One of the most taking of all the tricks performed by the many public exhibitors is that in which a hat is borrowed from the audience, and at once from its interior are produced a quantity of heterogeneous articles, the nature and number of which cause, not only the greatest merriment, but also the most unbounded astonishment that they should ever have found lodgment in so unsuitable a receptacle as an ordinary "chimney-pot" hat. The reader will hardly require to be told that every article which is produced from the hat has first to be introduced into it by the performer, and on the skill with which this is done will the success of the trick depend. It must be understood that there is no middle degree of perfection allowed in performing this trick. No one must be able to say, "Yes; he got them in pretty well that time—I hardly noticed him." The motion which accompanies the introduction of any article or articles into a hat must be absolutely unobserved by anyone of the audience. No extraordinary degree of speed is required, for success will depend more upon the completeness of the arrangements made by the performer for the accomplishment of his designs than upon mere rapidity of movement, which, as I have often explained, is by itself of no use whatever, it being impossible for the human hand to make any movement openly so rapidly that it cannot be followed by the human eye. The object of the performer being to introduce certain articles into a hat without detection, anything falling below this accomplishment is imperfect; but, at the same time, anything which goes beyond this in a striving to obtain an ideal perfection is useless, and results in a mere waste of energy.

The essence of the trick being that it is (apparently, at least) performed for the most part whilst surrounded by the audience, the articles to be produced must be chiefly such as can be concealed about the performer's person. Of such a nature, the reader will doubtless be astonished to find, are, when properly constructed, bird-cages containing live birds, quantities of ladies' reticules, lighted Chinese lanterns, and many other articles entirely at variance with any possibly preconceived notions of what might ordinarily be contained in a hat. The beginner, however, will have to commence with less startling productions than bird-cages, &c., and graduate in the art, as it were.

The Cannon-ball.—One of the commonest articles which it is still the fashion to produce from a hat is a cannon-ball, or, rather, the wooden semblance of one. This is introduced from the shelf, which is provided with little hollows for the reception of such unstable articles. It has a deep hole, just large enough to admit the middle finger, and is so disposed that a hand placing a hat momentarily, brim downwards, on the back edge of the table would be able to introduce the finger without difficulty. The finger firmly inserted, the hat is drawn off, and, naturally falling backwards, covers the ball, which is furthermore curled into the hat by means of the finger. If the ball were solid and made of any heavier material than wood, this would not be possible of accomplishment. The usual method is to have two cannon-balls, one a hollow one of zinc, blackened, with a hole about two inches across made in it. This hole is covered by means of a sliding lid, which lid has a smaller hole in it for the introduction of the middle finger. The ball is filled with articles, almost invariably purchases made at a baby linen warehouse, which are produced, with all possible effect, one by one, before the ball itself. Sometimes the ball is packed as tightly as possible with feathers, in which case a very large quantity can be produced, a small pinch from the ball sufficing to apparently fill the hat, which should be exhibited, ostensibly full, to the audience every now and then. If feathers are used, a large cloth should be spread upon the floor, or there will be a sad litter.

The introduction of the cannon-ball must not, however, form the commencement of the trick, but follow on something else in which a hat has been required. It would never do to borrow a hat and straightway march with it to the table, there to execute divers entirely unnecessary movements. Under such circumstances, the audience would be surprised if something were not produced from the hat. There are many tricks mentioned in which a hat is used. Whilst the result of one of such tricks is being exhibited with one hand, the other can easily introduce the cannon-ball, without fear of detection, if the performer's manner leads the attention elsewhere. The ball safely in the hat, the performer steps briskly forward to return the borrowed article, and, just as he is about to put it into the owner's hand, he makes a slight start, saying, "I did not notice it before, sir, but there is a little something just at the bottom of your hat. What is it? Something belonging to your little girl, I presume—a pair of socks," &c. The articles are then deposited on a chair or side table, and a motion made of returning the hat when "a little something else" is noticed. The ball being by this time worked round in the hat so that the opening is concealed from view, the hat can be exhibited with the ball sticking inside. After remarking that it is a very extraordinary thing to carry in a hat, and surmising therefrom that the infant to whom the clothes just discovered belong must be a "Woolwich infant," great, but unavailing, efforts are made to extract the ball. In order to make it appear to stick in the hat (which sticking makes its presence there at all seem all the more inexplicable), invert the hat, and introduce a forefinger from each hand beneath the ball. The whole can be then well jerked two or three times. It is at length got out by the assistance of your attendant, who is directed to give it to the gentleman to put in his waistcoat pocket. For the sake of effect he staggers towards the audience, but the performer recalls him, saying that he will send on the articles by parcels delivery. Whilst this is being done, the wooden ball is got inside the hat, which is once more carried down towards the owner. The discovery of more contents is made, as before, and the performer remarks that had he known that the owner of the hat carried a complete arsenal about with him he would have borrowed someone else's hat. The hat is jerked as before, and at the third or fourth attempt the ball is allowed to drop on the stage. This will confirm the idea in the audience that the first ball was solid, should there, by chance, be any wavering on the point.

The only objection to this really very effective phase of the trick is, that it has been done so often; the consequence is that so many, anticipating correctly that which is about to come, are better able to divine the means by which it is accomplished. The best way to guard against this is to introduce the features at unusual moments, taking advantage of any favourable circumstance or opportunity that may casually transpire.

A cabbage or cauliflower is often introduced into a hat in place of the solid ball, and is very effective. A hole for the finger can be made in the stalk, but it is advisable to push a tin tube into the hole, or bind the outside of it with cord, as the stalk will sometimes give way, and a disaster, in the shape of a vegetable falling down heavily from behind the table, occur. In using a cabbage or cauliflower, be careful to clean and dry it well on the outside, or a hat lining may be spoiled.

The Distribution.—The gratuitous distribution of bonbons, flowers, &c., from a hat is, owing to the expense entailed, hardly such a favourite variation of this trick with professionals as with amateurs—that is, with those very few amateurs who are able to execute it with any degree of success. It requires an unusual amount of sang froid and boldness, combined with a perfect dexterity. When I can obtain nothing else, I use bonbons, but they are not the best article to employ, on account of their bulk. The sweets known as "kisses"—pieces of toffee wrapped in gold and silver paper—and gelatine bags of sweets are far more showy, as so many more can be introduced at a "load." The performer must have either some black silk bags or else some pieces of black silk, in which the articles are packed and tied with the thinnest cotton or silk, which need only be just strong enough to keep all together. Three or four little parcels should be made up and stowed away inside the vest and in the breast pockets of the coat, where they can be reached without difficulty. The performer then advances, with an orange or similar article concealed in the hand, and borrows a hat. The hat is quickly taken in the hand containing the orange, and shaken, with the remark, "Why, you have left something inside, sir." The shaking is to prevent the article falling on the crown of the hat with a thud, which would too plainly reveal the moment of its introduction into the hat, which is then inverted, thereby causing whatever may be inside to fall out upon the floor. All eyes, including more particularly your own, will be turned towards it, and you seize the opportunity to introduce one of your packages into the hat. The action of stooping to see what it is that has fallen will naturally cause the hat in the hand to come against the breast. The other hand is then introduced beneath it, and the bundle slipped noiselessly in. The instant this is done, obtain possession of the orange, and be as funny as you can about it with the owner of the hat. You then discover other things in the hat, and just before one bundle is exhausted introduce another. The most extraordinary expedients will at times have to be resorted to for accomplishing this, varying according to the position in which the performer is placed. One movement that should always be tried is a rapid three-quarter turn on the heel, during which a bag is whipped in. Another ruse is to allow the wand or some of the contents of the hat to fall, and so obtain a momentary diversion whilst stooping for them. Any approach to hesitation will be fatal. When a fresh supply has been obtained, turn the hat upside down, supporting the contents with the fingers, and, shake it, thus appearing to show it empty. A splendid ruse to adopt at such a moment, in order to intimate that the hat is still empty, is to apparently read out the name of the maker (which you have previously noted), and say that you will go to him in future for your hats. Should there be no name, say you are sorry, as you wanted to know where such curious hats are to be bought.

The introduction of flowers from the performer's person is not advisable, it being impossible to keep them from being crushed. They are best introduced from the shelf, and for this purpose the following little arrangement will be found useful: Procure a tin or zinc cylinder, about two inches in diameter, and two inches long. Around the outside of this have affixed a number of small cylinders, each capable of admitting the stalk of a flower. Such an article will hold some thirty flowers at least, or even tiny "button holes" can be employed. Round the cylinder pass some wire, a portion of which form into a loop. The whole arrangement can then be suspended at the back edge of the table, or behind a suitable chair. By having some packs of cards introduced into the hat in the first instance, an excuse for going to the table or chair is obtained. Packs of cards make a great show when the hat is tossed vigorously about, so that some of the contents fly in the air and out on the floor. The last few can be taken out by the hand and thrown in the air in such a manner as to flutter as much as possible between the audience and the hat, which is, at the same time, brought into the position favourable for getting the flowers into it. The wire loop is easily found by the fingers, and, on the hat being brought backwards, when the table is used (forwards, with the chair), the bouquet is easily introduced. The cylinder arrangement is often made much larger than two inches each way, but no very increased effect is thereby obtained—certainly not sufficient to compensate for the augmented difficulty in getting rid of the article after it is done with. When made of the size I have given, it is simply concealed in the hand, as are the bags or pieces of silk in which the cards, &c., have been wrapped.

The Shower of Cups.—Amongst other things, a favourite production from hats is an enormous quantity of tin cups, very similar to those used in the cup and ball trick described in "Drawing-room Magic," but much larger. These cups, being all of the same taper, fit well one into the other, and, being also very thin, a large number can be well put together without forming a very formidable pile. Fifty is a very common number to introduce into a hat at one "load." The upper rim is turned over outwards, to give the cup a look of great solidity, and the bottoms are fairly thick, for strength. They should be wrapped in silk, and the inside cup filled tightly with ribbons or cut paper, or anything else that will make a great show when distributed. The performer then walks about the stage tossing the cups out of the hat with great rapidity on to the floor, occasionally placing a few on the table upside down. A dozen or so on a table make a good show, and they are also useful for concealing the bags and silk used previously for containing other articles. Spread out a few in the hat now and again and show it thus filled. Very few will suffice to fill a hat to the brim. These cups are, perhaps, best purchased at conjuring apparatus houses, their manufacture not being universally understood.

Multiplying Balls.—These, which are by some persons considered even more effective than the cups, can be made, for the most part, at home, with a little expenditure of ingenuity and trouble. They consist of an ordinary cloth ball covering, with an extraordinary interior, consisting, as it does, of a tapering spiral spring. Although I have succeeded in producing springs of the required shape by twisting wire round a peg top, I cannot conscientiously recommend anyone else to adopt a similar method of proceeding. A professed wire-worker would do the thing much more satisfactorily in every way. The covering is a very easy matter, and any one of the weaker sex may be confidently entrusted with it. Six of these balls, when pressed tightly together and tied with cotton, take up only a very little more than the space that would be occupied by a single ordinary ball. Eighteen, or more, in batches of six, can be introduced at one time if tied up in silk. The cotton of one batch being broken, the hat will be entirely filled, and the process can be repeated, the hat being each time shown to the audience in a replete condition. A tray should be at hand on which to place the balls, great care being necessary to prevent any of them falling to the floor, which would at once reveal their unreal nature. When the balls are used, as is not unusual, in conjunction with the cups—that is to say, either immediately preceding or following them—it is advisable to have an ordinary stuffed cloth ball, exactly resembling the multipliers, inside the inner cup. This ball is allowed to fall and roll towards the audience (accidentally, of course!), who will require no admonition to examine it. The balls can also be made to multiply in the hands. For this purpose, take one bundle and spin it high in the air (be sure to spin it well), and, catching it as it descends, give it a sharp twist, to break the cotton. As the balls will all suddenly expand, the hands must be held very hollow and kept close to the breast, against which they should be sustained. Another method is to break the cotton, but prevent their bursting out, and, holding up the hand containing them, with the back towards the audience, roll the balls into view, one by one, by means of the other hand. These effects are both good, but must be done with dash.

Both the cups and balls are best got into the hat from the shelf. The safest way to get them is, in the first instance, to introduce the cards into the hat, which, after shaking about, empty on the table with a bang. A favourable opportunity for introducing anything is thus made. Some conjurors have an arm protruding at the back of the table, on which bundles of cups, balls, &c., are suspended, and got into the hat by means of a sweep of that article. This is an excellent method, when the performer does not make a bad shot, and sweep the whole on the floor instead of into the hat. Bringing the hat round the end of the table, and, tipping things into it from the corner of the shelf, is a method in use, but it is a bad one.

Bundle of Firewood.—Immediately after the taking out of a dozen or two of balls or tin cups, the performer may, if his previous arrangements tend thereto, proceed to extract from the hat a common bundle of firewood, which, the company may see, entirely fills the interior of the hat by itself. As, subsequent to the extraction of the balls, the performer has not even retreated to the stage, the company cannot but be at an utter loss to account for the presence of so ponderous a body. The bundle of wood is, however, far from being what it seems. That portion of it, the exterior, which is visible to the company, is genuine enough, being firewood, but this is only an outer layer glued upon a cylindrical shape of thick pasteboard, bound round, so as to look real, with a piece of string taken from a genuine bundle of wood. The bundle has only one end, made, of course, of pasteboard also, and covered with half-inch lengths of wood, which will present a perfectly real appearance. Into the open end are crammed the cups, balls, or other articles, which, being produced, enable the performer to subsequently extract the supposed bundle of wood without having refilled the hat. Some bundles are made with both ends covered, one end having a trap opening in it. This is to prevent the possibility of the unreal nature of the article becoming known; but I really do not see why both ends should ever be exposed; and, with the end perfectly open, the extraction of articles is very much facilitated. The bundle must, of course, be introduced into the hat from the shelf, it being too decidedly bulky to carry about the person.

Reticules.—A quantity of these articles are sometimes produced from a hat. They are, as may be imagined, far from being the substantial objects they represent. The ends fall inwards and lie flat on the bottom, to which they are hinged by means of calico, and the tops, sides, and bottom are hinged together also by means of calico, and so double up. A piece of cord, tape, or thin leather strap runs through two holes, about an inch apart, in the top, the ends being affixed to the ends of the reticule, inside. A pull at the centre of this cord, &c., raises the ends, which force the other portions into position. The outside is covered with cloth, and otherwise decorated to represent a small reticule. I have seen them made of playing cards without any outer covering whatever. The result was, that the audience saw through the whole thing at once, as was but natural. A dozen or more of these reticules can be introduced at once, and they make a good show. They can be easily made from playing cards, and afterwards covered.

Dolls.—Calico dolls, with spiral springs inside, can also be effectively employed. A tolerably large one, introduced into the cannon ball with the baby's clothes, is effective when produced last of all. In any case they should not be less than 6in. in height. The face and greater portion of the dress must be painted on, a few little bows, artfully disposed, serving to make the doll look as substantial as possible.

Bird-cages.—This is a trick which ranks almost as high in public estimation—the only gauge, by-the-bye, by which conjuring tricks can be measured—as the gold-fish trick. The same principal feature—the production of a substantial article, containing living things, from such unsuspected regions as the interior of a hat, or the folds of a handkerchief—is in both, and the audience is, in each instance, in the same dilemma in endeavouring to explain where the article comes from, and how the living creatures get into it. It may sound like exaggeration to assert that two substantial cages, 6in. high, each containing two live canaries or other birds, can be produced from a hat from one "load," but such can be done, nevertheless. The cages are of wire at the top and on the sides, the bottom being solid and heavy. The sides are hinged to the top, under which they fold, when the bottom, which slides up and down the sides, is pushed up. The top being domed, the birds are safe therein, not as comfortable, perhaps, as they might be, but still unhurt. The bottom pushed up and the sides doubled under, the whole is scarcely 2in. in depth; and two cages, placed bottom to bottom, and kept together by means of an elastic band or by a thread, can be got into the hat from the coat breast-pocket in the prescribed manner. To produce them, it is only necessary to raise the upper portion, by means of the ring there affixed, and the bottom will run down into its place, causing the sides to go into their positions. These cages are also produced from handkerchiefs, in which case it is usual to have them of very large dimensions. Herrmann produced one at times which had to be concealed up his back, so large was it. This was produced, without detection, in the very centre of the audience.

Chinese Lanterns.—The production of six or more of these articles, all ablaze, from a borrowed hat, causes an effect not far from astonishing. The well-known collapsible nature of the articles would render the production of a number of them from a hat a matter of no great marvel were they unprovided with a light. What cannot be readily explained is the feature of so many lanterns being alight in the hat at one time without burning either the hat or one another, or, indeed, how they can all be alight at one time at all. The secret lies in the construction of the bottoms of these lanterns, and the positions of the candle or wick holders. The bottoms are made of tin, and on one only of each series of lanterns is the candle holder placed in the centre. This lantern I will call No. 1 (see Fig. 54). No. 2 has the holder a little on one side, and a hole through its centre to admit of the candle or wick of No. 1 passing through it (see Fig. 55). No. 3 has two holes, corresponding exactly with the candle holders of Nos. 1 and 2, which pass through its bottom, and its holder is at the side of the hole through which the holder of No. 2 passes. No. 4 has three holes, No. 5 four holes, and so on all through the series, which generally consists of seven or eight, that number being about as many as can well be managed at one time (see Fig. 56). As the holder of No. 1 has to pass through the bottoms of the remaining seven lanterns, it must, of course, be very long. The holder of No. 2 will be a little shorter, and the next shorter still, that of No. 8 being of the ordinary length. By this means all the wicks will be on the same level when the lanterns are packed together. The tin bottoms do away with any danger of a flare up, and also, from their weight, cause the lamps to open easily, which is of great assistance towards the success of the trick. The upper rims are also of tin, for strength and security. A few sulphur matches, which strike noiselessly, should be affixed to the upper rims of the topmost lantern, whereon should also be some sandpaper, on which to strike the matches. The whole should be tied together with string, and concealed in the breast pocket, from whence they can be introduced into a hat in the midst of the audience. The match struck, the wicks are all lighted almost simultaneously; and, the flames burning the string, the performer is enabled to take out the lanterns in rapid succession by means of a bent piece of wire affixed to the rim of each. An attendant should be at hand with a pole or broomstick, on which to hang the lanterns. A deep round hat is better than a "chimney-pot," the extreme depth of which sometimes causes the performer to burn his fingers.

This trick is well worthy the attention of amateurs, as it is but little worked, the majority of performers being frightened at it, but without any reasonable cause. Any tinman will make the plates and rims cheaply, and the paper sides can be taken from the ordinary lanterns and transferred, so that the trick need not be an expensive one, by any means. An excellent title for it is "A Chinese Feast of Lanterns." Always remember to hold the hat as high as possible when it contains anything: premature disclosures of the contents mar the effect considerably.

Climax to the Hat of Plenty.—When the performer has a stage attendant of average ability, he can conclude this or any other trick with a hat in a very startling manner. The hat is given to the assistant to return to its owner, and, just as he is leaving the stage, he stumbles, falling heavily upon the hat, and flattening it completely. The performer is of course in despair, and after a slight scene the hat is eventually restored, it being found under the owner's chair, or elsewhere. This exceedingly impressive and amusing trick makes a very appropriate conclusion to a performance, and is managed in two ways: Either the hat used in the preliminary trick is actually the property of a stranger in the audience, and is exchanged for the one to be destroyed, or a confederate brings it in with him, and takes his seat on a chair or sofa, beneath which his own hat has been previously concealed. In the first instance, the exchange must be adroitly managed. The excuse of going off to brush it, and returning immediately with the brush, is as good as any, although it will always be subsequently apparent to thinkers when the hat was exchanged, by whatever method the substitution is accomplished. I may say at once that this method is not so good as the second; but confederates are not always to be obtained when they are wanted. Sometimes the performer borrows two hats, and whilst he is producing something startling from one, his attendant quietly removes the other and substitutes for it a duplicate.

By whatever means arrived at, suppose the exchange effected, or, what is the same thing, the conjuror's own hat borrowed, and the assistant lying prone upon the floor. He must then rise slowly, with a rueful look upon his countenance, and, if any object, such as a tin cup, be lying upon the floor, he must abuse it as the cause of the disaster. The performer does not at first notice what has happened; when he does so, he is, of course, greatly enraged with the assistant, and assumes a very despondent look. He expresses his regrets to the owner of the hat, and asks if he would like the hat done up in a small parcel for convenience in carrying. Without waiting for a reply, he and the assistant tear the hat up to little pieces, some newspapers being produced and spread upon the table. On the shelf is a newspaper parcel containing a crinoline, a large doll, or anything else that is ludicrous in appearance. The shreds of what was recently a hat are wrapped in a piece of the newspaper, with the exception of one solitary piece, which is purposely allowed to fall upon the floor, on that side of the table opposite to where the conjuror is standing. When the parcel is made up, the performer notices this piece, and, leaning well over the table, points to it, at the same time, under cover of his body, effecting an exchange of parcels. The shred is rolled up, and a pretence made of putting it in the parcel (it is, of course, palmed), which is then given to one of the audience to hold over his head. A pistol is fired, and, if the hat be borrowed from a confederate, he is bidden to look under his chair, where, naturally, his own hat will be discovered. If, on the other hand, the borrowed hat be genuinely the property of one of the audience, it will be seen to fly across the stage and attach itself to the top of the proscenium, from whence it falls at the command of the performer, and is caught by him. This additional effect is managed by passing a black cord through a hole in the proscenium, and attaching it to the hatband by means of a very large loop. The end to which the hat is affixed must, of course, be removed from sight beforehand, the usual place being behind the proscenium. The construction of the place of performance will naturally have a good deal to do with this particular matter, and the performer must study what arrangements will be best. Wherever the hat is concealed, it must be thrown into the air when the pistol is fired, and the cord at once gathered in as rapidly as it is possible to do so. On the command for the hat to descend being given, the large loop is cut through, and the hat falls. If the cord were simply tied by a knot to the hatband, a piece of it would remain attached after being cut away, and this would give a clue to the mystery. After the hat is safely restored, open the parcel and exhibit its contents.

CHAPTER XVII.

TRICKS WITH WATCHES AND LIVE STOCK.

Tricks with Watches.—The reader has doubtless been on the look-out for the chapter which shall initiate him in the art of pounding up a friend's gold chronometer before his very eyes, and immediately afterwards restoring it whole. I have purposely introduced the subject so late in the day, because watches are very awkward things to perform with, and the performer should be tolerably expert before he touches them.

On borrowing a watch, it is always as well to do, or pretend to do, something with it that shall cause the greatest anxiety to the owner as to its safety, and consequent amusement to the unsympathising remainder of the audience. To expect this of a conjuror seems to be a fairly-established custom. One way of acquiescing with this unexpressed desire is to apparently incapacitate the watch for further use by bending it several times nearly double. This feat is managed by holding the watch with its back to the audience between the fingers and thumbs of the two hands, the hands being on opposite sides of the watch. If both hands and watch are worked rapidly backwards and forwards (i.e., inwards and outwards) three or four times, the varying light and shade upon the shining back of the watch will cause it to appear to be really bent each time a movement is made. The illusion is very perfect, the effect being always the same, to initiated, as well as uninitiated, eyes. The remark, "Ah! yours is one of the new putty watches, I see, sir," will assist in carrying out this effective prelude. Precisely the same effect may be produced with a bright florin or half-crown.

Another effective introduction is to have palmed a watch-glass that has been either well cracked previously, or cut deeply with a glazier's diamond. Bring this glass over the one on the watch, but not touching it, and then, addressing the owner of the watch as to the strength of the glass, strike it carelessly with the wand, but not so carelessly as to break both glasses. When the breakage takes place, of course, great consternation will be exhibited on the face of the performer, who makes profuse apologies to the owner of the watch. The pieces of the broken watch-glass are allowed to lie on the perfect one, and the whole shown round, it being impossible to detect the presence of the perfect glass beneath the pieces. The pieces are then put in a piece of paper, for convenience in vanishing, and the trick can proceed.

The ordinary method for destroying a borrowed watch is to have a mortar (usually of wood) into which fits an inner lining. Over the whole fits a pasteboard cover, with a fairly large round hole in the top, in which the lining is concealed at the commencement of the trick. The mortar is shown round and the watch put in. The cover is then put on—for the purpose of preventing the pieces of the watch flying out, it is explained—and the false lining thus introduced. This should be done quickly, and without any show of care, which would only excite suspicion. A pestle is then introduced through the hole in the cover, and a terrific amount of pounding goes on. Some old watch works and bits of plated gold, which have been in the false lining from the commencement, are then exhibited by removing the cover only. Another description of mortar is one with the bottom revolving on a pivot. When the watch is put in, this bottom is pushed up a little on one side from underneath, and the watch falls through into the hand. The pestle used in conjunction with this is a very thick one, especially at the end, in which are concealed some watch works. The action of a piston, similar to that used in the one for The Hatched Card, will propel these pieces into the mortar.

A far bolder method is to be provided with a dummy toy watch, and exchange it for the borrowed one, and then actually pound it up in an ordinary metal mortar. This method will succeed best in public audiences, where an individual watch is not likely to be known by many persons in the audience. In showing round the watch, in its demolished state, in the mortar, there is no necessity for allowing a lengthened view, much less a minute examination, to be taken by anyone; and it is as well not to allow the owner of the watch to see the wreck at all.

Instead of a mortar, a long bag, made of alpaca or any other strong stuff, and about three inches broad and two feet in length, is sometimes used. This has sewn in one end of it some solid body, fairly resembling a watch in shape and weight, and the other end is open. About four inches from the mouth a seam is stitched across. The watch, on being put into the bag, stops at the seam, whilst the performer takes up the other end, to which the watch has presumably descended, and exhibits the contour of the article or articles (a quantity of small broken pebbles is frequently used) there concealed, with one hand, the other hand holding securely the end containing the watch. The dummy end is then struck upon a table, or against the wall, several times, for the purpose of making it "go better," or of converting it into a "stop" watch. To take the watch out of the bag, hold the end containing the dummy with one hand, and invert the whole. The watch will slide into the other hand, having apparently come from the far end of the bag. An addition to this bag is to have the mouth portion divided into two pockets, each one having a flap and a button. In one are concealed some broken watch works and bits of metal. The borrowed watch is put into the empty side, and, after the process of banging about has been gone through, that containing the pieces is opened.

The manner of reproducing the watch depends greatly upon the ingenuity and resources of the performer. Every conjuror differs somewhat from his rivals. A very favourite plan is to discover the watch in a loaf or roll of bread. Another is to cause it to appear on the centre of a target, or in the midst of a bouquet of flowers. It will be readily understood that when the supposed process of destruction has been gone through, and whilst the performer is amongst the audience with the pieces and engaging their attention, the assistant unostentatiously removes the mortar or bag containing the borrowed watch, and arranges the sequel of the trick behind the scenes. If the watch is to appear in a roll, then it is put into one by the assistant through a slit, and the roll is brought on with some others. The performer takes three of these, including the one containing the watch, and puts one on each of the front corners of the table and one between them in the centre, this centre roll being the prepared one. He then asks the audience to select one of the three rolls. Of course, all three will be named, but the performer affects to perceive a majority in favour of the centre one. A great show should always be made of deferring to the wish of the audience, this being very effective, and also the best way to secure the desired end. The pieces of broken watch works can then be put into the conjuring pistol, having been previously wrapped in paper, and then fired at the roll, which, on being cut or broken open, will, of course, be found to contain the watch. Should any decided predilection be shown for one of the outside rolls, a change of tactics must be made. Remove the one selected and say, without exhibiting the slightest appearance of embarrassment, "That leaves two; which one shall I now take?" If the one containing the watch be chosen, say, "Are you quite sure, now, that you would not like the other one?" This will cause a firmer adherence to the choice, for it will appear that the other roll would be preferable to the performer. Knock the other roll off the table, and fire at the remaining one. If the watch has been neatly inserted in the roll, it can be given into the hands of a spectator to hold whilst being fired at. When a bouquet is used, the watch is merely concealed among the flowers. It should be given to a lady to hold, in which case the pistol must be directed in the air, and not at the bouquet.

The use of a target is very effective, and the target itself is not of very difficult construction. It can be either of wood or tin, and the face should be circular, about 12in. across, and affixed to a pillar rising from a square foot. The centre, or bull's eye, is pierced out and revolves on a pivot, an arrangement of watch spring or elastic causing it to keep in its place. It should be black both at the back and front, the front having a hook on which to hang the watch. The assistant, on obtaining possession of the watch, hangs it upon the hook and reverses the centre, a little bolt serving to keep it temporarily in that position. To this bolt is attached a piece of black thread, the disengaged end of which is behind, in the hands of the assistant. On the pistol being fired, this bolt is removed by the thread being pulled smartly, and the centre flies back to its normal position, exhibiting the watch to the audience. The revolution is so rapid that it cannot be detected, the watch appearing to actually attach itself to the face of the target. A good effect is produced by having the revolving centre of looking-glass, the corresponding glass on the other side, with a hook through the centre, being badly starred. It will appear as though the arrival of the watch had smashed the mirror.

Another target is one with the centre in the shape of a recess, over which a little spring blind is drawn after the watch has been hung upon a hook within it. The blind has merely to be released and will fly up, revealing the watch. This principle is carried out on a much larger scale, two or more watches and chains and a broken plate being used. The chief apparatus employed is a large picture-frame, the centre having no picture, but being made in the form of a recess. In the top is concealed a spring blind, of the same colour as the back of the recess, which should be black. The articles to be magically exhibited on the frame are hung upon convenient hooks by the assistant, who then pulls down the blind and brings the frame upon the stage. The blind has along its lower edge a piece of wire or wood, from the centre of which projects, horizontally, a small pin. In the centre of the lower portion of the frame, and inside the recess, is a small catch, working perpendicularly on a pivot. The upper portion of this catches the projecting pin of the blind, and the lower portion passes out at the bottom, where a communicating cord is attached to it. The action of pulling the cord releases the pin, and the blind flies up, leaving the articles on the back of the frame exposed to view. The means for getting the watches or other articles into the hands of the assistant are various, the most effective, in my opinion, being the following: The performer borrows two watches, with or without the chains attached, and proceeds to wrap them in a piece of paper which he holds in his hands. Underneath this piece of paper is another, in which some dummy watches have been previously folded. In wrapping up the borrowed ones, it is very easy, whilst turning the parcels round and round in the hands, to bring the dummy one to the top, and, getting away the real watches, to conceal them under the vest or elsewhere. Passing subsequently behind the table, they are left upon the shelf, from whence they are removed by the assistant. The supposed borrowed watches, still in the paper, are then put upon a plate and given to the assistant to place upon the table. Before reaching the table, the assistant stumbles, and plate and watches fly all over the floor, the plate naturally in many pieces. The usual fuss is made about the assistant's carelessness, and he is despatched to fetch the frame. The performer, in the meanwhile, gathers up the pieces of the plate (less one piece purposely allowed to remain on the floor) and the watches, and puts them into the conjuring pistol, putting in some paper to keep them in position. During this time, the frame is brought on and placed in position, the pistol is fired, and, the blind flying up, the plate is seen in the centre, and the watches on either side of it. The plate is, however, not complete, one piece being missing. The piece upon the floor is then discovered by the performer, who "passes" it towards the plate, to which it is seen to affix itself. The plate and watches are then brought to the audience, who are unable to discover any trace of joining in the plate or damage to the watches. The remarkable effect of the restoration of the missing portion of the plate is managed by having a ragged triangular piece of black cloth put upon the plate, and, attached to it, a thread. When the "pass" is made, the assistant pulls the thread, and the piece of cloth falls down inside the frame. The frame can, of course, be used for the reproduction of any class of borrowed articles. Anyone with a very light turn only for carpentering should be able to make one for himself. The pedestals or feet of both target and frame should be heavy, so as to remain firm in case the assistant pulls with unpremeditatedly extra strength.

An amusing and neat little trick with a borrowed watch is to cause it to appear on the back of a volunteer assistant from the audience. The performer is provided with a sharp-pointed hook, the blunt end of which is turned back in the shape of a smaller hook. This he has concealed about him. A watch is borrowed and immediately exchanged for one belonging to the performer, which is given to be held by one of the audience, as far removed from the owner as possible. A member of the audience is then desired to step up on the stage, where he is accommodated with a seat in the centre, and facing the audience. The performer has, meanwhile, hooked the loop of the watch on the smaller hook, and, taking the head of the assistant in the hands—the one containing the watch being behind—for the purpose of directing him as to the position in which it should be held, he affixes the larger hook to the back of his coat. He then directs the volunteer to open his mouth very wide, and pretends to pass the supposed borrowed watch into it. On finding that it has not reached its destination, the performer must surmise that he threw it a little too hard, and request the assistant to see if it be behind him. On his turning round for this purpose, the watch on his back will be revealed. An extra effect can be introduced by trying the extent of the assistant's throat capacity with the wand. The wand is taken by one end with the left hand, which is placed against the assistant's mouth. The other end is introduced secretly up the performer's right sleeve, and the right hand worked vigorously up and down the wand. The illusion is that the wand is thrust repeatedly down the assistant's throat to its full length. This should be done quickly, and only about three thrusts should be made. If the wand used for this particular effect be a special one, having an extra loose ferrule, the illusion may be rendered still more perfect if the performer keeps the loose ferrule in the hand, and slides it up and down the wand. This is a very important little addition to the trick.

A piece of apparatus that is very much used in connection with watches is what is universally known as the watch box. It is a box, the rough dimensions of which are: length, 3-1/2in.; breadth, 2-3/4in.; and depth, 2-1/4in. The sides, ends, and top are very substantially made, and the bottom is, to all appearances, equally so; but as a matter of fact, it is made of two thin veneers, which have little blocks of wood glued between them, so as to leave an intervening space of one-sixth of an inch. The sides and ends come down flush with the bottom, and so conceal the deception. One of the ends works on pivots, the pivots being placed one-third of an inch from its upper edge; and near the lower edge on the inside is a little brass plate, with the centre keyed out. The ends, it must be understood, are fitted inside the sides. In the hollow of the bottom is concealed a catch, which protrudes just sufficiently to enter the aperture in the brass plate. No spring will be required to keep it in its place, as is usually the case, for if it be glued to the lower veneer, that will possess sufficient springiness for the purpose. The catch will of course require very neat adjustment, which is merely a matter of patience. It must be so arranged that the end is very easily closed, and opened with equal facility, by the mere pressure of a finger on the thin underside, providing the pressure is administered just under the spot where the catch is affixed. For facility in opening the box, it is usual to place two rounded pieces of watch spring on each side of the catch, adjusted so as to always bear just sufficiently against the end to cause it to fly open a quarter of an inch when the catch is released. These pieces of spring are fixed in blocks of wood glued into position for the purpose. I am not sure that the springs are not superfluous. They cause the end to fly open, certainly, and so expedite matters, but they are far from being noiseless. I have found the action of the fingers quite sufficient for opening the end. For the sake of strength, it is as well to fill in the end where there is no spring with a large block of wood. The interior should be lined with cloth or velvet, and a good lock and key added. The box is very useful for obtaining possession of any description of article that is fairly solid and that will go into the box. The following description of a trick performed with a watch will suffice to show how it can be employed:

Give the box and key into the hands of a lady, with the request to have everything examined and the lock tried. Keep very near whilst this is being done, in case of an accidental release of the catch. If there are no springs used, then this will not matter, as the end will not fly open with a "pop," as it otherwise would, which should be sufficient argument in favour of their disuse. Borrow a watch that has a light chain attached, and, winding the chain round the watch, have both placed in the box. Allow it to be locked and the key to remain in the lady's possession. Now take the box, and say, "Although there is no doubt that the box is securely locked, you may reasonably think that I have some secret means of opening the lock. To prevent the possibility of my doing this, will some gentleman kindly tie his handkerchief firmly round the box?" Hold the box in both hands whilst this is being done, by the opening end, and make a deal of fuss about the knot being tied securely. Open the end, and, tilting the box, allow the watch and chain to fall into the hands, turning round sharply to someone else at the same time. It is absolutely necessary to make a turn at this point to cover the abstraction. Give the box, at the same time closing it, into the hands of any one of the audience, with the strict injunction not to shake it—for fear of injuring the contents, you will say, but really to escape the revelation of the fact that it is empty. The watch and chain will be in the left hand by this time, covered by the wand. If there be any music available, have a little of the gentle rippling order ("The Brook" is a suitable air) played, and make passes in the air, as if clutching something, with the right hand. Finally make one vigorous clutch, and hold the hand closed for a few seconds, then open it, showing, of course, nothing. Instantly take the wand in the right hand and strike the sole or heel of the right foot, raised for the purpose, and then apply the left hand to the spot struck, the watch being allowed to drop down, a portion of the chain being held between the fingers. The several actions must follow each other with "one, two, three" briskness, when the effect will be really very fine. Naturally, it must be done far back upon the stage. Do not forget to have the knot untied by the person who tied it and the box unlocked by the lady who put the watch in. Be careful not to borrow a heavy chain. In my early days, I borrowed a huge watch with a chain only a trifle smaller than a ship's cable, and with about a pound and a half of charms attached. The result was the not unnatural one of a stoppage and visible embarrassment on the part of the performer. If there are no small chains about, rather borrow a watch without any at all. The use of the watch box does not in any way interfere with the introduction of the previously described watch-bending and glass-breaking surprises. They can come in as preludes.

It will naturally occur to the conjuror that the watch box may be used in connection with the watch target or loaf, the watch being merely placed in the box instead of pounded in a mortar. It will occasion the performer's leaving the stage on some pretext in order to get the abstracted watch or other article behind to the assistant, unless the method of placing it upon the shelf be adopted. I certainly object to the performer's absence from the stage as much as anything. If it must be done, then some suitable pretext (see The Restored Handkerchief) should be worked up to give it a colouring.

The watch box is a handy article to use in conjunction with The Magi's Brazen Rod, it being directly employed by having the rings placed in it. The rings should in this case be tied loosely together with a piece of ribbon, to ensure their simultaneous abstraction. The ribbon should be of sufficient length to enable the rings to be placed in the slits in the hollow ball side by side without the necessity of untying or cutting it. But on no account must the conjuror permit the convenient adaptability of the watch box to tempt him into using it more than once during the same performance. This is a fixed maxim which applies to all visible apparatus, and is one which should be always rigidly adhered to.

Tricks with Rabbits.—The gentleness and docility of the rabbit makes it, like the dove, a favourite with the conjuror, who does not hesitate to produce it from a hat, and to cause it to disappear from, and re-appear in, most unexpected places. The production of a couple of rabbits from a hat is always very startling, and requires a deal of doing. The animals are placed one in each of the large side pockets, where, if undisturbed, they will lie as peacefully as could be wished, and evidently perfectly contented with their lot. The success attending the transfer of the rabbit from the pocket to the hat will depend entirely upon the skill of the performer, and no middle course can possibly be admitted. It must be done well or not at all. The usual expedient of palming some article and introducing it into the hat directly it is taken into the hand will have to be resorted to, and the article should be of a startling nature. (A pack of cards does very well.) Whatever is put in must be emptied out on the floor, and, whilst stooping, or rather bowing slightly to see what it is, the performer brings the hat against his body and quickly introduces the rabbit into it. The animal must be helped in, as it were, by the body, and not dragged into the hat by the ears. So soon as it is in the hat, one hand should be placed under the crown, which, if not very strong, might otherwise be forced out by the weight of the rabbit. Produce the rabbit with all due affectation of surprise, and, whilst showing it about, allow it to fall. By the time it is picked up again, either by yourself or by a spectator, the second one is in the hat, and you express yourself anxious to know if the owner of the hat keeps a rabbit warren in it. So much for producing the rabbits.

A favourite and very effective method of conjuring with them further is to apparently rub one into the other. This is managed by the aid of the large centre trap. One rabbit is placed upon the table immediately in front of the trap, and the other pushed through the table behind it, a great show all the time being made of forcing one rabbit into the other. The remaining rabbit should be held up by the ears, with the rump resting on one hand, when, to the imagination of the audience, it will appear to be actually stouter than it was a few minutes before. The remaining rabbit you affect to wrap in a piece of paper, it being also passed through the trap, and the paper rolled up as though it really contained an animal, considerable agitation being communicated to it by means of the hands. The performer affects to lose patience with it because it will not remain quiet, and crushes the paper either beneath his feet or between the hands.

The reproduction of the rabbits (i.e., two duplicate ones) necessitates the employment of a rather elaborate piece of apparatus, unless the performer has a friend or two in the audience with rabbits in their pockets, the production of which has a good effect, but is seriously open to suspicion. The apparatus that is generally employed is a large glass vase or goblet, some eighteen inches or two feet in height, according to pleasure (or pocket). This has a zinc lining, in two halves, fitting exactly inside it, the halves being hinged to a slightly concave top, also of zinc. The hinges are on exactly opposite sides of the top. The whole is covered with glue and then spread over with bran. There is, besides, a large bell-shaped cover, usually of thin brass, large enough to conceal the body of the vase completely. In the centre of this, inside, is a catch, which is intended to pass through a hole made in the centre of the concave top of the zinc lining. The vase is prepared by having the zinc lining, previously loaded with two rabbits, put into it. It will then have the appearance of being full of bran, a quantity of which article is spread over the concave top. A raised rim round the hole in the centre will prevent the bran falling through. The vase is brought on by the assistant, and the performer takes some of the bran from the top and throws it off, and also thrusts a thin stick or wire through the hole to show that it goes quite to the bottom. He then shows the interior of the cover, that it may be seen to contain nothing, and places it over the vase, pressing it well down. The original rabbits are next manipulated at the table; and when that matter is settled the cover is raised, gently and slowly at first, and perpendicularly, bringing away with it the zinc lining, which opens as it ascends, and leaves the rabbits in the vase. The bran can be made to transfer itself into the drawer box, previously shown empty, if the same has not been before used during the evening. A much more effective and in every way a more preferable method is to cause it to make its appearance in a borrowed hat. This is best managed by giving the hat from which the rabbits were originally produced to the assistant to place upon the table. The performer at once engages the attention of the audience with the rabbits, saying that he will make the one eat the other, &c., and so enables the assistant to slip into the hat, whilst retiring, a bag of bran that is very loosely fastened at the top. This bag the assistant has had concealed under the coat. The hat is placed carelessly upon a side table, and the bran "passed" into it by the performer as if on an afterthought, so as to avoid any appearance of premeditated effect. The bran must be first emptied out, and the bag can be abstracted, rolled up in the hand, which is inserted for the purpose of clearing the lining of any stray flakes.

If the foregoing variations are all mingled in one trick the effect is very good; but the combination requires a deal of practice, and will prove trying at first.