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Friedrichstr.17.
Berlin SW 48. , Gormany.

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WILL ALMA
M.I.M.C. (LONDON)

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C L O T H - P A I N T I N G

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H.W.TAGREY.
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GWAHfcTON ST./

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Horster'scher Verlag
Friedrichstr.17.
Berlin SW 48.
Germany.

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The State Library of Victoria

" A L M A C O N J U R I N G COLLECTION 1

Foreword.
To all my ENGLISH and AMERICAN Friends!
In presenting this, my first book in the English language, to the
English-speaking
public, I have been guided by two different motives.The first one was, that -- after the large
succes of my monthly
Magazine: "The Magic Mirror" -- so many of my English friends called for
a book written by me in English,
that I could no longer
overhear these
demands, but that-- though pressure of business
has delayed the work -I now have much pleasure to be able to give
herewith to you the result
of my labour.
The second one is to lay before you a book of novelties,
which -as far as I know -- have never been described in any English book before
now.
If this,my task,has been successful.I hope to have your good-will,
so that any further magic literature of mine will be kindly received.Finally
I herewith thank my
collaborators,
Mr.Cortltli
(The man
with
10,000 Dollars) , Mr.H.W.
Tagrey
of Dantzic
and
Mr.Eugetl
Harkewitz
of Berlin,which latter is responsible for the translation and
the patter, heartily for
their pains to make this book
a success -- so
let us hopelWith magic

greetings

The Editor.

iHlW

'

^FCULL >W<LMI 'LL'NLW

Effect:
Performer asks any Gent or Lady
to kindly step upon the stage. He
then declares, that he has
the intention to shoot through
the person,
assisting.- Performer takes now an air-gun,
loading
same and makes a
trial-shot at a target,standing on the stage. He
then asks his temporary
assistant to remove the
dart from the target. The performer gives now to
assistant a box with darts of different colours,
f.i. yellow - blue - red, begging him
to chose
one of the darts and to mark same. We will
suppose 1hat assistant
has chosen
a red
dart. Performer
loads his gun once
more
with the chosen dart and asks assistant to
kindly select, out of a lot of newspapers,
on the table, anyone lie likes. Assistant is then
asked to stand in front of the
target and to
hold the selected
newspaper in front of his body, spread out. Performer now blindfolds assistant, takes up his gun and aims at the assistant, firing off his gun. The chosen dart perforates the newspaper,
also goes
through assistant and is finally seen sticking in the target. All the spectators may now come on the stage
at once to examine
the newspaper as well as the
marked dart in the target.-

Requirements:
a) Two air-guns, exactly alike. One of these is mounted behind the
scenes on a stand in such a manner,that a shot, fired at the target,must
absolutely
hit
the
. ~ target, in the centre
or nearly so.
b) A number of
darts in red,
blue
and yellow colour.
c) A black wooden or elastic piece
in thickness of a
pencil,about half an inch long.
d) A. target,
e, Several newspapers.
f! A large-sized handkerchief.
g)
A mask of thin sheet-metal,like one wears
at a masked ball,to be worn over the eyes
before being blindfolded. The audience is
told, this is to prevent any damage
to the eyes of temporary
assistant, in case dart goes too high.-

Exp.lanation:

The secret of this really wonderful and baffling illusion consists

in the shot at the target being fired by an assistant behind the scenes,

!
i
I

exactly at the same time, when performer does the shooting at the
spectator on the stage.
The "How it is done"will partly be seen by looking at the pictures and at the sketch herewith. In the
latter No.l.
is Performer.
4=rrsssssC"
No. 2.' The
spectator
on
the stage. No.3.The
assistant
behind
the scenes.
No.4.
The target.K.The
side-scenes.It remains to be
explained,
that
performer
gives
to tho assistant,
bringing
in the
box with
darts,
the marked dart,
when assistant leaves
the stage and
assi stant
then puts the marked dart into the air-gun mounted in the correct position on stand,
to fire off
at the same time as performer does. Of course if performers assistant is a good
shot,he may also .shoot from
behind the scenes freehanded with either a pistol or
an air-gun,
the main tiling
is, that he is hitting the
target. Performer
himself
loads instead of the chosen
dart the dummy wooden or e1 as ti c piece, but it is advisable, that he has another
dart of the same colour, as
was chosen.in his hand,which
he later, when loading, exchanges against the dummy piece.
Latter
is fired
off and
will
penetrate newspaper and hit also temporary assist ant,but will
th en fall to the floor,where it
will remain
unnoticed.
The
blindfolding is of course
done
only to prevent assistant
on
stage of seeing anything
of
preparations behind scene.We remark, that the spectator on the stage must stand at least
two yards and a h a l f
in front of the target.
so that assistant
behind
scenes is enabled to shoot at the target without hitting spectator.
We repeat: An illusion with next to no preparation,
baffling to
the extreme!!
6

PATTER FOR: T H E DARTS OF CUPIDO".

Foreword.
With regards to "patter" a word as to the nature of patter and the
purpose thereof may here be perhaps not out of place.-It has been
said, that making fun of a person assisting on a platform or stage is
not good taste!-- Quite so!! Everything in this world must
of course
never be overdone. But if f.i. I should walk on to a stage to assist, I
would stand a certain amount of chaffing without being offended and I
would be quite prepared to assist
the performer to the best of my
ability and to do all I could, to make people laugh and be merry, which
c a n be done without making either a fool of oneself or without performer
overdoing the matter.
I n this sense
the patter here following has been written and it
must be left to performer's tact,how far he may use this patter or alter
same to suit his audience. Anyhow-- a person being offended easily; need
not go on to stage to assist, when asked.-

Patter.
Ladies and Gentlemen,
I have much pleasure in introducing to you a new trick, which has
been patented by me in all the countries of this world and of the next
too.- It consists of shooting through a man or a woman without he or she
noticing anything, though the missile has gone right through his or her
body! So, if you dont say, after having witnessed this trick:
"Well-I'll be shot!" well--I'll be shot!!- That's all 11-Now if some kind person will step up this way,
either hemale or
female, I shall be pleased
to shoot him or her-that is: I mean, that I
shall try the experiment, anyway. I may add, that any fatale issues have
not happened up to now, so if it should happen tonight,
the person will
have the honour to be the first!- Well-- who will have the honour?!- I
should prefer a single man or lady,
so that--well, if anything should
happen,--you know, one never can tell--so that a happy widow or widower
m a y be left, because, if anything happens, I may tell you in confidence,
that I am insured
against accidents with the
no, I wont
tell you
where, but anyhow,the other party gets 10,000!!! So that's alright!!-I see a gentleman in the backseats nudging his wife to come on the
stage, how kind of him!! Dont you think so?!- Ah,here is a newly married
man, he is so happy to be able to oblige his wife-- must be an ideal
marriage!-Well,Sir,I am pleased to see you. How long have you been married?!
(Pretends hearing 20) Twenty? I did'nt ask how many bairns you have got,
I asked, how long you are married?!
(Pretends hearing G!) What only 6
years married and 20 kids?? Well- I'll be shot!! But NO, I mean you'll
be shot now! I trust, Sir,you have made your will and your wife will get
eventually 10,000! By the way--may I ask your name and address? In
case, that-- you know!-- Thank you!Now, Sir, I have here a box with
darts of various
colours,
yellow--blue and red! Will you please chose one of these darts, with
which you will be shot. The red
one--thank
you,
that will
go right
through your heart! First of all I shall show you, how I shall do the
trick--this way!

(Performer loads the dart into the gun and shoots it against
target.)
Now, Sir, will you please remove the dart yourself and see, that
it is the same one you chose?
Yes? Thank you!I
Please give it back to
me.
(Performer takes dart in his hand and deposits gun in the
vicinity of ammunition-box, letting chosen dart drop behind box. His
assistant takes box and at the same time the marked dart and leaves the
stage. He loads this chosen dart into the air-gun behind
the scenes,
which he does during the act of spectator being blindfolded
on the
stage.
Meanwhile performer asks Gentleman
to please
chose on of the
newspapers on the table, which he does. Spectator is then asked to step
forward just in front of the target, about 2 to 2i yards away from it,
and to extend the arms.while holding the newspaper in front of his body.
Performer continues with his patter:
"Now, Sir, I must insist on you being blindfolded,
so that at
least no accident may happen to your eyes. Kindly put this tin-mask over
your eyes,at the same time holding the newspaper in front of yourself.-What did you say, please? You have only two hands, -- well really , so
you have. 'I've never thought of that. Thn allow me to put the mask over
your eyes, this way, and this large handkerchief over your eyes as well,
then, I think, you will be safe enough anyway. - You have said:
"Good
bye* to your wife, hav'nt you and taken a last glimpse of her too,before
I blindfolded
you--yes --I've seen that too.-- When I have
counted.
"Three",-- all is over. Not with you though-- I trust."
Performer goes now to the table, where he deposited his gun,
taking red dart and exchanging in the act of
loading this against the
dummy on. Counting now One- Two- Three, Performer as well as assistant
behind the stage fires his gun, performer's dart going right through
the newspaper, hitting the spectator and falling then to the floor,while
assistant's dart (the marked one) embeds itself into the target.-The audience will now undoubtedly applaud and performer takes the
SK off his temporary assistant's face.
He turns to him and says:
"Now, my dear Sir, let me congratulate
you on your courage as
well as on you still being alive.- I trust you have had not too big a
shock, nor too big a shot and I see jour wife smiling happily after all,
that you have escaped this time with not even so much as a scratch. One
word more please. Doht give the trick away, because having been on the
stage all the time, you have no doubt seen everything
"How
it
is
Done."

AQUARIUM

HUMANUM,

You require two unprepared water bowls,

standing on a tray, which
are filled with water before the very eyes of the spectators
with clear
water.'Performer drains both bowls,but - look and

behold-- the water

appears again inside

of the

bowls in quite a mysterious manner even to overflowing.- Performer drinks again the water,but how funny-- once more the bowls are seen to fill
themselves with the 1iquid--unprohibited as yt!
Nothing daunted,
Performer
drains the bowls
a
third time and
gives them at once
for examination without in any way exchanging them.

Presentation:

Both bowls are at first

filled with lukewarm water to about one third of their capacity.
The water must
not
side the
bowls, so
M S ^ m
that they are kept in the belief, that both
flj^
bowls are filled up to the brim with water.
j
Performer
makes a
rotating movement
with
both bowls,
so that water is spilled, both
H H
4
bowls being taken at the same time.
H I
Now one of the bowls is emptied first
y ^B H sermingly- ard then the other.This apparent
PT
^
drinking of the bowl is
the most difficult
~ '
part of the trick, but-practice is better than anything else, as in everything one
has to learn,
so
also
here. We should advise the Performer
/
Ife
before attempting the
trick to perform in public,
to really drink the
water and look before a mirror, what
movements he is making,when actually drinking.
To do this however in a tricky manner, take one of the bowls, put it to your
mouth,
as if drinking, and let the water,
by lifting the bowls, run slowly into your
mouth.During this manoeuvre make with your
cheeks the
necessary movements to deceive
so spectators and
produce a perfect illusion .
The
water
Performer keeps
for some
seconds in his mouth,he then shows bowl empty and then lets the water go
back again into the bowl by tilting his head forward.
Only after having
bowl removed from his mouth, Performer makes a real swallowing movement.

i.e.ho really swallows part of the water,which he has kept hack for this
purpose in any case. Then the illusion, as if he had swallowed the whole
bowl-full is perfect.
The second bowl is dealt with in the same manner apparently- just
so apparently both bowls seem t o have filled themselves again to overflowing, which is illustrated
by water
being
spilled
in
pouring it from one
B
bowl into the of her.
Spectators are hereby convinced,
that both bowls are full up to the
brim, and wonder, where all the water may come
from.The whole procedure is repeated twice and finally the water is emptied into any container.
We may also remark, that it is important,
that Performer knows his own capacity, we mean,
that he knows, how much water he can keep in his
mouth secretly and also unconstrainedly. He must
therefore at the first pour only so much water
into each bowl,as he can keep in the manner mentioned in his mouth. This is very important!
The bowls are given for examination,but before doing so,Performer is bluffing the spectators in the following way:
Both bowls are put inside each other, openings on top, of course, taking
them up with right hand,thumb outside. Now only bowls are given to spectators, Performer making a fist, as if concealing something inside, and
spectators will think,that he has taken some inner receptacle out,hiding
this. But Performer opens after a little his fist and shows, in a casual
manner, that, same is empty, proving so,that "everything is above board"!

91

11

The F I N A L w o r d in the question of R o p e - T r i c k s .

By Civil Engineer E. Voege.
When we say:"The f i n a l
word" we may honestly assert,that our
method of performing this "trick of tricks" is really the very finest
method in existance. An
long and about half
an
excellent new idea is
inch in thickness.Audience
made use of in this excan satisfy
themselves,
ceedingly clever thoughthat the rope is perfectly
out method, an idea,
firm. One of the ends of
which has hitherto not
the rope is now given to a
been
applied
to any
spectator
to hold,
while
trick in the realm of
Performer
himself
takes
Magic.
the other end, so that the
Performer shows a
rope is stretched
to its
rope about 3 i t o 4 yards
full length and everything
may be examined. Another spectator - both spectators being strangers, as
far as Performer
is concerned - is then asked to cut the rope in the

centre. After this is done,Performer as well as the first spectator hold

each one half of the rope in their hands.
Performer now knotts the ends together,
after which the rope is

held by the two voluntary assistants. We must point out,that the knot is
always visible and
that the rope is never covered during the whole performance, nor in any way exchanged. On command the knot disappears alto-

gether and the rope is quite restored again, proof - the rope is stretched to its full length and both spectators may pull it to their heart's
content. The rope is whole and firm!!

Requirements:

1) A rope of rather firm texture,a tube-like opening running right

through its whole length. Rope is about 31 to 4 yards long and
of about i in, thickness.
2) A short piece of rope, about 4 in. long, otherwise the same as
under No.1.
3)
A connecting-link,
consisting of
a) a springy pricker
"
w
b) a case with grooves to fit into'a"
4) A case without grooves
5) A French nail
6) A solution of celluloid in aceton.
7) Some small nails.

Preparations:

The long rope is cut on both its ends quite

flat with a sharp razor and these ends are put at onco into
the solution of
celluloid and
aceton,
after which the rope .is hung over some
article until ends are
quite dry,but not near a fire. (Take care! Because aceton is a dangerous
thing, when brought near a fire or light, as also is celluloid).
This preparation is important,
as it keeps the ends of rope from
getting frizzly. Moreover the ends of the rope will fit then so smoothly

VQSgp

jtttr

to each other, that even at a very short distance no cut is visible. It

may also be remarked, that it is advisable, to rub the ends of the - now
two - ropes with some sand-paper so as to remove all traces of preparation,
the ends getting
glossy through the soluti'irke/
on.After the prepared ends
ar quite dry, they are
Drahfnogci
then widened again by means
Drahfnaqet
of
the French nail, and in
7ZgZ$2ZZZZ2
one end is now inserted the
'Azz&zSzz
springy part of the mechaHu/se
mH Mu+en
Sei!
nism, the pricker (No.3a),
li hier abkneifen
V
while in the other end the
Fig. 1
case with grooves (No.3b)
is pushed, Fig.1.
(In our sketch means: Drahtnagel - French nail, Stecker = pricker,
Seil = rope, hier abkneifen = pinch off here.Hulse mit. Nuten - case with
grooves (No.3b) and Zirkel = pair of compasses).
In inserting pricker the corner (k,Fig.l) and the one Of case with
grooves must be
exactly
flush
,
.

. , f

I"

3m

^ f.

10 cm

with the ends of

rope.
Fasten now
pricker as well
Fig.2
as case by moans of the small nails in such a way, that they are going
through the rope and the holes, which will be found in the other end of
pricker as well as in the case, see Fig.l. To be able to find the corresponding holes, when inside the
rope, it is advisable to use a
pair of.compasses and to measure
the distance beforehand from the
outside corner, marking now the
place with the compasses, see
Fig.l.
Fig.3
The holes, both of the pricker
and case, being countersunk, the introducing of the nails is hereby much
facilitated. The ends of nails, which protrude, are then removed by pinching them off, see also Fig.l.
In the same manner the short
piece of rope (No.2) is prepared
by treating the ends aloO with
the solution (No.6) and after
this the case without grooves
(No.4) is inserted
into one end
Fig.4
(which one is immaterial) and
fastened also with a small nail.
Just before starting with the trick, this small end is fastened to
the long rope (see Fig.2) by inserting the case of small rope into the
pricker of the long one, all looking as one whole rope (Fig.2).
(In our
sketch the space between the long and the short rope is very much exag-

gerated, done for clearness sake.)

Presentation:

The end of rope with the

short piece attached to it Performer is

holding
in his left hand,
so that
this part of the preparation is hidden by his hand. The other end of
rope is then taken
in right hand. A
gent from the audience
is now asked
to assist and Performer gives to him
the end, which he himself has in his
right hand, now into gent's
right
hand, saying:
"Will you please open
Fig. 5
your right hand!" (See fig.3) He then asks the gent to close his hand as
per fig.4 and to hold the rope firmly in his hand.We - of course - know,
why Performer
asks the gent to
close his fist round his end of
the rope,
it is simply to prevent
him having
too close a look at
this prepared part. But to make
double-sure of it, Performer rolls
the rope round spectator's hand,as
we see from figs.4 and 6. Gent is
now asked to walk into the audience as far as the rope will permit him
doing so and to ask a lady to cut the rope by means of a pair of scissors
in about the
centre
in two
halves. This done
Performer
pulls the end,which he is holding, in and deposits same over
a chair, noting however,
on
which side the short,attached
end comes to lie,
see fig.5.
He th*n
asks spectator,
who
Fig. 7
has got hold of the other end,
to give him this end, laying it over a second chair, also noting, where
the prepared part with case w i t h
grooves is to be found.
Performer now takes the rope,which he has received just now,at the
prepared end, making a fake-knot
into this. To do so, he puts the
rope-end, which he has placed between the
finger-tips of both
hands, as per fig.7, ring-like, as
Fig. 8
will
also be noted by the illustration, the diameter of ring being about 8 inches. Now the fore-finger
of right hand is
laid over the ring and the rope is then pushed over
point of fore-finger, as is seen in fig.8. The rope is then pulled with
this fore-finger through the ring outward, making in this way a loop, at
the same time also tightening the rope, as per fig.9.
Into this loop the end of rope with small end attached is pushed,
see fig.10 and knot is pulled tight, hereby producing the illusion,as if
the prepared,
small end-piece of rope (fig.2) is really a part of the
knot of the long rope,our illustration No.11 making this clear.The small

end-piece must be in about centre of the loop.Under cover of Performer's

hand this smaller end-piece is pulled out of its case and pushed into
the free end of the prepared rope, in
which end - you remember - is the case
w i t h
grooves,as seen from fig.11a.
This introducing of the small end into
the end of
long rope must be done
quickly and also firmly; it must moreover be remarked, that the rope-end, when introducing smaller end, must be twisted a little,until one feels,
that the protruding part of the
mechanism fits into the grooves and holds a 11
Fig.9
tightly and firmly. You can now let the rope be pulled without fear of
the ends being pulled apart, the mechanism keeping everything firm.
Two spectators are now asked to take the rope ono at each end and

Fig.11
Performer takes a pair of scissors cutting before the
eyes of all the spectators the short piece of rope (fig.2) off just behind the knot,as seen in fig.12. The other half of this pushed-in part
is cut-in a little and
then pulled
out of the fake-loop by means of
the scissors, as per fig.13.
The rope being pulled rather taught.but not too much so,will still
show a knot, which must be shown to audience by Performer pointing with

Fig.12
his hand to this knot and he now makes with
both hands over the knot some
magnetizing
moves, covering knot with both his hands and
under cover undoing same. He then slowly removes his hands from
the rope and - rope is
F i g . 13
restored again, in fact looking quite unhurt - so to say - as before the
cutting. Both ends are quite firmly
connected by means of the mechanism
and even a spectator with a pair of field-glasses
could not detect a
flaw. A decent pulling of the rope will not in any way do any harm, but
it is advisable to show the rope first and then let it be pulled, as the
small nail may become lose under severe conditions.
After the performance remove the whole connecting mechanism, both
case as well as pricker by pulling out the small nails, which is done
easily
by pinching
them off. The undoing of the connection between

m
case and pricker
is done by pressing at the places marked in fig.l with
some pincers.
After use it is advisable to bend the pricker with a penknife outward,
so that in repeating
the trick the connection is easily
made again. It is also imperative to clean pricker as well as case after
use each time so as to prevent small particles of the rope to get between, which may prevent a safe working of the mechanism.

Tagrey's latest Original Handkerchief-Colour-Change

Requirements:
a) A nickeled tube.
b) An aluminium tube, fitting into nickeled
which has on both ends ribbons,
these having on one
end each a press-button.
c) A red
and a green
hanky,
being also provided with a
press-button on one corner.
The hankys are fastened
by
means
of the press-buttons
to the
ribbons of the
insertion, as seen
from fig.l. The
red hanky
is then

"FIX".

tube (on insertion),

pushed into the insertion and

the whole is put on Performer's table so,
that the green hanky hides the insertion.
Performer gives tube (a) for examination
and he then takes up the

hanky on table at the prepared corner,

lifting
the hanky and
the insertion hanging
hereby behind the hanky.
Performer now takes back the tube and pushes the hanky as well as
the insertion hanging behind - of course unobservedly by audience - into
tube, the hanky hiding all the sins perpetrated (Fig.2).
The hanky - it
will be seen- is really not pushed into tube,but also into the free space

I
US'

15

!
B

of insertion, the tube being hereby held horizontally.

Performer's left
little finger covers the opposite end of tube.
Performer now turns tube round and draws out the red hanky, which
has been pushed
through meanwhile by this performance a little over
half. He then holds tube perpendicular, goes underneath red hanky and
pulls out the remainder of the red hanky and also insertion, latter hanging again out of sight behind hanky.
Finally the nickel tube is again given for examination.

CORTINi'S ORIGINAL T U M B L E R

ILLUSION

For Cortini's excellent Tumbler-Illusion, which has been a great

success, wherever presented, you require the following articles:
a) Two tumblers to match each other.
b) One rubber-cap to fit over one of the
tumblers.
c) A double-handkerchief
with a disc
sewn
inside, latter being of a little bigger
dia., than tumbler.
d) A small sponge.
e) K side-table with a glassservante for 2 tumblers.
f) A decanter filled
with
some liquid.
g) A magic wand.
These articles being procured, the following preparations are necessary.
Performer pours into one of
the tumblers from the decanter
the liquid and tumbler is then closed bv means of the
india-rubber cap. This tumbler now is deposited into
Performer's left breast-coat pocket,so that it is easily get-at-able.The
other tumbler is put on the table, beside it lies the hanky.
Behind the
table on a small 1 edge-servante lies the sponge, we'll saturated with the
same liquid as in the decanter.

Presentation:

Performer fills the tumbler on table with the

liquid
from the decanter. He then puts
tumbler back on to the table and covers same with
the hanky,so that the disc is lying over opening of
the glass.
In covering
the tumbler he seizes the
sponge, palming same. With the left hand he seizes
the hanky and tumbler underneath,but letting latter
glide unobservedly into the glass-servante.
In moving away from table, the hanky is held
so, that the appearance is given,as if tumbler were
still underneath.Performer now goes with right hand underneath hanky and
seems to spill some of the liquid on to the floor, in reality the palmed

sponge does the trick. Performer now takes up his wand, at the same time
getting rid of the sponge into servante. The hanky is now tossed up into
the air, Performer claps his hands,at the same time also looking upwards
and - glass has gone! He shows handkerchief from all sides and puts same on to his knee,
as seen from our illustration, position being: face
towards audience.
Performer now seizes
the disc inside hanky with left thumb and second
finger and draws tbc hanky from knee upwards, lifting it slowly upwards;
this gives an impression,as if tumbler is re-appearing again. Doing this
part of the trick, Performer must lift his arm up to the height of his
shoulder, while his right hand is held in front of his chest, pointing

I
t
*

*
*

with same
(meaning the hand, not
the chest)
to hanky. Performer now
changes his position
to left side towards audience and draws
the left
arm a little towards his body. With right hand he quickly takes the hidden
tumbler
from his right 1 breast-coat
pocket and brings same under cover of his
left arm underneath
the hanky. With his
left hand he takes away
the india-rubbercap,while the right hand removes the tumbler from underneath
the hanky.
Performer
the senow puts the tumbler in front of
,
while
he
puts
the
hanky
with cap inside on to the table.
cond servante,
He seizes the tumbler with both his hands,
lifts
same (while in reality the tumbler is again, as in
the first place, dropped
into the servante) and
goes now to the centre of the stage, both hands
MliSIIIimliTlMiWi'JikiWlti
still encircling (seemingly)the tumbler, lifts his
. knee and slaps both his hands on to his knee - and
the glass has finally and unmistakeably vanished.
The book "Meister-Magie"
(Master Magic) also edited
in Horster's
Verlag Berlin, Germany, gives some more good
tricks in connection with
the above.

!
t
I
I
\
k

\
k
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I
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*
I
Requirements:
17 cards of any sort.
15 short cards, f.i.
5 cards Eight of Diamonds, called sort I-.
5
"
Jack of Spades, called sort II,
5
"
Seven of Hearts, called sort III.
Performer must,before starting with performance,have these 32 cards

II

. I-I.H.

17

tf.-

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in the followig rotation:

1. Card of sort I.
17. Card of sort II.
2. Card of any sort.
18. Card of any sort.
3. Card of sort I.
19. Card of sort II.
4. Card of any sort.
20. Card of any sort.
5. Card of sort I.
21. Card of sort III.
22. Card of any sort.
G. Card of any sort.
7. Card of sort I.
23. Card of sort III.
24. Card of any sort.
8. Card of any sort.
0. Card of sort I.
25. Card of sort III.
10. Card of any sort.
26. Card of any sort, f . i. Seven of Diamonds
11. Card of sort II.
27. Card of sort III.
12. Card of any sort.
28. Card of any sort, f,. i. Eight of Hearts.
13. Card of sort II.
29. Card of sort III.
14. Card of any sort.
30. Card of any sort, f.. i. Queen of Spades.
15. Card of sort II.
31. Card of any sort, f., i. Ten of Diamonds.
32. Card of any sort, f. i. A;:e of Clubs.
16. Card of any sort.
Thei 32nd card is the bottom card and it is bent L e n g t h -ways
but only if wanting to shuffle cards "false" - this latter card then being used for the "bridge". It will be seen,by looking at the table herewith, that all the prepared cards arc lying on the u n e v e n
numbers
and this must be remembered, as being very important.
Presentation and Patter:
Ladies and Gentlemen,
"I intend showing you quite a new and very sensational card-trick.
But first of all allow me to write a few lines on these scrrps of paper".
Performer does this by writing the names of the 3 sorts of cards: I
- II - III like this:
First note: First spectator has chosen: Eight of Diamonds.
Second note: Second spectator has chosen: Jack of Spades.
Third note: Third spectator has chosen: Seven of Hearts.
He now folds up the 3 notes and gives each to a spectator to hold.
He says:
"Will you kindly put this note into your pocket.But before starting
I should like to show you, that the pack is quite an ordinary one".

is, he shows the 5 bottom cards in spreading these out fan-like, so that
spectators see really 5 different cards. Moreover Performer
shows the
cards also in ladder-like manner,only the 5 bottom ones, of course,which
shows our fig.2 and in this way spectators see nothing of
the prepared
cards.
Performer then squares up the cards again and shows them a third
time by turning over the cards book-like, using the thumb
to let cards
slip off singly, one at the time and thus show to spectators all the
cards,at least so it looks,and which will seem to be all ordinary cards,

because every second card is a short o.;e and will therefore not be caught
by the thumb,an excellent device,known not only from Nate Leipzig's pack
of forcing-cards, but also from Conradi's Tip-Top pack.
During this operation Performer says:
"You see, Sir, that all cards are different, in fact it is just an

ordinary deck!"
Yes, it is even possible to "false" shuffle
cards - if you understand this - and let cards be cut, on account of the bridge being there,
but this is left to Performers taste. Before going any further with the
trick,I must explain to my readers a new move,invented by me and called:

"The Ranging of C a r d s " .

Performer will f.i. bring a card

unobservedly from.the top of the
decK to the bottom, he then does this as described herewith:
He is standing, we will say, right side
to audience and the left
arm, in which hand he also has the cards,
is hanging down on loft trouser's leg in a nonchalante manner,in such a way,that the top of the pack
lies against Performer's body.Performer pushes now the top-card with his
left thumb, say: Queen of Diamonds (Fig,4) downward.su that he car. press
card with
stretched-out left second and third fingers against his leg,
see fig.5.

He now pushes his fore-finger between

deck and the single card am! is thus enabled to get this card easily to the bottom of pack, see fig.5, from which
you will see,that the second and third fingers draw card back.This done,
the fore-finger is taken out of deck again, and Queen of Diamonds is now
bottom card of the pack. (Fig.CI
You will find this an easy and quite wonderful simple si eight,which
can be repeated dozens of times, without the spectators seeing anything
of it.
Of course this new sleight is only possible, when doing the trick
with ordinary cards, when however doing the trick with Giant-Cards, this
sleight cannot be used, but the cards must be "changed", which is with
Giant cards an easy matter.
But let us start with our trick now:
Assuming spectator
calls out an uneven number f.i.5,
Performer
then, without in any way changing the deck,, counts off from the top of
deck and putting them face down on the table, 1 - 2 - 3 - 4 cards,
the
fifth however is turned over (see fig.7) this being in our case the 8 of
Diamonds. In counting the cards face down, Performer makes u.se of a clever ruse, by turning - quite casually - now and then, as soon as he gets
to an even number,this card over, in this way showing ihe spectator each
19
1%1-nti^-iTtr ">tfiii'iifrii fn i<ri trn rrri*iriii iHiinOi>< nr'

time a different card and so giving the spectator the impression,

that
the deck is really quite an ordinary and unprepared one. Of course, when
an even number is called out by spectator,he must show cards only of the
u n e v e n
number.
Through this manipulation the trick is considerably "strengthened"
the more so, when trick is done with "Giant-Cards".
Assuming now, spectator calls out at the start an even number,then
Performer pushes the deck held in his left hand asunder fanwise,
takes
the bottom card, in our case Ace of Clubs, saying: "I can start counting
from top or bottom - just as you like
and laying the Ace of Clubs on
to top of deck, without waiting for an answer.
By this ruse the prepared cards are all lying on* e v e n
numbers
and this is of course very important
in continuing with
th^ trick. We
will now assume, that the second spectator calls out, after being asked
to name a number between eleven and twenty,also an e v e n
number,then
Performer, without in any way disturbing the rotation of cards,
counts
along until he gets to the wanted number. However, should spectator call
out after an u n e v e n
number, as we had f.i. "5" - an e v e n number,say: 18, then P e r f o r m e r must arrange cards,as already explained,that
all prepared cards are lying at the e v e n
number-:.
If,in the other case,the first spectator has called out an
e v e n
' number,and the second an u n e v e n
one, then again a re-arranging of
cards must take place, so that the following rule must be remembered:
If spectators call out one after the other two even or two uneven
numbers, Performer has no need then to arrange
or alter the rotation of
cards,by taking one card from bottom to top. But if after an uneven number should follow an even one, or vice versa, then the top-card must be
made to second by putting another one on top. .
In the same way the third spectator is dealt with, to which Performer says:
"Call out a number please between 20 and 30!"
After Performer has now thrown down the 3 chosen cards on the table, ho asks the spectators, who are still in possession of the 3 notes:
"Please be good enough to unfold the notes and
read aloud, what I
had written down beforehand!"
This is of course the climax, because audience will be astonished
and quite dumbfounded; to hear those cards called out, which have been
chosen, so to say, by mere chance, in being marked out by different numbers.

THE

GIANT-CARDS-CLAIRVOYANCE-DECK.

The deck, consisting of 32 cards only, is marked in quite a novel

way, invented by Mr. S c h e J d o n . We can honestly assert, that the
way, the cards are marked, resp. the clever design, which enables anyone
to read from the back the cards at once, is unparalleled.- Even HerlockShomes will not be able to detect the secret, because the markings are
not put in by hand, but they are printed in.
Look--if you please--as closely as possible at the backs of cards,
yet you will not be able to discover any preparation,notwithstanding all
the 4 corners are marked, as our figs.l, 2 and 3 show.

Be Core we go any further let us explain, what the English equivalent is of the German expressions in our illustration:

Ac hf

---Sieben
---Kreuz

Fig 1

Bube
On the left side:
Acht - Eight
Bubo = Jack
Dame = Queen
Konig = King.

Dame
Konig

On th right side:
Sieben = Seven
Kreuz
Clubs
K.aro
Diamonds
P'qno
Spades
Neun
Nine
Ziihn
Ten.
of the
The colour
as well
as the value
cards are given by white- dots,which are inserted
in the branches of the design in the corner.

As basis of the colours- H e a r t s

are taken and this is represented by two white dots in the left hand top-corner,
showing a kind of
open triangle, easily seen,when referring to fig.2, which represents the
Ace of Hearts. Spades are represented by 3 dots,
in tho same enclosure
and this is also easily made out by referring to fig.3, which shows us
the Eight of Spades and you see here distinctly 3 dots instead of the 2
dots as before.
Now for the D i a m o n d s
! This is represented also by 3- dots,
but instead of the second dot being underneath the 2 dots for Hearts,
this is a b o v e
the 2 dots of Hearts,, as seen in our fig.l. The dot.
underneath, denoting Spades, must of course.be omitted.
For C l u b s
we have, as will be seen from Fig.l, a dot in the
u p p e r
triangle and naturally
the dots for Spades and Diamonds are
omitted. The 2 dots for Hearts, however, are always there!
We are coming now to the values for the cards from Ace to Seven.
A c e
is not marked at all. You see this from fig.2, which represents the Ace of Hearts and in which.you see only the 2 dots,
denoting
the colour, i. e. H e a r t s.
The K i n g
will be found by referring to Fig.l,in which you see
a third white branch inserted between the other 2 branches at the bottom
part of the trunk,in our illustration for clearness sake coloured black.
The Q u e e n
you will find on left hand side, between upper and

'lift

lower bra-eli, being marked by a .special branch there.

When looking for the J a c k
you must look for a branch, wnich
is branching off from the topmost part of the trunk as a special second

Herz-As
Pique-Acht

Fig. 2
&r

Harz-As =
Ace of Hearts.

Fig

Pi-ua-A ht =
Eight of Spades

one, pointing to the left.

The T e n
you'll find by looking for a branch opposite the Queen,
but pointing to the right.
Just so you must look for the N i n e ,
looking for a branch opposite the Jack, but pointing also to the right.
The E i g ht has a special branch and this you will find, when
referring to our illustration, which shows you this branch pointing upwards from the upwards slanting longer branch, running from the centre
right upwards.
The S e v e n
you will see just pointing to the Eight and this
finishes our explanation, which you will find, we think, very easy to
learn. We may remark, that all the branches, which you see in our illustration coloured black, are of course in the cards white.
The fig.3, f.i. means the Eight of Spades.The lower dart points to
the dot, denoting the colour,while the upper dart points to the value of
the card, namely Eight I
When learning to read cards from the back, it is best to have them
sorted in colours as well as in values and then put them backs uppermost
and read one after the other.
After having done this 3 to 4 times, shuffle all the cards, draw
single cards from the centre and then try to read them. Call out aloud
the card you think it should be and then turn over the card and verify
your statement.This must be repeated,until you ere quite firm in reading
every single card from the back. It is advisable to do all this systematically, that is, first of all see, what colour it is and stick to the
rotation of: Hearts, Spades,Diamonds and Clubs. After you have found the
colour, look for the value: 7-8-9-10-Jack-Queen-King a d Ace!
With a little patience as well as practice, the cards will then be
recognized even when you let cards be drawn, at a glance, just as if you
had seen the front of cards.

The omniscient Artist.

Performer gives to a spectator the Giant-Clairvoyance
Deck for
shuffling purposes and lets them be spread-out -- backs uppermost -- on
a table. Several cards are now selected and Performer calls out at once
the chosen cards.

> *
Telepathic Cards.

Performer leaves the room and cards are drawn meanwhile. Performer
is then blindfolded, but of course is still enabled to look at the cards
spread out on table and is thus in a position, by knowing
the marks on
cards, to call out those selected.

The Power of Suggestion.

Requirements and Preparations:
a) A Clairvoyance-Giant-Cards-Deck.
b) 32 slips of white paper. On these are written the names of all
the 32 cards of deck, after which they are assorted according
to colours and values and then put into
. c) An assorting-case. Into this case, which has 4 compartments,the
assorted slips are put so,that each colour has its own compartment and in each compartment the slips
are assorted from Seven
to Ace. This case is carried by Performer in his
frock-coat
pocket and he must be able to get each slip as quick as lightning and undetectedly.
F.i. Performer wants the slip, on which is written: Nine of
Hearts, he then puts his finger into the compartment
with
Hearts, counts beginning with Seven -- 7,8,9 and takes out this
slip.
d) Another blank slip and an envelope to fit.
e) A seal-ring.
f) Some sealing-wax.
g) Some scissors.
Presentation:
Performer writes before the eyes of spectators
something on the
blank slip of paper.without letting be seen,what lie is writing.This slip
is put into the envelope and this is marked and scaled. This envelope is
then put on to a wineglass, visible to everybody and Performer then lets
a card be drawn and this card is,without being looked at,put on the table. Performer has of course meanwhile had a look at the back of card and
knows immediately, which card it is. He at once takes the slip of paper,
corresponding to the chosen card, from the case and palms same. He then
goes to the envelope, deposited on the glass,
takes this and brings the
palmed slip behind the back of envelope,takes the scissors and cuts open
the envelope at its longer side, holding envelope with his left hand so,
that spectators cannot see the slip of paper
lying against back of envelope, position of Performer being left side to audience.
Performer now puts his right fingers into the cut-open envelope,
but of course this is only done seemingly,
because in reality Performer
puts only his right thumb into the inside of envelope, while fore-finger
is behind the envelope.
Performer now removes his thumb out of envelope.
At the same time

taking the slip of paper behind the envelope between points of thumb and
fore-finger. The illusion, as if slip had been taken from the envelope
is quite perfect.
Performer must in his patter call special attention to the fact,
that he writes down the name of card before starting with the trick.

Suggested Patter:

Ladies and Gentlemen,

Coincidence in man's life is'a thing, which nobody will deny, of
queer consequences. There are two kinds of coincidences -- good ones and
bad ones! For instance: You call a seemingly empty taxi-cab, you get in
and -- find a charming young lady inside. Now this is, what I should
call a nice coincidence! On the other hand, there are others,as just the
same thing might happen to you, but that instead of the nice, young lady
you find inside your mother-in-law,with whom you have not been on speaking terms for some time, or -- worse still -- you find your tailor inside, who has been trying to collect his bill from you for a year or two
well,
I should
call this a v e r y
n a s t y
coincidence
indeed,
though from the tailor's point of view, he will think otherwise.
...Anyhow you will admit, that coincidences follow our life from birth
to death, from the cradle to the grave. In fact, I maintain,
that the
whole life is made up of coincidences,
all is coincidence,
except this
trick,which I am going to show you now -- this is n o t
based on coincidence, which I am going to prove. (Further patter ad lib.)
*

LIVINGSTONE'S SECRET.
Performer has five cubes with numbers written thereon,which he can
give for examination.
He then puts these cubes on his table and asks the audience to
kindly call out 4 numbers of 4 figures each, which are written down, either on to a slip of paper -- when doing the trick in a drawing-room -or on to a black-board, when doing same on a stage. It may be expressly
stated,that neither the slip is exchanged,nor are other figures.as those
givon by audience,employed.After the addition Performer takes the stones
between both his hands and shows once more the number, which has also
been called out by the audience as an additional fifth one with five figures. However, all at once the figure called out haphazard by audience,
changes of its own accord into the right addition before the eyes of the
astonished audience.
Requirements:
a) Five cubes with numbers on every side.
b) A tray.
c) A ruler, constructed so,that assistant -- which is also a requisite and a very important one too -- can put numbers, which are provided
in a separate case, into latter, having a cut-out for each number,to represent the result of the columns, when added up. The case with numbers,
the ruler and the tray are in the hands of assistant,either in ai\ adjoining room or in the wings.Assistant must have a very good ear and listen
attentively, what is going on in front, therefore dont chose one, who is
bad of hearing. Performer must also have two tables,
the larger one is
standing near wings on stage or near door or screen in drawing-room. On

the second
smaller table
other.
Presentation and Patter:

the bricks

are piled up,

one on top

of the

Ladies and Gentlemen,

"The trick,which I am going to present to you now,is called by me:
L i v i n g s t o n e ' s Secret, because the trick was given to my grandfather b> this famous explorer,
at the sam* time, as he gave my grandmother a necklace, called to this day: Grandmother's Necklace. Now these
five cubes or stones seem to be really endowed with life,so that one may
also call them: Living Stones -- will you kindly examine them,but please
handle them carefully and respect the age and
the memories, which are connected with
them. In the mean
time will
you kindly call out some numbers of 4 figures!
2 - 3 - 5
A - 4 - thank you. Will
you
please put these
figures down on this block
of paper. Will you call out another number,
please! 9172 - thank you - another one please!
1 - 6 - 9 - 8 ! Right and
now the last one! 4 - 5 - 1 - 4 thank you, they are all noted down and I
give the block to another Gent
to add these figures up and in
the mean
time
will
someone
call out a number of 5 figues,
please! 9 - 2 - 1 - 8 - 4 , very
well."
(Performer takss the bricks
on to small
table and in the
act of making
up the
figure
called
out namely:
92184 the
smaller
table is found
to be
too short, one of the
bricks
dropping on to floor. Performer continues:)
"Oh - the table is rather too small,this will not do! We will take
a larger one!"
Performer puts bricks
down on to the larger table, putting
the small one
to one side and
assistant
has in the mean time been
busy adding up the 4 columns, called out by audience and gats as result:
17738.This sum he has been
putting inside the
ruler
and then put on the tray the cubes with
the figure called
out before,
viz: 92814, face down laying the whole on table, unobserved by audience,
which has been following the moves of Performer meanwhile. Latter has
been putting now the smaller table to one side and takes now the larger
one, which he places into the centre of the room or stage and says:

"Well now, you called out 9 - 2 - 1 - 8 - 4 , there you are,just as

you called
out before. Has the Gent meanwhile added
up the
columns?
Thank you, much obliged to you, Sir, I trust,you have made no mistake in
doing this? No? Well,what is the result, please? 17738! Well though I am
even now enabled
to show you the figure, you called out before,
these
"living stones" are arranging
themselves with lightning speed and (Performer puts the cubes down on to ruler and
lifts them up again
w i t h
ruler) here you are,the result of this Gentleman's arduous task: 1 - 7 7 - 3 - 8! !
And this, Ladies and Gentlemen,
is the trick,
left to me by my
grandfather, called:
L i v i n g s t o n e ' s
S e c r e t !

T H E "EPHEMERE" or T H E ONE-DAY-FLY,
Requirements:
a) Three card-stars, as per illustration.
b) A small stand for three cards.
c) Three axle-boxes, which are screwed into centre of the 3 stars.
d) A prepared pointor.Inside centre of spindle a point of gravity,
' to be regulated so as to point like the one on a^ clock,from 1 to 12.Taking the pointer off one star,
it is an easy matter to get another figure by turning this spindle either to left or to right. Moreover the
pointer is constructed so, that it fits at both sides into the axle-box;
therefore, when pointor is taken off one star,
turned round and put on
to another star, it will just point to the opposite number,f.i. if pointer was standing at
1 and is turned round, it will point to 11,
2

"
6
W

B ^Q
3
" "
"
i

" " 9

"

"

"8

6 and 12 will therefore not change.

This construction is also an important item in our trick.
r
e) A special pack of cards.One the back of these cards are printed
in roman numbers I to XII. representing the 12 months of the year. Other
31 cards bear the figures 1 to 31 (dates) and besides there are 4 cards
with the last 2 figures of the last, the present and the next two years,
viz,27 - 28 - 29 - 30.According to the date of performance,cards must be
looked over and the corresponding ones to that date must be taken out.
f) An ordinary pack of cards.
'
g) An envelope.
Preparation:
Performer puts up the card-stars as seen from from ill. arranging
cards according to taste, except for the date. It may be remarked, that
on the star, like on a clock, top part represents 12, and counts to the
right with, resp. 13 , resp. 25'. The cards representing the date must be arranged as follows: First put the card, representing the month on to star
into centre.Then take the card with the date of month,as per system described, and put on to left side stand. F i n a l l y the card with year on back

is put on to star at right and the preparation of stars is finished.From

the regular pack remove now those 3 cards, representing the date and put

with faces to front at foot of stand (b), covering them with the envelope, placed in front of them. Performer starts then:
"Ladies and Gentlemen!
In my first part of entertainment tonight I was accused of my tongue being like 2 well-known
towns in France, namely: Toulon (too 3ong)
and Toulouse (too loose). Well I have taken this to heart and shall not
trespass again on your patience.
But I want you to follow me
for a few
moments into the fields of natural history. No doubt you will have wondered sometimes very much about the longevity of some creatures, while
others, whose life would really be a benefit to mankind, have -- alas -only a short span of time to live so f.i. the horse -- the dog etc. Very
wonderful it is also, that comparatively small animals, as birds, have a
life up to 100 years and more, so f.i. parrots. But there is one tiny
little creature on this globe, which only lives one day. The "Ephemere"
or "One-Day-Fly" is born on the break of dawn,mates at noontide and dies
before the moon rises. Poor little fly and yet, how long it may seem to
this small creature. To illustrate this trick and in memory of this fly
I have called my
trick after it: "One-Day-Fly" - because I can do this
trick only once in a year, on one particular day -- and this happens to
be today. Here a pack of cards,I want someone to shuffle them please,but
it must be finished before midnight -- you see our little fly only helps

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me today and today only. Thank you. -- I shall grasp the deck with
finger-tips only, and place it in the same condition, as you, Madam,gave it
to me, here on to this envelope."
Performer takes the pack, placing same in front of envelope,taking
the latter away. This ruse brings the 3 cards behind the envelope, on to
back of pack. Performer continues now:
"Here you see "three stars. I see some of the gents smile,No - they
have nothing to do with Whisky. The Gentleman in yonder corner, who smiles particularly loud over his whole face.will perhaps be good enough to
act as Umpire,or anybody else you like to chose, Ladies and Gentlemen, I
have no confederate, as jou may perhaps think. Thank you, Sir, step this
way, please. Now will you please take this empty envelope
and convince
yourself that it is really empty. Give it now to the lady, who was kind
enough to be such a good shuffler, -- so. I shall not touch
the cards
again,so will you take the 3 top-cards of the well-shuffled pack and put
them into this envelope,
the lady has in her hand. Well, Sir, you do
things, as if you were a Magician yourself -- are you? No? What a pity!Well never mind, dont be down-hearted, cheer up, there is plenty of time
yet."
Performer goes now to star in centre and takes off pointer, which
he had put on to 12 and says:
"Here is a pointer, I hope not a disappointer -- an old joke, you
say,well so it is, quite stale, I "stale" it from my old friend "Ben Ali
Bey". Well now,I shall put this appointer.I mean,this pointer on to this
stand on left side and whereever it will stop at, that card I am taking
off and put on to this little stand."
Performer spins pointer, after having regulated it-,so as to stop at
the required number, and takes the card, at which it stopped.putting it,
face to front, on to little stand on left hand side,as first number. Regulating pointer again, he turns to his temporary Assistant and says:
"Will you kindly put this pointer on yourself,
that is I mean not
on yourself, but on to the centre of the middle-star and spin it round,
like on a face of a dial. Thank you, you seem to have been at the "Dial"
before, young man. It looks very suspicious indeed."
Performer takes off the pointer, also the card,
it stopped at and
puts latter
in centre of
little stand. At the same time he
regulates
pointer again, now for the number of the year required. He continues:
"Now,Ladies and Gentlemen,to cut short and nip in the bud any suspicion, that might after all
linger in your minds, will you, Sir, make
place for the young lady, who is holding the envelope? Thank you,Sir and
thank you,Madam! Perhaps you can turn the wheels of fate as well as your
predecessor and put this pointer on to the last star,'There now,will you
turn the pointer to right or left? To the left? Just as you like, to me
it is always right. See'-- the pointer sways and stops.-- I take this
card and put it as third on to this stand. Now we have here...(names the
3 cards) and will you please open the envelope? Are they identical with
those you left on top of the pack? They are, fancy that -- well you did
this trick in quite a masterlike style, you did. You quite deserve the
applause of the audience - really you do.Please bow your acknowledgment!
Is this your first debut? -- Very well, but I hope not your last."
Performer conducts lady to the steps leading down.

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"Now,Ladies 8 Gentlemen,the lady has had her share of the applause,

and quite right. But I hope,there is some for me in store yet. The trick
is not quite finished.
I told you the trick was called the: One-Day-Fly-trick. But why?-you will see presently.(Performer turns round all the 3 stars.) You will
observe,
that every card has a number on its back, therefore
also the
three cards chosen.-- I shall now turn round the small stand and look!!My "One-Day-Fly'
has not forsaken me, she not only helped me
in divining the cards you selected,but she has also given me today's date,her
date of birth and of death."One day only is given to T h e e One-Day-Fly,
"To be born -- to live -- to mate -- and to die -Poor "One-Day-Fly!

T H E "FLOATING B A L L " .
This splendid trick is already well-known through numerous Performers on the Variety-Stage, so that a description of same will be welcome
to those,having not yet seen the most bewildering effects of this trick.
Requirements:
a) An aluminium ball about 10 dia, with two eyes.
b) A porccllain ring, This ring is fastened on left side of wings,
left from audience's point of view.
c; A hoop about 16 dia.
d) Two long black rather strong threads.
Preparations:
Performer fastens one end of the first thread on to one of the eyes
of ball. This thread is then led through the porcellain ring and Performer now goes to the right of
stage right up to and a little
over the centre and
fastens
the other end of thread,after having
impressed on his mind the exact position, he is taking now on the stage, by
means of a loop on his right third finger.
Next Performer takes the second
thread,
which must be about 2 lengths of your arm
long, and fastens first end of same on the
second eye of ball,leads then thread through the
hoop,going with it underneath his coat-collar to
left hand, holding
thread also by
means of a wide
loop on the
third
finger of his left hand. The hoop is
now hung over his head on to neck,as
will be seen from illustration
of
the entire preparation.
Presentation:
Performer goes with ball thus
prepared behind the wings. Under the
strains of a slow-time march,holding
ball with both hands, he comes with measured steps on to stage. He goes
then exactly to that place,of which he knows it to he the right spot for

him to stand, so as to have the right length of his thread-arrangement.

Performer now puts the ball on to his left hand, points with his
right fore-finger to ball and removes left hand gra-

dually from ball, which seems to hang

now on the tip of his finger, as seen from illustration.
Performer now removes also right hand from the ball and this floats
now freely in mid-air. By moving slowly both hands either for-or backwards,
ball is seen floating to and fro. Performer now takes with his
right hand the hoop and encircles ball in the most bewildering manner, as will be
seen from the ill.,which shows
the
different positions
of
hoop by perforated lines.Going
then back with hoop, Performer
pushes
at the same time his
left arm through
the hoop, in
doing so being freed of the
thread, as per ill.
Taking hold with right hand the thread of left hand, see ill. Performer frees same from undernaath coat-collar,which will also be seen in
same illustration.
Care must be taken,that the performance of the trick is not spoiled

by the ball pendelling to and fro, and to avoid this, Performer must go
with left hand to his right one, gradually giving thread
in right hand
free, which was running between ball and left hand.
Performer has now the ball quite in his power,
and can float same
by moving his hand and body backward and forward. With a little practice
it will even be possible to let ball float into a casket, held by an Assistant, which shows our illustration. The trick, having been finished
in this manner fingers are held
towards floor, letting slip the loops
from your fingers, as will be seen from illustration.

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CONRADI'S MYSTERIOUS SLEIGH-BELL COMBINATION.

This Act is not
veritable season-able
only a clever combinaAct.-Who has shown a
tion of tricks
with
sleigh-bell
experisleigh-bells, but also
ment . lately?? ! I know
to the present-day auof no-one
and theredience quite a novelty,
fore now is the time
ter season, showing a
to start for the winSleigh-bells are noisy customers,you dare scarce move yourself,far
less move
these pretty
little things, and they will make
themselves
heard--no fear. Therefore it is very difficult indeed to do tricks with
them, you must admit,and when you moreover put them into a glass-goblet,
where they are not only heard, but also seen, then the difficulty is increased -- this you will also admit, won't you?!Further -- you see here a beautiful stand (Fig.l), you see also
these ribbons hang down from the top. Now here I have got a sleigh-bell
in my hand (Fig.2)- will you please say,
on which of the ribbons shall this bell
appear?-- Very well -- on the second one
-- here goes!- You hear,it is still here
-- cling-a-ling -- Go! And here
I take
the second bell (Fig.3), it goes just as
quickly, to appear on the 4th ribbon,according to your request. And so I am doing with the 3rd one -- this is the Bell
of New York, you can hear it has an American accent,has'nt it?-By this time you
may have a faint idea of a suspicion, that these
fairy-bells are prepaFig.1
red!! No -- emphatically No!! -- Will a Lady
or a Gentleman
kindly step this way on the
stage?- Thank you, my Lady!- This is very nice
of you -- a fair
Lady and a fairy
bell -- in fact
Fig.3
two
fairy-Belles!!- Will you, kindly
examine this goblet
please, also this bell!- The fairy-bell -- to
keep same from earthly influences -- I shall
envelop into this silk!Cling-a-ling -- you
Fig.2
still hear the fairies inside, fair Lady?! And now - to remove
it still
further from all mortal^influenza - oh I beg your pardon, I mean: influence--! deposit both bell and silk into this goblet, give it to an angel
to hold and you'll admit,
that all mortal connections have ceased now!One - Two - Go! - Will the fair Lady kindly take out the silk from
the goblet and look!- The fairy-bell has gone!- And has appeared, as you
see, on the last of the ribbons now.- Thank you, my fairy-Lady for your
kind assistance!--"
Now to introduce you into the mysteries of this wonderful illusion,
I must describe to you first of all a Bell-fake*. This fake consists of
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a sleigh-bell, which is hidden in Performer's sleeve and enables him to

let the jingle of a bell be heard,even when he has no bell at all in his
hands, but "makes believe!"- There are different ways of preparing these
bells. But the bells are always encircled by a very fine wire-basket, so
as to prevent the sleeve deadening the sound of bell.

I. Method.
In this method
the bell (Fig.3a) has a metal-tube
inserted into
which the small ball, which is creating the noise, rolls. The opening of
tube is closed with a cork-plate, so that
ball cannot drop out. On to this tube a
strap is fastened on the lower arm underneath the elbow, so that the bell lies in
Fig. 3a
the direction of the finger-tips.
As soon
as Performer holds his arm upwards,
the
ball will roll into the tube, this causing
the boll to stop jingling. But as soon as Performer lowers his arm, the
ball will run again into the bell and in shaking his arm, Performer causes the bell to make itself heard again.
This method, however, has the disadvantage,
that Performer's arms
are in a cramped and unnatural position, especially so at first.-

II.Method after Conradi.

In this method no tube is made use of.But the ball inside the bell
is perforated and likewise the bell. A thread
is led through
the bell
made fast to the bell.-The bore of the hole in the ball must be counter-

Fig. 5

Fig.6

sunk, so that the thread

cannot
perchance
deaden
the sound.
This bell is also fastened
to lower arm by
means of a strap, see fig.4. The thread is then led through the right
coat-sleeve and ovdr the back into left coat-sleeve.where it is fastened
to the left arm, adjusting the length so, that the ball inside the bell
can be moved easily, as seen from fig.5, when Performer has his arms
bent.- When Performer shakes his right arm, the.bell will sound, but as
soon as Performer stretches out his arms, ball will be forced against
wanding of bell, as seen in fig.6 and the bell cannot emit any more any
sound.-

III. Method. After Fred Kessler.

Kessler also uses a boll,the ball of which is arrested by a thread,
but in his method the bell is not strapped to the arm, but hangs freely
inside the right coat-sleeve. The thread is led through the right coat-

sleeve over the back into the left sleeve"and length of thread is arranged so,that the bell can rest in Performer's right hand easily,when both
arms are in a bent position. But as soon as Performer stretches out his
arms,the bell is drawn into coat-sleeve out of sight. But it is also not
heard, because the thread is not fastened to the bell, but to the ball,
and will be pressed against the wand of bell and therefore be silent.

IV. Method.
This is rather a costly affair, because into the bell a tiny electro-magnet is installed,by which means the ball can be arrested ad.lib.We think the best method to be the one, explained under No.III.-

THE "SLEIGH-BELL
After David

Devstnt.

Description

PIGEONS".
by Fred

Kessler.

Right across the stage are stretched two ribbons, about two inches
broad, which meet in the centre,.so that they lie in a length of about 12
in.together. The ribbon coming from the left rises a little to the right
and that one,
coming
{
from the
right, a
little
to the
left
upwards as seen
in
our fig.7.One of these ribbons
is of yellow colour, the other
of a light blue. From the centre, where both ribbons meet, are hanging 4 smaller ribbons, being about
1 in. wide and 6 in. long, in a distance of about 3 in. from each other.
The ribbon on the extreme left
(from the audience's point of view) is
green, the next one red, the third yellow and the last one blue.
Each of these ribbons has at the top a broad bow of the same colour, see fig.7, seemingly only a kind
of decoration, in reality however being of the utmost importance .because the appearing bells are hidden behind
these bows, as seen from fig. 8.- The bells are faFig. 8
stened by means of needles behind the bows and in
each needle is threaded a black thread, wich goes
through the hollow double-ribbon to the Assistant behind the scenes.- At
the beginning of the show
another bell hangs on
oach ribbon, which can be
taken off.
The ribbons can also
be made so,that the bells
are directly
above
the
bells, as shown in fig.9,
in this case, the bells
arc also hidden
behind
the bows and are also set
free by a thread-pull.Behind the bows is moreover a little plate, having the same colour
as the back-ground,
this will allow the bows to be made much smaller as

wlQne

is the diameter of the bells. Bows being in dazzling bright colours, the
deception is complete.Presentation and Patter:
"Ladies ft Gentlemen, I have called my next experiment "The SleighBell Pigeons"--rather a pretty name, is'nt it? It is however a difficult
task,.I have set myself.because I have not only to deceive your eyes,but
also your ears!"Performer takes off the 4 bells from their respective ribbons and
puts them on an open bell-case for 4. bells.This case is.of the same construction, as the thimble-case (see "Magi/ y-c^o c:;>
sche Juwelen") .The case has 4 openings,see
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fig.10, into which the bells are pressed
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when Performer seems to take
them away.
F i g . 10
W h e n case is now closed, and re-opened again the inner part (2) will be
pushed into the outer frame (1), and in this manner bells will have disappeared , when case is opened. These openings are moreover well padded,
so that absolutely no noise is heard.
"These bells are like pigeons.which fly out during the day, to return at nightfall to their p i g e o n - h o l e s Performer seems to take a bell with the right hand, but in reality
he presses same down into the case. The partly-closed right hand is held
' low and Performer now bends his arm a little,to enable the fake to glide
into his right hand (III. method). This will most likely force Performer
to. shake his arm several times, before the fake will really slide down,
but this rouses no suspicion, because spectators have been misdirected
already by the noise made by bells,and it only looks",as if he were going
to "ring the bell" several times, which indeed he is doing, as soon as
fake is in his hand. Opening this now to show the bell once more, taken
just now off the case, Performer puts same on the outstretched right
hand."My pigeons are well trained -- you can decide for yourselves,into
which pigeon-hole the first pigeon-bell shall return. Green--yellow--red
or blue?? Call out a colour, please!"We presume, yellow is called out. Performer then closes both hands
and makes a throwing movement with.them. By this move arms are stretched
out and causes the bell-fake
to vanishinside coat-sleeve.
In the same
moment Assistant pulls thread of the yellow ribbon,
the thread of which
runs through the double-ribbon
to Assistant, releasing the bell behind
the bow and bell drops down to end of ribbon."You see.how well-trained my pigeons are! Another colour.please!"It is now called out f.i. "Red"!- Taking the 2nd bell from case.
Performer does exactly as with the first one, so that it will appear on
the red ribbon.
...
"And for the third one -- what, colour shall we take? Green?!- Very
well -- here goes!"The third bell appears according
to our former description on the
green ribbon now.
"But I know, which colour you will chose now! Yes -- I am a bit of
a thought-reader too.'-Bluell- There you are! Did'nt I tell you?!"And so the 4th and last bell is dealt with accordingly.*

Perhaps you have tried meanwhile

to manufacture yourself an apparatus for the "Sleigh-Bell-Pigeons"I - This trial should
have shown you,
of which great effect this trick is, though the effect is still greater,
if the trick is done
in the manner described
at the beginning of this
article.
The stand, see fig.11, on which the sleigh-bells make their appearance, is covered at the place,where the 4
arches underneath the top are, with the
same material, as the back-ground is made
from, so that nothing can be seen, what is
hidden behind
and these are the bells to
appear.
(By a mistake of the artist, who
made the drawings,
the 2 upper bells are
drawn far too large and too deep down.They
should be behind the ornament covered with
the material.)
One must imagine,that apparatus fig.11
is seen from the back, so that the cords,
holding the bells, are only seen beneath
the arches, which gives the impression, as
F i g . 11
if the cords were fastened
chanism, which is attended to by an assistant,who can at will let one or the other of
the 4 bells drop down,is coming into action,
as soon as thread i s
pulled attached thereto.At the beginning of the trick the 4 bells
are hidden behind
the 4 arches.
Other 4
bells.hanging by a hook on each of thecords,
are taken off and are put into a glass-goblet, as seen from fig.12.The glass-goblet has a hollow
foot,
which is large
enough to allow the bell to
drop inside it, when Performer presses them
into it. The opening is at the start closed up by means ofa movable mdtal-disc. To avoid any noise the inside of foot is laid out with velvet.
The removing of bells from the goblet is only done seemingly; in reality
bolls are pressed down under cover of hand into the foot of goblet.When
Performer removes his hand -- then of course made
into a fist -- out of
goblet,andgoes back towards audience,he can ring
bell by means of the bell-cache in the same way,
as in the "Sleigh-Bell-Pigeons" trick.- Also in
the same way Performer
takes one bell after the
other, throwing them seemingly on to the stand,I will now describe my original trick: The
disappearance
of a sleigh-bell
from a goblet
Fig. 13
held by a member of the audience.This goblet
(fig.13) is specially
constructed
so, that a
bell,which is hidden inside the hollow foot,rings,when goblet is shaken,
as long as Performer wishes it to do so and then a catch,
released when
goblet is placed on the table, will at once stop the ringing.-This stopping of the ringing is caused by a pin, which protrudes a

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fraction of an inch beneath foot and when placed on a flat table, will
catch the ball in bell and so stop the ringing. When it is placed on the
table before,
the pin must fit into a hole or groove of
the table. In
giving the assistant the goblet to hold, Performer also gives him a tray
and asks him to place the goblet on to this later on. In doing this, the
arresting-pin will do its duty at once and
the ringing stops to the
great astonishment of your temporary assistant.When goblet is now taken
from tray,the bell will ring only, after Performer has set the arresting
pin out of action by means of a pin.Performer
requires furthermore
the bell-cache
after Conradi (as
described before) or the one after Fred Kessler (See before:III.method).
Performer must also be in possession of a double handkerchief, in
the inside of which are sewn two halves of a bell to make, when placed
together, one bell of the size used.- To these
half-shells are also sewn on right and on left
side each a thread, which is fastened to the
corners of hanky, as seen in fig.14.Last but not least Performer needs an unprepared bell, which is lying either in the
goblet (see fig. 12) or in front of a trap in
Fig.14 Performer's table.After you have now got to know all the paraphernalia needed for the
trick, I will then come to the course of
"Conradi's Sleigh-Bell-Trick.*Performer places the double hanky,
which he shows from both sides, on to his
stretched-out left hand and then seems to
take the bell from the goblet or from the
table
-- as the case may be -- and puts
same into his left hand, at the same time
covering it with the hanky in his hand. However Performer really places
the two shells inside hanky together and puts his right hand
round the
hanky in such a fashion, as our fig. 15 shows. Performer shakes his arm
and bell will ring, as will also be seen from fig.15.Performer now takes with his free hand the goblet and puts
the hanky with bell inside into the
goblet as seen from fig. 16.When he then shakes the goblet, the bell hidden
in the foot will start ringing. But Performer need
only stretch out his arm to arrest this ringing inFig. 16
side his sleeve. If,however, Performer should make
use of Kessler's cachS (III. method), he palms the bell on thread, while
seemingly taking hold of the unprepared
bell lying either on table or
inside goblet, showing at the same time once more the prepared bell.- He
then covers bell with the hanky,shakes his arm and so rings the bell.The
further course of presentation is the same as in Conradi's trick.
Anyhow whichever method Performer may use, he now gives the goblet
and tray to a spectator asking him to make sure of the bell still being
inside the hanky in goblet, by shaking the latter one. This done,Performer asks spectator to place the goblet on to the tray and to hold latter
with both his hands. We know now, that, when spectator puts the goblet
36

down,the bell will stop ringing at once.Performer then gives the command
for the 4th bell to appear on the stand, as per our last line of patter.
He immediately takes then the hanky lying inside the goblet on both its corners, where the
threads are fastened to the half-shells. Shaking then the hanky out,he spreads same out and
shows, that
the bell has gone, evert when he
takes hanky at one corner and pushes same
through his hands, as our fig.17 shows.I may honestly state,that this goblet is
one of the finest pieces of apparatus in the
realm of drawing-room magic.because the secret
cannot easily be discovered.It has been onn of my principles to conclude my original
tricks if possible with an
illusion and therefore I am giving here in ilFig.17
lustrations 18 and 19 the stand used for my "Sleigh-Bell-Cascade.
In this case the bells used in manipulating
the bells are tossed
into che goblet,standing at the top of cascade,from where they disappear

9 <

Fig. 18

Fig.19

and roll down a zig-zag ladder into another goblet

standing at the base
of cascade.Another 4 bells appear on 4 ribbons seen hanging down.-How is
this possible, you ask? The foot of goblet is perforated. A thread-pull,
leading to assistant enables him to let bells fall singly from the goblet.The bells appearing on the ribbons are hidden behind the decorationtassels and are also released
by assistant pulling
another thread and
they appear then at the ends of ribbons.I can recommend Performers
to take up this spendid
illusion into
their program and they will be satisfied -- I know -- with the result!-

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Supplement

CLOTH-PAINTING
(Rag-Pictures)
by

H.W.TAGREY.

Kfcanftln

^Kp-trj-im

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mji i mim

i it i "i i mrjin - -itj - T.T "it tt 11. "n1-1H in iti u' Hi'-"!!

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CLOTH-PAINTING.
(RAG-PICTURES)
By H. W. Tagrey.
Cloth-Painting or what is commonly called: Rag-Pictures
are not
absolutely a new feature, but still -- it is an act always pleasing and
ever well received. This act is also apt to be enlarged and improved on
and in fact is so inexhaustible in its many effects, that it may not be
amiss to give a few details.
By Cloth-painting is meant pictures composed of different pieces
of coloured cloth, woolen stuff, rags et cetera.
When this kind of entertainment
does not always find the applause
it rightly deserves, it is very often the fault of the artist, only because be does not know, how to make the act entertaining,
but puts his
pieces of rags down in a manner,which can never be called:Art.-All looks
so very simple and easy,that the audience is getting the impression,that
it is no art at all and though it is, very simple and easy,yet the artist
must
create the impression,
as if it were in reality a very difficult
feat indeed. In fact he must, what is called in the trade: "Make good".
To "make good" now is an art in itself and it requires a certain
amount of the art of psychology to know, with which cheap means it is
possible, to bluff and hoodwink the public.
We well remember
the act of
"The Two Bollingers", who have with
their Rag-Picture-Act travelled all over the world.
The course of the act was as follows:
The curtain rises and audience see on the stage a large wall with
a view of a large court-yard. On the stage were stretched in all directions cloth-lines,on which were hanging pieces of washing to dry. Beside
the wall was standing a large dust-bin. Suddenly this bin opens and out
comes an Eccentric, who is at once gathering together
the washing and
puts them into a sack.
Some more comic effects were then executed, but we shall not trespass too much on the reader's patience.
A lady partner appears now on the scene, takes away the sack and
empties it out again. Both of them tear then down the wand, printed as a
wall and begin
to make new pictures out of the pieces of washing and
those of the
court yard.
In short their turn was a great hit and the
ease, with which all this was done, was concealed by the novelty of the
act.- And so it must be!Another artist was dressed up as rag-man and another again had a
suit, composed of rags, these he tore off and used them to make his ragpictures. Anyone with ideas will soon be able
to invent some new pictures
and will thus be able to enlarge his turn and to get better bookings,the
more so, as the outlay for such an act is really only trifling. On hand
of this book the reader will find some suggestions for rag-pictures, easily to be done and specially put together for the Amateur, who at parties and other entertainments be they at home or out of the house,can do
something different to the "other fellow", anyhow!What you need for an act of
'Cloth-Painting"!To make smaller
pictures you need an easel and a smaller board. For larger pictures you
want of course a large board. This board is made of ply-wood,
covered

with canvas. Or you can use a frame, over which is stretched the canvas
and which may be for transport purposes packed together small. This is
especially adapted for Performers being much on tour.
To make rag-pictures you need some coloured cloth-pieces.which are
cut out after the designs.You will get these either fr:>m a tailor's shop
or you make these yourself from pieces of flannel or the like.The clothpieces are pinned on with a pin on the stretched-out canvas.
Another kind of preparation is to use instead of the canvas velvet
and the rags in this case consist of pieces of woolen, which does away
with pins, as they will stick to the velvet without any pins.

Sample-Designs.
Let us first of all take an easy, simple design, such as

A NIGGER AND HIS W I F E .

This is also a changing picture,because if you turn over this nigger,you will see at once his wife too.The illustration next to the black

one shows, how to cut out the different pieces and the rotation of putting them together. Piece of cloth No.l is brown in colour, No. 2 and 3
are green, No.4 red,
the nose is black in front and brown at the back.
The parts 6 and 7 (eyes) are also black. When turning round the picture,
after it is ready, the black nose No.5 must also be turned,so that brown
part is in front, otherwise the picture will not be understood.

M O O N L I G H T IN T H E

TROPICS.

A tropical landscape is done with only a few coloured pieces, because "at night all cats are grey"!- Our design shows such a landscape,
in which the moon is playing in the water. At first part 1, which is cut
out of some grey material,
is put on to the canvas. The circle for the
moon, also the edges of the surface of the water are cut out and the underground of the canvas being of
light colour you have
already gained
the first effect. Should your underground however be of a dark colour,
then these parts must be made of light-coloured
stuff and then fastened

to the grey material. Of course there is no need then

parts in the grey material.

to cut out those

No.3 -- the mountains -- aro of darkish-grey;

of the same colour
parts 6 and 8 are made. Nos.2 and 4 are black and Nos.7 and 5 are of
nearly black-green material.This picture is not difficult to produce,yet
the effect is great!-

A SUMMER-LANDSCAPE
Turn the canvas on easel to make a broad picture.which enables you
to make a bigger show. Our design shows a summer landscape, in the background you see mountains.
As a summer-landscape this design must of course be full of gay co-

lours and we take therefore for the sky-part (No.l) blue.- The mountains
(2) are dark-brown, while the tops may be made white with some paint.
No.3,a bluish-green,is the forest in the background.The trees behind the
house, No.4, are dark-green.Of the same coloured material may also be
cut parts 8 and 12.- No.5 as well as No.6 is a large piece of material
in ochre colour, made out of one piece and No.7 is a green young meadow.
No.10 is also green, but darker as No.7.-

No.11 being the water must correspond with the colour of the sky, only a
shade darker. No.9 is the hedge and must be of brown colour.The house is
best made of card-board,is then coloured and put with the lower edge behind Nos.7 ana 8.-

A WINTER-LANDSCAPE.
To produce a winter-landscape only few colours are needed:
grey-black--light-blue and eventually for the evening sky pink.Our design shows such a view of a village in the distance.- To the
left is a forest.The sky No.l is dark-grey and on to this part the piece

No.2 is stitched.This, the evening sky,is of pink col our.No.3,the forest

is a black
silhouette.
Parts 7--11--12--13--14 and 15 are white,parts
8 and 9 must be a greyish-blue. Part 4 is a light-grey.- The parts 6 and
10 must be brown stuff. The windows may be painted on to the cloth.
In the fore-ground you see an old woman,gathering sticks. This figure may be composed of different pieces of rags or it may be painted
already on to a piece of card-board and then mounted.-

AN ITALIAN - L A N D S C A P E .
Of great effect is the producing
of multi-coloured
landscapes of
the South.- Our design shows us an Italian summer-house
on the sea-side
with the setting sun.- Behind the house you see some
cypress-trees and
on the water is swimming a barge.- A very nice motive indeed.The sky as well as the water are, as will be seen from our illustration,in pink and blue colours. Parts 1-- 2 and 3 (cypress-trees) are
then stitched on to this and are made of some dark-green material.- Part
4 is brick-red, the same as part 5, which is the roof. The house itself

may be made of card-board.

Part 6 is of violet-blue colour, while parts
11 and 12 are of brown stuff, being shaded a little with paint.-

The barge.part 17 is of dark-brown colour.- The shades 9--10--7 and

14 are of deep-blue colour.Part 13 is made of some red stuff.- The sails
of barge, Nos.15 and 16 are of course made of white material.-

L A N D S C A P E W I T H MILL.
For the final-effect you must of course have something special.For
this purpose I have here a cnanging-picture. At first this shows a landscape with a mill in the distance.
The sky may in this instance be omitted,that is the colour may be
as an exception the same as of the light-coloured parts.-Rags are put on

in the rotation of numbers.- Part 1 is dark-green, part 2 light-brown, 3

light-green, 4 blue, 5 light-brown, 6 dark-green and 7 a little lightergreen, 8 grass-green and 10 also leaf-green.Trunk 9 must be dark-brown, the same colour must also have the upper-part of the mill, No.11.-

T H E DUTCHMAN.

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After the audience has been looking at the foregoing picture.sufficiently ,Performer begins to take away all the rags except the mill--He
adds some few new parts and you will see now a Dutch lad.Part 1 is made of black material and is so pinned round the mill,
that the centre-edges come to lio underneath the mill. The trousers No.4

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are light brown and the clogs are dark-brown. However, the red stockings
No.3 are put on before No.8.- Tho face No.O is pink-coloured and is made
up accordingly.- The lad's head-gear can bo either blue or green.This change-picture will certainly be a good final effect
and
bring in rich applause.
Herewith, however,
tho art of Cloth-Painting is by no means exhausted.
'
You will get from any stationer for little money picture-postcards, which will give you untold motives and designs, which are--at
least most of
them--just the vory thing for your rag-picture-act.
The
best is to choso pictures with but litte detail. These pictures must be
decorative in effect, that means, that only rough details and outlines
aro employed to produce a fine total effect.The given designs however wil be sufficient for a start to incite
the Neophyte for more and better things.

46

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Table of Contents.

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The "Darts of Cupido". . .'

Aquarium Humanum
"PHOENIX", the final ,word about Rope-tricks
"FIX", Tagrey's latest Original Colour-change
Cortini's Original Tumbler Illusion
Ben Akiba's Secret, an Original Card-Trick
The Oiant-Caids-Clairvoyance-Deck
Livingstone's Secret
The "Ephemere" or the One-Day-Fly
The "Floating Ball"
"Conradi's Mysterious Sleigh-Bell Combination
The "Sleigh-Bell Pigeons"
Cloth-Painting (Rag-Pictures) by H.W.Tagrey

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5
9
10
15
10
17
21
24
26
29
31
33
41

Printed and published

by:
F.W.Conradi-Horster,
Friedrichstr.17
Berlin SW 48.
Germany

Copyright!
Printed in Germany.
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