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building actually exists in space but it exists in our minds only through the impressions conveyed by our senses. To a blind man the art of painting has no existence except as a subject for intellectual speculation. If the actor can portray his part so as to stimulate our intellect or our emotions he can claim to be an artist. If the magician can portray his part in the same way he also can claim to be an artist.

The difficulty with magic is that it possesses very little intellectual stimulation and that it leaves the higher emotions quite unaffected. For this reason magic can never take a very high place amongst the Arts. (It is interesting to reflect that for the same reason, its lack of emotional appeal, magic fails to rank amongst the most commercially successful forms of theatrical presentation.) But if a magician can, by his acting, convey a real impression of the performance of the incredible he can claim to be an artist, not a great artist perhaps, but at least a minor artist. Magicians of this calibre are not very common. There has been, unfortunately, for years, an agitation for making magic entertaining. It would be better to agitate for making magic magical. I do not think David Devant ever worried about making magic entertaining. He put all his fine talents into the job of making his magic real. Cardini puts his whole mind into the business of portraying the character he acts— the slightly fuddled dude who is under a magic spell, and has no need to try to be entertaining. These two have been the greatest artistic successes in the magic of this century, and I understand Cardini has not done so badly— financially also.

Les Levante once told me that as a young man he used " humorous patter " in the customary way of " making magic entertaining," and that it got him nowhere. When he came to years of discretion he dropped the wisecracks and concentrated on presenting magic simply as magic. The Levante show toured Britain with consistent success for three years, and Levante now plays golf in his native Sidney, enjoying the leisure earned by magic presented as magic.

"Is Magic an Art ? " I answer " Yes, but not often " ! !


On every occasion when I have performed this effect and conjurers have been present there has been general comment on the beauty of this effect. Some have even credited me with its origination ; I cannot recall the name of the originator but believe it appeared in the " Seven Circles " Magazine.

Effect. Into an examined tumbler the operator places a mauve coloured silk, on top of the latter he places an orange silk, and then over the mouth of the glass he puts a green silk ; this being kept in place with an elastic band which has the effect of making a drumhead. Holding the glass at the finger tips of the left hand, the right hand is placed underneath and the mauve silk is apparently drawn through the bottom of the tumbler. Elastic band and green silk are removed showing only the orange silk left in the tumbler !

Requirements. One tumbler and three silks, mauve, orange, and green, respectively. To one of the corners of the mauve silk a piece of thin, but strong black thread about four inches long, is attached. Two or three knots are tied at the free end, and a little conjurers' wax is wrapped around the knots (this is the only thing I have added to the original, but it makes for better working). With an elastic band, the tumbler, and three silks beside it the operator is ready for the . . .

Presentation. Ask a spectator to have a look at the glass. Taking it back with the left hand the operator, with his right hand, picks up the mauve silk so that the threaded corner is held whilst the remainder of this silk is poked into the glass. The thread will remain outside, and as the operator calls attention to the position of the mauve silk he also presses the wax ball against the side of the glass so that the thread is anchored. The orange silk is now placed on top, and then the green silk is placed over the mouth and secured by the elastic band. The green silk is lifted to show the relative positions of the silks, and then taking the tumbler with the tips of the left fingers, the right hand comes under the green silk, frees the waxed end of the thread, and with a quick action pulls the thread. This has the effect of pulling the mauve silk up the inside of the tumbler and then down between the green silk and elastic band. To the audience the silk has been pulled through the bottom of the tumbler !


First of all I should like to express my appreciation to all those well-wishers and critics who have written to me about the first copy of the " Pentagram." Many of the suggestions have been noted and a few incorporated in this issue.

To those who have spoken or written to me regarding the question of the odd page when binding copies, may I say that to a binder the odd sheet makes little difference, as those who have had copies of Hugard's Monthly or the " Jinx " bound know. I hope that in a few months' time that the addition of two more pages will enable me to use a larger type. At the present, paper is still a difficulty— both in quantity and quality.

One point I should like to raise is that of answering letters. Believe me, I would like to answer every letter at the same time that I receive it, but it is a physical impossibility, and I can only attack them in rotation. To those who ask whether I have books or magazines for disposal, I am afraid my answer is that I have not, as I am a collector in a small way.

In this issue it gives me great pleasure to publish effects by Robert Harbin and Douglas Francis, whilst from the pen of Wilfrid Jonson comes a timely article on a much debated subject. The December issue will contain contributions from Robert Harbin, Stanley Collins, Charles Harrison, Wilfred Tyler and Geoffrey Buckingham. The latter's contribution will be the first of two instalments describing his remarkable version of that great classic, " The Arial Treasury."

Lastly to those who have asked for the meaning of " Pentagram," I give the Oxford Dictionary definition :— "'A five-pointed star formed by producing the sides of a pentagon until they intersect ; formerly used as a mystic symbol." Occultists know its earlier name was Pentalpha.

PENTAGRAM GRADING : ***** (Five *** (Three stars)—Of Practical Value.

All the Books under review this month

SIMPLY WIZARD by Goodliffe (.Publisher Goodliffe, price 14/-)

This is a very readable book written by the well-known Editor of " Abracadabra." Within its hundred-odd pages, he sets out to describe several effects which not only aré all stage tested but have audience appeal. An author who is a practical magician should know his own audience, but whether as in one effect when a denture is used we just wonder whether this would have general audience appeal. As no complicated mechanisms are involved in any of the effects one can see that the mechanics are foolproof. The inclusion of his ' Leg Chopper ' effect (which we do hope will end all choppers) is to those who make their own apparatus, a good return for the money asked for the book. We liked the production box attributed to Don Calvin, and also " Goodnight." Gerry Findler's article on the voice might be well taken to heart by a number of conjurors. " The Impressionable Joker," by Fred Payne (a psychic but not mental effect please) is good. Twenty-one pages are taken up by a description of the late Brunei White's Dove Act. This is exceptionally well routined and to a would be variety aspirant a chance to be different. The book is capitally illustrated by ' Dennis,' well printed and bound in a serviceable linen binding. There is, thank goodness, a spine title.

stars)—Outstanding. **** (Four stars)—Very Good. ** (Two stars)—No Reason for Publication, come under a *** (Three Star) Grading.

THUMBS UP ! by John Kenyon {published by Goodliffe price 5/6)

Goodliffe sets a good standard for printing and illustrating and this is no exception. Within the forty-odd page§, John Kenyon sets a device in search of some tricks. That he is successful to a degree there is no doubt, even if it is the magic of the single stick rather than the rapier. Few conjurers I think would adopt his method described for the handkerchief and soup plate, forcing themselves to use a silk, one would say, about six inches square. At the price asked, however, it is a good buy.


The following have been received:—

" Watch me Closely," and " Be Deceived," both by the late Louis Lam, and published by Davenports at 3/-. Both are good value, especially for an experienced conjurer. It is a pity that a little editing was not done and that terms like double-shift for " double lift " were adjusted.

From George Johnson come " Modern Sleights " and " Slow Sleights," by Brian McCarthy. A desire for a further edition, plus the reputation of the author is sufficient recommendation. They are priced at 3/- each.

DUO COINCIOO—continued from page 9

Method. The effect is far in excess of the method used, which is of the utmost simplicity. It can be performed with any borrowed pack at a moment's notice ; it only being necessary to get two cards of a kind, say the two red Sixes, one on the top and the other on the bottom of the pack.

To perform, give the pack a vigorous false shuffle, retaining the top and bottom cards in position. Cut the pack and give the bottom half to the assisting spectator, crimping the lower left hand corner of the bottom card as you do so. You each shuffle your cards, the spectator's shuffle being genuine, but your's being false, inasmuch as you keep the top card in position.

Both halves are now ribbon-spread face down on the table. You reach over and apparently select a card at random, but really you quickly locate the crimped card which you remove and place on top of the spread. The spectator now does likewise with your spread, taking any card he fancies and placing it on top of the spread. Both heaps of cards and now squared up. You double lift the two top cards of your pile and reveal, say, the Six of Hearts. He turns over his top card and reveals the six of Diamonds. Could anything be simpler and yet so immensely effective, as a trial will show.

The second part of the effect is equally simple. When the spectator removed the card from your spread you took ample opportunity to note what it was, say it was the Queen of Spades. In fanning his cards ostensibly to show that they are all different, you look for a Queen and any Spade and note their respective positions. You will find that this can be done in a second after a little practice. Close the fan then place the cards in a face down pile in front of him and ask him to spread them once more. Hitherto, the card you revealed in the first part of the effect, really two cards, has been replaced on top of your pile, the top card being the Queen of Spades. False shuffle your pile, keeping this card in the same position, and then place it face down on the table in front of you. All that now remains is to remove the two cards, positions of which you noted, apparently at random, from the spectator's spread, patter along the lines given in the effect and turn over the top card of your own pile for the climax.


Next issue published December ist. Forty-eight pages crammed with outstanding kiddies' effects. Also six entries in the Mental Magic Competition. Profusely illustrated with photographs and drawings. Make sure of yoilr copy by ordering now. Per issue 3/8 post paid; Annual Subscription 14/6 post paid


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