A Novel Welsh "Rabbit."—Employ a tinman to make a saucepan of tin, the dimensions of which should be 7in. or 8in. in depth, and about 5-1/2in. in diameter at the widest part, which will be the top, from whence it should taper slightly to the bottom. To this have fitted an outer casing (A, Fig. 57), also of tin, that is 2in. less in height than the saucepan itself. At the line where the upper rim of the casing comes when the saucepan is fitted into it, have a beading (B, Fig. 57), either put on or hammered out of the metal. This will effectually conceal the fact that any outer casing exists, which will be regarded as the body of the saucepan. Into the saucepan fits loosely a secret pan, about 1-1/2in. only in depth, and into this again fits a lid, which is ostensibly the lid of the saucepan. The saucepan is provided with a handle, which must, of course, come from that part which is above the outer casing. The saucepan is prepared by having a rabbit placed in it, and the false pan put in, the lid lying loosely on the top. Holding it with one hand, and sustaining the casing, in which is a piece of cotton or cambric, by means of the pressure of one or more fingers, it is brought on, and going with it towards the audience, care being taken to hold it high, a hat is borrowed. Observe, on receiving the hat, that you intend making a stove of it, and then borrow a small handkerchief, which, you will explain, when you have obtained possession of it, you purpose using as fuel. As if indicating the meaning of your words, put the saucepan into the hat, and, on withdrawing it, leave the outer casing behind. Place the hat upon the table, with the saucepan beside it, and then, removing the lid, break an egg or two into the secret pan—apparently into the saucepan itself. Put in any ingredients you please, not omitting candle drippings, and then place the lid firmly on. Place the borrowed handkerchief into the hat, between its side and the tin lining within it. Pour some spirits of wine upon the piece of linen or cambric, and then set fire to it. Of course the audience, on seeing the flames, will suppose that the borrowed handkerchief is being burnt inside the hat, and mingled amusement and consternation will be exhibited. Do not allow the burning to last long, or the tin casing will become undesirably heated; but put the saucepan quickly into the hat, after affecting to cook the contents, and perform the double operation of putting out the flames and bringing away the casing. If the casing be too hot, the action of the heat upon the fingers will speedily make the fact known, so any further directions upon this point will be unnecessary. Remove the lid, which, if it fits as tightly as it should into the false pan, will bring that away as well, and then take out the rabbit. Return the hat, previously taking out the handkerchief, and point out that neither are injured; and also show that the interior of the saucepan is quite guiltless of any contents. If such a combination of apparent impossibilities as are presented in this trick do not astonish, then nothing ever will. It is a great trick for large mixed audiences. Doves or guinea pigs can be used as successfully as rabbits. I have even seen a kitten employed, but the difficulty was to get it into the saucepan.

The Bird and Card.—A very pretty stage trick this. The performer must procure what is known as a bird box, which is a pretty polished box, having a secret metal flap inside, the latter, when turned down, forming a retreat for a small bird, such as a canary. It is held down by a small catch, released by pressing the key into the lock from the outside, the double action being performed of setting free the bird and concealing the card. It is useless having such a box constructed, as it can be much more satisfactorily procured of the proper vendors. Two small cages are also necessary. They may be round or square, but, in either case, should be all wire, like a rat trap. This is merely to give them an innocent appearance. One of these cages is concealed on the shelf, behind the table. The performer borrows a hat, either for this or a preceding trick (preferably the latter), and gets the empty cage into it. This is best done by placing the hat upon the table, the opening towards the rear, and leaving it there for a time. Then, when carelessly shifting its position, the article required to be got into it may be inserted with less suspicion. In the second cage is a bird, precisely similar to the one concealed in the bird box. Place this cage upon the table, and cover with a double cloth, having inside a card-board shape. A card is forced on one of the company, and placed in the bird box, in a little slit which will be found there, just over the hinge of the secret flap. The inside of the box may be carefully exhibited at a slight distance, the blackened interior preventing anyone from noticing the presence of the turned down flap. Whilst affecting to lock it, the key is pressed hard in and the flap released. In flying back this covers the card. The performer commences by extracting the card. This he can do by having a duplicate concealed in a card-box (see page 127), and causing it to appear in that; but it will look more artistic to have one palmed and affect to extract it from the box. This done, the cloth is raised by the shape, the cage being left upon the shelf. The cloth is then shaken out and laid flat upon the floor. The box is then opened and the bird allowed to fly out, if tame, or taken out in the hand, previously shown empty, if wild. The performer will derive a great advantage from having a tame canary, which returns to his shoulder. Finally, the hat is brought forward and found to contain the missing cage.

CHAPTER XVIII.

SHAM MESMERISM, CLAIRVOYANCE, ETC.

Clairvoyance.—This is one of the most mysterious agencies with which the scientific world has ever had to deal. Doubted by the majority, because of its seeming improbability, and because of the difficulty of comprehending it, the faculty of clairvoyance or second sight has, nevertheless, been possessed, and is possessed, by not a few. Some marvellous manifestations of seeing without the eyes have been shown, and in a manner sufficient to convince even the most sceptical of its reality. This faculty has often been imitated by conjurors, some of whom have fairly admitted that they were only imitators, whilst others have assumed possession of the actual power itself. At that now defunct institution, the Polytechnic, and other places of amusement, cleverly arranged telegraphic communication has been the means adopted for bringing a person on the stage en rapport with another amongst the audience. I would not recommend the amateur to take any serious trouble in the matter, but to merely make himself master of a few tricks relating to it. A very simple one is performed with the aid of a pack of cards. An assistant is blindfolded on the stage, and placed with his back to the audience. Before proceeding any farther, the performer explains that, beyond a certain point, he will neither speak nor make any sound or movement, lest it should be said that he conveyed information to the assistant. He then proceeds to "force" three or more cards in an order previously agreed upon, and the holders thereupon ask of the assistant, as the performer has previously instructed them to do, what the names of the cards are. The performer must mentally reserve to himself the right of pointing with his wand to the person who is to speak next, so as to ensure the cards being asked for in the proper order.

Instead of using cards, the performer can distribute slips of paper amongst the audience, for the purpose of having short sentences written upon them. He has a piece of paper of his own previously prepared, with a sentence upon it that is known to the blindfolded assistant. The papers written upon by the audience are folded up and placed upon a tray, or the crown of a hat, each some distance from the other. Whilst doing this, the performer contrives to effect an exchange between his own paper and any one of the others, it does not signify which. He then asks one of the audience to select one of the papers, and, manipulating the hat or tray adroitly, "forces" his own. Before it is opened, the assistant is requested to say what is written upon it.

This trick is farther elaborated as follows: The performer hands round a fair quantity of paper slips, and asks the audience to write what they please upon them very plainly. As it is advisable that whatever is written should be brief, it is best to ask to have the names of celebrated deceased persons only written. The performer has a piece of his own, previously written upon and folded, concealed in his hand. Supposing this to be in the left hand, the right takes a folded slip from one of the audience, and, under pretence of putting it into the left, for the purpose of handing it to another person, an exchange is effected, and the performer's own piece given instead. The learner will know the proper "pass" for effecting this by this time. The performer then says that he will go upon the stage and from a distance read what is upon the paper. He does so, and seizes the opportunity for rapidly opening the paper of which he has just become possessed, and of reading the name upon it. If much were written upon the paper, it would be impossible to read its contents in the limited space of time at the performer's disposal. When he turns round there is of course no trace visible of what he has been about, and he then proceeds to read the name on the paper held by one of the audience. This he does not do readily, but first names the sex of the person, and then the capital letter of the name, as if it were only developing itself by degrees and through some very mysterious medium. The first paper duly read, a second one is taken, exchanged as before, and borne off to the stage, to be read in transit. This process can be repeated any number of times, although four will be found quite sufficient, as it is a harassing trick to perform. An excellent finish is to "force" a previously prepared paper, and then have it burnt, after it has been read aloud by one of the audience. The ashes are collected and rubbed upon the conjuror's bare arm, upon which the name then appears in black. This is contrived by having the name written upon the arm in glycerine. This will be invisible, but if the ashes be rubbed lightly upon it they will adhere, and so show the name. There are chemical preparations used for the same purpose, but the method described here is by far the most simple and practicable. With this trick "Dr." Lynn created a great sensation for several months, some years ago.

Anti-Spiritualistic Tricks.—In the introduction to these papers I had occasion, the reader may remember, to refer to the impositions practised by the ancient priests and others on the minds of an unenlightened people by means of what were merely conjuring tricks, but which were made to appear before the ignorant in the guise of supernatural manifestations. Few will require to be reminded of the excitement that has of late years existed concerning spiritualism. One would have thought that, in these days, people would have been above believing that the spirits of the departed would be permitted to return to the earth for the sole purpose of answering questions and indulging in tomfoolery; but such is the simplicity of mankind, that those who have had the boldness to declare themselves capable of raising the dead, and to dress up themselves or others in muslin or newspaper, have not lacked faithful followers. The malpractices have been going on for years, and many shameless impositions have come under my notice. The victims, it will not cause astonishment to hear, were mostly weak-minded ladies, and the spirits have had the remarkable discernment to visit only those who were well provided with worldly comforts, backed by an amount of confiding simplicity wonderful to contemplate. The exertions of several amateur, and some professional, conjurors have succeeded in proving to all minds open to the workings of common sense that all those professing spiritualism as a means of gaining a livelihood are neither more nor less than scoundrels. But of course there are still thousands who would be as much imposed upon as ever by any white figure seen after dark, and, in a private way, the spiritualists are still reaping a rich harvest. Towards clearing away this darkness, conjurors, both amateur and professional, can do a great deal, and there is a definite and worthy task before them, which they can best perform by exhibiting such phenomena as are produced by spiritualists at their exhibitions by avowedly natural means. By this means ridicule, which nothing can survive long, will be thrown upon the black art, which is merely conjuring put to base uses. A performance consisting entirely of sham spiritualistic manifestations I have found take exceedingly well, especially with audiences who have seen something of conjuring, and who are not averse to a change in the programme. I do not agree with pretending to call spirits to one's aid, for it smacks of irreverence: the performer should merely explain that what he is about to do or has just done by simple dexterity is brought about by the spiritualists with the asserted aid of familiar spirits. A simple trick which seems well to commence with is—

The Mesmerised Poker.—The performer seats himself with his legs apart, and, taking a poker, stands it up on one end before him. On removing the hand the poker falls, but, after two or three fruitless attempts, it remains standing without the aid of any visible support. This is very easily managed by having a fine piece of black cotton attached to the calf of the trousers by means of a bent pin at each end. It need not be so long as to drag on the floor, and the performer can walk about with comfort and without fear of detection. The action of opening the legs draws the thread out straight and tight, so that the poker can rest against it when it is required to cause it to stand upright.

The Perambulating Walking-Stick.—This is a very amusing trick, in which a walking-stick is made to walk across the stage by itself. The invisible agency is again a fine black thread. On a stage provided with "flies," it is managed from above, in which case the only direction required is to affix one end of a thread round the head of a walking-stick, and convey the other end above to an assistant. By means of this thread the walking-stick is made to progress across the stage by means of little jumps. But on the drawing-room stage the matter is not quite so easy. Two threads will be required, and they must lie across the floor when the curtain is drawn. If possible, an assistant at each wing should hold the ends, but when one assistant only can be obtained, he must do the best he can from one side, the ends of the thread on the other being tied to the back of a chair, about the height of a walking-stick from the ground. The walking-stick should be provided with a substantial head, and the performer must hand it round for minute examination. He then takes it back to the stage, and flourishes it vigorously to show there are no threads or wires anywhere about. The instant the flourishing portion of the business is over, the assistants must raise the threads to the proper level, and one of them, by crossing his hands, causes the threads to cross each other at about the middle of the room. The performer then places the stick, with apparent carelessness, upright on the floor, but, as he takes care to place it between the threads just where they are crossed, it does not fall on the one hand being removed from it. The assistant who has crossed his hands now uncrosses them, which action has the effect of holding the stick tolerably firmly between the threads. On receiving commands from the performer the stick is made to dance, fall down and jump up again, and walk either to the right or to the left. If it is to go to the right, the assistant on that side lowers his hands slightly, and the one on the left administers a succession of jerks to the threads, which will cause the stick to progress by means of a series of jumps. These jumps can be made alternately long and short. As a final exhibition of skill, it can be made to turn a complete somersault, by both the assistants swinging their hands round in complete circles. For this it will be necessary to have a good head to the stick. When the performance is finished hand the stick round again for examination. In my opinion the trick shows best in a room, where the audience know there is no means of concealing anyone above.

The Ascent can be performed by means of the same threads. Books, pieces of music, &c., are laid upon the floor, and rise slowly or quickly, and remain suspended in the air, where they can be made to rock about. Of course, they are simply laid upon the threads, the ends of which are then raised evenly and simultaneously. The best ascent is a sudden one, as being the most startling.

The Talking Glass.—Provide yourself with a tall, thin, and well-sounding glass vase. At a pinch a thin soda water tumbler will do. Across the room and above the table have a piece of thread or fine wire. Show the tumbler or vase round, and then place it upon the table, or on the top of an inverted tumbler, which will serve for the purpose of showing that there is no deception beneath, and will also act as a sounding medium. An assistant at the side draws the thread close against the side of the glass, and it is stretched as tight as is consistent with safety. The glass is now made to talk by means of sharply emitted sounds in answer to questions, a small code of signals being established. One sound means "yes," two "no," and so on. These sounds are caused by the assistant catching at the thread sharply with the nail, which will cause a distinct ring to come from the glass. The principle is very simple, but I have never known anyone but myself adopt it. The performer must endeavour to make his questions amusing, and, as the powers of speech possessed by the glass are but limited, they must not be too severely taxed.

If a tumbler be suspended from the wand by means of a thread tied loosely round the wand and tightly round the glass, a sound will be emitted on twisting the wand ever so slightly. With practice this movement can be made almost imperceptible. If the onlookers begin to look at the hand and wand too much the display must cease at once.

The Spirit Bouquet.—One of the most usual, and at the same time most shallow, of deceptions practised by the "spiritualist," is that of the production of flowers. The gas is (of course) lowered, a few irreverencies gone through, and, on the room being re-illuminated, lo and behold, the table and floor have flowers lying upon them! As, of course, the manifestors of these wonders could not by any possible means have the flowers in their pockets on entering the room—even if they thought of practising-such a deception!—the spectators are struck with wonder. However, I shall teach the reader how to perform an even greater marvel, by causing a bouquet to glide through the air into his hand without the assistance of total or partial darkness. The bouquet can be either real or artificial—a real one, certainly, for choice. Take a piece of the finest iron wire procurable (jewellers' "binding" wire is the proper article), about 6in. in length, and tie it firmly round the stalks of the flowers, just below the buds. The other end tie round the centre flower, which is always a little higher than the others, and you will thus have a loop about 4in. in length. If the centre flower be not higher than the rest, then re-arrange the bouquet, and make it so. It is essential to have one end of the wire tied on considerably higher than the other, in order that the bouquet may hang properly. If both ends were tied round the main body of the stalks, the bouquet would hang upside down, whereas it should, when suspended by the loop, be almost upright, or, at least, only slightly on one side. From the most convenient position behind the scenes, which will depend entirely upon circumstances connected with the arrangement of the stage, have another piece of fine wire hanging, with a loop made in it at one end long enough to reach the centre of the stage. The spot usually the best for attaching this wire is at the side, as near the audience as possible. On a regular stage the "flies" are most suitable, but in the drawing-room, where there are usually folding doors and curtains (without them this trick cannot well be managed), the side must be chosen. When the trick is about to be performed, the bouquet must be put on the wire by means of the loop, and an assistant in concealment mounts a pair of steps with it and holds it in readiness. The end of the wire is so disposed that the performer can without difficulty insert his little finger in the loop thereon, under pretence, say, of shifting a chair. He then retires towards the centre of the room until he feels that the wire is drawn perfectly tight, and then proceeds to speak of the wonderful productions by humbugs, done in the dark, and finally finishes up by saying that he has only to extend his hand in the air to find something in it. With the hand that is not holding the wire he makes a grasp in the air, and at the same moment opens the other hand, taking care to pull the wire quite tight. The attention of the audience is naturally momentarily attracted towards the hand making the greatest movement, and at this very instant the assistant starts the bouquet down the wire. The performer, when the bouquet has reached his hand, which it will do with remarkable swiftness, exclaims, "Ah! no; here it is, see, in this hand;" and, ridding his finger of the wire, brings the bouquet forward, of course keeping the loop upon it from view. When the performer's actions have been well contrived and carried out, the bouquet is not seen until it is almost in the performer's hands; but, under less fortuitous circumstances, which are all I bargain for myself, the trick is wonderfully successful. The fact of a small portion of the aerial journey of the bouquet being observed is not by any means undesirable, the only thing to be kept from the view of the spectator being the commencement of it. The communicating wire must be fixed some distance behind, so that the bouquet is descending at full speed by the time it comes into possible view. The reader will see that the principle is so simple, as to be almost commonplace, but he must not deride it on this account. The most natural actions possible must be brought into play, and plenty of rehearsals will be required. The reason for having the loop of the wire upon the little finger is that the safe arrival of the bouquet is better ensured thereby. The little finger must be kept undermost, the hand being at an angle of forty-five degrees, with the wire lying across the palm. A great deal lies in the neatness with which the bouquet reaches the hand. There must be no bungling. Therefore I say, Rehearse.

The Slate Trick.—Everyone will naturally wish to know how this is done. "Dr." Slade, as Mr. Maskelyne correctly showed in open court, produced his "spirit writings" on the slate by means of a thimble-shaped instrument, to which were attached a piece of pencil and a length of elastic. The elastic was fastened to the brace, or elsewhere, and caused the disappearance of the thimble and pencil up the performer's sleeve when they were no longer required. Under the table was a little ledge which supported the slate whilst the hand, which was supposed to be performing that action, was busily engaged in scribbling upon the bottom of the slate, the thimble arrangement enabling one of the fingers to execute certain letters in a very poor and scarcely legible fashion. The bad writing was supposed to look more mysterious; but Slade would have written more legibly had circumstances permitted it. Anyone may try this method, but as a conjuring trick it is poor. The trick as now sold is a slate with an extra or false interior. The answer that is to be given is written upon the genuine slate, and the false side then put on. The slate is shown casually round without leaving the performer's hands, and a question is then written upon one side of the slate, which is waved about, and an opportunity seized for allowing the false side to drop out behind the table, or at any other convenient place, and the answer is then exhibited. If the inside of the false slate have blotting paper pasted upon it, and a blotting pad be upon the table used whilst the trick is being performed, it may be allowed to drop out upon the table without any attempt at concealment.

Fiery Hands, Writings, &c.—With the aid of phosphorus a very innocent dark séance can be given. The principal thing is to have the gas under control. This lowered, or turned completely out, for preference, the rest is easy enough. Bunches of cotton wool, or tow steeped in phosphorescent spirits, obtainable at any chemist's, placed upon the ends of fishing rods, create a good effect when protruded over the heads of the audience, and there waved about in circles. A washleather glove, stuffed with cotton wool, tied to the end of a rod, and wetted, is diverting, not to say alarming, when dabbed suddenly in the face of one of the audience. Imagination will fancy it the clammy hand of death. Care must be taken to withdraw it very suddenly. The best way is to have it swinging from the end of the rod, when it retires out of reach of a possible "grab" by virtue of its own impetus. The glove must not be phosphorescent. Japanese fishing rods, with the joints sliding one within the other, will be found very useful. A good effect is produced by the performer allowing himself to be tied to a chair, to which his arms are firmly bound, and the knots sealed by the audience. His assistants, having first removed their boots, can come on and manage everything, and, as a final effect, one of them has some words or characters written upon his arms and hands, or simply has them smeared with the phosphorescent preparation in use. He then kneels behind the performer's chair, which he must approach either backwards or with his coat on, and then extends his arms from the performer's shoulders. The form of the hands and arms will be seen, and it will appear as if the performer had loosened his arms and was exhibiting them in a fiery condition. So soon as the assistant is again out of sight the gas should be turned up, leaving the audience in a state of bewilderment. The most childishly simple things can be perpetrated in the dark, when the mind is by nature more easily imposed upon than it is at any other time. The simple expedient of someone coming on the stage in his stockings, after the room has been darkened, and, by turning back the sleeve, exhibit some words written upon the arm, is a very good illustration: it is impossible for an ordinary mind to divine how the sudden appearance of the writing in mid-air is managed. The arm must be extended horizontally before the sleeve is drawn back, and it must be kept so extended until the writing is again obscured. This is essential. The slightest expenditure of ingenuity and thought will produce other effects, which will vary according to circumstances and situations; whilst careful preparation will meet with its usual and deserved reward.

The Electric Touch.—The performer may, if he pleases, either commence or conclude those portions of his entertainments which have to do with mesmerism with a bogus explanation of the forces latent within him, the result of a natural gift. He must purposely make his elucidation a little far-fetched, in order to raise a smile, or even a remark, of incredulity. This gives him the desired opportunity for offering to practically prove the truth of what he states. Advancing to the company, he asks one of the spectators to extend his hands in front of him, palms downward. Standing immediately opposite this gentleman, the performer rubs the back of one of his own hands with the fingers of the other, and reverses the operation. This he continues for a quarter of a minute or so, and then suddenly extends his hands over the backs of those held out before him, an inch or two removed. The spectator feels no shock, so the performer continues his rubbing, and, at the third or fourth trial, the spectator jerks one of his hands away, a slight electric shock having been communicated to him. The experiment may be repeated as often as the performer pleases. A little pin is the cause of this marvellous manifestation. This the performer has about him (stuck under the vest is the best place), and often, in gesticulating, indirectly showing the hands to be empty, it is got down, with the head between the first joints of the first and second fingers, where it can be held firmly, of course pointing downwards. The nibbing of the fingers of each hand alternately upon the back of the other indirectly points to the absence of anything of the protruding nature of a pin being held in them, so the assumed excitation of electricity by friction is not the only reason for the action.

It adds to the effect when the production of the shock on the first experimenter comes only at the third or fourth attempt. With others, it may safely come at the first or second, if the performer be careful to explain that, the electric power once worked up, very little is necessary to keep it going. The rubbing is kept up throughout. The shock is, of course, produced by bringing the hand holding the pin nearer and nearer to the one beneath it, until the pin's point touches it. The touch must be as delicate as possible, as then an after feeling is experienced which necessitates rubbing. If the point enters the skin, the presence of the pin is at once detected. It being so absolutely necessary to the success of the trick that the touch should be very delicate, the use of fine entomological pins is recommended, but they must not be too long. The performer will do well to fail to produce shocks on some of those experimented upon at first, a return to them being necessary when the electric power has accumulated. Any particularly healthy and rubicund person may as well prove quite impervious, the performer explaining that the strength of mind present is too great. The company will judge by the person's healthy exterior, forgetting that, notwithstanding, the mind within may be nothing very great. As the performer is standing and the company sitting, he must slant his hands downwards, or the pin will be seen. The hands experimented upon must, for the same reason, be kept low. Should anyone suggest a pin, that article must be at once dropped, the performer being, of course, provided with reserve ones. This part of the trick is very seriously carried out, the performer congratulating himself and the company upon a state of atmosphere which enables him to exhibit such satisfactory results.

The Animated Skull.—The performer places two ordinary chairs, which may be examined, back to back, and a yard or so apart. Across the backs he lays a piece of plate glass, previously examined, a perfectly transparent table being thus formed, and one, as the performer will explain, impervious to electricity. Upon this table the performer places either a real human skull or else a pasteboard imitation of one. The imitation is recommended, the performer explaining that the reason for its use is that the feelings of some might be shocked, which really might be the case. The skull is examined previous to being placed upon the table, the company being safely depended upon for not noticing anything suspicious in the fact that the underside is very much rounded. The skull now answers questions, giving one nod for "Yes" and two nods for "No." What questions are asked must depend upon the wit of the performer, and the nature of the company assembled. Arithmetical problems should be solved, as the skull can give any number by means of nods. As a finale, the skull is asked if it would like to continue the performance, to which a couple of slow shakes are given.

Our old friend, the black silk thread, is at work again here. A piece is stretched across the stage, tied up out of harm's way when not in use. As soon as the skull is placed upon the glass the thread is brought down to the level of the mouth, and made to enter there. The imitation article has a deep indentation at this place. In other cases the thread is brought under the projecting nasal bone. A slight movement of the hand causes the skull to nod, so long as the thread is in position, and the performer may pick it off the glass at any moment, to show that no connection exists. The slow shake is done by manipulating the thread sideways. It cannot be prolonged, as it tends to work the skull off the glass. The rounded underside is to render the rocking movement easy. In some cases a tiny bead of wax is fastened upon the thread, and this affixed to the skull, at the back.

CHAPTER XIX.

FINAL INSTRUCTIONS.

Having at length brought the beginner to that point where he will first have to shift for himself in real earnest, I wish to leave him in a position to do credit to my tuition, and, with this object, impart a few hints for his guidance.

On the subject of practice, I would not say any more if I could. By this time, it must have become so evident to everyone that nothing can be brought to any degree at all approaching perfection without assiduous attention to detail, that any repetition of my often-expressed injunctions to practice would become nauseating. But I ought to say something regarding the best method for learning new tricks or sleights from the foregoing text. It is a bad plan to read the description through, and then immediately try to produce the result right away. The whole trick should certainly be read carefully through first, so that the mind fully grasps what is required to be done; but, after that, the hands should be made to follow, step by step, the instructions given, and no progression made until it is certain that all is correct up to each point. It will be readily understood that my instructions have not been written without a large amount of care, or without making a due allowance for the great difference between teaching by word of mouth and by book. In many instances, a single word explains a great deal; so, if the reader scans the page carelessly, it is very possible that he may miss the point altogether, and perhaps conclude, in his own mind, that I am a charlatan and an impostor. With cards, this careful following of the text with the hands is especially essential, and attention to it will save much time, trouble, and annoyance at the outset, when everything new will naturally appear difficult, if not absurd. Thus much for the beginner. When he arrives at the dignity of an actual performer, let him be careful to prepare, and learn by heart, a little set speech to commence with, and also the accompanying talk for each trick. When he has exhibited for a year or two, he will perhaps be able to dispense with such preparation; but, at the commencement, few, if any, can do without it. The first appearance before an audience is in itself sufficiently unnerving, without any additional embarrassment in the shape of a consciousness that you do not know what you are going to say. Notwithstanding the most careful preparation, something is sure to go wrong at first, and unexpected difficulties will crop up on all sides, and to meet these successfully will require all the energies of the performer. It does not signify how superior the individual's natural aptitude or oratory may be—the task is too great for anyone at starting.

For the first few "shows," it is as well to perform such tricks as do not require the assistance of an attendant, for the performer must be entirely master of the situation, and dictate to his assistant at pleasure. This he could not do with freedom if he were uncertain about his own powers. Let it also be borne in mind that assistants are like money, which, when good, is a valuable acquisition, but, when bad, only gets one into trouble. Have no assistant at all rather than a bungler, or, what is, if possible, worse, one who endeavours to attach to himself some degree of consequence in the minds of the audience. Except when it is to assist the trick, he should never open his mouth, and all his work should be done as silently and unobtrusively as possible, without absolutely scurrying away. His presence on the stage should be as brief as possible, and his appearance must always be excused by the performance of some very insignificant and subordinate task. The best assistant to have is one who looks so stupid that the combined efforts of fifty conjurors could not drum into him the method for making the "pass." The worst is the one who conveys by his appearance and actions that he "knows all about it." The spectators at once attribute the greater portion of the results to his agency—not incorrectly, perhaps; but it is unnecessary that they should have any cause to do so. On no account should the attendant attempt to perform any impromptu act, however clever he may be, for he is sure to confuse the performer by so doing, and so lead to awkward results.

On many occasions, it is inconvenient, or, at any rate, highly inadvisable, to take the conjuring table. At the houses of friends it is exceedingly difficult to keep everything secret without being absolutely rude. The host (possibly followed by a friend or two—"men who understand things of this sort, you know, so you needn't be afraid") is nearly certain to take the fullest advantage of his position, and to penetrate into the performer's sanctum with all possible alacrity, and there worm from him valuable secrets. Of course, he wouldn't dream of telling anyone, not he; yet, somehow, if the tricks are exhibited on another occasion, the juveniles display an inexplicable and annoying knowledge of the why and the wherefore of them. It is of no use to say, "Oh! but no one would take the liberty," and such like; my experience teaches me (and I do not think that I, in particular, have fallen among thieves) that they do, so there is an end of it. Such articles as multiplying balls, cups, reticules, &c., are easily put out of sight; but an unwieldy table is quite another thing. Of course, immediately the trap in it is discovered, away goes your reputation for miraculous sleight of hand; and, when you really do exhibit a genuine specimen of it, you will not get credit for it. No, no risks must be run on this head—that is, if the performer cares anything for his reputation.

As an excellent substitute for the table, I have an oblong box, the rough dimensions of which are 18in. × 8in. × 6in. It has a removable sliding lid, and is covered with a dark cloth. In this I carry such of my belongings as will go into it; so, when it is seen during the performance, it is only regarded in the light of an ordinary deal box. One of the 8in. sides, however, has a trap cut in it, with a little bag inside the box for catching articles passed through. The box, minus the lid, and plus such articles as would be ordinarily placed upon the shelf, is brought boldly on, along with some of the articles which the performer will first require, as a "blind." It is placed carelessly down within three or four inches of the back of the table, with the open side, naturally, at the back, and the trap uppermost. The table itself plays the part of the shelf, and articles are now and then placed upon the box, as they would be, in the usual way, upon a table.

Another way, much more deceptive, is to have a trap made in the top of an ordinary high hat. The crown lining should form the bottom of a collapsible bag, so that the inside of the hat can be first shown, but, so soon as it is placed upon the table brim downwards, the bag falls down. The brim should be tolerably flat, as the hat should not rock about. The crown itself will require some strengthening material, such as very thick pasteboard, glued to it before the trap is cut out, or the latter will curl up in an unseemly way. This trap hat serves for vanishing articles only. Its presence is very opportune at times. The presence of the shelf is by no means indispensable; indeed, I may safely say that I do not require it myself, except in important performances. If it be inconvenient to take the table, a programme can easily be arranged so as to dispense with the shelf entirely, but, if it can be used, then, by all means, make the most of it. Young conjurors must avoid the error of adapting their tricks to the shelf, instead of the shelf to the tricks. Experience will show what an astonishing quantity of things can be concealed in the large breast and tail pockets for hat "loading" purposes. The tail pockets will carry a bundle of fifty cups with ease, and without fear of detection; and when these can be introduced, and produced without once leaving the audience, I need hardly say that the effect is considerably enhanced. When you are using a table, be careful never to go behind it without some good reason, and let your stay there be as brief as possible. Stand at the sides as often and as long as you like.

The arrangement of the stage and the seating of the audience are matters of vital importance, and due regard must be paid to angles of vision. One of the greatest bug-bears a performer meets with in private audiences is he (no lady ever sins in this way) who, under pretence of being at hand in case of need, or by means of some even more transparent excuse, plants himself, in close proximity to the stage, between it and the body of the audience. It is all very well for the reader to say, "Oh, but I would never allow that under any circumstances!" If he be young, he will find that people will patronise him, do what he may, or be as clever as he will; and it is in the interest of the young beginner that I am making these remarks. There will generally be somebody who thinks himself a privileged person, and who will put himself just where he is not wanted. We know what mean things people will do for money: to find out the secret of a conjuring trick they will descend almost as low. I am not romancing, but stating plain truths, such as have forced themselves upon me time after time. Under these circumstances, the table should be placed as far back as is possible or convenient, and, if little tables are used, they should be well on one side and not too far forward. But more important than this even is the placing of some large object, such as a vase with flowers on a pedestal, a statue, or such like at each corner, as it is from thence that the best view of the conjuror's secrets can be obtained. A person stationed at a corner can see half of what the performer does in the vesting line, and he has an unfair advantage, which must not be permitted, when avoidable. If a pianoforte be in use, by all means put it close to one of the corners. Curtains are not of much use, as they are easily pulled aside. If he have the opportunity, let the performer arrange the seats himself, and also take the bearings of his table from the corners. Be careful that no looking-glasses are in a position to reflect back to the audience those things which are not meant for them to see, and have the light as evenly distributed as possible; but do not have any candles or lamp on the table. I object even to an upright candelabrum being placed at each front corner. They are in the way.

Programmes are a decided addition, and they should be made as interesting as possible without foreshadowing what is about to follow. The cheapest way is to have a quantity printed, with the performer's complete catalogue upon them, numbered, and then the numbers of the tricks to be performed can be announced in any convenient way. This will only do for private audiences. In performing in public the case is entirely altered.

By all means call in the assistance of a pianoforte; but see that the player of the instrument is one who will not be likely to egotistically launch out into any brilliant fantasia. Waltzes, and such pieces as can be stopped suddenly, should be chosen. The performer must be as quick as he can between tricks; but to a waiting audience one minute seems ten, so it is quite necessary to have a little music when it is obtainable. The player should finish off directly the performer comes on the stage, without waiting for any word or sign. In such a trick as the Rising Cards a little "magic music"—of the gentle trickling order—will be found very effective. The cards would ascend to the music.

The performer should always provide himself with a private programme, to be hung or pasted up behind his screen, or wherever his retiring place may be. On this programme should be detailed every property of each trick, down to the veriest trifle, for on trifles, be it remembered, often depends the whole success of a trick. It is also well to have written down beforehand what articles should be upon the shelf at the commencement of each part, and any preconceived pieces of appropriate wit should be put against the particular trick to which they belong. These precautions will save the performer—the beginner more especially—a world of trouble and anxiety. As a trick once written out is done for ever, it is as well to have each one on a separate card. In this case the writing out of an elaborate programme before each performance would be avoided, besides which the cards are more portable. Have the properties of each trick complete. If a knife be required in three tricks, have three knives, and not one, and let this principle be observed throughout. It is as easy to take three knives as one, and there is, besides, the comforting assurance that one will be at hand when wanted.

Do not perform longer than forty-five or fifty minutes at a stretch. Both performer and audience are the better for a short rest at the end of that period, and an interval of ten minutes or so should be allowed. This will enable the performer to re-arrange his shelf, which should always be kept as clear as possible, and to remove articles from the trap bags, &c.

Above all things, keep the hands warm, and for this purpose be provided with a pair of woollen gloves, which wear indoors as well as out, previous to a performance. No one can palm with a hand like ice.

I do not know that I can say anything more without repeating what has already appeared in connection with such tricks as seemed to me to afford the most appropriate opportunities; so my work is done.

To use the words of Byron, "I have nothing further to add, save a general note of thanksgiving to readers, purchasers, and publishers," and to wish the learner all success—but only according to his deserts—with as much true enjoyment as has been experienced by me in the pursuit of Sleight of Hand.