Aunt Kate's Conjuring & Parlour Magic.pdf

PRICE ONE

Copyright.

PENNY.

it

M

.Mac Principal

A JOTIS?

IZJI

JOHN LENO & CO., Dundee,

Contents.

Hints for Beginners. Tricks w i t h Coins. Experiments with Eggs. Optical and other Illusions. Magic Corks. How to Change Water into Wine. Some Simple Experiments. String Tricks. Some After-Dinner A m u s e m e n t s . Tricks with Handkerchiefs. Second Sight. Curious Paper Rings. String Sticks. Tricks in Balancing. Card Tricks. Tricks w i t h Glasses. Tricks w i t h Rings. S w o r d - S w a l l o w i n g Tricks. Magic Squares. How to Tell Hidden Numbers. The Automatic Dancer. The Travelling Doll. The Lovers' Knot. A Bridge of Dominoes. A Battery of Draughtsmen. &c., &c., &c.

and IS6 Fleet

Street,

London.

4

*

*

CI)C • • •

FOR H O M E A N D O U T D O O R

READ2NG.

For

The Br

^

The Du

u D

The Sei The Lig eader ader WILL

ALMA

M.I.M.C. (LONDON)

y

Reader

The Humorous Reader Contains Something suitable for every Reader. 'We

doubt

If there is anything

better

of I t i

kind published a n y w h e r e . " Daily

Chronicle

( LonAen.)

WEEKLY

1

D.

TABLE

OF

CONTENTS.

PAQE. TABLE OF CONTENTS INTRODUCTORY

1

T H E INDESTRUCTIBLE T H R E A D , CUBIOUS P A P E R R I N G S T o C U T A STRONG CORD K N I F E OR SCISSORS, SPLICING STRING,

~

3

— —

3 5

T H E MONET-MAKING T W O * T H E FLYING SIXPENCE T H E V A N I S H I N G PENNY, T H E DISAPPEARING THREEPENNY, ... A TWENTY-SHILLING THICK T H E SUBMERGED COIN A COIN AND BOTTLE PUZZLE T H E BLOWN SIXPENCE, COINS AND CROSS, COINS IN A R O W , T H E JUMPING SHILLING, T H E STATIONARY SHILLING T H E REVOLVING COIN T H E E F F E C T OP GRAVITY, ... _ W H A T MAKES IT SWING? ... ... T H E VANISHING H A L F - C R O W N , _ SECOND SIGHT — BOTTLE AND COIN THICK, ... » A LIVELY PENNY A SIXPENCE IN A BALL OF W O O L , ... To DRIVE A N E S D L B THROUGH A HALFPENNY T H E DISAPPEARING P E N N I E S EASY W A Y TO M A K E MONEY T H E OBEDIENT SIXPENCE, ... ...

5 5 5 6 6 6

HINTS FOR BEGINNERS, TRICKS WITH COrNS

...

TRICKS WITH CORKS, A N OBSTINATE CORK A DELICATE L I F T I N G F E A T , A DIFFICULT L I F T I N G F E A T , A CLEVER SELL, T H E FOUR CORKS, T H E COHESIVE CORKS A LAUGHABLE F E A T EATING CORKS CORKS EASILY DRAWN.

-

A N ACROBATIC CORK A SiMrLE FKAT, CORK AND CAMPHOR T R I C K , A CORK MOUSE

„ H

...

T H E UNTYABLE HANDKERCHIEF, CUT

AND BURNED RESTORED

„

17

„

17 17

—

18 18

_

HANDKERCHIEF

18 19

19 GUESS TIIE CARDS F I X E D ON BY FOUR PERSONS, 19 . T o TELL THE N A M E O F A CARD THOUGHT OF, . . . 19 F O U N D AT THE SECOND GUESS, 19 T H E SURPRISE 20 T H E WANDERING A C E , _ 20 A CLEVER CONSTABLE, 20 T o T E L L H O W MANY CARDS A PERSON HAS S H I F T E D g 20 CAUGHT IN F L I G H T , ; 21 T o N A M E A CARD W I T H O U T ITS BEING 21 SEEN 21 A CARD AND PENNY T R I C K , T o SCENT O U T A C A R D CHOSEN FROM 21 A PACK OF SIXTEEN, 21 T o CALL A N Y C A R D IN THE P A C K , . . . 22 BETRAYED BY ITS W E I G H T , To

8 8 8 8 8 8 9 9 9 10 10

BALANCING TRICKS

10 11 11 11 12 12

15 IS

_

22

T H E P E N C I L AND K N I F E F E A T ,

„

22

BALANCING A TUMBLER, TRICK IN BALANCING T H E BALANCED PLATE A C u p IN DANGER, ... A BALANCED GLASS

„ „. .„

22 22 22 22 23

...

A BALANCED BOTTLE,

TRICKS WITH GLASSES,

13

M

T H E MAGICAL K N O T ,

_

T H E LOVERS' K N O T ,

T H E BOUND SCISSORS, 13 T H E ENDLESS THREAD, 13 STITCIIINO WITH A K N O T T E D T H R E A D , 13 CUTTING THROUGH THE F I N G E R S (NO. 1 ) , 1 3 CUTTING THROUGH THE F I N G E R S ( N O . 2 ) , 1 3 T H E CUT T A P E 14 THREADING THE N E E D L E , ... ... 15 TRICKS WITH SCISSORS, . . . T H E MAGIC THREAD, ...

...

1ft 16

CARD TRICKS

12 12 32 13

STRING TRICKS

T H E REEFING KNOT,

T H E HANDKERCHIEF AND CANDLE, . . .

10 10 10 _

WITHOUT .. ...

TRICKS WITH HANDKERCHIEFS,...

10

...

PADS. ... II

W A T E R CHANGED INTO W I N E AND W I N E INTO W A T E R W A T E R ABOVE A L E , FLOATING A P I N IN W A T E R A O N E - H A N D E D TUMBLER T R I C K , ANOTHER TUMBLER THICK, LIQUOR U N D E R A H A T , . . . ... _ T U B MAGICAL TUMBLKUS, ... ... A DIFFICULT L I F T , H o w TO KMPTY A GLASS, TIIF. PISAITHARING GI..\SS A NOVEL M O D E OF EMPTYING A TUMBLER, ... ,M „ „

23

23 23 23 24 24 24 24 24 24 24 25 25,-

2

TABLE OF CONTEXTS. PAGE.

E X P E R I M E N T S W I T H EGOS,

25

PARTS WITH THE FINGER

39

A N E a o M A T V A R I E S IN W E I G H T , . . .

25

H o w TO M A K E A MAMMOTH EGO,

...

26

A TOUCHING PICTURE,

FACIAL EXPRESSION ON AN ECGSHELL,

26

T o P E E L AN ORANGE WITHOUT LEAVING THE P I T H O N ,

39

26

T H E L I T T L E CONJURER

39

26

F U N WITH CLOTHES P I N S

40 40

T o BLOW AN EGG

FROM O N E

WINE-

GLASS TO ANOTHER, Tins FLEXIBLE EGG,

39

26

A SPRIGHTLY DANCER,

T H E SELF-COOKING EGG,

26

T H E W I N S E D ACROBAT,.

T H E PKRFOKMING EGG, , . .

27

ORNAMENW FROM LOBSTER

T U N H O O P AND THE EGG,

27

T H E LEMON P I G ,

T H E ROTATING EGG

TRICKS WITH RINGS

27

T H E - R I N G ON THE STICK, A RING PUZZLE, ANOTHER R I N G TRICK,

27 28 28

MISCELLANEOUS TRICKS

28

" TINI'DIVIBED PEAR

28

T H E CUBE IN THE I I A T , SWALLOWING A BARBER'S POLE, T H E FOUR-MATCH PROBLEM, T H E PAPKR T O P SWALLOWING A K N I F E A STARTLING SWORD STRAW TRICK, T H E BRIDGE OF DOMINOES, ... TRICK WITH MATCHES, A BATTERY OF DRAUGHTSMEN, T H E L A W OF INERTIA,

...

TRtcK

,

TACK. T o S P L I T AN A P P L E INTO T w o EQUAL

... ... ...

T H E TRAVELLING DOLL STRING STICKS, A BURNING SNOW MOUNTAIN, T H E ELECTRIFIED P I P E , : A STRIKING SIGHT, . T H E . AUTOMATIC DANCER, ONE STROKE PUZZLE, A R E .You. NERVOUS? TRY T H E TANTALISING PENCIL, TELLING AN U N S E E N AMOUNT, ... A N INGENIOUS CANDLESTICK, A CANDLE BURNING U N D E R W A T E R , ANOTHER CANDLE THICK MAGIC SQUARES, Tint MAG to OF NUMBERS fc'o NEAR AND Y E T SO F A B , . A TANTALISING SWEETMEAT, WINNING BY A NECK—NECK OB NOTHING ATTRACTION AND REPULSION, W H E N A F R I E N D INTENDS TO R I S E , . . . T N S OBSTINATE L E A F ... KICKING THE SPOOL INCONTROVERTIBLE, l l o w TO T E L L A PERSON'S A G E , ... IMPOSING ON A COMPANY A STARTLING TRICK, N O T THE B E S T W A Y TO L I G H T A CANDLE,

AFTER DINNER AMUSEMENTS To MAKE A ORANGE,

WINE

GLASS

WITH

28 28 29 29 29 31 21 31 31 31 31 32 33 33 33 33 31 3435 35 35 35 35 35 36 37 37 37

40

41 41

SOME OPTICAL AND O T H E R ILLUSIONS,

41

T H E GOTHIC ARCH

41

T H E B I R D IN THE CAGE,

41

T H E DISAPPEARING W A F E R S ,

...

...

41

A CANDLESTICK ILLUSION,

...

...

42

A TRANSPARENT H A N D ,

42

ESTIMATION OF DIAMETERS,

42

HALFPENNY ILLUSION,

...

...

(LL

42

COLOURED CARD TEICK, . . ,

...

„.

42

T w o MARBLES TRICK

43

T H E " ADHERING" COIN T H E DECEPTIVE P I L E ,

43 ...

43

T H E E Y E DECEIVED,

43

SOME SIMPLE EXPERIMENTS,

44

INVISIBLE W R I T I N G , F O U B LAYEBS o r LIQUIDS,

44

EATING F I R S ,

44

...

CONVERTIBLE SUBSTANCES,

..,

...

44

T H H M A G I C WHIRLPOOL,

...

...

44

A

GHOSTLY L I G H T ,

W A T E B THAT W I L L N O T SPILL,

...

44

...

44

MAGICAL TRANSMUTATION, T w o MAGICAL FIGURES, A

44

MAGIC DRAWING,

...

45

VORTEX SMOKE R I N G S

45

T o B O I L W A T E B IN P A P E R ,

...

J„

45

.

,,,

45

CAMPHOR IN W A T E B , MAGIO TRACINGS

...

45

A N O L D M E T H O D OF TELLING T I M E , T H E STRENGTH OF THE BREATH,

37 37 37 37 38 38 38 38 38

A

GREAT EXPERIMENT

ON A

45

...

'

46

SMALL

SCALE A DEAD GAS

46

A SHRIMP SYPHON SIMPLE F O R M OF SYPHON,

;

„,

„

...

46 47

COMPLIMENTARY COLOURS

47

A BEAUTIFUL EFFECT,

47

D O T S AND DASHES

47

EXPERIMENTS IN ELECTRICITY,...

...

42

38

A P I E C E OF BROWN P A P E R ,

...

48

39

H o w TO PRODUCE ELECTRIC L I G H T , . . .

48

...

A HOME-MADE MAGIC LANTERN,

AN

H e w TO M A S S A P I G WITH OBANQB P E E L ,

...

SflfiLts,...

39 39

...

48

...

48

CURIOUS MISHAP AT A CONJURING ENTERTAINMENT,

The State Library of Victoria " A L M A CONJURING C O L L E C T I O N "

INTRODUCTORY.

i H I S is the first of my many handbooks whioh Iras been prepared, exclusively, I may say, for my nephews. I do not suppose t h a t many of my nieces take any very practical interest in conjuring, although, doubtless, thoy appreciate the- endeavours of their brothers and male friends to mystify them by means of the "Black A r t . " I do not forget t h a t women ha.ro occasionally distinguished themselves as magicians, but the great majority of conjurers axe drawn from the other sex, a n d it is in the hope t h a t my nephews may have something with which to amuse themselves during the winter nights t h a t X have set about the publication of this little work on " Conjuring and Parlour Magic." The contents which go to form this book •were brought together in the first instance by one who was no mean conjurer himself," and who, for more fchani a quarter of a century, was almost continually giving hints to a large circle of amateur magicians. Their present arrangement has been undertaken by another who has also evinced more than a passing interest in " the t u r n of the wrist and t h e twist of t h e elbow." I feel confident, therefore, that, for the beginner, at all events, the book will prove of no small value. I n the preparing of " Conjuring and Parlour Magic" on,© point that has been kepti.m view is that 110 trick has been introduced which demands much pecuniary outlay for apparatus. Tricks with such easily available articles as coins, eggs, handkerchiefs, and cards have been given in abundance, and with a little practice and attention to tho instructions Taid down no one should find it difficult to arrange an interesting conjuring programme. After the beginner has mastered the contents of this book, and become proficient in the tricks which it oxplains, I have no doubt he will pass to those larger and more pretentious works, the practice of which demands greater skill and outlay. -AUNT KATE.

HINTS

FOR

BEGINNERS.

The first essential in conjuring is patieno*. The facility and ease which are necessary t o effective sleight-of-hand can only be acquired by much patience, and if 0. man is not willing to " try and try again," he should never begin tho art. Everything is learned by degrees, and the amateur conjurer will find it judicious to begin with simple tricks. As he gains proficiency in these, h e will pass oft t o feats requiring greater dexterity. Ona golden rule t o remember a t the outset is— Always practice alone, and in f r o n t of a mirror. If you stand before a large looking-glass you see every movement you make, and by gazing steadily into t h e mirror gradually learn t o perform the tricks without gazing a t your hands or following your fingers with your eyes. Having acquired the ability to work automatically, you are in a fair way towards complete success. By looking a t your audience and feigning indifference you beget in them increased wonder a t the ease with which you do a thing, and their mind becomes so occupied with " wondering" t h a t they pay less attention to solving the question how this or t h a t feat is accomplished. I t is always wise to acquire various methods of performing tho same trick. If you have an alternative way cf working, it comes in handy should you blunder in the first performance, or should it become apparent to you t h a t some one in the audience suspects your operations. Never be too anxious to give a performance. Practise incessantly, and only when perfect perform in public. Having supposed t h a t by practice the. student has become expert, and is ready to give illustrations in the aTt, we shall proceed to give a few hints as to how a performer should conduct himself before his audience. One of the first requisites is t h a t he be able t o enter into the enjoyment of the tricks he is about to perform. H e must take a real pleasure in doing them, and in proportion as he enjoys their exhibition! will he delight his audience. A wizard must

ttaro something to say im connection with svery item, ana must put life and vivacity Into all t h a t he says a n d does. H e should hare a certain a m o u n t of p a t t e r or talk for every trick, amid be able t o set i t off in a free a n d easy style. If he is ready-witted, »nd can throw in something appropriate o n t h e spur of t h e moment, so much t h e b e t t e r for his chanoes of suocess. A conjurer should look his audience s t r a i g h t in t h e face while he is speaking (he has already acquired this habit by working in f r o n t of a mirror) ; he should n o t remain s t a n d i n g on one spot, but should move a b o u t with a free-and-easy deportment. H e should keep his h a n d s moving, and n o t let t h e m hamg loose a n d motionless a t his sides. The first and most i m p o r t a n t t h i n g for the suocess of an e n t e r t a i n m e n t is t o get the audience i n t o good humour—to t a k e away from t h e m t h a t stolid o r keenly critical look which is so a p t t o discourage or disconcert a n a m a t e u r . There m u s t be a feeling of good fellowship created between audience and e n t e r t a i n e r a t t h e very outset, a n d once t h a t is obtained, all t h a t follows becomes easy and pleasant and smooth, a n d even a failure may b e laughed over good humouredly. I t is j u s t a t this point t h a t most a m a t e u r s fail. They come before their audience stiffly and a w k w a r d l y ; they feel anxious a b o u t t h e success of t h e entertainment, and anxiety betrays itself on their faces and general d e p o r t m e n t . W h e n t h e y a t t e m p t a. joke, their joke falls flat, their concerted p a t t e r comes insipidly f r o m t h e i r lips, and t h e r e is a mechanical ring a b o u t all their u t t e r a n c e s t h a t acts like a wet blanket uponi theii" audience, and reacts with telling force upon t h e conjurer. H o w is all this t o be avoided P I t is here t h e born conjurer will appear a t h i s best. H e will feel easy, a n d h e will joke pleasantly, a n d before many minutes axe past he will be in comp e t e sympathy with h i s audience. N o a m o u n t of instruction can give this necessary qualification, b u t i t may to a large ext e n t be acquired by s t u d y and practice. To illustrate these points let us t a k e an imaginary case. W e will suppose t h a t t h e e n t e r t a i n m e n t takes place in a small schoolroom. The platform is raised, say a foot or two from t h e floor. A t a t a b l e a t t h e back of the platform is arranged t h e conjuring apparatus for t h e evening's programme. A bare table stands at t h e f r o n t of t h e platform, and towards this t h e conjurer comes t o a n nounce his e n t e r t a i n m e n t , or on its being announced by t h e Chairman. There is a n easy expression of good h u m o u r on his face. H e begins by offering a few observations u p o n t h e happiness of being a conjurer and able t o say and do whatever one pleases to Bny one. H e t h e n observes t h a t , of course, .Everyone would like t o be a conjurer, and'

i t is t o be his business t h e r e t h a t ereninJg, not only to teach t h e m how t o become one, b u t to make t h e m able t o show others w h a t t h e y have seen him accomplish. H e t h e n goes . on to tell t h e m t h a t those who desire t o excel in sleight-of-hand or necromancy m u s t have certain n a t u r a l capabilities f o r the work, and t h e person, who is able t o do t h e feats which he is going to show t h e m will have t h e best chance of excelling in t h e a r t . I n t h e first place, h e " says, all magical tricks a r e performed by t h e twist of t h e wrist a n d t h e t u r n of t h e Tight h a n d , a n d to illustrate this h e will show how t h e t w i s t of t h e wrist is performed, and t h e person who can m a k e t h e wrist turnj u p o n a pivot as he does should have good hopes of success. Now, any one can do this. Stretoh o u t t h e left arm, p a t t h e back of t h e l e f t hand with the right hand, a n d cause t h e a r m t o rise u p from t h e elbow; t h e n when t h e f o r e a r m is a t right angles w i t h t h e upper arm, p a t t h e back of the hand andi cause i t t o bend over to right angles w i t h t h e forearm, as shown, i n t h e cut, t h e n t a k e t h e l e f t hamidi between t h e finger a n d t h u m b of t h e r i g h t hand, a n d twist t h e h a n d s outwards as far as can conveniently be done. The a t t i t u d e looks most ridiculous a n d strange, and oauses much wonderment. On lifting t h e finger and t h u m b from the l e f t h a n d , allow i t to r e t u r n t o its normal position with a jerk, a n d t h e wonder will be still f u r t h e r increased• The t u r n i n g of t h e t w o h a n d s in opposite directions is apparently a much more simply performed feat, ^ a n d yet, s t r a n g e J t o relate, we be- | | lieve t h a t hardly ' more tha n one in 100 is able to do it. I t consists in making t h e l e f t h a n d perf o r m a circular movement, a n d t h e r i g h t h a n d p e r f o r m a circular movement round it, b u t in an. opposite direction. The w r i t e r is able t o do this with ease, a n d by practice m o s t people could succeed in doing i t . I t s effect upon a n audience of children is wonderful. They a t once s t a r t t o t h e feat, a n d soon all are engaged t r y i n g t o m a k e their t w o h a n d s go r o u n d i n opposite directions. T h e illustration shows t h e method of placing t h e mda.

Lots of people are capable of performing some little, simple f e a t with- the hands or fingers which others, without considerable practice need n o t a t t e m p t . Anything of this kind will be effective in creating a. good understanding between amuser a n d amused, and causing some innocent diversion. L e t any of these things be don© t h a t suggests itself to t h e experience or aptitude of t h e conjurer, and so get a t t h a t desirable s t a t e of good fellowship with your audience before beginning t o any tricks, however simple. TRICKS

W I T H

COINS.

One of t h e most suitable tricks with whioh t o open your performance is t h a t i n which you inform your audience t h a t you are going t o show t h e m the easiest and most expeditious method of making money. This will immediately enlist interest i n your proceedings, as those who a r e averse from learning the secret of acquiring wealth easily and1 speedily a r e in t h e minority. THE MONEY-MAKING TRICK.

P r o c u r e threo sixpences of t h e same issue, a n d having previously p u t a little ordinary candle wax on one side of t h e coins, take a n opportunity, d u r i n g your opening address, of secretly sticking them to tthe underside of t h e table, about 'half a n inch f r o m t h e edge, a n d eight t o t e n inches apart. Now you are in a position to perform your " money-making-trick." T u r n u p your sleeves and take t h e third sixpence in your right hand, drawi n g particular a t t e n t i o n t o t h e exact d a t e and its general appearance, and (indirectly) t o t h e f a c t t h a t you have no other coins concealed in your hands. Turn back t h e tablecover, and r u b t h e sixpence with t h e ball of t h e t h u m b backwards and. forwards near the edge of t h e t a b l e : in this position your fingers will naturally be under t h e table. A f t e r rubbing for a few seconds you s a y — " I t is nearly done—the sixpence is getting hot," and t h e n a few moments later draw t h e hand away quickly, and bring with i t one of t h e concealed' coins, which you exhibit as being produced by t h e friction. Pocketing t h e waxed coin, and showing you have only one coin in your hand, repeat t h e operation with the second. The next trick to be described may be called THE FIXING

SIXPENCE.

and t h o following is t h e method of its performance:—Take one . of t h e coins used ini the first trick, and, having told t h e audience you mean to make it pass from t h e table into a h a t placed a t a distance therefrom, lay it in the centre of a handkerchief spread out on t h e table. Now this handkerchief should have t h e corner nearest your right hand slightly soaped before beginning t h e trick. Taking t h e soaped corner in tho fingers of t h e right hand, fold i t oyer to coyer t h e coin,

theni cover this dormer with t h e l e f t h a n d one in t h e same way. You may now t a p (or allow any party t o do BO) t o satisfy t h e audience t h a t t h e coin is still u n d e r t h o corners of tihe handkerchief. N e x t foldl over t h e two remaining corners t o form t h e handkerchief into a square. Secretly place another'sixpence between tihe first and! second fingers a n d t h u m b of t h e r i g h t hand, and having borrowed a h a t , take it in this hand with t h e tips of t h e fingers (sixpence u n d e r them) just inside t h e r i m . NOT* show t h e inside of t h e h a t , a n d t u r n it u p . side down to satisfy every one t h a t it ia perfectly empty, and t h e n p u t i t im a n y position away from t h e table (and where n o one caw see inside). When* placing t h e ihat allow tho sixpence t o slip f r o m u n d e r t h e fingers down inside t h e crown. You now Teturn to t h e handkerchief o n t h e table. Putting t h e tips of t h e fingers of b o t h hands u n d e r t h e folds of r i g h t anid> l e f t corners respectively, you say, "one—two—three—pass I" — a t tihe same time drawing t h e hands smartly o u t w a r d s : this will bring t h e soaped corner with t h e coin adhering t o i t , into t h e right h a n d , when i t can readily be removed. Any person now examining tho h a t will find t h e duplicate coin inside. T H E VANISHING P E N N Y ,

Ths "-stock-in-trade" for the following trick consists of a yard of thin black «lastio and three pennies, one of t h e m with a hole ia it, t h e two others scratched with a cross, or some other mark, t o distinguish them from, other pennies. The conjurer makes t h e following preparations. H o ties the elastic r o u n d his leg—right for preference — j u s t above t h e ankle, and to t h e free end of t h e elastic the fixes t h e bored penny, concealing t h e l a t t e r under t h e upper of his boot. Next h e hides a marked penny in any odd corner t h a t may appeal t o his imagination, and t h e remaining marked penny he drops, as opportunity offers, into t h e pocket of t h e staidest old gentleman handy. H e now opens t h e campaign by borrowing a penny. Looking h a r d a t it h e pretends t h a t he is about to read t h e date, b u t checking himself he explains t h a t as dates are very often alike it will be b e t t e r to mark it (on t h e head side) with a cross, a n d this he takes oaro to show h e h a s duly performed. H e t h e n holds his a r m o u t straight a n d slightly elevated, and grasps a p a r t of t h e coin between his middle-finger and thumb, and makes a motion precisely a s if h e wore snapping his fingers. Noiselessly, amd w i t a lightning rapiditj', t h e coin will fly u p his a r m past t h e elbow joint, and will remain snug t h e r e (unless t h e arm be briskly shaken) until an opportunity occurs t o remove it. A f t e r showing t h e audience t h a t t h e penny has disappeared, ha i n t i m a t e s

t h a t he has spirited it away to such and such a corner, and invites some one t o prove his assertion, whew, of course, what apparently is the identical penny is found there. The cries of amazement that break out on all Hides are met by the conjurer with a modest " Oh, that's nothing 1 Will any one favour ;>ie with a felt h a t ? " The hat being forthcoming (ani ordinary one with an arched brim for preference) he lays it down on the carpet, selecting a part of the room out of t h e full glare of light. Under this hat ho elects to put the marked penny Which has just been recovered ; but palming it, he really fingers the coin to which the elastic has been attached. To convince the company that there is no deception about the penny being left under the h a t lie invites a not too inquisitive member of the party to stand erect and hold the coim down with the pointed end of a n umbrella—the folds of the latter being handy for hiding any possible clumsiness—and then grasping the hat by both hands, he edges it gradually over the coim, and then gives the word for the umbrella to • be withdrawn. Simultaneously the penny flics noiselessly back to the conjurer's leg without in any way disturbing the hat. Standing clear of the headgear, he makes mystic passes and incantations, and solemnly announces t h a t the penny has been wafted into Mr 's coat pocket. A dash is made for the hat, and, sure enough, the penniy is not there ; and next moment Mr announces, with much bewilderment, that the marked penny is in his pocket right enough. The deception may be accentuated "if a soft felt hat with a hole in the centre is available, for the coin ca.ni then be held down with a walking stick when actually under the hat. A rehearsal or two will enable the average reader to mystify his friends considerably, but it must especially bo not overlooked that the decoy coin, after leaving the hat, is left dangling to his leg, and tho other leg must be manoeuvred so as to hide the fact. T H E DISAPPEARING

THREEPENNY.

Having previously stuck a small piece of white wax oil the nail of your middle finger, lay a threepenny on the palm of your hand, and, addressing the company, tell them that it will vanish at the word of command. You then close your hand, and on bringing the waxed nail in contact with the coin it will adhere firmly to it. You then blow on your liand, crying "Begone." You suddenly open it, and, exhibiting the palm, show that the coin is pone. Make your own Clothes.

Full directions h o w t o cut dresses and other garments in Aunt K a l e ' s Dressmaking; Book. Prico ONE PENNY; Sold everywhere.

A

TWENTY-SHILLING

TRICK.

This deception, which appears as marvellous to the eyes of the uninitiated, is thus performed:—Borrow 20 shillings from tho company, which display on a plate, having previously prepared five shillings in your left hand, which you keep concealed. Then take the shillings from the plate in your right hand, and mixing with them the conoealed five give them to one of the company to hold. Ask the possessor to returni five to you, which h e will do, supposing he then retains' only fifteen, although in reality he, of course, has twenty. Now have another shilling placed in your right hand, so t h a t when giving the fivo shillings to another person to hold you may mix it with t h a t sum, and place the six shillings in his hand. You may now ask him as before to return one. When you take i t remind him he has only foui-, and you must now proceed with the most marvellous paTt of your illusion!. Take the one shilling you have just received in t h e right hand, palm it, and pretend to place it in the left. Then striking the left hand with your magic rod, bid it fly into the closed hand of the porson holding the five, or, as ho supposes, the four shillings. On unclosing the hand the shilling will, of course, appear t o have been transferred thither, and great amazement will result. Now, taking the five shillings, make a more dexterous pass into the left hand, whenoa you bid them fly into the closed'hand of t h e person holding the supposed fifteen, whom you now ask to return you the full sum of twenty ehil'linigs, and who, much to his wonder and that of the company, is able to do so. T H E SUBMERGED C O I N .

Place a coin in a shallow plate, and near it an inverted glass. Then pour enough water into the dish to cover t h e coin. The puzzle you now announce to those around you is—How may you lift the coin from the plate without wetting your fingers P The answer is simple. Cut a slice of cork, and place on the top of it some matches and paper. Float the cork on the water, light matches and paper, and carefully cover them with the glass. When the burning is over, the water in the plate will be sucked up into the inside of the glass, leaving t h e coin quite dry, so t h a t you can now pick it out, fulfilling the conditions . of tho experiment. The success of the trick is due to the fact that the heat causes tho air in-, side the glass to expand, and therefore to ra-rify, so t h a t the pressure of the air outside becomes greater than t h a t inside. The result is t h a t the water is sucked in.

A

COIN

AND

BOTTLE

PUZZLE.

One of tho simplest of coin tricks may be performed as follows. Across t h e m o u t h of a bottle place a wooden match which has been broken a t t h e middle and bent back until t h e ends a r e about a quarter of a n inch apart. Then place a threepenny piece on t h e t o p of t h e match and challenge t h e onlookers t o cause t h e coin to drop into t h e bottle without touching t h e bottle, match, or coin. The trick is very ingenious, and all t h e more so on account of its simplicity. I t consists m letting fall upon t h e angle of t h e match a drop or two of water. The wood naturally begins t o swell a t t h a t point, t h e result being t h a t the angle of t h e match slowly widens, until it is sufficient t o allow t h e coin t o drop through and into t h e bottle. T H E BLOWN SIXPENCE.

I n t o a wine-glass (a conioal one, if possible) p u t a sixpence, a n d above it place a florin or a half-crown. The l a t t e r should n o t be in contact with t h e sixpence, b u t t h e glass should be of such a shape and size t h a t t h e florin or halfcrown rests near t h e m o u t h of t h e glass. Now blow vigorously upon t h e larger coin. I t will wheel round upon its axis, and t h e sixpence ben e a t h will bo sent with a leap from t h e bottom of t h e glass, being expelled by t h e force of tihe breath, and will fall either upon t h e table or upon t h e florin. A little practice will make t h e trick easjr of performance. C O I N S AND C R O S S .

COINS

IN A

ROW.

H e r e is another coin puzzle. Place eight coins in a row. Then re-arrange them in couples, any coin you move being passed over two (not more) other coins. This is t h e way t o do i t : — F i r s t place t h e fourth coin upon t h e seventh, t h e n t h e sixth on t h e second, t h e first on t h e third, and t h e fifth on t h e eighth. Having asked your audience to t r y the puzzle first, allow them, a f t e r a little wihile, to see you do it, and then let t h e m t r y again. Even then, in most cases, they will be unable to do i t . T H E JUMPING SHILLING.

Place a shilling near t h e edge of t h e table, and upon i t p u t a pint bottle, neck downwards. W i t h a thin-bladed knife strike t h e coin sharply on t h e edge, when it will fly f r o m beneath t h e bottle, leaving t h e l a t t e r standing. A n experiment depending upon t h e same mechanical principles may be performed t h u s . Take a piece of paper about 12 inches long by about 3 ' or 4 inches wide and place i t near t h e edge of a table, with about three-quart e r s of its length projecting over t h e edge. Upon it place a tumbler, nearly full of water. Then, holding t h e o u t e r extremity of t h e paper, strike the paper a sharp blow between t h e h a n d and t h e tumbler. The paper will come o u t , b u t t h e tumbler will remain. T U B STATIONARY S H I L L I N G .

Place a small card upon t h e tip of one of t h e fingers of t h e l e f t hand, and on t h e card, immediately above t h e finger, p u t a shilling. Now give a s m a r t blow t o t h e card with t h e second finger of t h e r i g h t hand, a n d the card will be whirled f r o m under t h e coin so swiftly t h a t t h e l a t t e r will be l e f t on t h e tip of t h e finger. The same, or a similar feat, can be performed with two wineglasses. Place a sheet of cardboard, or thin wood, over both, and then, with a smart fillip, send it spinning f r o m u n d e r t h e coins you have placed upon it, a n d tihey will drop into t h e glasses. T H B REVOLVING

COIN.

L i f t a coin between two pins, as illust r a t e d in t h e sketch. Blow upon it with all

To do this amusing little trick place five coins in a row, a n d one above and another below the centre coins—seven in all. Then ask one of your audience to make a cross with these coins, having an equal number of coins in all the arms of the cross, and to do i t without moving more t h a n two of t h e coins. The following is the solution: — Take t)he two end coins from t h e row of your force, and t h e coin will revolve upon five and place t h e m upon t h e middle coin. t h e pins as an axis with great rapidity.

T H E

EFFECT

OF

GRAVITY.

H e r e is a very puzzling little trick. Hold two pennies together between the thumb and t h e first two fingers of t h e right hand, about 15 inches directly above t h e open palm of the l e f t hand. Let the lower coin drop, and you will find t h a t it has t u r n e d over in spite of you. You can modify t h e trick by asking a friend t o hold t h e coins. Then inform him | t h a t you can always tell which side will come uppermost, if he will show you which side is underneath. The side, of course, which you have seen, will.be t h e one, as t h e coin t u r n s over in dropping. W H A T MAKES IT SWINO.

Attach a heavy gold ring t o t h e end of a piece of silk thread, a foot in length, and fasten t h e other extremity t o the forefinger of t h e right hand. Then place t h e forearm in t h e position indicated in t h e sketch, so t h a t t h e ring hangs within half an inch of the table. When it has come to rest, place underneath it three or four one-shilling 'jilllMtWHIIIIIiliiiiiiHiiUHnl pieces, and for some reason or other i t will begin t o swing like a pendulum from side to side. T H E VANISHING

HALF-CROWN.

SECOND

SIGHT.

Borrow four coins—tho more metal iri them tho better for t h e trick—pennies will answer very well, and have them p u t into a hat. Ask a lady or gentleman to take one coin out, and after examining it, to pass it round so t h a t others also may become interested in t h e trick, when you will pick out the same coin without looking into t h e hat. Whilst t h e coin is being examined keep tossing the other coins in t h e h a t t o cool them' as much as possible. I t will not then be difficult t o select t h e coin, which has been slightly heated on being handled by several people before it is returned to hat. BOTTLE AND C O I N T R I C K .

The following is dependent on t h e law called vis inertia. Turn an empty pint bottle upside down 011 a penny placed on any ordinary table not having a tablecover upon it. Challenge one of t h o company to remove the bottle to a similar position on another coin placed beside tho other without touching t h e bottle. To perform the trick successfully, select coins which aro slightly worn, a n d plaoe them close together. Whilst the left h a n d exerts a slight lateral pressure on tho uncovered coin, strike the table near t h e bottle smartly with t h e closed fist. There is always sufficient elasticity in a table t o yield slightly t o t h e blow, and before t h e bottle has time t o respond t o the downward motion of t h e table, t h e left hand coin is pushed a little towards the right. The blow, which should never be so violent as to upset the equilibrium of the bottle, must be repeated until t h e two coins have changed their relative position.

0

On account of their weight two half-crowns are t h e most suitable with which to perform this trick. First take both coins in the A LIVELY P E N N Y . right hand, and throw them one a t a time I n tho right hand take a lamp shade, and into the palm of t h e left hand. Repeat this with the other throw into it a penny reonce or twice, and when about to present volving on its them (apparently) to the onlooker, throw edge. The coin t h e first one as bei:ore, b u t instead of repeatmay be kept in ing this action with the second coin, bring motion by slightly the right hand down smartly as before, and tilting the shade a t the same time jerk the left hand upwards, from side to side, and thus throw the coin it contains into the and it will be obright hand, when it will strike against the served t h a t the coin already there. To all appearance both faster t h e penny coins will be in the left hand as before. You revolves the can then ask the "sold one" to accept t h e higher it ascends donation as you extend the left hand. This on the shade, and is a very pretty trick when well performed, vice versa. The but it requires a goou deal flf pragtice t o do trick requires a good deal of practice, which i t well. its mastery well repays.

A

SIXPENCE

IN A BALL

OF

WOOL.

A sixpence is borrowed from t h e company, carefully marked, so t h a t it may be known again, and is given into the hands of a boy to hold. The conjurer now brings out a large ball of common or fancy coloured wool. H e places this in a crystal goblet or other transparent article, and takes t h e end of the wool from the goblet and gives it to some young lady to hold. H e now tells the audience t h a t it is his intention to pass t h e sixpence from his hand into t h e centre of the ball of wool without any one seeing it going in. Taking the sixpence from t h e b o y in his right hand, he places it in t h e left hand (apparently), and throwing i t towards t h e goblet cries Pass." H e then desires t h e young lady to pull out t h e wool as quickly as possible, and when t h e ball is completely unwound t h e sixpence will be heard to jingle clearly in the goblet, and on its being lifted therefrom by one of the audience it will be found to be t h e identical sixpence which was marked. The method of performing this trick is very simple, b u t very ingenious. A piece of tin is made like t h e illustration shown. I t is turned o r e r a t t h e top, and is of sufficient width jit t h e bottom to allow a sixpence t o pass through it easily. Take this tin-flattened filler, as it may be called, and proceed to rolMip a ball of wool round it, leaving t h e mouth of it always free. When this has been done you have a large ball of wool with a tin filler in the centre of it. This ball is now ready for t h e trick, and is

it apparently into your left, b u t conceal ifi in t h e r i g h t ; throw ib from you towards the ball, and cry " P a s s , " and tho triok ia done. TO D R I V E A N E E D L E T H R O U G H A HALFPENNY. Scientifically even, this seems an utteB impossibility, for who would imagine that such a thin and bending instrument as * needle could be driven through a hard piec« of copper ? But in reality, steel is a muoh harder metal t h a n copper, so t h a t if th« needle could be adequately supported alj round it would be quite possible to perform t h e trick. An easy method of doing t h a t ia provided by passing t h e needle into a cork, so t h a t t h e point j u s t projects through th«

end._ W i t h a pair of pliers cut off t h e upper portion which protrudes a t t h e other end. Now arrange the coin and the needle as shown in t h e sketch, supporting the edges of t h e coin on blocks of wood of the same height, and placing the cork with the embedded needle on t h e top of it. Then hold • t h e cork with one hand, apply a few vigorous blows to the upper end of the cork, and in a short time the point of t h e needle will make Its appearance on t h e other side of t h e coin, having left a beautiful, clean hid from view. The borrowed sixpence is hole. now given to the boy to hold; but m doing T H E DISAPPEARING P E N N I E S . this the sixpence is changed; and while you still retain the marked one in your hand you The conjurer sits a t t h e side of an ordinhave given t h e boy a duplicate one to hold. ary table, with his legs under the mahogany. Desire the boy to hold the sixpence up, Placing two pennies on the table he tells his firmly closed in his hand, which he does audience (who must be before him) t h a t he without ever thinking of looking at it. You means to pass t h e penny through the table. now proceed towards the table where your With t h e fingers of the right hand he pulls ball of wool is lying, drop the sixpence into the right hand penny towards him as if in t h e filler, slip out the tin (which comes away the act of lifting it, but in doing so he jerks easily), give the ball a squeeze in t h e hand, it over t h e edge of the table, where it falls and the hole in which the tin filler was upon his knees, but closing his hand as if ha placed is closed u p with t h e soft wool. You had it in his fist, he holds u p the right hand now hold up the ball before the audience, with the penny apparently inside of i t . H e and apparently i t has not been tampered now lifts t h e other penny, which is still lying with in aiiy way. You now drop it into tfio on t h e table, with t h e left hand, places the crystal goblet, take o u t the end of it to a left hand in below the table, and in doing so lady or boy to unwind, take the sixpence, lifts t h e penny which is still lying upon his which the boy holds, in your rijiht hand, ijasa knees, and quietly n u t s it into t h e left hand,

r # t allowing it t o clink upon t h e other. Now holding u p the right hand he brings it down smartly upon t h e table and cries " Pass," at the same time opening u p the hand and letting t h e palm lie flat upon the table. With the word " Pass" he allows the two pennies to clink together in his left hand, when the sound makes it appear as if the penny had actually passed through the table. H e then draws out the left hand, and, raising it above the table, allows the two coins to fall from it upon the table. This, if well done, is really an effective little trick for any parlour company. If t h e conjurer can secretly spread a handkerchief cporu his knees before beginning this trick, there will be less chance of the pennies slipping to the floor and discovering him.

TRICKS WITH

CORKS.

No one should experience much difficulty in procuring a few corks, and we shall now proceed to describe a number of tricVs with these articles. AN

OBSTINATE

CORE.

Take a bottle with a somewhat wide neck, and a cork which would fit a much smaller bottle. Hold the bottle horizontally, and placing the cork just inside the neck, t r y to blow it inside the bottle—a thing which a t first sight seems very simple. Instead, however, of going into t h e E A S T W A T TO M A K E M O N E T . One need not be an alchemist t o make bottle, t h e cork insists on coming out, and money, as t h e following trick will show. the harder you blow tho more vigorously does it fly out of the neck. A DELICATE L I F T I N G F E A T .

Place two corks on the table parallel to and touching each other. Now endeavour to life them off the table between t h e first and second fingers of tho right hand, keeping the fingers quite straight. This can be done with care. Probably t h e easiest way to do it is to force t h e f u r t h e s t off ends apart, so t h a t the outer sides of the corks lie along the inside of the fingers, producing more friction, which tends to prevent t h e corks from springing upwards or outwards. A DIFFICULT LIFTING FEAT.

money juto the water and oover the glass with a plate. If the glass is now turned around rapidly, the piece of money will be seen gleaming 011 the plate, and a second piece will be seen swimming on t h e surface of the water. I t is refraction of t h e rays of light which causes this curious illusion, for, the moment the glass is restored to its original position and the water ceases to move, t h e second piece of money disappears. T H E OBEDIENT SIXPENCE.

Invert a tumbler and support the edges on two pennies with a sixpence between them, but not touching. Ask how the sixpence can bo got from under the tumbler without touching either it or the pennies. Scratch tho tablecloth with the finger nail, and it will be observed t h a t tho sixpence immediately responds by coming towards you, and in time from under the glass.

Place a cork upright on the floor against tho outside of the right toe, and t r y to lift it with the left hand, which must pass round the right leg from the f r o n t . This is very difficult to accomplish. The. secret of success is in ntaking sure t h a t t h e left elbow is placed well beyond t h e right knee before putting the hand through between the legs. The feet must be kept as close together as possible, touching, iD fact, lit the toes. A CLEVER S E L L .

Hold a cork in each hand between t h e thumb and first finger, with the corks pressed well to the roots of the thumbs. The trick is to take the opposite corks between the points of first fingers and thumbs longitudinally, and place them on the table. I t is done in the following manner : —Hold the back of the left hand upwards, and the back of the right away from you. I n this position place the first finger of left hand on the top of the cork in right hand, and t h e thumb on the other end, but instead of repeating this with the right hand pass the thumb of the right hand through between t h u m b and finger of left hand, and place it on the opposite end of the cork, Brmg the first fingar of right hand under the left thumb, taking hold of the other end of t h e cork. This trick requires diligent practice, otherwise the quirk will be a t once detected.

T H E

F O U R

CORKS.

This is a modification of t h e well-known thimble-riggers' trick to be seen a t all racecourses. I t is one of t h e best and simplest magical illusions, and is a trick which may be done on any common table with t h e 8iidience surrounding you on every side, and yet, if performed with dexterity, will elude t h e vigilance of even the most sharp-eyed. You begin by soliciting t h e loan of two soft caps. H a r d felt hats are not so good for tho purpose, because they do not lie flat on the table, b u t soft felt hats will suit the purpose admirably. Having secured the two hats or caps, you now ask if any one present can let you have two corks. Ordinary corks out of a lemonade or beer bottle are what are wanted. Taking the corks, you proceed to cut them through the middle, thus making four half-corks, and these you place at equal distances in the form of a square on t h e table, each cork being, if possible, about two feet distant from the other. You ask t h e company if they are convinced there are only four corks, And that there are no others hid about t h e caps. H a n d t h e caps round for inspection. Turn up your sleeves to show t h a t no corks are hid there. Having received back t h e caps, you take t h e m u p one in each hand, with t h e fingers inside and tho thumbs outside. You now make some flourishes with t h e caps, talking all tho timo, telling your audience you are going to show them the thimble-riggers' trick on a large scale, using corks instead of peas. Then, flourishing the c a p , you take the right-hand one and place it down dramatically on the nearest right-hand cork without letting go the cap. No sooner has the cap touched t h e table t h a n it is raised again, and t h e left-hand cap, with a similar flourish, is placed on t h e left-hand nearest, cork. Tho moment this cap has been placed, tho right-hand cap is now being placed over the top right-hand cork, and the cork underneath this cap is quickly caught up between tho middle and third finger of the hand. The hand is pulled out with a flourish, which prevents t h e cork being seen; ami, bringing it over quickly to t h e left-hand cap, you now, with both hands, place it with great formality over t h e top left-band cork, a t the same time letting go the cork which is between the fingers. The whole secret of this excellent sleightof-hand trick consists in doing it with great dexterity and neatness, and no amount of pains should be spared in accomplishing this. You have now two caps placed over apparently two corks, and there are two corks before you, which are all the audience see. You now place the palm of t h e right hand over the right-hand cork, strike tho back of the hand smartly with the left hand, and cry, " P r e s t o , fly!" Then, contracting the

hand, you catch t h e cork u p neatly in t h e palm, keeping it concealed there, and lift with a flourish the left-hand cap, when, lo and behold! two corks are discovered there. You have lifted the cap with the fingers and thumbs of each h a n d ; b u t now, in placing it down again, you bring t h e fingers inside, so t h a t the cork in t h e palm of tho hand is brought under t h e cap, and in replacing t h e cap again t h e c( rk is dropped gently inside and t h e hands withdrawn. In the same way you place t h e right haud over the remaining cork, strike t h e back of t h e hand as before, command t h e cork to fly beneath t h e cap. You raise t h e hand, when lo! i t is gone, but, of course, it is still in t h e palm, and lifting u p the left-hand cap, three corks are found there, and t h e cap is replaced in t h e same manner as before, dropping a t tho same time t h e fourth cork, which has been in t h e palm of t h e hand. The audience, of course, have been under tho impression t h a t the right-haud cap has been all along covering a cork. You now declare you are about to proceed to the most wonderful part of tho trick, and to make the cork beneath the right-hand cap vanish beneath the lefthand cap T^thout any one seeing it flying and without your touching the cap. Command t h e cork then to fly, and ask any one of t h e audience who chooses to lift t h e cap. On doing so nothing is discovered beneath. Request t h e same person gently to raise the left-hand cap, and on his doing so the whole four corks will be discovered safely stowed beneath. T H E COHESIVE

CORKS.

Take a bowl of water and seven ordinary corks. How may these corks ba mp.do to float upright in the w a t e r ? Of course, every one knows t h a t a cork is deeper t h a u it is thick, and always topples over on to its side when placed upright m writer: bub it a number of corks be placed together i n tho water tho case is different. Place the corks together in a bundle, dip them overhead in tho water, and bring them to the surface again. They will now act as if they formed a compact mass, broader than it is deep, and will float across the surface of the water. A LAUGHABLE P E A T .

Stick an open penknife between the door and t h e lintel (this will not injure the woodwork), about tho height of tho shoulder, and balance a cork on the handle. From ;i distance of two or three yards walk towards t h e cork, keeping one eye closcd, and try to knock off the cork with the first finger outstretched. Only one-eyed people are able corrcctly to estimate t h e exact distance when to strike.

EATING

CORKS.

H a v e several corks on t h e table. Take one between the first and fourth fingers of right hand, second and third fingers over it. Convey the cork towards the mouth, b u t in doing so bend the finger, when from the convenient position of the cork it will be readily palmed. Pretend to put it into t h e mouth, and a t t h e same time force out the cheek with the tongue, make grimaces, and pretend to swallow the cork; repeat with other corks, quietly dropping t h e corks on the floor each time. CORKS EASILY D R A W N .

If you want to amuse friends a t an evening party, tell them t h a t you can draw a cork out of any bottle without a corkscrew. Of course they will laugh ; b u t very soon it will be your t u r n t o laugh. Take a piece of sealing wax and hold one end of it over

AN

ACROBATIC

CORK.

Of itself, a cork is a helpless enough object, b u t provide it with a pair of legs, in t h e shape of two pins stuck into one end, and with arms, consisting of t w o knives of equal weight, stuck into its body, one on each side, and it is ready for action and f u n . The performing cork, however, requires a specially adapted platform on which to appear. I t must be narrow, in order to give the long and heavy arms room to play, and it must be sloping, for a cork— like a boy or girl—can walk more easily downhill than on level ground. For this purpose a flat ruler, supported a t the ends by blocks of different heights, will answer admirably. Setting the cork upon its legs on the ruler, give it a rocking movement. The weight of the apparatus falling alternately, upon each leg, t h e cork waddles along its platform somewhat after the style of a man on wooden legs. A SIMPLE FEAT.

Place two corks upright on t h e table, and close together, and then challenge any one to lift them separately witn the arms outstretched. This is very simple, and will cause a laugh when performed. To do it you simply pick one up, t u r n the body as on a pivot, and pick up the second cork. C O R K AND CAMPHOR T R I C K .

a lamp or gas jet until it becomes s o f t ; then let some drops of t h e wax fall on the cork in the bottle. As soon as t h e cork is covered with wax, you must press the piece which you hold in your hand against the cork, and you must hold it there until t h e wax is quite dry. Then it will be easy for you to draw out t h e oork by using t h e stick of wax which adheres to it in the same manner as you would use a screw. No matter how firmly fixed t h e cork may be, i t will almost immediately yield to t h e pressure. You must, however, take care not to wrench the stick of wax away from it while you are drawing it out, and you must also see t h a t the cork is perfectly dry before you pour any wax on it. Good and interesting notion is never out of place. If you want romances of sterling value read " Aunt Kate's Penny Stories."

A very pretty and amusing trick may be performed with some pieces of cork and a f e w bits of camphor. Cut t h e cork into four pieces shaped as shown in the illustration, and one round like the centre piece. Now join them with n e e d l e s as in the illustration. Then to the side of each oblong piece of cork fasten a bit of camphor with sealing wax, as t h e dotted lines show in the illustration. Now cut out two paper figures of a lady and gentleman in the act of dancing. Fasten tho figures to the centre of the disk, and place t h e cork in a basin of water. The figures will a t once begin to revolve, and if the apparatus is well made they will continue waltzing incessantly for several days.

i i CORK MOUSE. Cut a cork to resemble a mouse, and burn i t a little to make it black. Two little pieces of black woollen cloth stuck in the head will represent t h e ears, and about t JCo inches <.f narrow black tape, or boot lace, for t h e tail. To give this animal a life-like motion, attach about nine inches of black cotton to the breast of t h e mouse with a black pin. A pin a t t h e other end of the thread can be readily attached to the bottom of t h e waistcoat. When introducing: t h e trick have the mouse in the left hand, and stroke it with the r i g h t ; now, push the left hand from you, when the mouse will appear to r u n towards y o u ; follow this' up with the right and left hand alternately. See t h a t the undersido is flattened to prevent it rolling over, and few of t h e little ones of your audience will know b u t t h a t they axe looking a t a live mouse. STRING

STITCHING WITH

KNOTTED

T H R E A D

The use of a thimble when performing this trick is imperative, as it conceals a few turns of thread round the finger, the end hanging down a foot or so. Gather up this loose end in a ball between t h e finger and thumb. Holding the thread m this way, take another similar piece off t h e reel, and thread t h e needle with it. I n pretending to pull tho end through t h e eye, straighten out the piece already concealed between t h e thumb and finger instead. Ask some one to tie a knot on one end of t h e thread, of course giving this end to be knotted. You can now stitch away as easily as if no knot had been there, pulling t h e thread quite through t h e cloth each time. CUTTING THROUGH THE FINGERS ( N O .

1).

Double a piece of string, and hold it in right hand, leaving a loop, say, t h r e e inches

TRICKS.

Many mystifying feats may be performed with a piece of ordinary string or cord. The following are a few of the more interesting of t h e s e : — T H E B O U N D SCISSORS.

Double a piece of string, and thread the ends through the eves of the scissors, as in t h e accompanying figure. Take hold of the loose ends, and ask some one to liberate t h e scissors. This can be done as follows: —

and points, and t h e scissors will be free. T H E ENDLESS THREAD.

You must have often observed t h a t when you see a piece of thread or wool upon another person's coat you feel an irresistible inclination to pick it off. Taking advantage of this little weakness—shall we call it —in human nature, play off upon your friends the following amusing trick. Place a reel of white thread in the inside pocket of your coat, and by means of a needle bring the loose end through t h e coat, leaving about a couple of inches hanging upon the outside. You will not be many minutes older before you meet somebody who wishes to pick off the conspicuous white object, and his surprise a t finding it endless will well repay you for the little trouble you expended upon t h e trick.

behind first finger, which must point upwards through the loop. P u t the loop over first finger of left hand, t u r n t h e right hand downwards, p u t new-formed loops over second finger of l e f t hand, again upwards, next loop over third finger, downwards; and loop over fourth finger, again upwards ;i and loop over third finger, going behind t h e fourth finger; and repeat same movements and loops over t h e other two fingers. Tho strings should now appear on t h e back of left hand, as in t h e figure. Slip the loop off the fourth finger, draw t h e two loose ends, and the string will come off, even although t h e points of t h e fingers are resting on the table or walls. CUTTING T H R O U G H THE F I N G E R S ( N O .

2).

Tie two ends of a string together to make a loop about fourteen inches. Take t h e loop at t h e knot inside t h e right hand, and the ou*er end of t h e loop inside the left hand. Bring the end in right hand to t h e left palm between first and second and third and fourth fingers. Turn t h e fingers of right hand upwards, and carry the strings round t h e outside of left thumb. Turn right hand down, and p u t a loop over fourth finger, again upwards, and last loop over first finger of left hand. Take both loops off t h e thumb, and p u t them between second and third fingers of left hand. Pull t h e string lving across left palm, and all the cords will pass between the fingers,

T H E

CUT

TAPE.

This is a trick which requires a considerable amount of practice to be able to do it neatly and with dexterity, but it is most effective when well done, and never fails to create a considerable amount of astonishment. The method of performing it, however, is not very easily described, but with t h e aid of an illustration we shall endeavour to mako it as lucid as possible. Take a piece of ordinary tape—say, half an inch wide and about three yards in length—and show it to t h e company t h a t it is without flaw or join of any kind. You intend to show them t h a t your powers of joining are not confined to a piece of string, as in one of the tricks described, but t h a t they may be applied to woven materials, such as a piece of tape. You have two boys t o assist you. Desire one of the boys to hold up his finger. You throw the tape over his finger, and, grasping it by the two ends with the forefinger and thumb of each hand, you draw it down straight till tho two ends meet. The centre of the tape is now over the boy's finger, thus—

Holding tip tho two ends of the tape, with about an inch or so of each end projecting above tho finger and thumb of each hand, you Indve towards the boy's finger, still holding tha t a p e ; then grasping the tape at the point where it is doubled over tho boy's timer, you lift it up and carry it away, and hold it lip before the audience like this. Now, it is at JJ Jtliis point— in taking it it off the l j m boy's finder MJKjs and turning I tfihzM v round towards the a u dience — t h a t dexterity is required in manipulating tho tape. The tape is ernsped with both hands, b u t with tho left hand care must be taken to see that tho point held between the finger and thumb is placed at the back of the tape which hangs down. Now. if any one were to cut through

the piece of tape which stretches between t h e two thumbs, he would cut t h e tape into two separate parts, and, of course, you desire to mako the audience believe t h a t this is actually done; but in turning round to face tho audience you, with a quick movement, drop tho tape which stretches across, and catch up with the third finger of t h e right hand the tape which hangs from t h e left hand, stretching it out as before, so t h a t to all appearance t h e tape looks the same. This movement must be practised until considerable dexterity is acquired. The long loose piece of tape hanging down prevents the audience from perceiving t h a t any dhango has been effected. You now desire one of the boys to cut through the tape. H e does so, and two ends drop down in consequence, while two ends apparently are held up between the finger and thumb of the left hand. You now take these two ends and tie them together. This makes t h e audience believe t h a t it is actually the two loose ends of the tape t h a t are tied, whereas it is only a small piece of tape, two inches in length, which is tied over the centre of the entire length of the tape, although this fact is concealcd by the left hand. With some flourishes you ignite t h e two tied ends with a match or a t a candle; then, impressing upon the audience t h e importance of watching for the fusible moment, you suddenly, with finger and thumb, rub out t h e light, and place the burnt part in your right hand. Lifting up one end of the tape with your left hand, you hand it to one of the boys to hold; then, graspiug the centre of tho tape at the knot in t h e left hand, you dexterously slide tho burnt knot along with tho right hand, and, holding the end of the tape out to the other boy, you at the same moment slip off the burnt portion and conceal it about your person. The left hand still grasps what is believed to be the burnt part of the tape. You now take Up your magic rod in the right hand, strike the left hand, u t t e r somo cabalistic words, desire t h e tape' to become whole, and when you open your left hand, behold the tape is found perfect and without a flaw or damage of any kind, and may now be handed round for the inspection of the curious. If once this trick is thoroughly learned and cleverly done, it will reward the wizard for the trouble taken in acquiring it. I t is a feat requiring dexterity and neatness in t h e manipulation.

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THREADING THE NEEDLE. T H E MAGIC THREAD. Take a yard of string in the middle with If anybody should tell you t h a t you can the left hand closed, wind t h e upper end cut in two without touching it, & t h r e a d hanging f r o m t h e cork inside a sealed bottle, you would be likely to t h i n k t h a t he was fooling you. B u t it may be easily done, and in shch a way as completely t o mystify t h e spectators. Get a clear glass bottle— a pickle bottle will do—and t o t h e u n d e r part of t h e oork a t t a c h a b e n t pin. To t h e pin tie a piece of thread long enough t o reach three-fourths of t h e way down t h e inside of t h e bottle, and to the lower end o£ t h e thread fasten any small object, say ai ing with a loop, as shown in the figure— shoe button, t o make the t h r e a d h a n g t a u t . t h a t is, with tho loose side of the loop next I n s e r t tho cork and seal it with wax, and say t h e root of t h e thumb. (If the loop is not as it were reversed, t h e stitches will appear as if made from t h e back of t h e loop, and detection will follow). Now, take the other end of t h e string between, thumb and first finger of right hand as if about to thread a needle. Make appear t o thread this end quickly through t h e loop; a t same time slip t h e string over t h e end of the left thumb. Repeat as often as there are turns on t h e thumb. TRICKS W I T H

SCISSORS.

Can you fasten a pair of scissors t o a wall with a piece of cord and t h e „ remove t h e m without breaking or c u t t i n g t h e cord? I t seems impossible, yet it carl easily be done. F i r s t t h e cord is to be fastened in a loop t o t h e l e f t handle of t h e scissors a n d t h e n t h e double cord is t o be d r a w n t h r o u g h t h e right handle a n d secured to a nail a t some distance. N e x t t h e noose a t t h e left handle

to t h e company t h a t you are going t o c u t t h e t h r e a d ini two without opening t h e bottle — in fact, without touching t h e thread. To accomplish this, you needi a reading glass, or sun glass, and access to a window where t h e sun is shining clear and bright. The f e a t is most mystifying if you perform tlhis p a r t in private. You go to tho window, hold u p your sun glass so t h a t you can focus t h e rays from t h e glass directly on t h e thread through t h e side of t h e bottle, and in a short time t h e heat from t h e focused' r a y s will burm t h e thread in two pieces, t h e end) with t h e b u t t o n attached falling to t h e bottom of t h e bottle. Then go back t o t h e company with t h e bottle, and they will see t h a t the cork has not been moved, and yet t h e thread' is c u t . THE

INDESTRUCTIBLE

STRING.

To keep a ring suspended after the thread is consumed by fire, have a yard of cotton in readiness which has been steeped in water saturated with salt and t h e n dried. A ring may be suspended by this from t h e lustre or a bracket and t h e thread burned without t h e ring falling to t h e ground. Remark t h a t most people will no doubt have seen this experiment before, and t h a t you will now c u t a similar thread with a pair of scissors, when a much heavier weight will still remain suspended. W h e n you ar< challenged to do this, place t h e first fingei and so onwards until it is between t h e two of t h e right hand behind t h e hanging thread, blades. As soon as this is done t h e cord throw t h e point of t h e finger round the can easily be loosened f r o m t h e scissors, • upper part, and theft pull the lower part

SPLICING STRING. through the loop thus formed, and draw The a r t of splicing string simply with thet tight. Now deliberately cut the loop with a pair of scissors, when the " sell" will be at tongue may be explained as follows:—Produce a piece of thin string about two yards once apparent, and cause great laughter. long. Examine this critically, and then tie CURIOUS P A P E R R I N G S . the two ends firmly together. This " circle" From an old newspaper cut three strips, doublo again, and hold it out as shown in Then request some one to cut about eighteen inches long and three inches Fig. 1. wide. The ends of t h e fist gum together, through both strings a t t h e point between so as to form a simple band (Fig. 1). The your hands. second strip twist once (Fig. 2), and the third twice (Fig. 3), before the ends are joined.

f

NOJT, if these three bands are carefully cut with a pair of scissors through the middle the whole of their length, the result is somewhat surprising. Fig. 1, of course, iroduces two separate bands, the same ength and half as wide. But Fig. 2 when out forms two bands, linked in each other, like the links of a chain; while Fig. 8, similarly divided, gives one long band half the width but twice as long as Fig. 1.

I

T o C U T a. STRONG C O R D W I T H O U T K N I F E OR SCISSORS.

«9l

This being done, give two of the four " ends" resulting from the cut to two of the audience, and place the other two in your mouth. Severe facial contortions follow; the string is rolled about with the tongue ;i and on being removed from the mouth it will be found the ends have disappeared, and that the two persons assisting you each hold one end of a straight piece of string without knot or splice! This is " how i t is done." After the ends of the string were securely tied, it was apparently doubled into two circles, but in reality i t was arranged as shown in Fig. 'I.

Most people have no doubt wondered at t h e ease with which shopmen cut strings

The join at A—just like two links of a chain — was hidden by the thumb of one h a n d ; the strings were cut at B ; and the loose piece remaining was removed by' the tongue and kept in the mouth till it could be rejected unseen.

lapped round the fingers. I t is, however, a very simple process when the trick is known. Practise it, following these instructions, and success is assured. Tie a cord to the door knob, and hold the other end with the right hand. P u t first finger of left hand under the string, and make a hitch at first joint of finger, as shown in the accompanying figure. Press the thumb nail finnly under the crossing, jerk the right hand away, and the string will snap olean across where it is held.

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TRICKS

W I T H

HANDKERCHIEFS.

By means of a handkerchief one may perform a few interesting tricks in t n e way of tying of- magioal knots. A silk handkerchief is best, b u t a large-sized white linen or cotton handkerchief will answer all purposes. The first trick which we shall explain, and whioh is called T H E REEFING KNOX1

is a more difficult trick to perform well t h a n some of those herein described, b u t it is well worth a little study. I n any programme i t might well follow t h e untyable k n o t trick, mentioned on page 18. Taking t h e handkerchief with which you have shown t h a t

trick, you take the ends of i t as therein described, and slowly a n d deliberately place the l e f t hand end on t h e top of t h e right-hand end, and bring i t through below, catching t h e two ends, and holding them up. Now twist t h e ends of t h e handkerchief once round from right to left, and bring t h e end which is still in the right hand over t h e top and through below t h e lefthand portion. If t h e two ends are now pulled, a knot will be formed resembling t h e sailors' reefing knot. If t h e end held in t h e right hand and t h e lower left-hand portion of t h e handkerchief are pulled, i t will

be observed t h a t this portion forms straight line through t h e knot, as in t h e illustration, and will slip out if pulled. It is in reality a simple knot tied round about t h e left-hand end. If t h e knot in this way is given t o any one of t h e audience to ex-

amine, he will very soon pull it' out for you;] b u t by pulling t h e right-hand end the knot' is drawn so tight t h a t even t h e audience may be allowed to examine it, and will find nothing wrong with it as a knot. To bring it back into a slipping form, t h e left-hand portion of the handkerchief on either side of the knot should be tightly pulled. To untie this knot with one hand, you take this left-hand portion and p u t it into t h e right hand, allowing t h e point of the t h u m b and forefinger to go as close u p t o the k n o t as possible. By holding i t there firmly t h e other three fingers of t h e hand may be worked in such a manner as to draw out t h e e n d ; and t o conceal this manoeuvre t h e loose portion of t h e handkerchief is thrown over t h e knot, which is all t h e while being silently worked out with t h e fingers. W h e n the end has been carefully withdrawn, you ask some one t o blow upon t h e handkerchief. Then throwing t h e handkerchief out you show t h a t the ends have become untied, and t h a t t h e handkerchief is absolutely without a knot of any kind. This is on (T of the best tricks t h a t can be accomplished with handkerchiefs, b u t it requires a good deal of practice to do it with effect and dexterity. The n e x t trick is T H E MAGKJAL K N O T .

This is said to have been done by Dobbler before the Czar of Russia, and t o have so pleased t h a t autocrat t h a t he presented the conjurer with a gold watch. Take the ends of t h e handkerchief up as before, twirl t h e handkerchief round until t h e loose ends a r e taken up, then take t h e handkerchief by t h e middle and smooth it into t h e form of a narrow bandage. W i t h your audience in f r o n t of you, you now take the handkerchief and place i t round t h e right leg immediately below t h e knee, bring' it round again in front, and tie it there with two knots. You now toll your audience t h a t you aro going t o draw the h a n d k e r o h i e f through your leg. Catching it by t h e k n o t in f r o n t , yon pull it out from you smartly, when i t is seen tied as before, h a v i n g passed a p - / parently through t h e \ leg. The trick con- ' s k t s in doubling it over the t h u m b of t h e right hand while passing it round t h e back of the leg. The l e f t hand portion is now passed over this double portion, and, instead of being brought round, is simply brought back again and tied in front. This may be under« stood by an examination of the illustration,

THE LOVER'S KNOT. Tho handkerchief trick known as t h e lover's knot can scarcely be called a knot, b u t rather a ball into which the handkerchief is carefully worked, although it may, unless the trick is known, become as destructive t o the handkerchief as if it had been tied into any kind of knot whatever. The method of rolling it up is as follows: — Lay the handkerchief flat on t h e table and fold the corners to the centre, this will still leave it square ; again fold tho corners as before, repeating the operation again and again, taking care t h a t 110 part is unequally folded. I t should then be a loose ball, rather flat, and open a t the top, as in Fig. 1. Hold the ball in the left hand during this t h e more tedious part of the process, and with the thumb and fingers of t h e right hand take one thickness of the cloth only and pull it inwards towards t h e left wrist, t u r n the ball a little in an outward direction, and again pull t h e outer fold inwards. After going round t h e ball twice in the same manner, it will hold well together, and t h e opening will be much contracted. Rub the ball a little between t h e hands, and repeat the winding process until it is utterly impossible t o pull out one fold without tearing the handkerchief. The only method of opening is to unwind the ball in the contrary direction, which can be accomplished in about half a minute. The writer has frequently wound u p a borrowed handkerchief in three minutes, and defied any one not in the secret to undo it in the same time without tearing it. Tho uninitiated seldom think of unwinding t h e ball. THE

UNTYABLE

HANDKERCHIEF.

Take t h e handkerchief up by its two opposite corners and twirl it round two or threo times till its hanging ends are wound up. ' Then, taking tne two free ends between the forefinger and thumb of each hand. Leading about four inches of the ends hanging loose, you take t h e right hand end and place it over the left hand end of t h e handkerchief, crossing it between the extended forefinger and the closed middle finger. The moment this is done shut the forefinger, which closes upon the right hand end. Keeping it closed, you take up the left hand corner, place it through below and bring it out a t the other side, then you will find t h a t t h e forefinger drags with it what was the right hand end of the handkerchief and t h a t no knot will bo tied. "With a little practice this may be easily done. I t forms a really most effective and simple little trick. •

CUT AND B U R N E D HANDKERCHIEP RESTORED. F o r this trick you require some previous preparation. Obtain a small piece of white calico—a portion of an old) white handkerchief is best—about six inches square. I n t o the centre of this piece place a halfpenny. Catch u p the ends and twist them round] about t h e halfpenny, rolling all u p compactly and pressing i t inito t h e palm of t h e left hand, where it must be'held concealed. I t may remain in t h e vest pocket till t h e moment it is required. Supposing t h e coin t h u s prepared is concealed in the left hand, you take your magic rod in your right, and, going before t h e audience, desire any lady to lend you a white handkerchief, and somo gentlemani t o lend you a halfpenny, markedl carefully, so t h a t it may be known again. You ask t h e lady if she will know h e r handkerchief again. Of course, she will. Then, shaking it out by t h e two corners to show t h a t there is nothing concealed about it, you throw it over your left hand, and placo t h e marked coin in t h e centre of the handkerchief. Catching t h e coin .from t h e o u t side, you allow the ends t o fall d o w n ; then, placing the coin in t h e l e f t h a n d , you dexterously t h r u s t u p between) t h e finger and t h u m b of t h a t h a n d t h e halfpenny in t h e small piece of white rag, and strike i t on some h a r d object, t o show t h a t this is actually t h e coin—the thing being 6martly done, of course no one will have a suspicion t h a t this is not t h e genuine halfpenny a n d handkerchief which you have in view. Getting t h e loan of a pocket-knife, you desire one of your juveniles t o cut t h e handkerchief through close by the halfpenny. Tha juvenile proceeds with great readiness t o fulfil this request, and while he is cutting you are speaking to t h e audience, and apparently n o t paying attention to what h e is doing. When, he has cut completely through, and severed t h e halfpenny with a portion! of t h e handkerchief from t h e remainder, you express great consternation, and declare you desired him simply to mark tha handkerchief and n o t t o c u t it through. Throwing down the halfpenny on t h e table, you take up t h e piece which has been cut, and exhibit it to view, causing great fun to t h e spectators, and perhaps a shade of vexation t o t h e lady who owns t h e handkerchief. Apologising gracefully, you declare t h a t the mistake was quite unintentional on your part, b u t you will do your best t o remedy t h e evil, and see if the fire, which was so efficacious in the case of restoring t h e tape in t h e trick already decribed, will not be equally so in regard t o this handkerchief. Setting fire then to the portion in you*

right hand and t h e portion ini your l e f t hand you allow both t o burn until near your fingers, when you press both parts together, and, by a dexterous movement, conceal the b u r n t portions in tho palm of your right hand. If you can get •\eni into your pocket quickly, so much the better. You now roll up t h e handkerchief into a ball. Of course the real marked halfpenny is still in the centre of it, but, rolled u p as a ball i t is not apparent even to t h e touch. Place it in tho boy's hand, telling him to hold it u p in view of the audience, and lifting the halfpenny, which has been cut, apparently, from tho handkerchief, and which no one ever suspects not t o be t h e marked one, you take it u p in your right hand between tho finger and t h e thumb, and pretending t o pass it into the left hand, conceal it in t h e palm of t h e right hand by means of what is called t h e pass. Then, holding up t h e closed left hand with t h e coin apparently in it, you throw i t towards the boy's hand, and ask him if he did not feel t h e electric shock from its passage into the handkerchief. Desire the boy now to shake out the handkerchief over the table. I n doing so the marked coin will fall from the handkerchief t o the amazement of the audience and the burnt handkerchief will be found perfect as before. T H E H A N D K E R C H I E F AND C A N D L E .

CARD

TRICKS.

W i t h a little study and a pack of cards endless amusement may be secured, a s the following tricks will shew. T o G U E S S T H E CARDS F I X E D ON B Y F O U R PERSONS.

Take four cards from t h e pack, give them to bho first person", tell him to fix upon one of them and lay them down. Take other four cards, present t h e m t o t h e second person, ask him t o do the samo, and so on with the other two persons. You now t a k e up tho first person's oarus and lay them out singly side by side; upon these place t h e cards of t h e other three. Now show cach pile to the persons in order, asking each, in whioh pile lie finds t h e cards he has thought of. The rest is easy, for the card thought of by tho first person is the first, in tho pile he indicates ; t h e second person's is the second card in t h e pile h e points t o ; and so on in rotation with the otBers. T o T E L L T H E N A M E OF A C A R D T H O U G H T O P .

Ask .any one t o draw seven or eight carda from the pack and think of one of them, As soon as they are returned place them, smartly a t tho bottom of t h e pack, shuffling the pack at tho same time in such a way asi not to disturb those placed at t h e bottom. Then take four or five cards from the top, throw thera on t h e table face upwards, asking if the card thought of is among them. Of course it is n o t ; but while ho is looking you slip one of tho bottom cards t o t h e top, then lift oif five or six more, spread them down in another place, and repeat tho query, so doing till he sees his card. You know then what his card is, as it must bo the one 3"Ou brought up to the top. You. now gather up the cards in a heap, sliufflei them, and proceed to pick o u t the one hei thought of.

One of the best tricks known is t h a t of producing a handkerchief from a lighted candle which has been previously examined. I t is accomplished as follows : —The handkerchief is a small silk one, and is concealed a t the back of the drawer of an ordinary match-box, which has the drawer half pulled out as if in readiness to got at the matches. The candle is given for examination, and you t h e n place it in a candle-stick on a table, and show your hands empty. Pick u p matchbox, and take a match from it and light candle. Close t h e box, which pushes the concealed handkerchief into your hand. F O U N D AT THE SECOND G U E S S . You then p r e t e n - to pluck handkerchief Offer the cards to ouo of your audience, from flame of candle, and let it expand as and let him. draw one. Then hold tho cards you draw your hand back from flame. behind your back, and tell 'him to place his. card on t h e top. Pretend to make a greats shuffling, b u t only t u r n t h a t card with it3 back to t h e others, still keeping it a t t h e top. Then hold up t h e cards with the faces towards tho spectator, and ask him if t h » Contains— bottom card is his. While doing so you i n Splendid SERIAL nnd SHOKT STORIES. spect his card a t your leisure. He, of mo<SISAI»SIICAL nml oilier SKETCHES. TALES <>rsC«TTSSIJ II!I] null CHARACTER. course, denies it, and you begin shuffling UOL'SEIIOLl* IIEI.I-S and HINTS. agairu furiously, and, as you are perfectly BC1F.STIFK'nili! USKI'I'L BECIPB. acquainted with his card, you let him shuffle CIVIL SERVICE COMR; WESKIY. as much as he likes, and then, when you liXI'lilMi mid NEEDLEWORK ItSiCIl'ES. (OWKEKV and LLEIIICAI RECIPES. get the cards back again, shuffle until his HINTS on HOME IJIIESSMAIilXG. is at tho bottom. Then show him his. ORIGINAL MUSIC, I'OETRY, and READINGS card card in any way you like. A very good way AC. <XC. in which to reveal the card is t h a t known aa

Gbe people's Jfrfenb

Fries ONE PENNY Weekly.

T H E

SURPRISE.

After you get the desired card t o the bottom of the pack, tell one of the spectators to hold the cards by one corner as tightly as he J can. Give them a sharp rap with your finger, not with your hand, and all tho cards will be struck out of his hold and fall on the floor, except the bottom card, which will remain between his finger and thumb. I t has a rather more dashing effect you put the chosen card at the top, and strike them upwards, when the whole pack will fly about the room like a cloud of butterflies, only leaving the top card in the person's grasp.

THE "WANDERING AC®. Place four aces on t h e table, as shown in figure No. 1 ; shove them together and: mix them with the rest of the cards. Then give ithe cards t o somebody t o hold. Ask him to )ook for the four aces, and, to the astonishment of everybody, one ace will be missing, und found in the pocket of the performer. iThe trick is done in the following w a y : — You do not place four aces on the table, but only t h r e e ; the fourth one is the nine of diamonds, covered right and left by two

otheT aces, so t h a t only the spot in the middle is visible, as shown in figure 2. Everybody will take it to be the ace of diamonds, which you have taken out of the »ack before and placed in your pocket.

A CLEVER

CONSTABLE.

..

From a pack of cards take the four knaves and one king (the constable), and quietly place one of tho knaves a t the bottom or top of the pack. P u t the other three, with the king, _upon the table. You must now tell the company a story to the following effect. One of a band of three notorious housebreakers made a habit of entering houses by the cellar window (here put one of the three knaves at the bottom of the pack); the second generally entered from the garden (insert the second in the middle of the pack); and the third preferred entering from the roof of the next building (placing the third knave on the top of the pack). A constable being sent in pursuit, followed the track of the third thief (place the king on tho top), and after some hunting inside tho house (cut the pack), came upon and captured all three burglars. At the bottom of the pack the king and the three knave3 will be found together. T o T E L L H o w M A N Y CARDS A P E R S O N HAS SHIFTED.

Take all the spot cards from any particular suit—that is to say from the ace u p to ten. Place these face downwards in a row, consecutively from one to ten. You them ask any one to remove as many cards as he may choose from t h e beginning of the line, and t o place them im the same order a t the rear part of the line, and you will1 tell him how many have been shifted. The trick is effected in this m a n n e r : Suppose the person has shifted three cards; you, in the first place, take u p the end card onj being called upon, and, on looking a t the face of it, you will find that the card has three spots upon it, thereby indicating! t o you t h a t three cards have been shifted. So far the case seems simple enough, and t h e person who shifted them will in all probability ask you to t r y again. You t u r n your back while he shifts some more cards, and wait till he says he has done so. To find out the cards shifted, you must now remember the number t h a t was previously s h i f t e d ; this was three. I n this instance, suppose t h a t other three had been shifted; you add one to tue previous shift, which makes four, and upon taking up the fourth card from the end the card with three spots will be found, thus indicating that three cards have again been lifted. Now, suppose another trial is made, and t h a t four cards have been shifted. You just remember t h a t twice three have been shifted in the previous turns, making six altogether. Add one to this next, and. you have the seventh card. Take u p the seventh card, and i t will be found to contain four spots^ indicating thus t h a t four cards have been shifted, and' so on. The trick is most bewildering t o those not in the secret.

CAUGHT

IN

FLIGHT.

This is a very striking trick. Ask two persons each to choose and remember a card. Taking them back, place one at the top and the other at the bottom of the pack, which you then take in your right hand, between the fingers and the thumb. Throw the pack into the air, when the two chosen cards, which should have been slightly moistened, will stick to the fingers. With a dexterous movement conceal this fact from tne onlookers, and make a dash with the hand among the flying cards as if to catch some of them. You then produce tho two cards, to the wonder and astonishment of all. A C A R D AND P E N N Y T R I C K .

Place a penny on an ordinary playing card, and poise the card on the point of the forefinger of the left hand. Then with a sharp flirt of the forefinger and thumb of the right hand, directed against the edge of the card, you may drive away the card and leave the penny balanced upon your forefinger. T o N A M E A C A R D W I T H O U T ITS B E I N Q S E E N .

F i r s t glance at tho bottom card of the pack. Suppose i t to be the ace of diamonds. Lay out the pack in five or six heaps, noting •where t h e one is laid which contains t h e ace of diamonds. Ask one of the company to take u p t h e top card of any heap, look a t it, and then replace it. You now gather up t h e heaps apparently by chance, b u t taking care t o put the heap containing the ace •upon t h e card which has been chosen. You then give any person the cards to cut, and on counting them over, t h e card t h a t follows the ace is the one t h a t has been chosein. If by any chance the two cards have become separated through cutting, t h e upper card ef the pack is t h e chosen one, and can be picked out at once. T o SCENT OUT A CARD.

Lay out 16 cards, face upwards, in 4 rows of 4 each, and desire a person to think upon any card h e may choose from the 16, and to indicate to you t h e row in which it is. Suppose the person chooses, say tne ace of spades, and that this card is in the 2d row. You now lift u p the cards in succession, remembering that the card thought oni is in t h e 2d set of four you lift up. Now t u r n pack face downwards, and place t h e cards in 4 heaps of 4 eaoh, giving one t o each heap alternately, and each four being so plaoed t h a t a portion of each card is plainly visible. Now take u p one of the heaps, and turning the faces of the cards towards the person who selected the card, show the face of them, and desire him t o say if the card selected is in t h a t heap. Suppose he says no; jou placa the hea® down then on the

table, and take u p heap number 2. Suppose he declares t h a t his card is not in t h a t heap y you take u p the third and repeat t h e process. " Yes," he says; " I see my card, in that heap." You now square the cards, in each heap, and take them up in heaps by rotation. Suppose the heap in which the celected card is is the 2d heap lifted, then i t will be the third 4 from the top. Now place the cards face downwards in 4 squares of 4 eaoh, giving one to each heap alternately until all the cards are distributed. I t will thus be seen t h a t in each of the four squares there is a card from each separate heap, but in placing the third four in their places you just remember what place in the several heaps these four cards have. Now ask tha person to name two of the heaps. Suppose he says number one and three, and suppose his card, which you now know, is in one of these heaps, you lift the other two packets anid put them aside. Ask him now to name one of the two heaps remaining. H e does so, and you lift one of these away. Now ask him to name two cards of the four now lying on the table, and, on his doing so, you lift two of them away, being careful, of oourse, to allow his own card to remain. Now ask him to name-one of t h e two cards remaining. H e does so, and you lift one of them away. Now tell him t o lift the only remaining card, and t o his astonish meat i t is the cardl h® has originally selected. T o CALL A N Y CARD IN THE P A C K .

Seat yourself a t the table, so as t o havs the Whole of the audience as much as possible in f r o n t of you, and a t some distance. Take t h e pack of cards as i t usually lies, and in passing i t under the table or behind you, glance a t the card which happens to bo exposed; then, pretending to shuffle tha cards, place the one you have seen back to back oni the other side of the pack, and) holding the cards firmly by the edges raise your hand between you and the company, and show t h e card you have seen, calling out a t the same time what it is. While doing so observe which card is facing you (for you have now the whole pack facing you except the one card which is shown to the spectators), pass them under the table again, andl transfer the card which you have just seen to the other side of the pack, handling the cards as if shuffling t h e m ; again exhibit, and cry out the name of the card turned t o the company, taking care to notice the card t h a t faces yourself, which change as before, and so on. By this means you may go over the whole pack, telling eaoh card as it is exposed, without looking a t t h e cards except when they are held u p between you andl the spectators, and when they are anxiously looking themselves t o see whether van 0x4 right or not.

BETRAYED

BY

ITS

BALANCING

TRICK

WEIGHT.

Ask some one to t a k e a card from t h e pack, and t o remember it. Take it again, keeping it face downwards, and poise it in your hand as if weighing it. While doing so make a slight indentation in it with your nail, which you will readily recognise again. Then r e t u r n the card to tho person who picked it, and ask him to insert it in the pack wherever he chooses, and to shuffle the cards. Let him then return t h e cards to you one by one, and as he does so pretend t o weigh each carefully in your hand. When you come to the marked one present it to t h e company as tho_ one chosen, and as identified by its weight. The mark should not be made top conspicuous.

IN

BALANCING.

One is often asked a t an evening party to endeavour to stand with the side of one foot touching t h e wall, and t c hold up the other foot for a few seconds. I t is, however, impossible to do so, as t h a t position throw* most of t h e weight of the body beyond the centre of gravity. T H E BALANCED P L A T E .

Another trick in balancing is t h a t in which a plate is balanced on the point of a needle. The illustration will afford any explanation t h a t is necessary. Split tw<) corks down the middle, insert a fork near one end of each,

TRICKS.

This last mentioned card trick naturally introduces us to the subject of balancing, and we shall now describe a few tricks in t h a t art. T H E P E N C I L AND K N I F E F E A T .

The following is a little trick in balancing which is difficult enough to tax the busy brains of our younger readers. The sketch renders explanation almost unnecessary, but it will be seen t h a t the feat consists in balancing two pencils in mid-air—the ono and place them a t equal distances round t h e edge of tho plate. The forks should point towards the axis of the plate. Then by a little manipulation and care you should be able to make the plate spin round on t h e point of a needle inserted in a coTk which passes into the neck of a bottle. A C U P IN D A N G E R .

horizontally, tho other vertically. The sharpened extremity of one pencil is inserted into a loop in the end of a piece of thread ; tho two knives, which are stuck in opposite sides of the pencil, are of equal weight. Two pens are fastened—one on each side—near tho point of the second pencil, which is then balanced on tho other end of the first pencil. With a little adjustment of knives and pens the whole should be put in equilibrium, and may even be made to rotate. BALANCING A T U M B L E R .

This is scarcely a trick, but rather a feat ; however, it causes great fun, and can be conveniently done a t any time. Balance a bottle or tumbler containing water on t h e crown of the head, and then try to pick u p a nut, or, more difficult still, a coin off the floor with lips or teeth, and rise again without allowing the bottle to tumble. I t must not be touched with t h e hands.

A striking trick in balancing is shown in the illustration. The question is how to balance a coffee-cup on the point of a carving-knife. The first difficulty in the way is the scruples of t h e housekeeper a t " lending you a good cup when you're suro to break it." These scruples overcome, however, the trick is simple enough. Insert i n t n e handle of t h e cup a cork thick enough t o fit pretty_ tightly. Stick into this a fork, in such a mnnnor

thnt

end of t h e fork hangs below t h e cup. You should then be able" after a few trials and a little adjustment of the fork to find tho centre of gravity of t h e cup, and t o balance it as required and as shown in tho sketch.:

A

B A L A N C E D

O L A S S .

At a short distance apart upon a table place two bottles of tho same size, fitted with corks, t h e projecting enda of which are c u t t o resemble pivots. Upon each cork balance a knife, and bring t h e knives into such a position t h a t they touch a t t h e tips. Then upon- t h e junction place a wine-glass half-filled with water, and after a few trials you should bo able to produce a s t a t e of equilibrium. By dipping into t h e glass a coin or button attached to a piece of thread t h e balancing apparatus may be net into gentle motion.

TRICKS

W I T H

G L A S S E S .

I n o u r section dealing with balancing tricks occasional reference has been, made to glasses. H e r e are quite a n u m b e r of tricks t h a t may be performed with two glasses of the same size a n d shape. If these are held lip to lip under water a n d then withdrawn one above t h e other it will be found t h a t both remain full. T h e sama thing may be done in another way. Fill t h e two glasses with water. Cover one of t h e m with a card. Hold t h e card firmly on, a n d reversing t h e glass, place it mouth down on t h e top of the other glass. Then gently withdraw t h e card, and if tho rims of t h e glasses a r e evenly placed one on tho top of t h e other tho water will remain) in both. A still more interesting trick can be performed in t h e l a t t e r way. This is what is called W A T E B C H A N G E D INTO W I N E AND W I N E INTO

WATER.

Fill two wine glasses of tho same size, the A BALANCED BOTTLE. one with water, t h e other The bottle you see pictured hero is half with any kind: of dark Cover t h e glass filled with water, and is . placed upon a wine. containing t h e water with piece of broad a card, invert it, and place tape, which is it u p o n t h e glass filled suspended bewith wine—as illustrated tween two in t h e drawing. The two points. The brims of t h e glasses must handle end of fit exactly. Then slightly a soup ladle is move t h e card eo t h a t a inserted ill t h e small opening is l e f t bemouth of t h a tween t h e two glasses. The bottle, and tha water, i t will be seen, beequilibrium of gins to find its way downt h e tvholft is wards and t h e wine, being secured by t h e lighter, rises, taking pouring watei? t h e place of t h e water. gently into a vessel suspended a t tho other end of a ladle. A f t e r a b o u t a n hour's time t h e liquids will have completely changed places, t h e effect being as if t h e VC SEE 30 water h a d been changed t o wins, a n d the ><S wine t o water.

Scotland's National Weekly,

Why you should read it. It* S « r l a l Stories a r e a l w a y s I n t e r e s t i n g . It c o n t a i n s m a n y P r i z e Competitions. I t s l e g a l a n d D r a u g h t s Columns a r e I m p o r t a n t features. Its newt Is nlwnj-i fresh anil readable. l o c a l a m i .District I n t e l l i g e n c e r e c e i v e s r a i l attention. It contains more advertisements than any o t h e r w e e k l y p a p e r in Scollniid. VhG " P e o p l e ' s J o u r n a l " contains t h e f u l l e s t n e w s , finest stories, m o s t vigorous a r t i c l e s ' a n d most e n t o r t a i n l n g correspondence of all w e e k l y newspapers.

OF

ALL

NEWS-AGENTS,

P R I C E ONE PENNY,

W A T E R ABOVE A L E . Ale, unlike winie, is heavier t h a n water, and this may be shown by t h e following simple experiment. This is a trick something like t i e " wine and water" one already described, a n d serves t h e purpose of adding a little variety to these liquor feats. Fill a tumbler half-full of ale. Place a silk handkerchief over t h a m o u t h of t h e glass, And press i t softly down until it touches t h e surface of t h e ale. Gently pour in water till tho glass is full, t h e n d r a w u p the handkerchief, and t h e water will be seen forming a distinct layer above t h e ale, a n d s u i t e unmixed with i t .

FLOATINQ

A

PIN

IN

W A T E R .

I t will not readily be supposed t b a t a needle or brass pin can be made t o float on water—steel and brass having a much greater specific gravity than water. If, however, t h e needle or pin be carefully dried, it may, if dexterously handled, be so laid upon tho surface of a basin or dish of water t h a t no trace of moisture finds its way to t h e upper surface of the instrument. The water will simply t a k e a convex shape on each side of the pin, which i t will support as in a cradle. The placing of the pin upon t h e water is, however, by no means an easy process. One way of accomplishing it is by placing the pin upon a small piece of paper, which is gradually allowed to drop on to t h e water, soak, and sink, leaving t h e pin afloat. A

ONE-HANDED TUMBLER

TRICK.

Fill a tumbler with water, and t u r n a plate upside down on t h e top of it. The tumbler may or may not have a stem, b u t t h e safest and most effective trick is when there is a stem to t h e tumbler. Holding the tumbler and plate firmly together, t u r n t h e tumbler upside down, which can be done without spilling t h e water. Now, challenge any one to take t h e plate with tumbler m one hand, and with t h e other hand behind his back t o drink t h e water without spilling any of it. The secret is in using the teeth when t h e tumbler has a stem. Reach the head over the tumbler, ana take hold of the off side of the base firmly with t h e teeth, and whilst pressing t h e plate on the tumDler, raise t h e head, and t u r n both plate and tumbler the other way up. You can lift the plate off with the right hand, and set it on the table, and with t h e same hand take the tumbler out of the mouth. You should practise without the water to begin with, if you wish to avoid a shower bath. With an ordinary tumbler t h e trick is similar, only t. e base of the tumbler is pressed against t h e forehead. ANOTHER

TUMBLER

TRICK.

Dry the tumbler thoroughly, and very carefully fiU it brimful with water, so as not t o wet t h e ' t o p edge. Try how many shillings or other small coins can be p u t into it afterwards without making the water flow over. You are safe to challenge any one to guess anything like the correct number, as most people will imagine t h a t one coin would cause t h e water to run over. This is a mistake, a great many can be p u t in provided they are dropped carefully from t h e surface into t h e centre of the glass.

LIQUOR

U N D E R

A

HAT.

Place a glass of any liquor upon the table and cover it with a h a t . You may t h e n inform t h e company t h a t you will drink t h e liquor without touching t h e h a t . Get u n derneath t h e table, make three mysterious taps upon it, give a gurgle as if swallowing a liquid, and s t a t e t h a t you have fulfilled your promise. The company are only too eager to test t h e t r u t h of your s t a t e m e n t ; ' some one removes the. h a t ; you seize t h e glass, drink its contents, and say, " Gentlemen, I have fulfilled my promise. You are all witnesses t h a t I did n o t touch t h e h a t . " T H E MAGICAL

TUMBLERS.

Take two plain glass tumblers and p u t a coin—a sixpence say—into one of them. Next gum a piece of red blotting-paper over the mouth of each tumbler. Trim the edges of t h e blotting-paper so t h a t nothing overlaps. Make two tapering tubes of brown paper to fit on to and exactly cover the tumblers. Close these tubes a t t h e narrow end either with a disc or by folding in t h e paper all round, thus ma—Jig opaque jackets for the tumblers. Place the tumblers with the jackets on, mouth down, on a sheet of red blotting-paper, and you are ready to astonish your friends. L e t us call t h e tumbler with the sixpence in i t A, and the empty one B. Borrow a half-sovereign from one of t h e spectators, and place it under t h e tumbler A ; lift off t h e jacket, and, lo! t h e halfsovereign has changed into a sixpence. Replace t h e jacket and lift tumbler and jacket together, and t h e sixpence has changed back to t h e half-sovereign. Give back the halfsovereign and borrow a sixpence, and place it under the tumbler B. Proclaim t h a t you can make t h e sixpence pass from B to A and back again. L i f t off t h e jacket from B and the sixpence is gone. L i f t off A's jacket and—there is the sixpence in A. Replace A's jacket, and lift tumbler and jacket together—where is t h e sixpence? Replace B's jacket and lift B with its jacket on, and there is t h e sixpence in its former position. A

DIFFICULT

LIFT.

Next time you are seated a t dinner att e m p t t h e following simple little trick. Place a dry tumbler upside down upon ithe table, and grasp it, in t h e manner ilustrated, with forefinger and thumb of t h e right hand, allowing no other parts of the hand to come in contact with t h e glass. The feat consists in lifting t h e tumbler from the table by t h e use of simply forefinger and thumb.

H O W

TO

E M P T Y

A

GLASS.

The trick consists in emptying a glass full ef w a t e r by means of a bottle also full of w a t e r anid1 w i t h o u t emptying t h e l a t t e r . Take two pieces of straw, one r a t h e r longer t h a n t h e d e p t h of t h e glass t o be used, t h e o t h e r twice as long. Bore two holes i a t h e cork of t h e bottle a n d insert t h e straws w i t h o u t breaking them. Them stop the outer end of the short straw by means of a pellet of w a x ; fill tihe b o t t l e u p t o t h e brim and push in t h e cork u n t i l t h e w a t e r squirts f r o m t h e end of t h e larger straw. Now invert t h e bottle a n d hold it so t h a t t h e shorter straw reaches to t h e b o t t o m of t h e glass. C u t off t h e stopped end of t h e straw with a pair of scissors, and t h e w a t e r will flow u p the straw into t h e bottle a n d out a t t h e larger straw, u n t i l t h e glass is emptied. The reason of this curious occurrence is t h a t t h e s t r a w s f o r m t h e two arms of a syphon. THE

DISAPPEARING

GLASS

is a. simple little trick, a n d is performed as follows. I t was awarded a prize of one guinea ini a competition held some t i m e ago by a Londoni weekly magazine. S t a n d a t one end of t h e room, having all your audience well in f r o n t of you. P l a c e a penny on a small table, a n d cover i t with a n inverted t u m b l e r . Then t a k e a stifiish newspaper, a n d with it cover t h e glass, allowing a good spread of p a p e r t o r e s t on t h e table in f r o n t of t h e glass. P r e s s t h e paper firmly over a n d a r o u n d t h e glass, thus making a mould t h e exact shape of tihe tumbler. Take u p t h e glass and newspaper, holding them, with your left hand, close t o your body. A t this point h a n d t h e penny t o one of your audience, u r g i n g t h e m all to make or observe some mark on t h e coin by which thfcy will kno'w i t again. Whilst they are t h u s engaged, a n d u n d e r cover of t h e newspaper, slip t h e tumbler, w i t h y o u r r i g h t hand, into your jacket pocket (which has been previously prepared t o receive t h e glass easily). Now take the penny back, place it on t h e table once more, cover i t with what appears t o be t h e t u m b l e r (but what is Tea.lly only t h e newspaper w i t h a t u m b l e r shape t o it), a n d say you will now make the penny disappear. Give a h a m m e r t o some timid member of j o u r audience—preferably a lady;

—inviting her t o strike t h e glass asjheavily as she oan. Should she object, d o i t yourself. Everyone will naturally b e expecting a great smashing of glass. H a v i n g s t r u c k t h e blow, remove t h e paper, t h u s exposing t h e penny, and say you r e g r e t having made t h e mistake of calling your performance a disappearing penny trick instead of o< disappearing glass trick. A

N O V E L M O D E OF E M P T Y I N G A T U M B L E R .

Place t w o tumblers of equal size in a basin of water. W h e n t h e y a r e full, place t h e m horizontally r i m to rim, press them; somewhat tightly together, raise t h e m t o t h e perpendicular, a n d lift t h e m out on t o a large p l a t e o n t h e table. N o w a t e r will escape f r o m them. The question now is— How is t h e w a t e r in t h e topmost t u m b l e r t o be extracted without t h e performer touching either tumbler or p l a t e ? Simply by blowing between t h e rims. E X P E R I M E N T S W I T H EGGS. The list of amusing tricks t h a t may be performed by means of eggs is almost endless, or, a t least, could be m a d e to fill a goodly volume. The following are a few of t h e simpler feats t h a t may be accomplished : — A N E G G THAT V A R I E S I N

WEIGHT.

F o r this little experiment you require t h r e e long-shaped glass jars. One of these is filled with cold water, and a second with a strong solution of salt and w a t e r . The t h i r d is half filled with a similar solution of brine, upon which is t h e n gently poured a q u a n t i t y of fresh cold water, so t h a t t h e two

liquids remain quite distinct and unmixed. Now t a k e three fresh eggs. Drop one ol t h e m Into t h e jar containing only water, and it will sink to t h e bottom. Gently place tho second in the jar filled half with brina and half with w a t e r : it will sink until it reaches the junction of t h e two liquids, when it. will appear to encounter some resistance and stop. The third egg, when carefully laid in t h e third jar, will float on tho surface. The explanation lies in t h e different densities of the liquids, b u t if t h e trick i3 performed before friends who are unaware of t h e contents of t h e jars, their astonishment will be considerably aroused.

. 26 H O W

TO

M A K E

A

M A M M O T H

EGG.

At intervals paragraphs appear in newspapers tolling of the high prices paid f6r t h e »gg of t h e Great Auk. You may astonish four friends by actually making an egg, which, if not exactly resembling t h a t of t h e Great Auk, is a t least as large. Break u p ibout a dozen fresh egjjs, place t h e yolks in one bowl, t h e whites in another, and t h e ihells in a third. Then mix t h e yolks thoroughly together, and pour them into a bladder. Tie up t h e latter securely, and place it in cold water until t h e contents have solidified. When this has happened take off the covering, p u t t h e ball of yolk into a still larger bladder, and pour into the latter t h e mixed whites of t h e eggs. Then tie u p t h e bladder in t h e shape of an egg, m d boil it in water until t h e contents become hard, being careful to keep it turning the while, in order t h a t t h e yolk may b e kept in its proper position. While this part of t h e egjg-making process has been joing on tho shells have been steeping for ibout a day in strong vinegar, and have be>ome pasty. When t h e egg has been boiled lard remove t h e bladder, and paste it with the softened shells by means of a brush. The whole has only t o be kept in rain water for the space of twenty-four hours, when t h e shell will have become quite hard, and you will have a gigantic egg. F A C I A L E X P R E S S I O N ON A N

EGGSHELL.

H e r e is a diverting trick which may be performed any morning you may happen t o have eggs to breakfast. After cutting off t h e top, a n d depriving t h e egg of its contents, sketch upon t h e shell a comical face, marking t h e features strongly with ink, or a very black pencil. Then replace the slitil in t h e egg-cup, and by living it a rolling motion with t h e hand, ;he. most ludicrous effects may bo produced. To

B L O W AN E G O FROM O N E W I N E G L A S S TO ANOTHER.

Place an egg in a wineglass, thick end downward. Then put an empty wineglass immediately in front of tho other glass. The trick is to blow tho egg from t h e one glass into the other. I t is easily done, at least after a little practice. The lips should bo placed close to the rim of the glass containing the egg. Then tho experimenter should blow strongly and sharply, directing the air as far as possible between t h e egg and t h e side of tho glass. The egg, if t h e experiment is well done, will jump out of ono glass into the other. I t is. wise t o 'use a hardboiled egg for the experiment.

T H E

F L E X I B L E

E G G

trick consists of t h e apparently impossiblt feat of introducing an egg into a narrownecked bottle. The trick, however, is somewhat akin to t h a t of Columbus, whoso extraordinary announcement t h a t he would make an egg stand on end was slightly marred by t h e fact t h a t ha chipped the end of t h e egg before h e effected his purpose. Insert a piece of burning paper into a dry ,nd narrow-necked water decanter, and immediately place a hard-boiled egg, minus t h e shell, in t h e neck of t h e bottle. The blazing paper expands t h e air inside the bottle, creating a partial vacuum, and t h e egg being acted upon by a greater external t h a n internal atmospheric pressure, gradually elongates, creeps slowly down t h e neck of t h e bottle, and then drops suddenly to t h e bottom with a loud report. T H E ROTATING

EGG.

All you require for this trick a r e a plate and' t h e top of a n egg. Place t h e egg-shell on t h e rim of t h e plate, which has been moistened with water, a n d by moving the plate in a circle tho egg begins also t o move, b u t in a contrary direction. With a little dexterity 1 you should be able to raise t h e speed1 of t h e rotating egg-shell, which, it will be observed, revolves on its owan axis a t tho same time. T H E SELF-COOKING

EGO.

This trick, while apparently simple and easy, may prove very suggestive. The necessary material for t h i s little experiment may be bought for a few pence a t any drug store. F i r s t t a k e a common silver or brass teaspoon and fill it one-quarter full of potassium and three-quarters full of common cooking soda. Take a n egg and lay it upon the teaspoonful of potassium a n d soda, so t h a t it will conceal both of t h e m a n d appear t o rest on the bottom of t h e spoon. Then get a common thick, heavy glass tumbler, till it about two-quarters full of water (care should, of course, be t a k e n t h a t t h e tumbler is n o t so full t h a t i t bubbles over when t h e water boils). Then drop t h e spoon holding t h e potassium, soda, and egg carefully down into the tumbler of water, give t h e entire mixture a few sudden strokes with t h e spoon so as a t once thoroughly to dissolve tho compound; then wait a t least one m i n u t e before taking o u t your egg. When t h e egg is wholly cooled carefully • break it opon and see how nicely cooked it is—just nearly solid enough t o suit t h e average t a s t e . "

THE PERFORMING EGG. H e r e is another amusing trick, which requires considerable dexterity and skill, and which may be regarded as ail elaboration of one already described. Place a hard-boiled egg on t h e bottom of an upturned plate or tray, which you hold in tho manner illustrated. Give t h e dish or tray a horizontal and revolving movement, and' you will notice the egg is carried along with it. Gradually increase tho rapidity of the motion, when t h e egg will raise itself until it stands on

end, revolving like a top. I t will help considerably if tho performer takes care to hold the egg in an upright position while it is being boiled. By so doing t h e air chamber is k e p t central along t h e axis of t h e egg. A simple way to do t h e trick is as follows: — Place the tray om t h e table, allowing i t to project so far over t h e edge t h a t i t can be readily grasped by t h e h a n d . Place t h e egg in t h e middle, and with t h e t h u m b of t h e l e f t ' a n d t h e first finger of t h e right hand placed a t opposite ends, set i t spinning vigorously. I t will raise itself on end, still spinning. Now seize t h e tray and revolve it as already described, in tho direction opposite to t h a t in which tho egg is moving. T H E H O O P A N D THE E G O .

H e r e is an amusing and simple little trick. Procure an egg and a hoop of wood or iron, and inform t h e company that when you have placed t h e egg on t h e floor, they will be unable to break it with t h e hoop. You will no doubt be laughed a t , b u t will be able t o t u r n ' t h e laugh on your friends by putting t h e egg on t h e floor in a corner of t h e room, and close u p to t h e wall. I t is easy t o see t h a t t h e egg is secure, it being impossible t o make any point of t h e hoop touch i t .

A u n t Kate's Household Guide

contains fullest information about tho Spring; and Autumn Cleaning. Sold evej-ywhore i Price OMS PENNY.

TRICKS WITH RINGS. W e shall now describe one or two tricks which a r e performed by means of rings. The first of these is entitled— THE RING

ON THE

STICK.

F o r this trick you require two curtain rings about t h e size of a penny, a coloured or white pocket handkerchief, and an ordinary walking-stick. One of t h e curtain rings is sewn into one of t h e corners of t h e h a n d kerchief, by p u t t i n g a small patch of t h e same material upon t h e corner, and t h e ring inside of it. This handkerchief is kept in t h e coat pocket, or on the table out of the reach of any of your audience. Coming forward you show to the company a curtain ring, and hand i t round t o show t h a t there is no flaw i a it. A t t h e same time you take u p t h e handkerchief with t h e concealed ring in t h e corner, and holding u p t h e handkerchief with this corner in t h e left hand, you carelessly draw t h e handkerchief through t h e r i g h t hand t o prove t h a t t h e r e is nothing concealed about it. Then, taking t h e ring, which nas been handed round, you declare you will now place it in t h e centre of t h e handkerchief, and thrusting the ring beneath the handkerchief, you pretend t o place it there, b u t in reality you only place t h e corner of t h e handkerchief containing t h e sealed rimz there, while t h e other r i n g is palmed in t h e right h a n d . Now give t h e handkerohief with t h e ring inside of it to a boy t o hold, and enforce upon him t h a t he m u s t n o t allow the ring t o escape. Take u p t h e walking-stick and s t a t e t h a t you m e a n t o pass t h e ring from t h e inside of t h e handkerchief on to t h e middle of the stick, while a boy holds t h e walking-stick a t either end. Take t h e walking-stick u p in the right hand, and with t h e ferrule i n ' t h e palm of t h e hand, ycrn ask t h e boy to t a k e hold of t h e handle, then, slipping t h e r i g h t hand with t h e ring up t h e stick t o t h e centre, you grasp t h e stick there and desire t h e second boy t o take hold of t h e other end — t h a t is, by t h e ferrule. This movement has enabled you to place t h e ring on the stick, b u t still concealed by your r i g h t hand. You now desire the boy holding t h e handkerchief and ring to place t h e handkerohief containing t h e ring over your right h a n d . When this is done you grasp the handkerchief by one corner and remark t h a t whenever you count three h e is t o let go t h e handkerohief, when the ring will have disappeared f r o m it and have passed on t o t h e stick. A t t h e word " three" you cry to the boy t o let go. H e does so, you snatch the handkerchief away and a t t h e same time open t h e right hand, when t h e ring is seen dangling upon t h e stick as if i t had j u s t flashed from t h e handkerchief thereon, t o i h e £Teat wonder of j o u r audience.

A RING P U Z Z L E . A young wizard c a m e h o m e f r o m school one day, a n d l i f t i n g a n a p k i n r i n g f r o m t h e dinner table, inquired—" I say, c a n a n y of you d o t h i s ? " Thereupon h e inserted his two fore-fingers in t h e c e n t r e of t h e ring, in t h e m a n n e r illustrated, twirled t h e ring s m a r t l y o n his fingers, p u t his t w o fore-

fingers and t w o t h u m b s t o g e t h e r , a n d o u t dropped t h e r i n g u p o n t h e t a b l e . T h e trick seemed so absurdly simple t h a t his f a t h e r lifted t h e ring, did, eo f a r as h e could, j u s t »s t h e little wizard h a d done, and m a d e a complete muddle of his a t t e m p t , for t h e ring would never d r o p o u t with him, b u t remained fi^ed between his t h u m b s and forefingers. The trick was t r i e d by all p r e s e n t , b u t easy a s i t seemed, mo one succeeded in doing i t . I n his a f t e r explanation, t h e y o u n g wizard showed how t h e trick was performed!. B e certain t h a t t h e backs of t h e t w o fore-fingers a r e t o w a r d s each o t h e r w h e n t h e pause is m a d e t o b r i n g tJhe tips of t h e fingers a n d t h u m b s t o g e t h e r . P u l l t h e

r i n g i n t o a horizontal position, when o n e of t h e fore-fingers will be pointing upwards a n d t h e other downwards. Now bring t h e tips of tho t h u m b s u p o n t h e tips of t h e forefingers, place all f o u r tips t o g e t h e r i n t h e c e n t r e of t h e ring, raise t h e u p p e r t h u m b a n d fore-finger, anid o u t will drop t h e ring. ANOTHER R I N O

TRICK.

This was' only one trick t h a t t h e l i t t l e wizard h a d acquired t h a t day. Taking u p a piece of s t r i n g about a yard long, h e tied t h e ends together, and asking one of u s t o place his t h u m b s inside t h e loop, h e p u t t h e r i n g upon t h e s t r i n g in t h e m a n n e r illustra. t e d . " Now," said |ie, " t h e problem is t o

utterly. T h e r e u p o n t h e y o u n g magician was asked t o p e r f o r m t h e f e a t , a n d this ha very smartly a n d successfully did. The following is a description of h o w h e proceeded:— '• W i t h t h e l e f t fore-finger, t h e u p p e r p a r t of t h e s t r i n g , f r o m t h e holder's r i g h t h a n d side of t h e ring, was pulled forward andl d o w n w a r d ; w i t h t h e r i g h t fore-finger, t h e u n d e r s t r i n g was, f r o m below, pulled f o r ward a n d u p w a r d , causing t h e two strings to cross each o t h e r . The s t r i n g held in t h e right forefinger was t h e n carried f o n v a r d between t h e fore-finger and thumb,- a n d placed over t h e right t h u m b of t h e person holding t h e string, from t h e u n d e r side. T h e ring was now advanced towards t h a t t h u m b , and t h e u p p e r string seized in t h e s a m a m a n n e r , and placed over t h e same t h u m b , again from t h e u n d e r side. The l e f t forefinger, which was still inserted in t h e loop of t h e string, was t h e n withdrawn, and t h e ring gently pulled, when; i t came away freely. ''".''^'['i M I S C E L L A N E O U S

TRICKS.

I n order t o perform t h e trick of T H E DIVIDED PEAR

you proceed as follows: —You Suspend a pear from t h e ceiling by a t t a c h i n g a. t h r e a d t o t h e s t a l k ; you t h e n hold t h e blade of a knife u n d e r n e a t h i t , and on t h e string being c u t or b u r n t t h e company is astonished t o witness t h e pear descend upon t h e blade and split in t w o . T h e explanation is simple. Previous t o t h e trick, and u n known t o t h e company, while t h e pear is hanging in a s t a t e of rest suspended by t h e thread, you raise a t u m b l e r of water t o it, and let t h e pear dip i n t o i t . Now m a r k t h e exact spot where t h e drops f r o m t h e pear fall. Immediately above this you hold t h e knife, with t h e result as already described. T h e same trick in a different f o r m may be done by suspending an opened penknife, and in t h e same way causing i t t o e n t e r t h e neck of a bottle. I n t h e illustration t h e knife is drought near t o t h e pear for t h e sake of economising space. - -

POINTS about t h e ' PEOPLE'S JOURNAL. 1 10,000 STews-agents »ell It. t a k e t h e r i n g off t h e s t r i n g w i t h o u t t a k i n g 1,350,000 P e o p l e r e a d It. t h e s t r i n g off t h e fingers." This seemed a n A w e e k ' s Issue w e l s h s tto tens.

impossibility; nevertheless, one or two of those present made the attempt, only t o fail

.'...„

It is the People's Family Newspaper. Sold Everywhere,

Priam Oao

Panny.

THE CUBE IN THE HAT. For t h e performance of this trick two black satin hat3 are requisite. These are borrowed from gentlemen present. There are various excellent tricks to be performed by means of hats, b u t a simple and easily executed one, which forms a good preliminary to t h e trick to be explained, is done by means of a blown egg. Take an ordinary hen's egg, blow t h e inside out of it by making two holes, one a t each end. Take a black silk thread, tie i t to a small piece of lucifer match, and insert the piece of wood inside t h e egg. Fill up the holes with a small piece of white sealing or beeswax, and to t h e other end of t h e pieco of silk thread, which should be about half a yard in length, fix a small bent pin. When t h e hats are being brought to you by some boy, you go behind your table, lift your blown egg in t h e one hand, and a t t h e same time fasten the bent pin inside t h e bottom of your waistcoat. You now take u p one of t h e hats, drop t h e egg in, and ask for a little music. When

Wo

O

j

t h e music begins, by gently putting the h a t away from you, the egg is drawn up to the rim'of t h e hat, and with a skilful manrauvre may be made to travel all round the rim, apparently keeping time to t h e music. You now take u p the other hat, and make t h e egg jump from one h a t t o the other, to t h e wonder and surprise of your audience. You now p u t away t h e egg and proceed to tho trick with t h e cube. The cube is a square piece of wood, say two inches each way. I t is painted black, with white spots painted like a die. These spots may be made by means of pieces of white paper gummed on the cube. If an ordinary piece of white wood is taken and painted with black ink, with white pieces of paper for t h e spots, it will answer t h e purpose quite well, and cost nothing. A cardboard case is made for this to fit neatly, and this is also blackened with ink, ,and white spots made upon it to resemble t h e solid die. F o r this, again, there is another cover made, into which t h e solid

cube, with its imitation case, fife smoothly. You bring forward your cube enclosed in its case, take it out of t h e case, and knock it hard upon the table t o show to your audience t h a t i t is solid wood. Of course, your fingers prevent the solid cube from slipping out and betraying you. Your two hats are now placed on the table with their openings together, and taking up your cube with its false covering in the right hand you place it on t h e crown of tho upper hat. Tell your audienco t h a t it is your intention to send tho block right through the crown of the hat. At t h e same time lift the top h a t with t h e left hand and the cube with the right. Right through t h e crown of the hat, you continue, into the bottom of this hat, a t the same time placing your hand with t h e cuba inside t h e h a t to illustrate what you mean to do. You now allow your fingers to slacken, tlip solid cube slips out of its case, you lift u p what appears to be the solid cube, and replacing the upper h a t , you with your right hand place what appears to be the solid cube on t h e crown of the upper h a t . Understand now t h e solid cube is in the crown of t h e bottom hat and t h e false cube is standing with its open end down on the crown of t h e upper hat. You now take up your outer case—which may be ornamented in any way to please t h e eye—show t h a t it is empty, and with much formality cover up with it t h e false cube, which all eyes see. Now, take a knife, and make a pretence of cutting round about t h e cube. Take your magic rod, touch the case, command the cube to pass through t h e hat, and immediately thereafter lift up the case, when the inner case comes along with it, and you hold it u p before, all to show t h e case is empty. Now lift u p tho upper h a t and place it on t h e table, then take up t h e lower hat, turn it gently over, when out drops t h e solid cube with a crash upon t h e table. SWALLOWING A BARBER'S P O L E

is a trick which is easy of accomplishment, Take t h r e e sheets of stout white paper, and cut each into strips two inches in width. Paste or gum them together so as t o form a long band, which has then to be coloured in alternate stripes of red and blue, resembling t h e characteristic decoration of a barber's sign-post. Wind u p t h e band compactly upon a round ruler, leaving the inner end so folded t h a t it may without difficulty bo pulled out. Then, all unknown to the friends whom you are about to astonish, insert t h e roll in your mouth along with a quantity of paper shavings, and pretend to chew tho latter. While holding t h e hand to t h e mouth lay hold of t h e inner end of the roll with t h e thumb and forefingsj, and draw out t h e coil, when it will unfold itself and present quite the appearance of the red and white pole so significant of a hairdressing establishment.

T H E FOUR MATCH P R O B L E M . If we believe a celebrated F r e n c h journal, t h e problem of t h e f o u r matches would t a x t h e patience of t h e best architects or mechanicians, unless they have been previously told how t o do it. Of course, when t h e plan is known i t seems very easy ; b u t otherwise i t will mako a n interesting evening's puzzle for a winter p a r t y . Split u p a little t h e wooden end1 of a common lucifer m a t c h (a). Take a second matoh (b) and sharpen it longitudinally a t t h e wooden end, like t h e extremity of a wedge. Place this wedge (of b) into t h e split (of a), so t h a t tho two matches may f o r m between t h e m a n angle like t h a t in this illustration (less t h a n a r i g h t angle). Place t h e m on t h e table as in t h e lower diagram, w i t h t h e vertex of t h e angle above, and leaning u p o n a t h i r d m a t c h (e). The problem is to l i f t these t h r e e matches bodily u p like t h e t o p of a pyramid, Dy means of a f o u r t h m a t c h , w i t h o u t touching any of t h e t h r e e matches with t h e fingers. There is only one way of doing i t : you can do i t easily. W h e n t h e audience t r y and

T H E PAPER TOP. W h o can m a k e a t o p t h a t will set itself in m o t i o n ? N o b o d y ? W e will show you how it is done. Take a cork, a sewing needle, and a square piece of writing paper. P l a c e t h e cork on t h e t a b l e and: f a s t e n t h e needle in it, point up, find t h e centre of t h e .piece of paper by drawing t h e diagonal lines, a n d

balance i t on t h e needle a f t e r b e n d i n g t w o opposite corners of t h e paper, one u p w a r d , t h e o t h e r down. Now we a r e Teady for t h e trick. Hold' y o u r h a n d close to. t h e paper as shown in figure. Before long t h e paper will set itself in motion, and will stop as soon as you remove your h a n d . This simple mechanical effect is produced by t h o w a r m t h of t h e h a n d catching t h e corner of t h e paper t h a t h a s been b e n t downward, which sets t h e paper t o p in motion. SWALLOWING A K N I F E .

give in, very likely saying i t is impossble, you j u s t do it, a n d t h e y will be t h e m o r e astonished. They t r y again, and again fail, u n t i l you explain t h e method, which is as follows:—Take t h e f o u r t h match (d) between t h e finger a n d t h u m b and b r i n g it horizontally beneath t h e third matoh (c). P r e s s t h e first two matches gently with it, so t h a t they will lean on it, a t t h e same time allowing t h e third match to fall on it. Lower t h e hand in order t h a t t h e t h i r d match may slip through t h e angle between t h e first two, so as to p e n e t r a t e a little beyond. The t h i n g is done. You can now l i f t u p tho t h r e e matches, as in t h e t o p diagram, by means of t h e one in your h a n d , two being on t h e one side of i t and t h e t h i r d on t h e o t h e r side

This is a pleasing and harmless diversion, b u t in order t h a t t h e r e may be no f e a r of one cutting oneself it is b e t t e r to perform i t with small f r u i t knives. Besides two knives all t h a t is required is a small piece of white notepaper, r a t h e r longer t h a n t h e knife blade, and twice t h e width of t h o blade. Previous to exhibiting t h e trick conceal t h e duplicate knife down t h e back of t h e neck, blado upwards, care being t a k e n t h a t t h e knife does n o t slip down. Fold t h e piece of paper lengthwise in half, and p u t i t over tho blade, explaining t h a t this will prevent t h e knife cuttiug you as it is swallowed. Place t h e • palms of t h e hands together, lingers upwards, holding t h e blade between t h e m , handle downwards, and between t h e wrists. Keeping tho elbows as close together as possible raise t h e hands, and p u t t h e handlo in t h e m o u t h , as if about t o swallow it. Again withdraw i t , with t h e remark t h a t it is n o t going down as easily as usual. Again raise t h e hands smartly, b u i this time allow t h e knife t o slip out of t h e paper and fall behind t h e table on t h e knees. The paper will bo visible above t h e finger tips, and appear still to contain t h e knife. Make appear to bo forcing t h e knife into t h e m o u t h , but in reality only t h e paper, which can be chewed into a ball and concealed behind t h e t e e t h . Now reach t h e right h a n d over t h e shoulder and withdraw t h e concealed knife, and exhibit.

A STARTLING SWORD TRICK. One of the newest and most startling of Bword tricks is t h a t which was recently described and explained in " L a Nature." A boy picks u p a long, lithe, sword blade, and making a t h r u s t a t t h e conjurer the blade apparently enters his stomach and makes its appearance a t his back, I n e sword has no handle, but threaded through an eye a t the end like a needle are a few yards of ribbon, and as if to show t h a t there is no deception t h e sword is thrust right through t h e conjurer's' stomach and is pu^ed out a t his back, ribbons and all. Of course it is an illusion, and t h e small diagram explains how it is managed. There is a metallic t u b e

THE LAW OF INERTIA. There a r e few readers who a r e n o t acquainted with t h e existence of t h e great n a t u r a l law of inertia, in virtue of whioh bodies a t rest t e n d to remain a t rest, and bodies in motion continue in motion until external forces bring them t o a standstill. H e r e are two interesting experiments which illustrate t h e law fax better than any explanations could do. A

B A T T E R Y OP D R A U G H T S M E N .

On a table place a pile of draughtsmen, near t h e edge of t h e table, and distant about t e n inches or a foot f r o m t h e pile, hold another " m a n " in the position) indicated in the sketch, and by pulling back t h e hand, shoot it smartly against the column, According t o th e manner in whioh it strikes, either one or two of t h e men, will be sent spinning out of t h e pile, b u t t h e equilibrium of t h e l a t t e r will be i n n o way disturbed. THE

bent t o t h e curre of t h e conjurer's body, and fastened thereto underneath his r e s t . When t h e boy thrusts a t him t h e conjurer seizes t h e point of t h e blade as if to ward off the point, b u t in reality he directs it to t h e mouth of t h e tube, and t h e flexible blade, impelled by t h e thrust, goes easily through t h e bent tube, making its appearance either through a hole in t h e back of t h e coat or between its tails, as t h e tube is fixed. The illusion i3 complete, and the effect of seeing a sword apparently thrust right through a man's body is thrilling in t h e extreme.

BRIDGE

OP D O M I N O E S .

'

The other feat is performed by means of dominoes. Construct of these an aroh like t h a t in t h e illustration. Underneath t h e lower ardh place on its side another dominoe, in such a position t h a t by tilting it smartly with the fore-finger i t will strike t h e lower cross-brick. If this is done swiftly and steadily, the brick will be knocked from its position, whilo t h e superstructure, owing t o its inertia, remains intact. TRICK w n n

MATCHES.

Take t e n or twelve matches, and lay them as shown in t h e diagram. Then p u t your STRAW TRICK. H o w may four straws and a coin be lifted finger on t h e match marked " A," and by by means of a fifth s t r a w ? I t is allowable prossing upofl i t the match marked " B" will lift itself u p and keep in motion by con-

tinued pressing without any of tho other matches being seen to move. Always keep the first matches straight, as shown. To make this little feat more interesting put to arrange o r fix them in any way, b u t your hand over your finger, and, to the asnothing besides straws and coin3 may be tonishment of t h e spectators, you may put used. The sketch will make matters clear. the match in motion at command.

THE TRAVELLING DOLL. This is a trick which demands a considerable amount of practice if i t would be accomplished neatly. The things required are—1st, A wooden doll such as may be procured for a penny a t any toy shop, with t h e legs broken off. The doll should be one of t h e old-fashioned kind, with a good-sized head a n d body, about five or six inches in length, the head being about one inch and a half in diameter. If a doll cannot be purchased, a very little ingenuity would enable t h e reader to make one with a piece of wood and a pocket-knife. The head is carefully sawn off with a fine saw, and a peg of wood is inserted into t h e head-piece a t t h e place where it is out through. A hole is made t o fit t h e peg on t h e place where this joins, so t h a t when t h e peg is inserted in its place in t h e socket t h e doll looks t o all appearance

as if it were whole instead of being decapitated a t t h e neck. There is also required a doll's petticoat. This may be made from any fancy-coloured calico or other dress material. It should be about 18 inches in depth, and gathered at tho top a n d bound, with a hole sufficiently large to enable t h e doll's head t o be popped easily through t h e aperture. I n t h e inside of t h e dress, and sewn to t h e top, a loose pocket must be fitted sufficiently large to hold and conceal t h e doll's head. These are t h e things required, and t h e illustration shows them. * The method of doing; t h e trick is as follows : —You take u p t h e doll, and, holding it in such a way as t o conceal t h e cut a t the n^eck, you tell t h e audience t h a t this is a common wooden doll, solid and perfect in every respect, and t o prove this you dump i t loudly on t h e table t o show t h a t it is actually solid1 wood. Then, p u t t i n g down t h e doll, you take u p t h e petticoat and roll i t into a ball in your hand t o show t h a t there is nothing concealed about it. You t h e n tarn it inside out, b u t in doing so you keep t h e pocket towards yourself, so t h a t it may n o t be detected by the audience. You t h e n t u r n it out ?gain, switdh it on t h e table t o

prove t h a t t h e r e is nothing concealed in its ^interior, and, gripping t h e petticoat with left hand by t h e headband, you now t a k e u p the doll with your right, and,- placing i t inside t h e petticoat, you push t h e doll u p until its head makes its appearance through the opening a t t h e band. You now require some lively p a t t e r t o interest a n d distract t h e a t t e n t i o n of your audience. If you can do a' litle ventriloquism a t this point t o make t h e spectators believe t h a t t h e doll really speaks, so much t h e better. The talk may go on in this w a y : — " Are you fond of travelling, Tommy ?" you inquire. Tommy says " Yes." " W o u l d you like t o go t o California, T o m m y ? " Tommy will say " Yes" or nod his head, as t h e case may be. " Would you like a little money to pay your passage, Tommy?" " Yes," Tommy would like a little money. " Then I will see if I can find a penny for you." So saying, you quickly withdraw t h e r i g h t hand from t h e interior of t h e petticoat, taking away with it a t t h e same time t h e body of tho doll concealed i n t h e palm of t h e h a n d . Thrust this quickly into t h e trousers' pocket, leaving i t there, andi bringing f o r t h a penny or a coin of some kind. Knock with this loudly o n t h e head of Tommy, and now say, " A r e you ready, Tommy, t o s t a r t upon your travels f " Tommy nods or says " Yes." Then, p u t t i n g down* t h e coin and holding u p your right h a n d t o show t h a t there is nothing hid about it, you now place it inside t h e petticoat, and pressing t h e head of Tommy down through t h e aperture with t h e forefinger of t h e l e f t hand, Tommy's head, of course, comes into the fingers of t h e right hand, and is deftly placed into t h e concealed' pocket. You now say Tommy is gone, and to prove your words you t u r n t h e petticoat inside out, keeping, of course, t h e pocket towards yourself, and lo 1 Tommy has vanished. Strike t h e table with t h e petticoat, and no sound will bo heard, for t h e reason t h a t the pocket being near t h e top, Tommy's head does not come in oontact with t h e table. Turn t h e petticoat right side o u t again, and roll it u p into a ball, t o prove t o the satisfaction of every one t h a t Tommy has absolutely and u t t e r l y vanished. Holding the rolled u p petticoat ini t h e l e f t hand, you may throw open your coat and roll u p your sleeves t o show t h a t it is n o t concealed) in any way, t h e n unroll t h e petticoat again and place your right hand inside as before. Bring o u t t h e head from t h e pocket, t h r u s t it through t h e aperture—only so f a r as t h e chin, of course—turn his head merrily round, make him nod, and bid him disappear a g a i n ; then, thrusting his head into t h e pocket, you show t o all t h a t Tommy is gone once more, and so t h e trick concludes, t o t h e wonderment of all n o t in t h e secret.

STRING-STICKS. This " puzzle of t h e streets" is called t h e Pillars of Solomon—why, we know not. I t used to he made of beautifully-finished ivory or boxwood, with elegantly-turned knobs. Now it is simply, t o look at, two pieces of ordinary wood three inches long and an inch square. A t t h e bottom a piece of calico serves as a hinge. Close to the top a piece of string is r u n through them. B u t is it r u n through t h e m ? H e r e is t h e state of affairs as t h e man has them on his t r a y :

t M L ^

ML-

SSS&8

a groove in t h e 6ticks, where you see t h e dotted lines in Fig. 2, a n d place t h e s t r i n g in t h e groove. Then glue oni to each piece another stick of the same size, and then make t h e cloth hinge on t h e end. The little projections ( 0 C) are small pieces of string glued in small holes, to h e i g h t e n t h e deception. A

BURNING

SNOW

MOUNTAIN.

This is a little trick which consists of setting fire to a heap of snow. Take with you in your pocket a few pieces of camphor. Then collect a heap of snow so as to resemble a miniature mountain, and while smoothing the sides and adding t h e finishing touches, secretly insert t h e camphor in t h e summit of the pile, taking care, of course, not to bury it in snow. Then .fipoly a lighted match to the camphor, and to the astonishment "of t h e onlookers t h e miniature crater will burst into flame, and burn with a beautiful light for several minutes. r THH

ELECTRIFIED

PIPB

Trick is easy of accomplishment despite t h e fact t h a t it looks an impossible one. Place " Now," says t h e man, " I will show you a clay pipe in equilibrium o n t h e edge of a t h e r e is no deception, t h e string (A B, Fig. glass. The problem is t o make t h e pipe fall 1) runs freely through t h e hole"—as it does, backward and forward, as fast as you like t o pull i t . " 1 will now," continues t h e man, " cut t h e string." And h e does so, c u t t i n g down between! t h e sticks in the line C D. H e passes t h e knife r i g h t down between t h e sticks, opens t h e m for a moment t o show t h a t the string is cut, then shuts them as before, and, as before, t h e string A B r u n s freely backward a n d forward. " I have crut t h e string, a n d joined it again, ladies and gentlemen 1" h e exclaims proudly. H a s h e really done this ? L e t us buy t h e sticks and take t h e m home and investigate. You will find t h a t t h e two sticks are really four pieces of sticks, and t h a t , in short, t h e string, instead of crossSing where i t seems t o do, has t o r u n down one stick and u p another, so t h a t n o knife without touching it, blowing upon it, oi could injure it, used in t h e way an ordinary agitating t h e air, and without moving the person would use it. And, in fact, to make table. Take another glass and r u b i t a long story short, t h e string-sticks are rapidly on the sleeve of your coat. W h e n made ini this fashion: — you bring i t close to tho pipe you will see it t u r n a f t e r t h e glass until it falls. A

STRIKING

SIGHT.

An astonishing parlour trick may be done in this way. L e t a person sit down upon a somewhat low chair. L e t a second person seat himself or herself upon t h e first person's knees, a third person upon t h e knees of No. 2, a fourth on those of No..3, and so on until there is a row of six or seven. The chair oni whioh No. 1 is sitting may t h e n be withdrawn with perfect safety, no. 2 and t h e row of performers will be left sitting Take two sticks, eaoh three inches long, on each o t h e r s kneea aa if n o t h i n g h a d

(me inch wide, ana half an inch thick. Oat happened.

T H E

A U T O M A T I C

DANCER.

A capital diversion for an evening partyy (s t h e one we are now about to describe,, lj which, for want of a better name, we call the automatic dancer. The performer » brings into the room a cardboard figure of L a sailor, Highlander, Turk, or other person~ age whom he may choose. The figure iss 3 from 12 in. to 18 in. in height. I t is brilliantly coloured, according to taste. Each of t h e lower limbs is in two pieces,'' being fastened a t the knees and thighs by' knotted strings, which enable them to move6

I

t h e upper portion. The consequence is that when tho figure is gently placed upon the ground in front of the thread the slits catch in the thread, and thus support t h e figure, the performer regulating his legs to t h e requisite height t o make the feet of t h e figure just touch the floor and no more. The performer then places his hands upon his knees, and by gently shaking his legs, keeping time to the music, t h e figure is caused t o dance, and may actually be made to leap in the air by a twitch of the limbs. A t the conclusion of tho performance the-figure may be again handed round, and the company have another opportunity of seeing t h a t there are no cords attached to it to cause it to perform. Tho dancer appears to act in a most mysterious and wonderful manner, and the astonishment is sure to be unbounded if t h e trick is carefully and neatly done. ONE STROKE PUZZLE.

freely. The performer shows the figure to, his audience for the purpose of satisfyingr them t h a t it is only a piece of cardboard.. H e then seats himself facing His audiencej on a chair at t h e back of the room, and, placing tho figure between his knees, with its feet touching t h e ground, he proceeds to make mesmeric passes over it, when, lo! t h e figure appears t o stand bolt upright, unsupported, upon the floor. This will excite general wonder, but t h e wonder will be increased to astonishment when, to the inspiriting strains of t h e piano, or the melodious whistle of the performer, a lively jig or hornpipe is struck up, and the little figure proceeds to dance energetically, keeping time to the music. There is nothing apparently to cause him to dance; he seems quite unsupported,, and yet there he is, before the eyes of all, dancing away for very life. This wonderful illusion is exceedingly simple, and is produced in the following m a n n e r : —The performer has previously procured about a yard of black silk thread. To each end he has fastened a black pin, and these pins he has fastened in his trousers— one in each log—at t h e outer sides, and just about tho level of his knees. H e can walk with the utmost freedom, and the thread is quite unperceived while he is in t h e room. On seating himself on the chair he places his legs widely apart, till the string is almost t a u t . Then the figure has two slits made in the head in t h e position occupied by t h e ear3. These slits are slightly bent back on

H e r e is a puzzle with which you can catch your friends. J u s t ask them to draw t h e following figure without taking their pencils off t h e paper and without going over t h e same line twice: — A f t e r you have tried it yourself for a while you will find t h a t t h e r e is always one line missing, and to supply this lime a n d comply with t h e conditions you must go about i t as follows: — Take a sheet of paper and fold i t once. Then fold back t h e upper lap about a n inch from. the first crease. Now t a k e your pen-

cil and, using t h e second crease as a ruler, draw a line on t h e paper about two inches long in such a way t h a t t h e pencil will make its mark along t h e crease as well as on t h e sheet itself. Then, without taking your pencil off t h e paper, smooth o u t all tho folds and you will find t h a t t h e two sides of t h e inner square have been made. You can t h e n continue to complete t h e figure in any way t h a t may strike your own fancy.

A R E YOU N E R V O U S ? T R Y . TELLING AN U N S E E N A M O U N T . Request a friend t o think of a given numA simple test for steadiness of hand and Berve may be had in this way. Place your ber of pennies, and, in imagination, to borrow an equal amount from another membei of t h e company, and to add both sums together. " Suppose, now," you say, " that I present you with fourteen pence. Add t h a t sum to t h e former amount, distribute half t h e t o t a l as you please, r e t u r n tho money you borrowed, and I shall tell you how much you have remaining." Whereupon you open your hand, revealing seven pennies, and you are safe in asserting t h a t The exforefingers on t h e table, audi across them this is t h e amount in question. lay a thin cutting of wood, or a straw t a k e n planation is simple—namely, t h a t t h e refrom a broomstick. Upon this place two mainder is always one-half, of t h e amount V shaped pieces of thin wood1 or straw, t h e added by way of a present. " ' ' ' W e will now t r y two little tricks in which ends of which should just reach to the table. Your best atempts t o keep the t h e agency of water is required, Tho first ; *> straw steady a r e sure t o be unsuccessful, of these we will term . A N INGENIOUS CANDLESTICK, and the two riders will hobble nearer and the candlestick being nothing less t h a n a nearer until they meet in the centre. glass of water I Take a piece of candle two T H E TANTALISING PENCIL. or three inches in Take a pen or pencu between t h e thumbs length, and into and first fingers when the palms of t h e one end of it stick hands are together, as in Fig. 1. Now, t r y a nail of such t o bring t h e backs of both hands upwards, weight t h a t when with t h e pencil across t h e palms and oyer the candle is t h e thumbs, as in F i g . I I . , a n d again back placed in water t o t h e first position without letting go t h e it shall float With pencil With either hand. When neatly done, tho upper rita on t h e movements are both smooth a n d gracet h e sUTfaoe of the f u l , a n d a r e as follows: —Keep t h e fingers water. Place thi3 close together and quite straight, raise t h e candle in a tumbfingers of t h e r i g h t hand a n d pass t h e m be-* ler of water and tween th«" t h u m b a n d fingers of t h e l e f t light tho wick. It hand andi .round t h e l e f t hand end-of t h e trill continue t o burn until tho candle is consumed t o t h e water's edgo. An improvem e n t on this trick is that which we entitle A

pencil, completing a circle round it, whilst a t t h e same t i m e t h e thumb of t h e l e f t hand passes between t h e t h u m b a n d fingers of t h e right hand, t h e t h u m b making a circle round t h e opposite end of t h e pencil. The h a n d s will now be i n t h e position sketched in Fig. I I . , with t h e point of t h e pencil a t t h e opposite side. To reverse the operation, let tho thumb only of the right hand pass between t h e thumb and fingers of the left hand and round tho pencil, t h e fingers only of the l e f t hand . simultaneously passing between t h e t h u m b and fingers of t h e right hand, and r o u n d t h e end of t h e pencil, until t h e first position is again attained.

CANDLE BURNING UNDER

WATER.

This apparently extraordinary feat is in reality one of t h e simplest imaginable. Float a short lighted candle on a piece of cork placed on t h e surface of a basin of water. Then place e i t h e r ^ bell jar or a glass jellyjar over the bandle, and press t h e jar slowly to t h e bottom of t h e basin. Curiously enough, t h e jar 'will n o t fill with water, and the candle will burn until it exhausts the air in t h e glass, although meanwhile it is floating considerably below the level of the surface of t h e water. ANOTHER

CANDLE

TRICK.

A candle t h a t won't be blown out mav he made by wrapping round a candlo a r:ig which has been rubbed with salt. IF you then light t h e wick, you may blow nt t h e candle to your heart's content, b u t it wnn'fc be p u t out and will end its life in t h e natural course of events despite your attempts to bring it t o a n untimely fate.

M A G I C

SQUARES.

Magic squares of odd numbers in which t h e figures added in perpendicular, horizontal, or diagonal rows make t h e same sum, are found in book3 of puzzles, b u t the principle on which they are based is never given. There is a principle, and it is applicable without limit, from one square to any odd number of squares indefinitely. For illustration, twenty-five squares are given, and t h e sum of each of its rows of figures perpendicularly, horizontally, or diagonally is 65. Now for the rule. Always write your 17

24

1

8

15

23

&

7

U

16

4-

6

15

20

2Z

to

12

15

21

3

11

FS

25

Z

9

numbers consecutively, diagonally, upward, to the right. If t h a t direction carries you outside of the squares, then go to the opiosite end of the row a t which you stand, f you reach a square t h a t is occupied, or the upper right hand corner, then drop to the square below t h e last one used, and proceed as before. Begin w i w 1 in t h e upper centre square. Now, t r y i t .

f

T H E M A G I O OP N U M B E R S .

There are some very curious things t o be noticed about numbers, so curious t h a t some have declared t h a t there is " a magic" in figures, and t h a t eaoh numeral is symbolic of something else. Take a piece of paper and p u t down t h e figures 142857 and multiply by 2, 3, 4, 5, and 6, and you will find t h a t t h e same figures occur in t h e answer, only the positions are changed. For example, 142857 multiplied by 2 equals 285714, the same figures exactlf, and if you will commence reading them at 1 the figures will follow in the same rotation. Suppose you nriltiply by 4, t h e answer will be 571428, t h e same result as before. B u t if you multiply 142857 by 7 t h e result is a row of 9's, for t h e answer is 999999. This is a curious fact and' may help you t o spend a pleasant hour. Ask a friend t o open a book a t random, and select and mark any word1 within t h e first 10 lines, amd within the 10th from t h e end of t h e line. Now, letting your friend

do t h e figuring, proceed t o discover through the " magic" of numbers t h e locatipn of t h e word selected. Ask him t o double t h e number of the page and1 multiply t h e sum by 5 and then- add 20. Them ask him to add t h e number of t h e line. Then t o t h a t add 5, and multiply t h e sum by 10. To the answer add the number of t h e word in t h e line. Substract from this sum 250, and let him tell you the Tesult. You will be able to tell him t h e page Chosen, the number of the line, and t h e number of the word in tho line, for the remainder will indicate in t h e unit column t h e number of t h e w o r d ; in t h e 10 column the number of the line, and t h e remaining figures the number of the page. To give an illustration of this, suppose your friend selects the 6th word of the 6th line on page 33, he would work it o u t in this fashion:—33 multiplied by 2 equals 66, multiplied by 5 equals 330, add 20 equals 350, t o this add 6, t h e number of t h e line, and 5, making 361, multiply by 10 and yon get 3610, add 6, t h e niumber of t h e word in the line, and then subtract 250, and t h e answer will be 3366, the first two figures 33 will be t h e number of t h e page, t h e next figures t h e number of t h e line, and t h e last figure t h e number of t h e word. Another interesting and curious problem in t h e magio of numbers relates to our system of oounting money. You know t h a t 12 pence make one shilling and 20 shillings one pound. Now p u t down any number of pounds not more t h a n 12, any number of shilling not more t h a n 20, and any number of pence under 12. Under t h e pounds p u t the number of pence, under t h e shillings t h e number of shillings, and under t h e pence t h e number of pounds, thus reversing t h e line; then subtract, reverse the line again, add together, and t h e result will be £12 18s l i d , whatever numbers you may have selected. To illustrate, suppose we t a k e £ 9 16s 7d, reverse this and' you will have £7 16s 9d, subtract, and reverse again and add. £ 9 16s 7d 7 16s 9d £ 1 19s lOd 10 19s I d £12 18s l i d No matter what combination of figures you take, t h e answer will always be t h e same. _ H a v i n g worked) a t these figures for some time, you may ask your friends if they are aware of t h e peculiar properties of the numbers 37 and 73? They will answer in t h e negative, and you will tell them t h a t t h e number 37, being multiplied by each of t h e numbers in t h e arithmetical progression 3, 6, 9, 12, 15, and so on up t o and including

AUNT KATE'S CONJURING AND PARLOUR MAGIO.

37

ATTRACTION A N D REPULSION. 27, all t h e products will be composed of With a bowl of water on t h e table t h e folthree similar figures, and t h e sum is always equal to t h e number by which 37 was multi- lowing amusing experiment may be performed. Float a number of matches, t h e plied. F o r example: — 37 37 37 37 37 37 37 37 37 3 6 9 12 15 18 21 24 27 111 222 333 444 555 666 777 888 999 Add together t h e t h r e e figures in each product and you have the amount of the multiple. The number 73 being multiplied by eacJh of t h e forementioned progressive numbers, t h e products will terminate by one of the nine digits, in reverse o r d e r ; 73 multiplied by 3 equals 219, by 6 gives 438, by 9 ends of which have been burnt, on it in t h e equals 657, and so on until t h e terminal shape of a star. By inserting a piece of figures are 9, 8, 7, 6, 5, 4, 3, 2, and 1. soap, cut into a point, into the centre of t h e star, t h e matches will seem to be repelled S o N E A R AND Y E T s o FAR'. Throw a handkerchief on t h e floor, and from it, and will find their way into every supporting yourself on your right arm and corner of t h e basin. If, however, a piece of sugar be used, an opposite effect is a t once both feet—with t h e remainder of your body produced, and the matches, as if they had a clear of t h e floor—pick u p t h e handkerchief liking for sweets, are attracted to t h e piece with your mouth. The feat seems easier of sugar a n d crowd round it. t h a n it is. W H E N A F R I E N D I N T E N D S TO R I S E . H e r e is a case of Here is a n easy method of discovering A TANTALISING SWEETMEAT, t h e h o u r a t which a person intends t o rise. and may fitly be performed a f t e r t h a t j u s t Ask your friend t o set t h e h a n d of a watch described. Place a chair, as shown in t h e a t any hour he pleases (not necessarily t h a t a t which h e intends to rise) and t o tell you t h e hour. I n your own mind add 12 t o this number. Then, telling your friend t h e total of t h e two sums, ask him to start a t t h e hour preceding t h a t a t which he means to rise, and with i - e number which he first named, as a beginning, to count backward on the dial until be comes to t h e total which you gave him. Singular to state, t h e point he thus reaches is t h e hour a t which he intended t o rise. H e r e is an example: — Your friend wishes to get u p a t 7, and he places the hand of t h e watch a t I I . To this latter figure you add 12, making 23, which number you ask him to count backward upon the dial, starting with 11 a t t h e sketch, and invite t h e performer to kneel hour previous to t h a t of rising—that is 6. in the position illustrated, and while doing By so doing he will stop short a t 7. so t o pick u p with his mouth a lump of T H E OBSTINATE L E A F . sugar whioh has been plaoed on t h e back of Take a piece of ordinary paper, of th« t h e topmost rail of t h e chair. As in t h e former feat, do not judge by its appearance shape shown in F i g . 1, and place it on the table, as illustrated in the engraving. Now, t h a t this is simplicity itself, b u t try i t . stand as close as possible to the paper, and1 WINNING BT A N E C K — N E C K

OR N O T H I N G .

Go down on both knees on the floor, place t h e elbow of either arm against one knee, a n d extend the hand and fingers straight out. W i t h t h e other hand place a florin or penny on t h e floor, just touching t h e tip of t h e middle finger. The feat is to pick u p the coin t h u s placed with t h e mouth without falling forward, a rather difficult task. By extending the hands behind the back, and drawing t h e coin towards you witn the upper lip, the trick is made r a t h e r easier.

Fio.r

FIG I L

try with might and main to blow i t over. The trick will be found to be well-nigh impossible. However, by standing about a yard from t h e table and giving a sharp, strong puff, t h e paper will t u r n over on its back quite readily. You must blow on thef broad edge of the paper, n o t the e n d .

KICKING

T H E

SPOOL.

A

STARTLINC1

TRICK.

W i t h a n ordinary m a t c h box a n d a few Place a common cotton spool oni t h e floor touching t h e heel of t h e l e f t foot, next matches w e can h a v e a good deal of f u n . Arr a n g e an experiplace t h e r i g h t heel against t h e l e f t toe, m e n t , as shown and again t h e l e f t heel against t h e r i g h t toe, in t h e illustration You will now be t h r e e f e e t f r o m t h e spool, — a vertical m a t c h b u t n o t necessarily a y a r d . Spin r o u n d on on each side of the ball of t h e l e f t foot as on a pivot. Reach ' t h o box, and a o u t t h e r i g h t foot and knock t h e spool over, horizontal one a f t e r w a r d s bringing t h e r i g h t f o o t back stretched belevel with t h e other. These movements, t w e e n t h e m . The which should be performed w i t h o u t a pause puzzle is, by lightbetween, m u s t be accomplished w i t h o u t aling t h e horizontal lowing t h e r i g h t foot t o touch t h e ground match at its t f t e r having spun r o u n d on t h e l e f t foot. centre, which of INCONTROVERTIBLE. the vertical matches will catch H e r e is a n amusing t r i c k . T a k e a piece fire first ? ;Try it of stiffish p a p e r and and see; .t u r n down t w o opposite corners as illusT h e following a m u s i n g little f e a t is cert r a t e d ini t h e sketch. P l a c e i t o n t h e t a b l e tainly with t h e p o i n t s downN O T T H E B E S T W A T TO L I G H T A C A N D L E . wards. Now t r y to Two persons kneel down on t h e floor faooverturn it without touching it. I t will b e f o u n d m o r e difficult ing each o t h e r . I n his l e f t h a n d each t h a n you would t h i n k , b u t m a y b e done by flapping t h e h a n d s s m a r t l y opposite one of tho folded angles. H o w

TO T E L L A P E R S O N ' S

AG«.

You m u s t provide t h e person whose a g e is to bo told w i t h a piece of p a p e r a n d a pencil, and ask h e r t o p u t down t h e n u m b e r of tho m o n t h in which 6he was born—2 for F e b r u a r y , o r 7 for J u l y , &o. T h e n She m u s t double i t ; a d d 6 t o i t ; multiply t h e result by 5 0 ; add h e r a g e t o t h e p r o d u c t ; s u b t r a c t from t h a t t h e n u m b e r of days in a year (not a leap year), and add t o t h e figure left 115. Ask h e r to tell you t h e result, and t h 6 t w o Tight h a n d figures will give h e r age, while t h e r e m a i n i n g figure or figures will bo the. n u m b e r of t h e m o n t h in which she was born. Of course you have t o t r u s t to her honesty and accuracy in adding, subtracting, and multiplying correctly. IMPOSING

ON A

t a k e s al candle—one only of which is lighted — a n d w i t h his r i g h t h a n d grasps his r i g h t foot, as i l l u s t r a t e d . Tho f e a t now t o b e performed is to light t h e o n e candle by means of t h e other. I t is well t o s p r e a d a newspaper before t h o operation is begun.

COMPANY

A " little innocent impudence o f t e n a c t s as a capital set-off for such a trick as t h e following.. Take six little pieces of p a p e r t h e size of a shilling, and carefully place t h r e e of SERVICEABLE HINTS them in a row on t n e back of t h e l e f t h a n d . • to I l o n s c w l v e s , Mothers, I t o m e W o r k e r s A puff of b r e a t h will, of course, send t h e m a n d others, a r c round oil t w o p a g e s s p e c i a l l y f o r t h e i r benefit In t h e P E O P I E ' S F R I E N D , fluttering to t h e floor. Taking t h e other " F o r W i v e s a n d D a u g h t e r s " is a W o m e n ' s three pieces, you inform your f r i e n d s you C l u b conducted b y J a n e t t e , In i r h l c h r e a d e r s are prepared to show t h a t by t h e exercise a f f o r d e a c h o t h e r I n v a l u a b l e , assistance of your magnetic powers you will b e able T i l l list t h o " H o u s e h o l d P a g e " Is b r i i u r n l to causo any of t h e papers indicated by t h e e v e r y w e e k or c o o k i n g recipes, k u l t t i n s company to remain on your h a n d , blow they a n d c r o c h e t d i r e c t i o n s . Instructions as to ever so strongly. T h e execution of t h e w o r k In the house, a n d o t h e r p r a c t i c a l f e a t will, of course, be eagerly watched. m a t t e r s . N o t h i n g so u s e f u l Tor o r d i n a r y One of t h e company names a paper, you domestic r e q u i r e m e n t s is to bo ftmud any« .coolly place a finger uponi it, blow on your w h e r e . T h e P E O P L E ' S I l t i r . ' . n is sold by h a n d , and t h e other t w o pieces fly away. a l l N e w s a g e n t s ; P r i c e ONE P E N N Y .

A TOUCHING PICTURE. A F T E R D I N N E R A M U S E M E N T S . Here are a few simple tricks which may be Take an orange with pale yellow skin, and performed with the aid of articles generally cut in t h e rind a face wearing as doleful an a t hand a t the dinner or supper table, and expression as possible, .Raisin stones will Which can be exhibited before the cloth is supply tho place removed. These will certainly act like a of the eyes. Now charm on the company when conversation is stretch a handkerlike to flag or become monotonous. ohief tightly over T o M A K E A W I N E G L A S S WITH AN O R A N G E . the mouth of a wine glass, a n d Cut through t h e peel, but not the pulp, upon i t place t h e with a sharp knife. Insert the thumb nail orange, with t h e under the peel, and work round and round features turned carefully, especially near the top and botslightly t o o n e tom, until all the peel is detached except side. By gently about half an inch a t pulling t h e handboth ends. Turn the two cups now made in- kerchief from side to side, over t h e mouth side out. To make this of the glass, the orange takes on a rolling effectively, a tough motion, and bears a striking resemblance to skinned orange should the aspect of a person in the agonies of seabo selected, but, fail- sickness. ing that, roll the orange between t h e hands to soften the rind. When properly made T o P E E L A N O R A N G E WITHOUT L E A V I N G T H » P I T H ON. it should easily support another orange or Although this is very simple, i t is little apple. known. To do it, peel downwards from H o w TO M A K E A P I G W I T H O R A N G E P E E L . Half of t h e peel only is required, b u t the t h e stalk end, and the pith will be taken orange shorn- be cut in half, commencing a t away with the peel. t h e p a r t where the stalk had been. The following figure requires little explanation. The result is very interesting to children. Keeping t h e two sides close together, cut with a sharp penknife, as shown by t h e dotted lines for tho body, ears, and tail, and insert raisin seeds for the eyes. The ears and tail when folded right over will remain in position. The pig will t h e n stand nicely on the top of a plate of oranges or apples, or by inserting a piece of ginger beer wire a ring can be made by which to draw it along. To

S P L I T A N A P P L E INTO T w o

EQUAL

T H E LITTLE

CONJURER.

H e is made by holding t h e hand in the position indicated in Fig. I . The f r o n t of t h e forefinger is painted to indicate'the face of a man, and upon t h e top of the finger is placed a twisted cone of paper, coloured in any style to suit the fancy. The robe is made with a handkerchief, either white or

PARTS

W I T H THE F I N G E R .

Take an apple off the dish, and exchange it a t the most convenient opportunity for a prepared apple, which have in readiness on tho knees. This can be done by openly placing the chosen apple on tho knees, as if merely to get it out of the way, when turning your plate upside down. The action is so natural t h a t no one can detect your exchanging it for the prepared apple, which p u t on its side on the plate. To prepare t h e apple, take a needle and stout thread. Insert the needle in the side and take a stitch of about half an inch, re-insert t h e needle where it came out, take similar stitches all round t h e apple, cross the two ends of t h e thread and pull them carefully, when t h e thread will cut through the apple, leaving scarcely a trace on tho skin. A smart blow of the fist on the finger placed on the apple will divide the apple as if it had been cut with a knife.

coloured, draped over t h e hand in t h e manner illustrated in Fig. I I . , the middle finger being used as the arm of the conjurer. By holding the figure sideways, a very good representation of a conjurer is obtained, and if the performer has at his command some comical patter in the way of jests, prophecies, conundrums, <£c., and accompanies his conversation with judicious nods and twists of the head of t h e tiny magician, he will be successful in producing a very laughable diversion.

F U N

W I T H

CLOTHESPINS.

I t is wonderful how much amusement can be derived from such common things as clothespins. They can be dressed u p in all sorts of uniform, so as to represent a company of soldiers, sailors, policemen, or anything. else. For instance, let us make a company of soldiers. First cut out and sew up little red trousers, each leg separate, allowing plenty of stuff at the top to lap oyer well a t the waist. Tuck them on with tiny tacks. A blouse of blue must then be cut straight, and drawn tight around the neck of the clothespin. Sew with silk doubled, and your work will stay. A bit of ribbon, red or white, around t h e waist, will represent a belt. A little round cap of red can be pasted or tacked on the head, and adorned in front with a small feather or g i l t paper s t a r , or both. A gun cut o u t of b r o w n pasteboard is to be tacked a t the side. Faces m u s t b e drawn on each soldier—stiff, prim faces, with tiny moustaches. The captain should be distinguished by a stripe down the side of his trousers, a broader b e l t , epaulets, a n d a sword instead of a gun. If you wish to take the trouble, you can add sleeves to the blouse, and insert little paper hands a t the wrists. The sewing need not be very carefully done, and the bottom of blouse and trousers can be cut straight without hemming. Use tacks wherever you can. Other pins may be dressed as dolls. Some of them may be demure-like housewives, with sensible calico frocks drawn up around t h e necks, and confined around the waists with white aprons, small white caps on their heads, and brooms fastened at their sides. To make the broom, tie a few feathers to the end of a match. Some can wear walking costumes of cloth, or silk skirts, with shawls or capes over the shoulders, and bonnets of silk adorned with gay feifthers or bows on top. Some may be dressed as babies, with long white dresses, sashes, and long white caps, some as nuns, with black dresses and black veils. Each must have a face as appropriate to the costume as you can make it. Dresses which are tacked on, or folded over, or pasted down, or tied around with ribbons, do not require muoh experience in t h e making.

A

S P R I G H T L Y

D A N C E R .

Many of our readers will doubtless be a© quainted with this amusing little individual, b u t for t h e benefit of those who are not we venture to introduce him. Cut off parts of the fingers of an old kid glove, and sew upon it pieces of coloured material to resemble a jacket and vest. Mittens, sox, and shoes have next to be made and fitted on, and a

small collar adjusted round t h e neck. Now paint a face upon t h e back of the wrist with water colours, and t h e dancer is ready for t h e stage. The fore and middle fingers, of course, represent the legs, and as the forefinger is shorter t h a n t h e middle, t h e boot should have some stuffing inside to lengthen it. When t h e dancer trips it on the light fantastio toe to music, on a table, t h e effect is most comical, yet realistic. THB WINGED

ACROBAT.

Out of a piece of yellow pine, or other soft wood, two or three inches in length, carve roughly the figure of a man. His body must be shaped like a long pear, coming almost t o a point a t the bottom. You will see, ther&fore, t h a t we are not exactly imitating nature, b u t are striking o u t a new departure in the human form. The features of t h e face may be traced in ink or colour, or, if the sculptor has sufficient skill, may be carved in the wood. Instead of arms like those usually worn by boys and men, you have to provide your figure with a couple of o a rshaped blades of equal s i z e a n d weight, fastened one in each shoulder, as illustrated. They may be made of thin wood, or of tin, or sheet zinc. This completes the mannikin, with the exception of his decoration, which, however, we leave to t h e taste and ability of our readers. If the figure has been made " t r u e " — a s carpenters p u t it— you should be able t o make him i t a n d erecfj

on the tip of your finger, and, by blowing upon his " wings," to make him revolve a t a rapid rate. "' You should take care t h a t you do not make the end of t h e figure too sharp, otherwise t h e tip of your finger may suffer. '- ORNAMENTS FROM LOBSTER

SHELLS.

There is a use for everything. B u t who would imagine t h a t anything of utility could be made from such an extraordinary article as a lobster shell? Yet a little ingenuity, combined with neat fingers, may produce from t h e shell of a lobster very pretty little articles, which are certainly more ornamental than useful, b u t which will repay t h e trouble spent upon them. F o r instance, having boiled the lobster, and thoroughly r emoved from t h e s h e l l all fleshy matter, one of the big claws, without t h e upper jaw, will serve as t h e body of a little soldier (the red colour of t h e shell is appropriate). Another big claw, b u t n o t so long, will serve as a head when provided with painted eyes and hair and a little fcocked h a t and feather. Connect t h e head to t h e body as securely as possible, and conceal t h e join with a stiff military-looking collar. Arms and legs can be constructed f r o m t h e smaller claws, and fixed t o t h e body with wires; and as an additional precaution, t h e legs can be strengthened by slim iron pins fixed in t h e stand behind them, and fastened t o them by threads. As in t h e illustration, t h e little figure may now be provided with a miniature rifle, and when nicely varnished will present quite a tidy and soldier-like appearance. T H E J-IEMON

PIG.

A very comical little f a t pig may be made out of an ordinary lemon. Select one with a projecting end, to form t h e head and neck of t h e pig. The mouth and ears are made by cutting the rind with a penknife. The legs a r e pieoes o f lucifer matches, and t h e eyes are either black pins or grape stones. A small piece of string pushed under t h e skin, and curled with the fingers, forms the tail. The pig may then be passed round upon a plate for t h e admiration and amusement of the company.

S O M E

O P T I C A L

A N D

O T H E R

I L L U S I O N S . T H E GOTHIC

ARCH.

The sketch represents a Gothic arch c u t in two, by a straight pillar, on one side of t h e apex A. To t h e eye t h e sides of t h q

arch seem t o have very different ctirvatareg, b u t by producing t h e arcs on t h e l e f t side of t h e pillar they will be found to r u n naturally to t h e points A and B, and t h e arch will ati once assume a look of proportion, T H B B I R D IN THE CASH.

H e r e is another optical illusion. Place t h e edge of a visiting card or a square p i j c e of paper along t h e dotted line between t h e

ti

r

bird and t h e cage, and bring t h e eyes down t o t h e upper edge. After a moment's watching, t h e bird will appear to change its position and enter the cage,. THE

DISAPPEARING "WAFERS.

Take three wafers of different colours about t h e size of a sixpence (small circular pieces of paper will do just as well), and stick them on t h e wall, just on a level with the eye, and about six inches apart from each other. Now take u p a position about a yard away from t h e wall, and fix both eyes steadily on t h e centre wafer, and you will see all three plainly. B u t on closing t h e right eye, and still keeping t h e gaze of t h e other on t h e middle object, t h a t on t h e l e f t side will disappear from view; or when t h e process is reversed, and the left eye closed, the right-hand object will become invisible. If, in the first instance, after closing tiie right eye, t h e left optio is directed from t h e centre wafer to t h a t on t h e right, t h e onq qjj t h e l e f t will come into view, pnc§ mar?,

K

'AtTNffl KATE'S OONTURING AND PARLOUR MAGIO. A

C A N D L E S T I C K

ILLUSION.

You have no doubt often observed t h a t when sunlight falls a t a certain angle upon a pane of glass t h a latter possesses t h e properties of a mirror. This fact may be made •the basis of a very pleasing optical illusion. Upon each side of an upright piece of glass place a candle set in similar candlesticks, and of equal height. Allow t h e sunlight to strike upon the glass in t h e manner ^indicated, so t h a t objeots are reflected in it as in a mirror. Instead of < a real candle on the other side of t h e ^ glass, you will only see the refie,ctioi5*»>f t h e other. Talcing advantage Of this fact, you can undertake t h a t by lighting t h e candle on the near side of the glass you will also ignite t h a t on t h e other side. When you apply a light to the first candle, so perfect will be t h e reflection t h a t t h e t r u t h of your statement will appear borne out. A

TRANSPARENT

HAND.

Do you wish to be able to see through t h e palm of your h a n d ? All you require is a sheet of stout writing paper, about 4 inches long, and rolled into a tube about a n inch in diameter. Take t h e t u b e in t h e right hand, and bring its side against t h e edge of the left hand, which should be fully opened and have the palm upwards. Keep both eyes open. With the right, look through the tube, and with the left look steadily a t the left hand. Sure enough you will see a circular hole right through it. That the illusion may be perfect, you must take care t h a t you have the left eye fixed on t h e hand a t the same time t h a t t h e right eye is looking through the tube. ESTIMATION o r

DIAMETERS.

A threepenny piece, when seen a short distance from a penny, looks as if it was more than several diameters smaller. Request ally one to guess how many threepenny pieces can be placed flat upon a penny (one deep oni"'' without the silver . coins, projecting over the edge of the bronze coin, when the answer will likely be four, or even fivo, and great will be the surprise when they find it is impossible to p u t more • than one on the penny, as the diameter of a threepenny piece is more than five-eighths of an inch, and that of a penny under one inch and a Quarter. , .

H A L F P E N N Y

ILLUSION.

Upon t h e bottom of a cardboard box fix a penny, " head"-side uppermost. Close by the rim of t h e penny thrust through tho cardboard a pencil, on the flat end of which a halfpenny has been fastened by means of sealing-wax. It is our intention to show how these two coins may be made t o appear t o t h e eye of exactly similar size, and this wo accomplish by an optical illusion. Set up the lid of t h e box a t a short distance from t h e box itself, and a t a convenient height make a neat pinhole, through which the eye can discern objects clearly. Now, looking through t h e hole, it is easy, by some little adjustment of t h e pencil—should t h a t be necessary—to give to t h e coins t h e appearance of being precisely of t h e same diameter, and if t h e halfpenny is brought nearer to t h e eye It may even be made to appear larger t h a n tha penny. COIOMRED CARD T R I C K .

Take a piece of white cardboard and, a f t e r you have painted half of it black, cut out a portion, as shown in t h e accompanying pic-

ture, and then, through t h e middle, stick either a long nail or a wooden peg, which has a knob a t the top, so t h a t you may be ablo to t u r n it. . Now, if you hold a green card behind the place where you have cut out a portion, and then t u r n t h e cardboard, the green card will seem to be red, and the more light is thrown on it, t h e redder it will appear. I n like manner a red card will appear green and a piece of blue paper will appear yellow. Even more startling effects than these can be produced. For example, a figure with blue hair, a green face and crimson clothes, will appear behind the revolving cardboard, as though it were altogether of natural colours, for its hair will be blonde, its faca flesh coloured, and its clothes greenish blue. Similarly, if a blue flower with red leaves is placed behind the cardboard the flower will appear yellow and the leaves green.

TWO MARBLES TRICK. THE DECEPTIVE PILE. Another good trick is t o blindfold a perYou have no doubt been asked t o indicate son and ask him t o cross the middle and in- on the wall with your finger how high the dex fingers as shown in t h e illustration. crown of a silk or tall hat will reach when Then place a marble on t h e top of his placed on the floor. The uninitiated will generally point about twelve inches from the floor, instead of about five inches, or more than double t h e height. Hero is a similar trick not quite so well known. Hold up a shilling, and ask some one to state how many shillings can be placed one upon another to make a pile which will reach to tho top of the shilling when placed beside the pile on its edge, or a number equal to the diameter of tho shilling. As a rule, the answer will be between six and ten. Very few will daro to answer as high a number as sixteen, the correct number. This trick can be varied by using pennies or other coins. T H E E Y E DECEIVED.

Set a cork upon the mouth of a bottle, and endeavour to strike it off with a jerk of the thumb and forefinger, darting the hand fingers. I t will not only keep in position so long as t h e hand is kept steady, b u t he will positively assure you t h a t h e is actually holding two marbles in this position, for t h e sensation is t h a t of touching a couple. THE

"ADHERING"

COIN.

Optical illusions are mot t h e only ones by whioh persons can be deceived, as t h e following n e a t trick clearly shows. Take a piece of money and tell some one t h a t if he l e t . you press it to his forehead for a few seconds h e will find it impossible to remove i t without using his hands. If he laughs a t

forward while doing so a distance of several inches. Tho fear of tho fingers being h u r t by coming in contact with the bottle will, in many cases, cause the performer to raise his hand too high, so that it mi&ses tho cork entirely.

For WINTER EVENINGS and SUMMER DAYS.

AUNT KATE'S you, and tells you to go ahead, step behind him and press.the money to his forehead for ten or twelve seconds. Then remove your hand and bid him got rid of the coin if he can. He will shake his head and make (Illustrated.) . grimaces, expecting every moment to see t h e coin; fall to the ground, b u t this h e will Clever, Bright, day, and Charming. nover see, and for tho excellent reason t h a t 4 0 Pages each Complete. When you removed your hand you also reOIST33 moved the money. SOLD BY ALL NEWSAGENTS.

S O M E

S I M P L E

E X P E R I M E N T S .

INVISIBLE WRITING.

Make a vej-y strong solution of nitrate of potash (saltpetre), then with a brush paint on an oblong-shaped piece of paper (with a fchinnish outline) some wording, ornament (or face), &c., taking care to lead t h e line (solution) to tho edge, and there mark a Email cross to show place of starting. Now lay aside to dry. B e t t e r make a stock, varying the subjects to make them as interesting as possible. When complete they will appear to be plain bits of paper, with a cross in the corner. When performing, light a match, blow out, and with the glowing en
T H E

M A O I C

VVHIRPOOL.

I n a basin of perfectly clean water drop a few chips of camphor. These will d a r t about in a wonderful manner. Should there, however, be any grease or dirt in the water, this experiment will not work. Thus, should you wish to stop the action drop in grease of some sort, and the motion will immediately cease; sometimes t h e simple dipping of the finger in the water suffices. If this does not work wash basin o u t ' w i t h hot soda and water, and t h e n rinse out with cold water to take away all traces of grease. (Tho t a p its slf may carry sufficient grt as e to spoil this experiment). A

GHOSTLY L I G H T .

I n a bottle with some spirits of wine p u t ' some s a l t ; cork up, shake, and let i t stand for a few hours. Pour a little of this liquid in two or three saucers, lids of coffee tins, &c., and in each likewise lay some cottonwool or tow. Lay round t h e table, t u r n out t h e gas, and light. A wonderful pale light is produced—the whole surroundings will be altered. People with red complexions will appear perfectly black, pictures will lose all their colours, and, in fact, everybody and everything will assume a ghastly and pale appearance which is highly amusing, causing endless f u n .

Fill a longish tumbler J full with cold water, then pour on J boiling water gently; if properly done, t h e warm water will remain on t h e top (the warm water being heated expands, and is thus lighter). The beauty of this trick is better seen when t h e water is coloured. To improve on this now pour on some oil, which will make another W A T E R THAT W I L L NOT S P I L L . layer; on the top of this again pour some Fill a wine glass over-full with water, t h a t methylated spirit (spirits of wine). When this is properly performed you will have four is, as full as it possibly will hold without distinct liquids, one on the top of another. spilling. Now sprinkle fine table salt in i t . You will manage to fill it i with salt without EATING F I R E . spilling any water. Obtain some tow, teasing out an ordinary MAGICAL TRANSMUTATIONS. clothes rope will do. Light a few fibres, I n f u s j a few shavings of logwood in sufficient simply to let it fuse, cover this right over now with more tow slightly common' water, and, when the liquor is damped, and insert into the mouth. Inhale sufficiently red, pour it into a bottle. Then through the nose, and exhale through t h e take three drinking glasses, and rinse one mouth. Sparks of fire will proceed a t a of them with strong vinegar; throw into marvellous r a t e from t h e mouth. This is a t h e second a small quantity of pounded perfectly harmless trick, and with a little alum, which will not be observed if the glass practice one may become quite an adept a t has been recently washed, and leave t h e it. F u r t h e r improve on this trick by placing third without any preparation. If t h e red a few small coins in your mouth along with liquor in the bottle be poured into the first t h e tow, and after t h e fire is out -spit out the glass it will appear of a straw colour, if into money to the great wonder of the surround- the second it will pass gradually from blueish grey to black, when stirred with a ing company. key, or any piece of iron which has been C O N V E R T I B L E SUBSTANCES. previously dipped in strong vinegar. I n t h e Take a feather and dip it into muriatic third glass the red liquor will assume a acid, and rub it on the inside of a glass violet tint. tumbler, then take another feather dipped in liquid ammonia, and rub it on tho inside T w o MAGICAL FIGURES. of another tumbler; each of t h e glasses will Make two figures, of any shape or have a very pungent smell; but upon hold- material you please, insert in t h e mouth of ing t h e one over the other for a very few one a small t u b e / a t t h e end of which is a seconds, dense fumes will arise which have piece of phosphorus, and in the mouth of the no smell; or, by merely letting them stand other a tube containing at the end a fewnear each other dense fumes will form be- grains of gunpowder, taking care t h a t each tween them. This experiment also shows be retained in the tube by a piece of paper. t h a t two invisible substances produce one If t h e second figure be applied to the tiame t h a t is visible. The visible substance of a taper it will extinguish it, and the first ormed is sal-ammoniac. will light it again.

A

M A G I C

D R A W I N G .

On a piece of smooth glazed paper or card make a drawing of any article (in outline) or write or print any word, with a mixture of finely powdered chalk, water, and gumarabic. When t h e tracing dries, the outlines will be almost invisible, but on rubbing t h e "card" with coloured crayons t h e colour will adhere t o t h e lines, which have a rough surface, but not to t h e glazed surface of the card, and the outline is brought out with great clearness.

C A M P H O R

IN

W A T E R .

The peculiar behaviour of camphor wlieii placed upon water can be taken advantage of for producing some very amusing results. Camphor, being an oily body, does n o t m i l with w a t e r ; on t h e contrary, it seems to have a very repulsive effect when placed in contact with i t . For instance, if a small

A most beautiful and instructive scientific experiment, known by the name of -••••-:••

"VORTEX S M O K E

RINGS,

is productive of almost endless amusement and delight. Prepare a light box of cardboard, about 4J inches in length, by the samo breadth and t h e same depth': I n t h e centre of one end make a circular hole, | inch in diameter. Fill t h e box with smoke— either t h e fumes of tobacco blown from the mouth, or t h e smoke from a smouldering ^.piece of brown paper. Then | by making a series of gentle but rapid taps upon t h e end of t h e box opposite t h e hole, a succession of revolving and curling rings of smoke may be made to emanate from t h e box. To

BOIL WATER IN

PAPER.

An answer is given t o t h e question how mav you most easily boil water in tlie following experiment, for which the only requirements are a candle, a piece of iron wire, and a piece of strong paper. Having p u t t h e candle in a candlestick, wind one end of t h e wire tightly round it several times, and bring t h e other end round in a curve — as illustrated ;— finishing by forming i t into a ring which should come directly over t h e flame of the candle, and a short distance above i t . The ring- is t h e holder for t h e " kettle"— t h e " h o b , " so to speak. The " k e t t l e " itself is made out of t h e paper! Cut out a disc four or five inches in diameter, and give it the form of a saucer by pressing it between the surface of a cricket or golf ball and the hollow of t h e hand. P o u r some water into the " kettle," light the candle, and in the course of a short time t h e water will boil.

piece be placed on the stern of a little tin or wooden boat, so t h a t it may be in contact with t h e surface of the water, the repellent action a t once sets in, and tho boat is urged forward. For this experiment t h e water should be hot. Again, if a number of pieces of camphor be placed together upon the surface of a basin of water and arranged in t h e form of some insect or reptile, a very life-like effect will be produced when t h e pieces of camphor set themselves in motion. Head, legs, and tail move in 1 frolike unison, and the white crawling creature might easily be mistaken for one in actual life. MAGIO

TRACINGS.

We have all seen those advertisement papers which, when a light is applied to a certain spot, t u r n s out the name of t h e nrti.'le wanL,3d to bo made known. Capital amusement is to be got by an application of the principle on which these are manufactured. (Jet a piece if thill paper, and with a strong solution of saltpetre trace upon it the names of yourselves or friends, the forms of animals, and so o n ; thoroughly dry, and then apply the end of a red-hot wire to a part of the tracing. The fire will do the rest. A N O L D M E T H O D OF T E L L I N G

TIME

which is said to be reliable, is here given., Slir.g a coin (a shilling or a sixpence) a t t h e end of a piece of thread, by means or a loop. Place an empty goblet on the table; t h e n resting on your elbow, suspend the coin in the goblet, holding the end of t h e thread between t h e forefinger and thumb, and taking care t h a t it passes across t h e ball of the thumb. If you have a steady hand, t h e coin will of course come to rest, but, strange to say, it will soon begin to vibrate like a pendulum, and after a few seconds will chime t h e nearest hour on t h e side of the goblet. I t s vibration will then cease, and the coin will once more become stationary.

THE STRENGTH OP THE BREATH. People have very little idea of the extraordinary effects produced by the force of the breath. I t is well illustrated in the accompanying experiment. Near the edge of a table li>y a long and narrow airtight bag of thin, tough paper, the mouth towards t h e operator. Then place upon the bag two or more light books. To upset these by blowing in the bag will be found very easy; but t h e weights may be increased until the volumes are of goodly size, and then the performance will present a very extraordinary appearance. A

G R E A T E X P E R I M E N T ON A S M A L L

A DEAD GAS. ' I t does not require a very profound knowledge of science t o understand t h a t all gases do not support life, and t h a t , indeed,, many gases kill out or suffocate anything living t h a t is placed among them. Thus, coal gas, which we use for lighting u p our houses, is poisonous to life. I t would suffocate us in a very few minutes. And so there are gases which will n o t support combustion. They do not contain any or enough of t h e lifesustaining element-—oxygen. Such a gas is carbonic acid, and its chief properties or characteristics may be illustrated in t h e

SCALE.

A very easy method of performing an experiment which is held to demonstrate the revolution of the earth is shown in the ac- following simple manner j ^ l n a good-sized companying sketoh. Take a small apple, bottle place a quantity of washing soda, a n d and through its centre pass a wooden match, pour upon it—just immediately before commencing t h e experiment — a quantity of strong vinegar, until t h e mass begins to effervesce. This is a sign t h a t it is evolving carbonic acid gas. Supply t h e bottle with a well-fitting cork, having a hole down its centre, through whioh passes a glass tube bent (ini a gas flame) to t h e shape indicated in t h e drawing. Allow t h e lower end of t h e t u b e to dip into t h e mouth of a large j a r or basin in which are set t h r e e or four lighted candles of different lengths, the top of t h e tallest being about an inch beneath t h e level of t h e brim. The gas escaping from t h e effervescing mixture in t h e bottle finds its way through the t u b e into t h e basin, and, being much heavier than air, sinks t o t h e bottom of the receptacle. And now is witone end of which is sharpened to a fine point. nessed an interesting process. As t h e To the other end of the match tie a silk volume of gas in the basin increases, graduthread, the opposite extremity of which is ally displacing the air, the candles arc one attached to a pin stuck through a cork. The by one extinguished by the rising fumes, pendulum is completed by erecting it by which refuse to support combustion, and means of forks in the manner illustrated. any a t t e m p t to relight them while the basin Two little ridged heaps of sand being placed is full of t h e gas will be futile. a t opposite sides of t h e plate, you can tell by the marks left when the pendulum is A SHRIMP SYPHON. swinging steadily, and in the same plane. Here is an interesting trick performed When you succeed in this, gently revolve with a shrimp. Hang the plate, and you will observe, by the one of these curious creamanner in which the match-point marks t h e tures, soaked in water, sand that t h e plane in which the pendulum over t h e edge of. a wineis swinging remains unaltered. I n the more glass filled with water, elaborate experiment tho revolving plate is when, on the principle replaced by the revolving earth, and t h e of t h e syphon, it will pendulum is of enormous length. The drain the contents of the motion of t h e globe is indicated by t h e glass until t h e water angles of the strokes in the sand, tne pen- stands a t a level with t h e dulum having swung in exactly the same end of the shrimp's tail plane. The following shows another

S I M P L E

F O R M

OF

SYPHON.

and is illustrative of the pressure of liquids. Take a chestnut, or other nut with a large kernel, and in it bore two holes a t right angles to each other and meeting neatly inside the n u t . I n each hole insert a straw, one of them being about twice as long as the other. Make the joints air-tight by means of soap or wax. Immerse tho whole in Water until the tubes are full of water. Place a finger on tho end of each straw, put tho short leg in a tumbler of water, release the finger, and the water will begin to flow from the tumbler, up tho short tube, down the long one, and into a dish placed to receive it. The end of the short tube must always, of course, be kept under the surface of the

Water.. COMPLIMENTARY

COLOURS.

The following is one of many beautiful illustrations of t h e law of complimentary colours. The arrangement of the apparatus,

if such it can be called—is shown in the sketch. Two lighted candles are placed in the foreground, opposite a sheet of white paper which has been tacked on the wall. Between the candles and the paper you interpose a sheet of cardboard, doubled down the middle eo that i t stands unsupported.

screen by tho latter the luminous shall lie one upon another, producing t h e effect of a star with eight points. Now comes in t h e colouring. Cover one of tho star-openings with a piece of coloured glass, or a wino glass filled1 with coloured liquor. If the gas of the liquor is green, t h e eight points of tho star will be red and green alternately, and in the centre will be a smaller white eightpointed star, thereby giving t h e three colours—red', white, a n d green. A BEAUTIFUL EFFECT.

Some marvellously pretty effects are t o be produced by the solution of aniline dyes. These can be obtained in suitable quantities a t a chemist's shop, and the experimenter does well t o provide himself with' dyes of six or s e v e n different colours. One cf t h e prettiest experiments t h a t can be performed' with them is t o soak several small pieces of cleami white blottingpaper in solutions of different dyes, a n d when they are dry clit them into little discs of t h e size of a threepenny. Then gently drop them one by one into a glass jar containing water, a n d t h e colour will seek its way downwards in the jar in long, irregular, and' brilliant streaks. The effect is exceedingly beautiful. D O T S AND D A S H E S .

Cut a strip of paper 2 by 15 inches. Draw a line on both sides along the exact middle. Make t h e line on one side a series of dots, and on t h e other a series of dashes.' Paste the ends of t h e paper together so that tho •line through the centre will be rontinuoun, but join t h e dotted line to the line of the dashes. With a pair' of scissors carefully out through the middle line all tho wsiv around the rings. How many rings this will make you will see for yourself.

^ b e p e o p l e ' s Jfii

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Contains Splendid S E R I A L and SHORT STORIES. BIOGRAPHICAL and other S K E T C H E S , I n one of the leaves of the cardboard! cut a four-pointed star, the axes of which are horizontal alid vertical. Exactly opposite this, and in the other leaf, cut g u t a second star, the axes of which make angles of 45 degrees with those of the first star. You must now arrange the relative positions of the candles and the cardboard, so t h a t in the middle of the shadow thrown on the

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E X P E R I M E N T S

IN

E L E C T R I C I T Y .

I n t h e rapid and mighty development of electricity, one is a p t t o forget how humble and insignifioant t h e science was in its beginnings. JEvery schoolboy knows about W a t t ' s great discovery of t h e power of steam. H e was a bov a t t h e time, t h e issuing of steam f r o m a kettle was an everyday occurrence, b u t the thoughtful observation of this simple fact set on its way t h e development of one of t h e greatest and most useful of forces. And so with electricity. W e do not know who discovered it, but its beginnings were very insignificant. I n its simplest and most harmless form electricity may be produced by t h e youngest of our readers, and we propose t o show them how t o do it. The experiments should be both instructive and entertaining. Simplest of toll, t h e a p p a r a t u s for producing electricity is A

P I E C E OF B R O W N

PAPER,

Bay, about a foot square. Dry it thoroughly before t h e firo, and while it is still h o t draw i t smaTtly several times between t h e arm and side. The paper is then charged with electricity. This is made evident if you bring it close t o a quantity of bran, small pieces of paper, or feathers, which have been sprinkled on t h e table. They will fly up and stick t o t h e paper. Charge it again as before, and bring it near a wall, when i t will be strongly attracted, and may even adhere to t h e wall. Charge once more, this time placing tho paper immediately above t h e head. The hair will be felt rising on end, and if you refer to a looking-glass you will be a little astonished a t t h e sight whioh meets your eye. While using t h e brown paper as a means of producing electricity, you may hear a slight crackling noise, or even observe small flashes of blue light pass between your hand and t h e paper. This is nothing less than t h e electric light, t h e same as the blind-

ing lightning flash, or t h e dazzling arc lamp which blazes in our streets and on our public buildings. To make its presence more apparent, take a tumbler, dry it thoroughly, allow it to remain before a fire for some time, and place it, mouth downwards, upon a table. Then place upon it a perfectly dry small metal tray. Upon this again lay a piece of brown paper, which has just been electrified in the manner described above. You have now a simple electric machine. If t h e knuckle of one of your fingers i3 now broug-- in proximity to the tray, a bright electric spark will pass between them, and if t h e experiment is performed in a darkened ropm, the effect will be all tho prettier.

A

H O M E - M A D E

M A G I C

L A N T E R N .

Stretch a white cloth against a wall in al darkened room. Set a lighted candle opposite to i t o n t h e table, with a book or a similar object intervening, so t h a t t h e light will not directly strike t h e cloth. H o l d a mirror sidewise before t h e candle in such, a position t h a t t h e reflection of i t will be thrown on t h e cloth. Hold a paper figure between t h e oandle and t h e mirror, and the mirror will reflect i t on t h e cloth. By moving t h e ngure forward between t h e oandle and t h e mirror t h e figure will appear t o walk more or less leisurely. Several figures may b e used1 a t t h e same time. Other motions will readily suggest themselves t o t h e imaginative mind. The figures as they ap. pear on the white cloth will be silhouettes. C U R I O U S

M I S H A P

A T

A

C O N J U R I N G

P E R F O R M A N C E .

As we have now got t o t h e conclusion of our tricks, we may say t h a t there are many little mishaps which beset a conjurer, and against which h e cannot t a k e a n y precaution. H e must just grin and bear these things. A celebrated wizard tells some very interesting stories of his adventures on t h e stage. Among t h e m he relates how one of his most ingenious tricks had an unexpected! ending, more amusing t o t h e spectators t h a n t o t h e performer. H e was giving a performance a t a Christmas party, and1 had borrowed a r i n g f r o m a lady in t h e audience, jokingly requesting her t o place a value upon it. This she did, pricing it a t four pounds. H e t h e n tied a piece of ribbon t o it, placed t h e ring on a plate in full view of t h e audience, and proceeded t o make a n omelette. H a v i n g mixed t h e ingredients, h e threw t h e ring and ribbon into them, and, adding a little spirit, he went through t h e make-believe of cooking t h e omelette in a pan. On setting fire to the spirit t h e r e is usually a blaze, and a lid is placed upon t h e pan. When t h e lid is removed, instead of an omelette, a dove is found with the identical ring attached to Ss neck by a ribbon. All went well until t h e performer removed the cover of t h e pan. There was the dove, sure enough, with t h e ring tied to its n e c k ; b u t during t h e applause of the audience, t h e dove flew up, winged its way round t h e room, and dashed out of a n open window. The conjuror never s^w it or t h e ring again. H e accorcUnelv had t o make t h e best of a bad bargain, and pay t h e lady four pounds as compensation for her loss. P R I N T E D A N D P U B L I S H E D BY J O H N L E N G * CO., AT T H E O F F I C E S OF T H E PEOPLES JOURNAL. DUNDEE 7 t o 25 BANK S i u n LONDON ISti FLEET a i u n .

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