new ones. The man responsible for organising this trip was one Dr Lotterio from Milan. Three years ago I had flown out to do a show for him and this time he fixed the lectures for me.
The first one in Torino was memorable because some guy, a non-magician, tried to gatecrash the lecture. They threw him out as only Italians can with a maximum of words, not one of which I understood. In Milan I felt very much at home because I think I knew virtually everyone present. Dr Lotterio was unfortunately not well at this time and I was placed in the very capable hands of Gaetano Papalardo. After wining and dining me at his home and (surprise, surprise) watching England play an International Football Match on Italian TV he drove me off to do the lecture which seemed to be successful. There are several Milan magicians who read this magazine and I would like to convey my regards and thanks to them.
Next stop Rome. The lecture in Rome was scheduled to take place in the same hotel in which I was staying. I don't pretend to understand the Italian magicians outlook but they are certainly enthusiastic and perhaps more secretive than we are. This particular lecture was for a much smaller group than in either Torino or Milan. After the lecture I took the opportunity to spend the next few days in Rome and I was lucky that my old friend Silvan elected to be my guide. I met him in a beautiful restaurant for lunch overlooking the Roman ruins. Afterwards he took me on a tour of this beautiful city — you name it, I saw it, and I had a complete run-down on it from Silvan who probably knows more than any of the official guides. I then spent the whole evening with him at his home, looking at his magic (and boy has he got some magic) and talking to his wife about England (because, in case you don't know it, Silvan is cleverer than we think, he married an English girl). It's funny how little things impress you when you travel. During my stay whenever I had eaten a sandwich there had been no butter on the bread. Silvan's wife thoughtfully put it on the table and it was then I realised that I had been missing it! Thank you for your hospitality Aldo.
Whilst in Rome I had the pleasure of meeting Vanni Bossi who is strictly a close-up magic buff. He has some rather interesting and off-beat ideas, particularly with coins, and he said he thought that some of these would be suitable for Pabular. I agreed instantly and he has promised to let us have some of the material for future issues.
Arriverderci, Patrick Page
During my years as a card worker, I have been asked on numerous occasions to perform the following sleight for the benefit of other card men and magicians, they refer to the SUPREME GLIMPSE as the fancy cut, for to the eye of the beholder, this sleight appears to be purely a flourish, and it does not seem at all possible, even to the experienced, that a glimpse can De obtained, because of the speed at which the operation is performed. The sleight is a combination of SKILL and SUBTLETY, for in appearing to perform a fancy flourish with the cards, the operator obtains a grand view of the chosen card that lies in the centre of the deck.
PURPOSE FOR WHICH THE SLEIGHT IS USED. As a glimpse performed in full view under the guise of a flourish.
THE SLEIGHT AS A GLIMPSE. A card having been selected, noted by the selector and duly returned to the deck, the card is located by a little finger break in the normal manner, ABOVE THE SELECTED CARD. The cards at this stage are held rather tightly especially with the third and fourth fingers. These two fingers grip the top half of the deck as in Fig.l. Now by extending these two fingers to the right side of the deck, the top packet will automatically twist, so that the face of the bottom card (TOP PACKET) is before the performer's eyes Figs.2 and 3. Continuing the twisting action, the top packet moving in an anticlockwise direction until it has completed one half revolution. At this stage the packet will have turned face down again, for on reaching the vertical position if the movement is continued and the two fingers (3rd and 4th left hand) opened out, we arrive at Fig.4, the top packet being in face down ■ position once again. Here, the Right Hand takes the packet from tips of the left fingers and places the packet BENEATH the packet held in the left hand.
If the moves are first performed slow, the glimpse will be all too obvious to the operator, but it is the speed at which the move is performed that baffles the onlooker, the whole operation should be performed in approx: 1 to 2 seconds and at this speed the glimpse becomes a flash, hence the reason for the usefulness of the move.
USING THE GLIMPSE. I have found from my experience with the sleight, that the best method of having the card selected is by Riffling the outer edges of the cards before the eyes of the spectator and at the same time requesting him to call STOP at any time during this riffle movement. Break the deck at the position he requests and lever the top packet upwards at the outer end, to enable the person to see the card at which the riffle movement has stopped, and for him to remember this card. As the cards are lifted before the spectator's eyes, a break is taken below his chosen card with the left little finger and you are ready to execute the SUPREME GLIMPSE. I find the best way to do this, in actual performance, is to offer the deck with the returned card, to the person who has made the selection, with the request that he should cut the cards. If you time
the actions correctly, as he reaches for the cards, you execute the SUPREME GLIMPSE MOVE and the cards will appear to cut by themselves without any assistance from the performer, especially as the cards are held in the left hand only, the right hand being out of the way, but always ready to come forward and take up the top packet to conclude the move. From the audience viewpoint, you have merely cut the cards in a rather novel manner and this will be appreciated as a feat of skill, nothing more. Meanwhile the operator has the necessary know-how regarding the selected card and the card is in position at the bottom of the deck for left hand palming or any other denoument he cares to use.
I also use the move as a running gag when performing card effects on cabaret, I ask the gentleman nearest to cut the cards and as his hand reaches for the cards, the cards cut themselves, I use this irrespective of glimpsing a card purely for the novelty of the move.
One final note on the Supreme Glimpse. It is advisable to work under a strong light, subject to the speed at which you perform the sleight. If the light is fairly good, then the sleight can be used and the card easily sighted when working at the fastest possible speed. These are the ideal working conditions for the glimpse.
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.