Hardin's Magic Brain

G-V UC-NRLF

1547
H8^4 *^ "^ ^^^
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA

The John J. and Hanna M. McManus
Morris N. and Chesley V. Young
Collection
"SLEIGHTS"

BURLING HULL

AMERICAN MAGIC CORPORATION
The White Wizard

At the Studio-
SLEIGHTS
BEING

A Number of Incidental Effects
Tricks, Sleights, Moves
and Passes
FOR PURPOSES RANGING FROM

Impromptu to Platform
Performances
by

Author of

"Expert Billiard Ball Manipulation"
"Master Sleights with Billinrd Balls"
"Bulletin of Latest Sleights and Tricks"
'Thirty-one Rope Ties and Chain Releases"
"Stage- Craft for Magicians"
"Sealed Mysteries"
"Sleight Sheets"
"Deviltry"
etc.

Illustrated by Fifty Photo-engravings

AMERICAN MAGIC CORPORATION
IN PREPARATION:

SLEIGHTS WITH SILKS
The Modern Handkerchief Act. 100 Tricks. 200 Illustrations.

THE CHALLENGE HANDCUFF ACT
Complete Secrets. Instructions and directions for the entire act.

THIMBLE TRICKS
A series of 40 Sleights and Tricks with Thimbles. Over 70 Illus-
trations.

"THE BUSINESS END OF MAGIC, OR MAKING MAGIC PAY."
Methods of Securing Engagements, Advertising. Booking and Pub-
licity,for Lyceum, Stage, or Local Club "Work. Contracts, Terms and
Costs.

31 ROPE TIES AND CHAIN RELEASES
The first and a most complete work on a subject of which very
little is known and on which information has heretofore been difficult

to obtain. 48 Drawings.

To Authors :
—The American Magic Corporation, incorporated
under the Laws of the State of New York, capital $10,000, is in the
market for manuscripts on Magical Subjects. Manuscripts of between
12,000 and 40,000 words preferred, but subjects must be original (re-
hashes not wanted), and handled in a thoroughly practical manner.
Bear in mind that the works are of a technical nature and that "Fine
Writing" and literary fiourishes are abominated. Condensed descrip-
tions with elaborate illustration by photos or drawings, in demand.

AMERICAN MAGIC CORPORATION
LONG BEACH ESTATES BUILDING
405 LEXINGTON AVENUE
NEW YORK CITY

Copyright, 1914
American Magic Corporation
INTRODUCTION.
This volume is the outcome of a letter to the publishers from a
prominent magical dealer, who said :

"If the Magical Public as a whole could once actually see your
publications and thus be brought to an instant realization of their
novelty of contents, their elaborate illustration and the fact that their
sale is restricted to magieians only, I feel certain that you would at
once receive an order from almost every person interested in the subject
of Jklagic."

In order to test the foregoing assertion, the publishers have pre-
pared the present booklet as a means of placing in the hands of magical
readers within the shortest space of time, full descriptions of the fea-
tures and contents of these publications, in order that the reader may
draw his own conclusions of the value of these publications, or of their
interest to him. To make it unnecessary for the reader to rely upon
their advertised descriptions, the publishers have also placed before
him in this volume a few extracts of these volumes in order that the
books may stand upon their own merit, and the reader be the judge
beforehand as to which will be of interest to him.

Regardless of the fact that this booklet is distributed under condi-
tions and at a price which is considerably less than the cost of produc-
tion,every effort has been made to give the reader full value in the
—
matter of quantity in fact, we know of no book sold at five or ten
times the price which has five or ten times the amount of contents.

We feel that this book should not be regarded strictly as an adver-
tisement, for the contents of the book is complete in itself. And what-
ever descriptive matter is included is entirely additional and included
at the expense of the publishers. However, if it is preferred to regard
the booklet in the light of advertising, surely no fairer advertising
could be devised than one of which the object is to assist the recipient
to make a wise selection.

"We trust that the reader will find herein full value in the way of
magical material and at the same time gain some acquaintance with
the nature and contents of our regular publications and the manner
of their production; and their distribution through magical depots
exclusively.

THE PUBLISHERS.

968
BURLING HULL'S LATEST CARD

A novelty in professional cards which is causing quite a little stir
It is in two colors, the fine type
in magical circles is illustrated above.
being printed in faint grey, while the name and business is in bold
black. The fine print, which is a list of copyright books, acts and
inventions, thus forms a background for the card proper, which is the
name and business.
By turning over one of the corners the owner makes clear the
object of his call, i. e., after witnessing a magical act and wishing to
chat with the performer, the corner showing "Interview" is brought
forward and the card sent up by the usher, and the recipient knows
immediately what is desired. When desiring tickets for a magical show,
"Professional Courtesy" is shown. If the magician calls on a fellow
artiste and finds him out a corner is turned over, showing whether the
call was merely "Social" or had for its object some important business

making it advisable for the recipient to communicate with the caller.
"While the idea is protected from copyists, permission to use it may
be obtained by a limited number by communicating with the inventor.
AUTO-MAGNETISM SUPREME
OR
THE CARD LEVITATION.
This method, which I invented and Copyrighted in 1907, has since
practically displaced what was then considered an excellent method
of a very good trick. But in spite of the wholesale manner in which
the big dealers of America and Europe (several of whom did not buy
the sets wholesale of me as the more conscientious did) highly com-
mended and advertised the trick, hardly any were kind enough to
credit me with its production. Therefore, only those who purchased
it directly from my own firm are aware of this fact.
FEATURES.
Performed without the finger rings required in the former
methods, without needles, threads, hairs, etc. in fact without anything
;

but the cards which anyone can see are bonafide playing cards.
The trick may be performed at a few inches distance.
In the former method, a ring worn on the finger engaged a metal
clip on the back of a clumsy faked card composed of two cards glued
together, with a metal plate between, to which the clip was soldered.
This metal clip was not only awkward, but would be plainly visible if
used at the close range permissible with the method described below.
EFFECT.
The performer standing two or three feet from his spectators (or
even among them) plainly exhibits each card on both sides and has
his hands thoroughly examined, there being no rings on his fingers.
The cards are then placed on his right palm and arranged in the form
of a star, as in illustration No. 1. Turning the hand over, the cards
cling to the hand as if magnetized, as in illustration No. 2.
The perform'er walks down through the spectators, freely per-
mitting persons to examine the cards and hand while the cards are
clinging to the hand, and allows them to pass their hands over the
cards to prove that hairs, threads, etc., are not present.
The performer then removes the cards and again exhibits his
hands and the cards, showing each card separately on both sides.

No. 2.
No. 1.
SECRET.
Nothing but the cards are used, but the cards should be of a
design with a circle on the back somewhat similar to the one shown in
figure A. .On the back of one of the cards (preferably the Nine of
Diamonds) is glued a flap made by cutting out a disc containing the
circle design (see figure A) from the back of another card). This
should be folded or creased through the centre, as in figure B, and
glued on the back of the Nine of Diamonds so that it matches the
—
design perfectly leaving half the flap free so it will hinge backward.
When pressed down, it lies flush with the card and because of the
design it is invisible at a few inches distance from the eyes.
WORKING.
Place the prepared card on the top of the pack with the cards face
down and proceed to show the backs of the cards by transferring them
from hand to hand as when counting. This reverses their order, bring-
ing the trick card to the front of pack. Turn pack over and show the
faces of the cards, which brings the "key" card to the back again.
Show the hands and both sides of the pack. Then with the left side
toward audience, take the pack in left hand with the backs away from
audience, and with the fingers squeeze the sides of the pack so that it
M'ill bend outwardly, which causes the flap to raise up from the surface

of the pack. Separating the second and third fingers of the right
hand, catch the flap between the lower joints of these fingers, pressing
tliem tightly together. Arrange the cards with the edges under the
"key" card, as in the illustration. Turn the hand over and the cards
will cling to the hand as if magnetized. You may walk among the
spectators showing the apparent phenomenon from all sides and per-
mitting any one to pass their fingers over the cards and back of hand
to prove the absence of threads: and may even hold the hand directly
in front of anyone's eyes for close examination, as the flap is just the

length of the joints and therefore invisible.
This trick has been pronounced a perfect subtlety by scores of
magicians who have written me that they are using it with much suc-
cess. I therefore recommend the reader to make up a set and try the

effect, with confidence that he will secure just as much benefit as if he
had purchased the trick from a magical depot.

Tips: Use the Nine of Diamonds for the key card, as it is the
most inconspicuous card in the deck. Have a duplicate of this card
among the cards (about twelve cards is the best to use), but in ar-
ranging on the palm conceal the duplicate under another card. After
removing cards and when showing them again manage to accidentally
(?) drop the duplicate Nine
—
continuing running the cards from hand
to hand and remark,
' '
Pardon me, but will you pick that card up for
me?" Someone is always too willing to do so, and incidentally take
—
occasion to examine the Nine ^without result !

You may glue a piece of thin sheet rubber to the under side of the
flap before mounting it on the card, with the advantage that you may
then conclude the trick by "de-magnetizing" the hand (secretly
separating the fingers) causing the cards to fall from the hand in a
shower to the floor —^the elastic drawing the flap flat and leaving
nothing to be discovered.

Personally, I only prefer this method when I perform the trick
with a spectator brought upon the stage, who I permit to pick up the
cards for me. I have never known one to discover the flap, as I take
the cards from him immediately he has picked them up; but if one
should some time, he will not know what it is for.
A CARD LOCATOR.
A trick which is a sort of "third cousin" to the foregoing, em-
ploying as it does a similar idea but with a widely different effect and
purpose, is the following :

A card, or several cards, selected and returned to the pack in the
usual manner, are quickly located without the use of sleights and with-
out the necessity of maintaining any separation with the fingers.

The foregoing is accomplished by cutting out the center portion
of a bordered card, as shown in illustration "D" and glueing it on the
back of another. This naturally gives this card an extra thickness.
By having this card in the center of the pack and running the thumb
along the back end as when "ruffling," the thumb will stop when it
strikes the separation, enabling you to cut the pack at this point. You
may now permit the cards to be returned on top of this card, and
placing the pack together you have apparently lost location of the
cards selected. However, you can at any time locate them by passing
your thumb over the back and cutting them at the separation, thus
bringing the cards to the bottom. You may now execute the dove-tail
permitting the selected cards to fall first so that they will not
shuffle,
become separated. By having the card on the bottom of the upper
portion when having the cards returned, it will fall on top of the
selected cards; in which case cutting the pack will bring the selected
—
cards to the top with the faked card on top the dove-tail shuffle being
employed in the usual manner.
I understand that this trick was explained as one of the features
of "EXCLUSIVE MAGICAL SECRETS," but while I have no doubt
that it was included therein with good intentions and is probably little
known in England, I think we can claim it in America, as it is quite
well known, having been advertised and sold here since 1907 as a
brother trick to the Card Levitation produced at that time U. S. —
Copyright No. 217996.

No. 42. No. 44.

10
INTERLOCKED FINGER ACQUITMENT.
In this sleight, the fingers are clasped or interlocked (as in No. 42),
showing the backs of the hands, and are then turned (as in No. 43),
showing the palms. In spite of the fact that the hands have been shown
back and front and with the fingers interlocked in such a way as to
preclude the idea that they could take part in any sleight, the per-
former nevertheless brings his hands back to the first position and,
blowing on the palms, then turns his palms toward the audience (as in
No. 44), showing that a ball has appeared between the palms.

Operation: The baU which at first is in the left palm is gripped
between the right thumb and index finger (as in No. 45), whereupon
the left hand is immediately twisted so that the ball may be placed
against its back (as in No. 46), where it is retained by pressure of the
right index finger. The left hand is turned first; the ball brought
against it back—then, and not before then— the right hand turned.
is

A reversal of the process brings the ball back into the palm for
production (as in No. 44).
I must here make an apology for including this sleight in a volume
of otherwise original manipulations, as I do not claim to be the origin-
ator. I worked out the manipulation myself in the above form, but so
have various others in slightly different forms, all of whom are equally
certain of having been the first. So I am unable to credit it to any
particular person, though I consider the sleight too good to be over-
looked.

R.Hl/JWfs
No. 46.

11
THE MYSTIC DIVINATION.
(Without Exchange.)
In this trick the performer first places, either a pair oi examined
slates, or a sealed envelope in some conspicuous place or hands the same
to one of the company with instruc-
tions to retain it until called for. He
then passes a card or piece of paper
from person to person throughout
the audience, having each one write
a figure on it, having one number

place.d below the other. Finally the
paper is handed to another spectator
who requested to add up the
is

column of figures and to read the
total aloud. When this is done, the
performer, with a smile, announces
that the spirits had already informed
him that the figures would add to
just that total. To prove his state-
ment he requests the person holding
the envelope or the slates to open the
same. On doing so, it is found to l'y\\\-\i\.

contain a number which corresponds
with the total formerly read by the
spectator.
The card is not exchanged, con-
federacy is not employed and the
figures totaled axe the figfures written
by the audience.
now ITlS liONE

The Secret : The performer first
decides upon a number which he
wishes the figures to total to which ;

in this case we will say is 42 ;
and this number is written on the slate
or the card, and placed within the envelope. A card or piece of paper
is carried from one person to another with the request that each write
a single figure. In carrying the card from person to person, the per-

12
former keeps track of the numbers, adding each to the former as it is
put down; this being done under cover of showing how to place the
numbers one below the other.

Tho moment the total reaches 33 or over, the performer stops and
calls for a volunteer to add up the numbers, and announces that in
order to prove the paper is not exchanged, he will place the initials of
one of the spectators on the paper. Someone's initials are suggested
and the performer writes them in one corner and at the same time he
secretly adds a figure sufficient to bring the total up to 42. If the
—
genuine total is 33 he therefore adds 9 under the last nmnber or if it
is 34, he writes 8, etc. —immediately drawing a line under the column,
and handing it over to be added up. The spectators of course have
no idea that he has done anything more than to place the initials in
the corner for the purpose of identification.

The trick is concluded as described, and if carried through with a
little audacity, proves very effective. It has even been known to
puzzle magicians.

For Double Figures To make the trick more effective, it should
:

be performed with double figures, but I explained the trick with single
figures in order to make the method of operation clear to the reader,
who can then easily adopt it in the following form. In this case the
performer should fix upon a number somewhere in the four hundreds
for his total. We will say for instance 462. He should then keep track
of the numbers and the minute they total as mucb as 363 or over he
must stop and proceed as described above, adding a sufiicient number
to bring the total to 462.

13
Extract from "EXPERT BILLIARD BALL MANIPULATION,"
Copyright, 1910, by BURLING HULL STUDIO, 167 Senator St.,
Brooklyn, New York City.
BURLING HULL HKF. A.ND BALL PRODUCTION.
Effect: Performer shows both sides of a large linen Hkf. and in
such a way that the audience is at all times able to see the performer's
hands (see Nos. 62 to 65). On placing one hand in the folds of the
Hkf. a solid ball is produced and everything may be examined. This
is one of the neatestand most effective tricks made possible by the use of
a novel sleight.
Operation: See Nos. 66 and 67, which illustrates the manner of
retaining the ball, yet leaving the fingers apart, while showing Hkj'
As the other side of Hkf. is turned the fingers twist around so that
ball is concealed behind Hkf. again. The vital point in this operation
is to cover the change by raising left corner of Hkf. so as to conceal
the shift, as illustrated in No. 64.

i:o. c" No. 64 No. 67

14
N. B. —The two following effects are extracts from "Deviltry"
(copjrright, 1909, by Burling Hull), by permission. The wording and
the illustrations being exactly the same as in the original, the enum-
eration of the illustrations has also been retained.

BURLING HULL CONE FLIGHT.
New effects with ball are extremely scarce. Though there exists a
fair number of ball slights, they are lamentably alike in appearance.
The many "new" sleights are new in principle only, but old in effect.
The result is that though the performer may employ very clever new
sleights, the audience is bored with the same old stereotyped multi-
plication, vanish from hand and production from mouth, elbow, etc.
It was with the object of injecting a little originality into the effect as
well as method of ball work that the writer designed the following.
Shortly after its introduction it was rumored that the originality was
claimed by another performer, by whom it was for sale. Investigation,
however, proved that the trick was entirely dissimilar, requiring two
balls and the use of rubber balls in place of the solid ball used in the
correct method.
Effect: The performer shows a solid ball, a paper cone which is
entirely empty, and both hands also empty. The cone is placed upon
table. The ball vanishes from hands and upon lifting cone is found to
have passed under. This is repeated several times, yet performer
shows he has but one ball and cone empty, each time.
Working After the multiplying ball trick, is a good time to intro-
:

duce this effect. A ball with the half shell on it is exhibited in the
right hand in such a manner that spectators can see you hold nothing

Photo 12 Photo 14
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^^
but the ball, and a paper cone is shown to be empty in the left hand,
as in photo (12). Transfer the cone to the right to enable you to show
the left hand empty, gripping it between first and second fingers, ah
in photo (13), Just as you turn to show left hand and eyes are upon
that hand, let ball drop from behind shell into cone. It is really un-

necessary to direct attention to left hand, as should attention be upon
cone it is impossible to detect ball dropping from behind shell. Place
cone upon table, gripping ball through sides of cone as you invert it
and releasing it after standing it upon table. Insert a thickness of
feltunder cover of your table about 3 inches square, which will
deaden any sound of ball dropping. Vanish shell by palming. Lift
up cone by extreme end with left hand exposing ball. Pick up ball
with right hand, press it into the palmed shell as in photo (14), then
exhibit ball, cone and hands.
Tips: Ball may be given for examination by having shell in cone.
Ball may be dropped in cone and brought out with shell. By covering
inside of shell with newspaper the flight may be reversed, dropping
shell in cone, holding same so it appears to be the ball, pushing it far
into cone so it sticks. Produce real ball from sleeve or elbow, showing
cone, which appears empty on account of the paper covering matching
cone.
CONE VANISH.
Effect: After the "Flight" the performer tosses cone out for ex-
amination and while it is being inspected, picks up a second cone.
Plainly placing ball in cone, it is held at tips of fingers. Suddenly
crushing cone, the ball has vanished. This is followed by reproduction
of ball and changes, etc., with ball and paper.

Photo 15 Photo 16 Photo 17

Working: A
hole a little larger than the ball to be used is cut in
the side of the cone about one-half inch from mouth of cone. Cone is
stood on table with hole away from audience. In picking up cone turn
the right hand so the thumb points down, picking up cone from behind
so palm of hand covers hole. Turn it up and tilt it slightly toward
audience, as in photo (15), Placing ball plainly inside, press ball
through hole and into palm, as in photo (18). Then turn cone half
way around so hole will be out of sight and raise it to finger tips, as
in photo (17). Suddenly catch cone and crush it in left hand. Roll
it into the shape of a ball, pretend to place it in the other hand (really

palming it) and substitute the ball.
Remark: "Sometimes I make it so round it looks just like the
ball."
Open hand showing it "looks" very much like a ball. Press paper
ball flat as you bring hands together and back palmit as you turn to

show hands empty, covering the back .palming with the other hand.
Many changes, etc., will suggest themselves to the reader. This is one
of the most effective and subtle ball vanishes, and properly executed
has puzzled some of the cleverest manipulators.

EXTRACT from "AMAGICOR" publications.
A UNIQUE THIMBLE "MOVE."
Effect: The thimble is placed on the tip of the second finger of the
right hand. This is slowly inserted in the left hand as in photo (D),
and as slowly withdrawn, but without the thimble, as in photo (E).
After the usual interval, the left hand is slowly opened and the thimble
has vanished. »

No. D No. E No. F

Working: The beauty of this vanish lies in its lack of suspicious
movements and the slowness with which it is executed. The thimble
fairly enters left hand and the finger fairly comes out empty, as illus-
trated in photos (D and E ), but by looking at photo (F), the secret
lies exposed. The second finger bends around the thumb and the first
and third fingers grip the thimble on each side. The second finger is
straightened and withdrawn from hand. The thimble may be immedi-
ately thumb-palmed, center-palmed the hand may be straightened
;

so thimble lies finger-palmeSunder second finger, or it may be back-
palmed and the inside of hand shown. The moves should be operated
with considerable slowness to bring out the full effect.

19
THE INDECEPTIVE DECEPTION.
This is one of those tricks which gain their eftect by means of the
performer outwitting the spectators while apparently demonstrating
that no deception is employed.
Explanation A trick well-known to the public is that in which the
:

performer has a selected card returned to the pack by cutting the
pack, and while doing so takes opportunity to memorize the bottom
card of the upper portion, which, when the upper portion is returned,
causes the memorized card to fall next to oj? above the selected card,
thereby enabling the performer to locate the selected card on looking
through the pack later.
Effect A selected card is returned to the pack in the manner de-
:

scribed above, except that just as the performer is about to place the
upper portion above the card he interrupts himself and remarks that
he has just remembered that there is a method of locating a card by
memorizing the one above it. He describes the trick and illustrates
how the card would come above the selected one by bringing the upper
packet down at right angles on the lower, as in No. 33 but in order to
;

prove that he does not resort to such trickery, he changes his course
and with his thumb pushes the selected card off the top of the low^er
portion and into the center of the upper packet as shown in No. 34.
Everything is apparently fair, especially if the performer gives the
pack a dove-tail shuffle and even submits the packet to the audience for
the same purpose. The card is in the performer's possession at once.
Operation: At the point illustrated in No. 33, the left fingers pass
upward and press slightly against the top card of the upper portion. As
the hands swing toward
the right side and the
left hand points to the

card, which the per-
former explains is mem-
orized —the left fingers
draw off the card from
the top of the upper
packet onto the lower.
This is done just as the
hands are turned over,
as shown in No. 33,
which should be accom-
panied by a swing to
the right. This covers the slip, which in this trick must be executed
far more noiselessly than usual, as the spectators' attention is cen-
tered on the cards. Do not press too hard on the slipped card, which
—
will cause it to snap down but drawing it off lightly, let it come

slowly against the packet as the turning movement is designed to coVer
the operation completely.

20
" "
Referring to No. 35, B represents the slipped card, which is, of
course, the one pushed into the packet. The cards are then dove-
tailed shuffled and "A," the selected card, is allowed to fall on top.
If preferred, pause at this point (as shown in No. 35) where '*B" is
half way in the packet, extending that portion to a spectator, and re-
mark, "Here, push the card in with your own hand," and after doing
so, "While you have the cards you might as well shuffle them." When
the portion is returned, place your half on top and execute the top and
bottom false shuffle, or cut and dove-tail shuffle them, permitting the
selected card to fall on top at the end.

AN IMPROVED DICTIONARY DIVINATION.
This "Spiritualistic Feat" is one which I have found to have a
remarkably convincing effect in lyceum and society programs.
In this form there are no awkward subterfuges requited and it
is possible to use in place of the usual dictionary a popular novel of

the day or the Lodge Manual or Year Book of the organization you
are performing before, which adds increased interest.
Effect: The best effect is obtained by use of the Spirit Slates
which are cleaned and hung in a conspicuous place or held by a promi-
nent individual. Several books are now made into piles of three each,
from which a pile is selected by spectators, and a book of the pile. But
in order to give the reader a better idea of the flexibility of the trick
I insert herean extract from a press description of an interview in
which the trick was employed.
THE PRESS.
****** "Another
good trick of spiritualistic aspect which I have
frequently used on the stage and at society entertainments, I will
demonstrate for you.
"Here are some visiting cards, select one, and then place it inside
this envelope, and the envelope in your pocket.

"Open this pack of playing cards and take out ten cards from
* *
Now count the spots on the ten
any part of the pack you wish.
cards. You have one picture card ? Well, as that card has two pips or
spots, one at each end, we will count that as two.
' '
The sum total is 56 spots you say ? Make a note of it.
"Now here are two books on magic of which I am the author,
entitled 'Expert Billiard Ball Manipulation' and 'Sealed Mysteries.'
These I place in one pile. Here is my novel 'The Drop of Wisdom' and
a copy of the 'Standard Dictionary' in a second pile. Now take one
of the piles from the table. You take the novel and the dictionary
away, which leaves the two books on magic on the table. I place these
at the right and left side and ask whether you wish me to use the right
or left book. The left? Very well take the book at your left hand
;

and open to the fifty-sixth page (56 was the number of spots found on
the ten cards selected) and read the first word on that page." (It was
the word "Mago-graphs").
21
"Now I will open the envelope you have in your pocket and here
is the card which you placed inside and across the face of the card you
see the 'Spirits' have written the word Mag-o-graphs. "
' '

It was as the "White Wizard" has said, and after inspecting
each of the four books used and learning that the top word on page 56
was different in each book, the writer was beginning to feel a decidedly
chilly sensation in the vicinity of his spinal column when this modern
Yogi condescended to explain.
Laying out the pack of cards he showed that they were arranged
in the following order :8 spot, 3 spot, picture or court card, 10 spot, 7
spot, 9 spot, 4 spot, 5 spot, 2 spot and 6 spot. The suits of the cards,
Clubs, Hearts, Spades and Diamonds, were not arranged in any par-
ticular order but so mixed as to give the impression of natural dis-
arrangement. He explained how the cards may be further freed from
suspicion by dropping the pack in a hat and shaking it about, which
by an almost unbelievable natural law, will not mix the cards or dis-
turb their order, though it will seem to the audience that the cards
must be thoroughly mixed. The cards may then be taken out and the
trick proceeded with.
The rest is explained in the Wizard's own language :

"Ten cards taken from any part of this arranged pack," he pro-
ceeded, "will always total 56 spots, so long as they are taken together.
Next, your choice of the book to be used was under my control at all
times. For when you selected one pile, taking it from the table, I said,
*That leaves the two books on Magic on the table to proceed with.'
Had you selected the other pile I would have said, 'You select this
pile ? Very well, we will use whichever you select of the two books, in
—
the pile which you have just taken either the right or left ?
'

"Next you chose the left hand book, which was the one I desired
you to take. However, had you said the right, I would then have said,
* '

Certainly, I will take the book at my right hand, and as I was facing
you, my right side was the same as your left. Therefore, right or left,
I had your choice under my control.
"Now as for the writing on the visiting card. The envelope in
which you placed the card was prepared, but so cleverly that you would
never have suspected it had you examined it. It was made by cutting
out the back, or part of the envelope which bears the address, leaving
the flap on, and this was inserted within another envelope and between
the double back a duplicate card bearing the writing was inserted. The
outside flap was moistened and stuck to the inner flap and the envelope
was ready for use. In tearing open the envelope I tore off one end and
slipping my fingers in the right compartment, drew out the card previ-
ously placed there. The envelope I slipped into my pocket and had it
later occured to you to ask to see it I would have handed you a dupli-
cate unprepared envelope which I had previously placed there for such
an emergency."
22
At the conclusion of his explanation the Wizard added some im-
portant advice on what to do, and what not to do, when performing
the tricks.
"Always take plenty of time when performing a trick. It is a great
mistake to hurry through as the spectators cannot appreciate the trick
and it often causes a slip or error on the part of the performer. Tell
the audience a little story about each trick as you perform it, thus in-
creasing their interest and giving you more time to make the secret
movements required.
"Never attempt a trick publicly until you have practised it at
least a few times before a mirror or you will be sure to make a mistake
or forget something.
"Never under any condition explain a trick even to your best
friends. The mystery is the whole charm of a trick and the minute you
explain a trick it is a disappointment to all.
"Never repeat a trick no matter how hard your audience may
1)1 ead for a repetition. Repeat a trick and you will not only run a great
chance of exposure (for a person is seldom deceived twice in the
same way), but the element of surprise is lacking. If pressed to
do so, repeat the effect, but use another method, or perform it for
another person privately."

?- "WHERE '^-?
or "THE GHOST CARD"
A Startling Effect: A selected card (card may he se-
lected mentally) is caused to vanish from the per-
formers bare hands. ! ! !

No covering used. No sleights, flesh color or attach-
ments. Any card selected caused to vanish. The
manufacturers guarantee that the three
new principles employed have never
been used in any card trick before — or
will forfeit $ 1 OO.OO
Can be performed 10 inches from the eyes.
^1^^=^ Cards are waterproof, being highly finished with a waterproof coat-
ing after printing, may be washed when soiled and will last forever. Cards are of Finest
Treasury Bristol, cannot crack, may be bent double and will spring back into shape as good
as ever. The material alone cost 3V^ times that used in any other Trick Cards on the market to
produce.

Complete Set of beautifully finished cards and everything required, large 14x10 illustrat-
ed sheet of instructions (the most elaborate ever furnished with a card trick.)

PRICE SO cents ENGLAND 2s 2d
cheaper grade 2S cents . . Is Id PostFreelsSd
23
The BOOK That You MUST Have

\ THE ART of the STAGE
ART OF THE STAGE OR
MAQCAL
STAGECRAFT and SHOWMANSHIP "Magical Stage-Craft & Showmanship"
"
IHISISIETISISISISISISTSITI
The Inner Secrets of
"
Successful Performing

Plain "Straight-from-the-shoulder," instruct-
ions in what to do and say during the enter-
tainment, from the moment of Entrance to
the final Curtain, and the Encore.

The most valuable information ever put be-
AMERICAN MAGIC CORPORATION tween two covers for the magician who wishes
to achieve success in his entertainments. This
is not a theoretical discussion of the subject

Printed on Heavy Antique ^ ^^ ^^^ previous attempts have been )but cow-

^^^^^^ practical knowledge gained by exper-
Art Tint Paper, Beautiful
ience in handling audiences.
Covers of Marbled Opal
INCLUDING:
Effective Entrance: Magical Music: The Bow:
Voice Throwing: Sylabic Pronunciation: Gesture:

Carriage: Opening Address: Opening Tricks:
Creating Applause: Stage-fright Cure:
Curtain Handling: Bringing Spectator on Stage:
Tricks for Encores: List of Hits and Programs for
Special Occasions, etc. etc. etc.
.The information does not require long study but may be applied in the rea-
ders next entertainment. It will make a finished artiste of the rawest material.
No Magician should be without this book. Price so eta. 28. 2d.
Contents of Part One
Manner of Effective Entrance: Rapid entrance mysterious entrance — —
—
where made from and how suiting entrance to style of performance location —
of settings in relation to entrance.
Correct Carriage: —
How achieved length of step in relation to style of
performance —
quick method of setting oneself for perfect carriage before en-
trance.
Position: —position for feet in turning —correct posi-
While manipulating
tion in turning for change over palm — for walking away from audience —
tips
for walking across stage.
The Bow: Entrance bow — how made—bow at conclusion of important
trick— bow at conclusion of act— bow at curtain call.
Gestures: Forms of gestures — to indicate article or person.
Mannerisms: Performing in mysterious manner — brilliant type of per-
^the
formance — types of individuals adapted for various styles —how the reader can
decide which he is best suited for.
Employing Facial Expression: Illusion: Illusion of stage which makes or-
dinary smile appear a grin— correct stage smile and how it is employed as a
— —
principle of suggestion dramatic expression examples of how to employ af-
— —
fected surprise bewilderment, disappointment hearty amusement, etc. to in- —
crease the effectiveness of the tricks.
Advice on Dress: Relation to different styles of performance-^when not
—
to wear evening dress a novelty in magical costume.
—
Elocutionary Principles: Making the voice carry secret of voice power —
—
proper breathing for greater volume proper pitch for voice in public speaking —
securing depth.
Pronunciation: Position for tongue and lips for clearer and sharper pro-
— —
nunciation what to avoid lips aiding audience to distinguish words syllabic —
—
pronunciation its principles and reasons.
Opening Address: When and where appropriate what it should consist —
— — —
of four types of opening address suggestions detailed examples of incorrect
address— detailed examples of correct spacing and delivery.

Contents of Part Two
Stage Fright and Its Cures: Its cause and a certain method of avoiding it.
Stage Nervousness Another Thing: How experienced performers over-
—
come its attacks advice from the author.
Music for Magical Acts: Suitable pieces suggested their application. —
Opening Trick: Style of tricks suitable for opening bad results of good—
— —
tricks used for opening the performance list of tricks suggested for opening
—
and methods of presenting them original opening tricks by the author de-
—
signed for Lyceum use construction of opening tricks.
Securing Applause: Methods of leading audience to applaud and applause- —
— —
drawing tricks creating applause methods of creating applause starting ap- —
— —
plause forcing applause when slow why some acts go "cold" secret of draw- —
—
ing applause methods of dramatic presentation to draw applause handling —
— —
curtains using curtains to prolong applause curtains at end of illusion act.
— —
Conclusion of Act Curtain calls speaking before curtain bowing off. —
Encores: Great danger of employing even the best of tricks for encores —
list of tricks —author's suggestions— some humorous effects
suitable for encores
for encores —where encores can be used to advantage.
Program of Hits for Special Occasions: Hits for large conventions — some
combinations suggested for lodge and club — hits for children's entertainments —
hits for church entertainments— features for children's entertainments — special
program for private society entertainments.

25
Master Sleights with Billiard Balls
A further treatise by the
MASTER SLEIGHTS author of "Expert Billiarci
Ball Manipulation."

FEATURES "*

Original Master Sleights
Of the Master Billiard Ball
Manipulator
AND

AMERICAN MAGIC CORPORATION
A Complete 30 Minute -

Manipulative Act
50 PHOTO ILLUSTRATIONS ON AND
lOO LB. ENAMELED ART PAPER
SILK. CORD ART BINDING Explanation of the
Author's Combination
"The Ball that Went Ball Stand, Contrast
Out of Sight" - -
Screen and Vanishing
"Chapenders Change"
"
Lightning Vanish" Apparatus
"Mysterious Ball"
B. H. New Acquitment
The most valuable apparatus for
"Perfection Twirl" the manipulative artiste ever de-
"WiU'o-the Wisp" vised. Also explanations of the
- - - and - - - "Invisible Trap" (converting' any
many other "Limit" undraped table into a magical
effects.
tablein one minute) and six
other pieces of Mechanical Ball
Apparatus.

O
00
Any one of the features
These Publications sold only to Magicians, not
The Beautiful New Manipulations sold to Book Stores, Department Stores or

The 30 Minute BiUiard Ball Act Libraries.

This unique and handsome volume, printed on
The Construction of the Combina- 100-lbPink Tint Enameled Paper, 50 photographic
tion Ball Apparatus. reproductions. Art Folio Bindmg, Silk Cord
Bound Fifty Cents.
is -w^orth. treble the Cost of
this H arxcf some Volume. AT ANY STANDARD DEALER
In Great Britain, Two Shillings Six Pence
SELECT EFFECTS FOR
YOUR PROGRAM
The Best of Latter Day Tricks.
NOVEL CARD FLIGHT.
From a full pack, a card is freely selected
—
(no force employed pack may be handed
outright to spectator). The performer turns
his back while the card is being shown to the
audience. The card is no sooner returned
to the pack than the performer makes a pass
and commands the card to fly into his pocket.
The spectator himself places his hand in the
performer's pocket and removes the card.
Absolutely no palming or by-play. Absolutely
no force of any kind, and the performer does
not know what card is going to be selected.
He does not "plant" any cards in other
pockets only the one pocket used all others
; ;

are empty, and none are faked. No appara-
tus, just the pack. Seems impossible? That's
what makes it so good. Theo. Bamberg said,
"It is very, very clever."
A NEW CARD RESTORATION.
A wonderful improvement, inasmuch as there
isabsolutely no forcing employed and that in-
stead of the performer taking the torn pieces
and giving one of the pieces (really a piece of a
duplicate) to be fitted to the card when re-
stored, the performer in this trick permits the
spectator to tear off the corner himself. Surpris-
ing as it may seem, the performer doesn 't know
what card is selected —
doesn't bother his head
about it until the trick is over. Read this over
carefully, and think!
MINDS READ TO ORDER
A card selected from any pack freely, is shuf-
fledback by spectator. The performer is now
blindfolded. The cards given to the spectator,
who silently exhibits them to the audience, one at
a time. When the selected card is reached the per-
former shouts "Stop!! You are holding in your
hand the 'Seven of Diamonds,' which is the card

27
selected by the gentleman in the fourth row. Am I right?" His an-
swer is a good round of applause from his audience. A sensational
trick for club audiences. Get this in time for vour next cli-b show.

A CARD TRIUMPH.
A pack of cards is placed in a goblet upon
the stage. The performer walks down among
the audience and requests various spectators
to select any card desired. As each card is
selected the performer turns around and
commands that card to rise and the correct
card rises from the goblet upon the stage.
—
No sleights required even a beginner who
"I you, FTank,
tell
has never heard of "forcing" can work this lie handed
the pack
ingenious method. The up-to-the-minute to me outright, told
me to take out a card
method of working the Rising Cards. (after showing they
were all different)
UNPARALLELED SPIRIT READINGS while he turned his
A 20th century back. I am no "spring
chicken," so I ran
Spirit Trick for use the cards over again,
in large halls, ban- took out a card and
then put the pack in
quets and lyceum
my pocket, to catch
work, which places him. He just turned
around, looked me in
"Men's Revelo," the the eye and told me
"Letter Test" and the card I had taken.
"^ Right then I decided
similar attempts in
to live a better life."
the primary class. Using no sealed envel- "But say — "

opes, pads, exchanging The "Wait a minute!
sleights, etc.
We all said it was
only unexposed method existing to-day. guesswork, so he
Practically arranged for professional w^ork wrote something on a
slip of paper and gave
and free from apparatus and impractical non- it to me. Then had
sense. another card selected,
and— Holy Smoke!! —
NOTE—All the above are included, with when we looked at the
paper it had the name
many others
(22 in all), representing the of the card on it. You
cream of the latest card and spirit tricks, in doubt it?"
a book of 12,000
—
"Well er-a-oh! Of
by 20

Sleights BurlingHull