Or Sleight of Hand;

A DENOMINATION given to certain deceptive performances, which either depend altogether on dexterity and address, or derive but a small degree of aid from philosophical principles. Of these we shall present our readers with a selection of the best that have been either explained in books or publicly exhibited.

SECT. I. Performances with Cups and Balls.

The following method of exercising this simple and ingenious amusement is that practised by one Mr Kopp a German, whose performances are deservedly preferred to those of former artists. In this, however, as in all the other branches belonging to the art of legerdemain, it is not sufficient that a person has the requisite dexterity, or sleight of hand; it is necessary also to take off the attention of the spectators by some entertaining discourse; which not only prevents discovery, but adds greatly to the amusement of the company; for which reason, such discourse is inserted in this article.

To play his part properly, the performer on cups and balls ought to provide himself with a bag about 12 inches long, and from eight to ten in depth. The inside must be furnished with a number of pockets for holding the several articles necessary in the amusement; and this bag the performer must hang before him.

The materials necessary for the performer are,

1. Three white polished tin-cups, represented by Plate A, B, and C (fig. 1.) in the shape of a truncated cone with a double ledge D towards the base. This ledge, which is about half an inch in breadth, serves to raise the cups easily by admitting also the hand to pass a small cork ball (see fig. 5.) The upper part E of the cup ought to be hollowed in the form of a sphere, sufficient to contain the balls without their appearing above the upper edge of the cups.

2. It is also necessary to have a small rod, called Jacob's staff; which is usually made of ebony, and neatly tipped with ivory at both ends. This is frequently used for striking on the cups; and being held in the hand where the balls are also kept, it gives the operator an opportunity... opportunity of keeping that hand generally shut, or of varying its position, in order to avoid being discovered. The balls are made of cork, blackened by slight burning on the outside.

The dexterity in performing this operation consists in artfully secreting a ball in the right hand, and making it to appear or disappear in the same hand. The secreting it between the fingers is called conjuring the ball, at which time the spectators are to suppose that it is kept in the other hand, or that it was passed under a cup; but if it is made to reappear when held secretly in the hand, they must believe that it came out of the place last touched by the fingers.

Conjuring the ball is performed by putting it between the place of the thumb A and the finger B (fig. 2.), conveying it with the thumb, by rolling it upon the fingers the length of the line BC, moving the middle finger D to a distance, and placing the ball at the junction of the fingers C (fig. 3.) but in this part of the operation it is necessary to hold the ball rather tight, lest it should fall down and discover the secret. In order to make it appear, we must bring back the ball the same way from C to D; and every time that it is conjured, or made to disappear, as well as when it is made to reappear, the palm of the hand should be turned from the side of the table on which the operator is playing.

While this part of the trick is performing, the operator must let the spectators know that the ball has been passed under a cup, or into another hand; and in the first case he makes a motion with the hand (as represented fig. 4.) indicating that he had thrown it through the cup; at which time also he conjures it, approaching the two fingers of the right hand towards the left, which last he holds open, and makes a motion as if the ball had been placed there, shutting the left hand instantly. It is also to be supposed, at every time when a ball seems to be placed below a cup, that it has been held in the left hand; and when he raises the cup with the right hand as in fig. 5., the left hand must be opened, and he rests the ball at that instant upon the hollow of the other, sliding it along the fingers.

At the time the ball is to be put secretly under the cup, it should lie between the two fingers of the right hand (fig. 5.) With this hand he raises the cup; and placing it on the table, lets go the ball, which, according to its position in fig. 6. should be found near the edge of the cup when taken into the hand. If he would put the ball secretly between the two cups, it must be let go by jerking it towards the bottom of the cup which he holds, and places it very quickly on that in which the ball is to be found. When the ball is in this situation, if the operator should want it to disappear, he must raise the two cups with his right hand, and draw out hastily that under which the ball is placed; at the same instant lowering with his left hand the other cup, under which he places it.

In speaking of the tricks which follow, terms are made use of which explain whether what is said be feigned or true; of which terms explanations are given, and numbers adapted to the explanations of the different operations which follow.

1. To put the ball under the cup: Really done, with the fingers of the right or left hand.

II. To put the ball under the cup, or in the hand.—A feigned conjuration; pretending to shut it up in the left hand, which is afterwards opened, in order to have it supposed that the ball is under the cup or elsewhere. See fig. 3.

III. To pass the ball under the cup.—The ball supposed to be conjured is to be really introduced.

IV. To pass the ball between the cups, is likewise real.

V. To make the ball which is between the cups disappear.—This is likewise real; and performed, as has already been described, by drawing back with much precipitation and dexterity the cup on which it is placed, and lowering upon the table that which is above, and under which the ball must of consequence be found.

VI. To take the ball. Real.—It is taken between two fingers of the right-hand, and shown before conjuration.

VII. To take away the ball from under the cup. This is done by taking it away in the sight of the spectators.

VIII. To draw the ball. Feigned; or by pretending to draw it from the end of the rod, from the cup, or any other place, by bringing into the fingers the ball which was secreted.

IX. To throw the ball through the cup, is to conjure it in pretending to throw it.

X. To raise up the cups. This is really done in three ways; viz. either with the right hand, the rod, or the left hand. The first is when the ball is to be secretly inserted in returning the cup to its place. In the second, the rod is to be put on the tops of the cups to turn them over again, so that the balls may be shown which were to be passed into them. The third is when the operator intends to show that no balls are in the cups, or that there are none.

XI. To cover a cup. This is really done, by taking with the right hand that which is to be put over another, and introducing at the same time a ball between the two.

XII. To recover a cup. It is done by taking with the left hand the cup to be put over or above, without introducing any thing into it.

The Performances.

1. To put a ball under each cup, and take it out again. Having placed on the table the three cups and little Performances, rod, as shown in fig. 1. the performer must begin his manoeuvres, by endeavouring to amuse the spectators with some kind of entertaining discourse. Nothing can be more apropos than the origin of the little rod and cups; and he must be very affiduous in this fort of discourse to take off the eyes of the spectators as much as possible. The following may be a specimen of the manner in which he ought to address his audience: "There are many persons who meddle with the play of the cups and balls, and yet know nothing about them. This is by no means extraordinary; even I who now play before you, pretend to know but little. Nay, some time ago, I was such a novice as to think of playing before a numerous assembly with glass cups, in which you may guess I did not meet with great applause. I do not indeed practice this method but before such as are actually blind; neither do I play with China cups, lest, through awkwardness in feigning to break their handles, I should do so in reality. These are the cups which answer my purposes. They are made of such metal as the alchemists attributed to Jupiter." Jupiter and Mars, or, to speak more properly and intelligibly, they are made of tin. Behold and examine these cups (showing the cups to the company, and putting them on the table:) All my science, and it is in that in which it is admirable, consists in deceiving the eyes, and passing the balls into the cups without your perceiving how it is done. I advise you therefore to pay no attention to my words, but to examine well my hands, (showing his hands). If there is in this company any person who has the misfortune to use spectacles, he may retire; but the most clear-fighted will see nothing there.

"Here is the little Jacob's rod (showing the rod with the left hand); that is to say, the magazine from which I take all my balls (taking secretly with the other hand a ball from his bag, which he hides between his fingers). There is not one in England so well furnished. Observe, that the more I take from it the more remain: I draw from it (VIII.) this ball, (showing it, and placing it upon the table, (I.) Observe that there is nothing under the cups (showing the inside of the cups), and that I have no other ball in my hands, (showing his hands). I take (VI.) this ball: I put it (II.) under this first cup. I draw (VIII.) a second ball from my little rod, and I put it under this second cup (actually done). It is proper here to tell you, that the generality of those who play the cups only feign to put the balls there; but I do not deceive you, and I actually put them there. (He raises the cup B, and taking the ball which he has put under it into his right-hand fingers, shows it to the company). I return it (II.) under the same cup. I take (VIII.) this third, and put it (II.) in the same way under this last cup. You are about to say that this is not very extraordinary, and that you could do it as well yourselves. I agree with you; but the difficulty consists in taking out these balls again through the cups, (striking the first cup with the rod). I take (VIII.) this first ball (showing it): I put it (II.) into my hand, and send it to Constantinople, (he opens the left hand). I take (VIII.) this, (striking with the rod on the second cup). I put it (II.) into my hand, and I send it to the East Indies, (opening his left hand). I take (VIII.) the last, and I put it (I.) on the table: Observe that there are no more under any of these cups, (turning down the cups with the rod).

2. With the single ball remaining on the table, to pass a ball through each of the cups, and to take it off from the same. "I return the cups to their places, and take (VI.) this ball, and I put it under this first cup. I take it back again (VIII.): observe that it is not there now, (raising (X.) the cup with the left hand). I put it (II.) under this other cup: I take it out again (VIII.) in the same manner, (raising (X.) the cup). I put it (II.) under the last cup, and take it out again, (VIII.) (raising the last cup with the left hand, and placing the ball on the table).

3. With the single ball remaining on the table, to take away a ball through two or three cups.—In this performance the three cups are distinguished by A, B, C, as in fig. 1.

"I never have any ball secreted in my hands, as the greatest part of them who play the cups and balls have (showing his hands). I take (VI.) this ball, and I put it (II.) under this cup B. I cover it (XII.) with this cup C, and I take again (VIII.) this ball thro' the two cups (showing the ball in placing it on the table, returns afterwards the cup C to its place, and raises (X.) the cup B to show that there is nothing there). I take again (VI.) this same ball. I put it (II.) under the same cup B: I cover it (XII.) with the two other cups C and A; and I take out (VIII.) this ball through the three cups (showing it and placing it on the table).

4. With the single ball remaining on the table, to pass the same ball from cup to cup.—"I now beg of you to pay every possible attention, and you will very distinctly see this ball pass from one cup into the other (putting the cups at a greater distance from each other). I take (VI.) this ball, and I put it (II.) under the cup C: there is nothing under this cup B (raising it, introducing the ball, and taking the rod in his hand). I command that which I have put under the cup C to pass under that B. You see it (moving the end of the rod from one cup to the other, as if he followed the ball): observe that it is passed (raising the cup with his left hand, and taking the ball with his right, shows it to the company). I return it (II.) under this cup B; there is nothing under this A (raising the cup with his right hand, and introducing the ball there). I am going to pass it under this last cup A. Look well; come near; (making as if in fixing it he would throw with the end of the rod the path that it took). You did not see it pass? I am not much surprised: I did not see it myself; however, here it is under the cup (raising the cup A, and placing it on the table).

5. With the same ball remaining on the table. The cups being covered, to pass a ball from one into the other, without raising them up.—"I was very right in telling you, that the most clear-fighted would not see very much; but, for your comfort, here is a trick in which you will see nothing at all. I take this ball, and put it (II.) under this cup B. I cover it (XI.) with the two other cups (taking one in each hand, and introducing the ball upon the cup B): pay attention, that there is absolutely nothing in my hands (showing them). I command this ball to mount up upon the first cup (taking up the two cups, and putting them in their places, he shows that it has mounted). I return (II.) this ball under the same cup B. I cover it as before (covers it in taking a cup in each hand, and introducing a ball between the second and third cups.) I take (the only ball with which he plays being under the third cup, he cannot show it, but acts as if he had taken it out, and put it into the fingers of his left hand, which he holds in the air, in conducting the hand from one side to the other). I take the ball, which is under these three cups; and I throw it thro' the first cup (feigning to throw it): observe that I have not conjured the ball, having nothing in my hands (showing them); it is passed, however, (raising the first cup with the left hand, putting the ball upon the table and the cups in their places.)

6. With the single ball remaining on the table, to pass a ball through the table and two cups.—"You are undoubtedly surprized, that, having but a single ball, I have been able, after having shown it to you, to pass it under this cup without raising it; but let not that astonish you: I have secrets much more wonderful. I convey, convey, for example, the steeple of one village into another: I have sympathetic quadrants, with which a conversation may be held at 200 leagues distance: I have a flying chariot which can conduct me to Rome in three days. I will show all these curiosities as soon as my machines are entirely completed; that is to say, in a few centuries: but to amuse you till the arrival of all these prodigies, I now continue the entertainment of the cups and balls. I put (II.) this ball under the cup A. I take it away again (VIII.) (showing it, and feigning to put it into his left-hand fingers). I cover (XI.) this cup with the two others B and C (introducing the ball between these two cups, using always the right hand, and feigning still to hold it in his left), and I pass this same ball through the table and the two cups (putting the left hand under the table.) There it is passed (raising the first cup.)

7. With the same ball. A ball having been put under a cup, to take it away again, and to pass it between two others.—"Here is again a very pretty trick: I take this ball, and I put it (II.) under this cup A. Observe, that there is nothing under the others (showing them and introducing the ball under the cup C), nor in my hands: I take this ball, which is under the cup A (feigning to take it out, and raising the bottom of the cup so that the spectators may not attend to his fingers). I cover this cup C with the two others A and B, and I throw it (IX.) through these two cups (raising them, and showing that the ball is passed there).

8. With this single ball and a shilling; to pass a ball from one hand into the other.—"I take this ball; I put it (II.) into this hand, and I put into the other the shilling. In which hand do you think the ball is? or in which do you think the shilling may be?" (Whatever answer the spectator makes, the performer shows him that he is mistaken, and that the whole is in the right hand; and this truth serves as a pretence to take a ball from the bag in putting the shilling back into it.)

The performer may, however, without breaking the connection of these operations, dispense with this trick, and feign to drop the ball he plays with, which affords him a pretence for taking another.

9. With the ball remaining on the table, and that which is secretly taken out of the bag; to pass under a cup the two balls put under the others.—The operator goes on with his discourse: "In order to give you still farther amusement, I take this ball and cut it in two (taking it in his left hand, and holding the rod with his right; feigning to cut it, he puts afterwards the rod on the table, and brings back to his fingers ends the ball which he took out of the bag). Nothing is so commodious as to be able in this manner to multiply the balls. When I am in want of money, I cut them again and again, until I may have had five or six bushels (placing the two balls on the table). Observe that there is nothing under this cup A. I put there (II.) this first ball; there is nothing more under the two other cups (introducing the ball under the cup B). I take this second ball, and I put it (II.) under the cup C: there is now a ball under these two cups A and C. I take away (VIII.) from this cup C this ball, and I throw it (IX.) thro' the middle cup B: observe that it is passed (raising the cup B, and introducing there the second ball). I command this, which is under the other cup A, to pass under the same cup B (raising this cup, and showing that they are both there, and placing them upon the table).

10. With the two balls which are upon the table. Two balls having been put under the same cup, to pass them under two others.—"When I was at college, the tutor told me, it was necessary to know how to do my exercise in two ways. I have just now passed these two balls into the middle cup; I am now to make them go out; the one is not more difficult for me than the other. I take therefore these two balls, and place them under this cup B (putting one ball under the cup, and conjuring the other); observe that there is nothing under the cup A, nor under the other C (introducing into this last the ball that he conjured): I command one of these balls, which are under the middle cup, to pass under the one or the other of these two cups A and C. Behold it already gone (raising the cup B to show that there is no more than a single ball; and taking, with the right hand, the ball which is underneath, he shows it, and puts it (II.) under the same cup B). Let us see into which cup it has passed (raising immediately the cup A, and introducing the ball that he took from the cup B): here it is under this cup C (raising the cup); I command the other ball to pass under this cup A (he raises it, and shows that it passed there)." This trick is frequently done with three balls, but it appears much more extraordinary with two.

11. With these two balls, a third which he shows, and a fourth secreted in his hands; to pass three balls under the same cup.—"All this is but a trifle; I am going to show you another trick with three balls (taking out of the bag a third ball, and placing it on the table, secreting at the same time a fourth in his hand). Observe that there is nothing under any of these cups (raising them, and introducing them under the cup C). I take this first ball, and throw it (IX.) through this cup C. Observe that it is passed (raising (X.) the cup with the right hand); I take this second ball, and throw it (X.I.) through the same cup. There it is passed (raising (X.) again the cup); I take the third, and I make it pass the same (raising (X.) the cup, and showing that these are passed under all the three).

12. With the three balls remaining under the cup, and that held secretly in the hand; to pass two balls from one cup into another, at the choice of a person, without touching any of the cups.—"Here is another in which I have never been able to comprehend anything; but it will astonish you much (raising the cup C, and taking away the three balls from their places, he puts them under each cup, and in raising the cup C introduces there the fourth ball which he held secretly in his hand). I take this ball (that which is under the cup B), and I put it (II.) under the same cup. I take this (the ball from the cup A), and I place it (I.) under the same cup (putting there also that which was secreted in his hand): I take this last, and I throw it (IX.) through the cup C; and to show that I do not deceive you, behold it passed (raising (X.) the cup that has been fixed upon, which suppose to be C, and showing that there are two). I take again these two balls, and put them under the cup C (putting really but one): observe that there is no more under this cup B (introducing there the ball that he had just taken away, and showing that he had no other in his hand); I command one of these balls, which are under this cup C, to go and join that which is under this A. Observe that it is passed. There! raising the cup C, and returning the two balls under the same cup, and raising C, in order to show that there is but a single one; and he places it again under the same cup; he does not raise the cup B under which a ball remains.

13. With the three balls that were placed upon cups, and that which remains hidden under the middle cup; to pass under the same cup the balls put under the others.—“I take this ball (that which is upon the cup C), and I put it (II.) under the same cup C; and I order it to pass into this cup B: there it is passed (in raising this cup he introduces a third ball). I take this third ball, and put it (II.) under this cup C; and I command it to pass into the cup B along the table, and in the sight of the spectators (taking the rod in his left hand, feigning to show the way that it passed between the two cups). You did not see it then? Here it is (He draws it (VIII.) from the end of the rod, which appears to show it). Go quickly (throwing it (IX.) through the cup B; and showing that they are all three there, and that there is nothing under the two others; placing afterwards three of the balls on the table, and secreting the fourth in his hand).

14. With the three balls remaining upon the table, and that which is held secretly in his hand.—Multiplication of the balls.

For this trick there must be a tin vase (see fig. 8.), at the bottom of which there must be contrived a false bottom A, which will fall down at pleasure: that is to say, in reverting it upon the table, by means of a small trigger placed at the base of one of the handles B, introducing previously between the false and true bottoms a dozen of balls. The operator goes on with his discourse.

“If any of the company believe in witches, I would give my advice that they should believe in them no longer; as what I am about to do is much more surprising than the feats of any witch.—I put (I.) these three balls under the three cups you see on the table: I take away (VII.) this first ball (that which is under the cup C), and I put it (II.) into this vase. I take this, and I also put it (II.) into the vase. I take away (VII.) this third (that which is under the cup A), and I throw it (II.) the same way.” (Every time that he raises one of the cups to take away the ball, he introduces that which always remains secreted in his right hand; and this he repeats, constantly taking out one ball and putting in another, till he has introduced all the twelve balls; after which he resumes his discourse.) “You imagine, perhaps, that I always make use of the same balls; but, to prove the contrary, here they are, (inverting the vase so as to turn them all out).

In this trick, if the vase be well made, the inside may be shown, and it may even be previously inverted; in which case, it will not be supposed that any balls have been put into it.

5. With the three balls remaining under each of the cups, and that which is hidden in his hand; to pass one ball under each of the three cups.

“I put all these balls into my pocket. I take (VI.) this (the one secreted in his hand), and I make it pass through the table under this first cup C, (conjuring it). I take another from my bag (showing the same ball). I make it pass in the same manner through this B, (conjures it again). I take a third (showing still the same), and I make it pass under this last cup A (conjuring it). Here are all the three passed (turning over the cups, and in taking them up again introduces the ball that he has in his hand under the cup B, and puts the three balls upon the three cups.

16. With the three balls put upon each cup, and that which was introduced under the middle cup; to draw two balls through the same cup.—“There will be wanted now only two balls.” Here the operator takes that which is under the cup C, and puts it (II.) into his bag. He takes in the fingers of his right hand the ball which is on the cup B, showing it; and with the other covers the cup B, with that passing (IV.) there the ball which he feigned to put into his bag. He then takes the ball which is under the cup A with the right hand; and showing a ball in each hand, tells the company that he put them (II.) under the cup A; though he actually puts but one, which he holds in his left. He then draws one of these balls through the same cup A, showing it, and placing it upon the cup C. He then raises the cup A, and takes the ball which is under it with his right hand, adding, “There remains but one more.” While pronouncing these words, he puts it (II.) under the cup. “I take (adds he) the other ball,” (raising the cup, and showing that it is there no longer); then, taking one of the two balls which seemed to remain alone, he puts it (II.) into his bag, saying, “I return this into my bag.”

17. With a ball which is hidden under the middle cup, another hidden under that which covers it, that which remains in the hand, and a fourth which is upon the table; to pass the same ball successively through the three cups.—The preceding trick was only on purpose to prepare the spectators for this; as they now imagine that the performer played only with one ball. He may now address them in the following manner:

“I am now going to make a very pretty trick with this single ball. I forgot to show it to you at the beginning: I cover (XI.) these cups (putting the cup A upon C and B). I take (VI.) this ball, and I throw it (IX.) through the first cup;” (raising (X.) the cup A with the right hand). He then shows that it is passed between C and A; and, putting it in its place, he introduces there that which he has in his hand. “I take (says he) (VI.) this same ball, and I throw it through the other cup C;” and while he says so, he raises (X.) the cup C, showing that it has passed, introducing there that which he has in his hand, and putting it in the place of the former. “I take again (continues he) (VI.) this same ball, and I throw it (IX.) through that last cup B,” (raising (IX.) the cup B.) During which time he takes away the ball from under it with his left hand, then places it on the table, and returns the cup to its place, introducing there the ball which he has in his left hand.

18. With the three balls which are under the cups, that which is on the table, and two which he takes from the bag; to pass under a cup the balls put under the two others without raising those last.—The performer may proceed in his discourse in the following manner:

“Let us now return to the order of the entertainment which I have interrupted, and continue to play with three balls.” He now takes two balls from his bag, bag, by which means he in fact plays with six balls, though he pretends to play only with three. These two balls, together with that which remains on the table, he puts on the top of each cup. "I take (says he) (VI.) this ball, (that which is on the cup C). I throw it (IX.) through that cup: there it is passed." He now raises (X.) the cup, shows it; and thus has an opportunity of introducing the ball which he has in his hand. "I take (VI.) this (the ball which is under the cup B), and throw it (IX.) through the cup B." At this he raises the cup with his left hand, showing that it has passed, and covering it again. "I take again (VIII.) this ball from the same cup, and throw it (IX.) through that C: observe that it is passed." Then, raising up (X.) the cup C, showing that there are then two there, he introduces other two which he had in his hand. "I take (says he) (IV.) this ball (that which is under the cup A), and I throw it (IX.) through the same cup A. There! it is passed," (raising the cup C); after which he shows the three balls, and introduces there that which was in his hand, putting the three balls upon the table.

19. With the three balls which remain under the cups, and the three others which remain upon the table; to pass separately the three balls through each cup.—In this manoeuvre the performer puts again the three balls which are upon the table upon the top of each cup. He takes that which is on the cup C, and throws it (IX.) through the same cup; and while he announces this to the company, he raises (X.) the cup: taking away (VIII.) the ball, showing that it has passed, introducing there that which was in his hand, and putting the same ball upon the same cup. He then takes that which is upon the cup B, and throws it (IX.) through the same cup; shows that it is, passed, takes it away (VII.), and introduces the ball that was in his hand under this cup, putting it in like manner on the cup. Then he takes the ball which is on the cup A, and throws it (IX.) through the same cup A. As he announces its passage he raises the cup, taking away (VII.) and showing the ball; introducing in the same manner that which was in his hand; putting this first at the top of the cup A, and then shows that it is not in his hand, and that he has but three balls.

20. With the three balls remaining upon the table, and those which are under each cup. Having put the balls into the bag, to make them return under the cups.—"I take these three balls, and I return them into my bag, (keeping one in his hand). Behold to what all is reduced that I had to show you for your amusement. I did know some more very pretty tricks, but I have forgot them. (Pretending to muse for a moment): Ah! I still remember two or three very pleasing ones. Come, my little balls! Return under the cups. (turning over the cups). See how nimble they are, and obedient at the same time;" (covering them again with the cups.)

21. With the three balls which are under the cups, and that in his hand; to pass the balls through the two cups.—Here the operator begins with taking away (VII.) the ball which is under the cup C; he covers it with the cup B; and passes (III.) the other ball which he has in his right hand between the two cups. He then takes (VI.) the ball which he had in his left hand, and throws it (IX.) between the two cups B and C. In announcing its passage he raises the cup (X.), shows that it is passed, and introduces the ball in his hand. He then takes the ball under the cup B, and throws it (IX.) through the two cups C and B. Announcing to the company its passage, he raises (X.) the cup, and shows that there are two balls, introducing (III.) at the same time the third. He then takes the last ball, viz. that which is under the cup A, covers again with the left hand the two cups B and C, and throws (IX.) the third ball through these two cups. He then announces their passage, raises the two cups, and shows the three balls, covering again the cup C with the two others.

22. With the three balls which are upon the cup C, and the one in his hand; to take out the three through two cups.—"I take (says the performer) (VIII.) the first ball, and put it (II.) into my bag, I take (VIII.) in the same manner the second, and I put it also into my bag. I take (VIII.) the third, and I put it into my bag. (putting in really that which he had in his hand.) While he defies the spectators to observe that there are no more in the cups, he raises the cup A with the left hand, and, putting it in its place, raises with the right hand the cup C. In supporting it with the cup B, he puts it down quickly, and a little on the side of B, and at the same time places C on the table, under which will be found the three balls, which had not time to separate.

23. With the three balls remaining under the middle cup, and three others taken out of the bag; to pass, in one action, three balls through a cup.—This trick is begun by the performer taking three balls from his bag, and putting them on the top of the cup B, which he covers with the cup A. Ordering them to disappear and to pass under the cup C, he takes away very suddenly with the left hand the cup B, as is done in the preceding trick, leaving in the middle of the play the cup C, under which the balls are found. Taking them then away, and replacing them on the same cup, he makes them return again in the same manner under the cup C. At last he takes the three balls, and putting them in his bag, pretends to pass them through the table under the cup where the others were. He then returns two or three of these last balls into his bag, and takes two white balls, which he puts upon the table.

24. With the black ball remaining on the table, two other white balls, and a black one which he holds secretly in his hand; to pass three balls from one cup into another.

N.B. To make the balls white, they are rubbed with a little chalk instead of being blackened with the candle.

"Let us now (says the operator) have a trick to prove that I do not conjure the balls. There is nothing under this cup C, (introducing the black ball that was in his hand). There is no great thing under this B. I place there these three balls, (the three which are upon the table, of which he conjures the white one.) There is nothing more under this third cup A, (introducing there the white ball). I order one of these two white balls which are under the cup B, to pass under this A." With these words he raises the cup B; and taking the white ball in the fingers of his left hand, and the black one in those of the right, he shows them, saying, "Observe that there is but one white one. I put again these two balls under the cup B." While speaking thus he puts the white one under the cup, and conjures the other, while feigning to put it in with that of the left hand. He then announces its passage; and while he does so, raises the cup A, and introduces the black ball. Commanding then the black ball to pass under the cup A, he raises the cup B, takes in his right-hand fingers the ball which is there, and shows it. "I put it again (says he) (II.) under this cup (conjuring it); and I show you that it is passed under this A. (introducing there the white ball.) I order at last the white ball, which is under this cup B, to pass into this A." While telling the company that it is passed, he raises the cup A, and puts the three balls upon each cup, the black one upon the middle.

25. With the three balls put at the top of the cups, and that which has been inserted under one of them in the preceding trick; to change the colour of the balls. The operator goes on with his discourse: "If there is any one here who knows how to play the cups and balls, he will do well to observe, that it is not possible to do this trick by the common method, and with three balls only. However, I have no more, (showing his hands). I take this white ball (that which is upon the cup C), and I throw it (IX.) through this cup (the same under which he left a black ball in the preceding trick). I take this black ball (with the left-hand fingers); there is nothing under this cup B, (introducing there the white ball). I throw it (IX.) through this cup B, (taking again the ball in his right-hand fingers). I take this other white ball, (with his left-hand fingers). There is nothing under this cup A, (introducing the black ball): I throw it (IX.) through the cup A, (taking it again into his right-hand fingers to conjure it). Observe that they have all changed their colour," (covering each of them with their cups).

26. With the three balls which are left under the cups, two white balls, and a black one that he took trick by trick from his bag; to change the sizes of the balls.—In performing this trick the operator takes away the white ball which is under the cup C with his left-hand fingers, and, raising the cup with his right, introduces there a white ball which he took out of his bag. The white ball which he introduces is kept in his hand with the fourth and little finger; and he raises the cup in the same manner as when he introduces the balls. In turning over the cup afterwards, he advances his hand to introduce this ball. These balls should be filled with horse-hair or paper, so that they may be very light, and make no noise. The operator then tells his company, that he makes the ball pass through the table under the same cup; and while he speaks thus, he takes the ball again in his right hand, and while putting his hand under the table, he takes a black ball out of the bag. He then takes away the ball from the cup B, introducing the black lone in its stead. He then tells the spectators, that he makes it repass through the table; and, while he tells them so, he takes a white ball; then, while taking away that which is under the cup A, he introduces that ball, making it repass in the same manner through the table, and at last shows them to the company, and covers them with their cups.

27. With the three balls which are under the cups, two other black balls, and a white one that was taken trick by trick from his bag; to pass the balls from one cup into another.—"Observe well (says the operator), that there are two white balls under these two cups A and C, and a black one under this (raising the cup). I cover again these three balls (covering each of them with a cup). I make to pass out through the table the white ball which is under the cup C." Here he takes a white ball from his bag; and in order not to fail, the black and white balls should be in separate pockets. Having taken out the ball, he puts the first into his bag, telling the company that there is now nothing under the cup C; and while he says so, he raises it, holding the ball with his little finger, proceeding in his discourse as follows. "I take away this ball (that which is under the cup A), and I pass it through the table under the cup C (taking a black ball from his bag)." While the passage of this ball is announced, he raises the cup C to take it away and show it; and introducing there this black ball, "I put again (says he) this other white ball into my bag, and I command the black one which is under the cup B to pass under this. It is no longer under this cup:" and while he says so, he raises the cup B, in supporting with his little finger the ball which remains there. Announcing its passage, he raises the cup C and shows the ball; taking it afterwards into the left-hand, throws it into the air, returning it into his right hand, and feigning to throw it into the air a second time, he lets it fall into his bag; calling his eyes upwards and downwards as if he saw it fall upon the cup B; he raises this cup, and shows it to the spectators, as the former, passed through the cup.

Sect. II. Performances with the Cards.

Previous to the performances with cards, it will be necessary to explain the method of making the pass; that is, bringing a certain number of cards from the bottom of the pack to the top; as many of these performances depend on that manoeuvre.

1. Hold the pack of cards in your right hand, so that the palm of your hand may be under the cards: place the pad, the thumb of that hand on one side of the pack, the first, second, and third fingers on the other side, and your little finger between those cards that are to be brought to the top and the rest of the pack. Then place your left hand over the cards, in such a manner that the thumb may be at C (fig. 20, 21.), the forefinger at A, and the other fingers at B.

The hands and the two parts of the cards being thus disposed, you draw off the lower cards confined by the little finger and the other parts of the right hand, and place them, with an imperceptible motion, on the top of the pack.

It is quite necessary, before you attempt any of the experiments that depend on making the pass, that you can perform it so dexterously that the eye cannot distinguish the motion of your hand; otherwise, instead of deceiving others, you will expose yourself. It is also proper that the cards make no noise, as that will occasion suspicion. This dexterity is not to be attained without some practice.

There is a method of preparing a pack of cards, by inserting inferring one or more that are a small matter longer or wider than the rest; which preparation will be necessary in several of the following experiments.

The card of divination. 2. Have a pack in which there is a long card; open the pack at that part where the long card is, and present the pack to a person in such a manner that he will naturally draw that card. He is then to put it into any part of the pack, and shuffle the cards. You take the pack, and offer the same card in like manner to a second or third person; observing, however, that they do not stand near enough to see the card each other draws. You then draw several cards yourself, among which is the long card, and ask each of the parties if his card be among those cards, and he will naturally say Yes, as they have all drawn the same card. You then shuffle all the cards together, and cutting them at the long card, you hold it before the first person, so that the others may not see it, and tell him that is his card. You then put it again in the pack, and shuffling them a second time, you cut again at the same card, and hold it in like manner to the second person, and so of the rest (a).

If the first person should not draw the long card, each of the parties must draw different cards; when, cutting the pack at the long card, you put those they have drawn over it, and seeming to shuffle the cards indiscriminately, you cut them again at the long card, and show one of them his card. You then shuffle and cut again, in the same manner, and show another person his card, and so on; remembering, that the card drawn by the last person is the first next the long card; and so of the others.

This experiment may be performed without the long card, in the following manner. Let a person draw any card whatever, and replace it in the pack; you then make the pack, and bring that card to the top of the pack, and shuffle them without losing sight of that card. You then offer that card to a second person, that he may draw it, and put it in the middle of the pack. You make the pack and shuffle the cards a second time in the same manner, and offer the card to a third person, and so again to a fourth or fifth, as is more fully explained further on.

3. You let a person draw any four cards from the pack, and tell him to think on one of them. When he returns you the four cards, you dexterously place two of them under the pack and two on the top. Under those at the bottom you place four cards of any sort; and then, taking eight or ten from the bottom-cards, you spread them on the table, and ask the person if the card he fixed on be among them. If he say No, you are sure it is one of the two cards on the top. You then pass those two cards to the bottom, and drawing off the lowest of them, you ask him if that is not his card. If he again say No, you take that card up, and bid him draw his card from the bottom of the pack.

If the person say his card is among those you first drew from the bottom, you must dexterously take up the four cards that you put under them, and, placing those on the top, let the other two be the bottom-cards of the pack, which you are to draw in the manner before described.

4. After a card has been drawn, you place it under Divination the long card, and by shuffling them dexterously you bring it to top of the pack. Then lay, or throw, the pack on the ground, observing where the top card lies. A handkerchief is then bound over your eyes, in such a manner however that you can see the ground, which may be easily done. A sword is then put into your hand, with which you touch several of the cards, seemingly in great doubt, but never losing sight of the top-card, in which at last you fix the point of the sword, and present it to him who drew it. Two or three cards may be discovered in the same manner, that is, by placing them under the long card, and then bringing them to the top of the pack.

5. You must have in the pack two cards of the same The transport, suppose the king of spades. One of these is to be placed next the bottom-card, which may be the seven of hearts, or any other card. The other is to be placed at top. You then shuffle the cards, without displacing those three cards, and show a person that the bottom-card is the seven of hearts. Then drawing that card privately aside with your finger, which you have wetted for that purpose, you take the king of spades from the bottom, which the person supposes to be the seven of hearts, and lay it on the table, telling him to cover it with his hand. You then shuffle the cards again, without displacing the first and last card, and passing the other king of spades at the top to the bottom, you show it to another person. You then draw that privately away; and taking the bottom-card, which will then be the seven of hearts, you lay that on the table, and tell the second person, who believes it to be the king of spades, to cover it with his hand.

You then command the seven of hearts, which is supposed to be under the hand of the first person, to change into the king of spades; and the king of spades, which is supposed to be under the hand of the second person, to change into the seven of hearts; and when the two parties take their hands off, and turn up the cards, they will see, to their no small astonishment, after having so carefully observed the bottom-cards, that your commands are punctually obeyed.

6. Take a card, the same as your long card, and The insrolling it up very close, put it in an egg, by making a hole as small as possible, and which you are to fill up carefully with white wax. You then offer the long card to be drawn; and when it is replaced in the pack you shuffle the cards several times, giving the egg to the person who drew the card, and, while he is breaking it, you privately withdraw the long card, that it may appear, upon examining the cards, to have gone from the pack into the egg. This experiment may be rendered more surprising by having several eggs, in each of which is placed a card of the same sort, and then giving the person the liberty to choose which egg he thinks fit.

(a) There is frequently exhibited another experiment, similar to this, which is by making a person draw the long card; then giving him the pack, you tell him to place his card where he pleases and shuffle them, and you will then name his card or cut the pack where it is. You may also tell him to put the pack in his pocket, and you will draw the card; which you may easily do by the touch. This deception may be still further diversified, by having, as most public performers have, a confederate, who is previously to know the egg in which the card is placed; for you may then break the other eggs, and show that the only one that contains a card is that in which you directed it to be.

7. Divide a piquet pack of cards into two parts by a long card. Let the first part contain a quint to a king in clubs and spades, the four-eighths, the ten of diamonds, and ten of hearts; and let the other part contain the two quart majors in hearts and diamonds, the four sevens, and the four nines (b).

Then shuffle the cards, but observe not to displace any of those cards of the last part which are under the long card. You then cut at that card, and leave the pack in two parts. Next, present the first of those parts to a person, and tell him to draw two or three cards, and place the remainder on the table. You present the second parcel in like manner to another. Then having dexterously placed the cards drawn by the first person in the second parcel and those drawn by the second person in the first parcel, you shuffle the cards, observing to displace none but the upper cards. Then spreading the cards on the table, you name those that each person drew; which you will very easily do, by observing the cards that are changed in each parcel.

8. On the ace of spades fix, with soap, a heart, and on the ace of hearts, a spade, in such a manner that they will easily slip off.

Show these two aces to the company; then taking the ace of spades, you desire a person to put his foot upon it, and as you place it on the ground, draw away the spade. In like manner you place the seeming ace of hearts under the foot of another person. You then command the two cards to change their places; and that they obey your command, the two persons, on taking up their cards, will have ocular demonstration. A deception similar to this is sometimes practised with one card, suppose the ace of spades, over which a heart is placed slightly. After showing a person the card, you let him hold one end of it, and you hold the other, and while you amuse him with discourse, you slide off the heart. Then laying the card on the table, you bid him cover it with his hand. You then knock under the table and command the heart to turn into the ace of spades. By deceptions like these, people of little experience and much conceit are frequently deprived of their money, and rendered ridiculous.

9. You must be prepared with two cards, like those represented by fig. 22, and with a common ace and a five of diamonds.

The five of diamonds and the two prepared cards are to be disposed as in fig. 23, and holding them in your hand, you say, "A certain Frenchman left 15,000 livres, which are represented by these three cards, to his three sons. The two youngest agreed to leave their 5,000, each of them, in the hands of the elder, that he might improve it." While you are telling this story, you lay the 5 on the table, and put the ace in its place, and at the same time artfully change the position of the other two cards, that the three cards may appear as in fig. 24. You then resume your discourse, "The eldest brother, instead of improving the money, lost it all by gaming, except 3000 livres, as you here see." You then lay the ace on the table, and, taking up the 5, continue your story: "The eldest, sorry for having lost the money, went to the East Indies with these 3000, and brought back 15,000." You then show the cards in the same position as at first, in fig. 22.

To render this deception agreeable, it must be performed with dexterity, and should not be repeated, but the cards immediately put in the pocket; and you should have five common cards in your pocket, ready to show, if any one should desire to see them.

10. Take a parcel of cards, suppose 40, among which intert two long cards: let the first be, for example, the 15th and the other the 26th, from the card by top. Seem to shuffle the cards, and then cutting them at the first long card, poise those you have cut off in your hand, and say, "there should be here 15 cards." Cut them again at the second long card, and say, "There are here only, 11 cards." Then poising the remainder, you say, "here are 14 cards."

11. Several different cards being shown to different persons, that each of them may fix on one of those cards; several to name that on which each person has fixed.—There must be as many different cards shown to each person as there are persons to choose; therefore, suppose there have been three persons, then to each of them you must show fixed, three cards; and telling the first person to retain one in his memory, you lay those three cards down, and show three others to the second person, and so to the third. You then take up the first person's cards, and lay them down one by one, separately, with their faces upward. You next place the second person's card over the first, and in like manner the third person's card over the second's; so that in each parcel there will be one card belonging to each person. You then ask each of them in which parcel his card is; and when you know that, you immediately know which card it is; for the first person's card will always be the first, the second person's second, and the third person's third, in that parcel where they each say his card is.

This experiment may be performed with a single person, by letting him fix on three, four, or more cards. In this case you must show him as many parcels as he is to choose cards, and every parcel must consist of that number, out of which he must fix on one; and you then proceed as before, he telling you the parcel that contains each of his cards.

12. Make a ring large enough to go on the second or third finger (fig. 15.), in which let there be set a ring, large transparent stone, to the bottom of which must be fixed a small piece of black silk, that may be either drawn aside or expanded by turning the stone round. Under the silk is to be the figure of a small card.

Then make a person draw the same sort of card as that at the bottom of the ring, and tell him to burn it in the candle. Having first shown him the ring, you take

(b) The cards may be divided in any other manner that is easy to be remembered. take part of the burnt card, and reducing it to powder, you rub the stone with it, and at the same time turn it artfully about, so that the small card at bottom may come in view.

3. To change one card into another.—Provide a mahogany tea caddy about four or five inches deep, and long enough to admit a common sized playing card (see fig. 9.). This caddy must be furnished with a moving false bottom B, moveable upon hinges on the inside edge of the front A. This bottom may be made of brass, tin, or lead; and the false bottom must be so exactly fitted, that it cannot, from a slight view, be distinguished from the other. The inside of both caddy and false bottom ought to be lined with black or other dark-colored cloth or velvet, so that it may not make any noise in falling down. It would be proper that the false bottom should rise with a spring towards the front, and it must be kept tight with a brass spring-catch (a, fig. 10.) screwed to the left side of the box near the top, and which is hid by the cloth covering. The end of this spring projects a little into the front. It is driven back, to let go the false bottom, by means of a small bent wire bb let into the front of the caddy; and this pin is moved by the bolt c, which, when the box is locked, shoots out against it, by reason of the spring being driven in; by which means the bottom springs down, and covers the card placed in the box.

Before you attempt to show any trick with this caddy, a card must be placed in the inside between the front A and the false bottom B, springing up the bottom afterwards against the front; after which it is ready for use, and shown openly to the company without any danger of a discovery.

Two persons may now be desired to draw two different cards from a pack, one of which must be the same with the one concealed in the caddy. Taking this card from the person who drew it, you put it in the pack, pretend to shuffle it, but keep the card either uppermost or undermost, so that you can easily find it afterwards. Desiring then the other person to come forward and put his card very attentively into the caddy, you in the mean time secretly convey away from the pack the card drawn by the other; then, giving him the key, you desire the caddy to be locked up. After some pretended conjurations, desire him to unlock it again and take out the card; which he will find not to be his, but that drawn by his neighbour; his card being apparently vanished from the caddy, as the other is from the pack.

4. Provide two pieces of pasteboard A and B (fig. 11.) of equal dimensions, 3½ inches long and three broad. Place these beside one another, as shown in the figure. Take then a very smooth silk ribbon, and put a band of it from C to E towards the edge of the pasteboard A, and another from D to F in such a manner as to come beyond the pasteboard, and to admit of being folded over at the two ends. This must be glued on the back of the board A at the places C and D, and at the back of the board B at the places E and F. Place two other bands in a similar manner on the pasteboard B, turning them over on the back of the same board at the places I and L, and at the back of A at the places G and H. These two bands should fall in the inside of the pasteboard, according to the breadth of the ribbons. The two pasteboards being now placed the one upon the other, will form a kind of portfolio, one of the sides of which will always be hinged when the other is opened. Four small bands of the same ribbon are to be put at the four extremities of the sides MNQR of the two pieces of pasteboard y observing that they pass below the bands already placed. Glue their ends in the same manner as their ends at the back of the boards, ornamenting also the two sides O and P of the pasteboard B with pieces of the same ribbon; but these six last bands are of no use in the performance.

Two pieces of paper folded like the cover of a letter must now be provided, large enough to cover the two ribbons GI and HL, as well as the space contained within them. Glue one of these upon the two ribbons, and apply the other below this; so that the uppermost of these two wrappers may fall exactly over the other, inclosing and hiding the two ribbons entirely. A second portfolio similarly constructed is now to be provided, and both of them covered with coloured paper from the sides where the ribbons are glued and folded.—The deceptions with these portfolios are as follows.

1. Two cards, chosen at random, having been shut up in two separate places; to make them pass reciprocally from the one into the other.—The portfolios being constructed in the manner above described; if you open one of them either on the one side or on the other, one of the paper wrappers will always be visible; and thus it will naturally be supposed that there is no more but one. Having then secretly inclosed a card in each of the wrappers of the portfolios, procure a pack of cards that has but two sorts, and cause two persons fairly draw two cards similar to the first. Present then a portfolio, open, to the first person who drew a card similar to that which was placed in the second, desiring him to place it in the wrapper which he finds vacant. Take back then the portfolio; and, in placing it on the table, artfully turn it over; having placed likewise in the vacant wrapper of the second portfolio the card drawn by the second person; and putting it in the same way upon the table, command the cards reciprocally to pass from the one portfolio into the other; and open them so that each of the persons may take out the card which the other inserted.

2. A card being shut up in the portfolio; to make it return into the pack.—To perform this, procure a pack which has two cards of the same kind. One of these is to be openly drawn, and the person who has done so must be told to shut it up under the wrapper of one of the portfolios; and inform him that you will make it return into the pack. Give him the portfolio to blow upon; and on opening it, present him with the empty wrapper, to show him that his card is not there; after which, presenting him with the pack, he will find there the other card, which he will naturally imagine to be the one he put into the wrapper.

3. To make an answer appear to a question secretly written. Transcribe on different cards a certain number of questions, and on others the same questions with their answers; taking care to have the handwriting as much alike as possible, so that no difference can easily be perceived. The same caution must be observed with regard to the cards themselves; which, for that reason, ought ought to be plain ones. Having written with a pencil at the bottom of the first questions their corresponding answers, shut up one of them secretly in the portfolio; and presenting them to any person, let him draw as by chance that which is similar to the one thus shut up. Make him then place in the other wrapper the question which he had drawn; and telling him that you are about to write an answer even through the portfolio, take a glass, and pretend to read in it the answer to the question. Open it afterwards, so that he may take out the other card himself, and he will imagine it to be the one he selected.

In performing this trick, it will be proper to have a portfolio of the same kind with the two described, which opens only at one side, and which consequently has but one wrapper. This must be shown to such as seem to be too inquisitive, and will be of use to prevent them from entertaining any idea that the folio opens upon both sides. The former must therefore be immediately put into the pocket, in order to give an opportunity of drawing out the other in case the portfolio should be asked for.

15. Provide a mirror, either round, as A (fig. 18.), or oval, the frame of which must be at least as wide as a card. The glass in the middle must be made to move in the two grooves CD and EF, and so much of the quicksilver must be scraped off as is equal to the size of a common card. You will observe that the glass must likewise be wider than the distance between the frame by at least the width of a card.

Then paste over the part where the quicksilver is rubbed off a piece of pasteboard, on which is a card that must exactly fit the space, which must at first be placed behind the frame.

This mirror must be placed against a partition, through which is to go two strings, by which an affiant in the adjoining room can easily move the glass in the grooves, and consequently make the card appear or disappear at pleasure (c).

Matters being thus prepared, you contrive to make a person draw the same sort of card with that fixed to the mirror, and place it in the middle of the pack; you then make the pass, and bring it to the bottom; you then direct the person to look for his card in the mirror, when the confederate behind the partition is to draw it slowly forward, and it will appear as if placed between the glass and the quicksilver. While the glass is drawing forward, you slide off the card from the bottom of the pack, and convey it away.

The card fixed to the mirror may easily be changed each time the experiment is performed. This experiment may also be made with a print that has a glass before it and a frame of sufficient width, by making a slit in the frame through which the card is to pass; but the effect will not be so striking as in the mirror.

16. Place a vase of wood or pasteboard AB (fig. 19.) on a bracket L, fixed to the partition M. Let the inside of this vase be divided into five parts, c, d, e, f, g; and let the divisions e and d be wide enough to admit a pack of cards, and those of e, f, g, one card only.

Fix a thread of silk at the point H, the other end of which passing down the division d, and over the pully I, runs along the bracket L, and goes out behind the partition M.

Take three cards from a piquet pack, and place one of them in each of the divisions e, f, g, making the silk thread or line go under each of them. In the division e, put the pack of cards from which you have taken the three cards that are in the other divisions.

Then take another pack of cards, at the top of which are to be three cards of the same sort with those in the three small divisions; and making the pass, bring them to the middle of the pack, and let them be drawn by three different persons. Then give them all the cards to shuffle; after which place the pack in the division d, and tell the parties they shall see the three cards they drew come, at their command, separately out of the vase.

An affiant behind the partition then drawing the line with a gentle and equal motion, the three cards will gradually rise out of the vase. Then take the cards out of the division e, and show that those three cards are gone from the pack.

The vase must be placed so high that the inside cannot be seen by the company. You may perform this experiment also without an affiant, by fixing a weight to the end of the silk line, which is to be placed on a support, and let down at pleasure by means of a spring in the partition.

17. Let a small perspective glass be made, that is wide enough, at the end where the object-glass is placed, to hold a table similar to the following.

| | | | |---|---|---| | 1 | 31 | 10 | 132 | 19 | 133 | | 2 | 31 | 11 | 232 | 20 | 233 | | 3 | 31 | 12 | 332 | 21 | 333 | | 4 | 121 | 13 | 122 | 22 | 123 | | 5 | 221 | 14 | 222 | 23 | 223 | | 6 | 321 | 15 | 322 | 24 | 323 | | 7 | 111 | 16 | 112 | 25 | 113 | | 8 | 211 | 17 | 212 | 26 | 213 | | 9 | 311 | 18 | 312 | 27 | 313 |

Take a pack of cards that consists of 27 only, and giving them to a person, desire him to fix on any one, then shuffle them, and give the pack to you. Place the 27 cards in three heaps, by laying down one alternately on each heap; but before you lay each card down, show it to the person, without seeing it yourself; and when the three heaps are finished, ask him at what number, from 1 to 27, he will have his card appear.

(c) This experiment may be performed without an affiant, if a table be placed against the partition, and the string from the glass be made to pass through a leg of it, and communicate with a small trigger, which you may easily push down with your foot; and at the same time wiping the glass with your handkerchief, as if to make the card appear the more conspicuous. It may also be diversified, by having the figure of a head, suppose that of some absent friend, in the place of the card. appear, and in which heap it then is? Then look at the heap through the glass, and if the first of the three numbers which stands against that number it is to appear at be 1, put that heap at top; if the number be 2, put it in the middle; and if it be 3, put it at bottom. Then divide the cards into three heaps, in the same manner, a second and third time, and his card will then be at the number he chose.

For example: Suppose he desire that his card shall be the 20th from the top, and the first time of making the heaps he say it is in the third heap: you then look at the table in the perspective, holding it at the same time over that heap, and you see that the first figure is 2; you therefore put that figure in the middle of the pack. The second and third times you in like manner put the heap in which he says it is, at the bottom, the number each time being 3. Then looking at the pack with your glass, as if to discover which the card was, you lay the cards down one by one, and the 20th card will be that he fixed on.

You may show the person his card in the same manner, without asking him at what number it shall appear, by fixing on any number yourself.

The foregoing experiments with the cards will be found sufficient to explain most others of a similar nature that have or may be made: the number of which is very great. To perform those we have described requires no great practice; the two principal points are, the making the pass in a dexterous manner, and a certain address by which you influence a person to draw the card you present. Those that are performed by the long card are in general the most easy, but they are confined to a pack of cards that is ready prepared; whereas those which depend on making the pass, may be performed with any pack that is offered.

Sect. III. Experiments with Sympathetic Inks.

[See Sympathetic Ink.]

Experiments with Class I.

1. Make a book of 70 or 80 leaves; and in the cover at the end of it let there be a case, which opens next the binding that it be not perceived.

At the top of each right hand page write any question you please; and at the beginning of the book let there be a table of all those questions, with the number of the page where each is contained. Then write with common ink, on separate papers, each about half the size of the pages in the book, the same questions that are in the book, and under each of them write, with the ink made of the impregnation of tartar, or the dissolution of bismuth, the answer.

Soak a double paper in the vivifying liquor made of quicklime and orpiment, or the phlogiston of the liver of sulphur, and place it, just before you make the experiment, in the case that is in the cover of the book.

Then deliver some of the papers on which the questions are wrote to the company; and, after they have chosen such as they would have answered, they put them in those leaves where the same questions are contained, and, shutting the book for a few minutes, the sulphureous spirit with which the paper in the cover of the book is imbued, will penetrate the leaves, and make the answers visible, which will be of a brown colour, and more or less deep in proportion to the time the book has been closed (d).

2. Make a box about four inches long, and three wide, as ABCD, and quite shallow. Let it shut with yellow hinges and fasten with a hook; and let it have two bottoms, the lowest of wood, that draws out by a groove, and the uppermost of pasteboard. Between these two bottoms is to be placed a paper dipped in the vivifying liquor mentioned in the last experiment. Let there be also a board of the same size with the inside of the box, which being placed in it may press a paper against the pasteboard bottom.

Then take several pieces of paper, of the same size with the inside of the box, and draw on them the figures of men and women, in different attitudes and employments, as walking, riding, reading, writing, &c. These figures must be drawn with a new pen, or pencil, dipped in the impregnation of Saturn.

Being thus provided, and having privately placed the paper dipped in the vivifying liquor between the two bottoms, you tell a person you will show him what an absent friend of his is doing at the present hour. You then give him the paper adapted to the employment you intend, and tell him to write his friend's name at the bottom, that you may not change the paper. Then placing that paper next the pasteboard bottom, and putting the piece of wood over it, you shut the box. After amusing him with discourse for three or four minutes, you take out the paper, when he will see his friend in the employment you have assigned him.

3. Let a workman make a hand of wood, as in fig. The artist fixed at the end next the elbow to the piece E, the ends of which go through the screws CD and EF. The fore and middle fingers, and the thumb, are to be moveable at their joints. There must go a wire through the arm, that is fixed at one end to the forefinger, and at the other to the piece E, round which it is to move: under the two joints of the two fingers are also placed two small springs, which are to raise it up.

To the fore-finger and thumb fix two small rings, through which a pen may be put, so as not to impede their motion. Under the arm at the point I, place a small brass roller, which serves to sustain the arm.

The pedestal on which this hand is placed must be at least a foot long, if the hand be of the natural size, and about eight inches wide. This pedestal must be hollow, and at the part ST there must be an opening about three inches long and two inches wide; the whole pedestal may be covered with a thin stuff, by which the hole will be concealed. There is to be a valve, or sort of trap-door, on the inside of the pedestal, which is to fasten against the opening.

Over the hand and pedestal place a glass frame, as in the figure: cover the hand with fine leather of flesh colour, and decorate the arm with a ruffle and cuff, which will entirely conceal the machinery.

Then take a number of cards, and write on them different questions; and on the same number of papers write,

(d) If a weight be placed upon the book, the effect will be the sooner produced. Or you may put the book in a box that will press it close down. write, with the impregnation of lead, the answers. Give the cards to anyone, and let him choose a question; and you place the paper with the answer under the pen in the hand, letting him first see there is no writing on it (e). Now the pedestal being placed against a partition, the end F is to go through it. Therefore an assistant, upon a signal given, turns a handle fixed to F; and, as the piece E turns round, the wires that move the fingers and thumb are alternately lengthened and shortened, by which their joints are kept in continual motion; and the screw at the same time turning gently from F towards G, gives the whole arm a motion which very much resembles that of nature (r).

The hand and pen serve here merely to assist the illusion; but if a bit of sponge, dipped in the vivifying liquor, be placed at the end of the pen, as it goes over the writing on the paper, it will make it become gradually visible, and in this case the trap-door and dipped paper may be omitted (c).

**Deception with Class II.**

4. Take several pieces of paper, of a size that you can put in any book that will go into your pocket, and write at the top of each of them a question, with common ink, and under it write the answer with the solution of gold or silver. Give any of these papers, closely wrapped up, to a person, and tell him to place it against the wall of his chamber, and keeping the door locked he will next day find the answer wrote on it.

As the gold ink will sometimes give a yellow cast to the paper, you may previously give a slight tincture of that kind to the papers you use for this purpose.

**Deception with Class III.**

5. On different papers draw the figures of several vegetables, leaves or flowers with one of the colourless juices mentioned; then take one of the corresponding leaves or flowers, and laying it on an iron plate, over a chafing-dish of hot coals, let it burn to ashes. Put these ashes into a sieve, in which there is some very fine steel-filings, and sift them over the paper on which the flower is drawn, when they will adhere to the glutinous liquor, and form an exact representation of the figure of the leaf or flower.

**Deceptions with Class IV.**

6. Make a little triangular box, each side of which is to be about five inches, and let its inside be divided into three parts. The first part A, which makes the bottom of the box, is to be covered by the second part B, in form of a case, and let the top C exactly cover the part B, as is expressed in the figure and the profiles.

Upon the bottom of the box let there be a plate of copper, about one-twentieth of an inch thick, on which let there be a number of hieroglyphic characters contiguous to each other, and cut in different sorts of metal.

On the top of the cover place a knob O, that goes through it, and to which the copper triangle Q is to be fixed occasionally, in such manner as it may go into the case B. There must be a space of one quarter of an inch between the triangle Q and the bottom of the case B; into which another plate of copper, of that thickness, may be placed.

The outside of this talisman may be decorated with uncommon figures or characters, to give it the appearance of greater mystery.

On several pieces of paper, of the same size with the inside of the talisman, write different questions in common ink, and write the answers in those different sorts of sympathetic ink that appear when heated, observing that each word of the answer is to be wrote in a different ink.

Having properly heated the triangle, and placed it under the cover, you introduce the talisman, and tell any one of the company to choose one of the papers on which the questions are wrote, and place it in the talisman, and he will immediately have an answer wrote on that paper, the words of which will be of different colours, according to the different metals of which the talisman is composed. The paper being placed in the talisman, and the cover placed over it, the heat of the triangle will make the answer visible in a few moments. This experiment may be repeated if the triangle be made sufficiently hot; and two papers may be placed in the talisman at the same time.

This deception, when well executed, occasions a surprise that cannot be conceived by a mere description.

7. Make a wooden pedestal AB, about ten inches long, eight wide, and one deep; and at one end erect fig. 5 a box C, about ten inches high, eight broad, and two and a half deep.

The top of the pedestal must slide in a groove, on which inscribe a dial M, of six inches diameter, and which is to be divided into nineteen equal parts, in twelve of which write the names of the months, and mark the respective signs of the zodiac; and in the seven other divisions, which must be next the end B, write the days of the week, and mark the figures of the planets. Next the inner circle NO, make an opening into the box, of about one tenth of an inch. On the centre of the dial place an index that turns freely on its centre.

Within the pedestal place a pulley P, about four inches diameter, which is to turn on an axis that is directly

(e) The paper dipped in the vivifying liquor is to be previously placed against the opening in the table, and supported by the trap-door.

(f) This might be performed without an assistant, by means of a trigger placed in the leg of the table, and communicating with the handles, which the operator might thrust down with his foot. Where expense is not regarded, there may be a complete figure of a man in wood, or plaster of Paris, seated by the table.

(g) You may also have a glass ink stand, with some of the vivifying liquor, into which the pen may be dipped, and it will then appear to write with common ink. The spectators should not be permitted to come very near this machine, which may be applied to several other purposes. directly under the centre of the dial; and on the upper part of that axis fix a bent index R, which comes out at the opening made by the inner circle (ii), and passes over those seven divisions only on which are wrote the days of the week.

Within the box C, let there be two rollers S and T, as in the figure: let that of S contain a spring; and at the end of T let there be a pulley V, of three quarters of an inch diameter, round which goes a string or thread that passes under the small pulley X, and is fastened to that of P; so that when the last pulley makes about one-third of a turn, that of V may make three or four turns.

There must also be a scroll of paper, about two feet long, and each end of which must be pasted to one of the rollers. In the front of the box, between the two rollers, make an aperture D, about four inches long, and one inch and a half wide: to this opening let there be a little flap or slider, by which it may be closed at pleasure.

The apparatus being thus disposed, place the index R successively against each of the divisions marked with one of the planets; and as the paper is gradually wound up the roller, mark, against that part which is at the aperture D, the name of one of the following sibyls:

- The Hellefountainian - Cumean - Artemisian - Phrygian - Albunean - Persian - Libyan

On each of the seven cards write a different question, and draw one of the seven planets. Next, take a memorandum book that contains seven leaves, and on each of them write the name of one of the foregoing sibyls; in each of the leaves place several pieces of paper, and on each of them write, with the sympathetic ink that does not appear till the paper is heated, different answers to the same question.

Then give a person the seven cards on which the questions are wrote, and tell him to choose one of them privately, and conceal the rest, so that it cannot possibly be known which of them he has chosen.

Next, tell him to place the index that points to the month against that in which he was born (1), and to place the index of the planets against that which is on the card he has chosen, and which is to preside over the answer: you tell him to do this privately, that no one may see him, and after that to cover the dial with his handkerchief. Then let him open the door that is before the aperture in the box, and tell you the name of the sibyl there visible.

You then open the memorandum-book, and taking out the papers that are in the leaf where the name of the sibyl just mentioned is wrote, you desire him to choose any one of them he thinks proper. The talisman used in the last experiment being properly heated, is then to be introduced, when you direct the person to put the blank paper into it; and taking it out a few moments after, he will find the answer to his question.

To make this operation appear the more extraordinary, it will be proper to have a small press or cupboard, at the back of which there is a door that opens into an adjoining room, by which means an assistant having prepared the talisman, may place it in the cupboard the moment before it is wanted. This contrivance will be useful on many other occasions.

8. Provide an urn of wood or metal about six inches high, and two and a half diameter in the widest part, and of such figure in other respects as you think proper (see fig. g.). Let there be a cylinder of copper C, (fig. i.) of about one-eighth of an inch diameter, which is to fill a hole A.B made in the urn. The top of this cylinder is to be in the top of the urn, so that it may be easily taken out. To this urn there must be a cover D, which fits it exactly.

On a small square piece of paper draw the figure of a flower or leaf, with that fort of sympathetic ink whose colour most resembles it. You then present several sorts of flowers or leaves to a person, and desire him to choose any one of them. Then put that flower on a chafing dish of hot coals; and, taking the paper on which it is secretly drawn, you give it to the person to examine, and then put it in the urn, having previously heated the cylinder (k). Then taking some of the ashes of the burnt flower, you throw them over the paper, after which you take it out and show the company the figure of that flower. While the flower is burning, you may sprinkle some powder over it, suppose that of saltpetre; and by that, mixed with the ashes of the flower, the company may imagine the effect is produced.

The press or cupboard mentioned in the preceding experiment, will be here very convenient for heating the cylinder and placing it in the urn. A similar deception may be performed by putting the paper in a copper vessel, that may be placed on an iron plate over the chafing dish in which the flower is burnt. But this method has not so mysterious an appearance as the other, and in some persons may cause a suspicion that the effect is produced by heat.

9. To perform this experiment, you must observe, that there are several letters which may be changed verbatim into others, without any appearance of the alteration; as, the a into d, the c into a, e, d, g, o, or q, the i into b, d, or l, the l into t, the o into a, d, g, or q, the v into y, &c.

Take a parcel of cards, suppose zo, and on one of them write, with the ink of the fourth class, the word law (l), and on the other, with the same ink, the words old woman; then holding them to the fire, they will both become visible. Now you will observe, that

---

(h) If the axis be made to pass through the top of the pedestal, this opening will not be necessary. (i) These months and the index are of no other use than to give the experiment an air of greater mystery. (k) There are some sorts of sympathetic inks that require much more heat than others. (l) These letters should not be joined. by altering the a in the word law into d, and adding o before the l, and oman after the w, it becomes old woman. Therefore, you make those alterations with the invisible ink, and let it remain so. On the rest of the cards you write any words you think fit.

Present the cards in such a manner to two persons, that one of them shall draw the word law, and the other the words old woman. You then tell the person who drew the word law, that it shall disappear, and the words on the other card shall be wrote in its place; and that you may not change the cards, desire each of the parties to write his name on his card. Then putting the cards together, and holding them before the fire, as if to dry the names just wrote, the word law will presently change into old woman.

This experiment may be varied by fixing on a word that may be changed into three other words, and making four persons draw the cards on which these words are wrote; and it may be further diversified by choosing three such words, as that the first can be changed into the second, and the second into the third. You then tell him who drew the first word, that it shall be changed into that drawn by the second person; and him you tell, that his word shall be changed into that of the third person.

10. Write on several slips of paper different questions, and such as may be answered by the name of some person; for example, Who is the merriest man in the company? Answer, Mr ***. To whom will Miss *** be married? Answer, To Mr ***. These questions are to be wrote in the sympathetic ink of this class, and exposed to the fire, and the answers wrote in the same ink, and left invisible. The papers are to be folded in form of letters, and in such manner that the part where the name is wrote shall be directly under the seal, and the heat of the wax will make it visible. Then give the letter to the person who requires the answer, and he will find it plainly wrote.

A deception similar to this may be made with a number of blank cards, on each of which an ace of spades is drawn with the invisible ink; then let a person choose any one of them, and include it in a letter-case, prepared in such manner that the figure of the ace shall be directly under the seal, and on opening the letter it will be immediately visible.

Deceptions with Class V.

11. Have a box that is divided into three parts, after the same manner as the talisman in the 21st experiment, except that, instead of being triangular, it must be of a long square (see fig. 14.) Divide its top B into two equal parts D and E, as in fig. 13, and to the part D adjust a plate of copper L, about one quarter of an inch thick, and under both the plate L and the opening E place a cloth. The upper part C must have a button by which it may be fixed on the cover B, so as to appear of one piece with it.

At the bottom of the box place a piece of cloth, or other stuff, on which you may stamp certain mysterious characters, and observe that the bottom of the cover must rest upon this cloth.

Then provide a slip of paper GH (fig. 12.) of the same size with the bottom of the box; and at each end of it write, with the green sympathetic ink, the name of a different card, and make some private mark by which you can tell at which end each name is wrote (m).

Take a parcel of cards, and offer those two of them whose names are wrote on the paper to the two persons, that they may draw them. You tell the parties to keep their cards to themselves, and you propose to make the names of those cards appear upon a slip of paper, which you put into the box. You then ask which name of the two cards shall appear first. The copper-plate being previously heated and placed in the cover, you put it over that end of the paper on which is the name required, and it will presently appear. Then taking the paper out and showing the name wrote, you put it in again, turning the other end to the side of the box where the plate is, and it will in like manner become visible.

The first name may be made to disappear at the same time that the second appears, if the cloth at the end opposite to that where the plate is be made damp.

12. Take a print that represents winter, and trace Winter over the proper parts of the trees, plants, and ground, charged with the green sympathetic ink; observing to make some parts deeper than others, according to their distance. When those parts are dry, paint the other objects with their natural colours. Then put the print in a frame with a glass, and cover the back of it with a paper that is paled over its border only.

When this print is exposed to the heat of a moderate fire, or to the warm rays of the sun, all the grass and foliage will turn to a pleasing green; and if a yellow tint be given to some parts of the print, before the sympathetic ink be drawn over, this green will be of different shades; and the scene that a minute before represented winter, will now be changed to spring. When this print is placed in the cold, winter will again appear, and will again be driven away by the warm rays of the sun. This alternate change of seasons may be repeated as often as you please; remembering, however, as was before observed, not to make the print at any time too hot, for then a faded autumn will forever remain.

Deceptions with Class VII.

13. Provide a number of artificial flowers, such as roses, jonquils, pinks, or any other you find convenient bound. These flowers must be made of white thread or quills, silk, and their leaves of parchment. Dip the roses in the red sympathetic ink, the jonquils in the yellow, the pinks in the violet, and their leaves in a solution of salt of tartar. When they are all dry, form them into small bouquets, which will all appear white, and may be used in this experiment, either the day they are dipped, or several days after.

You take one of these bouquets, and after showing

(m) That there may be no suspicion of the paper being prepared, you may cut it from a whole sheet, before the company, having previously wrote the names. the company that every part of it is white, you dip it in an infusion of any of the blue flowers mentioned under the article Colour-Making, no 13, and, drawing it presently out, all the flowers and leaves will appear in their natural colours (n).

14. Write on a paper, with the violet liquor, as many letters or words as you please; and ask any person whether he will have that writing turn to yellow, green, or red.

Have a sponge with three sides that you can readily distinguish, and dip each of its sides in one of the three sympathetic inks. Draw the side of the sponge that corresponds to the colour the person has chosen, over the writing once only; and it will directly change to the colour required (o).

Sect. III. Miscellaneous Performances.

15. A person having an even number of counters in one hand, and an odd number in the other, to tell in which hand the odd or even number is. Let the person multiply the number in his right-hand by an odd number, and the number in his left-hand by an even number, and tell you if the sum of the products added together be odd or even. If it be even, the even number is in the right hand; but if it be odd, the even number is in the left hand.

Example.

1. Number in the right hand 18 In the left 7

Multipliers 3 2

54 14

Their sum 68

2. Number in the right hand 7 In the left 18

Multipliers 3 2

21 36

Their sum 57

16. To tell, by the dial of a watch, at what hour any person intends to rise. Let the person set the hand of the dial to any hour he pleases, and tell you what hour that is; and to the number of that hour you add, in your mind, 12. Then tell him to count privately the number of that amount upon the dial, beginning with the next hour to that on which he proposes to rise, and counting backwards, first reckoning the number of the hour at which he has placed the hand. An example will make this plain.

Suppose the hour at which he intends to rise be 8, and that he has placed the hand at 5. You add 12 to 5, and tell him to count 17 on the dial, first reckoning 5, the hour at which the index stands, and counting backwards from the hour at which he intends to rise; and the number 17 will necessarily end at 8, which shows that to be the hour he chose.

That the hour at which the counting ends must be that on which he proposed to rise, will be evident on a little reflection; for if he had began at that hour and counted 12, he would necessarily have come to it again; and calling the number 17, by adding 5 to it, only serves to disguise the matter, but can make no sort of difference in the counting.

17. If the number 11 be multiplied by any one of the nine digits, the two figures of the product will always be similar. As follows:

| | | | | | | | | |---|---|---|---|---|---|---|---| | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |

Place a parcel of counters on a table, and propose to any one to add, alternately, a certain number of those counters, till they amount to 100, but never to add more than 10 at a time. You tell him, moreover, that, if you stake first, he shall never make the even century, but you will. In order to which, you must first stake 1, and remembering the order of the above series, 11, 22, 33, &c., you constantly add, to what he stakes, as many as will make one more than the numbers of that series, that is, as will make 12, 23, 34, &c. till you come to 89, after which the other party cannot make the century himself, nor prevent you from making it.

If the other party has no knowledge of numbers, you may stake any other number first, under ten, provided you take care to secure some one of the last terms, as 56, 67, 78, &c.

This deception may be performed with other numbers; and in order to succeed, you must divide the number to be attained by a number that has one digit more than what you can stake each time, and the remainder will be the number you must first stake. Observe, that, to be sure of success, there must be always a remainder. Suppose, for example, the number to be attained is 52, making use of a pack of cards instead of counters, and that you are never to add more than 6; then divide 52 by the next number above 6, that is, by 7, and the remainder, which is 3, will be the number you must stake first; and whatever the other stakes, you must add as much to it as will make it equal to the number by which you divided, that is, 7. Therefore, if his first stake be 1, you must stake 6, &c. so that your second stake will make the heap 10, your third stake will make it 17, and so on, till you come to 45, when, as he cannot stake more than 6, you must make the number 52.

In this, as in the former case, if the other person has no knowledge of numbers, you may stake any number first under 7; or you may let him stake first, only taking care to secure either of the numbers 10, 17, 24, 31, &c. after which he cannot make 52, if

(n) The liquor should be put in a sort of jar with a narrow neck, that it may not be seen by the company; and you should draw the flowers gently out, that the liquor may drop if thin, and they may have time to acquire their colours.

(o) The sponge should be well cleaned immediately after the experiment. you constantly add as many to his stake as will make it 7.

To tell what number a person privately fixes on.

18. A person privately fixing on any number, to tell him that number. After the person has fixed on a number, bid him double it and add 4 to that sum, then multiply the whole by 5; to the product let him add 12, and multiply the amount by 10. From the sum of the whole let him deduct 320, and tell you the remainder; from which if you cut off the two last figures, the number that remains will be that fixed on.

Example.

Let the number chosen be

Which doubled is

And 4 added to it, makes

Which multiplied by 5, gives

To which 12 being added, it is

That multiplied by 10, makes

From which deducting 320, the remainder is

And by striking off the two cyphers, it becomes the original number

19. Three dice being thrown on a table, to tell the number of each of them, and the order in which they stand.

Let the person who has thrown the dice double the number of that next his left hand, and add 5 to that sum; then multiply the amount by 5, and to the product add the number of the middle die; then let the whole be multiplied by 10, and to that product add the number of the third die. From the total let there be subtracted 250, and the figures of the number that remains will answer to the points of the three dice as they stand on the table.

Example. Suppose the points of the three dice thrown on the table to be 4, 6, and 2,

Then the double of the first die will be

To which add

That sum multiplied by 5 will be

To which add the number of the middle die

And multiply the sum by

To that product add the number of the third die

From the total

Subtract

And the three remaining figures will answer to the numbers on the dice, and show the order in which they stand.

20. Some person in company having put a ring privately on one of his fingers; to name the person, the hand, the finger, and the joint, on which it is placed. Let a third person double the number of the order in which he stands who has the ring, and add 5 to that number; then multiply that sum by 5, and to the product add 10. Let him next add 1 to the last number if the ring be on the right hand, and 2 if on the left, and multiply the whole by 10; to this product he must add the number of the finger (counting the thumb as the first finger), and multiply the whole again by 10. Let him then add the number of the joint; and, lastly, to the whole join 35.

He is then to tell you the amount of the whole, from which you are to subtract 3535, and the remainder will consist of four figures, the first of which will express the rank in which the person stands, the second the hand (the number 1 signifying the right hand, and 2 the left), the third number the finger, and the fourth the joint.

Example. Suppose the person who stands the third in order has put the ring upon the second joint of the thumb of his left hand; then

The double of the rank of the third person is

To which add

Multiply the sum by

To which add

And the number of the left hand

Which being multiplied by

To which add the number of the thumb

And multiply again by

Then add the number of the joint

And lastly the number

From which deducting

The remainder is

Of which, as we have said, the 3 denotes the third person, the 2 the left hand, the 1 the thumb, and the last 2 the second joint.

21. Cover the outside of a small memorandum-book with black paper, and in one of its inside covers make writing a flap, to open secretly, and observe there must be nothing over the flap but the black paper that covers the book.

Mix foot with black or brown soap, with which rub the side of the black paper next the flap; then wipe it quite clean, so that a white paper pressed against it will not receive any mark.

Provide a black-lead pencil that will not mark without pressing hard on the paper. Have likewise a small box, about the size of the memorandum-book, and that opens on both sides, but on one of them by a private method. Give a person the pencil, and a slip of thin paper, on which he is to write what he thinks proper; you present him the memorandum-book at the same time, that he may not write on the bare board. You tell him to keep what he writes to himself, and direct him to burn it on an iron plate laid on a chafing-dish of coals, and give you the ashes. You then go into another room to fetch your magic box above described, and take with you the memorandum-book.

Having previously placed a paper under the flap in the cover of the book, when he presses hard with the pencil, pencil, to write on the paper, every stroke, by means of the stuff rubbed on the black paper, will appear on that under the flap. You therefore take it out, and put it into one side of the box.

You then return to the other room, and taking a slip of blank paper, you put it into the other side of the box, throwing the ashes of the burnt paper over it. Then shaking the box for a few moments, and at the same time turning it dexterously over, you open the other side, and show the person the paper you first put in, the writing on which he will readily acknowledge to be his.

22. Take two guineas and two shillings, and grind part of them away, on one side only, so that they may be but half the common thickness; and observe that they must be quite thin at the edge: then rivet a guinea and a shilling together. Lay one of these double pieces, with the shilling upwards, on the palm of your hand, at the bottom of your three first fingers; and lay the other piece, with the guinea upward, in like manner, in the other hand. Let the company take notice in which hand is the guinea, and in which the shilling. Then as you shut your hands, you naturally turn the pieces over; and when you open them again, the shilling and the guinea will appear to have changed their places.

23. Provide a round tin-box, of the size of a large snuff-box; and in this place eight other boxes, which will go easily into each other, and let the least of them be of a size to hold a guinea. Each of these boxes should shut with a hinge; and to the least of them there must be a small lock, that is fastened with a spring, but cannot be opened without a key: and observe that all these boxes must shut so freely, that they may be all closed at once. Place these boxes in each other, with their tops open (see fig. 12.), in the drawer of the table on which you make your experiments; or, if you please, in your pocket, in such a manner that they cannot be displaced.

Then ask a person to lend you a new guinea, and desire him to mark it, that it may not be changed. You take this piece in one hand, and in the other you have another of the same appearance; and putting your hand in the drawer you slip the piece that is marked into the least box, and shutting them all at once, you take them out. Then showing the piece you have in your hand, and which the company suppose to be the same that was marked, you pretend to make it pass through the box, and dexterously convey it away.

You then present the box, for the spectators do not yet know there are more than one, to any person in company; who, when he opens it, finds another, and another, till he comes to the last, but that he cannot open without the key (see fig. 13.) which you then give him, and retiring to a distant part of the room, you tell him to take out the guinea himself, and see if it be that he marked.

This deception may be made more surprising, by putting the key into the snuff-box of one of the company; which you may do by asking him for a pinch of his snuff; and at the same time conceal the key, which must be very small, among the snuff: and when the person who is to open the box asks for the key, you tell him that one of the company has it in his snuff-box. This part of the deception may likewise be performed by means of a confederate.

24. ABCD, fig. 15, represents a small wooden box. The three seven or eight inches long, two and an half broad, magic piece and half an inch deep; the bottom of which, tures, by means of two cross-pieces, is divided into three equal parts. EFGH represents the lid, which is fastened to the bottom by a hinge, and has in front a small plate shaped like a lock, and two small eyes for hooks which serve to fasten it when it is shut. ILM are three small flexible springs, flat, and about ½ inch long. NOP are three wooden tablets of the same size, upon which are marked the figures 3, 4, and 5. The tablets are of different thicknesses, and the difference is so small as not to be perceived by the eye. The outside of the box is covered with flaggreen or morocco leather, and on the inside with silk taffeta; these coverings being indispensible necessary to hide the three small springs abovementioned. Fig. 14 shows the two hinges E and F bent close to the top of the lid ABCD; the piece of brass G, similar to a lock, being also curved to the lid. A small brass stud is riveted upon the end of each of these springs inserted into the lid, and passes through the curved part of each of the hinges and the lock; so that on the outside they appear as the heads of small pins which fasten them upon the lid. These small studs will be elevated more or less according to the thicknesses of the tablets, that may be shut up in each of the partitions in which they may be found placed; so that the tablet N elevates them more than the tablet O, and the latter less than P; though these elevations are but barely sensible to the sight or touch, and that by a person accustomed to look at or handle them. Thus it may be easily known in whatever order the tablets are placed, however carefully shut up; and consequently the numbers named as inclosed.

Give now the box to any indifferent person, leave him at liberty to form with the tablets any number he pleases, defining him to return the box well shut up; then taking the box, and determining by the touch, or rather by the eye, what order the tablets are in, it will be very surprising to hear you declare the number without seeing it.

N.B. It will still be equally possible to discover the number, though the tablets should be returned with the bottom upwards, or even though one should be withdrawn in order to defeat your design; particularly if care has been taken to make the studs remain even with the plates when a number is omitted.

25. To discover any particular counter which has been secretly placed within a box that turns upon it.—This table, rical table, which is made of wood, is represented by A, fig. 16. It is of an hexagonal shape, and about three or four inches diameter. For the sake of neatness in appearance, a proportionally sized pillar with a foot is fixed to it. Round a centre there turns a small round box B of about ¾ inch diameter in the inside, the lid of which takes off at B. At the bottom of this box, near the circumference in the inside, is fixed a brass pin to fit a hole made in a flat ivory counter shown at b, fig. 17. The pin and counter are represented in fig. 18, which is a flat view of fig. 16 with the lid of the box B taken off. Opposite to the pin A, in the same figure, D represents a fine dot designed as a secret mark on the outside of the box, which serves always as a guide to the number of the counter privately placed in the inside of the box, as is afterwards particularly explained. Upon one of the corners of the table is an ivory mark C, fig. 16. and 18., which serves to place the spot a upon the counters in its proper position. See fig. 17. There are 12 counters fitted to the box B, marked 10, 20, &c. as far as 120, on the middle of each. On each of these counters is the hole b, fig. 17. and 18., which goes over the pin in the bottom of the box; and on one side of this hole a red or black spot is placed in the following manner. When no 10 is put into the box, the spot must be so far to the left hand of the hole, that when it is brought to the mark C, fig. 18. the hole b will be opposite to the side marked 1. When no 20 is put in, the spot being brought to the mark C will carry the hole to the corner marked 2. When no 30 is put in, and the spot brought opposite to C, the hole will be brought against the side marked 3, as is shown in the figure, and so on for the rest. Therefore, as opposite to the brass pin, or hole in the counter on the outside of the box B, there is a secret mark D already mentioned, this must serve as an index to the number contained in the box, according as it is opposite to a side or corner of the table.

Give now the table with the box and the 12 counters to any person, and desire him to put one of the counters secretly into the box, keeping the rest to himself; and, after having placed the hole over the pin in the box, to place particularly, by turning the box round, the spot a against the mark C on the table. Let him then cover the box, give you the table, and keep the counters to himself. Observe then privately what side or corner the secret outside mark D stands against, reckon the tens accordingly, and tell him the number.

26. To draw out of the well with a bucket any one of four liquors which have been previously mixed and put into it.—Provide two tin cylinders of seven or eight inches height; the diameter of the largest, represented by AB fig. 19. to be four inches, and that of the least, CD, two inches. Place the small one within the larger, and connect them together by foldering to them four tin partitions, making the equal spaces e, f, g, h. Turn a piece of wood three inches thick, hollow withinside, and lined with tin, of which a section is given, fig. 20. Into this the exterior cylinder should be closely fitted at a and b. Another circle of wood (of which a section is given fig. 21.), hollowed at a, b, and c, is also to be procured, and which may cover exactly the space between the two cylinders; and, lastly, let the whole be constructed in such a manner, that when these three separate pieces are placed together, they may represent a well, as in fig. 22. The two bases or wooden pillars AA, with the axis and handle C, serve to let down and draw up a small glass bucket B, an inch and an half in diameter. Make also four tin reservoirs of the same height with the cylinder, and so shaped as to fill the four spaces e, f, g, h, (fig. 19.) which must be well closed at their extremities B and C. On the top of each make a small hole about the tenth part of an inch diameter, and folder at the base C a small tube D, the end of which should be bent towards the inside of the well when the reservoir is placed in it. Solder on the top of each reservoir a small spring lever and prop ABD, fig. 23. This spring will serve always to press the end of the lever D down upon the hole at the top of the reservoir B; and in order to cover it more perfectly, a small piece of leather is to be glued on to the end of the lever D. Lastly, a small peg or stud C is placed at the end of each of the levers, and which must be close to the under part of the wooden circle which covers the reservoirs. To conceal these studs, and at the same time to be able to press upon them with the fingers, circular apertures, as shown in fig. 21. must be made in the piece of wood, the top covered with a piece of vellum, and the whole neatly painted with oil-colour.

If now you plunge one of these reservoirs perpendicularly into any liquor, in pressing on the stud, so as to uncover the hole at the top, it will be filled with the liquor in proportion to the depth to which it is immersed; and as long as the lever continues to press upon the hole by means of the spring, the liquor cannot run out for want of air, though it will do so the moment the stud is pressed upon and the air admitted. If the reservoir is properly placed, then the liquor will flow out of it into the glass-bucket when let down to a proper depth.

Fill now the four reservoirs with the four different liquors; putting them in their places, and covering them with the circular top. Take a quantity of the same liquors, mix them well together, and pour the whole into the well; after which you may draw out any one which the company desires, by letting down the bucket, and pressing secretly upon the stud belonging to the reservoir which contains it, and which will thus discharge the liquor it contains.

27. Provide a small tin mortar, that is double, as the reservoir A (fig. 8.), whose bottom B turns round on an axis, tated flow-by means of a spring which communicates with the er. piece C. There must be a hollow space under the false bottom. To the under side of the bottom fasten, by a thread of fine silk, a flower, with its stalk and leaves.

Then take a flower that exactly resembles the other, and plucking it from the stalk, and all the leaves from each other, put them into the mortar, and pound them with a small pestle; after which you show the mortar to the company, that they may see the parts are all bruised.

Then taking the mortar up in your hands, you hold it over the flame of a lamp or candle, by whose warmth the flower is supposed to be restored; and at the same time pressing the piece at C, the bottom will turn round, the bruised parts descend into the space under the bottom, and the whole flower will be at top; you then put your hand into the mortar, and easily breaking the silk thread, which may be very short as well as fine, you take the flower out and present it to the company.

There is an experiment similar to this, in which a live bird is concealed at the bottom of the mortar, and one that is dead is pounded in it; after which, by the motion of the bottom, the live bird is set at liberty. But surely the pounding a bird in a mortar, though it be dead, must produce, in persons of any delicacy, more disgust than entertainment. 28. Procure a tin box ABCD (fig. 1.) about eight inches high, four wide, and two deep, and let it be fixed on the wooden stand E. On two of the insides let there be a groove FG; and in the front an opening I, three inches wide and one high.

At the back of the box let there be a little tin-door, that opens outward, by which two wax-candles M may be put in. Let the top of the box have a cover of the same metal, in which there are several holes, and which may be taken off at pleasure.

Provide a double glass OP (fig. 2.) constructed in the same manner as that in the last experiment. On one of its sides you are to paste a black paper, the length of which is to be divided into three parts, and the breadth into fifteen; in every two of these fifteen divisions you cut out letters, which will make in the whole three answers to three questions that may be proposed. On the other side of the glass paste a very thin paper, and to the top fasten a small cord, by which they may be made to rise or descend in the groove FG.

Then take a slip of pasteboard RS (fig. 3.), one inch and a half wide and three inches long, which is to be divided into fifteen equal parts similar to those of the paper OP, and cut out spaces, as in the figure, so that this paper, sliding horizontally before OP, will either cover or conceal the letters cut in that.

This pasteboard is to slide between two brass wires, and is to be fastened to one side of the box, by a string that communicates with a small brass spring; and to the other side, by a string fastened to the box by a small piece of wax, so situated that the string may be easily felt at liberty by the heat of the candles placed in the box.

Take a parcel of cards, and write on them different questions, three of which are to correspond with the answers on the glass. Shuffle these cards, and let a person draw any one of the three questions. Then by raising the glass you bring the answer against the hole in the front of the box. You next place the candles in the box, the heat of which will melt the wax that holds the paper RS, which being then drawn by the spring, the answer will be visible; and in proportion as the composition between the glasses becomes diluted by the increase of the heat, the letters will become more strongly illuminated.

The letters cut in the paper may be made to answer several different questions, as has been explained in other experiments; and the whole parcel of cards may consist of questions that may be answered by one or other of the three divisions in the paper.

29. Make a tin box ABCD (fig. 4.), with a flower ver M, that takes off. Let this box be supported by produced the pedestal FGHI, of the same metal, and on which there is a little door L. In the front of this box is to be a glass O.

In a groove, at a small distance from O, place a double glass of the same sort with that in the last experiment. Between the front and back glasses place a small upright tin tube supported by the cross-piece R. Let there be also a small chafing-dish placed in the pedestal FGHI. The box is to be open behind. You privately place a flower (q) in the tin tube R; and presenting one that resembles it to any person (r), defire him to burn it on the coals in the chafing-dish.

You then strew some powder over the coals, which may be supposed to aid the ashes in producing the flower; and then put the chafing-dish in the pedestal under the box. As the heat by degrees melts the composition between the glasses, the flower will gradually appear; but when the chafing-dish is taken away, and the power of the ashes is supposed to be removed, the flower soon disappears.

For entertaining experiments, illusions, &c. of a philosophical nature, see the articles Acoustics, Catoptrics, Chromatics, Dioptrics, Electricity, Hydrostatics, Magnetism, Pyrotechnics, &c.

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Leger-line, LEGER-LINE, in music, one added to the staff of Leghorn five lines, when the ascending or descending notes run very high or low: there are sometimes many of these lines both above and below the staff, to the number of four or five.