yy E HAVE a sneaky idea that this handling ^ of Dr. Taylor's is due to be one of the most popular effects we have run in a long time. Needed are the Jardine Ellis ring, with the fake half shell on it, a handkerchief and a spectator.
Holding the fake and ring as one, make it clear that your hands are empty but for the ring. Place the ring and shell as one, on the spectator's thumb as shown in the drawing. As you put the ring and shell in place on his thumb, which should be pointed at the ceiling as in drawing, press down on the metallic ring, as with the other hand you remove your pocket handkerchief and throw it over the spectator's thumb and hand.
Next lift the shell of the ring, as you place your hands under the cloth. Leave the cloth over the spectator's thumb, and leave the real ring in place, as in drawing. The spectator, oddly will feel you take the shell off his thumb, but if he obeys directions and keeps his hand perfectly still he will not feel tihe real ring which remains in statu on his thumb. Show the fake shell to the spectator and patter, then vanish the shell, by the French Drop, and the instant it has disappeared touch the real ring on his thumb, through the cloth. Only then, only when you touch it will he feel the ring.
Remove the handkerchief from the spectator's hand with the hand which you have the fake shell concealed in, stuff the handkerchief back in your breast pocket getting rid of the fake as you do so, and with your other hand take the ring off the spectator's thumb. This leaves you clean and your audience baffled.
The effect is that you make the ring vanish and reappear on his thumb under the cloth.
Frank's patter story has to do with the idea that he is going to hypnotise the spectator into seeing something that is not true. Once he places the shell and ring on the spectator's thumb and covers it with the cloth, he says that he is going to force the spectator to think that he is really removing the ring. (This is when you take the shell away). Holding the shell up he pretends that it is not real, but the figment of the spectator's hypnotised brain. Then vanishing it, he proves that the whole thing is an illusion when the spectator finds the right ring back where it was.
Experiment with just what degree of pressure to push the ring against the person's thumb. Once you have found this, you will be in possession of what we think is a real honey of a close-up effect.
It's a quickie and should be done in an offhand manner, and without any great amount of talkie talk since the whole thing doesn't take more than thirty seconds to do.
Dai Vernon has an alternative which removes any need for the minimum amount of skill that was needed in the above description. In Dai's handling, the ring with the shell is placed over the spectator's thumb and both pressed in place as before.
Next, the handkerchief is thnown over the spectator's thumb, and the performer removes the shell showing it as the ring. However, at this point, Dai does not vanish the shell but instead, shows it to the spectator and says, "You probably think I have removed the ring from your thumb," but as he says this he deposits the shell in his pocket. " Nothing could be further,' he says as he drops the shell ring in his pocket, "from the truth." As he says this he taps the real ring on the person's thumb through the cloth of the handkerchief. This allows them suddenly to feel the existence of the ring. "You see, nothing has happened at all." The performer has the spectator remove the handkerchief and see for himself that the ring has never left his thumb.
The effect is that the spectator's senses have been befuddled, and that he has seen something take place that really never has.
The above effect with Dai Vernon's addition is re-produced from Nos. 267 and 268 of the Phoenix by the kind -permission of its editor, Bruce Elliott. One final note, we have been using this effect and have found that by keeping the real ring in the waistcoat pocket where it absorbs body heat, while the shell is carried in an outside coat pocket until required, means that the shell feels colder against the spectator's thumb', an added sensory advantage.
KEN DE COURCY'S CONJURTOON
36, Harley Street, W. June 20th, 1906. To the Editor of the "Magic Circular Dear Sir,
Will you pardon me if I make a few 7emarks and suggestions with regard to Membership of the Inner Circle. I do not think sufficient advantage is being taken of the unique opportunity we have for establishing, for the first time in history of magic, a definite standard by which aspirants for recognition may be judged. Other professions have diploma.s, granted after examinations, which being tests of general education and professional capabilities, stamp the possessor not only as a person properly qualified in his profession, but also as a gentleman of education. I do not think the ability to perform a few tricks ¡9 sufficient to give any person the right to be called a magi-
clan; and more than the memorising of a few prescriptions, in addition to a superficial knowledge of anatomy, would! constitute anyone a doctor.
In the latter case the governing bodies require, first of all, proof of general education, to a certain point; secondly, proof of specific studies, continued over a certain period; and lastly, proof of knowledge acquired, as shown by passing examinations in general and special professional subjects.
So, in a lesser degree we might by a somewhat similar plan, make admission to the Inner Circle a proof of professional knowledge, and of general education; a coveted honour to the neophyte; the blue ribbon of the profession, and a hall-mark of ability.
GEORGE HERSCHEL Magic Circular, July l.y/, 1906.
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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.