Spain or Italy, or where I will, but
he must have somewhat to bear his charges_;” with that, pull out your
right hand from under your cap, and therewith the body, but, privately
putting your right hand into your pocket, as if you felt for money,
where you may have the body, and take out your hand and say, “_There
are three crowns for you, now begone_;” then turn the head, and say,
“_But he will look about him before he goes_;” then say (setting your
fore-fingers upon his crown), “_Just as I thrust my fore-finger down,
so he shall vanish_;” and therewith, by the assistance of your left
hand that is under the cap, convey his head into the little bag within
the cap; then turn your cap about, and say, “_See here, he is gone_;”
then take your cap and hold it up again, drawing the head out of the
little bag, and say, “_Hic mecut genius_;” and in the meantime thrust
the head through the hole of the cap, and, holding the head by the
wire, turn it about presently, and put the head into your pocket.
_To make a Knife leap out of a Pot._
Have a pot full of water standing on a table; then take a piece of
whalebone, about three inches long,--let it be pretty stiff, that it
may spring the better: take also a new stiff card, and fold it down
the middle, longways; cut a hole through both folds at each end, half
an inch, or more, from the ends; put one end of the whalebone in at
one end of the card, bend it like a bow, and then put the other end of
the whalebone into the other end of the card; set this in the pot, two
inches deep in the water; then place the handle of the knife upon the
uppermost part of the whalebone, with the point upwards, and use some
words of art, as _Presto, begone!_ when it springs out.
_To turn a Box of Bird-seed into a living Bird._
You must have a box made on purpose, with a false lid. It must be
turned neatly, like the egg-boxes, so that it cannot be perceived where
it opens. You must likewise have a false lid to clap on and to take
off. On that lid glue some bird-seed. Before you show the box to the
company, put a bird into it; put on the false lid, and then show the
box to the bystanders. It will seem to be full of seeds. Now put on the
true lid, saying, “_Ladies and gentlemen, I command all the seeds out
of my box, and order a living bird to appear_;” which it will do when
the cover is taken off.
EXPERIMENTS WITH FIRE.
_To produce a Carmine Red Flame._
The flame of spirit of wine may be coloured by the addition of various
bodies which the spirit holds in solution, or which are mixed with it.
The flame of alcohol, or spirit of wine, is tinged red in the following
manner: put into a small iron ladle, one part of _muriate of strontia_,
and pour over it three or four of _alcohol_; then set it on fire with
a candle, or a piece of burning paper; it will burn with a bright red
carmine flame, especially if the mixture be heated, by holding the
ladle over a candle or lamp, to cause the alcohol to boil rapidly.
The muriate of strontia left behind, after being again thoroughly
dried, may be used again for the same purpose repeatedly.
_An Orange-coloured Flame._
Put _muriate of lime_ deprived of the water of crystallization, into an
iron ladle, cover it with spirit of wine, and it will then burn in the
manner stated.
To prepare the muriate of lime, dissolve common marble in muriatic
acid, and evaporate the solution to perfect dryness.
_To make Balloons with Soap and Water that catch Fire and detonate._
Fill with hydrogen gas a bladder with a cock fixed to it; to which
adapt a copper tobacco pipe: dip the bowl, of the pipe into
soap-lather; press gently on the bladder filled with inflammable air,
and a small soap bubble will issue, which, instead of falling to the
ground, will rise most rapidly.
Instead of pure hydrogen gas only, fill the bladder with a mixture of
one third of atmospheric air and two thirds of hydrogen gas: and, when
they arise in the air, hold a candle to them, and the report will be
like that of a pistol.
_A Brilliant Blue Flame._
Mix boracic acid in spirits of wine, set the solution on fire, and the
above effect will ensue.
_An Emerald Green Flame._
Prepare nitrate of copper, thus:--let copper clippings or filings
be dissolved in a sufficient quantity of nitric acid, of a moderate
strength; when no further effervescence ensues, boil the acid gently
upon the copper, until a pellicle appears; decant the solution,
evaporate it slowly, and, when a very strong pellicle or skin appears,
suffer it to crystallize. The salt is of a fine blue colour. Then cause
the alcohol (spirit of wine) to burn upon this nitrate of copper, and
it will exhibit a beautiful emerald green colour.
_Loud Detonations, like the Discharge of Artillery._
Put into a bottle, not quite transparent, half an ounce of iron
filings, over which pour four ounces of pure water; add one ounce of
sulphuric acid, and shake the mixture.
If you apply a lighted paper tied to the end of a stick, near the top
of the bottle, an instantaneous vivid flame will suddenly dart from the
bottom, accompanied by a tolerably loud detonation.
Fifteen or twenty successive loud reports may likewise be obtained, by
touching the aperture of the bottle with a lighted wax taper, fastened
to a stick.
Though this experiment offers no very evident danger to the operator,
it would be as well to envelop the bottle in a cloth, to guard against
accidents.
_A Well of Fire._
Add gradually one ounce, by measure, of sulphuric acid, to five or
six ounces of water, contained in an earthenware basin, and add to it
also, gradually, about three quarters of an ounce of granulated zinc. A
rapid production of hydrogen gas will instantly take place. Then add,
from time to time, a few pieces of phosphorus of the size of a pea.
A multitude of gas-bubbles will be produced, which take fire on the
surface of the effervescing liquid; the whole surface of the liquid
will become luminous, and fire-balls, with jets of fire, will dart from
the bottom, through the fluid, with great rapidity, and a hissing noise.
_To make a Room seem all on Fire._
Take sal ammoniac half an ounce, camphor one ounce, aquæ vitæ two
ounces; put them into an earthen pot in the fashion of a chamber-pot,
but narrow something upon the top; then set fire to it, and the room
will seem, to them that are in it, to be all on fire.
_To walk on a hot Iron Bar, without Danger of Burning._
Take half an ounce of camphor, dissolve it in two ounces of aquæ vitæ,
add to it one ounce of quicksilver, one ounce of liquid storax, which
hinders the camphor from firing; take also two ounces of _hematitis_,
a red stone, to be had at the druggist’s; and when you buy it, let
them beat it to powder in their great mortar, for it is so very hard
that it cannot be done in a small one; put this to the above-mentioned
composition, and, when you intend to walk on the bar, you must anoint
your feet well therewith, and you may walk over without danger. By this
you may wash your hands in boiling lead.
_To Eat Fire, and blow it up in your Mouth with a Pair of Bellows._
Anoint your tongue with liquid storax, and you may put a pair of tongs
into your mouth, red hot, without hurting yourself, and lick them till
they are cold. By the help of this ointment, and by preparing your
mouth thus,
[Illustration]
you may take wood-coals out of the fire, and chew them as you would
bread; dip them into brimstone powder, and the fire will seem more
strange. The sulphur puts out the coal, and shutting your mouth close
puts out the sulphur. You may then chump the coals and swallow them,
which you may do without offence to the body. In the same way, if you
put a piece of lighted charcoal into your mouth, you may suffer a pair
of bellows to be blowing in your mouth continually, and receive no
hurt; but your mouth must be quickly cleaned, otherwise it will cause
a salivation. It is a very dangerous thing to be done; and although
those that practise it use all the means they can to prevent danger,
yet I never saw any of those fire-eaters that had a good complexion.
Some put bole ammoniac into this recipe, a thing which spoils the whole
composition, and so leave out hematitis and liquid storax; but let them
beware how they use it.
_To Light a Candle by a Glass of Water._
Take a little piece of phosphorus of the size of a pinhead, and with a
piece of tallow stick it on the edge of a drinking-glass. Then take a
lighted candle, and, having blown it out, apply it to the glass, when
it will immediately be lighted. You may likewise write with a bit of
phosphorus on paper some horrible words, which will appear awful when
the candle is withdrawn from the room.
_Fulminating Powder._
Take three parts of saltpetre, two parts of salt of tartar, and one
part of sulphur pounded and mixed together; heat sixty grains of this
composition in a spoon, and it will fly away with a fearful noise, like
thunder. A grain by weight of this powder, put into a tobacco-pipe,
will cause a loud report and much merriment, particularly if the
smoaker is not aware of the trick put upon him.
_To set fire to a Combustible Body by the Reflection of two concave
Mirrors._
The rays of a luminous body, placed in the focus of a concave mirror,
being reflected in parallel lines, if a second mirror be placed
diametrically opposite the first, it will, by collecting those rays in
its focus, set fire to a combustible body.
Place two concave mirrors at about twelve or fifteen feet distance from
each other, and let the axis of each of them lie in the same line.
In the focus of one of them place a live coal, and in the focus of
the other some gunpowder. With a pair of double bellows, which make a
continual blast, keep constantly blowing the coal, and, notwithstanding
the distance between them, the powder will presently take fire.
It is not necessary that these mirrors be of metal or glass; those made
of wood or pasteboard, gilded, will produce the explosion, which has
sometimes taken effect at the distance of fifty feet, when mirrors of
eighteen inches or two feet diameter have been used.
_To give the Faces of the Company the Appearance of Death._
Dissolve some common salt in spirits of wine, and pour the whole on
some saffron in a saucer. Take away the candle from the room, and set
fire to the spirit with a little burning tow. The countenances of every
person in the room will, by this light, put on a cadaverous, deadly
appearance, the fairest complexion appearing green, whilst the red of
the lips and cheeks will be of an olive hue.
_To dispose two little Figures, so that one shall light a Candle, and
the other put it out._
Take two little figures of wood or clay, or any other materials you
please, only taking care there is a little hole at the mouth of each.
Put in the mouth of one a few grains of bruised gunpowder, and a little
bit of phosphorus in the other, taking care that these preparations
are made beforehand; then take a lighted wax candle, and present it to
the mouth of the figure with the gunpowder, which, taking fire, will
put the candle out; then present your candle, having the snuff quite
hot, to the other figure; it will light again immediately by means of
the phosphorus. You may propose the same effect to be produced by two
figures, drawn on a wall with a pencil or a coal, by applying, with
starch or a wafer, a few grains of bruised gunpowder to the mouth of
one, and a bit of phosphorus to the mouth of the other.
_To construct a Lantern which will enable a Person to read by Night, at
a great Distance._
Make a lantern of a cylindric form, or shaped like a small cask placed
lengthways, so that its axis may be horizontal, and fix in one end of
it a parabolic or spheric mirror, so that its focus may fall about
the middle of the axis of the cylinder. If a small lamp or taper be
placed in this focus, the light, passing through the other end, will be
reflected to a great distance, and will be so bright, that very small
letters on a remote object may be read, by looking at them with a good
telescope. Those who see this light, if they be in the direction of the
axis of the lantern, will think they see a large fire.
TRICKS WITH STRINGS, KNOTS, &c.
_To cut a Lace asunder in the Middle, and to make it whole again._
Provide a piece of the lace which you mean to cut, or at least a
pattern like the same, one inch and a half long, and keep it double
privately in your left hand, between some of your fingers, near to the
tips thereof; take the other lace which you mean to cut, still hanging
about your neck, and draw down your said left hand to the bout thereof,
and, putting your own piece a little before the other, the end, or
rather middle, whereof you must hide betwixt your fore-finger and
thumb, make the eye or bout which shall be seen of your own pattern;
let a bystander cut the same asunder, and it will be surely thought
that the other lace is cut; which, with words and fretting, you shall
seem to renew, and make whole again. This, if it be well handled, will
seem very wonderful.
_To burn a Thread and make it Whole again with the Ashes._
Take two pieces of thread of one foot in length each: roll one of them
round like a small pea, which put between your left fore-finger and
thumb. Now, hold the other out at length, between the fore-finger and
thumb of each hand, holding all your fore-fingers daintily; then let
one cut the same asunder in the middle; when that is done, put the
tops of your two thumbs together, and so shall you with less suspicion
receive the thread which you hold in your right hand into your left,
without opening your left finger and thumb. Then holding these two
pieces as you did before it was cut, let these two be cut also asunder
in the middle, and they conveyed again as before, until they be very
short; then roll all these ends together, and keep that ball of thread
before the other in the left hand, and, with a knife, thrust the same
into a candle, where you may hold it until the said ball of thread be
burnt to ashes; then pull back the knife with your right hand, and
leave the ashes, with the other ball betwixt your fore-finger and
thumb of your left hand, and, with the two thumbs and two fore-fingers
together, take pains to rub the ashes till your thread be renewed, and
draw out that thread at length, which you lay all this while betwixt
your fore-finger and thumb. This is not inferior to any juggler’s
trick, if it be well handled; for if you are so perfect in legerdemain
as to bestow the same ball of thread, and to change it from place to
place, betwixt your other fingers, as may be easily done, then it will
seem very strange.
_To pull many Yards of Ribbon out of the Mouth._
Jugglers get money from maids, by selling laces by the yard, putting
into their mouths one round bottom, as fast as they pull out another,
and, at the exact end of every yard, they tie a knot, so as the
same rests upon their teeth; then they cut off the same, and so the
beholders are doubly and trebly deceived, seeing as much lace as will
fill a hat, and the same of what colour they like, to be drawn out of
the mouth; and yet the juggler talks as though there was nothing in his
mouth.
_To cut a Piece of Tape into four Parts, and make it Whole again with
Words._
Take a piece of narrow white tape, about two or three yards long. First
present it to view to any that may desire it; then tie both the ends of
it together, and take one side of it into one hand, so that the knot
may be about the middle of one side, and, using some circumstantial
words to beguile the spectators, turn one hand about toward yourself,
and the other from you; so shall you twist the tape once, then clap
the ends together, and then, if you slip your finger and thumb of each
hand between the tape, almost as one would hold a skein of thread to
be wound, this will make one fold or twist, as thus appears, where A
signifieth the twist or fold--B the knot. Then
[Illustration]
in like manner make a second fold, about the line D C, as you may see
by the second figure, where B signifieth the knot, C the first fold,
and A the second fold; then hold the fore-finger and thumb of your left
hand upon the second twist, and upon the knot also, and the fore-finger
and thumb of your right hand upon the first fold C, and desire some
one of your spectators to cut all asunder with a sharp knife at the
cross line E D; when it is cut, hold still your left hand, and let all
the ends fall that you hold in your right hand, for there will be a
show of eight ends, four above and four below, and so the strings will
be thought to be cut into four parts, as may be seen by the third
figure; then gather up the ends that you let fall into your left hand,
and deliver two of the ends (seeming to take them at random) unto
two several persons, bidding them hold them fast, still keeping your
left-hand fingers upon the twists or folds; then with both your hands
seem to tumble all the ends together that you had in your left hand,
twist out the slips and pieces, which are three, as you may see at A
and B in the third figure,--twist them all, I say, into a little ball,
and conceal it between some of your fingers of your left hand, and
crumble thereon another confused heap, and, after some words said, with
your right hand deliver this confused heap unto any of the company,
bidding them hold it fast, saying, “_Hulla passa_;” then bid them look
on it, and while they are greedily looking after the event, you may
with ease convey the ball or roll of ends into your pocket; so it will
be thought that you have made it whole by virtue of your words. This
is an excellent trick, if it be gracefully handled: it cost me a great
deal of trouble and time to find it out.
_To unloose a Knot upon a Handkerchief by Words._
Make a plain loose knot with two ends of a handkerchief, seeming to
draw the same very hard. Hold fast the body of the handkerchief near
to the knot, with your right hand, pulling the contrary end with your
left. Then close up handsomely the knot, which will be somewhat loose,
and pull the handkerchief so with your right hand, that the left hand
may be near the knot; then will it seem to be a true and firm knot;
and to make it appear more assuredly to be so indeed, let a stranger
pull at the end which you hold in your left hand, while you hold
fast the other in your right hand, and then holding the knot with
your fore-finger and thumb, and the lower part of your handkerchief
with your other finger, as you hold a bridle when you would with one
hand slip up the knot and lengthen the reins. This done, turn your
handkerchief over the knot with your left hand; in doing whereof you
must suddenly slip out the end or corner, putting up the knot of your
handkerchief with your fore-finger and thumb, as you would put the
aforesaid knot of your bridle. Then deliver the same, covered and
wrapped within the midst of the handkerchief, to one to hold fast, and,
after the pronunciation of some words of art, take the handkerchief and
shake it, and it will be loose.
_To draw a Cord through the Nose._
This trick is called the bridle, being made of two alder sticks--
[Illustration]
Through the hollowness thereof is placed a cord, the same being put
upon the nose, like a pair of pincers or tongs; the cord which goeth
round the same being drawn to and fro, the beholders will think the
cord goes through your nose very dangerously; the knots at the end of
the cord, which stay the same from being drawn out of the stick, must
not be put at the very top, for that must be stopped up, but half an
inch beneath each end; and so, when it is pulled, it will seem to pass
through the nose. Then you may take a knife and seem to cut the cord
asunder, and pull the bridle from your nose.
_To take three Button-Moulds off a String._
Take two little whipcords, of two feet long each, double them equally,
so as there may appear four ends; then take three button-moulds
(the hole of one of them must be bigger than the rest), and put one
button-mould upon the eye or bout of one cord, and another on the other
cord; then take the button-mould with the greatest hole, and let both
the bouts be hidden therein, which may be the better done if you put
the eye, or bout, of the one
[Illustration]
into the eye or bout of the other; then put the middle button upon
the same, being doubled over his fellow: so will the heads seem to be
put over the two cords. You may loose them as you like, and make it
seem manifest to the beholders, who may not see how they are done; but
that the buttons are put upon the two cords, without any fraud. Then
must you seem to add a more effectual binding of those buttons to the
strings, and make one half of a knot with one of the ends of each side,
which is for no other purpose, but that, when the buttons are taken
away, the cords may be seen in the case which the beholders suppose to
be in before; for when you have made your half knots, which in any wise
you must not double to make a perfect knot, you must deliver into the
hands of some bystanders these two cords--namely, two cords evenly set
to one hand, and two in the other, and then with a wager begin to pull
off the buttons, which, if you handle nimbly, and in the end cause him
to pull his two ends, the two cords will show to be placed plainly, and
the buttons to have come through the cords.
OPTICAL ILLUSIONS.
_The Multiplying Mirror._
A mirror is to be made as follows: first make a hoop or fillet of wood
about the width of a half-crown piece, and let the thickness be about
a quarter of an inch. In the middle of this hoop fasten a bottom of
wood or brass, and place several hooks of the size of small peas. Then
open the one side of this bottom, set in a piece of crystal glass, and
fasten it in the hoop close to the bottom;
[Illustration]
then take a quantity of quicksilver, and put so much into the hoop as
will cover the bottom; then let into the hoop another piece of crystal
glass fitted thereto, and cement the sides that the quicksilver may not
run out, and it is done,--the use whereof I shall not insist upon,
since he that is versed in optical illusions will better conceive it,
than any words of mine can either direct or assist him.
_The Magic-Lantern._
This lantern is called magical on account of the formidable apparitions
that, by virtue of light, show upon the white wall of a dark room.
The body of it is generally made of tin, and of the shape of a lamp.
Towards the back is a concave looking-glass of metal, which may either
be spherical or parabolical, and which, by a grove made in the bottom
of the lantern, may be either advanced nearer or put farther back from
the lamp, in which is oil or spirit of wine; and the match ought to be
a little thick, that when it is lighted it may cast a good light that
may easily reflect from the glass to the fore part of the lantern,
where there is an aperture with a prospective in it, composed of two
glasses, that make the rays converge and magnify the object.
When you mean to make use of this admirable machine, light the lamp,
the light of which will be much augmented by the looking-glass at a
reasonable distance. Between the fore part of the lantern and the
prospective glass you have a trough, made on purpose, in which you are
to run along a flat frame, with transparent colours on glass. Then
all these little figures, passing successively before the prospective
glass, through which passes the light of the lamp, will be painted and
represented with the same colours upon the wall of a dark room, and in
a gigantic and monstrous manner.
By this lantern you may show birds, beasts, and all sorts of fish, &c.
&c. &c.
_The Phantascope._
The Phantascope is a magic-lantern improved; that is, it will magnify
or diminish the figures it is to reflect, without impairing their
neatness.
This instrument is composed of a tin box, surmounted by a kind of
chimney, pierced on one of its faces with a hole of a diameter
corresponding with that of the cylinders, sliding into one another
like the tubes of an opera-glass: this tube is adjusted by means of a
slide established above the aperture made in the phantascope. The part
of the adjoining cylinder is so adjusted to receive alternately wooden
tablets, in which are opened cavities to contain the figures painted
upon glass. The flat side of the half ball is placed in that tube,
nearly close enough to touch the painted figures: this half ball is
called the object glass.
In the second cylinder is found a magnifying-glass, convex on both
sides, the focus whereof is double to that of the half ball, and one
third of its diameter: this glass is called “the eye-glass.” It is by
means of drawing those glasses close that the objects are magnified;
and by removing them at a distance, that the figures are made to
look smaller. Inside of the box is placed one of those lamps called
“argand,” of a wide diameter, with a concave mirror, to throw as much
light as possible upon the transparent figures.
To exhibit the phantasmagoria, select an apartment opening into a
second room, and the door of which is at your disposal: take a wooden
frame, exactly of the same dimensions as that door, upon which fasten,
with brass nails, a sheet of fine linen, in preference to calico. A
moment before you place the frame, wet it equally all over, to cause
the thread of the cloth to swell, and to fill all interstices.
When you have proved the above-mentioned instrument, prior to your
using it, make sure that the lamp does not smoke, but that it gives
a vivid light; that the concave mirror is very bright; that the
magnifying-glass is dry and clean. (You dry these with a piece of soft
leather and some whitening, so fine as not to scratch. The painted
glasses are cleaned with a piece of very fine cloth, made quite hot,
or of cambric, taking care not to rub off the painting.) You then
place the wooden ruler with the reversed figure in the slide, opened
purposely to receive it, in the first cylinder; then, the figures being
reflected on a whitewashed wall, you regulate the distance of the
magnifying-glasses, in order to have the paintings seen in all their
perfection at a regular fixed distance. Your instrument is then ready
for the exhibition.
To this effect, you present yourself facing the framed linen, with the
phantascope suspended before you, and held by two braces across your
shoulders. In order that the figures may decrease in the eyes of the
spectators of the other side, you must advance slowly near the cloth,
drawing the two magnifying-glasses at a distance from each other, but
very gently, that the figures should remain steady.
If, on the contrary, you should wish them to appear magnified,
gradually draw back, with the same precaution, and bring the glasses
nearer each other; when they are quite close, the figures seem to be
coming towards the spectators, and to proceed forward.
When you change the paintings, you must hide the eye-glass behind an
opaque and black body. The knowledge of the management of the glasses,
and the accuracy of the proceeding backward and forward, upon which
depends entirely the good effect of the exhibition, may be acquired by
a few days’ practice previous to the exhibition being made in company.
Notwithstanding the box for the phantascope, if made of wood, will be
heavier than a tin one, yet it is to be preferred, on account of its
communicating much less heat than the tin.
Such persons as wish to paint their figures should use a varnish that
does not spread on the glass; thick copal varnish will answer the
purpose.
_The Enchanted Mirrors._
Make a box of wood, of a cubical figure, of about fifteen inches every
way. Let it be fixed on a pedestal, at the usual height of a man’s
head. In each side of this box, let there be an opening of an oval
form, ten inches high, and seven wide.
In this box place two mirrors, with their backs against each other;
let them cross the box in a diagonal line, and in a vertical position.
Decorate the openings in the sides of this box with four oval frames,
and transparent glasses, and cover each of them with a curtain, so
contrived that they may all draw up together.
Place four persons in front of the four sides, and at equal distances
from the box, and then draw up the curtains, that they may see
themselves in the mirrors; when each of them, instead of his own
figure, will see that of the person who is next him, and who, at the
same time, will seem to him to be placed on the opposite side. Their
confusion will be the greater, as it will be very difficult for them to
discover the mirror contained in the box. The reason of this phenomenon
is evident; for, though the rays of light may be turned aside by a
mirror, yet they always appear to proceed in right lines.
_The Wonderful Phantoms._
In a partition make two apertures of a foot high, and ten inches wide,
and about a foot distant from each other. Let them be at the common
height of a man’s head; and in each of them place a transparent glass,
surrounded with a frame, like a common mirror.
Behind this partition place two mirrors, inclined to it in an angle
of forty-five degrees (that is, be halfway between a line drawn
perpendicular to the ground and its surface); let them be both eighteen
inches square; let all the space between them be enclosed by boards, or
pasteboard, painted black, and well closed, that no light may enter.
Let there be also two curtains to cover them, which may be drawn aside
at pleasure.
When a person looks into one of these supposed mirrors, instead of
seeing his own face, he will perceive the object that is in front of
the other; so that, if two persons present themselves at the same time
before these mirrors, instead of each one seeing himself, they will
reciprocally see each other.
Note.--There should be a sconce, with a candle placed on each side of
the two glasses in the wainscot, to enlighten the faces of the persons
who look in them; otherwise this experiment will have no remarkable
effect.
This curious trick may be considerably improved, by placing the two
glasses in the partition in adjoining rooms; and, a number of persons
being previously placed in one room, when a stranger enters the other,
you may tell him his face is dirty, and desire him to look in the
glass, which he will naturally do; and on seeing a strange face he will
draw back; but, returning to it, and seeing another, and another, like
the phantom kings in Macbeth, what his surprise will be is more easy to
conceive than express. After this, a real mirror may be privately let
down on the back of the glass, and, if he can be prevailed to look in
once more, he will then, to his further astonishment, see his own face,
and may be told, perhaps persuaded, that all he thought he saw before
was mere imagination.
How many tricks, less artful than this, have passed in former times for
sorcery, and pass at this time, in some countries, for apparitions!
Note.--When a man looks in a mirror that is placed perpendicular to
another, his face will appear entirely deformed. If the mirror be a
little inclined, so as to make an angle of eighty degrees (that is,
one ninth part from the perpendicular), he will then see all the parts
of his face, except the nose and forehead. If it be inclined to sixty
degrees (that is, one third part), he will appear with three noses and
six eyes: in short, the apparent deformity will vary at each degree of
inclination; and when the glass comes to forty-five degrees (that is,
half way down), the face will vanish. If, instead of placing the two
mirrors in this situation, they are so disposed that their junction may
be vertical, their different inclinations will produce other effects,
as the situation of the object relative to these mirrors is quite
different.
_The Real Apparition._
Behind a partition place, in a position somewhat oblique, a concave
mirror, which must be at least ten inches in diameter, and its distance
from the partition equal to three fourths of the distance of its centre.
In the partition, make an opening of seven or eight inches, either
square or circular: it must face the mirror, and be of the same height
with it. Behind this partition place a strong light, so disposed, that
it may not be seen at the opening, and may illumine an object placed
near it, without throwing any light on the mirror.
Beneath the aperture in the partition, place an object that you intend
shall appear on the outside of the partition, in an inverted position,
and which we will suppose to be a flower. Before the partition, and
beneath the aperture, place a little flower-pot, the top of which
should be even with the bottom of the aperture, that the eye may see
the flower in the same position as if its stalks came out of the pot.
Take care to paint the space between the back part of the partition and
the mirror black, to prevent any reflections of light from being thrown
on the mirror; in a word, so dispose the whole that it may be as little
enlightened as possible.
When a person is placed at the point of vision, he will perceive the
flower that is behind the partition, at the top of the pot; but, on
putting out his hand to pluck it, he will find that he attempts to
grasp a shadow.
_Observations._
The phenomena that may be produced by means of concave mirrors are
highly curious and astonishing. By their aid spectres of various
kinds may be exhibited. Suppose, for example, you were to tell any
one, that at such an hour, and in such a place, he should see the
apparition of an absent or deceased friend (of whose portrait you are
in possession); in order to produce this phantom, instead of the hole
in the partition, there must be a door which opens into an apartment to
which there is a considerable descent. Under that door you are to place
the portrait, which must be inverted and strongly illuminated, that it
may be properly reflected by the mirror, which must be large and well
polished. Then, having introduced the spectator at another door, and
placed him in the proper point of view, you suddenly throw open the
first door, when, to his great astonishment, he will immediately see
the apparition of his friend.
It will be objected, perhaps, that this is not a perfect apparition,
because it is only visible at one point of view, and by one person. But
it should be remembered, that it was an established maxim in the last
century, that a spectre might be visible to one person, and not to
others. So Shakespeare makes both Hamlet and Macbeth see apparitions
that were not visible to others, present at the same time. It is
not unlikely, moreover, that this maxim took its rise from certain
apparitions of the kind, _that were raised by the monks, to serve some
purposes they called religious_; as they alone were in possession of
what little learning there then was in the world.
_To draw a Deformed Figure, which will appear well proportioned from a
certain Point of View._
Draw any thing you may fancy on a thin white pasteboard; then prick it;
afterwards put the same on an horizontal surface, which we will suppose
to be another pasteboard; put a lighted candle behind that drawing, and
draw on the horizontal surface the lines given by the light; this will
give a deformed design. This being done, take away the drawing that was
pricked, and the candle; then place your eye where the light was, and
you will see your drawing assume a regular form.
CHEMICAL CHANGES.
_To change the Colour of a Rose._
Burn some sulphur under the rose, by holding underneath it a lighted
bundle of matches. This will fade the red colour, and make the flower
turn white or blanched. Its primitive colour will return in about a
couple of hours.
_To turn Water into Wine._
Take four glasses; rub one in the inside with a piece of moist alum:
let the second have a drop of vinegar in it; the third empty. Let the
fourth be filled with clean water; in your mouth put a clean rag, with
ground basil tied close in it, the bulk not to be bigger than a small
nut, which must lie between your hind teeth and your cheek; then take
some of the water that is in the glass into your mouth, and return it
into the glass that hath the drop of vinegar in it, which will cause it
to turn the perfect colour of sack wine; then turn it in your mouth
again, and chew the rag of basil between your teeth, and squirt the
liquor into the glass, and it will have the perfect colour of claret;
returning the basil into its former place, take the liquor into your
mouth again, and presently squirt it into the glass you rubbed with
alum, and it will have the perfect colour of mulberry wine.
_Arbor Dianæ; or, the Silver Tree._
This name has been given to a beautiful and curious precipitation of
silver, by means of mercury in an arborescent form. The experiment is
made by putting a soft amalgam of silver into six parts of a solution
of nitrate of silver, and four of a solution of nitrate of mercury, or--
Amalgamate in a glass mortar one quarter of an ounce of pure mercury
and half an ounce of fine silver. Insert in this amalgamation four
ounces of pure nitric acid for the solution, and increase the whole by
a pint of distilled water; mix it well, and keep it in a glass decanter
well stopped. By introducing into this liquid a lump of soft amalgam of
silver, the formation of the tree speedily takes place.
Or, if you wish to make the experiment on a smaller scale, pour about
an ounce of the above liquid into a wine-glass, into which insert a
piece of soft amalgam of silver, the size of a pea, and the effect
required will immediately be produced. The silver, separating in the
form of prismatic needles, will arrange itself so as to assume an
arborescent appearance.
_The Lead Tree._
The precipitation of a solution of acetate of lead by means of a piece
of zinc, so as to form what is commonly called the lead tree, is
perfectly analogous to this theory, but is too well known to require
illustration.
_The Tree of Mars._
Dissolve iron filings in aqua fortis moderately concentrated, till the
acid is saturated; then pour gradually into the solution a solution of
fixed alkali, commonly called oil of tartar. A strong effervescence
will take place, and the iron, instead of falling to the bottom of
the vessel, will afterwards rise, so as to cover its sides, forming
a multitude of ramifications heaped one upon the other, which will
sometimes pass over the edge of the vessel, and extend themselves on
the outside, with all the appearance of a plant. If any of the liquor
is spilt, it must be carefully collected, and be again put into the
vessel, where it will form new ramifications, which will contribute to
increase the mass of the vegetation.
_To form a Metallic Tree, in the Shape of a Fir._
In a small globular bottle with a tall neck, dissolve one ounce of fine
silver in three ounces of nitric acid; put the bottle into a sand bath,
and let it remain over a slow fire till the liquid be half reduced;
then add three ounces of good white-wine vinegar, a little warmed;
shake the mixture, and place the bottle in any place where it is not
likely to be disturbed: in about a month’s time a beautiful metallic
fir will appear, ramifying to the very surface of the liquid.
_To make a Gold or Silver Tree, to serve as a Chimney Ornament._
Make an amalgam of a small portion of fine gold, and ten times the
quantity of purified cinnabar.
Grind and wash the amalgam in water, till no black colour appears: when
perfectly clean, dry the amalgam, and insert it into a glass retort;
place it in a sand bath over a slow fire, which must be preserved
ignited for a day or two; gradually increase the heat, to expel the
mercury from the gold, whose metallic vegetation will be perfectly in
proportion to the mercury which escapes. When the fire is extinguished
you will find the mercury expelled into the receiver, and the gold
remaining in the retort will be soft and malleable, possessing the
purest appearance; the mass will have sprouted branches, in perfect
imitation of small shrubs and trees of different forms and height,
which may be separated from the heap, serving as their base, when taken
from the retort. These will allow even of being made red hot without
injury to their appearance, or fear of decomposition, and may be used
as ornaments for any length of time.
For the silver, use the same proportion of metal as for the gold tree.
_Sympathetic or Secret Inks._
Sympathetic or secret inks are those fluids which, when written with on
paper, are invisible when dry, but acquire colour by heating the paper,
or by applying to the invisible writing another chymical agent. These
phenomena arrested particularly the attention of the old chymists, and
accordingly, in their fanciful way, they called them _sympathetic inks_.
The writing made with this ink may, therefore, at pleasure be made to
become visible or invisible successively, by alternately warming and
cooling, if care be taken not to expose the paper to a greater degree
of heat than is necessary to make the invisible writing legible.
_Preparation of Green Sympathetic Ink._
Put into a mattrass one part of cobalt or zaffree, and four ounces of
nitro-muriatic acid. Digest the mixture with a gentle heat until the
acid dissolves no more; then add muriatic of soda, equal in quantity to
the cobalt employed, and four times as much water as acid, and filter
the liquor through paper.
_Blue Sympathetic Ink._
This ink, which may be used like the preceding, is prepared in the
following manner. Take one ounce of cobalt reduced to powder, put it
into a Florence flask, and pour over it two ounces of pure nitric
acid. Expose the mixture to a gentle heat, and, when the cobalt is
dissolved, add, by small quantities, a solution of potash, until no
more precipitate ensues. Let these precipitates subside: decant the
super-natant fluid, and wash the residuum repeatedly in distilled
water, until it passes tasteless; then dissolve it in a sufficient
quantity of distilled vinegar, by the assistance of a gentle heat,
taking care to have a saturated solution, which will be known by part
of the precipitate remaining undissolved after the vinegar has been
digested on it for some time.
_Yellow Sympathetic Ink._
Neutralize muriatic acid with brown oxide of copper: the solution is
of a dark olive-green colour, and by evaporation yields crystals of a
grass-green colour of muriate of copper, which, when dissolved in ten
parts of water, forms this ink, and may be employed as before stated.
_Purple Sympathetic Ink._
Dissolve cobalt or zaffre in nitric acid, add salt of tartar gradually
and in small quantities to avoid too powerful an effervescence, let
the precipitate subside, and, having drawn off the super-natant clear
liquid, add a sufficient quantity of water, when the ink will be fit
for use.
_Rose-coloured Sympathetic Ink._
Dissolve zaffre in nitric acid, to which add saltpetre well purified,
and you will possess a rose-coloured ink, having the same properties as
the preceding.
_Application of the Secret Inks._
Write any unimportant matter with common ink, and let the lines
be tolerably wide apart; then between these lines write the
communication you wish to make with any of the above invisible inks.
Your correspondent, by holding the paper before the fire, will be
speedily enabled to peruse the letter; the characters will again become
invisible when the paper has cooled. The writing in common ink will
serve to lull the suspicions of those who might intercept the letter.
With this kind of ink, some very ingenious and amusing tricks may be
performed.
_A Drawing which alternately represents Winter and Summer Scenes._
Draw a landscape, and delineate the ground, the trunks, and branches
of the trees, with the usual water-colours employed for that purpose,
tracing the grass and trees with sympathetic ink. By these means
you will have a drawing, which, at the common temperature of the
atmosphere, will represent a winter piece; but if it be exposed to a
proper degree of heat, not too strong, you will see the ground covered
with verdure, and the trees suddenly wrapped with a beautiful foliage;
replace the picture in the cool, and the dreary aspect of winter
re-appears. The colours must be lighter for the back grounds.
Screens painted in this manner were formerly made at Paris. Those to
whom they were presented, if unacquainted with the artifice, were
astonished to find, when they made use of them, that the views they
exhibited were totally changed. Persons not understanding drawing may
amuse themselves in this manner, by colouring an outlined engraving
representing winter, following exactly the process enjoined for the
above.
_Demonstration of the various Strata of Earth which cover the Globe._
In a middling-sized glass bottle, three parts full of clear water,
infuse pure alumine precipitated by ammonia, till the bottle is nearly
filled.--Expose the bottle to the cold air in frosty weather; or, at
other times, to artificial frost. At the moment when the frigorific
effect ensues, the alumine will divide all over the surface of the
water, and form itself into separate and very regular strata.
_To freeze Water in the Midst of Summer, without the Application of
Ice._
Take eleven drachms of muriate of ammonia, ten of nitrate of potash,
and sixteen of sulphate of soda; reduce each of these salts separately
to a fine powder, and mix them gradually in a glass, or rather in a
thin metal vessel, with five ounces of water (the capacity of the
vessel should be only just large enough to hold the materials): the
result will be, that, as the salts dissolve, cold will be produced, and
a thermometer immersed in the mixture will sink at or below freezing.
A little water, about half an ounce, in a test tube, when immersed in
the mixture during its solution, becomes frozen in about ten minutes.
The salts employed in this experiment may be recovered from the
solution, if the sulphate of soda be omitted, by evaporating the water,
to serve again any number of times. Five parts of muriate of ammonia,
five of nitre, and eight of sulphate of soda, mixed with sixteen of
water, at the usual temperature, sink the thermometer from 50 to about
10 degrees.
The salts, to produce their fullest frigorific effect, should be
recently crystallized in fine powder, and contain as much water of
crystallization as possible, but they should not be damp.
If to three parts of ice thus procured, you add four parts of potash,
the thermometer will sink from 32° to 61° below Zero, or the freezing
point; giving 93 degrees of cold. Snow or common ice, mixed with potash
in the same proportions, would serve equally well; but the above
experiments are given under the supposition that they are difficult to
be procured.
MISCELLANEOUS TRICKS AND EXPERIMENTS.
_To swallow a long Pudding made of Tin._
This pudding must be made of tin, consisting of twelve or thirteen
little hoops, round, and in little ringlets, so that they may seem to
fall one through another. It must have little holes made at the biggest
end, that it may not hurt your mouth: hold this pudding, for so it is
called, privately in your left hand, with the hole end uppermost, and
with your right hand take a ball out of your pocket, and say, “_If
there is any old woman that is out of conceit with herself, because
her neighbours deem her not so young as she would be thought, let her
come to me, for this ball is a present remedy_;” then seem to put the
ball into your left hand, but let it slip into your lap, and clap the
pudding into your mouth, which will be thought to be the ball that
you showed them; then decline your head, and open your mouth, and the
pudding will slip down at its full length, which, with your right hand,
you may strike into your mouth again; doing this three or four times:
then you may discharge it into your hand, and clap it into your pocket
without any suspicion, by making three or four wry faces after it, as
though it had stuck in your throat; and if you practise smiting easily
on your throat, with your fist on each side, the pudding will seem to
chink as if it was laying there; then say, “_Thus they eat puddings in
High Germany; they fling them down their throats before their teeth can
take possession of them._”
_An Artificial Spider._
Take a bit of burnt cork, as big as a pea, and give it the shape of a
spider; make its legs with threads of hemp; put a grain of lead into
the cork to give it some weight; then hang this artificial spider by a
bit of gray sewing silk (that is not twisted), between two bodies, the
one electrified, and the other not; or between two bodies endowed with
different electricities: it will go and come between these two bodies,
and the movement of the legs will be seen as plainly as if it were a
living spider.
_To pass a Ring through your Cheek._
You must have two rings made of silver or brass, or what you please,
of one size, colour, and likeness, saving that one must have a notch
through it, and the other must be whole, without a notch; show the
whole ring, but conceal that which hath the notch, and say, “_Now I’ll
put this ring through my cheek_,” and privately slip the notch over one
side of your mouth; then take a small stick, which you must have in
readiness, and slip the whole ring upon it, holding your hand over it
about the middle of the stick; then bid somebody hold fast the stick
at both ends, and say, “_See this ring in my cheek,--it turns round_;”
then, while you perceive them fasten their eyes upon that ring, on a
sudden, whip it out, and smite upon the stick therewith; instantly
concealing and whirling the other ring you hold your hand over, round
about the stick. It will be thought that you have brought that ring
upon the stick which was upon your cheek.
_To cut a Hole in a Cloak, Scarf, or Handkerchief, and by Words to make
it whole again._
To do this, you must have a piece of the same ready in your hand, the
sample of that you intend to cut; then, amongst other tricks, clap your
hand upon the place you intend to cut. Now drawing the false piece
through, cause it to be cut off, and, griping your hand, show the hole
from whence the piece came away which is in your hand. This is done by
pretending to feel in your pocket for a needle and thread to sew it
up again. But, drawing your hand out of your pocket, say “_I have no
needle, but I have a charm that will do as well_;” so, muttering some
words, bid them blow upon it, and, pulling your hand from the place,
show it entire.
_The Dancing Egg._
Three eggs are brought out; two of them are put on a table, and the
third in a hat; a little cane is borrowed from one of the company, and
it is shown about, to convince the spectators there is no preparation.
It is then placed across the hat; the hat falls to the ground, and
the egg sticks to it as if glued; the orchestra then plays a piece of
music, and the egg, as if it was sensible of the harmony, twists about
the cane from one end to the other, and continues its motions till the
music stops.
_Explanation._--The egg is fastened to a thread by a pin, which is put
in lengthways; and the hole, which has been made to introduce this pin,
is stopped with white wax. The other end of the thread is fastened to
the breast of the person who performs this trick, with a pin bent like
a hook; the cane, passing under the thread, near to the egg, serves
for it to rest on. When the music begins, the performer pushes the
cane from left to right, or from right to left; it then appears as if
the egg ran along the cane, which it does not, being fastened to its
thread; its centre of gravity remains always at the same distance from
the hook that holds it; it is the cane which, sliding along, presents
its different points to the surface of the egg.
N. B. To produce the illusion, and persuade the company that it is
the egg which carries itself to the different points of the cane, the
performer turns a little on his heel; by this means the egg receives a
motion, which surprises the spectators, it remaining always at the same
distance from the point to which it was fastened.
_To make Three Figures dance in a Glass._
Take little hollow figures of glass about an inch and a half high,
representing little children, or grown-up persons. These may be had
of the glass-blowers; and, as they contain a body of air, are lighter
than water. Immerse them in water contained in a glass of the following
shape:--
[Illustration]
This glass is about a foot or fifteen inches high, and covered with a
bladder, which is tied fast over the top; a small quantity of air is
to be left between the bladder and surface of the water; so, when you
command them to walk down, press your hand hard upon the top, and they
will immediately go down. Thus you may make them dance in the middle of
the glass, at your pleasure; and, when you would have them go up to the
top, take your hand away, when they will go up.
_To shoot a Swallow, and to bring him to Life again._
Load your gun with the usual charge of powder, but, instead of shot,
put in half a charge of quicksilver: prime and shoot. If your piece
bears ever so far from the bird, the swallow will find itself stunned
to such a degree, as to fall to the ground in a fit. As it will regain
its senses in a few minutes, you may make use of the time, by saying
that you are going to bring it to life again. This will greatly
astonish the company. The ladies will, no doubt, interest themselves in
favour of the bird, and intercede for its liberty;--sympathizing with
their feelings for the little prisoner may be the means of some of them
sympathizing with yours.
_Singular Trick with a Fowl._
Take a cock from roost at night, or off its walk by day, and bring
him into a room full of company; keep both your hands close to his
wings; hold them tight: put him on a table, and point his beak down as
straight as possible; and then let any one draw a line with a piece of
chalk, directly from his beak, and all the noise you can possibly make,
with drums, trumpets, or even crowing of other cocks, will not disturb
him from the seeming lethargy, which that position you have laid him
in, with the chalked line, has effected. Strange as this seems, yet the
certainty of it is past a doubt, as many gentlemen who have, ere this,
sported some hundreds on the turf, are ready to assert its truth.
_To put a Lock upon a Man’s Mouth._
You must have a lock made for this purpose, according to the figure;
one side of its bow must be immoveable, as that marked A; the other
side is noted B, and must be pinned to the body of the lock, as appears
at E.
[Illustration]
It must be so pinned that it may play to and fro with ease; this side
of the bow must have a leg as at B, and then turn it into the lock;
this leg must have two notches filed on the inner side, which must be
so managed that one may lock or hold the two sides of the bow as close
together as possible, and the other notch to hold the said part of the
bow a proportionable distance asunder: so that, being locked upon the
cheek, it may neither pinch too hard, nor yet hold it so slight that
it may be drawn off. Let there be a key fixed to it to unlock it, as
you see at D; and, lastly, let the bow have divers notches filed in
it, so that the place of the partition, when the lock is shut home,
will the least of all be suspected in the use of the lock. You must
now get one to hold a sixpence, edgeways, between his teeth; then take
another sixpence, and with your left hand proffer to set it edgeways
between a second man’s teeth, pretending that your intent is to turn
both into which of their mouths they shall desire, by virtue of your
words; which he shall no sooner consent to do, but you, by holding the
lock privately in your right hand, with your fore-finger a little down,
after certain words, and the lock having hung on a while, may seem to
pull the key out of his nose.
_To thrust a Bodkin into the Forehead, without Hurt._
Take a hollow bodkin, so that the blade may slip therein as soon as
the point is held upwards. Seem to thrust it into your forehead, and,
with a little sponge in your hand, bring out blood or wine, making the
spectators think that the blood or wine (whereof you may say you have
drank very much) runs out of your forehead; then, after showing some
appearance of pain, pull away your hand suddenly, holding the point
downwards, and it will fall out, and seem never to have been thrust
into the haft; but, immediately afterwards, throw that bodkin into
your lap or pocket, and pull out another plain one like it, which will
completely deceive the spectators.
_To thrust a Bodkin through your Tongue._
This trick is to be performed in much the same manner as the former,
and, as in the first case, without hurt; if the reader will take
the pains to practise this trick, he will be in no more danger of
performing one than the other.
To render the deception as complete as possible, proceed as
follows:--Make a bodkin, or nail, the blade thereof being cut in the
middle, so that one part may not be close to the other, by almost three
quarters of an inch, each part being kept asunder by a small crooked
piece of iron, of the fashion described in the next trick; then thrust
your tongue between the aforesaid place, to wit, into the space left in
the bodkin-blade, thrusting the said part behind your teeth, and biting
it. It will seem to stick so fast in, and through your tongue, that one
can hardly pull it out. You must have another bodkin or nail, just like
the false one, to show the company.
_To appear to cut your Arm off, without Hurt or Danger._
You must provide yourself with two knives, a true one and a false one,
and let them be so like each other, that no person can tell one from
the other. When you go to show this feat to the company, put the true
knife into your pocket; then take out the false one, and clap it on
your wrist undiscovered. If, with a sponge, you make the knife bloody,
it will seem so much the more strange. This is the form of the knife:--
[Illustration]
_Tricks with a Cat._
Fix a little bell to the end of a cat’s tail, and let her go; she,
feeling the tightness of the string, and hearing the bell jingle,
will run up and down as if she were mad, flying against the doors and
windows; then, if she can, she will get into some hole to hide herself;
but, when she wags her tail ever so little, out she comes, and will be
as mad as before, and will never rest till it be off. Walnut shells,
fastened with a little warm wax or pitch to the cat’s feet, will make
sport all over the house; and at night, on the stairs, will make the
superstitious think that it is a ghost going up and down.
_To make a Calf’s Head bellow, when served up to Table._
This is effected by the following simple stratagem:--Take a frog that
is alive, and put it at the further end of the calf’s head, under the
tongue, which you must let fall all over it, taking care not to put
the frog there till the calf’s head is going to be served up. The heat
of the tongue will make the frog croak; which sound, coming from the
hollow part of the head, will be like the bellowing of a calf, as if it
were alive.
_To make a Ball rise above the Water._
Place on the spout of the fountain an inverted cone of wire net-work;
throw into it a light hollow copper ball, two inches and a half in
diameter, which let fall to the narrow part of the cone to reach the
spout: it will rise, and remain suspended in the air till brought down
by the wind, and repeatedly re-ascend.
_Mode of sealing Letters, whereby an impression cannot be taken._
Take a piece of any aromatic resin, or of amber, and set fire to it on
an earthen plate. It will emit a smoke of an agreeable smell: hold your
watch-seal over the fumigation; it will become black: then melt some
sealing-wax, in the usual way, spread it on paper, and apply to it the
seal, prepared as above; and, when you take it off, the engraving will
be seen very plainly.
In order to prevent the impression from being taken, flatten the
sealing-wax with the blade of a knife: this is easily done, by means
of making a thick iron plate red hot, and bringing it close to the
impression without touching it; the wax then gets soft, but, before it
melts, you must flatten it with a knife, or any other cold instrument.
Although thus flattened, the exact impression will remain conspicuous.
_The Enchanted Egg._
Have ready a penny-worth of quicksilver in a quill, sealed at both ends
with good hard wax; then cause an egg to be boiled, and take off a
small bit of the shell of the narrow end, and thrust in your quill of
quicksilver, and lay the egg on the ground; you will have sport enough;
for it will keep tumbling about as long as there is any heat in it.
_To cut a Man’s Head off, and to put it into a Platter, a Yard from the
Body._
This is a noble trick, if it be performed by a skilful hand. To show
it to advantage, you must cause a board, a cloth, and a platter to be
purposely made, and in each of them to be made holes, for a man’s neck.
[Illustration]
The board must be made of two planks, the longer and broader the
better; there must be left, within half a yard of the end of each
plank, half a hole, so as, both the planks being thrust together, there
may remain two holes, like to the holes in a pair of stocks. There
must be made likewise a hole in the cloth; a platter, also, must be
set directly over or upon one of them, having a hole in the middle
thereof, of the like size, and also a piece cut off the same as big as
the neck, through which the head may be conveyed into the middle of the
platter; and then, sitting or kneeling under the board, let the head
only remain upon the board, in the frame. Then, to make the sight more
dreadful, put a saucer, containing saffron, common salt, and spirits of
wine, burning, before the head of the boy, who must gasp two or three
times. The head will presently appear quite dead, if the boy set his
countenance accordingly; and, if a little blood be sprinkled on his
face, the sight will be the stranger and more horrible still.
This is practised with a boy instructed for the purpose, who, being
familiar with the company, may be known as well by his face as by
his apparel. At the other end of the table, where the like hole is
made, another boy, of the same size, must be placed, having on his
usual apparel; he must lean or lie upon the board, and put his head
underneath it, through the said hole; so that the body shall seem to
lie on one end of the board, and his head shall lie in a platter on
the other end. There are other rules to be observed; as, to put about
his neck a little dough, kneaded with bullock’s blood, which, being
cold, will look like dead flesh, and, being pricked with a sharp quill,
filled with blood, will seem to bleed.--You must be particular to have
the table-cloth so long and so wide as that it may almost reach the
ground. Also, let this be your last trick, taking care not to suffer
the company to stay too long in the place after it is performed.
_To cause Beer to be wrung out of the Handle of a Knife._
To do this, you must have a small piece of sponge, with liquor put
in it privately; then, unseen, place this beyond your right ear; but
let not the sponge be too big, or too full of liquor, lest you be
discovered. Now, taking a knife, stick it, with the handle upwards, in
a table or stool (but observe to place your company before you); then
bid them look, saying, “_There you see is nothing of wet, either on
this handle or the table_;” so stretch your empty hand towards your
ear, darting the point, saying, “_Now, somebody cross my arm_,” and,
speaking some powerful words, as “_Jubio bisco_,” then you have a fair
opportunity to take the sponge into your hand from behind your ear;
stretching forth your hand, squeeze it gently, and afterwards a little
harder, which will make it run the faster, to the amazement of the
company, at the same time saying, “_Thus could I do till I had drowned
you all._” Then sprinkle a little in their faces, which will cause them
to shut their eyes, whilst you convey away the sponge.
_To cut a Glass by Heat._
You must have a piece of well-dried match-cord. Having lighted it by
the candle, take a beer-glass, and hold the match to the edge of the
glass; now have your finger ready wetted, and, when the glass is very
hot, clap your finger to the hot place, and it will suddenly crack
about a quarter of an inch downward; then keep the coal of the match
at the like distance from the end of the crack; and, as it follows, so
move your hand, and cut it screw-fashion, otherwise it will not hold
together till you have it through to the bottom. When you have done it,
and it is cold, take it by the foot, and turn it downwards: it will
stretch so that you may put your finger between each cutting; then,
when you turn it up again, you may drink a glass of beer from it, and
not spill a drop.
THE END.
PRINTED BY G. H. DAVIDSON,
IRELAND YARD, DOCTORS’ COMMONS.
Transcriber’s Notes
Punctuation and spelling were made consistent when a predominant
preference was found in this book; otherwise they were not changed.
Simple typographical errors were corrected; occasional unbalanced
quotation marks retained.
Ambiguous hyphens at the ends of lines were retained; occurrences of
inconsistent hyphenation have not been changed.
The original mid-paragraph positions of Illustrations have been
retained in this eBook, as they often are crucial to understanding the
explanations.
The original Table of Contents used “ib.” for page numbers that were the
same as the preceding number, but this eBook uses the actual numbers.
Page 42: “then put the” was printed as “then pu- the”. It has been
changed to “put” to be consistent with “put out the sixpence” at the
end of the same paragraph. Both probably should be “pull”.
Page 61: “grove” was printed that way.
Page 68: Transcriber added “turn” to “turn the perfect colour of sack
wine”.
Page 70: “mattrass” was printed that way.
Page 75: “griping” was printed that way.
The bottom of the image of a bottle on page 76 was cut-off in the
original book.
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