Mental Matchic

The literature of Mentalism is replete with effects in which the performer reads the spectator's mind or viceversa. Comparatively rare is the effect in which one spectator influences the thoughts and actions of another. In the few such quite often the heavy hand of the performer is apparent. Here is an effect in which the performer's machinations are, at least in the writer's opinion, not so obvious.

From the audience's viewpoint the effect is as follows. The performer introduces two groups of triangular shaped cards. One is white-backed and the other black-backed. It is shown that one white-backed and one black-backed card, when placed side by side, completed a diagram on the other side. Thus, the fifty white and black jigsaw puzzle pieccs formed fifty different diagrams. The separate white and black triangular packs are mixed and one of each drawn and matched to show the low possibility of completing a full design. This may be done several times to bring the point across. Then two assistants are called up. One is asked to draw a black segment which is placed aside, contents unknown. Then the other spectator draws one of the white segments, contents also unknown, which is placed face down alongside of the black. Now the performer picks up a slate and draws something on it. It too is placed aside,

its contents unknown. Now the performer calls the audience's attention that the probabilities of the spectators drawing matching segments is one out of fifty. However, they have subconsciously so affected each other's action that they have accomplished the deed. The pieces are shown and proved to have completed a design. Then, the performer calls the attention of the audience to the fact that he be clairvoy-antlv aware of the completed design is one of twenty-five hundred. Then his slate is turned around. It is the same as the design completed by the two spectators !

Sixty pieces of blank cardboard, blank on both sides, of the size • of n playing card, are obtained. On ten *>f these full diagrams are drawn on one side. When completed they are placed to one side. A diagonal line is drawn on each of the remaining fifty. On one side of the diagonal line a portion of one diagram is drawn. On the other a portion of a totally different diagram is drawn. This procedure is followed with all fifty. (By drawing different portions of diagrams on each segment of a particular card we eliminate the possibility of a chance match when lec turing on the long odds of two seg nients matching). Now each card is cut in half along the diagonal line, each half going into a separate pile.

When completed, the backs of one pile are coloured black while the other pile is left untouched. Now the cards bearing full designs are similarly cut and the backs treated in the same manner. Two complete designs are to be used. The remaining full design elements are stored away, to be used when the performer wishes to change these elements in another'performance to avoid the use of the same design again and again. One of the designs, both black and white pieces are placed under the flap of a card box or in one section of a changing device. The black portion of the remaining full design is placed on top of the black stack and the white segment on top of the white stack. These preparations completed the performer is ready for demonstration.

The suitable introductory lecture is made. Then the black and white packs are introduced. Taking the top card of each, the performer shows how these, in the manner of a jig-saw puzzle, make a complete design. They are placed aside. The black and white packs are individually mixed. Drawing a card from each at random, the performer shows how difficult it is to get puzzle pieces that form a complete diagram. This may be repeated several times to force the point across. Then the call is made for the assistants. The first is. directed to draw a card from the black pack. Without looking at it he is to place it in the card box. Incidentally, this has been on the table, open and ready. Now the black pack is put aside and the white one taken up. The remaining spectator is to draw one and place it unseen in the card box. The box is then closed and handed to one of the spectators for safe-keeping. The performer now picks up his slate and draws a diagram. Naturally, this is the sketch whose elements were placed in the force section of the box. It is placed on the table, or preferably handed to the other spectator with the instructions to hold the drawing against his body. Now the performer completes the rest of his explanatory lecture. Then the spectator with the box is directed to open it and remove the black and white segments. It is shown that the parts form a complete design. The spectators have unconsciously affected each other's actions. Then the spectator with the slate is directed to turn it around. The performer has clairvoyantlv perceived the selected design !

For another performance, the portions on top of the black and white stacks are replaced from the reserve of complete design segments as are the force segments in the card box. The card box, by the way, should be one that locks after changing its compartments.

Commercial Manufacturing Rights Reserved.

Flashback !

H stands for Henry

FOR SIX NIGHTS ONLY. fV^-Under tlie immediate Patronnf/e of his Excellency the Lord Lieutenant. THEATRE, FISHAMBLE-STREET.

On THIS EVENING, (Mandajy)and-the Five following Evenings.

M HENRY (pf the Theatre Royal, Hay-

• market and Adelphi), had the honour most re-spei-tfully to announce, that un his route to London to resume his engagements, he ha« been iududed td-pfrtesertt /^jfctf the above nights only J his last New Entertainment, a* gfreti* by him wklV immense success dilfing the scasoit lately concluded in Loudon, entitled fiENUY'S CONVERSAZIONE;

Ort Mirth and Marvels.

Introductory of a great variety of New Illusion«, Prestigi-tatory Experimcntt, Intricate pieoes of Mechanism, &c.-— After which

THE MUSICAL CLASSES. The wthdTc to conclude with a grmd Optical Display of a beautiful series of New Phantom View» {never exhibited here), imperceptiliiy melting mU> cacti other before the aye of the spectator, in a most pleasinjrand surprising manner; amongst' which will be presented-.«Beautiftrt Perspective Interior of the Thames Tunnel { View of Windsor Castle, embracing aom* of the alterations lately effected ; the Moving Grove; the Grotto of Antiparos; Roslyu Chapet, &c.—Tcgeth*r with Optic?! Firework»; Phantasmagoric Portrait«; Allegorical Representations; Emblematical Devices, &c.

Boxes, 3s. 6<L ; Pit, 2s. ; Gallery, 1«^-. Children admitted to Bases for 2s. ; to Pit for Is.

Doors ¿pen at Half-past Seven—commence at Eight* | (A good fire lias been kept burning inthe ecotrq of the liouce «wcrai days.

From the J. B. Findlay Collection

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