The Restored Handkerchief.—This title will doubtless apply to many tricks with handkerchiefs, so, if the performer thinks it too general, he can find another of his own for this particular trick. Herrmann called it Le Mouchoir Serpent, from the fancied resemblance to a snake which the handkerchief was made to take at one stage of the trick. For it the performer must have prepared a lemon, with a small handkerchief inside. The way to operate on the lemon is as follows: Cut off one end—the apex is the best—and then, by means of a spoon, take out the whole of the interior, being careful to remove the inner white skin. Push in the handkerchief, replace the portion of lemon which you cut off, and sew it carefully on with yellow cotton or silk. The first lemon or two are rather tiresome to prepare, but after a time the job can be done very quickly and neatly. The method of sewing which should be adopted is that known as "under-sewing," and it will be necessary to guard against including the handkerchief itself in the stitching. As the handkerchief placed inside is meant to be subsequently destroyed, it need be of the very commonest description only. It can be obtained for three-halfpence. On the centre table have a small scent-bottle, with methylated spirits, a lighted candle, a common plate, and a knife. Concealed in the palm of one hand are about ten pieces of cambric, each about three inches square, and properly hemmed. Under the vest is a piece of cambric two inches broad and about four feet long, doubled, not rolled, up. Behind the scenes are a couple of pieces of thin wrapping paper about nine inches square. In the hand not occupied by the pieces conceal the prepared lemon, and advance to the audience. Pretend to see something in a gentleman's hair, and, after fumbling in it, produce the lemon. Let several persons smell at the fruit, taking care to present the better-looking end, in case your sewing has not been very successful. Of course, the lemon must not leave your hand, except to be tossed once or twice in the air, to show that it is real. Place this lemon on a side table, and there leave it, with the sewn-up end from the audience.

Now borrow a small handkerchief, the smaller the better but do not take one that is much ornamented with lace. Turn to a gentleman, and, whilst asking him to stand up, roll the handkerchief up carelessly in the hand, and, working it round the bundle of pieces which you have concealed, bring it underneath and let the pieces appear at the top. This can be done in an instant whilst you are talking with the person whom you wish to assist you. Give the bundle of pieces, which the audience will think is the handkerchief, to him, with instructions to rub it gently in the hands. You have, in the meantime, taken care to keep the exchanged handkerchief well concealed in the palm. Retire to the stage, and, whilst mounting it, vest the handkerchief and take in its place the doubled-up long piece, which keep concealed by means of the wand. Ask your assistant how he is getting on, and explain that you wish him to rub the handkerchief so small that it can be passed inside the lemon. After a little rubbing has taken place, ask him to open the handkerchief out, to see if it is any smaller. Of course, when he attempts to do so, it will drop about in pieces, to everyone's astonishment. Affect great annoyance, and advance, saying that the trick is now spoilt all through the handkerchief being rubbed the wrong way. Collect the pieces together, and, rolling them up, exchange them in the hand for the long piece. This exchange may at first seem very daring and difficult, but, if care is taken always to have the piece or pieces concealed well down in the hand before the substituted article is removed, there need be no fear of detection; only the performer must go right at it, and not falter in the least. Give the long piece to your assistant, and tell him to rub it this time with the left hand. Whichever way he rubs you must say is the wrong one, and finally ask him to give you one of the pieces that you may show him what you mean. In his attempt to give you one of the supposed pieces, he will unroll the long piece amidst much laughter. After suggesting that the gentleman pays for the destroyed handkerchief, rub it up in the hands and "pass" it into the lemon. For this purpose, it may be rolled up on the table, and passed down a trap.

Instead of "passing" with the hands, it is in every way neater and more effective to use a conjuring pistol, which is loaded with the handkerchief and then fired. This pistol will have to be provided with a large tin funnel, so constructed that the tube portion, which must fit the barrel of the pistol closely, extends for a long way inside the funnel. When a handkerchief, or similar article, is rammed into the funnel, care is taken that it goes around the tube so that, on the pistol, which has been previously loaded, being fired, the flash passes harmlessly down the tube. The mouth of the funnel must never, by any chance, be seen by the audience. These pistols, which are exceedingly useful at all times, can be purchased at conjuring repositories; but it is easy for anyone possessing an ordinary pistol to have it fitted with a funnel by a tinman.

Suppose the long piece either "passed" or fired out of the pistol, take the lemon and cut it open with the knife, and pull out the handkerchief that was already in it. Pretend to advance for the purpose of returning it to its owner, but suddenly discover that it smells of lemon. Say that you will put some scent on it, and, placing it upon the plate, saturate it with spirits from your bottle. Whilst advancing a step or two, to inquire if it is enough, your stage attendant enters and quietly sets light to the spirits with the candle. You turn back and nearly burn your fingers, and start aside horror-stricken.

A slight scene now takes place between you and your attendant, who insists that you told him to set fire to the handkerchief. Run down to the audience with the plate and its blazing contents, asking the owner of the handkerchief to take it in its present state. Turn back and drop it on the floor of the stage, and then go behind the scenes, where quickly take the original borrowed handkerchief from the vest, and wrap it in one of the two pieces of paper (it will add to the effect if you scent the handkerchief a little), which hold in the hand covered by the second piece of paper, open. During your absence your attendant has been dancing about, affecting to burn his fingers, &c. When the handkerchief is nearly burnt out, snatch up the remains of it quickly and pop it into the open piece of paper, roll it up rapidly and exchange for the real handkerchief in paper, vesting it at once, or a severe burn may ensue. This is done whilst hurrying towards the owner of the handkerchief, to whom you say that you have done the best you can, and are sorry that you have only the ashes of the handkerchief to offer; but that if she will leave her address, you will forward a new one in the morning, &c. Finally, you have the supposed ashes blown upon, and then tear open the paper, revealing the handkerchief. If you have scented it, call attention to the fact.

If I wanted to test a conjuror's ability, I should give him this trick to perform. No duffer could ever get half way through it; and yet, by attention to the rudiments of palming, &c., it becomes easy enough. There can be no two opinions about the effect produced. The principal portions should be rehearsed with your attendant.

A very amusing variation to this trick is the following: Purchase two cheap sunshades of a precisely similar pattern. They should be small, and the covers of light alpaca. From one carefully strip the cover, so as to leave the ribs bare, and, at the end of each rib, fasten a piece of cambric exactly similar to those used in the rubbing-away episode. This sunshade have lying upon the shelf at the back of the table, rolled up in paper. In one of the large side pockets have concealed the cover, rolled up and tied with very fine thread, that may be easily broken. Upon the table have lying a piece of paper similar to that in which the sunshade upon the shelf is wrapped. At the opening of the trick, show this sunshade round, and then proceed to wrap it up in paper, on the table. You will always have some extra sheets, and behind one of these the one sunshade is exchanged for the other. Give it to be held in the company. Then borrow a hat, and secretly introduce the cover, placing the hat on a side table. When the trick has proceeded as far as the discovery of the small pieces in the hands of the spectator who is rubbing the handkerchief, place them in the pistol and fire at the sunshade held in the company. Great amusement ensues when the bare ribs are discovered, with the pieces of cambric flying from them. These are then taken off, and the trick proceeded with, as before described, the cover being discovered in the hat at any convenient period. Break the thread, and shake it out well before bringing to view, so as not to suggest any idea of its ever having been rolled up tightly into small bulk.

Sun and Moon.—This is another amusing trick, in which handkerchiefs are destroyed and restored in a most lavish manner. Beyond the preparation of a couple of handkerchiefs, and the use of a conjuring pistol, no apparatus is required, if the trick be performed after the following method, which is according to my own arrangement, and in keeping with my belief in sleight of hand as opposed to apparatus.

Purchase three common coloured cotton handkerchiefs, all of precisely the same pattern, and from the centre of one of them cut a circular piece some three or four inches in diameter. Replace this with a white piece, so that you have a coloured handkerchief with a white centre. Take a white handkerchief, and cut from its centre a circular piece just a trifle smaller than that from the coloured handkerchief, which latter then sew in the centre of the white handkerchief. A friend of yours in the audience should have the second of the coloured handkerchiefs in his pocket, and receive instructions to the effect that, when you ask for a handkerchief in a particular manner (you can easily arrange a sort of by-word between yourselves), he is to offer this particular handkerchief, which you tardily accept. This is one of the very rare occasions on which I permit myself to have a confederate in the audience; and I only do it because (1) a really capital trick would otherwise be impossible of performance, and (2) because it is not at all necessary that your confederate should know anything about the trick. I always say that it is necessary for me to have in such-and-such a trick a coloured handkerchief, merely for effect, and it is rarely that people bring coloured handkerchiefs with them, so, to avoid disappointment, &c., &c. If the person who officiates be a dullard, he will be none the wiser, and if he be a relative, as he should be, he is tolerably safe. Coloured handkerchief No. 3 you have rolled up in a piece of paper and placed in your capacious breast pocket. Besides these, you must have in the palm of one hand an ordinary white handkerchief concealed. The two prepared handkerchiefs already described are done up in paper in the shape of a ball and placed upon the shelf at the back of the table, on the top of which are lying a few loose sheets of paper similar to that in which the handkerchiefs are wrapped. Also on the table are two plates, some methylated spirits, a lighted candle, two pairs of scissors, or else two sharp knives, and a funnel pistol. Advance to the audience, with the white handkerchief concealed in the palm, and borrow two handkerchiefs—one a white one, at hazard, except that you endeavour to let it be one somewhat similar to your own, and the other, the coloured one, from your friend. Exchange the white handkerchief for your own, as in the preceding trick, and vest it, and then give both white and coloured handkerchiefs to be held by separate persons. Each handkerchief should be held horizontally by the two hands, one holding the very centre of it, and the other grasping it a few inches away. Give the scissors or knives to two other persons, and bid them mark the handkerchiefs. At first some hesitation will be shown at cutting the handkerchiefs, but you must say there is no fear. From the position in which each handkerchief is held, it will be incumbent on anyone cutting between the hands of the person holding it to take a piece clean out of the centre. When this cutting is over (you might do it yourself, only it looks more genuine and creates more fun to have it done by the audience), say that there will be no mistaking the handkerchiefs now, for they are marked with a vengeance. Now take the mutilated coloured handkerchief and the white piece, and put them on one plate, the the mutilated white handkerchief and coloured piece being put on the other. Pour spirits on both, and set fire to them. When they are well ablaze, pretend to discover that you have made the mistake of mixing the colours, and endeavour (fruitlessly, of course) to take out the burning pieces. Remark that it is a very bad job, as you had hoped to have shown a specimen of your skill, but now everything is spoilt through your forgetfulness. Your stage attendant can attend to the burning of the handkerchiefs, if you so please, in which case you can give him a good blowing up, and threaten to discharge him on the spot. The more penitent he can manage to look, the better it will be for the effect of the trick. Take the ashes, and put them in a piece of the paper which is on the table, and, whilst affecting to put this in a second piece, exchange it for the prepared handkerchiefs in paper on the shelf. This method is very easy, and is thus performed: Stand at the end of the table, and, with the hand that is nearest the audience, raise a piece of paper partly from the table, but not so much as to enable the audience to see under it, and behind this temporary screen the exchange can be effected by means of the rear hand with impunity, providing it is done quickly but not hurriedly, and with the eyes turned towards the audience, to whom the performer is impressively descanting on the many vicissitudes which chequer a conjuror's career. Directly the two parcels are safely exchanged, go forward and give the paper to be held by one of the audience. An ordinary pistol can now be let off, or a word of command given, and the paper then opened. Affecting not to notice that there is anything wrong, you proceed to return the handkerchiefs to their respective owners. Laughter will, of course, ensue, and you will then appear to be overwhelmed with confusion. Borrow a hat, put the handkerchiefs in it and take them out again, and finally drop one on the floor. The action of stooping to pick it up will enable you to bring the opening of the hat against your breast, and you must seize this opportunity of slipping the roll from the breast pocket into it. Go back to the table and place the hat upon it, and then, taking up the funnel pistol, ram the handkerchiefs into it, with the remark that you may as well get rid of them altogether. Fire the pistol, and then ask if anyone saw anything pass into the hat, as you fancy you did. Go to the hat and produce the roll, which open, and show the coloured handkerchief. Spread this out, to show that the centre is perfectly restored, and, whilst going forward with it, take the white handkerchief, unperceived, from the vest, and roll it up inside the coloured one. Then say, "Ah! but we have not the white handkerchief yet; well, perhaps we shall be able to find it." Rub the coloured handkerchief in the hands, with the white one inside, and, finally, open both and return to their owners. This finale is, perhaps, the most difficult part of the trick. Take care when the funnel pistol is fired that you either stand it upon its broad end, or else place it upon the table with the mouth from the audience. Although, to the audience, an enormous amount of destruction appears to be going on, such is not really the case, as two handkerchiefs only are destroyed in the trick.

The Knots.—I call this trick by a simple name, because extreme simplicity is its prevailing feature from beginning to end. The last few tricks described have all had apparatus, to some extent, as a component part; this one is all sleight of hand. In "Drawing-room Magic" (p. 65), I gave directions for untying a knot by word of command, and noted at the time that an enlargement of the trick would be given in "Grand Magic." We have now arrived at the enlargement. In the minor trick, the knot is tied in a peculiar fashion by the performer himself; now the knots are to be tied by various members of the audience, and it is this which gives the trick such a marvellous appearance. The performer advances, and begs the loan of several handkerchiefs. He takes two of those proffered, and, advancing towards one of the audience, presents just four inches (on no account more) of one end of each handkerchief, one being crossed over the other, with the request to have them tied together in a knot. The reason for crossing one end over is to induce the tyer to make either a "granny" or a reef knot, which are the knots easiest to undo—that is, after the conjuror's method. Fig. 42 shows a "granny" knot. The general appearance of a reef knot is somewhat the same, so it does not require a separate sketch, and the mode of proceeding will be in both cases similar. For convenience of description, I have depicted a dark-coloured and a white handkerchief, and the performer will do well to take this hint, and always, where possible, borrow handkerchiefs varying in colour or texture, in order that the sinuosities in the knots may be easily followed by the eye. As the performer wants a knot that is tied neither too loosely nor too tightly, he must keep his eye upon it whilst it is being tied. If it is loosely done, he must say, "Don't be afraid of tying it up tight, sir [or madam]; pull as hard as you like." In the event of a too literal acceptance of his words, he should take the handkerchiefs at once. Even when the knot is tied as hard as a stone, the performer takes it in the hands, and, with the remark, "Oh! this is not half tight enough yet," pretends to pull it up with all his force. What he really does is to take the small end of one handkerchief in one hand, and the body of the same handkerchief on the other side of the knot in the other. By pulling at these hard, and, where they do not give easily by wriggling them as well, the end of the handkerchief will be pulled out quite straight, as in Fig. 43. It will there be seen that the white handkerchief has been manipulated upon, and that the dark handkerchief is now really only tied round it. In some cases, the greatest difficulty arises through some malicious person tying an extremely hard knot. If the performer pulls too hard, he will, in all probability, rend the handkerchief without making things much better. In this case, he must endeavour, whilst borrowing another handkerchief, for the continuation of the trick, and under concealment of the same, to loosen the knot a little in the ordinary way, and then he can straighten the end openly later on, as though trying if all the knots were secure. It is not often that the amateur will, at the outset of his career, find much difficulty of this kind, for his audiences will not be of the antagonistic class. Suppose everything has gone favourably, the performer then takes another handkerchief, and has that tied on also, of course to a disengaged corner, and so goes on with four, five, or six, each knot being operated upon as soon as it is tied. If he notices that anyone is tying a reef knot, he should at once audibly remark upon it, as the public has a great idea that a reef knot is the most difficult to untie, whereas it is really the easiest of all. When anyone goes in for a multiplicity of twists, one end being wound round the other several times, let the performer rest easily in his shoes, for he has only to pull that end round which the other one is coiled, and five or six coils will make no difference; at the same time, he must appeal to the audience whether it is fair, &c., for effect. When the required number of handkerchiefs have been tied together, and all the knots have been operated upon secundum artem, the performer retires to the stage, and, taking a chair or low table (the chair for preference), proceeds to place the handkerchiefs in a pile upon it after the following manner: Knot No. 1 is held between the tips of the finger and thumb in such a manner that the main body of the straight end lies along the palm of the hand. The loose portion of the handkerchief is then opened out by the left hand and covered over the knot, which is placed, at the same time, upon the chair; whilst, under cover of the handkerchief, the little finger of the right hand is drawn up by a contraction of the hand as closely to the knot as possible, and there grasps firmly the main body of the straight end. By straightening out the hand again, the end will be pulled right out, and the handkerchiefs parted. All this must be done quickly. If the end, as it often will, requires two pulls to draw it clear, it is best to lift up the handkerchief, and exhibit the knot again, to show there is "no deception," or on any other plea, before giving the second pull. Proceed after the same manner with all the knots, each one being covered with a separate handkerchief, taking great care that none of them slip off the chair during the operation, or it will be shown that the knots are already undone. The handkerchiefs should either be trailed on the floor or hung over the back of the chair, where they will not become confused or get under the performer's feet, and so receive an undesired tug. For the purpose of diverting the attention of the audience during this operation, the performer should make some jocular remark concerning each knot. He should say something about having at length come to the "knotty point," and then describe each knot, whether correctly or incorrectly will not much matter. One, he must say, is the reef knot, another the Gordian knot, and another a weaver's knot. The last made will generally be a true lover's knot, about which the performer may remark, before small audiences, that it was a knotty (naughty) person who tied it. The performer has only to wave his wand over the heap, or to blow upon it, and then lift off the handkerchiefs one by one. The beginner will do well to try only three knots as a commencement, and to have them tied by ladies, who, as before explained, are always the best to fly to in risky cases. Whilst the knots are being tied, hang the handkerchiefs already joined over one arm, where they will be out of the way of danger, and in the way of assisting the performer by concealing any covert proceedings on his part in untying obstinate knots. The knot depicted at Fig. 44 I have christened the bête noire knot, and such the performer will find it whenever it is tied for him. If he does not put the ends of the handkerchiefs crossed into the hands of the person whom he requests to tie a knot, he will find the bête noire appear with marvellous rapidity. When it or any other difficult knot appears, the only thing to be done is to untie it covertly, and do it up again after the matter described in "Drawing-room Magic." This may seem a very cool direction to give, but is the only one appropriate to the occasion, and the performer must make the best of a bad job. I have often untied a knot whilst mounting the steps of the stage, and had everything done up again by the time I reached the chair. The performer must practise by tying for himself the most intricate knots imaginable; or, if he learns with a companion, let the two tie knots for each other. Silk handkerchiefs are, as a rule, the best; they slip easily and do not tear readily, which latter quality is not the lesser advantage: it makes one very uncomfortable to have to return a handkerchief with one end hanging by a thread. This trick is one of the few which it is impossible to purchase. Let every conjuror be careful in his performance of it, and only give it "by request," or on special occasions, for it is worth half a dozen apparatus tricks put together.

Although very good indeed, the following method, in which one handkerchief only is used, is not so effective as when several are employed. The performer takes a large handkerchief, and ties a single knot in it, near the centre. He does not pull this knot tight, but leaves a loop large enough to receive his hand, or, at least, several fingers. Holding this loop in one hand, and presenting the two ends, side by side, with the other, he has another knot tied upon the first one. Whilst passing to another person, one end is pulled out straight, of course whilst ostensibly tightening the knot, and another knot is then tied; the end before straightened is again pulled at, and another knot tied, and so on until the handkerchief is all knots. The performer takes a pull at the straight end to ensure its running easily, and also pulls it through as far as it will come without actually untying. He then covers the bunch of knots with the loose centre of the handkerchief, and gives the whole to be held in the hands of a spectator. As the trying of many knots will have caused the centre of the handkerchief to become tightened up, it will be necessary for the left hand to take some time in opening it nicely. The time thus gained is just sufficient to enable the right hand to work out the straight end through the many folds; the movement being naturally screened by the open portion of the handkerchief in the left hand. Ask the person to whom the bundle is given to hold, to feel that the knots are still there. He will feel the hardened folds, and will mistake them for the knots. Always borrow a handkerchief for this trick, or the audience will infallibly think that the knotted handkerchief is rapidly exchanged for another. If anyone starts tying a bête noire, you can stop him at once by saying that there will be no room for anyone else to tie a knot. This method is much easier than its forerunner, but, as before stated, it is not half so effective.

The Decanted Handkerchief.—The performer comes forward with an empty decanter, which is examined, and then completely covered with a cloth and given to a spectator to hold. The performer takes a second decanter, and places in it a handkerchief, also previously examined, and stands upon the stage. At the word of command, the handkerchief vanishes suddenly from the second decanter, which is not covered, and, on the cloth being removed from the first decanter by a spectator, the handkerchief is found inside. This pretty trick is thus performed: Procure two toilet water-bottles—by courtesy called decanters—with as wide necks as possible; also two silk handkerchiefs, precisely similar. Scarlet is a serviceable colour for the purpose; and the handkerchiefs should be of very fine material, in order that they may be rolled up into a very small space, and not more than 15 in. square—rather less, if anything. Behind the scenes the performer folds up one of the handkerchiefs small enough to be concealed under the fingers when they are holding the neck of the bottle. If three fingers are sufficient, so much the better; but even if four are used no uninitiated person would ever suspect that anything would be concealed in so audacious a manner, especially as not the least clue has been given by the performer as to what is to be subsequently performed. The bottle shown round, a cloth is produced and covered over it, the handkerchief concealed in the fingers being popped into the bottle during the process. As it should at once spread out, it is not advisable to "double" it up tightly in the act of folding, but rather to "bunch" it, as it will then spring open the more readily. The bottle should be completely wrapped up in the cloth, bottom and all, and the spectator into whose custody it is placed must be enjoined to place one hand on the top and another at the bottom. The performer now proceeds with his other bottle and the visible handkerchief. Around his left wrist he has attached a thick eyeglass cord, which passes up the sleeve, round the back, and down the right-hand sleeve, where it has a short hook attached. In order that it may be readily found, this hook should be fixed in the inside of the coat cuff. The performer shows round the handkerchief, leaving the second bottle on the table, and, as he turns to fetch that article, the hook is got down and fixed firmly into the centre of the handkerchief. It is then pushed down the neck of the bottle by the performer, the pushing down being conducted in such a way as to suggest the extreme difficulty of getting the handkerchief into the bottle. The wand may here be used with effect to ram it down. Standing with his right side towards the audience, the performer holds out the bottle, and announces his intention of causing the handkerchief to fly from it into the one held by a spectator, the holder being enjoined to keep a good watch, &c. At the word "three" (counting "one, two, three," slowly, always adds to the effect, by preparing for a climax), the performer thrusts out both hands to their fullest extent, when the handkerchief will fly out of the bottle up the right sleeve, its passage being shielded by the right hand, which must, of course, be disposed preliminarily so as to afford a free course to the handkerchief. If the performer, holding the bottle in the right hand, presented his left side to the company, many spectators might be able to see the handkerchief fly up the sleeve. With the right side towards them, they only see it disappear suddenly from the bottle. The length of the cord will require adjustment, and it should be as short as the conjuror can conveniently manage without cramping the movement of the arms. Some performers use a piece of stout elastic, which certainly has the property of causing a self-acting, rapid disappearance; but when once the hook is in the handkerchief, and the latter in the bottle, a constant hold must be kept on the elastic to prevent a premature flight, which would at once destroy the trick. The spectator holding the bottle is asked to remove the cloth and examine the bottle as much as he pleases, and the performer then hands the second bottle for examination, which has not been done before. A trick so very easy of management, and yet so effective, should be a favourite one with amateurs.

The soup-plate portion of the trick is thus easily managed: The performer has balled up under the fingers of the hand holding the plate duplicate handkerchiefs of those he holds openly in the other hand. They are of very fine silk, and so are easily concealed. As he boldly shows the inside of the plate, where the fingers are, the spectators never suspect the presence of the handkerchiefs, or of anything else. As the plate is laid carelessly upon the floor, it is drawn a few inches towards the performer, the side that is towards the company scraping the ground. In this way the handkerchiefs are got underneath. The melting away of the handkerchiefs is accomplished with the aid of the plain-looking implement depicted at Fig. 45. It is constructed of wood, is hollow, and is blackened on the outside. Through the end is a hole, and through that is passed a piece of stout elastic, having a knot on the inside. On the side seam of the vest is sewn a ring, and the end of the elastic, after being passed through this, is brought round the back and left side, and fastened securely to a button in front. This great length is necessary for the facile performance of the trick. When at rest, the wooden holder rests against the ring on the vest. After the performer has finished placing the plate upon the floor, he retires to the stage, and stands sideways to the company. Supposing the holder to be on his right side, that side would be nearest the company. First of all, the sleeves are turned very far back, and then, under cover of the right forearm, the left hand seizes the holder, and, drawing it out of concealment, places it in the right hand, where the handkerchiefs are being held. The performer may get out the holder before this, if he pleases—the proper time for so doing being whenever a favourable opportunity presents itself—and keep it palmed in the right hand. The arm will always prevent the elastic being seen by the company. With his arms outstretched, and the hands together, the performer proceeds to gather in the handkerchiefs by slow degrees, the fingers of the left hand pushing them into the holder. When they are all pushed home, the hands are opened slightly, the left hand only being moved for this purpose, and the holder, thus released, flies back until stopped by the ring. The performer continues rubbing away the handkerchiefs, still supposed to be in his hand, and he must act as though they were being rolled into an ever-decreasing ball, the final kneading being done by the tips of the fingers of the right hand, working in the palm of the left hand. All that now remains is to have the plate lifted. The trick may be prolonged and varied if the performer has a second holder on his left side containing handkerchiefs of other colours to those first used. By getting this holder out and rolling up the handkerchiefs from under the plate, the new handkerchiefs may be got out and the old ones substituted. Or the trick may be done the other way round, and the change executed first, the second handkerchiefs being found under the plate. There is no reason why this trick should not be even more elaborated, and further changes of handkerchiefs made. This may be done by means of a holder, some four inches in length, open at each end, and connected with the elastic by a metal fork-shaped piece, upon which it swivels by means of a pin passing through the centre. Each side can contain handkerchiefs of different colours, the pin through the centre preventing their becoming mixed with one another, and a variety of changes made, which will be intensely bewildering to the spectators, especially as the performer each time gives the handkerchief for examination, and shows his hands empty. The perfect simplicity and completeness of the method of vanishing permits of its being repeated any number of times, each successive change or disappearance causing fresh wonderment. Care must, however, be taken, in each instance, that the handkerchiefs are pressed well home in the holder, as an exposed portion might be seen as it flashed under the coat; whilst there is still greater danger of its subsequently working out and becoming slowly visible to the company. If the great length of elastic which I have recommended were not employed, the performer would not be able to stretch his arms out to their full extent in front of him; and it is highly essential for effect that the hands should be as far removed from the body as possible. The ingenuity of the performer will enable him to employ the holder in many tricks in which handkerchiefs take part.

Le Gant de Paris.—For this trick, which will bring the performer's utmost skill into play, the following articles will be required: An orange, a lemon, and a walnut, all embowelled. The walnut contains a small kid glove, the lemon contains the walnut, and the orange the lemon. Besides these, the performer has a whole orange, lemon, and walnut, which he can either bring forward, or, for preference, find in persons' hair or on their noses. He has, also, concealed separately under the vest, a tiny glove, not more than three inches in length, and another quite ten inches long. These will be best manufactured at home under personal supervision, and they should be well made. The three fruits, produced or discovered, are placed in various positions on the table, or tables, care being taken that the lemon is situated conveniently near a trap. Opportunity must be taken for exchanging the orange for the prepared one. There are many ways for doing this. One, which is as good as any, is to give the perfect orange to the stage attendant, telling him to place it upon the table, and then at once engage the audience with something else. In going towards the table, the attendant effects the exchange. Other methods, such as having the prepared orange on the shelf, and exchanging it with the other whilst calling attention to the lemon—carrying it in the breast pocket, and exchanging it when the back is turned to the audience—will readily suggest themselves. It is impossible to set down any hard-and-fast rule for such minutiæ as these. Sometimes the disposition of the stage, or of the audience, will necessitate the adoption of a method that would, under other circumstances, be impossible of introduction. The small glove is now brought down and kept concealed in the palm, and a kid glove, of the same colour as the one inside the prepared walnut shells, borrowed. Express your intention of making it pass inside the walnut, and observe that it is a little too large. Saying that you will make it a little smaller, proceed to rub it in the hand, and eventually exchange it for the tiny glove, which produce, and give to a gentleman to fit upon the hand. Of course, it will be too small, and you will inquire what size glove the gentleman wears. You affect to misunderstand him, and clap on ten sizes more. Thus, if eight and a half is said, you exclaim, "Eighteen and a half! That's a very large size, sir. But perhaps you think I can't make one so big. I will show you." It is sure to be explained that eight and a half, and not eighteen and a half, was the size mentioned, but you affect not to hear the correction, and proceed to rub up the small glove, having previously got down the large one. Make a great fuss of stretching, and finally produce the large glove, allowing the small one to drop inside it. The original borrowed glove in the meantime vest, if you have not done so already. Now proceed to the table, and, rolling up the large glove, with the little one inside it, tightly, pass it down a trap, and affect to rub it away into the walnut. Take up the walnut and vanish it by sleight of hand, pretending to pass it into the lemon, which get rid of, along with the nut, down a trap, and finally cut open the orange. Take out the lemon and cut that open, and produce the walnut. Ask one of the audience, on that side of the auditorium which is opposite to where the owner of the borrowed glove is seated, to open the walnut, at the same time getting down the borrowed glove from the vest. Take the glove from the walnut in one hand, and, pretending to place it in the other, whilst advancing towards the person from whom it was borrowed, effect an exchange. This must be done with all possible neatness and skill, or, at the last moment, the trick will fail. Supposing that you take the glove from the walnut with the left hand, the right should contain the borrowed glove. The left hand then makes a rapid movement towards the right, as if placing the glove in it. The glove in the left hand is in reality concealed, and the one in the right hand revealed. Half an hour's practice will make a wonderful difference in the execution of this pass, which will often have to be used, sometimes in cases of great emergency. On cutting open prepared oranges, lemons, &c., always be careful to throw the skins behind you, or elsewhere away from the view of the audience, who are not likely to be deeply impressed in favour of your skill after a close examination of the remains of the prepared articles. If the triple combination of orange, lemon, and walnut is at first too difficult, try the dual one of lemon and walnut only. It is still very effective, and there is far less to think about. If the performer is limited as to traps, the large glove can be fired at the walnut from the pistol tube. The variation is quite unimportant.

CHAPTER XIV.

TRICKS WITH COINS.

The Invisible Transit.—This is a remarkably effective coin trick. Several coins are inclosed in a little box, which is stood in a position close to the audience. An empty tumbler is placed upon a chair or table far away on the stage, and the performer, abstracting the coins one by one from the box, "passes" them into the distant glass, into which they are heard to fall. On the glass being brought forward, the coins are poured from it, and the box into which they were put is found to be empty.

The tumbler used should be coloured and opaque, or semi-opaque. Into it is fitted a zinc plate, depicted at Fig. 46. This plate is, it will be seen, divided into two unequal portions, which are then hinged together. B is an arm which, in the position shown in the sketch, prevents the flap C from opening; and E is a tiny pin fitted into C for the purpose of preventing the arm B going too far, and so becoming difficult to control. At D is a pin which, first connected with the arm B, runs through the plate, and then through the bottom of the tumbler. Underneath, it is provided with another arm (A, Fig. 47), the position of which should correspond with that of B. The pin D should be considerably larger than the holes (they should be round ones) in the glass and zinc plate, and those portions of it which are to pass through the said holes must be filed down to the necessary thinness. By this means two shoulders will be formed, which will prevent the plate from coming down too far, and thus keep a space clear between it and the bottom of the tumbler. This space should be about three-quarters of an inch in depth. The best method for fixing A to D is to have a tiny hole through the protruding end of the latter, through which a cross-pin can be passed. It will be seen that so long as the arm B is kept against the pin E, or anywhere near it, the flap C cannot possibly open, even though the tumbler be inverted. The shifting aside of the arm A will cause a simultaneous and equal movement on the part of B, and, when the glass is again inverted, whatever has been concealed in the space beneath C will fall out.

The performer will also require two little boxes, resembling each other in every particular. If nothing else be at hand, then little fancy cardboard boxes may be used, but it is by far the best to have a couple turned out of some light wood. The turner should receive directions to turn them both out of the same length of wood, which should have some slight imperfection running through it, as this will cause each box to be naturally marked in a similar manner. Should one lid have a little knot in it and the other be without such a blemish, it can be faithfully imitated by making a hole in the wood and running a little shellac into it. The boxes should be turned as lightly as possible, consistent with strength, and should just admit a half-crown. The interior depth should be that of six half-crowns. One of these boxes the performer conceals under the vest band. The tumbler he loads with four or five half-crowns, placed in the space under C, and the arm B is turned into position against E. This glass is placed upon the table. In one outside trouser pocket is a half-crown.

The preparations made, the performer advances with five other half-crowns and one of the little boxes, and gives the whole into the hands of a member of the audience, with the request to have the box examined and the coins placed in it. Whilst this is being done, the concealed box is got down from the vest into the left hand. The box, with the money in it, is taken by the right hand, and apparently put into the left. It is, however, palmed, and the empty box shown instead. The performer executes this movement as he is passing to another portion of the audience, to whom he will explain matters briefly. This passing about the room is highly essential in concealing many movements, and the conjuror's actions should be well mapped out beforehand, and not left to accident. As I am describing the trick, the money should be put in the box by someone on the conjuror's right. It then becomes natural for the performer to place the box in his left hand, in order to exhibit it to those on that side of the room. The learner will find, as he progresses, how highly important it is to pay attention to these apparently small, but by no means insignificant matters. The performer's motions should balance, as it were; and his great study should be to make actions that are absolutely indispensable to him appear to be perfectly natural, if not the only ones that could be suitable to the occasion.

The empty box is then placed in the fingers of the right hand, in which the box containing the half-crowns is still concealed. The performer brings a chair close to the audience, and places upon it the empty box, first shaking the hand once or twice to show that the money is still inside. The coins rattling in the hidden box will appear to be in the one which is really empty. Care must be taken to keep the back of the hand towards the audience, and to allow it to hang down considerably, so as to do away with any possibility of an accidental exhibition of the palmed box.

The performer now proceeds to his table, pocketing the box with coins as he does so in as noiseless a manner as possible. He then takes the tumbler in one hand, and, rattling it hard with his wand all the time, turns it upside down to show that it is empty. On turning it back again the rattling must be repeated. This rattling, the reader will readily comprehend, is for the purpose of covering the slight clinking of the coins that are confined within. It is a good plan to have a piece of baize or cloth on the bottom of the tumbler, inside. This will deaden the sound of the clinking when the tumbler is being replaced upon the table. The performer now returns to the little box, previously getting the half-crown from the pocket into his palm, and feigns to abstract one coin from it, the palmed coin being shown. This, with appropriate explanation, he "passes" into the tumbler, into which it is distinctly heard to fall. The whole of the coins are, one by one, abstracted from the box, and made to pass into the tumbler. The methods of extracting them should be varied. One can be taken out by means of the wand, another caught in mid-air, the next be found at the tip of someone's nose, and the next in somebody else's hair, whilst the last will probably be found attached either to the performer's elbow or to the sole of his boot. This variety of movement keeps the audience amused, and, consequently, distracts their attention, which might, perhaps, be employed in watching other matters somewhat too narrowly. The same system of variation should be observed in "passing" the coins, three or four different passes being brought into use. The last "pass" may be effectively made with the reverse palm, by the method described on page 8 for throwing the coin away. The palm can then be shown perfectly empty, the coin being recovered as the performer proceeds towards the glass.

The mystery of the coins being heard to fall into the tumbler has yet to be explained. The explanation is, that the conjuror's stage assistant is concealed behind the scenes, in a position as proximate to the tumbler as possible, with another glass and some coins. The performer and assistant must have an understanding between them, and when the assistant hears the word given he drops one coin into the glass, allowing a short time for the supposed journey. The word "pass" is the one commonly used, and is the best, for the conjuror is using it all through the performance, and it does not, therefore, excite any particular attention. It is as well to vary the speed with which the coins travel. The first two should occupy from a second and a half to two seconds in travelling from hand to tumbler. The next the conjuror should say will take a little longer, it being a very old coin and, consequently, weak. Five seconds will be quite long enough for this, and the next can be despatched with the command, "Presto, pass!" This should arrive at its destination in half-a-second. If no arrangement on this head has been made beforehand, the performer must take care to speak loudly and distinctly. This co-operation of performer and assistant has already been explained in connection with The Shower of Gold.

Sometimes, with the view, I imagine, of making the trick appear still more difficult, the tumbler is covered with a borrowed handkerchief, pocketbook, programme, &c. When this is done, the assistant must cover his glass with a handkerchief, and so cause the sound of the falling coins to be muffled. I have seen an assistant commit an absurd error of using only one coin. The sound caused by one coin falling upon others in a glass is very different to that of a coin falling into an empty glass.

The use of the two little boxes in this trick is an idea of my own. Other conjurors invariably use a box with a hinged lid, which has a horizontal plate on a level with its upper rim. This plate has four slits in it, and into each slit is placed a half-crown. By an exceedingly ingenious mechanical arrangement, a coin is made to drop into the body of the box each time the lid is shut down. The performer affects to abstract one in the manner just described. The chief objection to this box is its great expense; otherwise, it is a very good piece of apparatus.

Another piece of apparatus that is also frequently used in conjunction with the trick is what is called the Half-crown Wand. This is a hollow tin wand, with a sliding piston inside it. One end is divided into two parts, which are hinged. A half-crown, that has been cut into three portions, is concealed in this opening top, and by means of a complexity of hair springs, and the action of the piston, moved by the thumb from the outside, the three fragments are pushed out, and, ranging themselves side by side, cause the appearance of a half-crown on the end of a wand. All I can say about this piece of apparatus is, that it is a pity the inventor's ingenuity was not directed towards making something else. I believe, though, that the article sells well, as it does away with the last piece of sleight of hand left in the trick, and so gives lazy people and duffers a chance.

The Banker.—In "Drawing-room Magic," a method for collecting coins from the air, &c., and passing them into a hat through the crown, was explained. Before larger audiences, the trick is capable of being much more elaborated. Going down amongst the audience, the performer collects quantities of coins from the heads and persons of the audience. There are various methods of executing this. One is to keep a coin palmed, and then produce it from the hair, whiskers, beards, sleeves, elbows, &c., of different spectators, a motion of throwing it into the hat being made each time it is produced, and the hat shaken, to cause the resemblance of a coin falling into it. Another method, which I hardly like as well, although successfully adopted by some good performers, is to dip the hand into the hat, and gather some coins quickly in it. These coins are kept in the palm of the hand, and concealed by the two outside fingers, and the thumb pushes one forward as it is required for production. The coins, in this instance, are actually tossed in the air and caught in the hat, which is of itself a great advantage, but the chances of detection are considerable. Nevertheless, the effect is very fine when the conjuror moves rapidly about, picking coins indiscriminately from everyone around. It is possible to hold a great number of large coins in the hand without detection ensuing. The third method is somewhat similar. The coins are gathered in the hand from the hat, but, instead of being reproduced singly, they are all swept from the head of a spectator into the hat. Coins invariably drop on the floor when the latter method is adopted, and the conjuror is enabled to take a fresh dip into the hat unperceived, whilst busying himself about the recovery of his property. What I recommend is a happy mixture of all three methods. Whichever is adopted, the performer must be exceedingly rapid in his movements, never stopping in one place, and accompanying his movements with a running commentary, such as, "Ah, one more on your nose, sir. Thank you, sir, just a few in your hair. Madam, a little one hiding itself under your bow, and, I declare, another in your fan." A lady's muff, when handy, can be well employed. It should be taken in the hand containing the coins, which are allowed to run through into the hat. A good variation, too, is to snatch a hat from a person's head or elsewhere, and dropping a few coins into it, immediately toss them about, and then pour them into your own hat. The larger the audience, the better this money collecting will succeed. It is a great feature in a performance, and always takes well.

A little piece of apparatus which, although I never use it myself, many find very useful for the magical production of coins, is what is known as the "money tube." This is a long flat tube of tin, japanned on the outside. It is just wide and deep enough to admit of the coins in use passing easily through it, and no more. At one end, on the outside, it is furnished with a broad flat hook, for the purpose of suspending the tube from a buttonhole or slit in the interior of the performer's vest or coat. The bottom end is furnished with a lever arrangement on the outside, which for half-crowns would be thus constructed: In length it would just exceed the width of a half-crown, and each end be furnished with a peg about a quarter of an inch long. In the centre is drilled a hole, and on the tube is a bifurcated projection, also with a hole through it. The lever is placed in its position, and a pin passed through it and the projection. A joint will thus be formed very similar in appearance to the centre joint of an umbrella rib. In the tube (exactly underneath the pegs, which must be towards the tube) pierce two holes, and under the upper half of the lever fix a small piece of spring, tolerably strong. The apparatus is then complete. The spring causes the upper half of the lever to rise, and, as a natural consequence, the lower half to be depressed. The lower peg thus prevents anything that may be in the tube from passing out at the end. So soon, however, as any pressure is put upon the upper half of the lever the lower peg rises and allows the coin to escape. The upper peg, descending at the same time, prevents the escape of any other coins that may be in the tube. The method for using the tube is to fix it securely under the vest or coat flap, with the bottom end all but exposed. When the performer requires a coin, all he has to do is to curl his fingers under the mouth of the tube, and press the upper portion of the lever, when a coin will fall into his hand. As the operation is invariably accompanied by a slight clattering, however careful the performer may be, the hat should always be shaken for the purpose of smothering the sound made by the tube. A small band of elastic on the coat or vest will serve to keep the tube steady. The lever lies transversely across the tube, and not straight along it. This enables the little pegs to pass into the triangular spaces left between two coins, the edges of which are touching. It is not advisable to produce many coins in a short space of time by this method, as the frequent repetition of the movement of the hand might easily be noticed.

An effective continuation is to apparently cause the coins to pass through the crown the reverse way, i.e., from the inside to the outside. For this purpose, the performer must retire well up the stage, concealing, as he does so, several coins in the palm of the hand, one being shown at the ends of the fingers. The hat is held out, crown downwards, in the other hand, and the coin in the fingers then tossed high in the air. Whilst it is descending the thumb gets another coin in readiness, and as the coin in the air falls into the hat the one brought from concealment is put against the crown and instantly pulled sharply away from it. The effect is as if the coin thrown in the air had passed through the crown of the hat, and was caught by the performer as it came through. Considerable practice must be undertaken, as it is indispensable that the fall of the descending coin into the hat and the production of the fresh one at the crown be precisely simultaneous, otherwise the effect will be weakened, if not altogether spoilt. The hat must contain some coins at the commencement, otherwise the accumulation of those thrown into the air and subsequently caught in the hat, would, of course, be noticed. The effect is improved if the crown of the hat be turned slightly towards the audience at the moment when the coin is supposed to come through it. As the eyes of the spectators always follow the coin in the air, the slight motion of the thumb in getting a fresh coin in readiness is never perceived. Large coins tell best, and about six should be used.

When the performer has sufficiently amused the audience in this way, he can proceed with the trick under notice. For it he will require—at least, he will find it advisable to have—an oval tray of japanned tin. To all appearances, the tray is only an ordinary one, but it has a double bottom, the space between the two bottoms being a little more than the thickness of a half-crown, or whatever coin the performer may be in the habit of using. The rims of the two bottoms are joined all round, with the exception of a portion at one end, which is left open to the extent of a little more than the width of the coin in use. Two strips of tin, soldered firmly in their places, extend from each side of this opening, in parallel lines, to the other end of the tray, and so form a passage between the two bottoms capable of receiving a quantity of coins, ranging in number according to the length of the tray or the will of the performer. When the tray is tilted to any extent, the open end being the one that is depressed, the coins will naturally slide out one after the other. If the space between the double bottoms is too deep, the rearmost coins will overlap those in front, and so cause an obstruction. The tray is loaded with (say) five coins, and so brought on. Fifteen (a few more or less will not matter) coins are then taken from the hat, and placed upon the tray, which is then put into the hands of a spectator, who must be enjoined to rise for the purpose, and to keep very steady, so as not to upset the coins. A boy's cap is then borrowed, and put into the hands of another spectator, who is placed in a position close to and facing the holder of the plate. In the absence of a cap, a handkerchief, held in the form of a bag, will answer as well, if care be taken to arrange it so that none of the coins can escape and fall to the ground. The performer retires to the stage, and explains that, when he counts "three," the holder of the tray is to pour, as rapidly as he can, the fifteen coins into the cap, the holder of which is directed to close the cap immediately this is done. As the performer has taken care to place the tray in the assistant's hands, with the opening from him, it follows that, when the fifteen coins are poured from the surface into the cap, the five from the concealed receptacle will accompany them. A very distinct mark should be made upon the tray so that the performer can readily distinguish one end from the other. When the cap is closed, the performer counts five more coins into his hand, and "passes" them into the cap, the holder of which is then requested to count out the coins upon the plate, to show that the number has been increased by five. All counting of coins should take place both before and afterwards, or the audience may fail to perceive what has been done. The trays sold at conjuring repositories are nearly always round; this is a bad shape, as there is nothing to induce the holder of the tray to tilt it as the performer desires. When it is oval, it is only natural to pour the coins off the narrow end. It is also impossible to notice from any distance if a round tray has been shifted, accidentally or otherwise. A couple of inches difference will cause the trick to fail, for the coins will not pour out; and some people who are in the secret are malicious enough to be capable of wilfully turning the tray round for the purpose of spoiling the trick. The name of "The Banker" is given to the trick, because the performer supposes the holder of the cap to be the banker, and he then shows how he pays in his money. The great effect of the trick is derived from the fact that the performer never approaches the custodians of the money after once giving it into their hands.

Hold them Tight!—The performer takes a few coins—four half-crowns or florins will be found the most suitable—and also a strong white cotton handkerchief. He then asks the assistance of one of the spectators, stating his predilection for a very strong man. The more burly the volunteer, the better he will suit the conjuror's purpose. Seat him on a chair a little on one side, and facing the audience. Place the coins in the centre of the handkerchief, which then invert, and grasp the coins through it from the outside. This is done openly and deliberately, and the assistant is requested to hold the handkerchief firmly between the two hands a few inches below the coins. He is then asked if he thinks it possible for the performer to pull the coins through the handkerchief without making a hole, or to get them out without interfering with the assistant's hand. The answer will invariably be a negative one, and the performer then says, "Very good; that is your opinion. I will now see what the audience think about it." With this, the performer steps forward with the coins and the handkerchief, and explains to the audience that it is a trial of Strength versus Skill between the strong man on the stage and himself. He then requests someone to place the coins in the handkerchief, so that there shall be fair play, the handkerchief being spread over the performer's left hand for the purpose. When the coins are placed in the handkerchief, they should be grasped through it by the thumb and first and second fingers. The performer then turns suddenly to the person on the stage, and says, "I trust you are not nervous, sir; you look very pale." This will cause everyone to look at once at the person addressed, who will, if under the glare of footlights or other strong gas, infallibly bear a pale appearance. But whether he looks pale or not will not matter, the diversion being made for the purpose of distracting the attention of the audience from the performer for a moment or two. Whilst all eyes are directed towards the assistant, the performer turns the coins over twice in the handkerchief, a fold of which is taken at each turn, and the coins thus enveloped. The coins are then grasped in the right hand, and a good shake given to the handkerchief for the purpose of straightening it as much as possible. The result of this manœuvre is that the coins are simply hidden in a couple of folds on the outside of the handkerchief, the supposition indulged in by the audience being that they are inside, and that the handkerchief has been merely inverted as before. This folding and turning is not easy to accomplish quickly and neatly. The coins must be held firmly, and the fingers then turn them over inwards, the thumb being raised to allow them to be pushed well under it. Before the fingers are removed, the thumb descends and nips securely that portion of the handkerchief pushed over with the coins by the fingers, and retains it whilst the second turn is being made, the same process being repeated. With the fold well made, the performer may venture to allow that portion of the handkerchief containing the coins to hang downwards, and even give a slight jerk to cause the coins to jingle. This will totally disarm suspicion. It is much easier to hold the handkerchief, with the coins, in one hand and make the folds with the other, but the proceeding is unbusinesslike and provocative of suspicion.

The handkerchief is then put into the hands of the seated assistant, as before, the performer holding that portion containing the coins. A tremendous mock struggle ensues, the performer allowing himself to be pulled nearly over once or twice, which will cause him to remark that he has made a mistake this time, and has met with someone a little too strong for him. All the time he is working a finger into the folds, which he quietly undoes, and, under cover of the left hand, gets the coins out into the right. With this hand he takes his wand, which is held under the armpit during the trick, and continues pulling with the left. After a while, he says that it is no use, and, relinquishing his hold, asks to have his money given back to him. Of course, the assistant knows nothing about it; but the performer points out the fact that there is no hole in the handkerchief, consequently he cannot have the coins. Under the plea of finding out where they are concealed, the performer taps with his wand on various portions of the assistant's person. When he reaches either the elbow or the knee, he allows the coins in the hand to rattle against the wand at each tap, and it will appear to the audience that they are concealed up the assistant's arm or leg. Grasping the sleeve or trouser, the performer turns it up a little, and rattles the coins out on the floor. If found in the trouser, the assistant should be asked to place his foot upon a chair. It is very easy to jerk the coins a few inches up the sleeve or trouser leg as it is being turned up; they will then fall out naturally. The reason I give directions for using a strong pocket handkerchief is because the continued pulling will sometimes cause a sharp-edged coin to cut through. I never use any but my own handkerchief, for this reason.

There is another method of folding the coins in the handkerchief, which surpasses the one above described for neatness, and it may be executed in full view of the audience, with their eyes specially directed upon the performer's hands, instead of momentarily diverted. The coins, in this instance, are taken between the finger and thumb of the left hand, and held perpendicularly. With the right hand, the handkerchief is thrown over them. This the performer does close to his temporary assistant upon the chair; upon which he says, "That is all very well: you know that the coins are safe inside the handkerchief; but I must also convince the rest of the company." Suiting the action to the word, the performer advances a few paces, performing, as he does so, the following manœuvre: With the right hand inverted, i.e., the palm turned upwards, the coins are seized between the first and middle fingers. Simultaneously the left hand is shifted a couple of inches backwards, and the right hand, turning over in that direction, places the coins once more between the left finger and thumb, but this time there are two thicknesses of the handkerchief intervening. That half of the handkerchief which is hanging on the side nearest to the company is now raised by the right hand, when the coins will be exposed to view. The act of shifting the left hand back a couple of inches has caused the fingers of the left hand to be covered by a false fold of those dimensions. The company, therefore, cannot see the said fingers, the performer making doubly sure by holding his hand as low as possible, without exciting suspicion. Now, after having shown the coins, if the performer merely turned back the half he had lifted, no particular result would be arrived at; but the learner, who is, of course, following me with coin and handkerchief in hand, will at once see that, if that half of the handkerchief which is hanging on the side nearer the performer be turned over along with the one that has been raised to show the coins, in the direction of the company, the result achieved is that the coins are on the outside of the handkerchief, but enveloped in the 2in. fold. This turning back of two halves, instead of one, being the vital part of the whole thing, must be done with great carelessness. Indeed, the action of turning the rear half over with the right hand is a mistake: all that is necessary is to drop the left hand with a good shake, when both halves will fall on the same side, as naturally as possible. These little things require a good deal of explanation, but it is a really very simple manœuvre, which I divide into four distinct movements, viz.: First movement—placing the coins under handkerchief, in left hand; second movement—turning over coins with right hand, and seizing again with left thumb and finger (see Fig. 48); third movement—dropping left hand and raising front half of handkerchief with right hand; fourth movement—releasing handkerchief with right hand and shaking two halves over with left. When the fourth movement has been completed, the right hand should seize the handkerchief just below the coins, which can then be struck upon the left palm, carelessly, but hard, so as to indirectly convey the idea of their being contained in a bag, made by the handkerchief. There need be no fear of the fold becoming loose if the handkerchief be gripped firmly; and the boldness of the act will disarm suspicion. The very security of this fold renders it more difficult to work the coins out when the "trial of strength" comes on, and the assistant must be made to hold the handkerchief some distance away from the coins, so that the performer's hands have plenty of space to work in. Whilst the assistant is thus holding the handkerchief, it is a good plan to allow that part in which the coins are folded to hang down—whilst the sleeves are being turned back, for instance. This will keep up the impression of their being enclosed in a bag.