Ci Viand aSaut Boa and Jlautine

" MAINLY MENTAL," Volume 2 (published by the author, Mr. C. L. Boarde, of 8012, 190 Street, Jamaica, New York City, U.S.A., price $7.50, obtainable through the Fleming Book Co.).

The enthusiasm combined with expert knowledge of the subject made the first volume of " Mainly Mental," an essential for those who view magic in an intelligent manner. The painstaking thoroughness with which Mr. Boarde had written his thesis not only brought forth eulogies from the magical Press, but one's magical appetite was whetted with the knowledge that there was more to come.

Volume two deals with book tests and had this particular phase of mentalism been under review a year ago, we should have expressed our doubts as to whether this presentation of direct mind reading merited such a niche. The way, however, that the public in our own country has accepted with such great credulity the various book tests undertaken by the Piddington team causes us to revise our earlier opinion. Book tests, however, are merely a novel presentation of telepathy, but in that novelty are to be found some subtleties not to be applied to more straightforward presentations, i.e., a billet test.

Mr. Boarde does not set out to present an encyclopaedia of book tests, for with a true understanding of what is a good mentalistir, platform he avoids those, and there are so many, tests smell of conjuring and sometimes bad conjuring at that. Let us quote the author's own words : " The reader who has mastered an understanding of the information may not be able to claim complete and exact knowledge of book tests. However, he would be justified in believing that there is very little indeed on the subject with which he is not familiar or capable of analysing to a satisfactory solution."

Section one after discussing the book test generally covers a wide ground regarding the matter of forcing book, page and line followed by a short discussion on the matter of references.

Section two deals with the strict force, meaning that the method of apparent selection resolves itself into one word (or line) in one particular book. Mr Boarde first of all deals with books that have been specially prepared, after which under the title of " Aristeas Redivivus " he tackles at length many subterfuges in which markers are used. This part is an excellent monograph, for not only is the natural handling of markers covered, but also the trick book, for specially aligning markers comes under consideration. Spine breaking (of books) is covered, and there is a beautiful method of switching explained. In this section appears our own application of a card stab principle as a means of selection. The prepared section concludes with certain observations regarding specially made books. The unprepared part goes into methods of forcing, using borrowed books as well as one's own. The tying up of billets with books is also covered. The latter part of the section deals in a most comprehensive way with faked markers, and other extraneous means whereby the force is brought to the book.

Section three is entitled " The Ranging Force,"

IMPROMPTU SOLO-WHIST-BRI DG EJDEAL "—continued, from page 42

a couple of straight cuts by spectator, but be sure there is a club on the face at the finish.

Quickly re-deal the 3 hands, the third hand to yourself. This accomplished, sweep aside the first two hands and pick up the last hand. Turn over the cards singly and scatter them face up. It is a full hand of clubs.

At the first opportunity quietly replace the four cards from your lap with the rest of the cards on the table and walk away.

CREDITS :

To Fred Robinson, for the Solo Deal. To Jake Stafford, for the use of 48 Cards. To Wilfrid Jonson and Victor Farelli for the Cutting.

HARRY LATOUR'S COIN MAGIC—continued from page 43

The set up of this routine is as follows— Twenty-five palming coins have a small hole drilled hrough the centre. Florists' wire is run through the stack and bent or twisted so that the coins can be retained and at the other end a loop is formed so that the thumb of the left hand can be slipped in to it. This stack, with the loop uppermost, is placed' in the coat pocket just behind the handkerchief.

If this effect is used as an opening, eight coins can be palmed in the right hand and transferred to the crutch between the base of the right first finger and thumb. The second finger goes under the stack and draws the bottom coin and slides it between the first and second fingers. Four coins are produced and placed edge on between the fingers of the left hand. The right hand adjusts the coins and loads the other four from the right hand on top of the coin held between the first finger and thumb of the left hand. The first finger and thumb of the right hand takes hold of the four coins that have been loaded on to the original coin held and opened rather like a book and without any hesitation the four coins held between the first finger and thumb of the right hand, shown as one, are ran up between the fingers, edge on, making four coins in each hand.

The coins in the left hand are dropped slowly into a bowl and then as the right hand starts to drop the coins, the left hand is placed on the lapel of the coat and the thumb goes through the wire loop holding the stack and lifts it upwards and the stack rests in the palm of the left hand. The right hand, now empty, and the left hand with stack in palm are placed together over the bowl, a pull on the loop and a slight rubbing movement, the coins will come loose and are allowed to fall into the bowl.

I should like to make a few statements re this routine. In holding the eight coins to start with, it is usual for me to tilt them down towards the palm which gives better cover than the usual method. I make no claim for originality in the methods used, but it is the application of known methods that makes this routine different. By painting the top coin of the eight flesh colour on one side will stop any " flash."

BOOKS and ROUTINES—continued from opposite page i.e., method whereby the mentalist knows into which group a certain word falls but either by means of trial and error or some subterfuge that will help him in estimating the position of the word. Part "A " of this section therefore covers means of marking books so that the mentalist is aided in his estimation of page. In this part means of " keying " are also discussed. Section " B " deals with unprepared books, and besides actual methods some excellent auxiliary subtleties are provided.

Section four, " Post Factum," is divided into two parts A and B, and deals respectively with methods applied to prepared and unprepared books that do not fall under the previous headings.

Mr. Boarde has again produced a book that will become the standard work on book tests ; it shows intelligence, a love of good magic and great knowledge. If magic survives (and if mentalism falls it will not) this book will read as good in a hundred years'time as it does to-day. Unreservedly recommended .

FOR SALE

Principals only need apply.

1 ONLY

NELSON PREDICTION CHEST

Used, but m exo lU nt condition. Cost SI95'.00, plus 20% Import Duty, and 33J% Purchase Tax

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N, vv. iterated only ior U-ting. It's performance is bi tter th.m the advertised claims. Cost S407.00, plus 20% Import Duty, tirul 33J% Purchase Tex This is the ONLY equip-nent especially designed for the m:ndre?.der.

Offered for sale because business and other reasons prevent the owner from taking advantage of an offer to tour the No. 1 Music Halls. The purchaser will be put in touch with the Agent, if he wishes. Send off rs to

BOX N.l, c/o THE PENTAGRAM

THE LAST WORD ON BOOK TESTS !

All you'll ever need to know about BOOK TESTS, magazine tests, and simliar feats is explained in great detail in

Mainly Mental : Volume II.

by C. L. Boarde, just published. Here are dozens of amazing methods which most magicians have never dreamt of! All sorts of ways to force a book, a page, a line, and a word, or (if you prefer) to have a word or passage freely chosen and then discover what it is! Available in England only through us. Soft boards, spiral binding, well printed by offset on good paper, 133 pages, 106 drawings, ($7.50), at our authorized " share the loss " price ... ... ... ... 45/-

Other Worthwhile American Books ! The Card Magic of Le Paul, available in England only from us, 220 pages, 313 ill., ($8.50) ... 60/-Hugard's Book Edition No. 3, magic's greatest bargain, 232 big pages, 485 ill. ($5.00), " share the loss " price ... ... ... ... ... 30/-Conjuring with Christopher, boards, 71 pages, 88

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226 ill. ($7.50), "share the loss" price ... 45/-Encyclopedia of Silk Magic (Rice), 500 pages, 1800 ill., ($10.00), at our authorized "share the loss '' price ... ... ... ... ... 60/-Please remit to Mr. Robertson Keene, c/o Riverside, Victoria Road, Yarmouth, Isle of Wight.

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CAN YOU TELL FORTUNES?

By VICTOR FARELLI

Have you ever been asked the above question? If you have, this entertaining and convincing card trick will provide you with the perfect answer. The routine is described complete with suggested patter and is embellished with hints on Fortune Telling.

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Jm Memory, of CL C* St. Medxin#tan

Medrington, tlie son of Liverpool's chiei photographer, was born in the year 1898. He died in 1934. His liking for magic began at an early age, and when only seventeen he had a book, " Magical Novelties," to his credit. He was an amateur in every sense of the word and his predilection was for non-mechanical magic. Nearly- every card manipulator to-day must owe Medrington a debt for the prettv sleight he originated, whereby a silk is drawn backwards and forwards through the fingers whilst cards are back or front palmed. He became a member of the Magic Circle in 1916 the headquarters then being at Anderton's Hotel, in Fleet Street. He not only performed at a number of Socials held there but also appeared at St. George's Hall in the Grand Seance held there in 1921. He was a distinguished performer and in his manner there was to be found a kinship with Dexter,

Medrington, H. C. Mole, Ernest Hammond and Jack le Dair were mainstays of the old Northern Magical Society, and in company with the two first named he produced a book, " The Magic of To-morrow," that was the first English magical publication to be ordered in bulk by cablegrams. This was way back in 1919. Although the searcher through a bibliography will find a number of items against the name of Medrington, his best solo publication was a " Dozen of Magic." His book on " Stagecraft " (written with all humility as a looker <,.11) contiiins excellent advice whilst his book on patter is best forgotten. He was on most friendly terms with Angelo Lewis.

During the First World War he served as a Captain and the photograph here was taken at that period. He was a most superstitious individual and if the day were a Fridav or it was the 13th of the month he would not leave his house (his position as an agent on a very large estate allowed him such latitude). It was therefore a. strange thing that' awakening one morning he told his wife that he did not feel well. He also asked her what day it was. Her reply was " Friday the 13th." She left him to fetch a stimulent. On her return she found that during her absence he had died.

In this issue I have included three of his owu published ideas, "The Bones Of Contention," " Your Choice," and " All Smoke," All are good, though over thirty years old, the last named being found to-day in the programme of one music hall worker. Besides this is an item of Ernest Hammond's which is of great interest as he and Medrington used it wav back in the twenties. I have also included Dexter's Burnt Note effect, as I know Medrington was one of those who had permission to use it whilst Dexter was alive. To conclude, an instalment of Geoffrey Buck-ham's Billiard Ball routine, which I am sure would have given great delight to this lover of natural magic.

Siivavt and SU^tmed Mate Effect

This was one of D; xter's favourite effects when performing for a small group. It date* from 1914. It was an effect that provoked much correspondence in the Magic Circular, after a member of the Magic Circle had not only lifted the effect piecemeal, but also had impudently per formed it in front of an audience when Dexter was present. Dexter's main claim for originality regarding the effect was the use of tweezers ''or handling the note.

The stage is set with two side tables, on the left hand (from the audience's point of view) one

rests a metal stand having a small clip at the top (see illustration), a number of envelopes, a candle in candlestick and a pair of tweezers. The right hand table simply carries a stand similar to the one on the left hand table.

The magician asks for the loan of a ten-shilling or one pound note; whilst this is forthcoming and the lender is making a note of the number, the magician picks up the envelopes and approaching a member of the audience, asks him to take two of them, and inspect them. After examination the spectator affirms that they are just what they are meant to be. Both envelopes, are then marked. One is sealed and without any possibility of exchange, placed against the stand on the performer's right. The sealed envelope is then taken and placed in the left-hand stand. The lender of the note is asked to fold it first in halves, then quarters, and just once more for luck. One envelope is taken from the table and taking the tweezers in his other hand, the magician uses them to take the note from the lender. The note is then placed inside the envelope and the flap sealed down, and placed in the clip in the right-hand stand. Proof of the presence of the note in the right-hand envelope by the magician lighting the candle and showing the silhouette of the note in the envelope. He is, however, careless and whilst talking allows the flame to catch the envelope. Too late he realises his mistake. The envelope burns itself out, but all is well, for going to the left-hand envelope and cutting a part away, he reaches inside with the tweezers and brings out the note quite undamaged.

The requisites for the effect are :—

About one dozen business-sized envelopes (the paper from which they are made should be quite thin).

Two stands (as illustrated).

A candle and candlestick, the two together being of such a height that when the candle is alight and the candlestick is rested on the table the flame wil be about level with the base of the clip at the top of the stand.

A pair of tweezers.

A pair of scissors (these are placed in a left-hand pocket).

A box of matches.

The preparation consists only of making a slit along the address side of one of the envelopes, thus :—

similar size to a bank note is folded so that it is one eighth of its normal size and placed inside this envelope. When the envelopes are placed on the table they are all facing in one dirction, and the flap side lies uppermost. The slit envelope is placed at the bottom of the stack. Apart from the positioning of the various items that is all the preparation.

Before detailing the method, I would like to mention that Dexter, just as he did with the card stabbing effect, would vary his methods, and that the present one is the one most often used. His other methods varied in small details and were mainly concerned with the switching of the envelope. The present switch should be a11 the more welcome for (so far as my limited knowledge goes) it has not been published.

Flashback!

G stands for (De) Grisy

To Managers of Theatre» and Music Halls.

ClOMTE DE GHISY'S Unrivalled Entertainment

/ of Magic, and *Ms Beautiful ENTRANCED GIRL, as performed by bim with great success through England, Ireland, Scotland, and Wales. Now Disengaged.

_Address, 31, Gilbert-street, Oxford-street, London./<7Xp

From the J. B. Findlay Collection

The magician commences by asking for the loan of a bank note. The note being proffered, the lender is asked to make a note of the number for future reference. Picking up the stack of envelopes with his right-hand fingers underneath,

thumb on top. the magician approaches a member of the audience with the request that he will inspect two of them. Thus saying the two top envelopes are thumbed off and handed out. At this point the envelopes are passed to the left-hand, this time the thumb going against address side of the undermost envelope, i.e., the slit envelope. The left-hand now drops to the side. Incidentally, all this takes only a moment or two to carry out. The envelopes, being given a clean sheet, he takes them back with his right hand and requests that the examiner initials them. The left thumb, in the meantime, has surreptitously moved the slit envelope so that it projects about half an inch over the rest of the envelopes. " This one first," says the magician, as he brings up his left hand, whilst simultaneously his right hand places one of the envelopes he is holding, address side up on top of the slit envelope; it is placed so that it is in alignment with all but the slit envelope (see illustration). The spectator now initials the envelope. The other envelope, also address side Up, is now placed on top of it, so that it is in alignment with the slit envelope, and initials added to that. " And now the other sides, please." At this point the right-hand thumb and fingers, with a slight outward pull, take the two projecting envelopes at the point where they overlap the others (see illustration) and turn them over together. The move is completely deceptive and a quick trial will convince you. Thus the topmost envelope, flap side uppermosts, and which is, of course, the slit envelope, is initialled on the flap side, and so also is the other envelope, which after initialling, the spectator is asked to seal down. Taking the two envelopes at his right-hand finger tips, they are separated from the remainder, and held aloft. The magician returns to his stage and dropping the main batch of envelopes on a chair, he places the two initialled ones against the right-hand stand. The sealed one is now placed in the clip in the left-hand stand. The note is now asked for, the lender being asked to fold it into a smaller size. As he does this, the tweezers are taken with the right-hand. Approaching the spectator, the magician takes the note with the tweezers, then picking up the slit envelope with his left-hand, he takes it in such a way that it can be held flap down. The flap will not, of course, tall down because of the natural springiness of the paper, and so the magician moves the flap downwards with the note held in the tweezers. The note is now inserted into the envelope, but is engaged in the slit and pushed through into the hand of the magician. The right-hand pockets the tweezers in either the breast pocket or right-hand pocket, whilst the left-hand brings up the envelope, moistening the flap, and then with his right hand pressing it down. The right hand takes the envelope from the Jeft, at the same time, turning it round so that the flap side faces the audience and slips it into the clip on the right-hand stand. This leaves the note in a finger palm position in the left-hand. This latter now picks up the matchbox lying on the table, and with the aid of the right-hand, a match is extracted, ignited and the candle lit. The matchbox is then dropped into left-hand pocket, together with the note. The silhouette of the note in the envelope is now shown (this is where the need for a thin paper envelope comes in), by lifting the candlestick and holding it so that the flame is behind the envelope. He talks, and as he does this, and without looking at what he is doing, places the candlestick in such a manner, that the flame comes immediately beneath the edge of the envelope. He still talks and gestures to the left-hand stand. Finally, the audience make him realise what has happened, but far too late, the envelope is now a blazing inferno. (To the reader of the present day, I should like to say, that Dexter, who was a performer of dignity, did not as may be expected, treat this as broad farce. In fact, so fine was his presentation technique, that on many occasions the actual happening was taken as being unintentional!). The flames die out and the magician, with his left-hand removes the scissors from his pocket. At the same time he finger-palms the folded note out, but the audience don't see that. The scissors are passed to the right hand as the magician moves across to the left-hand stand, his left-hand (fingers to the front) then removing the envelope. The folded note thus rests against the flap side of the envelope. The envelope is turned over and held downwards, the right-hand then cutting off a slice- of -envelope. The right-hand drops the scissors into the same pocket from which the magician now takes the tweezers. Apparently he inserts these into the envelope. Actually one point goes inside whilst the other goes outside and over the note. The tweezers are now squeezed,

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