The subject of the present chapter may be said to be the groundwork of all legerdemain, being, we believe, the very earliest form in which sleight-of-hand was exhibited. At the present day it is not very often seen, save in the bastard form known as “thimble-rig,” and used as a means of fleecing the unwary upon race-courses and at country fairs. It is, however, well worthy the attention of the student of modern magic, not only as affording an excellent course of training in digital dexterity, but as being, in the hands of an adept, most striking in effect. It is by no means uncommon to find spectators who have received more elaborate feats with comparative indifference, become interested, and even enthusiastic, over a brilliant manipulation of the cups and balls.

The prestige of the illusion is heightened by the simplicity of the appliances used, consisting merely of three tin cups about three inches high, each in the form of a truncated cone, with a rim or shoulder round the base (see Fig. 118), the ordinary wand, four little cork balls, three-quarters of an inch or a little less in diameter, and blackened in the flame of a candle, three larger balls of about an inch and a quarter in diameter, and four more of such a size as to just fill the goblet. These last are generally stuffed with hair, and covered with cloth. The number of balls may vary according to the particular “passes” which the performer desires to exhibit, but the above will be found sufficient for most purposes. The performers of the olden time were accustomed to use the gibecière, or apron with pockets, already mentioned, and to perform at a table having no speciality, save that it was a little higher than those in ordinary use; but at the present day the gibecière is entirely discarded, the servante of the table answering the same purpose. The arrangement of the table and apparatus is shown in Fig. 118.

The whole art of cup-and-ball conjuring resolves itself into two elements—(1), the exhibition of a ball under a cup where a moment previously there was nothing; and (2) the disappearance of a ball from beneath a cup under which the audience have just seen it (or believe that they have seen it) placed. The routine is as follows:—A cup is lifted, to show that there is nothing beneath it, and again replaced, mouth downwards, on the table. A ball is taken in the right hand, transferred to the left, and thence ordered to pass under the cup. The hand is opened, the ball has vanished, and, on the cup being lifted, is found beneath it. Again, the ball, first exhibited in the right hand, is thence openly transferred, either directly under the cup, or first to the left hand, and thence to the cup. All having seen it placed beneath the cup, it is now commanded to depart, and on again lifting the cup, it is found to have vanished. It will hardly be believed, until proved by experiment, of what numerous and surprising combinations these simple elements are capable.

The sleight-of-hand requisite for the cups and balls is technically divisible into four different acts or movements, viz.—1. To “palm” the ball. 2. To reproduce the palmed ball at the end of the fingers. 3. To secretly introduce the palmed ball under the cup. 4. To simulate the action of placing the ball under the cup. The modes of effecting these objects will be discussed in due order.

1. To Palm the Ball. First Method.—We use the generic term “palm” for the sake of convenience, though in this first method, which is that most generally used, the ball is really concealed between the second and third fingers, and not in the palm. Take the ball between the first finger and thumb of the right hand; slightly bend the fingers (see Fig. 119), and at the same moment roll the ball with the thumb across the first and second fingers, till it rests between the second and third fingers (see Fig. 120), which should slightly separate to receive it, again closing as soon as it is safely lodged. The ball will now be as shown in Fig. 121, and it will be found that the hand can be opened or closed with perfect freedom, and, indeed, be used in any manner, without being in the least hampered by its presence. The student should practise palming the ball in this manner both in the act of (apparently) transferring the ball to the left hand, and in that of (apparently) placing it under a cup lifted by the left hand for that purpose.

Second Method.—The second method is to actually “palm” the ball, in the same manner as a coin. For this purpose the ball is, as before, taken between the first finger and thumb of the right hand, but is thence made by the thumb to roll between the tips of the third and fourth fingers, which immediately close into the palm, and, again opening, leave the ball behind them. With a little practice, two balls in succession may be palmed in this way, and then a third by the first method.

Third Method.—The third method is that which was adopted by the celebrated Bosco, a most accomplished performer with the cup and balls. Being accustomed to use balls of a larger size than those above described, and therefore too bulky to palm by the first method, he used to hold them by means of a slight contraction of the little finger. (See Fig. 122.) The necessary movement of the fingers to place the ball in position is nearly the same as by the first method.

2. To Reproduce the Palmed Ball at the End of the Fingers.—The mode of doing this will vary according to the method by which the ball is palmed. If according to the first or third method, the ball is simply rolled back to the finger-tips with the ball of the thumb, exactly reversing the process by which it was palmed. But if the ball was palmed by the second method, it is, for the time being, not get-at-able by the ball of the thumb. In this case the first step is to close the third and fourth fingers upon the ball (see Fig. 123), and therewith roll it to the position shown in Fig. 122, when the thumb is enabled to reach it, and to roll it to the finger-tips in the manner just described.

3. To Secretly Introduce the Palmed Ball under the Cup.—This is always done in the act of raising the cup (with the right hand), for the ostensible purpose of showing that there is nothing underneath it. The chief thing to be attended to is the position of the right hand (in which we are supposing a ball to be palmed by one or other of the methods above mentioned) in raising the cup. This should be done with the hand spread almost flat upon the table, and grasping the cup as low down as possible, between the thumb and the lowest joint of the forefinger. In the act of raising the cup, the fingers naturally assume the position shown in Fig. 124, whereby the ball is brought in close proximity to, and slightly under, the edge of the cup. If the ball be palmed by the first method, all that is necessary in order to release it is a slight backward movement of the second, and a forward movement of the third finger, made just before the cup again touches the table. This will be found to drop the ball immediately under the cup. If the ball be palmed by the third method, its introduction under the cup is a still easier matter, as by the act of raising the cup it is brought directly underneath it, and is released by the mere act of straightening the third and fourth fingers. If the ball is palmed by the second method, it becomes necessary, before taking hold of the cup, to close the third and fourth fingers slightly (see Fig. 123), and bring the ball to the position shown in Fig. 122. From this point the operation is the same as if the ball had been originally palmed by the third method.

It is sometimes necessary to introduce a ball between two cups. It will be remembered that each cup is made with a cylindrical rim or shoulder. The purpose of this shoulder is that, when two cups are placed one upon the other (see Fig. 125), there may be a space between them sufficient to receive a ball or balls. To further facilitate the introduction of the ball, the top of each cup is made, not flat, but concave. When it is desired to introduce a ball between two cups, that object is effected as follows:—Having the ball ready palmed in the right hand, the performer takes up a cup in the same hand, and with it covers the second cup, at the same moment introducing the ball beneath it in the ordinary manner, but with the addition of a little upward jerk, rather difficult to describe, but easily acquired with a little practice. The ball is thereby thrown to the top of the uppermost cup, and, in again falling, is received by the concave top of the lowermost cup.

4. To Simulate the Action of Placing a Ball under a Cup.—This may be done in two ways. The first is to raise the cup with the left hand, apparently placing the ball underneath it with the right, but really palming it. Care must be taken that the edge of the cup shall touch the table at the very moment that the fingers of the right hand are removed. The second and more common method is to apparently transfer the ball to the left hand, palming it in the transit, and then bringing the closed left hand close to the cup on the table, raise the cup with the other hand, and immediately replace it with a sort of scraping movement across the fingers of the now opening left hand.

When the student has thoroughly mastered the various operations above described, he will have little to learn save the combination of the various Passes, a matter of memory only. There are, however, one or two subordinate sleights with which he should make himself acquainted before proceeding publicly to exhibit his dexterity.

To Produce a Ball from the Wand.—The wand is supposed to be the reservoir whence the magician produces his store of balls, and into which they vanish when no longer needed. The mode of production is as follows:—The performer, holding the wand in his left hand, and drawing attention to it by some remark as to its mysterious power of production and absorption, secretly takes with his right hand, from the servante or elsewhere, a ball, which he immediately palms (preferably by the first method). Daintily holding the wand by either end with the left hand, in such manner as to show that the hand is otherwise empty, he slides the thumb and fingers of the right hand (the back of which is naturally towards the audience) lightly to the opposite end, at the same moment rolling the ball with the thumb to the ends of the fingers, as already described. (See Fig. 126.) The ball thus comes in sight just as the hand leaves the wand, the effect to the eyes of the spectators being that the ball is, by some mysterious process, squeezed out of the wand.

To Return a Ball into the Wand.—This is the converse of the process last described. Taking the wand in the left hand, as before, and the ball between the thumb and second joint of the forefinger of the opposite hand, the performer lays the end of the wand across the tips of the fingers, and draws the hand gently downwards along it, at the same time palming the ball by the first method.

To Pass one Cup through another.—This is an effective sleight, and by no means difficult of acquirement. Taking one of the cups, mouth upwards, in the left hand, and holding another in a similar position in the right hand, about a foot above it, the performer drops the right hand cup smartly into that in the left hand (which latter should be held very lightly). If this is neatly done, the lower cup will be knocked out of the hand by the concussion, while the upper one will be caught and held in its place; the effect to the eye of the spectator being as if the upper cup had passed through the other. The lower cup may either be allowed to fall on the ground or table, or may be caught by the right hand in its fall.

The successive appearances and disappearances of the balls underneath the cups are known by the name of “Passes;” the particular combination of such passes being governed by the taste and invention of the performer. The series most generally in use is derived from a work dating from the last century, the Récréations Mathématiques et Physiques of Guyot; and Guyot, we believe, borrowed it from a German source. The series given below, which will be found very effective, is derived mainly from that of Guyot, as improved by Ponsin, a later and very ingenious writer on the art of prestidigitation.

The cups and balls require, even more than conjuring generally, a running accompaniment of talk. Each Pass should have its own “boniment,” or “patter,” carefully prepared and frequently rehearsed. It would be impossible to give, within any reasonable limits, appropriate patter for each of the Passes. This each performer must arrange for himself, so as to suit the style and character in which he performs; as it is obvious that the low comedy style of a mountebank at a country fair would be utterly unsuitable in an aristocratic drawing-room, and vice versâ. We shall, however, give a specimen or two in the course of the various Passes. The burlesque introduction next following is a paraphrase of a similar address quoted by Robert-Houdin:—

Introductory Address.—“Ladies and Gentlemen,—In an age so enlightened as our own, it is really surprising to see how many popular fallacies spring up from day to day, and are accepted by the public mind as unchangeable laws of nature.

“Among these fallacies there is one which I propose at once to point out to you, and which I flatter myself I shall very easily dispose of. Many people have asserted, and, among others, the celebrated Erasmus of Rotterdam, that a material object can only be in one place at one time. Now I maintain, on the contrary, that any object may be in several places at the same moment, and that it is equally possible that it may be nowhere at all.

“I must beg you to observe, in the first place, that I have nothing in my hands—except my fingers; and that between my fingers there is nothing save a few atoms of the mysterious fluid which we call the atmosphere, and through which our jolly old Earth spins so merrily along. But we must leave the common-place regions of astronomy, and return to the mysteries of hermetic science.

“I have before me, as you will have noticed, three little cups or goblets. The metal of which these are composed is an amalgam of costly minerals, unknown even to the most profound philosophers. This mysterious composition, which resembles silver in its solidity, its colour, and the clearness of its ring, has over silver this great advantage, that it will at pleasure become impalpable as air, so that solid bodies pass through these goblets as easily as they would through empty space. I will give you a curious illustration of this by making one goblet pass through another.” (This the performer does in the manner already described, and after a moment’s pause, continues, taking up his wand in his left hand, and secretly palming a ball in his right.) “This little wand, you are possibly aware, ladies and gentlemen, goes by the name of Jacob’s Rod. Why it is so called I really don’t know; I only know that this simple-looking wand has the faculty of producing various articles at pleasure. For instance, I require for the purpose of my experiment a little ball. My wand at once supplies me.” (He produces a ball from the wand, and lays it on the table.)

With this or some similar introduction, the performer proceeds to exhibit

Pass I. Having Placed a Ball under each Cup, to draw it out again without Lifting the Cup.—Having produced a ball from the wand as last described, and having laid it on the table, the operator continues,—“Allow me to show you once more that all the cups are empty” (he raises them one by one, and replaces them), “and that I have nothing in either of my hands. I take this little ball” (he picks it up with the right hand, and apparently transfers it to the left, really palming it in the right), “and place it under one of the cups.” Here he raises the cup with the right hand, and simulates the action of placing the ball under it with the left. “I draw another ball from my wand” (this is really the same ball, which remained palmed in the right hand), “and place it in like manner under the second cup.” He goes through the motion of transferring it to the left hand and thence to the cup, as before, but this time actually does what on the former occasion he only pretended to do, and leaves the ball under the middle cup. “I produce another ball”—(he half draws the wand through his fingers, but checks himself half-way). “I think I heard some one assert that I have a ball already in my hand. Pray satisfy yourselves” (showing the palms of his hands, the fingers carelessly apart) “that such is not the case. A lady suggested just now, by the way—it was only said in a whisper, but I heard it—that I didn’t really put the balls under the cup. It was rather sharp on the part of the lady, but you see she was wrong. Here are the balls.”K So saying, the performer lifts up the middle cup with his left hand, and picking up the ball with his right, holds it up that all may see, immediately replacing it under the same cup. The last movement is simulated only, the ball being in reality palmed in the supposed act of placing it under the cup. “We have now a ball under each of these two cups. We only want one more, and—here it is”—apparently producing a third ball (really the same again) from the wand. “We will place it under this last cup.” He actually does so. “Now, ladies and gentlemen, we have three cups and three balls, one under each cup. So far, I admit that I have not shown you anything very surprising, but now comes the puzzle, to take the balls from under the cups. Perhaps some of you sharp gentlemen will say there isn’t much difficulty in that. Lift the cup, and pick up the ball!” He suits the action to the word, lifting up the third goblet with the left hand, and picking up the ball with the right. “A very good solution, but it doesn’t happen to be the right one. The problem is to draw out the balls without lifting the cups.” Here he replaces the cup, apparently placing the ball beneath it, but really palming it, as already described in the case of the middle cup, and then returns to the first or furthest cup; touching the top of the goblet, he lets the palmed ball drop to his finger-tips, and immediately exhibits it, saying—“This is the way I take the balls out of the cups. The ball being no longer needed, I return it into the wand.” This he does as described at page 277, immediately afterwards, if desired, handing the wand for examination. “In like manner I draw out the second ball” (he repeats the same process with the middle goblet), “and pass that also into my wand. I need not even handle the goblets. See, I merely touch this third goblet with my wand, and the ball instantly appears on the top.” The company, of course, cannot see any ball on the end of the wand, but a ball is nevertheless taken thence by the process already described, of letting the palmed ball drop to the tips of the fingers, as they come in contact with the wand. “I pass this also into my wand. Stay, though, on second thoughts, I shall want a ball for my next experiment, so I will leave it here on the table.”

We have given a somewhat elaborate description of this first Pass, in order to give the reader some idea of the various feints and artifices employed in relation to the cups and balls. It would be impossible, from considerations of space, to do this as to each of the Passes, and the reader must therefore remember that the descriptions following give merely the essential outlines, which must be worked up to dramatic effectiveness by the ingenuity of the individual performer. Where practicable, we shall allow the few words put into the mouth of the performer to indicate the actions accompanying them, only giving special “stage directions” in cases where the performer does not suit the action to the words. For the sake of distinctness, we shall indicate the goblets (reckoning from the left hand of the performer) as A, B, and C. (See Fig. 118.)

Pass II. To make a Ball Travel invisibly from Cup to Cup.—“Now, ladies and gentlemen, if you watch very closely, you will be able to see the ball travel from one cup to another. I take the ball” (transfers it apparently to left hand) “and place it under this cup (C). You all see that there is nothing under this one” (B). In raising B with the right hand he introduces under it the palmed ball. “I shall now command the ball which I have just placed under the first cup (C) to travel under this one (B). Attention! and you will see it pass.” He makes a motion of the wand from the one cup to the other. “There it goes! This cup (C), as you see, is empty, and under this one (B) is the ball. I will replace it under this same cup” (B). He in reality palms it. “There is nothing under this cup” (A). He secretly introduces the ball under A. “Now observe again. Pass! Did you see it? No? well, I don’t much wonder at it, for I can’t always see it myself. Here it is, however” (lifts A), “and this cup (B) is empty.” He replaces the cups on the table, and lays the ball beside them.

Pass III. Having placed a Ball under each of the end Cups, to make them pass successively under the Middle Cup.—Before commencing this Pass, the performer, while placing the goblets in line, or otherwise engaging the attention of the audience with his left hand, takes from the servante with his right, and palms, a second ball. He continues, “For my next experiment, ladies and gentlemen, I shall require two balls. I need hardly remark that I could instantly supply myself from the wand; but there is a curious faculty about the balls themselves; they have a constant tendency to increase and multiply. For instance, without having recourse to the wand, I can instantly make this one ball into two” (he takes up the ball on the table in his left hand, taking care so to hold it that all may see that there is nothing else in his hand), “and the most curious part of the matter is, that though mathematicians insist that the whole is always greater than its part, in this case each of the parts will be found precisely equal to the whole.” As he speaks, he takes the ball from the left hand with the fingers of the right, at the same time dropping the palmed ball into the left hand, and now taking care to so hold his right hand as to show that it contains the one ball only. He then again replaces this ball in the palm of the left hand, where it lies side by side with the second ball. Rubbing the left palm with the second and third fingers of the right, with a circular motion, he gradually lifts the fingers, and shows the single ball apparently transformed into two, both of which he places on the table.

“You will observe that there is nothing under this cup (C). I will place under it this ball” (he really palms it); “neither is there anything under either of these two cups” (B and A). He lifts the cups one with each hand, and secretly introduces the palmed ball under B. “I take this second ball, and place it under this cup” (A). He really palms it. “We now have a ball under each of these two cups” (A and C). “I draw the ball out of this one” (C). He touches the top of the cup, and produces the ball last palmed at his finger-tips. “I order it to pass under this middle cup” (B). He apparently transfers it to the left hand, really palming it, and then makes a motion with the left hand, as if passing it into B. “It has passed, you see!” He raises B with his right hand, showing the ball under it, and in replacing it secretly introduces the second palmed ball. “Now I order the ball in this cup (A) to pass in like manner.” He waves his wand from A to B, and then lifts B. “Here it is, and these two outer cups” (turning them over with the wand) “are perfectly empty.”

Pass IV. Having placed two Balls under the Middle Cup, to make them pass under the two Outer ones.—“You have just seen these two balls pass under the middle cup; now, by way of variety, we will make them pass out of it. I will take the two balls, and place them under the middle cup.” He really so places one only, palming the other. “You observe that there is nothing either under this (A), nor under this (C).” Here he secretly introduces the palmed ball beneath C. “Now I order one of the balls under the middle cup to pass under one of the outer cups. Let us see if it has done so” (lifts middle cup with left hand). “Yes, here is only one left.” He takes it up and shows it with right hand, then makes the gesture of replacing, but really palms it. “Let us see where it has gone to” (lifts A with right hand, and in replacing it secretly introduces the palmed ball under it). “It is not under this one. Then it must be under this.” He lifts C. “Yes, here it is. Now I command the other ball in like manner to leave the middle cup, and pass under the other (A). Pass! Here it is, you see, and this one (B) is entirely empty.”

Pass V. To pass three Balls in succession under one Cup.—“So far, ladies and gentlemen, what I have shown you has been mere child’s play.” He drops the right hand carelessly to the servante, and picks up two more balls, one of which he holds between the fingers, and the other in the palm. “The real difficulty only begins when we begin to work with three balls. Now which of these two balls” (taking up the two balls from the table) “is the largest? This one, I fancy, has the advantage, so I will pinch a little piece off to make a third ball.” He goes through the motion of pinching the ball with the fingers of both hands, at the same moment letting fall the ball in the palm to the tips of the fingers of the right hand. “Yes, this will do. It isn’t quite round, but that is easily rectified.” He rolls it between the fingers. “That is better. Now watch me closely, ladies and gentlemen.” He places the balls upon the table, with the exception of the fourth, which remains concealed between the fingers. “You see that there is nothing under either of the cups.” He raises all three, and introduces the fourth ball under the middle one (B). He then picks up one of the balls on the table, and apparently transfers it to his left hand, really palming it. “I command this ball to pass into the middle cup. It has passed, you see” (raising the cup with the right hand, and in replacing it, introducing the ball now palmed). The operation is repeated in like manner, until three balls have been shown under the cup, the fourth finally remaining palmed in the right hand.

Pass VI. To Place three Balls one after the other upon the top of one of the Cups, and to make them fall through the Cup on to the Table.—At the conclusion of the last Pass the performer had brought three balls under the centre cup B, a fourth remaining concealed in his hand. In lifting B to exhibit the three balls, and in replacing it beside them, he takes the opportunity of introducing beneath it this fourth ball. He next takes one of the three balls thus exposed, and placing it on the top of this same goblet (B), covering it with a second goblet (A). Making any appropriate gesture he pleases, he commands the ball to fall through the lower goblet on to the table. He then overturns (without separating) the two goblets, their mouths being towards the spectators, when the ball which he had secretly introduced will be discovered, and will appear to be that which the spectators have just seen placed on the top of the goblet (and which really still remains between the two goblets), and picks up the two goblets together, mouth upwards, with the left hand, and with the right hand takes out that which is now uppermost (B). He turns both the goblets down upon the table, placing A over the ball which he has just shown. If this is neatly done, the other ball, which has remained in A, will not be discovered, but will as it falls be covered by A, which will now have beneath it two balls. The performer now places one of the remaining balls on the top of A, covering it with either of the other goblets, and again goes through the same process till he has shown first two, and then three balls under the cup, the fourth remaining, at the close of the Pass, between the two cups last used.

Pass VII. To pass three Balls in succession upwards through the Table into one of the Cups.—You concluded the last Pass (we will suppose the reader to represent for the time being the performer) by lifting two cups together to show three balls beneath the undermost. Holding two cups in the left hand, you turn them over, mouth upwards. Taking with the right hand that which is now uppermost, you place it on the table in the ordinary position, still retaining the other, in which, unknown to the spectators, a fourth ball still remains. You continue, “Ladies and gentlemen, you may possibly imagine that there is some trick or sleight-of-hand in what I have shown you, but I am now about to perform an experiment in which that solution is clearly inadmissible. I propose to pass these three balls, one after the other, through the solid table into this empty goblet. Pray watch me carefully. I take away one of the balls” (you take in the right hand one of the three on the table), “and hold it beneath the table, thus. My left hand, as you will observe, is perfectly empty. I have only to say, ‘Pass!’” (You palm the ball in the right hand, at the same time giving a gentle tap with one finger against the under surface of the table, and immediately bring up the hand, taking care, of course, to keep its outer side towards the spectators; then gently shake the cup which you hold in the left hand, and turn the ball out upon the table.) “Here it is, you see. Now I will put it back in the cup” (you pick up the ball with the right hand, and drop it into the cup, secretly letting fall with it the palmed ball), “and take another ball.” You repeat the process, and show two balls in the cup; then again (each time dropping in the palmed ball), and show three, retaining the fourth ball, still palmed, in your right hand.

Pass VIII. To Pass two Balls in succession from one Cup to another without touching them.—You again place the three cups in a row on the table, secretly introducing under the right hand cup (C) the ball which remained in your right hand at the close of the last Pass, and then openly place the three other balls on the tops of the three cups. You then proceed, “I will take this ball” (that which is on B), “and place it under this same cup” (B). You really palm it. “I take this other ball” (that which is upon A), “and place it under this cup” (A). You secretly introduce with it the ball which you have just palmed. “I take this last” (that upon C), “and place it under this goblet (A); or, stay, I will pass it invisibly to this one” (C)—really palming it. “It has passed, you see.” You lift C, and show the ball which is already there; and in again covering the ball with the cup, you secretly introduce that which you last palmed. You now have in reality two balls under each of the end cups, and none under the centre one; but the spectators are persuaded that there is one ball under each cup. “We now have one ball under each cup. Now I shall command the ball that is under the centre cup to pass into either of the end ones at your pleasure. Which shall it be?” Whichever is chosen, suppose C, you raise and show the two balls under it. You then ostensibly replace the two balls under C, but really replace the one only, palming the other. You then raise the middle cup (B), to show that it is empty, and, in replacing it, introduce the ball you have just palmed under it. “Now I shall next order one of the two balls you have just seen under this cup (C) to go and join the one which is already under this other (A). Pass! Here it is, you observe.” You raise A to show that there are two balls under it. You also raise C to show that it now only contains one ball, and leave all three balls exposed on the table.

Pass IX. To make three Balls in Succession pass under the Middle Cup.—At the conclusion of the last Pass, three balls were left in view, while a fourth, unknown to the audience, was hidden under the middle cup. You proceed, picking up a ball with the right hand, “I take this ball, and place it under this cup” (C); (in reality palming it). “I now order it to pass under the middle cup. Presto! Here it is, you see.” You raise the middle cup to show that the ball has obeyed your command, and, in again covering the ball, secretly introduce with it that which you have just palmed. “I take this one” (you pick up another), “and place it under this cup” (A)—here you palm it as before—“and order it also to pass under the middle cup.” You raise the middle cup, and show that there are now two balls under it, and, in again covering them, introduce the ball which you last palmed. “I take this last ball, and place it under this cup” (C)—palming it—“whence I shall command it to again depart, and join its companions under the middle cup. This time it shall make the journey visibly.” You take your wand in the left hand, and with it touch the cup C. “Here it is, you see, on the end of my wand. You don’t see it? Why, surely it is visible enough. Look.” You pretend to produce the palmed ball from the wand, and exhibit it to the company. “You can all see it now.” You lay down the wand, and go through the motion of transferring the ball to the left hand, really palming it in its passage. “Now, then, pray watch me closely, and you will see it pass under the cup. One, two, three!” You make the gesture of throwing it through the middle cup, and open the hand to show it empty, immediately turning over the goblets to show that there are three balls under the middle and none under the outer ones.

Pass X. The “Multiplication” Pass.—For the purpose of this Pass it is necessary to borrow a hat, which you hold in the left hand. You then place the three balls in a row upon the table, and cover each with one of the cups. It will be remembered that a fourth ball remains palmed in your right hand. You now lift up the right hand goblet (C), and place it on the table close beside the ball which it lately covered, and as you do so, secretly introduce beneath it the palmed ball. You pick up with the right hand the ball which you have thus uncovered, and go through the motion of dropping it into the hat, really palming it in the moment during which the hand is concealed inside the hat, and at the same moment simulating, by gentle tap against the inside, the sound which the ball would make if actually dropped into the hat. You next lift B in like manner, introducing the ball just palmed beneath it, and go through the motion of placing the second ball, which is thereby left exposed, in the hat. You do the same with the third cup, then return to the first (which the spectators believe to be now empty, and from which they are astonished to see you produce another ball), continuing till you have raised each cup in succession eight or ten times, and, on each occasion of lifting a cup to uncover a ball, introducing beneath it the ball which you had just previously palmed. To the eyes of the spectators, who believe that the balls are really dropped into the hat, the effect will be exactly as if new balls, by some mysterious process of reproduction, came under the cups at each time of raising them. When you think your audience are sufficiently astonished, you remark, “I think we have about enough now; the hat is getting rather heavy. Will some one hold a handkerchief to receive the balls?” When the handkerchief is spread out, you carefully turn over the hat, and the general astonishment will be intensified at discovering that it contains nothing.

There is, of course, a ball left under each of the cups, and a fourth palmed in your right hand. This latter will not again be wanted, and you should therefore, while attention is drawn to the hat, drop it upon the servante, or into one of your pochettes.

Pass XI. To Transform the Small Balls to Larger Ones.—While the attention of the spectators is still occupied by the unexpected dénouement of the last Pass, you should prepare for this one by secretly taking with your right hand from the servante, and palming (by either the second or third method, the first being only available for the small balls) one of the larger balls. You then address the spectators to the following effect:—“Ladies and gentlemen, you see that I have little difficulty in increasing the number of the balls to an unlimited extent. I will now repeat the experiment in another form, and show you that it is equally easy to make them increase in size. You will observe that, notwithstanding the number of balls which I have just produced from the cups, there are still plenty more to come.” Here you raise C, and show that there is a ball still under it. You replace it on the table at a few inches’ distance, and as you do so, secretly introduce under it the larger ball which you have just palmed. Taking up the small ball in your right hand, you say, “To make the experiment still more surprising, I will pass the ball upwards through the table into the cup.” So saying, you place the right hand under the table, dropping as you do so the little ball which you hold on the servante, and taking in its place another of the larger balls. “Pass!” you exclaim, at the same time giving a gentle rap on the under surface of the table. You bring the hand up again as if empty. You do not touch the first cup, but repeat the operation with the second, B, and again with A; on each occasion of passing the hand under the table exchanging a small ball for a larger one, and immediately afterwards introducing the latter under the cup next in order. The last time, however, you merely drop the small ball on the servante, without bringing up any other in exchange. You now have, unknown to the audience, one of the larger, or medium-sized balls under each of the cups; and if you were about to end with this Pass, you would merely lift the cups and show the balls, thus apparently increased in size, underneath. We will assume, however, that you propose to exhibit the Pass next following (one of the most effective), in which case the necessary preparation must be made in the act of raising the cups; and we shall therefore proceed at once, while the balls still remain covered, to describe

Pass XII. To again Transform the Balls to still Larger Ones.—The last Pass having reached the stage we have just described, i.e., a large ball being under each cup, but not yet exhibited to the audience, you secretly take in your left hand from the servante one of the still larger balls. These balls should be soft and elastic, and of such a size that, if pressed lightly into the cup, they shall require a slight tap of the cup on the table to dislodge them.

Having taken the ball in the left hand, you hold it at the ends of the fingers behind the table, as near the top as possible consistently with its being out of sight of the spectators. Then saying, “Now, ladies and gentlemen, I must ask for your very closest attention,” you raise C with the right hand, and with the same movement lower it for a moment behind the table, and over the ball in the left hand, which remains in the cup of its own accord. All eyes go instinctively to the ball on the table, whose increased size is a new phenomenon, and not one in a hundred will, in this first moment of surprise, think of watching the cup, which is naturally supposed to have, for the moment, concluded its share of the trick. You replace the cup on the table lightly, so as not to loosen the ball, meanwhile getting ready another ball in the left hand, and repeat the operation with B. With A you make a slight variation in your mode of procedure. Taking a third ball in your left hand, you hold it as before, but, as if through carelessness or clumsiness, allow it to be seen for a moment above the edge of the table. When you raise the third cup, you move it behind the table as before, and make a feint of introducing the ball which the spectators have just seen, but really let it drop on the servante, and replace the cup empty. A murmur from the audience will quickly apprise you that they have, as they imagine, found you out. Looking as innocent as you can, you inquire what is the matter, and are informed that you were seen to introduce a ball into the cup. “I beg your pardon,” you reply, lifting up, however, not A, which you have just replaced, but C, which is the farthest remote from it. There is really a ball in this cup, but having been pressed in, and fitting tightly, it does not fall. The audience, seeing you raise the wrong cup, are more and more confirmed in their suspicion. “Not that one, the other,” they exclaim. You next raise B, the ball in which also does not fall, for the reason already stated. “No, no,” the audience shout, “the other cup, the end one.” “You are really very obstinate, gentlemen,” you reply, “but pray satisfy yourselves,” turning over A as you speak, and showing the inside, which is manifestly empty, and your critics rapidly subside. Meanwhile, you drop your left hand to the servante, and secretly take from it two similar balls. Then, addressing the audience, you say, “Surely, gentlemen, you don’t imagine that, if I wanted to place a ball under a cup, I should set about it after such a clumsy fashion as this!” As you say this, you place your left hand in your left pocket, as if taking a ball from thence (as it obviously would not do to give the audience cause to suspect the existence of a secret receptacle behind the table), and bring out again the two balls, but allow one only to be seen, keeping the other concealed in the palm. Bringing the cup over the hand, you squeeze in both balls as far as you can, when the innermost will remain, but the outermost, not having sufficient space, will drop out again on the table. The audience, not knowing that there are two balls, believe the cup, which you now replace on the table, to be empty. You continue, “No, gentlemen; when I pass a ball under a cup, you may be sure that I don’t let anybody see me do so.” As you speak, you take the ball on the table in your right hand, and make the movement of transferring it to your left, really palming it by the second method, and holding the left hand closed and high, as if containing it, and keeping your eyes fixed thereon, you carelessly drop your right hand till the finger-tips rest on the table, when you are able to let fall the ball upon the servante. You continue, “I will now pass this ball under either of the cups which you like to name. Indeed, I will do more; I will cause this ball invisibly to multiply itself into three, one of which shall pass under each of the cups. First, however, let me show you that there is nothing under the cups at present.” You raise each in turn—“Nothing here, nothing here, and nothing here!” The balls still adhere to the sides of the cups, which, therefore, appear to be empty, but you replace each with a slight rap on the table, and thereby loosen the ball within it. “Now, then!” You bring the two hands together, and gently rub them over each cup in turn; finally parting them and showing that both are empty, and then lifting the cups, show the three large balls underneath.

Some performers, in lifting each cup with the right hand, introduce a fresh ball, held in the left hand, as already explained. The effect is the same as in the “Multiplication” Pass, already described, with this difference, that on each occasion of uncovering a ball, the ball remains on the table, which thus becomes gradually covered with an ever-increasing number of balls. Some, again, conclude by apparently producing from the cups objects much larger than they could naturally contain, e.g., large apples, Spanish onions, etc. This is effected in the same manner as the introduction of the large balls just described, save that in this case the object, which cannot really go into the cup, is merely held against its mouth with the third finger of the right hand, and dropped with a slight shake, as if there was a difficulty in getting it out.

There are many other cup-and-ball Passes, but the series above given will be found as effective as any. If any reader desires to follow the subject further, we would refer him to the Récréations Mathématiques et Physiques of Guyot, already quoted, or another old work, under the same title, by Ozanam, in which this branch of prestidigitation is treated at considerable length.