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practicalmagicia00harr.pdf,40 | practicalmagicia00harr.pdf | 40 | 30 THE PRACTICAL MAGICIAN. and accurate manipulation, the astonishment at the result will be infinitely greater than any one would imagine possible to be produced by such simple means. There is one help that I can suggest towards the better man- agement of the hands in concealing or removing objects; it is the use of a conjuror's rod or short magic wand. This is, now- a-days, commonly a stick of about fifteen inches long, resem- bling a common rule, or a partially-ornamented one. You may often have observed this simple emblem of the conjuror's power, and deemed it a mere idle or useless affectation. The conjuror waves it mystically or majestically as he may be disposed. Of course you are right in your judgment that it can do no good magically; but it does not follow that it is useless. The fact is, that it is really of considerable service to him. If he wants to hold a coin or any object concealed in his hand, without others observing the fact of his hand being closed, the wand in that hand is a blind for its concealment. He may require to pick up or lay down some object, and he can do so while openly fetching or laying down his wand. If he wants to gain time, for any il- lusion or process of change, he can obtain it while engaging the attention of the spectators by some fantastic movements of his wand. By the use of the wand, therefore, you will be able to prevent the observation of your audience too pointedly follow- ing the movements which you wish to carry on secretly. You may also, at the same time, dispel their attention by humorous remarks, preventing it from being concentrated on watching your movements. As a general rule, you must not apprise your audience of what you are actually doing, but must often interpose some other thought or object to occupy their mind. For instance : Do you desire that a person should not examine too closely any object which you place in his hand, tell him to hold it well above his head. That takes it out of the range of his eyes. It would never do to tell him not to look at it… | |
unmaskingrobert00houdgoog.pdf,40 | unmaskingrobert00houdgoog.pdf | 40 | THE UNMASKING OF ROBER'T-HOUDIN - CHAPTER I SIGNIFICANT EVENTS IN THE LIFE OF ROBERT-EOUDIN R OBERT-HOUDIN was born in Blois, France; December 6th, 1805. His real name was Jean-Eugene Robert, and his father was Prosper Robert, a watchmaker in moderate circum- stances. His mother's maiden name was Marie Catherine Guillon. His first wife was Josephe Cecile Eglantine Houdin, whose family name he assumed for business rea- sons. He was married the second time to Françoise Mar- guerite Olympe Naconnier. His death, caused by pneu- monia, occurred at St. Gervais, France, on June 13th, 1871. Barring the above facts, which were gleaned from the register of the civil authorities of St. Gervais, all information regarding his life previous to his first public appearance in 1844 must be drawn from his own works, particularly from his autobigraphy, published in the form of "Memoirs." Because of his supreme egotism, his obvious desire to make his autobiography picturesque and interesting rather than historically correct, and his utter indifference to dates, exact names of places, theatres, books, etc., it is extremely hard to present logical and con- 3 [33] | |
latestmagicbeing00hoff.pdf,41 | latestmagicbeing00hoff.pdf | 41 | THE DETECTIVE DIE 25 "they have returned to their original positions. "Now you will realise, if you think about the matter, that those two cards couldn't in any nat- ural way change places without your seeing them do it, neither could the one change into the other. But this is where magic comes in. What I really did was to hypnotise you a little SO as to make you fancy, when I told the cards to change, that the eight of hearts was the seven of spades, and that the seven of spades was the eight of hearts. It's quite simple, when you know it, and you can see for yourselves that the quickness of the hand has had nothing to do with the matter. For my own part I like to do things slowly; the more slowly the better, and then you can all see how it's done." The trick is simple enough; but it will test the performer's expertness as to neatness of execu- tion. He must be careful in the first place to put each of the drawn cards as exactly as possible on the opposite velvet-backed card; and in picking up two cards together he should frame them, so to speak, between the middle finger and thumb at top and bottom, and the first and third fingers at the sides. Held in this manner they rest squarely one upon the other and there is little fear of their "duplicity" (or "duplexity") being perceived. In the act of again turning the double card down the upper one should be partially drawn off the one below it; this facilitating the picking of it up alone a few moments later. / | |
practicalmagicia00harr.pdf,41 | practicalmagicia00harr.pdf | 41 | THE PRACTICAL MAGICIAN. 31 that you must have more candles, or must remove some other object, thus gaining the opportunity to fetch what you require without naming it. Do not even announce too fully or vauntingly beforehand what is to be the result or development of any trick; rather proceed with it, and let the audience come unexpectedly upon a result which they had not contemplated. Their surprise will be greater, and their amusement more lively, at such unexpected result. It is for this reason that it will be well to avoid the repetition of the same trick in the same evening, though requested to per- form it over again. The minds of the spectators have already traced once the whole performance of it-the beginning, the middle, the end. The zest of it, therefore, is gone off; their minds are languid and disinterested about its second repetition ; and the conjuror's art proportionately sinks in their estimation. Having offered these general remarks, I will now invite the attention of my young friends to another batch of interesting tricks, which, with a little effort, they may succeed in exhibit- ing. TRICK 11.-A sudden and unexpected supply of feath- ers from under a silk handkerchief or cloth. PREPARATION. Have ready a good supply of plumes of feathers. They may be obtained from a fur or fancy store, or purchased there loose, and tied up so as to lie thin and flexible where you wish to place them. You may have at least four batches of them. The com- mon hackle feather will do, stitched round a thin piece of whale- bone. Teathers that are a little injured for sale as ornaments may be picked up at little cost. Take off your cont. You may then have one or more batches of feathers placed round each arm ; the lower point of the stem on which the feathers are fixed being near your wrist, and the top of each batch of feathers confined near your elbow by a slight worsted string. so that they do not stick out the coat sleave too much. or slip down together if two batches are con- ce led in the same sleave. Yon can have … | |
unmaskingrobert00houdgoog.pdf,41 | unmaskingrobert00houdgoog.pdf | 41 | THE UNMASKING OF ROBERT-HOUDIN sistent statements regarding his life. Such discrepancies arise as the mention of three chiklsen in one chapter and four in another, while he does net give the names of either Jean-Eugene Robert-Houdin. Photograph taken about 1868. From the HIarry Houdini Collection. wife, though he admits his obligation to both good women. According to his autobiography, Jean-Eugene Robert was sent to college at Orleans at the tender age of eleven, and remained there until he was eighteen. He was then placed in a notary's office to study law, but his mechanical [ 34] | |
latestmagicbeing00hoff.pdf,42 | latestmagicbeing00hoff.pdf | 42 | 26 LATEST MAGIC An illustration of the use of the same device in a somewhat different form will be found in the item next described, and in the trick entitled "Where is it?'' post. Other ways of using it will suggest themselves to any reader of an inventive turn. THE DETECTIVE DIE This is another of the new departures dependent upon the use of the velvet mat. Broadly stated, the effect of the trick is as follows. One of a group of six different cards laid out in a row or rows repeatedly changes place with some other, the position which it occupies, or to which it has moved, being indicated by the cast of an ordi- nary die. This may be repeated any number of times.¹ The requirements for the trick are as follows: 1. The Velvet Mat. This should be one with a plain surface, diniensions preferably eighteen inches by ten, so as to admit of the six cards being laid in one row. A smaller size, say twelve by nine, may suffice, the six cards in this case being arranged in two rows. In either case there must be a space of an inch or SO between each pair. 1 Since the description which follows was written. it has come to my knowledge that there is already on sale a trick on somewhat similar lines in point of effect entitled The Educated Die. I need hardly say that my own trick, so far as I am concerned, is absolutely original. The advertised description of The Educated Die would suit either trick, but there is little further resemblance between them. | |
practicalmagicia00harr.pdf,42 | practicalmagicia00harr.pdf | 42 | 3? THE PRACTICAL MAGICIAN. point of the stem within easy reach of your hand-about four inches below your chin. Then put your coat on. Commence the trick by borrowing a large silk handkerchief or cloth of the same size. Show it to be empty by holding out the two top corners in front of your breast, and shake the handker- chief while it falls loosely down over your vest. Then moving the handkerchief toward your left, catch hold (with your right thumb and finger) of the end of the stem "of the plume, No. 1, and draw it from under the left side of your vest. It will re- main concealed behind the handkerchief while you move your FIG. 8. Position 1., Position 2. two hands to the right, which will draw out the plume from un- der your vest, then over the centre of your chest. Then toss the handkerchief about, enveloping the first batch of feathers: say, "Handkerchief, you must supply me with some feathers. In a minute or so, take off the handkerchief, and display the plume to the spectators. Show the spectators again that the handkerchief is quite empty. Move your arms toward your right till your left hand comes just over the edge of the right side of your vest. With your left thumb and fore-finger catch hold of the stem of the feathers there concealed, and by moving your arms back to- wards the left, you can draw out without its being observed the plume that had been concealed under the right side of your vest. Toss about and display as before this second batch of feathers, and then place them aside. Then show to the company again that your handkerchief has nothing in it, and lay the handkerchief over both your hands, | |
unmaskingrobert00houdgoog.pdf,42 | unmaskingrobert00houdgoog.pdf | 42 | EVENTS IN THE LIFE OF ROBERT-HOUDIN tastes led him back to his father's trade, watchmaking. While working for his cousin at Blois, he visited a book- shop in search of Berthoud's "Treatise on Clockmaking," but by mistake he was given several volumes of an old encyclopaedia, one of which contained a dissertation on "Scientific Amusements," or an exposition of magic. This simple incident, he asserts, changed the entire current of his life. At eighteen, he first turned his atten- tion to magic. At forty, he made his first appearance as an independent magician or public performer. On page 44 of his "Memoirs," American edition, Robert- Houdin refers to this book as an encyclopaedia, but several times later he calls it "White Magic." In all probability it was the famous work by Henri Decremps in five vol- umes, known as "La Magie Banche Dévoilée," or "White Magic Exposed." This was written by Decremps to injure Pinetti, and it exposed all the latter's tricks, in- cluding the orange tree, the vaulting trapeze automaton, and in fact the majority of the tricks later claimed by Robert-Houdin as his own inventions. In 1828, while working for M. Noriet, a watchmaker in Tours, Jean-Eugene Robert was poisoned by improperly prepared food, and in his delirium started for his old home in Blois. He was picked up on the roadside by Torrini, a travelling magician, who nursed him back to health in his portable theatre. Just as young Jean recovered Torrini was injured in an accident, and his erstwhile patient remained to nurse his benefactor and later to help Torrini's assistant present the programme of magic by which they made their living. His first public appearance as the representative of Torrini was made at Aubusson. [ 35 ] | |
latestmagicbeing00hoff.pdf,43 | latestmagicbeing00hoff.pdf | 43 | THE DETECTIVE DIE 27 2. Six cards of like denomination (say for the purpose of illustration six queens of diamonds), each backed with black velvet and blackened at the edges all around save at one end. Here the card is thickened by the interposition of a slip of white card-board between itself and the velvet, so that the card as viewed from that end shall show a clearly visible white edge. Each card has all four of its corners snipped off to a microscopie extent, say a sixteenth, or less, of an inch. 3. An ordinary pack of cards one of which (in the case supposed, the queen of diamonds) bears a mark upon its back recognisable by the performer, but not conspieuous enough to be noticed by any one else. 4. An ordinary die and dicebox, or a champagne tumbler to be used in place of the latter. 5. A tray or plate, about six inches in diameter, whereon to throw the die. 6. The wand. Preparation. Velvet mat on table, and laid upon it, face down in a row (or a double row, in the case of a small mat), the six velvet-backed cards. These, SO laid, will be undistinguishable by spectators at a very short distance from the mat itself. Each is laid with its "white" end toward the hinder part of the table, so that this shall be visible to the performer when standing behind it. The marked queen of diamonds is laid on the top of the pack. The die and dice-box, on their tray, | |
practicalmagicia00harr.pdf,43 | practicalmagicia00harr.pdf | 43 | THE PRACTICAL MAGICIAN. 33 While waving it mysteriously about, exclaim that the handker- chief must furnish you with some more feathers. Draw out of the left sleeve one of the plumes, shake the feathers out while taking off the handkerchief from this, which will be plume the third. Then, throwing your handkerchief over the hand, and clap- ping your hands together, (with the left over the right hand,) manage to catch hold of another point of a plume, and pull it out from your right sleeve while waving about your two hands with the handkerchief over them. You have now produced four, plumes. The exhibition may be continued to an increased number of plumes, if you have more concealed in your sleeves, or else- where; but four will probably be sufficient to manage at the commencement of your career as an amateur conjuror. TRICK 12.-Heads or Tails ? I shall now give directions for reproducing, before a jnvenile audience, a trick that will carry us back to the primitive style of conjuring in old times. I cannot say that there is anything very scientific or elevated in it, but, if neatly and adroitly exe- cuted, it will tell very well with a youthful audience. PREPARATION. You must take care that your table be so placed that none of the spectators can see behind yourself or the table. You must provide yourself with some young pet of the juveniles, such as a puppy, a kitten, or any other small pet. The performer must either have some little bag hanging under his coat-tails, or some provision for concealing the little animal behind him, or in a drawer before him ; so that there will be no chance of any of the audience seeing it before the proper time. He must have ready also a penny, or any coin. To begin the exhibition of the trick. Standing with all the nonchalance you can assume, and placing one or both your arms behind your back, you may say, "For a variety, I will challenge one of my young friends to come and try which of us will suc- ceed best in a few tosses of this penny." Induce some young person to come to the fro… | |
unmaskingrobert00houdgoog.pdf,43 | unmaskingrobert00houdgoog.pdf | 43 | THE UNMASKING OF ROBERT-HOUDIN - [36] | |
latestmagicbeing00hoff.pdf,44 | latestmagicbeing00hoff.pdf | 44 | 28 LATEST MAGIC are laid on the mat, which may partially cover two or more of the six cards. Presentation. Performer, picking up the pack of cards with his right hand, transfers it to his left, leaving the queen of diamonds palmed in the right. Picking up the tray and its contents with the right hand and advancing with it, he offers the pack to some member of the company, saying: "Will you kindly look well over this pack of cards and satisfy yourself that there is nothing exceptional about them; and when you have done SO give them a thorough shuffle. And you, Sir" (handing tray and die to another spectator), "please test this die in any way your please. Throw it as many times as you like. I want you to be quite sure that it throws a different number each time, and that it is not loaded, or 'faked' in any way. "I don't like bothering people to examine things, for in most cases it is a mere waste of time. But in this case I have a special reason for asking. There is something about this pack of cards and this die which I myself don't understand; and I shall be much obliged to anyone who will help me to do SO. As a matter of fact, these cards, though quite ordi- nary in other respects, are afflicted with a peculiar restlessness. They change places without notice and without any apparent reason. If I were to try to play bridge with them, for instance, I should find as likely as not that my best trump had invis- ibly left my hand and passed over to the enemy, | |
practicalmagicia00harr.pdf,44 | practicalmagicia00harr.pdf | 44 | 34 THE PRACTICAL MAGICIAN. ful in five guesses. After he has tossed up twice, you can take the penny, and say, "Now, I will vary the method of tossing. You shall name now which you choose, 'heads' or "tails.'' Toss up the penny, and while attention is occupied with this, and he is looking to see which is uppermost, heads or tails, you withdraw your left hand from behind you, holding the little an- imal you have concealed, and slipping it into the hat, and turn- ing the hat down over it, exclaim, 'Stay, I mean to pass the penny through the hat upon the table, and the whole affair shall be settled by the result of the present toss. You shall see the heads or tails on the table." By Pass 1, pretend to place the penny on the hat, but retain it in your right hand. Say, "Fly, pass, and quickly." Lift the hat, and show both head and tail on the little animal or pet there concealed. If you should have had a Guinea pig, you must make the guesses go on till your adversary guesses "tails," and then it will make a good laugh to say, "He has won, and he had bet- ter now take it up by the tail.' TRICK 13 -To cook pancakes or a flat plum cake in a hat, over some candles. REQUISITE PREPARATION. Have two gallipots or earthen jars, of a size to go easily into a hat, but of such dimensions that the one reversed will fit closely over the other. Tie worsted or a strip of linen round the smaller gallipot, so as to insure the larger one holding firmly round the smaller one. Have ready some thin, fluent dough, some sugar, and a few currants, enough for two or three pan- cakes or a small plum cake; also a spoon to stir the ingredients up. Have at hand two or three warm pancakes that have just been prepared by the cook for you, with the same ingredients as men- tioned above. Let them be firm and free from grease. Have also at hand two small plates, with knives and forks. Commence the exhibition by borrowing two hats, to give you a choice with which to perform. You can remark that as you should be sorry to injure your friend's hat, you wil… | |
unmaskingrobert00houdgoog.pdf,44 | unmaskingrobert00houdgoog.pdf | 44 | To=bay, Thursbay, July 3, 1845, first Representation OF The fantastic Goirces OF Robert-Toubin, Automata, Sleight-of-Hand, Magic. The Performance will be composed of entirely novel Experiments invented by M. ROBERT-HOUDIN, Among them being : The Cabalistic Clock Obedient Cards Auriol and Debureau The Miraculous Fish The Orange-Tree The Fascinating Owl The Mysterious Boquet The Pastrycook of the Pierrot in the Egg Palais Royal To Commence at Cight o'clocli. open at balf:past beurn. Price of Places: Upper Boxes, I fr. 50 C.; Stalls, 3 fr.; Boxes, 4 fr.; Dress Circle, 5 fr. Programme for the opening of Robert-Houdin's theatre in Paris. Repro- duced from the American edition of his *Memoirs." [ 37] | |
latestmagicbeing00hoff.pdf,45 | latestmagicbeing00hoff.pdf | 45 | THE DETECTIVE DIE 29 which would naturally upset my game and get me into trouble with my partner. The die is equally peculiar, but in another way. From some curious effect of sympathy it knows where a given card is to be found when I don't know myself. "The only possible explanation I can think of for their peculiarities is the fact that both cards and die were formerly the property of an old magician, and that after his death they were shut up together for some years in the same box with this wand, which also belonged to him, and that they have imbibed some of its magical qualities. I will give you a sample of their 'eccentricities.'' ", Performer takes back the cards and proceeds to force the queen of diamonds on some member of the company (a lady for choice). Leaving the drawn card for the time being in her hands, he asks a gentleman to shuffle and cut the rest of the pack and count off from the cut five indifferent cards. The card drawn by the lady is then shuffled with these, so that its position among the six shall be unknown. Performer, taking these from the holder, deals them in a row (or double row, as the case may be) upon the velvet mat, placing each exactly over one of the velvet-backed cards; the white hinder edges of these guiding him as to their positions. "We will now consider these cards as numbered in regular order, One, Two, Three, Four, Five, Six! Among them somewhere or other, is the | |
practicalmagicia00harr.pdf,45 | practicalmagicia00harr.pdf | 45 | THE PRACTICAL MAGICIAN. 35 taking off the attention of the spectators by pretending to ar- rang: the articles on your table, slip the prepared pa .cakes or plum-cake into the hat. Unobserved, also place the smaller gallipot in the hat, and while doing so, if requisite, add some remorli, such as: "Please to shut, or op^n, that `oor." or any word: that will draw off the attention of the sp ctators from what you ero Coin, You must next, vith S me parade, mix the fluont loug? with the sugar and currants, in t'.o lar yer gallipot. It must be fluent enough to pour out lovly, upare .tly into the hiso, but really into the smaller gallipot, which has been already nonccaled inside the. hat. Shov 'ou have imptied the lar wor all but a little ; then, placing it he sn .ller galliprit a in empty the very last of it, und press the larger callipot firmly i wn over the smaller onn. Then, inl it, lift th smalle gallipot also, with its contents, whil you ippear only to talio bacl: the larger galli- pot. Remove the gollipots, us supposed t be empte, out of sight. "Now, l.d.en und ;entlemen, I must request your pa- tience a few minutes for the brocess of cooking.' " Put two or three candles near one wother, and move the hat at a safe dis- tance above them for W or thr minutes, making in the mean- time any langhabl. remarks that may occur to you, such as : " My young friends will find this ? capital way of supplying themselves with a delicat dish when hoy havs lost their pud- dings from being in the black books of their teacher or parents," ,FIG, 9. or any similar humorous remark; but take care not to burn the hat whilst the (supposed) cooking is going on. After a short | |
unmaskingrobert00houdgoog.pdf,45 | unmaskingrobert00houdgoog.pdf | 45 | THE UNMASKING OF ROBERT-HOUDIN Torrini was an Italian whose real name was Count Edmond de Grisy. He was a contemporary of Pinetti. In all probability, during the long summer of their inti- mate companionship, Torrini not only initiated his fas- cinated young guest into his own methods of performing ILLUSIONS. IVE A G x E. Robert-Houdin's favorite lithograph for advertising purposes. Used on the majority of his posters and in the original edition of his "Memoirs." From the Harry Houdini Collection. tricks, but also into the secrets of Pinetti's tricks. In his "Memoirs," Robert-Houdin makes no secret of the fact that both Comus and Pinetti, together with their tricks, were topics of conversation between himself and Torrini. When Torrini was able to resume his performances, [38] | |
latestmagicbeing00hoff.pdf,46 | latestmagicbeing00hoff.pdf | 46 | 30 LATEST MAGIC card the lady chose. At what number it stands nobody knows (I can assure you that I don't), but the die will tell us instantly. May I ask you, Madam, to name your card. The queen of dia- monds; you say? Good! Now will the gentle- man who holds the die kindly throw it. What is the number thrown? A three?" (Whatever the number happens to be.) "The die says the card stands number three. Let us see whether that is correct." He picks up the two cards occupying the posi- tion indicated, and shows the face of the under- most, which is of course seen to be the queen of diamonds. "But now we come to the more remarkable fea- ture of the case. I told you about the queer way in which the cards change places. Even in this short time I daresay the lady's card has got tired of being number three, and has moved away to some other number. If so, the die will tell us. Throw it again, Sir, please." This is done, the die bringing up a new num- ber, say "five." "The die declares that the card has moved, and now stands fifth. We shall soon see whether such is really the case. First, however, let us see whether it has really departed from number three." Performer has meanwhile replaced the two cards just lifted. He now lifts the upper one only, | |
practicalmagicia00harr.pdf,46 | practicalmagicia00harr.pdf | 46 | 36 THE PRACTICAL MAGICIAN. interval, place the-hat on the table, and with some little cere- mony take out the real pancakes or plum-cake. Let it be cut up and.handed round to the juveniles who may be present. REMARKS. A more finished or surer arrangement for holding the dough, etc., can be made with a tin apparatus, which can be prepared by any tinman, upon the same principle as the gallipots, taking care not to have it made larger than the inside of a youth's hat. An amateur can render a common table more suitable for con- Fig. 25. cealing any little object he wishes to have secreted, by placing three or four tumblers under each end of a plank, about the length to extend across the table, and throwing any common cloth over the board and table, or a kitchen table, covered with a cloth, having a drawer pulled out about six inches, will furnish a very good conjuror's table. It is well to have the table rather broad, so as to keep the spectators at a sufficient distance. TRICK 14.-TO EAT A DISH OF PAPER SHAVINGS, AND DRAW THEM OUT OF YOUR MOUTH LIKE AN ATLANTIC CABLE. PREPARATION. Procure three or four yards of the thinnest tissue paper of va- rious colors. Cut these up in strips of half an inch or three- | |
unmaskingrobert00houdgoog.pdf,46 | unmaskingrobert00houdgoog.pdf | 46 | EVENTS IN THE LIFE OF ROBERT-HOUDIN Raser " esprees Datrensge e Gracess THE QUEEN, HIS ROYAL HIOHNESS THE PRINCE ALBERT. HEA ROYAL HIGHNESS THE DUCEESS OF KENT, THEIR ROYAL HIGHNESSES THE DUEE & DUCHESS OF CAXBRIDO&, KEA ROYAL HIOHNESS THE DUCHESS OF OLOUCESTEL A GRAND MORNING FETE, A CONCERT & DANCING, " Batts and for the Labouting Classes, IN COULSTON PLACE Ox WEDNESDAY, JULY TR$ 19ta, Under the above exalted Patronage, AT The Residence of ARTSUR Esq. Waich Ass most hindly placed et the dispesal the Ledies TEE CONCERT san sombine sminent et the tollsting use babe most estigingis assistants MADAME GRISI, MADAME CASTELLAN, MADLLE ALBONI, MARIO, M. ROGER, sto. TAMBURINI, a SIG. LABLACHS. CONDUOTOR SIGNOR COSTA. A TENT WILL BE ERECTED IN THE GROUNDS, " ROBERT-HOUDIN. whe Ase .... - The Grounds will be open from One o'Clock untu Sigbs. TICKETS FOR THE TETE, THE or WHICN will et LIMITED, Can only be procured on the presentitation of Vouchers from the following LADIES Decesse or os es Ricameyo. or VIMCUNTEN ****** or (revers os es or os ances. Orcatse or Stocistom. or Leav Acasa: becusss or or LADT as &suse. or Mostross. " LADT Stamist. o or Decuses or os Lem os Cocatus Gast. Leot os or or WATEAPORN Laos o " PROUNADA. COFNTESS os or Cor>rase Lare Gastam. os Bases, os LAM Jewn Mabast V. as or LIONEL Da or Tes L.DT or Ducomes, Now *** Nuarom. Nas. Nims. Single Tickete 22 2s. esch." detional for comorried Sons and Deughters of the same Pamily. 21 1. - N° Venchers will be exchanged at Mr. MITCHELL' Zoyal Libras, 33, O14 Sond Street on TN& tava, lern. - tare JULV. Robert-Houdin's first appearance before Queen Victoria, July 19th, 1848. A very rare, and possibly the only, programme in existence, chronicling The original, now in the Harry Houdini Collection, was presented to James Savren by Robert-Houdin. [39] | |
latestmagicbeing00hoff.pdf,47 | latestmagicbeing00hoff.pdf | 47 | THE DETECTIVE DIE 31 which (being one of the indifferent cards) shows a different face. "The queen has gone, you see. And now to ascertain whether she has really passed to number five." The two cards standing at that number are lifted together, and again a queen of diamonds is exhib- ited. The trick can of course be repeated any number of times, but it is better not to prolong it beyond a third or fourth "move." In picking up two cards together, in order to show the undermost, they are lifted with second finger at top, thumb at bottom and the first and third fingers at the sides. Thus "framed" SO to speak, the two cards will lie squarely the one upon the other and be undistinguishable from a single card. When it is desired to lift the upper card alone, it should be nipped between the second fin- ger at top right-hand corner and thumb at bottom left-hand corner, when it will be brought away clear without difficulty. There is one contingency for which the per- former must be prepared, namely, that the throw of the die may happen to correspond with the actual position of the card drawn. Both cards of the pair are in this case alike, and the performer cannot, at the succeeding throw, show that the drawn card is no longer in its late position. This possibility is provided for by having the back of the card marked as before explained. Should the contingency in question arise, the performer, hav- | |
practicalmagicia00harr.pdf,47 | practicalmagicia00harr.pdf | 47 | THE PRACTICAL MAGICIAN. 37 quarters of an inch breadth, and join them. They will form a continuous strip of many feet in length. Roll this up carefully in a flat coil, as ribbons are rolled up. Let it make a coil about as large as the top of an egc-cup or an old-fas ioned hunting- watch. Leavo out of ,he innermost coil about an inch or more of that end of the paper, so that you can easily commence un- winding it from the centro of the coil. Procure a large dish or basketful of paper-shavings, which can be obtained at little cost from any bookbinder's or stationer's. Shaken out it will appear to be a large jaantity. As you wish it to appear that you have eaten a good portion of them, you can squeeze the remainder close together, and then thero will appear to be few left, and that your appetite has reason to be r :tisfied. Commence the trick by proclaiming you have a voracious ap- petite, so that you can make a meal off paper-shavings. Bend down over the plate, and take up handful after handful, pretend to munch them in your mouth, and make a faco 2S if swallowing them, and as you take up another handful, put out those previ- ously in your mouth, and put them aside. Having gone on with this as long as the spectators seem amused by it, at last, with your 1 ft hand, lip the prepare. ball of tissue aper into your mouth, managing to place towards your teeth the end you wish to catch hold of with your right hand, for pulling the strip out from your mouth. You will take care also not to open your teeth too widely, lest the whole coil or ball should come out all at once. Having got hold of the end, draw it slowly and gently forward. It will unroll to a length of twenty yards or moro in a continu- ous strip, much t the amusement of the spectators. When it has come to the end, you may remark : "I suppose we have come to a fault, as there is a solution of continuity here, just as the strongest cables break off,' so we must wait to pick up the end again, and go on next year, when the Great Eastern again goes out with its next… | |
unmaskingrobert00houdgoog.pdf,47 | unmaskingrobert00houdgoog.pdf | 47 | THE UNMASKING OF ROBERT-HOUDIN Jean-Eugene returned to his family in Blois. During the next few years he mixed amateur acting with his daily labor, leaning more and more toward the profes- sion of public entertainer. But his ambitions along this line were nipped in the bud by ST. JAMES'S THEATRE marriage. Mademoiselle Houdin, Menday, March 28, And Curing the Week. whose father was a celebrated GREAT FREACN CONJOREA, watchmaker in Paris, visited old friends in Blois, their native town, and became the fiancée of young Robert. As the new son-in-law was to share the elder Houdin's business and naturally wished to secure such benefits as might ac- crue from SO celebrated a family - - sy Mest Gracions Majesty " of watch and clock makers, he -- - mas - - - vamar, masom se, sessy at THEE ABOVE DURING SASTER wase. applied to the council of state SVERY - - à DAY PERFORMANCE and secured the right to annex MESBAY & SATURBAY "Houdin" to his name, Jean- masom so APRIL " Eugene Robert, and thereafter was vervass known only as Robert-Houdin. His life between 1838 and 1844 Poster used by Robert- Houdin during an Easter was divided between reading every engagement at the St. James Theatre, London. work obtainable on magic, and his From the Harry Houdini duties in his father-in-law's shop, Collection. where he not only made and re- paired clocks, but built and repaired automata of various sorts. His family shared with him many financial vicissi- tudes, and about 1842-43 his first wife died, leaving him with three young children to raise. Earlier in his "Mem- oirs" he speaks of having four children, so it is more [40] | |
latestmagicbeing00hoff.pdf,48 | latestmagicbeing00hoff.pdf | 48 | 32 LATEST MAGIC ing meanwhile noted the marked card, does not call attention to the disappearance of the queen from that number, but proceeds at once to show that it has moved to its new position. There is not the smallest fear that anyone will notice the omission. THE DISSOLVING DICE To be worked on a Black Art Table The requisites for this trick are as under: 1. Three small billiard balls, one red, two white. 2. A white half-shell to correspond, vested or placed in a pochette. 3. Three hollow wooden dice, each of such a size as just to contain one of the balls, and lined inside with velvet to prevent "talking." One side of each is left open, but the opening can be closed at pleasure by the insertion of a loose side with a beveled edge. When this is in position, the die appears solid. The inner surface of each of the loose sides is also covered with black velvet, so that when lying with that side upwards on a black art table it is practically invisible. 4. Three cardboard covers, fitting easily over the dice. In preparation for the trick the three balls are placed inside the dice, and these are placed on the table, open side upward, but with the loose sides inserted on top, and the covers over them. | |
practicalmagicia00harr.pdf,48 | practicalmagicia00harr.pdf | 48 | 38 THE PRACTICAL MAGICIAN. appear to have cut through the bridge of the nose. A cutler C. uld supply such knives, or they may be purchased at the de- pots for conjuring apparatus. Having placed out these articles on your table with serious- ness and imposing formality, show to the audience the knife that is whole, and call upon them to observe that it is sufficiently strong and sharp. The other knife must be placed somewhere near you, but where it is sheltered from the observation of the spectators. Ask some young friend to step forward, assuring him that you will not hurt him. Mako him sit down on a chair facing the au- dience. After having measured the real knife across his nose, say "But I may as well protect your clothes from being soiled, so I will put an apron round your neck." Goto the table to take up the apron, and, in doing so, placc down the real knife where it cannot be seen, and with your lef' and tako up the conjuror's knife, holding it by the blade, lest any one should cbserve the notch in it. Conceal at the same time also, in your left hand, the piece of sponge. Advancing to the chair, tuck, with your right hand, the apron round the youth's neck. Then pr SS the conjuror's knife firmly over the nose and leave il there, 2S if you had cut into the bridgo of the nose. At the same time gently ¿queeze the sponge, and a little of the liquid will make an alarming appearance on the face and on the apron; go on for a short time, covering the face and apron with (apparent) blood. When the audience have seen it long enough, seize up the apron, wipe the face of the youth quite clean, throw away the conjuror's knife, and exhibit your young friend to the audience all right, and dismiss him with some facetious remark on his courage in undergoing the alarm- ing operation. | |
unmaskingrobert00houdgoog.pdf,48 | unmaskingrobert00houdgoog.pdf | 48 | EVENTS IN THE LIFE OF ROBERT-HOUDIN than likely that one died before his wife. He married again soon, and though he gives his second wife great credit as a helpmate he does not state her name. By this time he had acquired more than passing fame Robert-Houdin as he appeared to the English critics. Reproduced from the Illustrated London News, December 23d, 1848. as a repairer of automata, and in 1844 he mended Vau- canson's marvellous duck, one of the most remarkable automata ever made. Doubtless other automata found [ 4I ] | |
latestmagicbeing00hoff.pdf,49 | latestmagicbeing00hoff.pdf | 49 | THE DISSOLVING DICE 33 Presentation. The opening "yarn" may run as follows: "I once read a story about a man who invented a most ingenious piece of furniture of the 'com- bination' kind. It started, say, as a table, but by giving it a pull here and a push there, it became a step-ladder. Another pull and push, and it turned into a mangle, or by just turning a button or two, you could make it a clothes-horse. "The story says that at first it was a great suc- cess, but after a little while the thing began to work too easily, and sometimes changed of its own accord when least expected, which was a drawback. It was annoying, naturally, when you were using it as a step-ladder, and hanging up a picture, to have it suddenly turn into a clothes-horse, and land you on the floor. It was vexing, too, when it was a table, and the family were seated round it at breakast, to have it turn into a mangle, and mangle the cups and saucers. "I shouldn't care myself to have a piece of fur- niture like that: it would make life too exciting. But the story gave me an idea. It struck me what a convenience it would be, after showing one of my little experiments, to be able to turn the articles I had been using into what I wanted for the next. I haven't got very far as yet, but I have made a beginning in a small way, and I will show you how it's done. "I have here three wooden dice, with a cover for | |
practicalmagicia00harr.pdf,49 | practicalmagicia00harr.pdf | 49 | THE PRACTICAL MAGICIAN. 39 CHAPTER V. TRICKS BY MAGNETISM, CHEMISTRY, GALVANISM, OR ELEC- TRICITY. a class of tricks about which I must say a few viz., those that require to be exhibited by the help of magnetism, chemistry, galvanism, or electricity. I need not dwell long on them, for I do not consider them such as the young people, for whom these notes are written, can be recom- mended to devote their attention to, for the following reasons : in the first place, they are, with a few exceptions, attended with considerable expense. Secondly, the tricks connected with the powerful agencies of galvanism and electricity are dangerous to the unskilful operator and, even in experienced hands, the most effective of them are uncertain things to manage; there- fore their effect cannot be depended on. Some very interesting tricks have, doubtless, at times been exhibited by the help of galvanism and electricity. We havo read of a conjuror by such help confounding a powerful Arab, by first letting him lift with ease a box, and afterwards rendering it impossible for him to raise it, when an,electric current had, to his dismay, paralyzed all his strength. It is evident that an ex- periment of this kind could not be safely attempted by any but a very experienced person. We read also of conjurors who have surprised their audience by receiving them in a dimly-lit thea- tre, and then firing off a pistol, (to startle the audience and cover the real mode of operation,) they have by electricity lighted up | |
unmaskingrobert00houdgoog.pdf,49 | unmaskingrobert00houdgoog.pdf | 49 | THE UNMASKING OF ROBERT-HOUDIN their way to his workshop and aided him in his study of a profession which he still hoped to follow. During these discouraging times he was often assisted financially by ST, - regest ENTERTAINMENT Tuesday. Thursday Saturday Evenings, DAY. PERFORMANCE 90 Wednesday Morning. at Poster used in 1848 in London by Robert-Houdin. From the Harry Houdini Collection. one Monsieur G-- who either advanced money on his automata or bought them outright. In the same year, 1844, he retired to a suburb of Paris, and there, [42] | |
latestmagicbeing00hoff.pdf,50 | latestmagicbeing00hoff.pdf | 50 | 34 LATEST MAGIC each of them." (Take off all three covers, placing each beside its own die. Then, placing one of them on the end of your wand, advance with it to the company, tacitly inviting anyone who pleases to take it off and examine it.) "I use these covers to spare the feelings of the dice at the critical moment. Like myself, they are rather bashful. They don't mind doing the Jekyll and Hyde busi- ness, but they don't like to be seen doing it. By the way, there is a very ancient trick (believed to have been invented by Noah in the Ark, to amuse the boys on a wet Sunday), which is worked by means of a sham die fitting over the real one. Please take my word for it that I do not use any such stale device. If I did, you may be quite sure I should not mention it. These are all three gen- uine dice. They are rather too large to play back- gammon with, but save as to size, they are merely big brothers of the regular article. Most of you know, no doubt, that in properly made dice, the points on opposite sides always together make seven. Notice please, that each of these dice has the numbers placed correctly." (Taking up one of the dice and turning it about.) "You see, five on this side, two on that; together, seven. Three on this side, four on that; together, seven. Six on this side, one on that; again seven." This is repeated, in a casual way, with the other two dice, the object being two-fold, viz.: first, by showing all six sides, to induce the belief that the | |
practicalmagicia00harr.pdf,50 | practicalmagicia00harr.pdf | 50 | 40 THE PRACTICAL MAGICIAN. one hundred lamps at once. This has proved successful very on some occasions; but on others, notwithstanding the most care- ful preparation and the greatest precaution, it has been found that the apparatus would not act, and the impatient spectators have visited the disappointing failure with their indignant mur- murs. Other conjurors have become so attached to electric ex- periments, that they have proposed to regulate all the clocks of a large district by electricity, or have amused themselves by turning electric or galvanic currents to the door-handles of their houses, so that unsuspecting strangers, on touching them, were startled with electric shocks. There is also a trick for rendering one portion of a portrait electric by a metal plate concealed un- derit, and the spectators being invited to touch some part of the pieture, have, on touching the spots that were charged with electricity, received a shock or powerful blow, as if the portrait resented their touching it. Having briefly given the character of this class of tricks, and stated that they not only require expensive apparatus, but are attended with danger to the inexperienced, there still remains another serious objection, viz., that, like the experiments per- formed by automaton figures or complicated machinery, they are liable to fail, through any trifling disarrangement, just at the mo- ment when the performer is hoping that his audience will be de- lighted with his surprising exhibition. For these reasons I shall not stay to describe the more elabo- rate of these tricks, as, however interesting they may be to the scientific, they would not, in a youthful amateur's hands, be sure to produco the amusement which it is my primary object to sup- ply. The simpler experiments of magnetism and chemistry may well be regarded as recreations of science, interesting curiosi- ties, suitable enough to be exhibited by a professor of chemistry for amusement and instruction but even these can hardly be considered as belonging to "conjur… | |
unmaskingrobert00houdgoog.pdf,50 | unmaskingrobert00houdgoog.pdf | 50 | EVENTS IN THE LIFE OF ROBERT-HOUDIN he asserts, he built his famous writing and drawing figure. The next year, 1845, he was assisted by Count de L'Escalopier, a devotee of conjuring and automata, who advanced the money to fit up and furnish a small theatre ST JAMES'S THEATRÉ Saturday Evening, Aug. 19. in the Palais Royal. Robert- POSITIVELY THE Houdin went about the work LAST NIGHT of decorating and furnishing this OF THE SEASON. theatre with a view to securing BENEFIT OF the most dramatic and brilliant MILE-HOUDIN effects, surrounding his simple ROBERT tricks with a setting that made HOUDIN them vastly different from the will POSTIVELY MAEE ats same offerings by his predeces- Last Appearamce in Lendon Naturday Evening, Aug. 19,5' sors. He was what is called to- Outes to Nio Eagagement et the Theatre Reyal, Mascheath. which Tuesday Evening aexi, Arges $2. THE PROGRAMNE day an original producer of old BITS & INVENTIONS THE avexava ideas. On June 25th, 1845, he MILE-HOUDIN Me , SECOND SIGNT, us gave his first private perform- " INVISIBILETE," ESCAMOTAGE EXTRAORDINAIRE, ance before a few friends. On AMILK-HOUDIN Suspension Ethereenne, BY UGENE-BOUDIN. July 3d of the same year his aoxgs, da. PIT, GAL STALLS, la se. PRIVATE BUXES ... STALLS - SOVAL sa, theatre of magic was opened formally to the public. The programme of this performance Poster for theEmile-Houdin benefit at St. James's Thea- is shown on page 37. tre in 1848. From the Harry Houdini Collection. It will be noted that the famous writing and drawing figure was not then included in Robert- Houdin's répertoire, nor does it ever appear on any of his programmes. He exhibited it at the quinquennial exhibi- tion in 1844, received a silver medal for it, and very soon sold it to the late P. T. Barnum, who exported it to America. [43] | |
latestmagicbeing00hoff.pdf,51 | latestmagicbeing00hoff.pdf | 51 | THE DISSOLVING DICE 35 dice are solid, and secondly, to enable the per- former, in replacing them on the table, to turn each the other way up, so as to bring the loose side undermost. This is best done by placing the thumb on top of the die, with the first and second fingers behind it, then tilting the die over a little to the front, and slipping the two fingers under- neath it. After showing it on all sides, as above mentioned, it is an easy matter to replace it with the loose side undermost, as desired. "Now, as it happens, I have no immediate use for dice, but I want to show you a pretty little effect with billiard-balls. Naturally, the thing to be done is to change the dice into billiard-balls. It's quite easy, if you are provided with my patent quick-change combination dice. All you need to think about is to take care to have even numbers in front." (You turn the dice accordingly, and in so doing lift each die a little, and shift it forward a couple of inches or so, leaving the loose side undisturbed just behind it, the ball travelling for- ward with the die, though still covered by it.) "You don't see why they should show even num- bers? Because they would look 'odd' - if they didn't. Quite simple,-when you know it. Now I cover all three dice over, to spare their blushes, as I explained just now. I wave my wand over them and say, 'Presto! Proximo! Change! And we shall find the dice have all turned to bil- liard-balls." | |
practicalmagicia00harr.pdf,51 | practicalmagicia00harr.pdf | 51 | THE PRACTICAL MAGICIAN. 41 nor will experiments that are interesting as chemical curiosities produce the same excitement and pleasing surprise that the wonders of sleight-of-hand do. In a word, such experiments in a private circle of young friends fail to constitute the most amu- sing kind of parlor magic, while upon a public stage they are too minute for any large audience to trace and comprehend. Lest, however, my young readers should think that I have any desire to shut them out from any field of reasonable pleasure, I will now carefully select one or two examples of tricks connected with the sciences of magnetism and chemistry, and which may even in the hands of amateurs, produce a safe and pleasing ex. hibition. In the following trick they will find an amusing instance of the combination of science with rational recreation. TRICK 16.-The watch obedient to the word of com- mand. The magnet is a well-known agent in producing several toys for the entertainment of the young, and though its attraction is wonderful, there is no danger likely to arise from employing it, in the same way as might arise from unskilful dabbling with electricity, galvanism, or chemical powers, and a strange and singular effect nay be produced by placing a magnet of some little strength near a watch. Supposing the young conjuror to have provided himself with a powerful but not very large magnet, let him conceal it in the palm, or under a thin glove in his left hand, or near the edge of the cuff of his sleeve. Let him then borrow a lady's watch, (without chain,) and the thinner the watch-case is, and if it has a glass, the better. Let him then call forward a youth, and pla- cing the watch in his own right hand, and near to the ear of the other, ask him if he hears it going he will answer "Yes." Let him next bid the watch to stop; and on taking it in his left hand, where the magnet is concealed, it will stop, if held steadily ; and on inquiring of his young friend whether he can hear it, he will reply "No." Observe: you must keep systemati… | |
unmaskingrobert00houdgoog.pdf,51 | unmaskingrobert00houdgoog.pdf | 51 | THE UNMASKING OF ROBERT-HOUDIN This question naturally arises: If Robert-Houdin built the original writing and drawing figure, why could he not make a duplicate and include it in his programme? Surely Sadier's "Wells POSITIVE NIGETS ROBERT SERIES of MAGICAL ILLUSIONS MONDAY, MAY 9th, 1853. and Every During the Woek. The Entreptd Soldier. The Produstion of Flowers. The Animated Oards. The Instantaneous Transpesition The Marvellous Oraage Tree. The Golden Shower. The Mephistepheles Telescope. The Enchanted Garland of Flowerte The Traveiling Turtile Devea. A Wonderfal Surprise fer the Sadies. The Transparent Oryatal Eex. varmo PART. The Confectioner. The Taeshaustible Sowl of SECOND PABT. The Orystal Balle, or Great Series Bobert Mondia's Portfelle of stight et Hand Wricks. astonishing Envisibility. Press Circie, . Sa. Bexes, - Sa. PII, - Is. Gallery . PRIVATE soxma as, - as N. su. . of The - - - Poster used by Robert-Houdin when he played at Sadler's Wells, London, in 1853. He never refers to this engagement in his writings because he was not proud of having appeared in a second-class theatre, while his rival, ,Anderson, held the fashionable audiences at the St. James's, where Robert-Houdin had worn out his welcome. From the Harry Houdini Collection. it was one of the most remarkable of the automata which he claims as the creations of his brain and hands. [44] | |
latestmagicbeing00hoff.pdf,52 | latestmagicbeing00hoff.pdf | 52 | 36 LATEST MAGIC The right hand lifts the first cover, pressing its sides sufficiently to lift the die within it, exposing the ball, and in bringing it down again lands it close to one of the wells of the table. The exposed ball is picked up with the left hand, and while the attention of the company is attracted in that direc- tion, the die is allowed to slide out of its case into the well, after which the ball and cover are brought forward and handed to someone of the company. The other two balls are now uncovered in the same way, but in this case the dice may be left in their covers, the offer of the first cover, found empty as above, having sufficiently proved that they really disappear. "Well, we have got our three billiard-balls. Good, SO far. Next, can any gentleman oblige me with the loan of a billiard table? Nobody offers: that's unfortunate. Well, does any gentleman happen to have a cue about him. No again ? Well, perhaps it would be 'cuerious' if any gen- tleman had. I beg your pardon, it slipped out unawares. It shall not occur again. "It's unfortunate that I can't borrow a billiard table and a cue, because it prevents my showing you my celebrated break of ninety-three off the red with my eyes shut. When I showed it to Gray, he turned green, but that is another story. You don't believe it? Well, I told you it was a story. "Anyhow, as we have got the balls, we must do something with them." | |
practicalmagicia00harr.pdf,52 | practicalmagicia00harr.pdf | 52 | 42 THE PRACTICAL MAGICIAN. one of their ears ; it will be heard "tic, tic; then holding it in his left hand and telling it to stop, they will also find that it does stop. You can pretend to doubt whether they are all deaf of one ear, but lastly may declare that this is caused by the obedi- ent disposition of the watch, which so orderly obeys your com- mand. Remind your audience that savages upon first seeing a watch believe it to be a living animal with power to think and act of itself 'At any rate," you may conclude, "the present watch seems to hear, to understand, and to obey my orders." : It will be an amusing addition to the above trick to say that you will now order the watch to fly away and conceal itself. You must for this purpose have provided yourself with an electro-plated locket resembling a lady's watch, and have two loaves ready in some convenient corner. When the watch has finished its "manual and platoon" exer- cise on the platform, you may say, "I will now place this watch visibly to all upon the table." Turn round to go to your table, and in walking to it, substitute the locket for the watch, and place the locket on some spot visible to all. It will not be dis- tinguishable from the watch by the spectators at six or eight yards' distance from them. Conceal the watch itself in the palm of your hand. You can now exclaim, "I require two loaves," and walking towards them, slip the watch into the one you have prepared with a slit in its side. Advancing to the audience, ask in which loaf they will prefer that you shall bid the watch fly. If they name the one in which you have concealed it, proceed to break open the loaf and find the watch. But suppose they name the wrong one: you then, remembering that the left hand of the spectators is your right hand, proceed with the true loaf, which- ever they have named, or manage to cross the position of the loaves as yon place them on the table. Then taking up the locket with your right hand, make Pass 1, as if transferring it to your left hand, but really retai… | |
unmaskingrobert00houdgoog.pdf,52 | unmaskingrobert00houdgoog.pdf | 52 | EVENTS IN THE LIFE OF ROBERT-HOUDIN In 1846 he claims to have invented second sight, and at the opening of the season in 1847 he presented as his own creation the suspension trick. During the interim he played an engagement in Brussels which was a finan- cial failure. In 1848 the Revolution closed the doors of Parisian theatres, Robert-Houdin's among the rest, and he re- turned to clockmaking and automata building, until he received from John Mitchell, who had met with great success in managing Ludwig Döbler and Phillippe, an offer to appear in London at the St. James's Theatre. This engagement was a brilliant success and for the first time in his career Robert-Houdin reaped big financial returns. Later Robert-Houdin toured the English provinces under his own management and made return trips to London, but his tour under Mitchell was the most notable engagement of his career. In 1850, while playing in Paris, he decided to retire, and to turn over his theatre and tricks to one Hamilton. A contemporary clipping, taken from an English news- paper of 1848, goes to prove that Hamilton was an Englishman who entered Robert-Houdin's employ. Ham- ilton signed a dual contract, agreeing to produce Robert- Houdin's tricks as his acknowledged successor and to marry Robert-Houdin's sister, thus keeping the tricks and the theatre in the family. During the next two years Robert-Houdin spent part of his time instructing his brother-in-law in all the mysteries of his art. In July, 1852, he played a few engagements in Germany, including Berlin and various bathing resorts, and then formally [45] | |
latestmagicbeing00hoff.pdf,53 | latestmagicbeing00hoff.pdf | 53 | THE DISSOLVING DICE 37 The sequel may vary, according to the fancy of the performer, and his skill in ball-conjuring. For lack of a more effective dénouement, the trick may be brought to a finish as follows: Secretly getting the shell ball into his right hand, and picking up the red ball with the left, the performer proceeds: "Well, here we have three balls, one red and two white. To prevent ill feeling between them, I think we had better make them all the same colour: and as the white are in the majority, we will have them all white. It is quite easy, if you know how to do it. You have only to breathe on the ball, give it a roll round in the hand to take the colour off, and there you are." After breathing on the ball, you bring the right hand containing the shell over it, and exhibit it, shell in front. You then transfer it in the same condition, to the opposite hand. Then pick up one of the two white balls with the right hand, transfer it to the left and show the two side by side. Then pick up and add the third ball, in SO doing letting the red ball fall into the right hand, and while calling attention to the three in the opposite hand, drop it into the profonde. You then bring up the shell over one or other of the two solid white balls, thereby transforming the three into two. Drop the solid from the shell into the right hand, making the two into one; finally causing the disappearance of this last after the usual manner. | |
practicalmagicia00harr.pdf,53 | practicalmagicia00harr.pdf | 53 | THE PRACTICAL MAGICIAN. 43 young people. It does not, however, require a large number to be present, but, contrary to the usual scientific tricks, its devel- opment comes off better with one companion than with a dozen PREPARATION. You must induce your cousin Jemima, or some other young lady who is just of age to have cut her eye-teeth, to consent to help you by accompanying you to a room with closed shutters and no candles. A moderate-sized looking-glass must be on the table, the smaller the better, for reasons below assigned. Have ready at hand some ounces of hard candy. You commence the trick by placing yourselves, land-in-hand, before the looking glass. If it is rather small, your heads will be the closer-in order to see the reflection of both at once. Then, with mouths as open as may be, try which of you can crush his or her share of sugar-candy with the teeth the quick- est. In the glass will appear the reflection of sparks of electri- city, as the experiment proceeds. If your companion is ner- vous, you can of course support her with one arm-ladies are sometimes susceptible, whether from animal magnetism or what not. The electric sparks coming between the lips may also be attractive, and you may be tempted to try whether the electricity evaporates the sweetness; but of course youmust not be tempted to forget the philosophical nature of the experiment; and, if you behave with propriety, the lady will doubtless, on her return to the company, tell them, in a staid manner, that the experiment was all right; and perhaps when you see her, even a day or two afterwards, you will observe there is an arch dimple on her cheek and an electric sparkle lighting up her eye-and I should not wonder if you should feel a desire to try the experiment over again. TRICK 18.-A chemical trick to follow one where a young friend has assisted. PREPARATION. I You must have a wine-glass, a saucer, and a teaspoon. and the chemical bottles No. 1 (silicate of potash) and No. 2 (alumi- nate of potash,) which can be obtained from any drugg… | |
unmaskingrobert00houdgoog.pdf,53 | unmaskingrobert00houdgoog.pdf | 53 | THE UNMASKING OF ROBERT-HOUDIN retired to his home at St. Gervais. Here he continued to work along mechanical and electrical lines, and in 1855 he again came into public notice, winning awards at the Exhibition for electrical power as applied to mechanical uses. In 1856, according to his autobiography, he was Robert-Houdin's grave, in the cemetery at Blois, France. From a photo- graph taken by the author, especially for this work, and now in the Harry Houdini Collection. summoned from his retirement by the Government to make a trip to Algeria and there intimidate revolting Arabsby1 the exhibition of his sleight-of-hand tricks. These were greatly superior to the work of the Marabouts or Arabian magicians, whose influence was often held re- sponsible for revolts. What Robert-Houdin received for [ 46 ] | |
latestmagicbeing00hoff.pdf,54 | latestmagicbeing00hoff.pdf | 54 | 38 LATEST MAGIC If the reader (being an expert) is provided with a spare red ball and red shell, he may offer the choice as to which shall be the colour of all three, finally causing their disappearance after the man- ner above described, or his own version thereof. WHERE IS IT? This is another of the tricks dependent on the novel application of the black art principle. For programme purposes the trick may, if pre- ferred, be entitled "The Erratic Shilling." Its effect may be broadly described as follows: A marked shilling, lent by some member of the company, after being professedly magnetised or mesmerised by rubbing, is laid upon a black velvet mat and covered with a playing card, face down. Two other cards are laid (also faces down), one on each side of the first, at a few inches distance from it, and the audience are given to understand that the rubbing has imparted to the coin the power to travel from card to card at command, and indeed sometimes of its own accord. When the card which covered the coin is lifted, this is found to be the case. The shilling is no longer where first seen, but is found to have placed itself under one of the other two cards. The spectators may be invited to say under which of the cards they would like the coin to pass, when it will place itself accordingly. | |
practicalmagicia00harr.pdf,54 | practicalmagicia00harr.pdf | 54 | 44 THE PRACTICAL MAGICIAN. thanks, ask you to take a glass of wine. Do you like wine? Ah, I see by your smile you do." Pour out of bottle No. 1 half a glass, and, going towards him, stop short and say : "Ah, but I am afraid your mamma would bo di:pleased with me if I gave you wine so strong without any water, and I should be sorry to tempt you to drink what she would disapprove. Stay, I will mix a little water with it." Mix some of No. 2 bottle, so as to fill the wine-glass, and say : " Oh, never mind losing the pure wine; I dare say you will like it very well as it is, and make a few chatty remarks, to give the liquids time to mingle their effects in the glass; and after a minute or two say "Ah! I'll tell you what I am sure your mamma would like still better-if I could give you some calves'- foot jelly. Now, I really believe, if I were to stir it with this teaspoon, and try my magic wand over it, I can turn it to jelly. Let us try.' Occupy a little time while it is becoming like jelly, and go on with a little more talk till you see that it has become solid. Then say : "Well, after all, I will not deprive you of your wine so hereitis Please drink it." Putting it to his lips, he will find it has become so solid that he cannot drink it, but it can be turned out quite solid into the saucer, and a gen- eral laugh will greet him on the disrppointment of his wine. Having submitted a few remarks upon the class of tricks that are to be performed by help of the sciences, magnetism, chem- istry, etc., and having stated my reasons for my not more fully discussing them, I will now proceed to give an explanation of one or two more that are better suited for the practice of ama- teurs. TRICK 19.-To draw three spools off two tapes without those spools having to come off the ends of the tapes, and while the four ends of the tapes are held by four persons. PREPARATION. You must have two narrow tapes of about four feet long, bent as in Fig. 11. Red tape I prefer. You must next insert about half an inch of A through the loop of B, … | |
unmaskingrobert00houdgoog.pdf,54 | unmaskingrobert00houdgoog.pdf | 54 | EVENTS IN THE LIFE OF ROBERT-HOUDIN performing this service is not set forth in any of his works. He spent the fall of 1856 in Algeria. From the date of his return to St. Gervais to the time of his death, June 13th, 1871, Robert-Houdin devoted his energies to improving his inventions and writing his R Bas-relief on Robert-Houdin tombstone. From a photograph taken by the author, especially for this work, and now in the Harry Houdini Collection. books, though, as stated before, it was generally believed by contemporary magicians that in the latter task he entrusted most of the real work to a Parisian journalist whose name was never known. He was survived by a wife, a son named Emile, and a step-daughter. Emile Houdin managed his father's theatre until his death in 1883, when the theatre was [ 47 ] | |
latestmagicbeing00hoff.pdf,55 | latestmagicbeing00hoff.pdf | 55 | WHERE IS IT? 39 The coin may be identified by the owner in the course of the trick, as well as at its close. The requirements for the trick are as follows: 1. The velvet mat. 2. A pack of cards, arranged as presently to be explained. 3. Three overlays (see p. 20), each consisting, in the present instance, of a court card, backed with velvet of similar tint and texture to that with which the mat is covered. Three of the edges of each card are blackened, but the fourth (one of its shorter sides) is left white, and thickened by the insertion of an extra slip of white card along that end. The effect of this is that, as the card lies on the mat, its white edge is visible from that side, but from no other position. 4. Three cards, corresponding with the three overlays, which we will suppose to represent the queen of clubs, and the knaves of spades and dia- monds respectively. The queen is wholly unpre- pared, but each of the two knaves has a point of fine wire, or a black bristle projecting a sixteenth of an inch or so, midway from each of its sides. The "queen" overlay is furnished with similar points, the object of these being to enable the per- former the more easily to lift a given card with or without its duplicate overlay. In preparing for the trick the two "knave" overlays, each covering a shilling, are laid before- hand on the mat, velvet side up, eight or ten inches | |
practicalmagicia00harr.pdf,55 | practicalmagicia00harr.pdf | 55 | THE PRACTICAL MAGICIAN. 45 FIGS. 11, 12. A K B FIG. 13. FIG. 14. B A B The spool or ball must be put on the tapes at the extreme ends of the tape B, and drawn to the left, till it just covers the noose at K. as in Fig. 14. N. B.-All the above should be prepared before the spectators are invited to witness the trick. Commence the exhibition by calling upon the spectators to observe that you hold a reel, or ball, through which two tapes are passed. You may then produce two more spools, or wooden balls, and place one of them over the ends at A, and the other over the ends at B. The following will then be the appearance of the balls or spools and the tapes passed through them (Fig. 15): Fig. 15. 2 I 3 B B1 | |
unmaskingrobert00houdgoog.pdf,55 | unmaskingrobert00houdgoog.pdf | 55 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Mclies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
latestmagicbeing00hoff.pdf,56 | latestmagicbeing00hoff.pdf | 56 | 40 LATEST MAGIC apart, as shown in Fig. 11, under which circum- stances they are invisible to the spectators at a few feet distance, and very nearly so to the performer, save that their white edges, turned towards him- self, furnish him with an exact guide to their posi- tion. On the top of the pack are laid, first the two knaves. On these the queen overlay, and upper- most the unprepared queen. Fig. 11 In presenting the trick the borrowed shilling is laid on the mat midway between the two overlays already on the table, and is covered with the top card of the pack, the third overlay being lifted off with it, and resting beneath it with its centre as nearly as possible over the coin. The two following cards are now laid one on each side of the first, as in Fig. 12, each on the corre- sponding overlay, the white edges of these, visible | |
practicalmagicia00harr.pdf,56 | practicalmagicia00harr.pdf | 56 | 46 THE PRACTICAL MAGICIAN. You may move about the spools 2 and 3, to show how the tape runs through them, but you must not nove spool 1. You may then say that the puzzle is to get the spools of the tapes while the four ends are held firmly in the hands of four persons. Appoint four persons to hold them, and you may then say: "To make doubly sure, I will tie one of the ends at A to one of the ends at B with (the first half of) a knot." It does not signify which ends you take to do this, FO that you take ono A and one B. I will now pull these two ends so tight that it draw the three spools together, and also tighten all along one sido of them.' Then, while four persons hold firmly the extreme ends cf the Fig. 16. 2 3 B 1 A 13 tapes, you must take shorter hold of the two A's with your left hand, (where it is marked by a dottedline, Fig. 16,) and also take hold of the other tapes where a dotted line is marked on them towards B. Then drawing your arms wider apart, so as to pull the tapes steadily, the spools or balls will fall to the ground with- out passing over the ends of the tapes. TRICK 20.-To restore a tape whole after it has been cut in the middle. PREPARATION. Have five or six yards of tape about three-quarters of an inch broad. Take half the length in each hand. You will be able to show the audience that you are about to cut it in the middle, by hold- ing it in two loops of equal length. Call their attention point- edly to the equal division of the full length. The tape will thus appear to the performer in the position represented in Fig. 17. Observe the tape A crosses at Z the tape B on the side next to the performer, whereas the tape D is to cross the tape y on the side farthest from him. | |
unmaskingrobert00houdgoog.pdf,56 | unmaskingrobert00houdgoog.pdf | 56 | EVENTS IN THE LIFE OF ROBERT-HOUDIN Contemporary magicians of Robert-Houdin and men of high repute in other walks of life seem to agree that Robert-Houdin was an entertainer of only average merit. Among the men who advanced this theory were the late Henry Evanion of whose deep interest in magic I wrote in the introduction, Sir William Clayton who was Robert- Houdin's personal friend in London, Ernest Basch who saw Robert-Houdin in Berlin, and T. Bolin of Moscow, Russia, who bought all his tricks in Paris and there saw Robert-Houdin and studied his work as a conjurer. Robert-Houdin's contributions to literature, all of which are eulogistic of his own talents, are as follows: "Confidence et Révélations," published in Paris in 1858 and translated into English by Lascelles Wraxall, with an introduction by R. Shelton Mackenzie. "Les Tricheries des Grecs" (Card-Sharping Exposed), published in Paris in 1861. "Secrets de la Prestidigitation" (Secrets of Magic), published in Paris in 1868. "Le Prieuré" (The Priory, being an account of his electrically equipped house), published in Paris in 1867. "Les Radiations Lumineuses," published in Blois in 1869. "Exploration de la Rétinue," published in Blois, 1869. "Magic et Physique Amusante" (œuvre posthume), published in Paris in 1877, six years after Robert-Houdin's death. In his autobiography, Robert-Houdin makes specific claim to the honor of having invented the following tricks: The Orange Tree, Second Sight, Suspension, The Cabalistic Clock. The Inexhaustible Bottle, The 4 [ 49 ] | |
latestmagicbeing00hoff.pdf,57 | latestmagicbeing00hoff.pdf | 57 | WHERE IS IT ? II to the performer, but not to the company, serving as guides to exact position. When the performer desires to show that the coin is not under a given card, he raises the card only, lifting it lengthwise, and leaving the coin covered by the overlay. When he desires to exhibit a coin, he picks up the card covering it breadthwise between finger and thumb and with it the overlay beneath it. Fig. 12 The introductory patter may run as follows: "You have all heard, no doubt, of what is called the thimblerig trick, frequently exhibited at fairs and on race-courses. Some of you gentlemen may even have parted with a little money over it. For the benefit of the ladies I will explain what it is. "The operator has before him on a small board or tray three thimbles, or half walnut-shells. He exhibits a small pea, or a pellet the size of a pea, which he affectionately calls the 'joker.' This he | |
practicalmagicia00harr.pdf,57 | practicalmagicia00harr.pdf | 57 | THE PRACTICAL MAGICIAN. 47 Fig. 18 represents the hands as they appear to the performer himself, holding the tape with the thumb and forefinger at the crossings of the tape at y and z, while the outward sides of each loop are to be held by the three other fingers of each hand. FIG. 17. FIG. 18. Left Hand, Right Hand. D it 11p A x y N IC B x y 2 C B To proceed with the trick : Holding your hands in this posi- tion, (Fig. 18,) you must request one of the spectators to cut through the tape at x, but just as he is about to do so, you must quickly lower your hands two or three inches, and then raise them again. This movement will conceal the following opera- tion. You drop the part (B) of the tape held in your right hand, and at the same moment pick up with that hand the other tape marked C. This will bring the portion of tape from C to D, so that it now becomes the transverse tape, substituted in place of the tape marked x, and your young friend will then cut it-instead of the original tape marked x-without being aware tbat he is so doing. When the tape has been cut through, you can put your hands near together, allowing the two ends of the little piece of the | |
unmaskingrobert00houdgoog.pdf,57 | unmaskingrobert00houdgoog.pdf | 57 | THE UNMASKING OF ROBERT-HOUDIN Pastry Cook of the Palais Royal, The Vaulting Trapeze Automaton, and the Writing and Drawing Figure. His fame, which has been sung by writers of magic without number since his death, rests principally on the invention of second sight, suspension, and the writing and drawing automaton. It is my intention to trace the true history of each of these tricks and of all others to which he laid claim as inventor, and show just how small a proportion of the credit was due to Robert-Houdin and how much he owed to magicians who preceded him and whose brain-work he claimed as his own. [50] | |
latestmagicbeing00hoff.pdf,58 | latestmagicbeing00hoff.pdf | 58 | 42 LATEST MAGIC places under one of the thimbles, all three of which he then shifts about on the tray; inviting the spec- tators to bet with him as to which thimble the pea is under. He has two or three confederates, who bet, and naturally win, but if an outsider is rash enough to back his own supposed smartness he loses; for as a matter of fact the pea is not placed under either of the thimbles at all until after the bet is made, when it is skilfully introduced under whichever thimble best suits the performer. "The trick is in truth a mere affair of dexterity; the performer having acquired by long practise the power of placing the pea under any thimble he pleases. What I propose to show you is a sim- ilar effect, but more surprising, because, as you will see, there is no room for dexterity, or indeed any form of trickery; so that I have to depend entirely upon my magic power. I shall use a shilling, as being more easily seen than a pea, and three cards from this pack to represent the thimbles. "Will some gentleman oblige me with the loan of a shilling; marked in such a way that he may be sure of knowing it again." Receiving the coin in his right hand, the per- former makes believe to transfer it to his left; wherein he already has a shilling of his own. Surreptitiously depositing the coin lent to him behind the pack of cards on the table, he exhibits the substitute on the palm of the left hand and rubs it with the fingers of the right. | |
practicalmagicia00harr.pdf,58 | practicalmagicia00harr.pdf | 58 | 48 THE PRACTICAL MAGICIAN. tape-C D-to be seen, but concealing from the spectators that you have hold of two pieces, one a very long one, and the other only about five inches long. You can then say: "Now I have to join these two ends, and to restore the tape Fig. 19. whole as at first." You then turn the little piece C 1- c D round the piece y, which is in your left hand, and you tie a knot with the ends of that little piece. y You must not tie this knot very tight, and after you have tied it, you drop the other end of the tape alto- gether out of your right hand. The appearance which the tapes will then have is represented in Fig. 19. That is, you will seem to hold the equally divided pieces of the long tape joined in a knot at y, whereas in fact it is only tho small end piece C D, tied round the middle of the long tape, which you hold between the thumb and forefinger of the left hand. Exhibit the knot to the company, and say : "I admit that this knot hardly looks liko a perfect restoration ; I must employ my best art to get rid of its unsightly appearance." Ask some one to hold, at about three yards' dis- tanco, the end marked with small d, retaining hold of the centre-at y-in your left hand, which quite COV- d A ers the knot. Tell yourfriend to wind the tape round his hand, and, while pretending to show him how to do this, by winding the part which you hold round your left hand, slide away towards your right the loose knot un- der your right hand. Then, holding out the end of the tape A towards another friend, to hold at about three yards' distance to the right, slip from off the long tape the little movable knot un- der your right hand, just before he takes hold of this end of the tape. Conceal in your right hand the little end-piece of tape, until you can get rid of it into your pocket, or into any unob- served spot. Blow upon your left hand, which is supposed still to cover the knot, saying "Knot, begone ! Tako up your left hand, and show the tape to be free from any knot, or join from one end of it to the … | |
unmaskingrobert00houdgoog.pdf,58 | unmaskingrobert00houdgoog.pdf | 58 | CHAPTER II THE ORANGE-TREE TRICK R OBERT-HOUDIN, on page I79 of the American edition of his "Memoirs," thus describes the orange-tree trick, which he claims as his inven- tion: "The next was a mysterious orange-tree, on which flowers and fruit burst into life at the request of the ladies. As the finale, a handkerchief I borrowed was conveyed into an orange purposely left on the tree. This opened and displayed the handkerchief, which two butterflies took by the corners and unfolded before the spectators." On page 245 of the same volume he presents the programme given at the first public performance in the Théâtre Robert-Houdin, stating: "The performance will be composed of entirely novel Experiments invented by M. Robert-Houdin. Among them being The Orange-Tree, etc." Now to retrace our steps in the history of magic as set forth in handbills and advertisements of earlier and con- temporaneous newspaper clippings describing their in- ventions. Under the title of "The Apple-Tree" this mechanical trick appeared on a Fawkes programme dated I730. This was II5 years before Robert-Houdin claimed it as his invention. In I732, just before Pinchbeck's death, it [ 51 ] | |
latestmagicbeing00hoff.pdf,59 | latestmagicbeing00hoff.pdf | 59 | WHERE IS IT? 43 "I do this," he explains, "in order to drive out all adverse magnetisms, and to substitute my own. I will now put the coin in full view on the table and cover it with a card. See that I do SO fairly." After laying down the coin he takes the top card of the pack, and with it, unknown to the specta- tors, the overlay beneath it, and lowers them on to the coin. "Notice particularly, please, where I have placed the coin, and notice too that I do not touch it again. I will now place two more cards, one on each side of the first one." He does so, letting the spectators see clearly that there is nothing in the hand save the card itself, and then slowly lowering it exactly on to one of the two overlays on the table. "Now I make a few magnetic passes over the cards, so." He waves his wand backwards and forwards above the cards, at a few inches' distance. "And now, where is the coin? Still under the middle card, you would say You are mistaken." He lifts that card lengthwise, leaving the overlay covering the coin; then replacing the card. "Itis no longer there, you see. In point of fact it has passed under this card." He lifts one of the side cards breadthwise, the overlay coming with it, and exposes the coin beneath it. "Here it is, you see. We will try once more." He replaces the card and then shows, in like manner, that the coin has passed to the card on the opposite side. After one or two trans- | |
practicalmagicia00harr.pdf,59 | practicalmagicia00harr.pdf | 59 | THE PRACTICAL MAGICIAN. 49 - - CHAPTER VI. ON THE CONTINUITY OF TRICKS. IT may be useful now to invite attention to the theory of pre serving a continuity in the development of tricks, where circumstances admit of this being done. Sundry displays of legerdemain admit of being adroitly linked together; and I shall endeavor to explain why such an harmonious continuity is pref- crable to an unconnected series of isolated tricks ; for when once a novico gets a clear perception of this principle, he will be able, according to his own special taste, to produce a pleasing varicty of combinations in his experiments. He will thus rise above being a mero copyist of the methods used by others, and so will give a zest and frcshness to his performances. Now, thero aro many short and secondary dashes of legerde- main, which a spirited performer will be able to introduce in ad- dition to the tricks which he is exhibiting. There are also sev- eral ornamental or fanciful little tricks which would not rivet the attention of an audienco if exhibited by themselves. These, though unqualified to shino as the main object of observation, may nevertheless be worked into the evening's entertainment as amusing by-play, and may thus prevent the interest of the spec- tators from flagging. They may come in as accessories-as stimulating side-dishes-causing the entertainment to bear a continuous character, instead cf merely consisting of sundry isolated experiments. Let me be allowed to substantiate what I have advanced by referenco to somo of the tricks which I have already described. | |
unmaskingrobert00houdgoog.pdf,59 | unmaskingrobert00houdgoog.pdf | 59 | THE UNMASKING OF ROBERT-HOUDIN appeared on a programme used by Christopher Pinchbeck, Sr., and the younger Fawkes. In 1784 it was included in the répertoire of the Italian conjurer, Pinetti, in the guise of "Le Bouquet-philosophique." In 1822 the same trick, but this time called "An Enchanted Garden," was featured by M. Cornillot, who appeared in England as the pupil and successor of Pinetti. The trick was first explained in public print by Henri De- cremps in 1784 when his famous exposé of Pinetti was published 0 under the title of "La Magie Blanche Dévoilée," and in 1786- 87 both Halle and Wiegleb ex- posed the trick completely in their respective works on magic. That Robert-Houdin was an Diagram of the orange-tree omnivorous reader is proven by trick, from Wiegleb's The Natural Magic," published in his own writings. That he knew 1794. the history and tricks of Pinetti is proven by his own words, for in Chapter VI. of his "Memoirs" he devoted fourteen pages to Pinetti and the latter's relations with Torrini. Now to prove that the tree tricks offered by Fawkes, Pinchbeck, Pinetti, Cornillot, and Robert-Houdin were practically one and the same, and to tell something of the history of the four magicians who featured the trick before Robert-Houdin had been heard of: Unquestionably, the real inventor of the mysterious tree was Christopher Pinchbeck, who was England's [52] | |
latestmagicbeing00hoff.pdf,60 | latestmagicbeing00hoff.pdf | 60 | 44 LATEST MAGIC positions have been shown, the audience being allowed to say under which card the coin shall appear, and the last shift having been to one of the side positions, the performer says: "I should like you to be satisfied that it is really the marked coin and no other, that wanders about in this way. I will ask the gentleman who lent it to me to verify his mark." He picks up from one of the side positions the coin last uncovered and brings it forward, but in transit "switches" it for the borrowed coin, which he has a moment previously picked up from its resting place behind the pack. It is, of course, this last which he offers for identification, again exchanging it for The substitute before replacing this in its former position. The final reproduc- tion must be from under the centre card, the per- former again ringing the changes before returning the coin to the owner. At the close of the trick all three cards are placed on the pack, the centre over- lay going with them. The other two overlays are left on the mat, each still covering its own coin, and the whole being carried off together. If the mat is of the folding kind it can be closed before removal, effectually concealing the accessories used in the trick. Some amount of skill will be found necessary to pick up the card with or without the correspond- ing overlay, as may be desired. The difficulty however speedily disappears with practice.- On | |
practicalmagicia00harr.pdf,60 | practicalmagicia00harr.pdf | 60 | 50 THE PRACTICAL MAGICIAN. The reader will have seen that, in some of the tricks explained in previous papers, there is simply some one definite object to be carried out. For instance, in the two tricks which concluded the last paper, the performer simply undertakes to throw the spools off the tape, or to restore a tape which has been cut. Ho sets about this, accomplishes it, and the trick is over. This is all very well as far as it goes. If the trick is really a good one, it is like a host furnishing his guests with a solid joint to satisfy their appetite; ; and it may do so. But still it comes short of a lively entertainment. It is confessedly dull for an audience to / come to pauses O1 gaps between isolated tricks. Their attention is unoccupied while the performer, having finished off one trick, is making mute preparations to introduce some other trick wholly unconnected with what has gone before. Such a method will not keep awake the lively interest that the skilful combina- tion of the conjuror's art will sustain. I maintain that varied by-play and supplementary sets-off will greatly heighten the in- terest of the performance. It will also serve to disarm the suspicious and incredulous, preparing them to believe what they might otherwise stand on their guard against. Bare tricks brought forward as isolated ex- periments give time for the mind to take its estimate of their possibility ; and, of course, in attempting to exhibit wonders, the improbability of them is apt to stare people strongly in the face. They are perfectly convinced that a dime cannot fly into an orange at the other end of the room, that ink cannot become water, nor a hat be safely used as a frying-pan ; but if you inter- pose appearances and movements that are consistent with such processes going on, they are gradually prepared to recognize as a legitimate result what you have previously indicated as the contemplated end of those processes. The amplification or fuller development which I speak of can be effected at any of the following stag… | |
unmaskingrobert00houdgoog.pdf,60 | unmaskingrobert00houdgoog.pdf | 60 | Pinchestic stopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the orld pertaining to the history of magic. From the Harry Houdini Collection. [ 53 ] | |
latestmagicbeing00hoff.pdf,61 | latestmagicbeing00hoff.pdf | 61 | WHERE IS IT? 45 the other hand, the trick is well worth the trouble needed to master it, for if the spectators are con- vinced (as, given perfect execution, they should be) that it is really the borrowed coin which trav- els about as it appears to do, nothing short of gen- uine magic will furnish an adequate explanation. The performer is of course by no means bound to adopt the mise en scene above suggested. If preferred, the patter might be based on a supposed plot between the two knaves to rob the queen, the coin representing the stolen property, secretly passed from the one to the other when either was accused of the theft. The story might conclude with an appeal by the queen to a benevolent magician, through whose good offices her property is brought back to its original position, and in due course restored to her. The touch of the mystic wand would naturally play an important part in effecting the restoration. | |
practicalmagicia00harr.pdf,61 | practicalmagicia00harr.pdf | 61 | THE PRACTICAL MAGICIAN. 51 I do not say that every trick is to be amplified or loaded with extraneous matter in all these different stages, (that would be to run into the contrary extremo of over-cumbrous amplification; but I will endeavor to point out the effect of such development in the above three stages of a trick, and if I can show that am- plification in each several one may be an improvement, I may be considered to have made good my proposition that any trick may be improved and rendered more interesting by one or other of those amplifications. Let us see if we cannot lay down a bill of fare for our guests which, going beyond a solid joint, (good as that may be in its way,) will furnish them with some relishing accessory in the first course of a trick, some stimulant side-dishes with its second course, or may please with some bon-bons before the entertain- ment is quite concluded. 1. INTRODCCTORY. Now, first as to introductory matter. Suppose a conjuror is able to perform Trick 3-tho "Dancing Egg"--it will waken up his audience if, instead of proceeding at once with the trick, ho can by sleight-of-hand find out an egg in the whiskers or neck- tie of some unwatchful spectator, and afterwards substituto for it the egg prepared with a hair and wax. The chief aim of introductory matter should be to enlist the thoughts and expectations of your audience under your com- mand, so as to preclude their watching what you are driving at. Show all you can safely show openly; enlarge upon the things being submitted to their own eyes and touch; engage their eyes and ears with certain appearances leading their thoughts to adopt your suggestions, so that, when you approach the devel- opment intended, they have had no leason to suspect your mo- tives; thus having their confidence, you can jump at once to their credulity, though there may, in fact, exist some gap, or il- logical process, which they omit to notice. 2. DURING THE SUCCESSIVE STAGES OF A TRICK. I often vary and render more interesting the development of a trick… | |
unmaskingrobert00houdgoog.pdf,61 | unmaskingrobert00houdgoog.pdf | 61 | THE UNMASKING OF ROBERT-HOUDIN leading mechanical genius at the close of the seventeenth century and the beginning of the eightcenth. He was a man of high repute, whose history is not that of the charlatan, compiled largely from tradition, but it can be At YOUNGS Gront Riem, the of unite Mall, faring de Hay-Market, feem The GAAND TREATHE of the MUSES, jaft find Mr. PINCHBECK, THIS wonderful Machine is the Altonifh- men et of that fee it. the Magnificraçe of bs the Deliescy of the Painitag und Seulprure, and the great variety of moving Figures makes it the moit fur- priling Piece of An thaz has ever yer appear'd in Europe. It regrefenta a Landfeape, witha view of the Sea. termina- sing infentibly NE 4 vall wich Shipsfailing, plying to doubling Capes, and diminithing by degrees an des difappear, Swans in . River filling and pluming Duck Hunring to Perfection, and grest variety Motions Likewife Piéture, re- OEPUTUS in playing amang rhe Bealts fiere the very T res, as well du Bnnes, are feea 10 move, as if animared and compell'd by the Hamony of bia Harp. It allo perfoins on feveral Infrumenta great variety of moit excellent Pieces of Mulick compos'd by Mr. HANDRE, Co- RELET Bosescims, and orher celebtated wich fuch wonderful Exaänel, that fearce any Hand em equal. It liacwife imitates the fwee Hamony of any Avi- ary of Birds, wherein the refpeltive Notes of the Nightin- gale, Woodfark, Cuckoo, &c. are performed 10 to gieat a Perfebtion, as not to be dillioguillid from Nature it felf. Wirh feveral other grand 100 dious to men- tiow, Prices rs. 25, 6 d. and To be feem from to in the Morning rill To Nighr, by two, or more, without lofe of Time. Nate, This curious Machine will be removed ia a few Days next Deas but oxie to the Leg Tavem in Fleetflieet, Clipping from the London Daily Post of November 30th, 1798. Used by Christopher Pinchbeck before he joined Fawkes. From the Harry Houdini Collection. corroborated by court records, biographical works, and encyclopaedias, as well as by contemporaneous newspaper clippings. … | |
latestmagicbeing00hoff.pdf,62 | latestmagicbeing00hoff.pdf | 62 | CARD TRICKS ARITHMETIC BY MAGIC Preparation. The two "flower-pots" (see page 5), separated, are placed upon the table. Also the card mat (see page 1), loaded with the ten of any given suit, say diamonds, taken from the pack per- former is about to use, and a double-faced card, representing on the one side the seven, and on the other the three of the same suit. The deuce and five of same suit to be laid on the top of the pack. Performer, advancing pack in hand, palms off the two top cards, and offers the rest to be shuffled. This done, he forces these two cards on different persons. On receiving back one of them, he brings it to the top; executes a false shuffle leaving it in the same position ; brings it again to the middle by the pass, and has the second card replaced upon it; then, once again making the pass, brings both together to the top. (The use of the Charlier pass is here recom- mended.) The patter may be to something like the follow- ing effect: "Two cards have been chosen, ladies and gentlemen. I can't say what they are, but I can very easily find out. I shall simply order 46 | |
practicalmagicia00harr.pdf,62 | practicalmagicia00harr.pdf | 62 | 52 THE PRACTICAL MAGICIAN. For instance, in the trick which I often use as my first trick I make a candle an amusing helper, by snatching it from the can- dle-stick, and asking some one to hold it wrapt up in paper. And this unexpected service of the candle is wrought into tho body of the trick which I have in hand. I change also a crystal ball into an orange by skilful manipu- lation. By such brief diversion of the attention of the spectators, their eyes are withdrawn from watching too narrowly some ma- nœuvre that is requisite to carry out the more important trick which you have in hand. Or you may actually make an act, which is a mere accessory, cover some important portion of the trick; as in tho tape trick (No. 20.) While PRETENDING TO SHOW YOUR ASSISTANT HOW TO nold the tape in HIS hand, you slip the knot away unperceived under YOUR OWN hand. 3. IN CONCLUDING A TRICK. It greatly adds to tho éficiency of a trick to let it finish off with a sparkle, or some playful addition which gilds its exit. For instance, in the trick of doubling the pocket-money, (7th Trick,) the little by-play of finding, or rather pretending to find, some coins secreted in tho sleeve cf the young friend who i:as helped you, is sure to bring out a good-humored laugh at tie termination of the trick. Again, in Trick 16, the additional fact of finding the watch in the loaf makes a lively termination of ine performance of the obedient watch. In the 1Sth Trick, the glass of wine becoming solid might be used as a good finish to any trick where some friend has assisted in its exhibition. You may often raise a good-humored laugh by appearing to swallow any object which you have used in a trick-as an or- ange, ball, egg, or dime-and afterwards bringing it out from your sleeve ; or, by tho use of Pass 1, to drive a coin up one sleeve, round the back of your neck, and down the other sleeve, into your right hand. I not only consider such amplifications of a trick lively and interesting, bnt I maintain this to be the best way of employing | |
unmaskingrobert00houdgoog.pdf,62 | unmaskingrobert00houdgoog.pdf | 62 | THE ORANGE-TREE TRICK in Clerkenwell, London. He was a clockmaker and inventor of the copper and zinc alloy called after his name. He invented and made the famous astronomico-musical clock. In Appleby's Weekly Journal of July 8th, I721, At FAWKFS's THEATRE, In near the Hay-market, will be prefentedite following Entertaimments. Firtt, H IS Diverting and Incomparable feveral Thingscatirely new. of HAND, in whichie performe N. n. In particular be caufera Tree to grow up in a Flower- Pot upon the Table, which will blow and bear ripe Fruit in.a Minute's Time, Second, His Famous linde Thind, The CLOCN, with two moving Pilures Tascly made b, Mr. Pinchbeck. Fourth, The Vest TIAN MACKINE, being the huen Piece et Workmaufhip in the World, for moving other Cariofities. Fifth, The ANTIFICIAL Vrow of the wherein is very nateraly imitared the Formament fpangled with Multitude of Stari; the Moon's Increale and Décreate the Pawa of Day il the diffufing his Lightar has Rifing : the beautiful Redneis of the Horizin at hts a in a fine Summer Evening, The Occait it alfo repreferred, with Ships under Sail, Miles the Water, Difance; and their others they pafs B near by that Fort, their Shadows as &cc, the' are they at leea levent lis 28 muy each other with Guits, the Report anddeccho of which are as plaialy heard as the from Places they Anpear to be. Every Weck are diffevent Nore, Every Night tlats Week will be following 1. The Ciry of Granz In the Drifredom of Stirla in Germany. 11. The Clry of Autwerp Nin Brabant in III. The City of Grand Cairo in Egres. IV The City of Africa. every Evening precifely ar SFx n° Clock. Pic AL Middle Upper 64 And thanhe Company may not be with Coll, theve is Contrivanzes TO keep der Warn. Note, Gendeaco and may have a privale Performance, giving Noute the Sight befort. Advertisement from the London Daily Post during 1730, showing the orange tree as offered by the senior Fawkes, just previous to his death. From the Harry Houdini Collection. it was announced that Christopher Pinchbeck, inventor and maker… | |
latestmagicbeing00hoff.pdf,63 | latestmagicbeing00hoff.pdf | 63 | ARITHMETIC BY MAGIC 47 them to rise up and paw the air. It all depends on the strength of the will. I myself happen to have a very strong will, in fact, I don't know anyone who has a stronger will, except my wife. I exert my will, and say, "first card, rise! and up it comes, as you see." Stepping well back from the spectators, SO that they cannot distinguish from what part of the pack the card comes, he works up the hindmost card by the familiar "hand" method. ("Modern Magic," p. 129.) "Here we have one of the two cards. Let us see what it is. The five of diamonds! Good! And now for the other. Second card; rise! Up comes another card, you see, the deuce of diamonds. Those are the cards which were drawn, are they not ? "Now the question arises, "what shall we do with 21 It is a pity the ladies didn't choose bigger cards. You can't'go nap' 1 on a deuce and a five, can you ? I think I can't do better than use them to show you a little experiment in conjurer's arith- metic. Will some young mathematician among the audience kindly tell us what two and five, added together, make?" (He waits for reply, but if none, pretends to hear one.) "Seven! Right first time. And if you take two from five how many remain? Three Good again. Really 1 To endeavor to take all five tricks in the game of Napoleon. | |
practicalmagicia00harr.pdf,63 | practicalmagicia00harr.pdf | 63 | THE PRACTICAL MAGICIAN. 53 mary secondary and short tricks wherever they can be brought in appropriately as offshoots of longer and more important ones. TRICK 21.-The invisible hen : a very useful trick for supplying eggs for breakfast or dinner. PREPARATION. In order to save the invisible hen trouble and delay, it will be advisable to have eight or ten egg-shells, (as described in Trick 3;) or some light imitation eggs, painted white, may be bought Fig. 20. x 2 = A B A B C D Position 1. Position 2. 1 at any depot of conjuring apparatus. A linen or camlet bag may also be procured from the same depot, though I think a bag | |
unmaskingrobert00houdgoog.pdf,63 | unmaskingrobert00houdgoog.pdf | 63 | THE UNMASKING OF ROBERTT-HOUDIN time only as astronomical, for showing the various motions and phenomena of planets and fixed stars.' Mention is also made of musical automata in imitation of singing birds and barrel organs for churches, as among Pinchbeck's manufactures. "Pinchbeck was in the habit of exhibiting collections of his automata at fairs, sometimes in conjunction with a juggler named Fawkes, and he entitled his stall "The Temple of the Muses,' 'Grand Theatre of the Muses, or 'Multum in Parvo.' The Daily Journal of August 27th, 1729, announced that the Prince and Princess of Wales went to the Bartholomew Fair to see hisexhibition, and there were brief advertisements in The Daily Post of June 1 2th, 1729, and the Daily Journal of August 22d and 23d, I729. There is still a large broadside in the British Museum (1850 C. 10-17) headed 'Multum in Parvo,' relating to Pinchbeck's exhibition, with a blank left for place and date, evidently intended for use as a poster. Ile died November 18th, 1732; was buried No: vember 2ist, in St. Denison's Church, Fleet Street. "In a copy of the Gentlemen's Magasine, printed 1732 page 1083, there is an engraved portrait by I. Faber, after a painting by Isaac Wood, a reproduction of which appears in 'Britten's Clock and Watch Maker,' page I22. His will, dated November roth, 1732, was proved in London on November 18th." During one of his engagements at the Bartholomew Fair, Pinchbeck probably met Fawkes, the cleverest sleight-of-hand performer that magic has ever known, and the two joined forces. Pinchbeck made all the auto- mata and apparatus thereafter used by Fawkes, and, in [56] | |
latestmagicbeing00hoff.pdf,64 | latestmagicbeing00hoff.pdf | 64 | 48 LATEST MAGIC there are lot of clever people about, if you know where to look for them. "Now I want to show you that the cards know all about it themselves; in fact, they are just as clever at doing sums as we are. I will take these two cards and drop them into one of these pretty flower-pots. Let me show you first that it is quite empty." He lays the cards on the little mat while show- ing inside of flower-pot (the one with secret pocket), then picks up mat, and transfers it from hand to hand, showing, without remark, that the hands are otherwise empty, and lets the two cards slide off it into the flower-pot, the concealed cards naturally going with them. "Now, ladies and gentlemen, what shall the cards do for you, the addition, or the subtraction sum ? It is all the same to me. The addition ? Very good. They can't talk, SO they will call another card from the pack to give you the answer. Yes, here we have it. Five-and two-are-seven.' As he names each card, he produces it from the flower-pot, the third being the double-faced card, shown as the seven. "Now I can hear what some of you are thinking. Oh, yes! I often hear what people think. You are thinking that if you had said subtraction instead of addition, I should have been in what is popularly called a hole. But you are mistaken. Now we will ask the cards to do the subtraction | |
practicalmagicia00harr.pdf,64 | practicalmagicia00harr.pdf | 64 | 54 THE PRACTICAL MAGICIAN. made at home, according to the following directions, to be pref- erable. It must be about the size of a small pillow, two feet three inches across, and one foot nine inches deep. It has one of its sides of double cloth, (x,) the other single, (z,) in the same way as leather writing-cases have a pocket on one side, and a single cover on the other. The double side is stitched together all round, with the exception of an opening at A, which must be about five inches long, or large enough to admit easily a hand to put in or take out the eggs. This double side of the bag must always be kept towards the performer, whereas the single side must be always kept towards the spectators; and the only open- ing between these two sides is between C and D. On the inte- rior of the side of the double cloth bag, a strip or kind of frill of the same cloth must be sewn, with an elastic binding round the pockets or cups for eggs. The elastic binding will keep them in these pockets, unless they are pressed by the thumb or fin- ger, so as to release them and let them fall into the centre of the double bag. The strip has the appearanco of a string of in- verted egg-cups, thus : Fig. 21. The position of it in the bag is indicated in Fig. 21 by the dots running across the bag ; but the strip itself is never seen by the spectators, for it is placed on the inner side of the double, bag, which is always towards the performer. Having carefully prepared the abovo apparatus, commence the exhibition of the trick by holding up the bag by the corners a and D, as represented in Fig. 21. Shake tho bag well while so - holding it, showing it to be (apparently) empty. After having thus exhibited the bag, thrust both your hands down inside it to the corners A and B. Holding those corners, pull the bag inside out, and again show it to be empty, in this reversed position, represented in Fig. 21. As the spectators have now seen it thoroughly, inside and out-1 side, you may put the question to them, "whether they admit it to be em… | |
unmaskingrobert00houdgoog.pdf,64 | unmaskingrobert00houdgoog.pdf | 64 | A very rare mezzotint of Christopher Pinchbeck, Jr., combining the work of Cunningham, the greatest designer, and William Humphrey, the greatest portrait etcher of his day. From the Harry Houdini Collection. [57] : | |
latestmagicbeing00hoff.pdf,65 | latestmagicbeing00hoff.pdf | 65 | tion the order of production will naturally be varied accordingly. THOSE NAUGHTY KNAVES This item may be described, if preferred, as "Knavish Tricks." Requirements. Card mat loaded with knaves of spades, hearts and diamonds, taken from the pack in use. Knave of clubs on top of pack. | |
practicalmagicia00harr.pdf,65 | practicalmagicia00harr.pdf | 65 | THE PRACTICAL MAGICIAN. 55 will fall into the large bag made by the double side; but it can- not fall to the ground, however much you shake it, for there is no opening but at A, and that is upwards towards your right hand, so you may shake the bag boldly. You next lower the bag a little, and spread it on your chest, letting it rest there while you move your hands from A and B to take hold of the corners C and D; and you must give an Fig. 22. Position 3. Position 4. opening for what had hitherto been the higher part of the bag, to drop throngh between the opening that there is between C and D. This will keep the double side of the bag (x) still to- wards yourself, and the bag will now be returned to its original position (Fig. 21.) With your left hand retaining hold of the corner D, and lowering the bag towards your right hand, shako well the bosened egs down towards the corner A. Search with your right hand abont that corner, and the opening of the double bag, and you will be able to bring out the egg that had been loosened while the bag was in position 3. | |
unmaskingrobert00houdgoog.pdf,65 | unmaskingrobert00houdgoog.pdf | 65 | THE UNMASKING OF ROBERT-HOUDIN sold for 35,000 francs. The historic temple of magic still stands under the title of "Théâtre Robert-Houdin," under the management of M. Melies, a maker of mo- tion picture films. During my investigations in Paris, I was shocked to - The last photograph taken of Robert-Houdin and used as the frontispiese for the original French edition of his "Memoirs," published in 1868. find how little the memory of Robert-Houdin was revered and how little was known of France's greatest magician. In fact, I was more than once informed that Robert- Houdin was still alive and giving performances at the theatre which bears his name. 1 48 ] | |
latestmagicbeing00hoff.pdf,66 | latestmagicbeing00hoff.pdf | 66 | 50 LATEST MAGIC Presentation. Advance, palming off the knave of clubs, and offer pack to be shuffled. When it is returned, force the knave on one of the company. Borrow a hat, and after showing that it is empty, place it, crown downwards, on the table. Receive back the drawn card upon the mat, remarking that you will place it in the hat, which you do accord- ingly, the other three knaves going in with it. Then, assuming a worried expression, deliver pat- ter to something like the following effect. "I am afraid, ladies and gentlemen, that I shall not be able to show you the experiment I had intended. I have a telepathic nerve in my left thumb, a sort of private fire alarm, only more so, which always gives me warning when things are going wrong, and I feel it now. If you have read 'Macheth,' you will remember that one of the witches says: 'By the pricking of my thumbs, Something wicked this way comes.' "I have often wondered whether that old lady could have been a sort of great-great-great grand- mother of mine. Magic certainly runs in the family, and we may have inherited it from her. Anyhow, I have just the same sort of sensation myself. Unfortunately, in my case the warning is incomplete. I dare say you will remember that story (I rather think it's in Macaulay's 'Lays of Ancient Rome'), about Little Queen Cole. Her | |
practicalmagicia00harr.pdf,66 | practicalmagicia00harr.pdf | 66 | 56 THE PRACTICAL MAGICIAN. Take out that egg ; shake the bag well, as if it were quits empty : and then, thrusting both your hands into tho interior corners at A and B, turn the bag inside out; bring it to position 2, ready to re-commence bringing out the other eggs one by one, as long as the spectators are interested. While you hold tho bag in position 2, you can safely let any young person feel to the bottom of the bag, as he will not be likely to suspect the eggs are towards the top of the bag on tho side near to yourself. The same bag may be used also much to the amusement of children, by your loading it with walnuts, chesnuts, small ap- ples, or pears, or any bon-bon of about the size of an eggi and then allowing the children, one by one, to feel in your lucky bag for what you take care they shall find in their successive searches. A SERIES OF TRICKS, 22, 23, 24.-The chief agent being a plain gold ring. PREPARATION. You must be provided with a small thin wire pointed at both ends, which, being bent round, will resemble an ordinary plain gold ring. You must also have on your table an orange or a lemon, a box or bowl, a tumbler, and a dessert-knife. And you must have four or five needlefuls of thick cotton, which have becn previously steeped for about an hour in a wine- glass of water, with a teaspoonful of salt in it; and have been afterwards completely dried, so as to burn easily. TRICK 22. Having the fictitious ring in the palm of your hand, com- mence by requesting any lady present to oblige you by lending you a plain gold ring, and borrow also from some gentleman a colored silk handkerchief. Appear to place the borrowed ring in that handkerchief, but in reality place in it the rounded ficti- tious ring. Doubling tho centre of the handkerchief round it, request some gentleman to hold it, so as to be sure he has got the ring in the handkerchief-while you fetch a slight cord to fasten it. While going to your table to fetch this cord, you slip the real ring into a slit in the orange which you had prepared, an… | |
unmaskingrobert00houdgoog.pdf,66 | unmaskingrobert00houdgoog.pdf | 66 | EVENTS IN THE LIFE OF ROBERT-HOUDIN Contemporary magicians of Robert-Houdin and men of high repute in other walks of life seem to agree that Robert-Houdin was an entertainer of only average merit. Among the men who advanced this theory were the late Henry Evanion of whose deep interest in magic I wrote in the introduction, Sir William Clayton who was Robert- Houdin's personal friend in London, Ernest Basch who saw Robert-Houdin in Berlin, and T. Bolin of Moscow, Russia, who bought all his tricks in Paris and there saw Robert-Houdin and studied his work as a conjurer. Robert-Houdin's contributions to literature, all of which are eulogistic of his own talents, are as follows: "Confidence et Révélations," published in Paris in 1858 and translated into English by Lascelles Wraxall, with an introduction by R. Shelton Mackenzie. "Les Tricheries des Grecs" (Card-Sharping Exposed), published in Paris in 1861. "Secrets de la Prestidigitation" (Secrets of Magic), published in Paris in 1868. "Le Prieuré" (The Priory, being an account of his electrically equipped house), published in Paris in 1867. "Les Radiations Lumineuses," published in Blois in 1869. " "Exploration de la Rétinue," published in Blois, 1869. "Magic et Physique Amusante" (œuvre posthume), published in Paris in 1877, six years after Robert-Houdin's death. In his autobiography, Robert-Houdin makes specific claim to the honor of having invented the following tricks: The Orange Tree, Second Sight, Suspension, The Cabalistic Clock. The Inexhaustible Bottle, The 4 [ 49 ] | |
latestmagicbeing00hoff.pdf,67 | latestmagicbeing00hoff.pdf | 67 | THOSE NAUGHTY KNAVES 51 Majesty had the misfortune to develop a mole upon her nose, and King Cole was worried about it. He consulted Old Moore and Zadkiel, and all the lead- ing astrologers of the day, but all they could tell him was 'A mole upon the face Shows that something will take place, But not what that something will be.' That's just my case. My prophetic thumb merely tells me that something is wrong, but doesn't say what. It may be drains, or the house on fire, or something in the county court. You never can tell! "Of course it's nothing of that sort now. In the present case it has no doubt something to do with the experiment I want to show you. You chose your card quite freely, did you not, Madam? It never matters to me in the least what card is chosen, with the exception of one particular card, which is a holy terror. May I ask if you happened to draw the knave of clubs ? Yes ? I feared as much. The knave of clubs is the bane of my life. He is always endeavouring to get himself chosen, and then he does his best to upset my arrange- ments. And the worst of it is, he leads away the other three knaves. The four of them form a secret society, which they call "The cheerful black- guards.' The knave of clubs is the president, and the rest have to do just as he tells them. He com- | |
practicalmagicia00harr.pdf,67 | practicalmagicia00harr.pdf | 67 | THE PRACTICAL MAGICIAN. 57 the spectators to notice how it is secured, take hold of that part of the handkerchief which incloses the fictitious ring in your own hand, and tell the gentleman to place one by one the four corners of the handkerchief over your hand. Directly he has begun to do this, your fingers must proceed to unbend and open the fictitious ring, and to press it by its pointed end through the silk, and conceal it in your own palm. You tell your assistant to blow upon the handkerchief and open it-the ring is gone, and you return the handkerchief to the owner. Fetch the or- ange from your table, and ask some one to cut it open, and he will find the lady's ring in the centre of the orange. TRICK 23. You are now to proceed immediately to the next development of the mysterious powers of the plain ring, which ladies so much admire. You may commence by remarking that "you have lit- tle doubt that this symbol of love and obedience will at your command pass through the table, solid as it is. Let us try." Place the tumbler on the table-produce your own silk hand- kerchief, to the centre of which a plain ring is already fastened by a doubled silk thread of about 4 inches length. Use Pass 1 with the real ring, as if passing it into the hand- kerchief: conceal that ring, and substitute for it the fictitious ring. Then addressing the spectators, say : 1 Now, ladies and gentlemen, I will drop this ring into the glass, so as you shall hear it fall.' Do so. Let the handker- chief rest over the glass for a minuto or two. "Now I must place this bowl under the table to receive the ring." In so plac- ing the bowl, you must silently place the real ring in it. Then say alond, "Change, ring; pass from the glass through the ta- ble into the bowl below.) Lift up the handkerchief, and while inviting one or two to come and examine the glass and the bowl, smooth your forehead with the handkerchief as if heated, and pass it into your pocket. Your young friends will be astonished to find the ring not in the glass, where they hear… | |
unmaskingrobert00houdgoog.pdf,67 | unmaskingrobert00houdgoog.pdf | 67 | invention of second sight, suspension, and the writing and drawing automaton. It is my intention to trace the true history of each of these tricks and of all others to which he laid claim as inventor, and show just how small a proportion of the credit was due to Robert-Houdin and how much he owed to magicians who preceded him and whose brain-work he claimed as his own. [50] | |
latestmagicbeing00hoff.pdf,68 | latestmagicbeing00hoff.pdf | 68 | 52 LATEST MAGIC municates with them by means of a sort of wire- less telegraphy, and when he calls they go to him at once." (You here make the "click."7 "Did you hear that sound? That's his call now, despatched by wireless from the hat to the very middle of the pack. I have no doubt that we shall find that the other three knaves have already left it, and joined him in the hat." (Make believe to look over the pack, and hand it to a spectator.) "Yes! just as I thought: they are all gone." (To a spec- tator.) "See for yourself, sir. Not a single knave left. And here they all are, in the hat." (Whence they are produced accordingly.) As the "click" in some cases adds much to the effect of a trick, and as it may to some readers be an unfamiliar sleight, I may pause to explain that it is executed as follows: Take the pack in either hand, held upright between forefinger and thumb, a little more than half-way down, with the middle finger curled up behind it as in Fig. 13. With the tip of the third finger bend back the extreme bot- tom corners of the last half dozen or SO of the cards, allowing them to escape again smartly. The sound made by the corners in springing back again constitutes the "click." It needs a little practice, but if the cards are held properly, and the sleight worked smartly, the sound will be audible at a considerable distance, whilst the move- ment of the finger producing it is quite invisible to the spectators. | |
practicalmagicia00harr.pdf,68 | practicalmagicia00harr.pdf | 68 | 58 THE PRACTICAL MAGICIAN. cotton threads, having twisted two or three of them together, and united them in a loop, which you draw through the ring, and then slip the ring through the end of the loop. The ring will then hang suspended about a foot below the stick. The stick itself may be steadily fixed, resting on the back of two chairs at an elevation, so as to be easily seen by the company. When the ring has been thus suspended, set fire to the cotton about two inches above the ring; the flame will run upwards to- wards the stick; blow it out when about two inches from the stick, and the ring will remain pendulous in the air for some lit- tle time after the cotton has been burnt. The suspension is said to be caused by a filament, or fine thread of glass-which has been formed by the ashes of the cotton uni- ting with the heated salt, with which the cotton had been pre- pared. Now this trick would be too simple an experiment to be exhib- ited by itself; but coming as a finish to two other tricks, which have been performed with the same ring, the spectators Will give it honor due. I trust that I have satisfactorily established the assertion that a combination of congenial tricks will often tell more effectively than the same tricks would if exhibited without such combi- nation, - | |
unmaskingrobert00houdgoog.pdf,68 | unmaskingrobert00houdgoog.pdf | 68 | CHAPTER II THE ORANGE-TREE TRICK R OBERT-HOUDIN, on page I79 of the American edition of his "Memoirs," thus describes the orange-tree trick, which he claims as his inven- tion: "The next was a mysterious orange-tree, on which flowers and fruit burst into life at the request of the ladies. As the finale, a handkerchief I borrowed was conveyed into an orange purposely left on the tree. This opened and displayed the handkerchief, which two butterflies took by the corners and unfolded before the spectators." On page 245 of the same volume he presents the programme given at the first public performance in the Théâtre Robert-Houdin, stating: "The performance will be composed of entirely novel Experiments invented by M. Robert-Houdin. Among them being The Orange-Tree, etc." Now to retrace our steps in the history of magic as set forth in handbills and advertisements of earlier and con- temporaneous newspaper clippings describing their in- ventions. Under the title of "The Apple-Tree" this mechanical trick appeared on a Fawkes programme dated 1730. This was 115 years before Robert-Houdin claimed it as his invention. In 1732, just before Pinchbeck's death, it [ 51 ] | |
latestmagicbeing00hoff.pdf,69 | latestmagicbeing00hoff.pdf | 69 | THOSE NAUGHTY KNAVES 53 But we have not yet done with our trick. You may resume as follows: "I will give you a further illustration of what I have to put up with from the knaves. I should like you to be satisfied that I have nothing to do C FIG. 13 with their bad behaviour." (You palm off the three top cards, and with the same hand offer the four knaves to a spectator. "Will you, sir, make sure that these really are the four knaves, and then place them here on the top of the pack,"-offered | |
practicalmagicia00harr.pdf,69 | practicalmagicia00harr.pdf | 69 | THE PRACTICAL MAGICIAN. 59 CHAPTER VII. FRIENDLY SUGGESTIONS. As the amateur will aspire to come before his parlor audience some cat or other, it may be some little service and hclp to him to give ufew suggestions as to the best way of conducting such an exhicition, and to specify the kind of tricks to which he will do well to rimit himself. It will be desirable to open with an off-hand exression of his wish to place before them a few amusing tricks to wile away an hour ; and let him assume a lively air, for his own liveliness will sustain that of the specta- tors. There are some conjurors who, though they can perform good tricks, exhibit them in such a heavy, uninteresting way that they create no enthusiasm. An over-anxious look, coupled with a creeping, fearful movement, and a dull, monotonous voice, will suggest distrust and dissatisfaction, even where the sudience has come together prepossessed with the expectation of mirth and glee. Let none assume, then, to wave the conjuror's wand till ho has himself some confidence in his powers, knows what he purposes to do, and means to carry it out. I would say that a moderate degree of assumption, a gay vivacity, ready to break out into a smile, a cheerful spirit, and a joyous voice, will go a great way to bespeak favor, which the performer can quickly re- pay by dashing off his tricks with enthusiasm. The language used by the conjuror should be studiously guarded. Let there be no vain-glorious assertions, no self-praise, but respectful def- erence to the judgment of the spectators ; rather inclining to give them the credit of understanding more than they do, than twitting them with understanding less. Be neither overbearing with conceited "chaff" upon any of the company ; nor, on the | |
unmaskingrobert00houdgoog.pdf,69 | unmaskingrobert00houdgoog.pdf | 69 | THE UNMASKING OF ROBERT-HOUDIN appeared on a programme used by Christopher Pinchbeck, Sr., and the younger Fawkes. In 1784 it was included in the répertoire of the Italian conjurer, Pinetti, in the guise of "Le Bouquet-philosophique." In 1822 the same trick, but this time called "An Enchanted Garden," was featured by M. Cornillot, who appeared in England as the pupil and successor of Pinetti. The trick was first explained in public print by Henri De- cremps in 1784 when his famous exposé of Pinetti was published B under the title of "La Magie Blanche Dévoilée," and in 1786- 87 both Halle and Wiegleb ex- posed the trick completely in their respective works on magic. That Robert-Houdin was an Diagram of the orange-tree trick, from Wiegleb's The omnivorous reader is proven by Natural Magic," published in his own writings. That he knew 1794. the history and tricks of Pinetti is proven by his own words, for in Chapter VI. of his "Memoirs" he devoted fourteen pages to Pinetti and the latter's relations with Torrini. Now to prove that the tree tricks offered by Fawkes, Pinchbeck, Pinetti, Cornillot, and Robert-Houdin were practically one and the same, and to tell something of the history of the four magicians who featured the trick before Robert-Houdin had been heard of: Unquestionably, the real inventor of the mysteriot tree was Christopher Pinchbeck, who was England [52] | |
latestmagicbeing00hoff.pdf,70 | latestmagicbeing00hoff.pdf | 70 | 54 LATEST MAGIC with the left hand. When the knaves have been laid upon it, you transfer it to the opposite hand, and palm on to them the three concealed cards, but immediately slide them off again, with the uppermost of the four knaves beneath them. You hold them up in a careless way, so that the audience, catching sight of this card, may be con- firmed in the belief that the cards exhibited in the right hand are really the four knaves. "Here we have the four knaves, at present all together. I will now distribute them in different parts of the pack, as far apart as possible. One here, nearly at the bottom, one a little higher up, another about the middle, and this last" (you show it carelessly), "close to the top." (This, being a genuine knave, must be placed among the other knaves.) "They could hardly be placed farther apart than that: but to make things a little more difficult for them, I will ask some lady to cut the cards." This done, and the cards handed back to you, you repeat the click. "There it is again: the wire- less signal. You can all bear witness that I have nothing to do with the matter. Now, Sir, will you kindly examine the pack, and unless I am much mistaken, you will find that the other three knaves have answered Black Jack's call, and that the four cheerful blackguards have got together again, in which case, with your permission, I will leave them severely alone, and try some other experiment." | |
practicalmagicia00harr.pdf,70 | practicalmagicia00harr.pdf | 70 | 60 THE PRACTICAL MAGICIAN. other hand, venture upon extreme and disconcerting compli- ments to any person present. Rather, as a courteous master of the ceremonies, conduct the experiments with a simple effort to please and to amuse all. With the exhibition of an amateur, the performance of some lively airs upon the piano by any friend - will form an agreeable accompaniment, especially if the spirited and humorous melodies are introduced, which the public tasto recognizes as the tunes of the day. You will do well to have your table neatly and carefully arranged. Let it not lie too near to the spectators, nor within reach of too minute inspection. It should be of sufficient height to show the main objects placed on it; but the surface of it may be just high enongh to be shel- tered from the spectators clearly viewing every article upon it. The ornaments should be few, yet, at the same time, be service- able to shade a few articles which it may be policy to conceal. 1. The centre table may be a moderate-sized kitchen table, with a drawer to stand open ; so that the performer can take any article out of the drawer with one hand, while engaging the eyes of the spectators with his other hand. A colored cloth should be over the tables, on the side towards the spectators. 2. Two small tables, at the sídes of the centre table, may also be useful, as in Fig. 22. rG. 22., 3. With tables arranged somewhat in this manner, the ama- teur will be able to take up articles, from either the surface or back of the tables, without attracting notice to his doing so. He must practise taking up things with one hand, while his other hand and his eyes are ostensibly occupied with some other ob- ject; for if the spectators see him looking behind his table, their eyes will immediately follow in the same direction, 4 | |
unmaskingrobert00houdgoog.pdf,70 | unmaskingrobert00houdgoog.pdf | 70 | and - Pinchester Christopher Pinchbeck, Sr. This is the oldest and rarest authentic mezzotint in the world pertaining to the history of magic. From the Harry Houdini Collection. [ 53 | |
latestmagicbeing00hoff.pdf,71 | latestmagicbeing00hoff.pdf | 71 | MAGNETIC MAGIC 55 The expert will recognise this last effect as a "chestnut" among card tricks, but it is none the worse on that account, and it forms a particularly appropriate sequel to the principal trick. If the performer possesses the "flower-pot," one of these will naturally be used in place of the hat. MAGNETIC MAGIC Requirements. Card mat, loaded with a single known card (precise nature optional). Pack of cards with corresponding card at top. A horse- shoe magnet, the larger the better for the sake of effect. The two flower-pots, placed at some dis- tance apart, preferably on separate tables. We will suppose that the card selected for the purpose of the trick is the ten of spades. Per- former advances, and delivers patter to something like the following effect. "By way of a change, I should like now to show you a little experiment in magnetism, but mag- netism of a new kind. The old sort was a com- paratively poor affair. It was only useful with iron or steel. Anything else it wouldn't attract for nuts. My sort of magnetism is a very superior article. It will attract all sorts of things, so long as they are not too heavy, like a sack of coals, or a lawyer's bill. So far, I have been chiefly experi- menting with cards, and I will show you how it works. | |
practicalmagicia00harr.pdf,71 | practicalmagicia00harr.pdf | 71 | THE PRACTICAL MAGICIAN. 61 The amateur will do well to select the simpler tricks for his first attempts, and never pretend to exhibit even those withont having frequently and diligently practised them. He must mako up his resolution to train his hands to the passes, and to the several manœuvres in the tricks, as diligently as young ladies train their fingers to the keys of the piano. And let them not be discouraged if they feel awkward and nervous at first. Some of the best conjurors have candidly con- fessed their early failings and misgivings With practice and perseverance this will, in most cases, wear off. I would angur that, if they feel an interest in the art, and a desire to excel in it, they will most probably secure a measure of success that will amply repay their efforts. TRICK 25.-Thc Conjuror's "Bonus Genius," or Familiar Messenger. This is an old trick that has delighted thousands, and may amuse thousands more, if adroitly performed. There are only the simplest mechanical arrangements connected with it ; its successful exhibition depends upon the dexterity and vivacity of the performer. PREPARATION. You must have a strong wooden doll, about eight or ten inches high the head must fix on or off by a peg at the bottom of the throat, being placed in a hole made at the too of the bust. Bo- sides a close-fitting dress to its body, a large, loose, fantastic cloak must be placed round the whole figure, but must be so ar- ranged as to allow the head to be pushed down throngh the part of the cloak that covers the bust, and an elastic pocket must be neatly made inside the cloak to receive and retain the head. Having the above apparatus ready, you may commence by saying: " Allow me, ladies and gentlemen, to introduce my learned friend and assistant-indefatigable in traveling to the most dis- tant parts on any message I may wish to send him. He used to be recognized by early conjurors as their Bonus Genius-their good familiar spirit. But, whatever his special title, he is gifted with the art of rendering himself … | |
unmaskingrobert00houdgoog.pdf,71 | unmaskingrobert00houdgoog.pdf | 71 | THE UNMASKING OF ROBERT-HOUDIN leading mechanical genius at the close of the seventeenth century and the beginning of the eighteenth. He was a man of high repute, whose history is not that of the charlatan, compiled largely from tradition, but it can be & YOUNGS Reem the of Leal- Mall, facing rke Hay-Market, fern The GRAND TREATAL of the MUSES, jaje Mr. PINCHBECK, THIS wonderful Machine is the Altonifh- et all that feeit. the of be Struc- tue, the Delicacy of the Paining quit and the grast valiety of moving Figures m-k-s i the mott priling Piece of An that has ever yer appear'd in Earope. It di Landfeape, witha view of the Sea. termina- to sieg PL dey difeppear, - doubling Avaft Swans Capes, in and River With diminifhing filling Shipsfailing, by plurning degrees plying . and Duck Hunilig to Perfection ard greas variety M Motions Likewife Pifture, N- la * Foreß playing umong the Rere the very T ces, well as Banes, ere feen TO move, as if animared and compell'4 bythe Hamony of bia Haxp. It alle perfoims on feveral Inftruments great of molt excellent Pieces of Mulich compos'd by Mz. H FANDEL, Co RELLS ALEINONI, and orher celebtated with fuch wonderful Exadneti, that fearce any Hand can equal, It the fweet Hazmony of any AVI- ary of Bieds, wherein the refpective Notes of the Nightin- gate, Woodlatk, Cuckoo, &cc. are performed to fo giear a Perfedion, NS not ro be from Naruze it fell. Wirh feveral orher to men- tion, Frices 55. 25. 6.d. and - To be feeo from 10 in The Morning vill to Night, by two, DE more, wichout lofs if Fins. Nate, This curions Machine will be removed ia a few Days Deas but oute to the Leg Tavem in Ficerflieer, Clipping from the London Daily Post of November 30th, 1798. Used by Christopher Pinchbeck before he joined Fawkes. From the Harry Houdini Collection. corroborated by court records, biographical works, and encyclopaedias, as well as by contemporaneous newspaper clippings. According to Vol. XLV. of the "Dictionary of National Biography,' edited by Sidney Lee and published in 1896 by Smith, Eld… | |
latestmagicbeing00hoff.pdf,72 | latestmagicbeing00hoff.pdf | 72 | 56 LATEST MAGIC "I want three ladies each to choose a card from this pack." (He forces the ten of spades, allow- ing the other two cards to be chosen freely, and takes all three back, face down, on the mat, keep- ing in mind which of them is the forced card. "I will take one of these cards." (He picks up the forced card, and holds it aloft.) "Please all notice what it is: I don't want to see it myself. I drop it into this pretty flower-pot" (actually drop- ping it into the secret pocket). "And now as to these other two." (He picks them up and shows them, then replacing them on the mat.) "These I will place in the other flower-pot. First, how- ever, I will show you that at present it is empty." He does so, and then lets the two cards slide off the mat into the pot, the concealed card going with them. "Now I take this magnet. It is a very power- ful magnet, and I make it still more vigorous by rubbing it on my left coat sleeve. Do you know why on the left ? You all give it up ? Because in this case the left happens to be right. Simple, when you know it, isn't it? Again, you will observe that one-half of this magnet is painted red. Can you guess why that is? It's so that when it is wanted it is sure to be 'reddy.' I hear a lady smile! Thank you so much! This is the eleven hundred and third time I have let off that little impromptu joke, and no one has ever laughed at it till now. | |
practicalmagicia00harr.pdf,72 | practicalmagicia00harr.pdf | 72 | 62 THE PRACTICAL MAGICIAN. from China to Peru, from the Equator to the Poles, you per- ceive he still sounds like a hardy Pole himself. (Rap, rap, rap.) "I perceive, however, by the glaring of his eye, that, after my too rough handling, he is desirous of starting on his travels. I suppose we must provide him with the needful for his ex- penses. Large sums are given now-a-days to special corre- spondents in foreign countries; who will kindly give him suffi- cient? He will want a golden or silver key to open some curi- osities he may wish to inspect in foreign cities. (Pause.) Oh. well, as there is a delay about it, I must myself supply him. I think I have a few disposable coins in my pocket : he shall havo them." Suiting the action to the word, while your left hand holds the upper part of the cloak near the neck, EO as to cover what you are doing, you withdraw the wooden body with your right hand, while you move your right hand down to your+pocket for the coins. You then leave the body of the doll in your pocket, and taking out the coins, present them to the head and cloak of the figure, which is held in your left hand, saying: "There, my good friend, you can now, if you wish, proceed on your tour to Algiers, or Dahomey, or Timbuctoo, or wherever the universal Yankee travelers fancy at the present to resort. " Ah, I see he is pleased and in good spirits again. He wishes apparently to bid you good-bye. You will excuse his looking also round about him, to judge whether the weather is fair to set ont; after which I will lay my hand on his head to ex- press my good wishes for his journey. I dare say he will not stay much longer after that than a schoolboy does after his mas- ter has bid him good-bye." Place with formal ceremony your hand on his head, press it down through the opening below it, receive it in your left hand underneath the cloak, and bestow it safely in the pocket. Affect astonishment at finding the gown alone left in your hands, and fold it up with a lamentation at his departure. You may say : "It is cl… | |
unmaskingrobert00houdgoog.pdf,72 | unmaskingrobert00houdgoog.pdf | 72 | THE ORANGE-TREE TRICK in Clerkenwell, London. He was a clockmaker and inventor of the copper and zinc alloy called after his name. He invented and made the famous astronomico-musical clock. In Appleby's Weekly Journal of July 8th, 1721, Me FAWKFS's THEATRE, In Tames-freet, near the Hay-marker, will be prefented tbe following Entertainments: Firft, H IS Diverting and Incomparable feveral Thingreatirely new. DERTERITY of HAND, in which he purforme N. B. In particular he caufesa Tree to grow up in a Flower- Pot upon the Table, which will blow and beay ripe Pruis in a Minute's Time. Second, His Third, The MUNICAL CLOCK, with EWO moving lately made by Mr. Pjochbeck, Fourth, The Vast FIAN MACHINS, belag the Piece of Workmaufhip in the World, for moving Pidures aud other Curiofities. Fifth, The ASTIFICIAL Vazw of the WORED, wherein Es very naturaDly imicated the Firmament fpangled wall a Maltifuide of Stari; the Moon's Increale and Decreale the Pawa of Day : the diffuling bis Lightar his Rifing the beautiful Redne(s of the Horizon at lis Sercing. as in a fine Summee Eyening. The R allo repre(ented, wih Ships under Sail, 28 fevent Miles Diffance; ethers fo neas that their Shadows are Teen lia de Water, and as they pars by any Fort, Caftle, &c, they esch other with their Goms, the Report and-Ecchool which are às plainly heard es cho' from the cal Places they appear to be. Every Week are Note, Every Night during this Wick will be 1. The Ciry of Grarz Dalsedom of Stitia in Germang. 11. The Cirs of Autwerp in io Flandess. IIT. The City d Grand Caleo to Egypt. IV The City of Algrervia Africa. Brginning CWITY livening precifely ar Nix o' Clock. Pir DE Midde Unper Audtharthe Company naay with Cold, there is Contrivances the Warm. Note, and Lades may have a privas giving Nouce the Night before. Advertisement from the London Daily Post during 1730, showing the orange tree as offered by the senior Fawkes, just previous to his death. From the Harry Houdini Collection. it was announced that Christopher Pinchbeck, inventor and maker … | |
latestmagicbeing00hoff.pdf,73 | latestmagicbeing00hoff.pdf | 73 | THE TELEPATHIC TAPE 57 "Well, as I was saying, or as I was going to say when the lady interrupted me--I mean compli- mented me, by smiling-Upon my word, I've for- gotten for the moment what I was going to say, but I daresay it was of no consequence, SO we'll skip it, and proceed àt once to "business as usual.' "Observe, I just draw the magnet slowly across from the one flower-pot to the other, when the single card, being naturally the weaker, will be drawn out of its own flower-pot, and join the other two." (Looks into flower-pot holding the pair.) "Yes, it has found its way, as you see.77 (Lifts the pot, and shows that the third card is on the table with the other two.) "And as it's a well-known fact that nobody but a bird can be in two places at the same time, it naturally follows that it is no longer in this other pot, which is once more empty." (Lifts it up and shows that it is so.) Variation. If the flower-pots are not available, the single card may be placed in a card box, or other suitable appliance adapted for causing its disappearance, the other two, with the concealed card, being dropped from the mat into a borrowed hat. THE TELEPATHIC TAPE Requirements. Two or three yards of half-inch tape or ribbon, wound on a reel, to which its inner end is secured, and having a loop on its outer end. Coin mat made adhesive, and two packs of cards, | |
practicalmagicia00harr.pdf,73 | practicalmagicia00harr.pdf | 73 | THE PRACTICAL MAGICIAN. 63 Swell out the cloak with your left hand, and at tho same timo thrust up the head from the pocket. It will appear as if the whole figure stood before them. Then say : "I fear, dear friend, I have trespassed by abridging your tour. You can hardly have traversed Algeria, crossed the mountains of the moon, or found the birthplace of the Nile; and no one returns now-a-days without some such marvel to relate. I will let you depart again. As some people say to troublesomo visitors 'You may depart now ; please to call again to-mor- row.'' Repeat the manoeuvre, as before, of secreting the head. Then exclaim : "Alas! he is gone in earnest, like the sojourner of a day (with mock pathos.) When we havo lost him, we feel our loneliness." Fold up sorrowfully the cloak of the departed, and so conclude the trick. TRICK 26.-The Shower of Money. A dozen silver coins, or pennies, will be equally useful in ex- hibiting this trick ; but some fictitious coin, in color rosembling gold, will perhaps more effectively delight those who are charmed by the yellow glitter of the precious metal. The performer must have provided himself with so many of these in his left hand as he purposes to produce at the end of the trick, and two of the same coin also must be concealed in his right palm. He must further borrow a hat from one of the company. The imagination of the spectators having been excited by tho expectation of beholding a shower of money, the adept in sleight- of-hand, keeping one of the two coins in his right hand con- cealed, must advance the other còin to the end of his forefinger and thumb, while he pretends to pick a coin out of the candle, or of the rim of a hat, or from a lady's fan or shoulder, or may pretend to clutch a coin floating in the air. As he brings away his prize, ho may rattle it against the other coin concealed in his right hand. Then, making Pass 1, he may pretend to pass it into the hat, being careful precisely at the same moment to drop, audibly, a coin from his left hand into the hat w… |
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