« A I l T h e S t 3 t e L i b r a r y o f Victoria A L M A CONJURING COLLECTION"

A Modern Handkerchief Acfl An Up-to-Date Program of Selected Tricks with Handkerchiefs for

Magical Entertainers Playing Lyceum, Club or Stage Engagements With

. >

Humorous Patter For All Tricks Introduced in the Act, Accompanied by Instructions for

Gesture, Facial Expression and Intonation XSo Which is added

A Supplement Explaining, and Illustrating with Diagrams, the Construction and

Preparation of the Apparatus, Faked Handkerchiefs and Devices Employed and Their Mechanical Operation

Written by

I l lustrated

By For ty Drawings And Photo-Engravings

AMERICAN MAGIC CORPORATION P U B L I S H E R — :

T h e W h i t e Wizard A t the Studio —

Other Books by the Same Author

"Export Billiard Ball Manipulation" "Master Sleights with Billiard Balls"

'Bulletin of Latest Sleights and Tricks' "Thirty-three Eopo Ties and Chain Releases"

"The Business End of Magic; or, Making Magic Pay" * "An Up-to-Datc Card Act, with Patter"*

'Stagecraft for Magicians" "The Book of Humorous Patter"

"Magic Tricks and Puzzles"* "Good Things in Magic"*

"Impromptu Tricks"* "Sealed Mysteries"

'Sleight Sheets' "Deviltry" "Sleights"

* XOTK: Hooks followed by asterisk (*) to Ue Usutni subsequent to this volume.

A M E R I C A N MAGIC CORPORATION LONG liKACII KSTATKS BUILDING

403 LEXINGTON AVENUE NEW YORK CITY

Copyright, 1915 American Magic Corporation

In Course of Publication

NOTE: Owing to the inconvenience to dealers and readers caused in the past by persons who did not distinguish between our ANNOUNCEMENTS of books which WERE TO BE PUBLISHED and advertisements of books ALREADY ON SALE, we take this means of advising that the following books are announced as in the course of publication only, and are not obtainable as yet.

As the appearance of these books is largely contingent upon the consummation of foreign copyright, and the season or the market which may require the publication of certain books in advance of others, no definite date can be given at this time. Therefore, readers are espe-cially requested not to send orders for books announced for future} publication. Interested readers may most conveniently file their names for notification of the appearance of these books by writing the name and address on a card or postal bearing no other writing than the titles of the books wanted and a request to " File and notify when published.'' Mail to the dealer who supplied this book.

Tft Author1?* A m e r i c a n Maple Corpo ra t i on , i n c o r p o r a t e d u n d e r the L a w s or t h e S t a t e of New York , cap i t a l $10,000, is in t h e

m a r k e t ( o r m a n u s c r i p t s on M a g i c a l Sub jec t s . M a n u s c r i p t s of b e t w e e n 12,000 a n d 40,000 w o r d s p r e f e r r e d , b u t s u b j e c t s m u s t be o r i g i n a l ( r e h a s h e s not w a n t e d ) , a n d h a n d l e d In a tboroiiclily pmeti<-M m a n n e r . I t should be b o r n e in m i n d t h a t t h e s e p u b l i c a t i o n s r e a c h a d i s c r i m i n a t i n g t echn ica l a n d p r o f e s s i o n a l r e a d i n g pub l ic , w h e r e e l a b o r a t e d l i t e r a r y v e r b i a g e Is undes i r ab l e , w h i l e condensed d e s c r i p t i o n s w i t h t h o r o u g h I l l u s t r a t i o n by p h o t o g r a p h s or d r a w i n g s a r e in d e m a n d .

Irxtrodtiction. Handkerchief Magic of all forms of the Ar t seems to he the most sought after by magical students. I n

my work as a designer and writer of magical acts I was most repeatedly called upon to write I l dk f . Acts,

I l dk f . Patter, arrange acts or routine of I l dk f . Tricks and to make up outfits or apparatus for I l dk f . Acts.

The most constant demand has been for original methods of presenting the tricks, with accompanying

patter, and an arrangement of the tricks in the form of an act of logical sequence. For it is notable that

the various I l dk f . Tricks and devices (and there is no dearth of them) consist largely of faked or specially

prepared I ldk fs . which cannot be used in other tricks. Thus the performer must lay down one prepared

handkerchief and pick up another, making the performance appear more like a demonstration than a smooth-

running entertainment developing toward a natural climax.

From tlie various acts I have from time to time designed along this line I have evolved the present act,

selecting a good part from this one and effective bit of presentation from another, and endeavored to blend

them into an effective whole, an act which combines as many strong points of showmanship with as little trouble and labor in the way of preparation by the performer as possible.

There is some logic back of the demand for I l dk f . Acts. I t is one of the most effective forms of magic,

for it is colorful, spectacular and easy to see from all parts of the house and is therefore more certain of pleasing a wider range of audiences of varied character than any other individual magical act. The traveling

performer, the lyccum, chautauqua or convention—even the club performer will f ind the Handkerchief Act

a program that is always "sure fire" under most any conditions.

The numerous calls received by the publishers for the book "S le ights with S i l ks " designed to compre-

hensively cover the subject of handkerchief tricks in a like manner to " E x p e r t B. B. Man ipu l a t i on " on its

subject, has led to the early publication of the present Act in the hope that it will satisfactorily meet the

immediate needs of those who are seeking an effective handkerchief program; while the more technical and

comprehensive volume is being completed.

Aga in expressing my sincere appreciation of the patronage and approbation accorded my writings by

the magical publ ic in the past and the k i nd things said of them by reviewers in the magical and profes-

sional magazines, and hoping my present effort wil l not fall short of the standard they desire, I beg to ba

considered, Most fraternally yours,

New York City, J u l y 4, 1915. B U R L I N G G. G. HULL .

Nature of the Act. The Handkerchief Ac t sis considered here is not the Handkerchief Manipulat ion Act made popular

some time back, in which the performer entered empty handed and began with the production of a single

silk handkerchief, followed by a volume of other vari-colored handkerchiefs, which were tossed about as

rapidly as they were produced, unt i l the stage was well sprinkled with them. The idea of the performer

spouting silks unt i l the stage was covered with them held the public's attention for a time as a novelty; but

only as a novelty; and like all other novelties it died an early death. A novelty is short lived, for there is

generally little real worth back of it, and with nothing to commend it but its novelty it rapid ly becomes a

bore once its novelty is worn away.

The Handkerchief Act presented here is really a logical, interesting magical entertainment first and

foremost; and simply using handkerchiefs as a medium in such a way as to secure the greatest amount of

amusement, mystery and entertainment possible.

COMPOS IT ION OF T I IE ACT.

From the various handkerchief acts I have written for patrons and students in the capacity of a

magical designer the present act lias been evolved by the process of selecting a trick and a bit of patter here,

an effect or an idea of showmanship there and so on. I have endeavored to blend them into an effective

whole, to arrange and feature the tricks and parts so that they dovetail into an act of perfect sequence. This

has proved to be a labor far beyond my original expectations, for unlike wri t ing to suit the taste, abilities and

conditions of one individual, it has been necessary to consider the various requirements and conditions of per-

formance and the magical facilities of a wide range of readers, from club performers to stage artists. W i t h

this in mind I have endeavored to evolve an act of general appeal and application and have to that end found

it necessary to eliminate anything that would prove diff icult or awkward for performers included within this

range.

I have described the position of the performer dur ing the execution of the tricks, the patter, the vocal

inflection while rendering it and even the facial expression to accompany the remarks, entirely in addition to

the manipulat ion of the tricks, and invite the reader's most careful observation of these points. For parts

of the act are extracts from my own programs and the importance of certain details on reading which, may

seem optional, wi l l quickly develop when the trick is presented as described. It is oftentimes an opportune

remark, or the proper facial expression which turns the tide and makes a trick " h i t . "

The actual working and construction of the tricks are ful ly explained in the " S u p p l e m e n t " which is

distinct from the text of the act. Here wi l l be found detailed descriptions of all the tricks, devices and appa-

ratus introduced in the act and even the more famil iar accessories which are undoubtedly known to the

major i ty of readers, but are explained for the sake of completeness and the assistance of those who may be

less informed.

A SUGGESTED SETTING.

A suggested setting for the act is illustrated below. The tables are shown bare so as not to interfere

with a clear illustration of the unique design of the top.

B. H. Black Ar t Design. This design is my own creation and I think it is superior to and

" c l eane r " in appearance than those formerly used. A t anj- rate I shall leave it to the judgment of the reader.

Some of the standard black art designs are also illustrated here so that the reader may select a suitable design,

and it is thought that he will f ind this new rectangular design which conforms to the lines of the rectangular

top far superior to the usual jumble of meaningless circles and diamonds which it is apparent must have been

put there for an object, and therefore invites suspicion. The simpler and losi conspicuous the design the more

natural it appears. The present design, somewhat resembling the Swasticka. achieves something of a tri-

umph in the way of desired brevity and simplicity. Let me explain that I have not dwelt upon the advant-

ages of these tops to secure personal appreciation for the design, but simply because at the time I was

engaged in designing and constructing such accessories for the profession, the tables received much com-

mendation on the above points and I became impressed with the importance of the design in a black art

table, as well as in the construction of the table and traps.

This design has also the advantage of being easily put on as it may be laid out with one continuous

piece of gold or silver braid, while the circled or broken designs are an abomination to sew on or tack down.

THE T R I U M P H P O R T A B L E TABLE.

This table involves an entirely new principle in the folding base which combines the three greatest

needs of the traveling magician: SPEED and ease of setting up, which has never been even approached by

any old model tables, accomplished by a novel feature el iminating screws; F I R M N E S S and SOL ID ITY of

base, which again has never been equaled in a portable table before; L IGHTNESS and strength which has

never been possessed by former models.

The table is the result of several years experiment and study in table construction, urged on by the

actual necessity for use in my own performances, of a table which would not wobble even while withstanding

the impact of a heavy mechanical device dropped into the trap from several inches above the table. Yet

the table must be one that can be set up quickly, quicker, if possible, than anything previously designed, and

yet have the smallest possible number of dissecting parts (accomplished in three paxts) and would be light and strong enough to resist the denting and marr ing which quickly ages the average table in road use.

A Modern Handkerchief Act with Patter

NOTE—The Patter and Presentation of the Act are described separately from the Ex-

planation of the Apparatus and Tricks themselves so that the sequence of the lines of the act

wil l not be interrupted repeatedly with lengthy detailed explanations of the various tricks as

they come up in the act. The manner of handl ing and presenting each trick as peculiarly

employed in this act is given wi th the accompanying Patter in the lines of the Act. The

reader may then refer to the complete explanation of the trick and construction of the appa-

ratus given in the S U P P L E M E N T .

Preparation and Arrangement of Apparatus. Two tables; No. 1 at right, No. 2 at left. On Table No. 2 a large handkerchief dyeing tube loaded for

appearance of four large silk handkerchiefs in the fo l lowing order: green, orange, red and blue and placed

behind edge of large sheet of paper for forming tube. Table No. 2 should have a servante or Black Art Trap.

A large double blue handkerchief, arranged for Twentieth Century Handkerchief Trick, but for pro-

duction of two large silks, orange and green, instead of one small f lag as generally. (See detailed description

in Supplement.) This must be placed either in trap or in servante of Table No. 1 at r ight side with corner

setting up so it can be easily secured.

Handkerchief Producing and Vanish ing Casket, wi th removable bottom, and loaded with a red and

blue silk folded small and tucked in bottom of flap, and a red silk pushed down on top.

One blue silk tucked in right hand trouser pocket near the top so pocket can be pul led out without

exposing it (Top-o-Pocket Dodge) .

Hol low Finger-tip prepared with a small square of red silk, in r ight coat pocket.

One " P u l l " to take two large silk handkerchiefs rigged under coat.

Two-inch slit in r ight trouser seam a few inches above the knee. Four to six colored silks tied at

upper corners with black silk thread to a small piece of blackened cork. Silks tucked through seam with

cork left outside so that by pul l ing cork the silks can be quickly whipped out.

A number of colored silks and also four white silks for the Dyeing Handkerchiefs wrapped inside of

larger silk in the usual manner prepared for production, and encircled with a loop of catgut. Bundle tucked

under top edge of vest wi th fine loop outside so thumb may be slipped in to br ing out load.

Handkerchief Producing Pedestal loaded with red silk and bottomless glass tumbler on top with card-

board cylinder to cover tumbler.

Set of nickeled rings and apparatus for New Idea Flag Production loaded with handkerchiefs and flags

up to capacity of apparatus. One American F lag on staff or large American F lag of fine J a p silk. As an

alternative finale, a set of Nymex Production Chimnies.

I f Spool Trick is to be used for opening, prepare several large size spools by dri l l ing large hole

through the center and inserting a celluloid or polished metal tube. W i n d silk thread on outside. Rol l

up large silk, tie around wi th thread connected to a loop of fine catgut, and push inside each tube, leaving

catgut loop outside. Arrange on stand or table five or six different colored spools with silks to match inside.

28 SECONDS SET UP. This is accomplished by eliminating the usual t ightening screws and employ-

ing friction to hold the tripod legs in place. These legs swing together as shown in the illustration and when

swung open equal distances apart they remain just as they are placed, being held rigid by a novel friction

washer principle, making it unnecessary to tighten any screws as in the former round plate swinging leg

tables. Simply place the upright in the body, spin unt i l t ight, place the top on and spin.

R I G I D I T Y is accomplished by setting the three legs and the upright a full inch deep in solid bronze

through flush bored holes; as opposed to the thin (3-16 inch) center plates formerly used.

L IGHTNESS A N D STRENGTH are secured by using steel tubing which is stronger, though lighter than

solid cast brass and has the advantage of a hard surface which will not become dented and scratched by

the knocking about received in the "Proper ty R o o m " as will brass tables.

"With the foregoing features accomplished, and in consideration of the basic importance of the table to

the magical act, the reader wil l perhaps pardon me for a reasonable amount of pride in the production of

what has often been spoken of as the acme of table construction, and something of a revolution in that work.

How It Is Accomplished.

A twist or rope tubing upright gives a rich

effect on this table.

QUICK SET UP: Insert up-right in base and spin

until tight. Set top on and give it

a spin.

Footnote—The patents on this table are expeeted to be completed by the publication date of this book.

I t is not the intention of the author, in explaining the construction of the foregoing table, to more

than explain the construction of something that may prove of benefit to the profession—in other words it iS

not his desire to subtly direct orders or business to any particular dealer. To avoid this the table will be

marketed through all of the leading magical depots to anyone who may be interested in them. Under n o c o n -sideration wi l l the author accept any orders personally. Inquirers will be directed to the depots handl ing

them, a list of such dealers being furnished on application to the publishers.

Openings Suggested. Several openings are suggested below in order that the performer may select one to suit his style of

work, the conditions under which he performs and which is adapted to his equipment.

O P E N I N G NO. 1. Employ ing the Bur l ing Hu l l Opening Handkerchief Production. I t is desirable

that the performance be opened by a quick and effective production of the first silk handkerchief in some

striking manner—a manner that appears easy to the performer, somewhat startling and surprising in its sud-

denness, so as to start the performance with a snap and vigor and at the same time by its apparent ease of

execution on the part of the performer impress the audience with his abil ity to perform future work with

like ease. I t would not be diff icult to accomplish this with the usual small size handkerchiefs of thin silk,

for there are many devices for the production of a small I l dk f . But this first handkerchief is to be used to

cover the production of a large number of other flags so it must be a large handkerchief and of opaque

material (so the colors of the others wil l not show through) .

The greater body of the opaque material added to the large size of the handkerchief makes it impos-

sible to pack it into any of the regular handkerchief devices.

W i t h the foregoing requirements and the accompanying difficulties in mind I evolved the following

opening production for my own act and I believe it solves the problem completely.

Burling Hull Opening Handkerchief Production. The advantage of this production is the novelty and rapidity of the effect and the fact that a silk

of large size and opaque material such as is needed as a cover for securing a handkerchief load, can be

quickly secured.

EFFECT . Enter carrying the long slender wand (or pick it up from the table on entering) in the right

hand. Wave it once to the left, then to the r ight and then to the left again and on last stroke release the hand-

kerchief, which appears suddenly on the t ip of the wand. Remove the handkerchief and come forward,

laying the wand on the table as you pass it. Continue with the production of the load of colored silks as

described in the alternative openings.

O P E N I N G NO. 2. Employ ing the Improved Handkerchiefs to Flag. Carry forward the 3 silk hand-

kerchiefs: "D i rec t your attention to these 3 silk handkerchiefs, one red [take red by lower corner, pul l ing

it out of the bunch] one white [draw out] and the other blue. ' I n Union There Is Strength, ' so I will unite

them [tie the 3 at the top. including the end of tape in the knot] and then blend their colors together

in one composite object, that object being something we all honor [insert thumbs in the ring] something we

would all f ight for [draw hands quickly apart, causing the silks to shoot inside the f l a g ]— 'OLD G L O R Y ! ' "

[Orchestra: bar of " S t a r Spangled Banne r " ] . Wave, showing both sides of the flag. Fol low either with

production of silks as described below, using the f lag as a cover for securing the load; or continue with the

Handkerchief Dyeing trick and when carrying back the silks obtain the load from vest.

Spool Production.

P R E P A R A T I O N OF THE SPOOL.

Have several large spools turned out by a wood turner. Have a hole

as large as possible bored or turned out through the center of the spools. In-

Bert a brass tube which has been polished on the inside, or better yet a cellu-

loid tube, inside this hole so it wil l serve as a lining. Paste a large spool or

other label over one end. Pleat and fold a silk handkerchief as compactly as

possible and bind it with a loop of thread, through which has been passed a

loop of catgut, as shown in the accompanying illustration. Push the hand-

kerchief down inside the hollow spool with the catgut loop outside, as illus-

trated. By slipping the thumb inside the loop the handkerchief can be easily

withdrawn from the epool, the polished surface of the brass or celluloid tube

serving to make its passage smooth. See text Act for application.

Cttaut ushp Catgut

Catgut loop <r 3 f e e t ) —-V ! > J /

/ ' / t

t *

The Greater Flag Trick.

The flag is really two flags sewn together along edges except at point " A " , where it is left open

and a piece of whalebone is sewn in the opening to keep it open. A piece of catgut is attached to corner

above opening and a piece of tape to the corner marked " B " , so that part is inside and part out and to the

outside is sewn a harness or key r ing blackened.

Turn the end " L " inside unti l it touches " R " side as in Figure 2—then turn the side " C " back and

over outside so it is as in Figure 3. Rol l f lag up and pin it behind blue handkerchief by the tape extending

out the opening at " A . " Showing the handkerchiefs, withdraw the pin and tie the handkerchiefs together

by the corners and incidentally knot the tape in with them at the same time. Insert thumbs in the loop

and the ring and draw quickly apart. The handkerchiefs wil l shoot quickly inside the flag.

P O I N T E R S : I t is well to start the knot inside the opening before drawing hands apart so it cannot

catch at the opening. Sew the tape to blue silk for sure results instead of pinning. Do not jerk the hands

apart—draw evenly. The former is likely to rip the f lag sometime, and the change looks better when worked

slowly and evenly so that the handkerchiefs appear to blend into the flag with a pretty effect. The sewing, etc.

of the outfit should be carefully and expertly executed, and it would be better to purchase an accurately

made trick or to work from a correct model, thus obtaining the proper lengths of tapes, etc., and arrangement

and attachment of same for strength and smooth working. This is one trick that never appears to be practical

for home construction and it is equally diff icult to explain properly by drawing and description. The hand-

kerchiefs must be of very strong silk and the f lag of a medium weight and free from over sizing.

O P E N I N G 3. On entrance announce that you are going to present

a demonstration of silk production or creation. Directing attention to

the rack of different colored 6pools, request the audience to select any

one of the colors. Pick up the spool of the color selected with the left

hand (standing at the r ight of the rack of spools) and transfer it to the

right hand, incidentally sl ipping the r ight thumb through the catgut

loop. .Reel off a length of the silk thread, breaking it off, then take the

spool from the right hand by drawing it downward so the handkerchief

is drawn out of tlie spool and hangs from the thumb against the inside

of the pa lm and replace the spool. Draw the thread through the fingers,

place it between palms and rubb ing them together break the thread

binding the handkerchief, causing it to develop prettily. Continue with

production as described below.

Production Of Silks. Hold ing the handkerchief by O i t ^

the upper corners, show it back

and front, then drop it over |Vlj\ \

right knee and show hand as in • \

illustration. Pick it up from j;||||\ \ l i ^ f f l l ^ ^ ^

knee with right hand, catching I

hold of blackened cork through J j K m / I m ^ ^ X the silk. Br ing away the other /ffl l j / g x J J U

silks underneath it. Rub bun- )

die about between hands, devel- xJJJ^f ft Wjffljf ]M WL/

oping silks. Take silks one at From

a t - m e holding the left Yest arm horizontally in front of the body, lay silks across the forearm one at a time, count ing: " O n e (picking up

the next si lk) two, (the next) three." Br ing right hand behind and pick up silks, at the same time slipping thumb in catgut loop, br inging large load of handkerchiefs away from vest behind the others. Develop load.

Drop on table No. 1.

A t this point it is optional whether the performer continue with the next trick described or goes right

on to the Handkerchief Dyeing Trick, either of which is possible without disturbing the sequence of the Act.

Q U A L I T Y A N D P R E P A R A T I O N OF H A N D K E R C H I E F S .

I would say that the most important feature of this act is the large size of the handkerchiefs used. I

inaugurated the use of extremely large size silks because they have a remarkable effect upon the audience.

The use of large and f lowing colored silks in the tricks, increases their effect ful ly 200 per cent, and I have

found that all of the old tricks formerly performed with d inky little pieces of silk become entirely rehabili-

tated. I n New York City, the most blase theatrical city in the world, the audiences at some of the Sunday

Special Concerts in " B i g T i m e " houses have received the old Handkerchief Dyeing Trick, but performed

with my 34-inch silks and with special presentation and patter as if it were a new and masterly illusion,

simply because they had never seen the trick worked up or featured with silks of such a volume that they

are in themselves self-convincing. They believed that silks of such a size could not be concealed easily.

The size I recommend for the reader, however, is about 24 to 27 inches, but not less.

The quality of the silks for those handkerchiefs which are manipulated or packed into various fakes

should be that wonderful ly small-packing silk known as Liberty Si lk—not what is sometimes sold as Liberty

but the real Liberty. This silk can be pressed and confined in about one-third the space required for China

Silk. I t is this silk which is sold by magical depots made up into 18-inch handkerchiefs as a Special Profes-

sional Handkerchief and under various names as " R a d i u m S i l k , " " V a p o r S i l k , " etc. at 5 0 cents each. T h e silk is rather hard to f ind in a variety of colors as few department stores aarry it in stock. The price of

the silk is generally $1.25 to $1.50 per yard. j?-?V

For ' faked ' handkerchiefs such as the double one in the " F l y i n g and Knot t ing Handkerchiefs ," use

a strong opaque silk like a dark China or sized silk, and for the handkerchiefs changing to flags use

China Si lk.

A l l handkerchiefs should be hemmed by merely turn ing over the reriest edge and sewing it in the

manner w i th which the reader is undoubtedly famil iar, but in ease he is not, may become so by inspecting

one at the magical depot.

Egyptian Handkerchief Casket. This extremely ingenious device consists of a polished wood box without a top,

and with a bottom which is removed for the purpose of exhibiting it as empty (see

il lustration) and then replaced. The bottom has a hole through which to pass the

second finger, which aids in holding the box and incidentally assists in the operation &

of the trick as explained hereafter. The box is constructed of very thin wood through-

out. One of the sides is faked with a double wall with a space between sufficient to

eonceal three fine silks, of even the size used in this act.

The inner wall is invisibly hinged to the lower edge so that it will swing open at

the top so the silks may be extracted and replaced at wil l by dropping them inside the

box; then pressing against the wal l with the second f inger (which is passed through the hole in the bottom)

and causing the wall to swing back into place. Theright hand takes the box by n ipping it between the

fingers and thumb near the top edge and lifts it off the bottom. This holds the wall securely closed while it

is exhibited as illustrated. After showing the box and bottom it is replaced on the bottom and the next pro-

duction or vanish effected, followed by another exhibition of the box and base.

In the well-made boxes the false wall is absolutely undetectable, as it meets the other walls exactly at

the regular corners of the box and the double walls are of such thin wood that it makes it possible to con-

struct the four sides of the box extremely thin, and the effect of this is still heightened by rounding off the

edges of the walls. The trick is one little known and one rarely seen and for these reasons, in addition to its

cleverness and many possibilities, makes it one I can strongly recommend to the reader. Considerable care

should be observed in purchasing the trick from any but a reliable dealer, and in any case it would be well

to inspect the box first, for there is a great difference in the various makes and grades. I have only come

across two satisfactory makes, one selling at five dollars (the standard price for the trick) and the other at

four dollars, the latter being fully the equal of the former in construction, the difference being in the grades

of wood used.

Top-o-Pocket Dodge. This is a principle used for showing the pockets as

empty, while really containing an article. Pockets, as

known only to tailors and magicians, extend upward as well

as downward from the opening. There is a little space at

the top of the pocket as shown in the illustration, sufficient

for an article to be tucked into. This space is indicated by

No. 2 in the drawing. The pocket may then be pulled out

as shown in the illustration without exposing its upper con-

tents. In this way the performer may show his pockets

empty ( T) at will .

THE M A N N E R OF A P P L Y I N G : The principle in

this act is to conceal a blue handkerchief in the pocket in

the position indicated by No. 2 and to show the pocket empty. I n the act of pushing the pocket inside, he scoops

the concealed handkerchief under his t humb and carries it down with his hand to the bottom of the pocket.

He now places a rolled-up red handkerchief in his pocket but adroitly shoves it up into the top of the pocket

with his thumb, and continues the motion of his hand down to the bottom of his pocket, where he bunches

up the blue silk so that the lump is visible to the spectators. l i e later reaches in and produces the blue silk,

immediately after which he pulls the pocket inside out to show it otherwise empty. Thus the red silk has

apparently changed places with the blue silk and passed back to the Egypt ian Handkerchief Casket.

H A N D K E R C H I E F CASKET.

Br ing forward handkerchief box and, removing bottom, hold box up, looking through it toward aucPi-

ence so they can see through it. "Th i s is a mystic casket constructed of Egypt ian magic wood. I t is used

by Egypt ian magicians to conceal their jewels—for anything placed inside becomes immediately invisible. I t

is now ful l of invisible presents; though you cannot see t hem . " [Place box on left hand] " F o r instance here

is the silk handkerchief (reaching in and producing ' red ' silk) presented to me by old 'Omar Keyoodle' while

traveling in that country—Egypt [after a pause] Egypt , New Jersey." Lay silk on edge of box and draw

out r ight trouser pocket (blue silk concealed there, being pushed up into the

very top of pocket, it is easy to pul l the pocket out without exposing it, see

Sup. Top-o-Pocket Dodge) . " I will next place this silk handkerchief in my

pocket, first showing you, however, that my pocket is entirely empty. Oh,

don't be alarmed, nothing unusual, I assure you, it has been empty before."

[Place red silk in pocket and with the same motion push the blue silk down

to bottom of pocket, tucking red silk in top of pocket.] "Ano the r interest-

ing feature of this casket is that any present taken out of the box [take bot-

tom in left and box in right and hold it so that the audience can see through

it] can always be made to return to it at any time [put box on bottom]. I t

is simply necessary to wave the hand over the box like this [execute motion]

and here we have the little red silk back again. [Produce second red silk

from box.]

" L a s t week I presented my wife with a silk dress from this box—Oh!

yes, there are quite a few costumes in the little casket—in fact, [looking in-

side] there are five complete costumes in there now! [To audience confi-

dentially] of course the costumes in this little Egypt ian casket are not

of the latest Parisian fashion—in fact they are Egypt ian costumes! Yes,

you know; the k ind that 'Li t t le Egyp t ' wears! Yes, there are five of them here. But to continue; if I

place this red silk back in the box [place in box] it will immediately disappear [open box showing empty]

as you see—and pass back into my pocket again, [reach in pocket and pull out BLUE silk, keeping eyes

to audience so you do not see it]. Here we have the little red silk again. [Smile and kill time for a few

seconds, await ing laugh to apprise you that audience sees something wrong. Then look down and suddenly

discover mistake. Assume puzzled expression, and throwing silk across arm, pull out pocket as if looking

for silk, so that audience can see it is empty. Push pocket back; put blue silk in and make the usual ex-

change by concealing the blue silk at top of pocket and red silk at bottom for next appearance.] This is

the first time I have ever had trouble with this trick. [Show box and1 replace bottom. Wave hand several

times over box—drop hand in and pu l l out Blue silk.] Blue again! [surprised]. We l l then, what have I got

in my pocket? [Hang blue over edge of box and plunge hand in pocket and pull out R E D silk.] [Expres-

sion clears and laughing] " O h ! That's i t ! ! There are two silk Handkerchiefs! No wonder we had trouble!

Now, so that we wil l have no further trouble, wil l you (advance to spectator) k indly tie the two Handker-

chiefs together? Do not tie the corners together, but lay one Handkerchief on top of the other and tie a

knot r ight through the centre—or two knots . " [While this is being done, show pockets empty and then

push blue silk down into bottom. Next show box empty, doing so as if looking to make sure that there is

nothing in the way to interfere with the trick this time, and while holding box on bottom with both hands,

reach inside and lift R E D silk over edge of f lap and leave it so it is really lying on bottom of box. To cover

this move, hold the box in both hands, one on bottom and one inside, and draw attention to spectator by

remarking] "Tha t ' s right, sir! Tie them good and t i g h t . " [Come forward and, taking silks, dangle them

up high so all can see.] " W e l l ( laughingly) , they cannot get apart this t ime . " [Turn them about, looking

at them critically, which gives audience an opportunity to see they are t ightly joined. Ho ld ing them over

box, count] "One , two, three . " [Place in box, quickly close f lap on them with left finger, br ing right hand

up again, palm to audience, showing it empty, then down again, l i f t ing box off bottom, al lowing R E D silk

to f lutter to floor. ALONE . Hold ing box in r ight hand and bottom in left, turn them about so all can see

the Handkerchiefs have become untied and the blue has vanished. Then to audience with questioning expres-

sion.] " A N D THE BLUE S I LK? [Smil ing and speaking slowly.] R I G H T — D O W N — H E R E ! " [Reach in

pocket and draw out blue silk. Bow hack a few steps to draw applause, which should always follow this

conclusion.]

R E G A R D I N G T H E B U R L I N G H U L L M A N I P U L A T I O N O F T H E E G Y P T I A N W O N D E R C A S K E T Thi s is one of the cleverest and most subtle devices known to magic and possessed of a lmost unlimited possibilities. Unfortunate ly no performer has previously developed the trick to any extent and it has simply been used to vanish and produce a silk handkerchief in the most prosaic manner. Some years ago the author became impressed with its possibilities and began to evolve many effect-ive combinations, some quite elaborate, which resulted in the trick being spoken of now as the "Burling Hull Casket." T h e author takes this opportunity of saying that the trick is not his invention (really quite an old one) , but that his name has simply been linked with it as the name of Valadon with the "Valadon Cards on Glass Plate"; Kellar, with "The Kellar Clock Dial," etc., solely because of hi* development and original manipulation of the idea. T h e construction is fully explained in the sup-plement.

P E R F E C T E D H A N D K E R C H I E F DYEING TRICK. To accomplish the handkerchief dyeing effect as described in the t ex t of the act i t is necessary t o use

an improved form of tube fo r the handkerchiefs . This tube is constructed as shown in the accompanying drawing, possessing a cup sliding f ree ly f rom end to end. To the f r o n t end of the cup (or the end which is at the l e f t in the i l lustra t ion) is secured a disk of heavy fel t which is a little larger in d iameter than the cup, and is secured to it by a plate r iveted to the cup. While this per fec ted tube has been on the marke t fo r some time as manufac tu red by a magical dealer in New York, it is not of suff ic ient size to take the large handkerchiefs used in this act, therefore I have i l lustrated the construction so tha t the reader may have i t made u p to order and will know jus t wha t to speci fy in ordering. The advantages of this tube are tha t it delivers the colored handkerchiefs into the tube without any possible nipping or catching of the last silk between the tube and the turned over edge of t h e tube, so tha t the tube may be t rapped or otherwise got ten r id of immediately a f t e r the last white silk has been pushed into the tube, and it is not necessary to wi thdraw the last colored silk f rom the paper before feeling free to get rid of the tube. This result is effected by the fe l t which, being larger t han the mouth of the tube, spreads as it reaches the end and passes out of the tube.

O P E R A T I O N : Load the tube as fol lows: T u r n the corners of a blue silk inward towards the center and roll the outside edges inward unt i l i t forms a loose ball, and push it into the tube, putting the rounded side in first (see i l lus t ra t ion) . This silk will expand on coming out of the metal tube into the paper tube and its tendency to expand will hold it from being forced backward and downward by the. expansion of the other silks. The other three silks may be worked into the tube corner f irst , in p roper order fo r appearance.

Lay the tube on the the table, behind the edge of the paper, as shown in the i l lustrat ion. A f t e r doubl ing the white silks pick up the p a p e r with the l e f t hand and at the same ins tant lay the silks down with the r igh t so t ha t they will fa l l just in f r o n t of and hide the tube. Af t e r showing the paper and forming it into a tube, look through it toward the audience and prove it empty. Hold paper tube in the l e f t hand and pick u p the silks wi th the r igh t , securing the metal tube behind them with a pressure of the thumb against the side, and b r ing the whole toward the p a p e r t u b e ; inser t the metal tube f i rs t , fol lowing it with the silks in one motion. The cont inuat ion of the t r i ck and i ts presenta t ion is ful ly explained in the tex t of the act.

D Y E I N G H A N D K E R C H I E F S [Picking up silks d r a w through hand and show back and f ron t . ] " F o r the nex t exper iment I will

employ fou r silk handkerchiefs . Of course 1 might borrow the handkerchiefs f rom the audience. But so t h a t I may be absolutely cer ta in tha t they are not p repa red in any manne r [Pause]—I shall use my own. W i t h these f o u r silks, I i n t end to demonst ra te a method of dyeing—by magical means. Dur ing the execu-t ion [to specta tor ]—No, madam, I am not going to ki l l anything. Noth ing will dye except this handker-chief. [Approach Table No. 2.] D u r i n g i ts execution, I will make use of this piece of paper [picking up paper , lay handkerch ie fs over and concealing loaded tube.] I t is made f rom the same paper as newspaper, and outside of the w a r news (or cur ren t news i tem) there is no th ing in it. [Holding sheet high, appear to spy a wa te r mark . ] Or t ha t is, no th ing bu t a wa te r mark . Wat-er-remark-able t h i n g ! [Roll up paper in form of a tube and look th rough i t toward audience.] However , i t is empty. You can see r ight t h rough it. I sin-cerely hope you won ' t ' see th rough me ' quite so easily [loading in silks.] I in tend to cause these whi te silks to come out of the o ther end of this tube in ent i re ly d i f fe ren t colors. I wonder wha t the f i r s t one will be? [Green silk appears a t top.] Take corner of silk and drawing hands apa r t causing the silk to come pa r t way out. This b r ings the tube lower and near to t r a p or servante and as it is over same, let dyeing tube slide into t r a p or servante . See F i g u r e 24. At ten t ion being centred on the uppe r end of tube by appear-ance of green silk there, the ' g e t a w a y ' is easily accomplished. G R E E N ! Wel l ! you can ' t keep the I r ish down! They ' r e always on top. [This is a cer ta in laugh producer . Draw silk out, and advancing down aisle h a n d it to spectator . ]

[Flip pape r and look inside.] " T h e next one reminds me of the town I played last week. Orange, New Jersey . [Draws out orange silk.] Before I go any f u r t h e r I wan t to say t h a t if any lady in the house would like to have her shirt-waist dyed—she may pass it r ight up here. I t will only take a minute. [Af te r a slight pause t a p the pape r tube causing t h e red silk to pop out.] Ah, it is evident tha t my last r emark has caused this modest l i t t le handkerchief to blush. [Draw out red silk.] Do you know tha t a respected gent leman of this neighborhood recent ly o f fe red me $50 f o r a tube la rge enough to pass a person through ? F a c t ! He expected to use it on his mother-in-law. He said he would give $50 any time to see his mother-in-law dye (die). A n d only last week a lady offered me the same amount fo r small tube—with the necessary instructions. She had been su f f e r i ng with stomach t rouble f o r years . Said the doctors advised her to diet (dye it) and she ' t hough t this would be the nicest way . ' P rope r ly brought out this is good f o r a storm of laughter f rom most any audience.

[Look inside tube.] I see the last silk has not changed its color yet . I have i t—I will blow through the tube . Tha t sometimes helps it. [Blow in tube, t hen look inside, puzzled.] No it did not work tha t time. [Turn ing to spectator . ] Here , sir, you t r y i t ! [Ex tend ing tube to him.] J u s t blow through it. [Spec-t a to r does so; then look inside.] W O N D E R F U L ! ! W h y I never saw any th ing like i t ! You have a powerfu l b rea th , s i r ! Do you t ake any th ing f o r i t? W h a t ' s t ha t ? J u s t CLOVES! 1 though t I noticed something there . [Turn ing to the audience again.] N a t u r a l l y as the gent leman B L E W through the tube the last handkerchief i s — B L U E ! "

If the en te r t a inment is in a lyceum the p e r f o r m e r can increase the in teres t by walking down the centre aisle and hand ing the handkerch ie f s to specta tors as they come out " d y e d , " thus causing it to ap-pear t h a t he has pe r fo rmed the ent ire exper iment in t h e audience.

By the manipula t ion described the pe r fo rmer has r id himself of the tube before the f i r s t handkerchief was t aken out of the tube—to be exac t ; when the green handkerchief was d rawn slightly out of the tube . These resul ts are possible by using the special tube described because the pe r fo rmer need not wai t unti l all the silks have been ex t rac ted for f e a r t h a t the last handkerchief may be caught in the tube and thus be d ragged out wi th the tube in to view, bu t he may get r id of the tube a t once with confidence t ha t all the handkerch ie fs will remain where they belong.

The Flying and Knotting Silks The triek as explained here is an adapta t ion of the Twentieth Century Handkerchief Trick in an

improved and more spectacular form. The Twentieth Century Handkerchief Triek, it will be recalled, pro-vides for the appearance of one small f lag between two knotted handkerchiefs , the li t t le f l a g being concealed in a pocket near the corner of one of the handkerchiefs . The appearance of the little f lag in its new quar te r s is supposed to be greeted with rounds of applause, which however, it generally fails of because of the small size in which the tr ick is generally made and sold (13-inch handkerchiefs and again because of its set form.

The product ion of two handkerchiefs of the extremely large size used in this act and apparently the same two which had jus t been used in the Dyeing Handkerchief Triek lends something of the spectacular to the trick in proport ion to the size of the silks. While the i r previous use in the Dyeing Handkerchief Trick and the ty ing of the silks by the spectator and their unexpected appearance between the two held by the audi-ence all add the element of surprise and a logical sequence of action or events which has its effect upon the audience.

P R E P A R A T I O N OF S I L K S : The blue silk is double ; is really two handkerchiefs sewn together a t the edges, except at one corner, where an opening is left , and one of the project ing corners at this opening is cut down an inch, making a regular pocket opening as shown in the diagrams. The corner of the orange silk (No. 1) Ls tied to the corner of the blue silk, and to the diagonally opposite corner of No. 1 is tied the corner of the green silk, indicated by No. 2. The opposite corner of this green silk is cut off and a " f a k e " corner of blue silk is subst i tu ted. The silks are now poked inside the double blue silk, with the exception of the faked corner " B , " which is allowed to project out of the opening and thus takes the place and appear-ance of the real corner of the blue silk. The position of each is indicated by " A . " I t is a good idea to pin the corner lightly in place so it will not slip in or out, doing it in such a manner that you can easily wi thdraw the pin with a s t roke of the thumbnai l when ready.

The corner of the red handkerchief dur ing the presenta t ion is, of course, really tied to the faked blue corner of the green silk, so tha t when the handkerchiefs are la ter j e rked out of the spec ta tor ' s pocket the orange and green silks will be whipped out of the double blue silk and appear t ied between the other two former ly joined.

I M P O R T A N T : Use a very opaque blue silk f o r the double handkerchief . For the orange and green handkerchiefs use the very finest genuine Liberty silk to eliminate bulk. F o r the red handkerchief you may employ one used in the dyeing handkerchief t r ick but preferably one of China silk r a the r than Liberty, so t h a t i t will compare favorably in bulk with the blue silk and not cause the la t ter to appear larger in proportion.

BLUE HKF.

• »

The Flying and Knotting Silks.

Gather handkerchiefs and r e t u r n to stage. [Drop on Table No. 1 except orange and green, which car ry fo rward . ] " I wan t some gent leman to tie these two silks together by the corners. You will oblige me, sir? [handing silks to spectator, walk back to table, picking up red silk and reaching down into t r ap behind pile of silks br ing out the double blue silk. I t appears, however, tha t you have merely taken the two silks jus t ' d y e d ' f rom the table again.] I will show you what I mean. J u s t take the two handkerchiefs like this and tie thei r corners together [tie as if i l lus t ra t ing the manner in which you wish him to tie his handkerchiefs . ] Now hold them up this way [holding up your silks near one corner which permits audience to see yours are apparen t ly f ree f rom t r ickery—but hold the inside silk through sides of double silk so tha t it will not be pulled out and shake them u p and down once or twice as if tes t ing knots ] . No, I don ' t th ink yours J M will hold1, s i r ! Here, hold these a minu te and let me have yours, and I will show you wha t I mean. [Roll up the two you hold and tuck in his OUTSIDE breast K p W pocket, leaving the red corner out—or else place them in a glass goblet and place ^ f it nea r foot l ights or h a n d it to h im to hold. Taking the two silks he has tied, pull J ^ them as if test ing the knots. Then looking at knots r emark ] " O R A N G E AND

G R E E N ! " Well tha t is k ind of a hard combination to tie together anyway. However if the silks are tied proper ly you can press them into a very small space [working silks in pull] unt i l with a few rubs like this they disappear! [open hands showing vanish.] " W e l l [looking a t hands] , I guess they were all r ight a f t e r al l ." [nodding to the t ie r with a smile]. They have GONE ! [Walk quick-ly f o r w a r d and seizing corner of RED silk je rk the silk out with a quick motibn followed by a quick up-and-down shake to be certain that BOTH silks come out of the blue one.] [Tr iumphant ly] " H e r e they are, the Orange and Green, between the other two. [Looking at knot] And your original knot still holds, s i r ! W h a t ' s t ha t ? You are experienced in ty ing knots? Pa rdon me—but you are a sailor? A M I N I S T E R ! " O h , I see! [To audience] " N O W O N D E R ! "

(jm Wmi^m

Vanishing Silk and Handkerchief Pedestal. Show glass tumbler , place it on handkerchief pedestal , cover with paper cylinder and carry f o r w a r d ;

meanwhile operat ing the piston so handkerchief is loaded into bottomless glass, and place near footl ights on tabouret , or if tabouret is not used, on s tage floor. Select small red silk f r o m table and come forward .

" D u r i n g the course of the last experiment, I overheard a lady express a wish to know how the handkerchiefs were made to disappear. I am always anxious to oblige a l ady ; and while it is decidedly against the rules of the profession—still , I am going to make this a special occa-sion, and show you exact ly how this is done. But I mus t ask you not to tell anyone else, for I am a member of the Magicians ' Union. I don ' t want to have my w a n d taken a w a y . " [Secure small boy f rom audience.] " I am going to have this young man assist me and see tha t everything is fa i r . [Tuck red silk in lef t hand by successive pokes with r igh t foref inger . P r e t end t o clumsily palm it out into r ight but really leave it in lef t . ] Take a silk handkerchief like this and poke it in your lef t hand so. You must always be careful not to make any suspicious movements. [With tha t slip r ight hand in pocket as if pocket ing silk. There is cer ta in to be a m u r m u r of suspicion. Af te r a moment pre tend to overhear.] " I n my pocket? Oh, n o ! [Opening lef t , let silk expand and h a n g f rom fingers.] The handkerchief is still in the lef t hand you see. [In a h u r t tone.] Y'ou did not watch me. [Slip the f inger t ip on r ight fo re f inger and br ing the r ight hand out of pocket . Roll the r ed silk into a ball, tuck it in to le f t fist, palm it out into r ight and insert f inger tip

Improved Handkerchief Producing Pedestals. The apparatus is obtainable in two forms, the regular model antt the

B. H . improved model.

The former is l a rger and has a cup, " B , " d i rect ly under the top into which a silk is packed, the silk being poked in through a hole into the top of the table direct ly over the cup. The top is covered with f igured fe l t and this is cut to correspond with the opening so t ha t i t fo rms a little f l ap or t r a p door. The f l ap lies level with the top and the f igured design helps to make the cut pract ical ly invisible. To a p lunger work ing up and down inside the upr ight , is fas tened a round headed screw, indicated by " A " and by pushing upward on this the p lunger is caused . to push the handkerchief in the cup up and out th rough the top.

A bottomless glass tumbler , previously shown empty is placed over the opening in the top to receive the handkerchief , and when the silk is delivered inside it expands with a p re t ty e f fec t . The suspicious looking cup u n d e r the top and the large size of the appara tus for suppor t ing such a small art icle makes the appa ra tu s at once suspicious looking to any one of ordinari ly keen perception. Yet the large size of the device was though t necessary to cause the cup to appear less noticeable or conspicuous in propor t ion . A much be t t e r device is one cfescribed below.

BURLING H U L L IMPROVED MODEL. A considerable improvement is effected in this model as shown in the succeeding i l lustrat ion. The

suspicious looking cup is ent irely dispensed with by slightly increasing the diameter of the upr igh t (actually only one qua r t e r of an inch increase) which upr igh t is a hollow tube. This also allows the size of the base and the top to be decreased as well as the height, m a k i n g the whole appear more in accord with the object, i. e. to suppor t a glass tumbler .

The increase in d iameter of the upr igh t also adds great ly to the symmetry of the appa ra tus and com-parison of the i l lustrat ions will show this la ter model appears f a r more in propor t ion than the old.

The d rawing is in exact scale and propor t ion to the appara tus (in fac t was t raced over a pho tograph) as designed and fo rmer ly manufac tu red by the Bur l ing Hul l Studio and sold both retai l and wholesale f r o m 1908 to May, 1914 (when the business was dissolved) and was the f i r s t such model produced. I t can still be obtained f rom a number of the be t te r class magical depots for a f t e r the wr i t e r discontinued the m a n u fac tu re the dealers, by mu tua l consent, duplicated the model in their own manufac ture .

The best manner of present ing this t r ick is explained in the tex t of the act.

"All except the last corner ."

( T o Audience) "Noth ing in the right hand this time." ( T o B o y ) " N o w Sonny hold o n tight, w e are going

around a curve!"

'Did you see it go?"

in lef t , and d rawing out l i t t le piece of silk so it showB.] " Y o u see, you tuek it into the hand—except the last corner [to boy] . Now sonny, I want you to tuck the corner in. S tand around here [have him face the audience, and s t and direct ly behind him. Under cover of his body, vest the palmed handkerchief ] and take hold of my le f t wrist t igh t ly so t h a t the handkerchief cannot get away. [Tuck silk into f inger t ip a li t t le at a t ime wi th r ight index f inger—then insert f inger in t ip and br ing hand away with sweep to r igh t with f ingers

wide apa r t pa lm to audience, as in i l lustrat ion No. 2. Thus the only one near enough to see the f inger t ip is the boy, and as the open hand t ravels r ap id ly across in f r o n t of him he notes at a glance tha t i t is empty and pays no more a t tent ion to i t as it t ravels a round to the position pract ic-al ly behind him where he cannot see it. Here it is exhibited to the audience safely, as they are too f a r a w a y to see the t ip. [Addressing the audience.] " N o t h i n g in t h a t hand this t ime! Now watch the hand-kerchief melt away. [Turn a t ten t ion to l e f t again, and t u rn ing r igh t hand over " t h u m b p a l m " f inge r tip. W i t h a kneading motion, open le f t hand slowly, showing handkerchief has gone.] Did you see it go, sonny? [Boy shakes his head.] W h y it passed r i gh t in f ron t of you, and into t h a t glass. [ Indica t ing glass on pedestal . ] J u s t l i f t off t h a t paper

tube. [Boy does so, exposing handkerchief in goblet. Pul l silk out by corner, exhibi t ing it, then seize boy by the hand, shake it warmly, congra tu la t ing him.] Thank you. You did t ha t f inely. Firs t t ime you ever t r ied it, too—isn ' t i t ? W O N D E R F U L ! " [This wakens audience to the fac t tha t your work and your tr ick real ly is wonde r fu l and causes t h e m to applaud you as you lead the boy to r u n d o w n ] .

Alternative Conclusions.

As in the case of the Opening, two a l ternat ive t r i cks are offered for the conclusion, one being suitable f o r the pe r fo rmer wishing to confine his appa ra tus t o compact articles and another where a larger and more elaborate display is sought . The two t r icks are both of a very clean work ing and undetectable na ture , a n d therefore STRONG in climax. The per former , of course, is not l imited to ei ther of these t r icks should he wish to go f u r t h e r , and can easily add a more cumbersome Finale such as the product ion and erection of a py ramid of flags.

New Idea Flag Production. Presented at the Annual Show of a well-known magical association, this product ion puzzled the magical

ga the r ing because the t ambor ine used was shown front and back after the paper had been placed between the rings, and the product ion was fu l ly twice as large as could actual ly be contained in a tambor ine of its size, and also achieved special commendat ion in the magica l papers reviewing the en te r t a inment . Similar approva l f rom magicians who have seen it pe r fo rmed by the inventor has brought out the f ac t t ha t the special manipu la t ion of the con ta ine r is as puzzl ing to the magic ian as to the layman. The resul ts are achieved by means of a special container in which the f lags can be packed almost to a solid, and yet be b rought in to the a p p a r a t u s without jambing—and by the a r r angemen t of the conta iner which may be manipu la ted while showing the apparatus inside and out, on the same pr inciple by which a ball is manipula ted and concealed while showing the hands inside and out .

THE APPARATUS: W i t h the tr ick are suppl ied two rings s imilar to those used in the tambor ine t r i ck bu t about three times as deep and near ly as wide as those in the " D r u m That C a n ' t Be B e a t " Produc-t ion ; also a special conta iner . This conta iner is as i l lus t ra ted in the d iagram above, somewhat like a l a rge " B i s c u i t C u t t e r , " t h e " B " side being open and the " A " side possessing a handle th rough which the f inge r s may be passed. U n d e r th is hand le a hole is cut t h rough which the second finger may be passed to push the " L o a d " forward as needed. A disc of celluloid, f i t t i n g inside the collar or f r o n t of the container, is pro-vided, so t h a t a f t e r the load of f l ags has been packed in t h e celluloid is fo rced down over the f r o n t and secured as described la ter . This disc serves to r e t a in the voluminous load while the f lags are being ex t rac ted t h rough the hole in the center, and also prevents the paper being ripped open by the f lags when they a re being pulled ou t . Thus no l a rge r hole can appea r in the paper t h a n in the celluloid disc.

O P E R A T I O N : Load the conta iner wi th ca re fu l ly folded f lags and handkerch ie fs . Sew a shoe bu t ton on the corner of each f l a g f o r good resul ts and lay t h e f lags a round the sides of the conta iner wi th the bu t tons t o w a r d the center . Load un t i l about 2V2 inches above the edge of collar, t hen place tlie celluloid disc on top and fo rce down. P lace a piece of paper over this and bind wi th a piece of s t r ing a round side of conta iner , as i r i l lus t ra t ion, to hold it 011.

Celluloid j Container j Rings

Corxtainer loaded How Container is hidden by paper during turn USE A PAPER NOT LESS THAN 30x18.

Have container e i ther on se rvan te of table or chair , or hung 011 back of assis tant who hands you paper . P ick up r ings and, p lac ing paper be tween them, press t hem together but with the hollow space uppermost. Slip f inge r s th rough handle of conta iner and b r ing it away under cover of the paper. This permi t s all to see the inside of the container , which you hold, say in the r i gh t hand with the con-t a ine r held in the l e f t immedia te ly behind it (somewhat like the position shown in the accompanying i l lus t ra t ion) . Now quickly reverse the t ambor ine ; in o ther words turn it over so the o ther side is p resen ted to the audience, but keeping it in front of the loaded container in such a way that during the turning the container is at no time exposed to view. This is easily accomplished with a l i t t le pract ice, for t h e exceeding size of the p a p e r hides the conta iner and the end of paper bends over as in i l lus t ra t ion. The t ambour ine is now b rough t back aga ins t the conta iner , which is quickly pushed inside a l i t t le ways, and then while t ea r ing away the ex t r a pape r a round the edges you have p len ty of oppor tun i ty to push it home.

D u r i n g the above manipu la t ion you have to all appearances s imply p icked the t ambor ine u p f r o m the tab le w i th inside toward audience, then t u r n e d it over ( thus exposing bo th sides) and t r a n s f e r r e d it to your left h a n d f o r t ea r ing a w a y surplus pape r wi th the r i g h t hand . P u n c t u r i n g

New Idea Flag Production Br ing fo rward r ings of the New Idea F lag Product ion. "These , ladies and gentlemen, are Cingalese

W e d d i n g Rings. They are made of Cingalese Gold1. A very singular gold. Owing to the peculiar effect of our cl imate upon Cingalese Gold I have f o u n d it necessary to have them nickel-plated, to keep the gold f rom wear ing off . [Separa t ing r ings.] There are real ly two of these rings. Unlike our wedding r ings they are not worn on the wedding f inger . No! They are worn through the nose [place r ing at nose], which makes it very hancfy to lead the lady about wi th [clamp pape r between rings, step to centre of stage and holding r ings a t a rm ' s length show the back and f r o n t of tambourine . ] " W i t h the accompaniment of a li t t le music f r o m the orches t ra—something soft and s i lky—I will play a little handkerchief music. [Tap tambour ine and d r a w out f i r s t handkerch ie f . ] [Follow with balance of production and f lag on staff f rom material in conclusion.]

N Y M E X PRODUCTION BOXES.—This t r ick is suggested as the most effect ive product ion for con-cluding any magical act. Two boxes, or r a the r chimneys, with neither tops nor bot toms are placed on table. One laid on its side so audience can see th rough it a t all t imes; the other a f t e r being shown is stood upr ight on top of the f i rs t box as shown in the i l lustrat ion. Reaching in the top the pe r fo rmer immediately begins to d raw out a number of large si lk f lags 3 fee t long, each accompanied by a few bars of the nat ional air f rom the orchestra . This is followed by the product ion of a s t r i ng of flags, tha t is, a number of f lags all s t rung on a silk ribbon. The top box is now l i f ted off and every th ing shown to the audience and when they are satisfied tha t the boxes are as empty as before they are replaced—whereupon the pe r fo rmer immediately reaches inside and produces s u n d r y cont raband articles such as funny baby clothes, stockings, etc. Once again the boxes are shown and replaced when the per former proceeds to pull quanti t ies of W I D E SILK RIBBON (remember, not the usual pape r ribbon, but heavy silk r ibbon) from them. Then ga ther ing up the ribbon the per formance is effect ively concluded by the appearance of a couple of doves or rabbi ts f rom the mass of silk r ibbons.

The s t r ik ing fea tu res of the product ion are tha t there is ABSOLUTELY NO LOADING of the chim-neys, in other words, you pu t no th ing into them at any t ime. The product ion is of such a large volume tha t it is immediately apparen t tha t it could not possibly be concealed in the chimneys (which are only % of an inch th ick) and again it is possible to produce by the unique principle employed in this trick, a larger volume of mater ia l than by any other known method.

Curtain.

the f r o n t paper , begin drawing out the f lags and 6ilks, and a f t e r the f i r s t few layers are produced insert the l e f t second f inger in the hole in the back of container and push up the f lags f rom the back so you can get them easily. Not only does the container permit of the most puzzling effect , of a per former s tanding in the center of the stage away from the tables and loading facilities, showing a d rum or tamborine f rom both sides, and then producing a large number of f lags and silks and r ibbons; but it also permits of such a very large volume of mater ia l that the ini t iated will quickly recognize it is twice the amount tha t could be otherwise packed into such a small space. This is, of course, due to the use of the peculiar container which permits cramming twice the usual amount into the space unde r pressure, while the celluloid furnishes a smooth slip to faci l i ta te extract ion of the flags. Altogether this furnishes one of the most effect ive productions ever devised f o r close work, and where por tabi l i ty is desired.

A suggested product ion i s : A series of f i f t een two-foot silk f lags s t rung together, eighteen silk hand-kerchiefs of Liberty silk, a set of six selected three-foot silk f lags and one large six-foot nat ional f l ag of special J a p silk.

REGARDING T H E NYMEX PRODUCTION CHIMNEYS. This t r ick is mentioned in connection with the act as an extra or a l ternat ive

conclusion, the original concluding t r ick (New Idea F lag Product ion) being de-scribed in fu l l and its construct ion explained in detail above.

The Nymex Chimneys are offered only as an addit ional suggestion bu t can-not be explained here f o r the following reasons: First , they are the proper ty and protec ted invention of a magical dealer who reserves the per forming r ights , so t ha t the t r ick cannot be used professionally even if constructed by the reader . Second, the construction, while not of a very complicated nature , is such tha t it can only be made clear by a number of mechanical plans of suf f ic ient size to show the pa r t s in detai l—a size out of propor t ion to the space available in this book. Such a set of plans would be absolutely essential to the construction of the tr ick and it would be useless to a t t empt an imperfect description simply fo r the sake of exposure with the result that without assisting the reader in any way the exclusive value of the appara tus would be lowered to all interested. The publishers have, therefore , a r r a n g e d with the owners to prepare a set of accurate drawings so clear, comprehensive and thorough in detai l t h a t even the most mediocre c ra f t sman will have no d i f f icu l ty in con-s t ruc t ing the tr ick f rom these plans. A set of these p lans may be obtained direct f rom the publishers on remi t tance of $3.00 by anyone who may be interested in the trick.

I t should be remembered tha t the American Magic Corporation does not manufac tu re or sell any magical appara tus , and will not undertake to construct the trick in question. I t under takes to furnish the plans in this case only fo r the sake of completeness and as an accommodation to the readers of the Hand-kerchief Act who may desire to use it, and not s t r ic t ly as a business t ransact ion, fo r it is not expected t ha t the number of sets sold will more than repay the expense of prepar ing the plans and cover the royalty to the patentee.

The BOOK That You MUST Have

The Art Of The Stage

OR "Magical Stage-Craft and

Showmansh ip"

" T h e Inner Secrets of Successful Per forming"

Plain " S t r a i g h t - f r o m - t h e - s h o u l d e r " in-s t ruct ions in wha t to do and say during the enter ta inment , f r o m the moment of Entrance to the f ina l Curtain, and the Encore.

The most valuable informat ion ever put between two covers fo r the magician who wishes to achieve success in his entertain-ments. This is not a theoret ical discussion Printed on Heavy Antique Art o f t h e s u b j e c t ( a s a U p r e v i o u s a t t e m p t s have

Tint Paper, Beautiful Covers been) but condensed practical knowledge of Marbled Opal gained by experience in handling audiences.

I N C L U D I N G : Effective Entrance Magical Music The Bow Voice Throwing Syllabic 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 forSpecial Occasions, etc., etc., etc.

The informat ion does not require long s tudy but may be applied in the r eade r ' s next entertainment. I t will make a f inished ar t is te of the rawest ma-terial .

\ ART OF THE STAGE

MAGICAL

STAGECRAFT and SHOWMANSHIP

L515T515TS1S1S151S15TS151 immmmmw

i

ill Hill liiim i l i i t iM I \ AMERICAN MAGIC CORPORATION

No Magician should be wi thout this book. Price 50 cts. 2s. 2d.

Contents of Part One. Manner of Effect ive Entrance—Rapid e n t r a n c e — m y s t e r i o u s e n t r a n c e — w h e r e

m a d e f r o m a n d h o w — s u i t i n g e n t r a n c e t o s t y l e of p e r f o r m a n c e — l o c a t i o n of s e t t i n g s n r e l a t i o n t o e n t r a n c e .

Correct C a r r i a g e—How a c h i e v e d — l e n g t h of s t e p in r e l a t i o n t o s t y l e of p e r -f o r m a n c e — q u i c k m e t h o d of s e t t i n g o n e s e l f f o r p e r f e c t c a r r i a g e b e f o r e e n t r a n c e .

P o s i t i o n—While m a n i p u l a t i n g — p o s i t i o n f o r f e e t in t u r n i n g — c o r r e c t p o s i t i o n in t u r n i n g f o r c h a n g e o v e r p a l m — t i p s f o r w a l k i n g a w a y f r o m a u d i e n c e — f o r w a l k i n g a c r o s s s t a g e .

T h e B o w — E n t r a n c e b o w — h o w m a d e — b o w a t c o n c l u s i o n of i m p o r t a n t t r i c k — bow a t c o n c l u s i o n of a c t — b o w at c u r t a i n cal l .

G e s t u r e s—Forms of g e s t u r e s — - t o i n d i c a t e a r t i c l e o r p e r s o n . M a n n e r i s m s — P e r f o r m i n g in m y s t e r i o u s m a n n e r — t h e b r i l l i a n t t y p e of p e r -

f o r m a n c e — t y p e s of i n d i v i d u a l s a d a p t e d f o r v a r i o u s s t y l e s — h o w t h e r e a d e r c a n dec ide w h i c h h e is b e s t s u i t e d f o r .

Employing Facial Expression, I l lusion—Illusion of s t a g e w h i c h m a k e s o r d i n a r y smi l e a p p e a r a g r i n — c o r r e c t s t a g e s m i l e a n d h o w it is e m p l o y e d a s a p r i n c i p l e of s u g g e s t i o n — d r a m a t i c e x p r e s s i o n — e x a m p l e s of h o w t o e m p l o y a f f e c t e d s u r p r i s e — b e w i l d e r m e n t , d i s a p p o i n t m e n t — h e a r t y a m u s e m e n t , e t c . — t o i n c r e a s e t h e e f f e c t i v e -n e s s of t h e t r i c k s .

A d v i c e o n D r e s s — R e l a t i o n t o d i f f e r e n t s t y l e s of p e r f o r m a n c e — w h e n n o t t o w e a r e v e n i n g d r e s s — a n o v e l t y in m a g i c a l c o s t u m e .

Elocutionary Pr inc ip les—Making t h e v o i c e c a r r y — s e c r e t of v o i c e p o w e r — p r o p e r b r e a t h i n g f o r g r e a t e r v o l u m e — p r o p e r p i t ch f o r v o i c e in p u b l i c s p e a k i n g — s e c u r i n g d e p t h .

P r o n u n c i a t i o n—Position f o r t o n g u e a n d Hps f o r c l e a r e r a n d s h a r p e r p r o n u n c i a -t i on—-wha t t o a v o i d — l i p s a i d i n g a u d i e n c e t o d i s t i n g u i s h w o r d s — s y l l a b i c p r o n o n c i a -t i o n — i t s p r i n c i p l e s a n d r e a s o n s .

Opening A d d r e s s—When a n d w h e r e a p p r o p r i a t e — w h a t it s h o u l d c o n s i s t o f — f o u r t y p e s of o p e n i n g a d d r e s s — s u g g e s t i o n s — d e t a i l e d e x a m p l e s of i n c o r r e c t a d d r e s s — d e t a i l e d e x a m p l e s of c o r r e c t s p a c i n g a n d d e l i v e r y .

Contents of Part Two. Stage Fright and Its Cures—Its c a u s e a n d a c e r t a i n m e t h o d of a v o i d i n g it. Stage Nervousness Another T h i n g—How e x p e r i e n c e d p e r f o r m e r s o v e r c o m e i ts

a t t a c k s — a d v i c e f r o m t h e a u t h o r . Music for Magical Acts—Suitable p i e c e s s u g g e s t e d — t h e i r a p p l i c a t i o n . Opening Trick—Style of t r i c k s s u i t a b l e f o r o p e n i n g — b a d r e s u l t s of g o o d t r i c k s

u s e d f o r o p e n i n g — t h e p e r f o r m a n c e l i s t of t r i c k s s u g g e s t e d f o r o p e n i n g a n d m e t h o d s of p r e s e n t i n g t h e m — o r i g i n a l o p e n i n g t r i c k s b y t h e a u t h o r d e s i g n e d f o r L y c e u m u s e — c o n s t r u c t i o n of o p e n i n g t r i c k s .

S e c u r i n g A p p l a u s e — M e t h o d s of l e a d i n g a u d i e n c e t o a p p l a u d — a n d a p p l a u s e -d r a w i n g t r i c k s — - c r e a t i n g a p p l a u s e — m e t h o d s of c r e a t i n g a p p l a u s e — s t a r t i n g a p p l a u s e — f o r c i n g a p p l a u s e w h e n s l o w — w h y s o m e a c t s g o " c o l d " — s e c r e t of d r a w i n g a p -p l a u s e — m e t h o d s of d r a m a t i c p r e s e n t a t i o n t o d r a w a p p l a u s e — h a n d l i n g c u r t a i n s — u s i n g c u r t a i n s t o p r o l o n g a p p l a u s e — c u r t a i n s a t e n d of i l l u s ion ac t .

Conclusion of Act—Curtain c a l l s — s p e a k i n g b e f o r e c u r t a i n — b o w i n g o f f . E n c o r e s—(ireat d a n g e r of e m p l o y i n g e v e n t h e b e s t of t r i c k s fo r e n c o r e s — l i s t

of t r i c k s s u i t a b l e f o r e n c o r e s — a u t h o r ' s s u g g e s t i o n s — s o m e h u m o r o u s e f f e c t s f o r e n c o r e s — w h e r e e n c o r e s c a n b e u s e d t o a d v a n t a g e .

Programme of Hits for Special O c c a s i o n s—Hits f o r l a r g e c o n v e n t i o n s — s o m e c o m b i n a t i o n s s u g g e s t e d f o r l o d g e s a n d c l u b s — h i t s f o r c h i l d r e n ' s e n t e r t a i n m e n t s — h i t s f o r c h u r c h e n t e r t a i n m e n t s — f e a t u r e s f o r c h i l d r e n ' s e n t e r t a i n m e n t s — s p e c i a l p r o g r a m m e f o r p r i v a t e s o c i e t y e n t e r t a i n m e n t s .

33 Rope Ties and Chain Releases

AR E A L L Y w o n d e r f u l b o o k c o n t a i n i n g a c t u a l l y t h i r t y - f i v e s u c h r e l e a s e s . T h e f i r s t r e a l a n d i n t i m a t e e x p o s e o f t h e w h o l e a r t o f R o p e M a n i p u l a t i o n b y o n e w h o i s c o n c e d e d t o k n o w

m o r e a b o u t t h e s u b j e c t t h a n a n y o t h e r m a n l i v i n g . "Thirty-five R o p e a n d C h a i n R e l e a s e s ! W h y t h e r e h a v e

n e v e r b e e n m o r e t h a n t e n o r t w e l v e s u c h t r i c k s , " y o u w i l l s a y . T r u e , b u t t h i s d o e s n o t t a k e i n t o c o n s i d e r a t i o n t h e r e m a r k a b l e n u m b e r o f N E W T R I C K S A N D T I E S I N V E N T E D BY T H E A U T H O R w h o e x p l a i n s t h e m for t h e first time. W h e n t h e m a n w h o h a s p u r c h a s e d a n d s t u d i e d e v e r y t h i n g o b t a i n a b l e o n t h i s s u b j e c t r e a d s t h i s b o o k , i t g r a d u a l l y d a w n s u p o n h i m t h a t h e h a s b e e n o n l y a n e o p h y t e i n t h e r e a l s e c r e t s o f R o p e T y i n g w h i c h a r c s o c l e a r l y e x p l a i n e d h e r e .

I t s h o w s h o w t o g i v e a Complete Act of Rope and Chain Releases, m o r e s e n s a t i o n a l a n d i n t e r e s t i n g a n d f a r m o r e con-v i n c i n g t h a n h a n d c u f f s , f o r t h e audience c a n f u r n i s h t h e c h a i n s a n d r o p e s — a n d l « s s e x p e n s i v e . I t t e l l s h o w t o h a n d l e t h e c o m m i t t e e ; m a k e t h e m p l a y r i g h t i n to y o u r hands r e p e a t e d l y ; a l s o t h a t l i k e i n t h e S U C K K R D I E B O X , t h e y a r c he lp ing y o u m o s t w h e n t h e y t h i n k t h e y a r c t r a p p i n g y o u . A n d i t a l w a y s " b r i n g s t h e h o u s e d o w n • v h e n y o u t u r n t h e t a b l e s o n a m a n f r o m t h e a u d i e n c e . E x p l a i n s t h e r o p e s t o use, t h e l e c t u r e , a n d t h e a r g u m e n t s , a n d d o z e n s o f n e w t i e s , e t c . , i n c l u d i n g t h e t y i n g of t h e p e r f o r m e r in 7 5 f e e t o f r o p e b y f i v e m e m b e r s o f t h e a u d i e n c e ( n o c o n f e d e r a t e s ) , a n d ' . i s q u i c k r e l e a s e . —

S O M E O F T H E F E A T U R E S \ (JOOI1 O P K M N G HOI' l i T H K K T h e Mysterious Knots.

H o w to Get Up an A i t or P r o g r a m m e of Hope anil Chain R e l e a s e s anil A d v e r t l s o the P e r f o r m a n c e In Advance. A r r a n g i n g tho P r o g r a m m e . T r i c k s Sultablo for Opening and C o n c l u d i n g tho A c t .

II n u i . i M i C O H M I T T K K n e t t i n g Hill of Troublesome Members. A v o i d i n g Bothersome T i e s to Make Y o u r Work E a s i e r . K i n d s of Hope to U s e for V a r i o u s Ties.

T W O MOW (III .I . V1VSI l l l . i : I'AIM.MOTH which wilt park Inlo a s u i t c a s e or bag.

MOW A M I o l t K . I N A I , T I E S O F T H K M I T H O U — T h e F i g u r e 8 or Surprise T i e ; the S t r a n g l e Tie (No Double R o p e s ) ; B. H. T r i u m p h T i e ; tho Noveltv Tie, Etc.. Etc.

II. II. I 'AKIOII HOl'lo -At 1 . 1st an Invention whleh meet* p r a c t i c a l l y the demands of the beginner seeking a Royal R o a d to rope escapes.

T i l 10 NT \ M l A It n TIIOH - E x p l a n a t i o n * of the standard ties such as : T w o Methods of tho K e l l a r T i e ; the Improved K e l l a r T i c (a version any one can acquire with ease) ; the E x c e l s i o r T i e ; the 20th C e n t u r y Tie, Etc., with new anil additional Instructions more complete than a s formerly sold a t tl.no each and nlt l i l l lunlrii l ltMis.

SUCTION o p HIMIUTti AI . IHTIC T I K H - T h e N e w Tl. II. Spirit Tar e T i e ; tho B a n d a g e T e s t ! Mysterious Chair Tie; the T a p e l.oop T i e ; the V e s t T u r n i n g T r i c k , Etc.

T i n ; COMPI. IOTK TI0\ 1(111 T I K A M I M l W I . l t OK PHIOSIONTATION T h e first detailed explanation of tin' 1U0AI. Ten U-111 T i e lo whleh Is added 10 X A C T I N S T R U C -T I O N S with all " L i n e s " and " S i n g e Business" showing Just h o w to present the trick. Tills has never hern explained before and forms the most Impor t an t part of the trick.

HOI'IO T H I C K S SI ITA 111.10 l-HII IM I ' l I OM l 'T l I ' l l l l l OllM-A M 10 and for parlor or social entertainment; T h e Dissolv-i n g K n o t s ; tho Loop the L o o p ; the Hlng on Cord; the Knotted Cord; the L i n k i n g K i n g ; tho C h e f a l o Vanishing K n o t s ; tho Simplif ied V e s t T u r n i n g T r i c k .

T i l 10 c m ; VI' MAHTIOII t i l t >11 i n n T1I0 T h e sensational c o n c l u d i n g teat In w h i c h a committee from the audience ties the p e r f o r m e r with 75 feet of rope In a n y manner their f a n c y dictates. E x c i t e m e n t runs high when this final chal-lenge feat Is staged. W h e n the audience are at last con-vinced that the artist Is at last helplessly trapped—he makes his escape In less time than It took the committee to lie htm. This trlek I* recognized a s the Master Peat of tho Hope Manipulators ' Art . it has never before been explained In a n y publication nor has It been o f f e r e d for sale.

I I IOIMi TIIOH l\ A M POS IT ION—IHO lM i TIIOH IN A ( II \IH.

CH AIN D10P VHTWIONT - Siberian Chain T r i c k ; Improved Chain R e l e a s e s ; 11. II. III-:ST Chain Release; II. II Novel Chain R e l e a s e ; S h a c k l e Release; M y s t o Shackle Escape; II. II. L a t e s t S h a c k l e Release. T h e T h r e e Spirit Lock Models: III.I Model L o c k ; New Model Spirit L o c k ; TV II. Model Spirit L o c k . T h e N e w Chained Sack E s c a p e from Borrowed sack.

THE STACK MIOTIIOH OK Ti l l ' . I IOOI'H HOI'IO A M I V10ST T H I C K and bow to have the hoops remain on tho ropes or fa l l off at the audience's selection.

33 R o p e T i e s and Chain Releases (65 I l l u s t r a t i ons ) , 7 5 c . England, 3s 2d.

BURLING HULL'S Bulletin No. 1

£ B U L L E T I N LATEST 5IEIGHT &TRICKS

B U R L I N G l l l I L L

Printed on 100 lb. Enameled Art Paper. 50 illustrations in Half tone and Line, from photos and drawings prepared for this book. Limited issue.

OF "LATEST ADVANCED SLEIGHTS

AND IMPROVED TRICKS" CONTAINING

The very latest tricks in pure Sleight-of-hand, impro ved and perfected so that difficult moves are eliminated.

Burling Hull has achieved his reputation as an instructor through devising orignal sleights so ingenious that each forms a perfect optical illusion in itself and is therefore less difficult to excute.

SLEIGHTS In his experience as a professional magi-

cian, as an inventor and as the only American instructor in Manipulation Mr. Burling Hull has devised a number of sleights, better count-ed in series than individually and then the total runs into the scores.

From these he has carefully selected mas-ter sleights, which he believes are most need-ed by the professional and amateur magician. These are so subtle in nature that they form perfect optical illusions and thus require but the simplest me-chanical movements, possible for anyone to execute as they deceive by their inate cleverness rather than the skill of the performer, which is of secondary importance.

PARTIAL LIST OF CONTENTS. 1. The Handkerchief production from bare hands without apparatus or palming. 2. Another method of Handkerchief producticn from bare hands. 3. New False Shuffle executed by audience. 4. The Super-Supreme Force. Perfected at last!! Any pack may be used and the performer can allow a magician to select a card and even to change his selection after laying his hand on a card, still it does not interfere with success 1 ! !

The Pass Surpassed 5. Startling impromptu trick with borrowed cards, easy for close work. This is so simple to perform that Mr. Hull teaches it in the first lesson to his pupils, yet it baffles the keenest eye. 6. Burling Hull's Climax Color Change. The only genuine change on a new principle. Per-formed with fingers wide apart. A great success in the hands of the "White Wizard," and would be in yours as well 1 11 First time explained. 7. Wonder Pass (not really a Pass.) Cards placed in center of pack and elastic band placed around pack. Card appears at any number called for. Everything operated slowly. 8. Various new tricks on the "Wonder Pass" principle. 9. "The Invisible Pass." The only pass devised that is (A) inviiiblee even to the man who knows the secret (a fact.) (B) physically impossible to make a noise with. This only becomes poss-ible by using the new principle introduced. Devised by Burling Hull especially for his society en-tertainments and used under the most difficult conditions. Works at two feet, one hand used.

10. One hand production of a thimble, (after showing both sides of hand) at finger tip. 11. A thimble vanish which you can operate a few inches from anyone's eyes as slow as you like—the nearer the better, and so subtle in principle that even the initiated cannot tell when you intend to vanish it and when you do not!! Many Other Valueable Sleights Any one of the above tricks are worth more than the price of the book. Handsomely illustra-

ted by many photographs PRICE 50c. 2s. 2d.