Pentagram

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Stet&i WxvdaxA' i

Cldofac, 1947

Pjdce, Cine SAiMng.

This effect, designed for children, is based on a fable of Aesop's, " The Mice in Counsel." The effect will be given briefly, followed by the modus operandi. The presentation will then give a story outline with the accompanying actions. There is plenty of scope for individual presentation.

The Effect. It is the story of a magic mouse who undertakes to tie around a cat's neck a piece of ribbon to which is attached a bell ; the latter is to give the mice warning of the cat's approach. The cat is represented by a plywood cut-out, and the mouse (wooden too !) is taken from his house, the door of which is closed. Against the cat a piece of cardboard is rested. Mouse, ribbon and bell then vanish. The ribbon and bell are found fastened around the cat's neck, whilst the mouse is discovered back in his house.

Requirements. A wooden mouse modelled in the manner of a Bonus Genius. It should have a fairly good base so that it can stand upright. (One of Burtini's " Wandering Willie's " suitably altered is ideal.) A duplicate of this mouse, but made of thinner wood. The usual Bonus Genius cloak, but embroidered to look like a conventional magician's cloak. Three silver bells, one that will ring and two that will not; two lengths of wide silk ribbon, an eclipse magnet, a small piece of tin to act as a ' keeper,' a house for the mouse, a plywood cut-out of a cat, a silk handkerchief, a small box, and some cardboard.

The mouse's house is illustrated, and it will be seen that it consists very simply of a sentry box without back or top ; the door slides within grooves and can be lifted to reveal the mouse standing there. It will be seen that if the two mice are stood one in front of the other, one can be lifted zcith and behind the slide, revealing the other.

In the cut-out of the cat a portion is cut away at the neck (see illustration) and the eclipse magnet wedged in position. The back and front of the cut-out are now covered with black velvet or fine felt, suitable touches being made to give an appearance of a cat's face (don't forget the whiskers !)

One piece of ribbon is now tied into a large bow, one of the dummy bells attached, and to one side is sewn the small plate of tin (see illustration). The reader having got so far, will now see how the ribbon appears to be tied round the cat's neck, for he has only to take this bow and hold it about a quarter of an inch away from the magnet, and presto ! ... it appears to be securely tied. One other thing is needed, and that is a square of cardboard. It should be large enough to cover the cat—all but his ears. At the middle of one side is hinged a small piece of card (see illustration) and to the latter is fixed a long needle (the best wav to do this is to solder the needle to a piece of metal and fasten the latter to the card by means of small rivets or paper fasteners), the sharpened end protruding. If this needle is pushed through the barrel of the knot in the silk bow, the latter will stay put, at the same time it can be removed with slight pressure. The needle should be so placed that when the flap to which it is attached is folded against the board and the bow attached (as in illustration) the metal plate on the bow is opposite the magnet.

WHO'LL BELL THE CAT? — continued from page I

Preparation. The cat draped with a silk, is placed on one table, whilst the mouse's house is placed on another ; this is set as mentioned before. In front of the house lies the cloak, and nearby is the small box (the bottom of this should be padded with a folded silk) in which is placed the bell that rings, the other dummy bell and the piece of ribbon neatly folded. The piece of card with the folded flap should be near the cat and it can be placed in more than one way. If the performer has a table drape of sufficient length the card can be flat on the table, with the hinged flap at right angles at the back of the table. Alternatively it can rest in an upright position against a chair back. The reader will determine what is, to him, the best way. Set like this the conjurer is ready for the . . .

Presentation. " Once upon a time there was a big family of mice who were being constantly worried by a cat . . . This is the cat " (silk removed from cat cut-out). " You can see how fierce he looks ! Things got so bad that one day an old mouse called them together and told them how they could never be surprised by the cat . . . 'It is easy,' he said. ' All that we need do is to tie this little bell' (real bell is picked up from box and rattled) ' to our enemy's neck.' The mice all applauded and were just going to sing ' For he's a jolly good fellow,' when one little mouse spoke up and said ' but who is going to undertake this perilous task ?' There was a silence, and then . . . ' what about Mickini ! ' Now Mickini was a magician. Here he is ! " (Performer raises the door of the house with his left hand, taking up with the slide the duplicate mouse. The right hand removes the Bonus Genius mouse, the slide is lowered and the duplicate mouse left in place ready for the finish.) " So all the mice said ' Good old Mickini,' and then they gave him three cheers, the bell " (bell is picked up and rattled again) " and the length of ribbon " (bell is replaced and ribbon picked up and shown). " They all went away and Mickini was left feeling very glum. Well, he thought, and he thought, and he thought, and he thought. Then ' Eureka' . . . the magic cloak." (The cloak is picked up and shown.) " Now this is what happened. First of all we'll imagine that it is midnight and for a few moments the cat is asleep."

(Square of card is picked up and placed in front of cat, care being taken that the bow falls against the neck part.) " Very, very, quietly Mickini put on his cloak " (mouse is placed inside cloak) " then he asked another mouse to hand him as quickly as possible the bell " (here performer palms out of the body of the mouse as he reaches into the box for the dummy bell; the former is left in the box and the bell carried up to the cloak, placed underneath and finger-palmed) " and the ribbon " (the hand comes out with the bell, drops it into the box and picks up the ribbon. The emphasis on speed by the mouse makes perfect misdirection for the sequence of these movements.) " But before he took the ribbon he asked him to fold it." (Conjurer with ribbon in his hand, makes it into a small parcel, which is put under the cloak and into the pocket.) " Then he asked all the mice to chant with him the magic spell. Now we can't have all the mice here tonight, so " (to the children) " will you pretend to be mice ? Now listen carefully, this is the spell they chanted :

' Hocus pocus, cat's away, Hocus pocus, mice at play. Wave a wand and chant this rhyme, The midnight hour is just the time.'

" Then suddenly, like this, Mickini disappeared, and his cloak was lying on the ground . . . empty ! " (Conjurer shows cloak inside and out.) " The mice started chattering and then stopped, for in the distance they could hear the tinkling of a bell! They looked round a corner and there was the cat, now awake, with the bell and ribbon around his neck." (Conjurer slowly lifts cardboard, the needle leaving the bow and coming away. If the reader has any qualms that the pull of the needle may be stronger than the magnet, the free hand can easily go behind the card, the fingers steadying the bow.) " As they looked they thought but where is Mickini ? But their thoughts turned to a loud ' hip, hip, hooray,' when they saw the door of Mickini's house open and the magician was back safely once more ! " (Conjurer lifts door showing the duplicate mouse).

All manufacturing and selling rights reserved by Peter Warlock.

Picture of cat on page i reproduced by permission of " Tibs."

Sfie MyAt&uj,

The discovery of a chosen card from a borrowed pack by a medium situated in another room is a popular mental effect to judge by the spate of tricks that the idea has called into being. First came Scalbert's " Mystery of the Seventh Card" (a masterpiece of easy, foolproof deception), followed by Hamlyn's " Mystery of the Sixth Card," promptly capped by Scalbert again in a further " Mystery of the Fifth Card." Then Billy McComb shows to the magicians at Cheltenham his spoof " Mystery of the Second Card," and so it goes on !

But why should the mentalist confine himself to an arbitary number of cards ? Would it not be much more convincing as an example of telepathy if he could say to his assistant, " Take your own pack and shuffle it: now remove any number of cards you like and spread them face down on the table ; turn over any one of them, this will be your chosen card. The medium in the adjoining room will tell you what it is, although I do not go anywhere near her or have contact with her in any way." If he then allowed his volunteer assistant to gather up the face-down cards and stack them in any order before conveying them to the medium would it not be less suspicious than the stacking of the cards by the performer in what is obviously an arranged order ? Can this be done ? Certainly, and in a way that is very uncomplicated and easy to master.

Obviously the performer has to convey the information to the medium by some sort of code, and the system now to be described is so natural in operation that no suspicions are likely to be aroused even in the mind of the most sceptical.

The " dirty work" is done entirely by an innocent elastic band ! When the obliging assistant has gathered up his cards (and, incidentally, in this way of presenting the mystery it is more effective to leave the chosen card among the others—its position in the packet being immaterial) it is quite natural to hand him an elastic band with the request, " Please square up the cards and then fasten them together with this band," before he takes them to the medium, who is, of course, in another room. The colour of this elastic band will reveal the suit of the selected card and its position around the cards will tell its denomination—those are the basic principles employed.

Now for the requirements. You must provide yourself with twelve elastic bands : four of them are narrow and are coloured respectively red, grey, blue and yellow ; four broad ones coloured in the same way ; and four that are double the length of the narrow ones but also coloured red, grey, blue and yellow. They are sorted out into their res-

of any, dwtd pective colours : the red go into the coat pocket on the left hand side, the grey into the trouser pocket (left), the blue into trouser pocket (right), and the yellow into coat pocket (right). Red for Clubs, grey for Hearts, blue for Spades, and yellow for Diamonds. Hence one glance at the colour of the elastic band that holds the cards together will reveal to the medium the suit of the selected card.

Next as to its value. The following table must be memorized by the performer and medium.

Ace denoted by narrow band around cards from side to side (i.e., encircling their width).

2 denoted by broad band encircling width.

3 denoted by long band encircling width.

4 denoted by narrow band around cards from end to end (i.e., encircling their length).

5 denoted by broad band encircling length.

6 denoted by long band encircling length.

For the next series of cards, seven to King, the elastic bands are repeated as above, only in this case the assistant is asked to reverse the bottom card of his packet " so that the medium will not be able to see the face of any card when they are handed to her " ! ! And so :—

7 denoted by narrow band encircling width (bottom card reversed).

8 denoted by broad band encircling width (bottom card reversed).

9 denoted by long band encircling width (bottom card reversed).

10 denoted by narrow band encircling length (bottom card reversed).

Knave denoted by broad band encircling length

(bottom card reversed). Queen denoted by long band encircling length

(bottom card reversed). King denoted by two bands one around the ends (lengthway) and one encircling the width.

There still remains the Joker to be considered (and if the assistant employs his own pack he may want to puzzle the medium by using it). For the Joker no elastic band is used. And so when the cards are handed in a squared-up condition to the medium and she sees they are loose, she knows in a flash that the Joker has been selected.

With the above code committed to memory (and owing to its simplicity that should not take long) the working of the " Mystery of any Card " is almost automatic and foolproof. The performer should stress at the beginning that throughout the ful&i CfVatud' ó

[Jarrad /me sha^ \ cjur-5-e or /s,-

/7ort/o/7 | 1 > ops snows- cofrs-* or sncK, /¿rst/<-/£■! om/rrec/.

/7ort/o/7 | 1 > ops snows- cofrs-* or sncK, /¿rst/<-/£■! om/rrec/.

Editor's Note.—This effect has as its forebear an effect of the late Edward Bagshawe's. The basic principle is the same, but M. Giraud has increased the mystery ten-fold, for whilst ivith the original, a bright-minded spectator might play around with a few rings and a piece of cord and ultimately solve the mystery, the use of different coloured articles throzus such a spectator off the scent.

The Effect. The conjurer shows his audience two round sticks, measuring approximately eight inches long by one inch in diameter (the sticks used by M. Giraud when he demonstrated the effect to me in 1938 had been specially turned from boxwood. Two office rulers cut down to the correct length would serve admirable, but in these days of plastics, lengths of perspex or lucite would be the ideal— Editor). A hole half an inch in diameter is drilled through the centre of each rod, and one end of each is coloured to the depth of an inch with a distinctive colour (say one red and one green) as in the illustration. The sticks are offered for examination, one is chosen and threaded on a length of cord, the rope then being knotted. The stick and knot are now draped over a little screen (an opaque chair-back would answer the purpose just as well) and the ends of the rope held by two spectators. The remaining stick is now taken and, temporarily relieving one of the spectators of his end of the rope, this stick is threaded on the cord. The end of the cord is now handed back to the spectator. The conjurer now explains that he is going to attempt the impossible, namely that he will take the stick just threaded and pass it through the obstruction and knot and stick in the centre of the cord. Slowly he moves the stick along the rope and then out of in the flight sight behind the chair ... a slight pause and his hand continues along the other side of the rope with the stick . . . in his hand ! Everything can be examined once more.

The Requirements. Two sticks as mentioned in the description. To go over the end of each stick is a small cap—a red one to go over the green-ended stick, and a green cap to go over the end of the red-ended stick. These caps should fit snugly so that they will not, when added easily, slip off. A piece of cord about ten feet long. If a screen is going to be used it must not be too fragile, otherwise there is the danger of it falling forward. The stage should be set with two chairs about eight feet apart (these for the assistants) and with the table with screen on it (or chair) slightly to the rear of and between these two chairs.

Preparation. The two unprepared sticks are placed on the table together with the length of cord. The two fake ends repose in the inside coat pocket together with a pencil.

Presentation. The conjurer first of all asks for the assistance of two spectators. They are seated in the two chairs and then he introduces the two sticks, and hands them to two members of his audience for examination. In doing so he places the non-coloured end into their hand, suggesting that they may like to autograph them. He reaches into his pocket with his left hand, obtains possession of the two caps and the pencil. He passes the pencil to the right hand and gives to one spectator. Whilst the stick is being marked his hands drop to the side, and as he stands looking on his hands meet at the back (this is as a natural position) and the right hand gains possession of one of the caps, so that he now has one in each hand. As the first spectator finishes, the right hand comes up to take the pencil, and in its journey the colour of the cap is noticed. The pencil is handed to the holder of the second stick and the first stick is taken back with the hand that holds the opposite coloured cap. Whilst the other spectator is signing his name on the stick it is the easiest thing in the world to adjust the cap over the end of the stick. When the second spectator has finished writing, the pencil is taken back and replaced in a pocket. The stick is then taken by its coloured end with the free hand and the cap adjusted. The right hand now takes the stick from the left hand, care being taken that during this transfer the coloured end is not seen. Once both sticks are in one hand it doesn't matter, for up till now you have given the audience no idea of what you propose to do. The two sticks are momentarily placed on the table and the piece of cord picked up.

THE MYSTERY OF ANY CARD — continued from page 3

demonstration he will not handle or even touch any of the cards or be in contact with the medium (who is under observation in another room) in any way whatsoever, for this reason the assistant must use his own pack and shuffle it himself, etc.

The routine td be followed will be readily grasped if we take one or two examples :—

The assistant decides to remove ten cards for the experiment. He is instructed to lay them face down on the table and then turn over any one of them, suppose it is the eight of Spades. " That is your chosen card," says the performer, " and the medium will name it to you in a moment by a weird mental process. But first of all I want you to shuffle it amongst the other nine cards so that even you do not know where it is amongst them. Then reverse the bottom card, so that when you take them to her she will not be able to see the face of any card, and put this elastic band " (the performer takes the broad blue one from his right trouser pocket and hands it to him) " around the cards so holding them tightly together. Now take them to the medium and ask her to concentrate and tell vou what your card is."

On receiving the cards the medium notes first of all the colour of the band : this is blue and tells her that the card is a Spade. Next she looks to see if the bottom card is reversed—it is, this means that its denomination is above six. As the band is around the cards from side to side it must be either the seven, eight, or nine. And because it is a broad band it must be the eight. And so the medium announces, after a little time of mental stress and strain, " The card you selected was the eight of Spades." And, of course, she is right!

Suppose the chosen card was the six of Diamonds. The long yellozv band would be taken from the right coat pocket, handed to the assistant, who is told to put it round the ends of the cards so holding them firmly together " in such a way that the medium will not be able to peep at any of them." In this case (being in the one to six group) that bottom card is not reversed.

Take one other example.—The cards are handed to the medium and she sees that there are two elastic bands around them (endways and lengthways) this tells her that it is a King, and as the colour is red this denotes a Club, and so she confidently asserts " Your card was the King of Clubs."

" All very simple when you know how," but that's just it—your audience won't know " how " : try it and see for yourself!

" STICKS THAT PASS IN THE BIGHT " — continued from page 4

The assistant on the left is asked which colour he would like. According to his reply that coloured stick is picked up from the table and threaded on the cord, a knot then being tied and a reasonable size bight being left (see illustration). The loop and stick are now draped over the screen or chair (in doing this M. Giraud actually removed the stick from the loop by passing it along the cord (see illustration) as in Bagshawe's method. This speeded up the ultimate stage of the effect, but it is not essential at this stage) and the false tip removed and retained in the hand. The ends of the rope are now handed to the respective helpers. The remaining stick is now picked up, and, whilst telling his audience what he is about to do, the cap in the hand is dropped into a side pocket. The remaining stick is now threaded on the cord, carried along, and as it reaches cover the cap is removed. The original stick is carried along the cord, and out of the loop the second stick then being similarly threaded in the loop. Of course if the conjurer will practice getting the first stick out of the loop as he places it behind cover, this part of the presentation is rendered much smoother. The original stick is now carried along the rope and handed to the spectator for examination ; the rope with loop and stick being lifted into full view. Whilst all this has taken rather a while to tell it is all very straight forward. It is an effect that with appropriate dressing will prove suitable to any type of audience.

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Jean Hugard

NEW PENTAGRAM GRADING.—A maximum award (A)—Physical Make-up (B)—Quality of (E)—Illustrations (F)—Readability (G)-"HUGARD'S MAGIC MONTHLY" Volumes 1 and 2, Special Book Edition (published by the Fleming Book Company, Berkeley Heights, New Jersey, U.S.A., price 5 dollars. This, in common with all other Fleming Publications, may be obtained with English money by application to Mr, J. Robertson Keene, at 301 Norwood Road, Southall, Middlesex.

Hugard's Monthly has now reached its fifth year of publication. Throughout the whole period Mr. Hugard has rigidly kept to the object stated in his first editorial. He wrote : " My object in publishing this sheet is to set forth fully, clearly and conscientiously the best things in ir.e.gic, so that if my readers absorb the instructions and carry them out In practice they will acquire a repertoire of good magic that will last a lifetime."

In the two volumes under review there are approximately two hundred effects, sleights, routines and essays. The majority of the effects are, as one might well expect, with playing cards. Whilst some items are individual routines of standard effects, there are many new angles. Outstanding in the card category we should like to mention the following :—

Orville Meyer's " World's Greatest Four Ace Trick."

Fred Braue's " Secret Addition."

Cadet's " Magic Bell."

" Double aj I do " (this is attributed to Gerald Kaufmann, but credit should go to Martin Gardner, who published this effect some six or seven years ago).

Coin Tricks too occupy a prominent place. Apart from the valuable article on " Sleeving " by George Starke, we should like to call attention to the following effects :—

" The Melting Coin " (this is a splendid routine of a great classic).

George Starke's " Ghost Coins" (a very subtle vanish of a number of coins).

Paul Morris's " Clothes Pin (Peg) Magic " (a novelty angle with a folding coin).

Harry Bernstein's " Transmutation of Metal" (a routine with a surprise finish it should appeal to all lovers of sleight of hand who want a close-up coin trick that is different).

The rest of the volume covers general effects and the Editor and his contributors have given of their best. Here again we should like to single out those effects which have appealed to us :—

George Starke's " Hornswoggled" (this being an effect with American bills of various values, cannot be duplicated in the Country).

R. M. Jamieson's " The Oracle Speaks " (a slate effect).

R. M. Jamieson's " Spot Sticks " (a striking variation of the old "paddle" trick).

Abril Lamarque's " Rabbit Vanish."

Jean Hugard's " Butterflies."

Jean Hugard's " Spectacular Flash Opening."

The conjurer who thinks that the future of conjuring lies in the invention of new effects will alter his ideas after reading this volume, for whilst there are a plethora of new ideas and effects, thos; great tricks that have stayed the long course take on a new lease as described here by Mr. Hugard.

It is refreshing to find throughout these two volumes that modesty and dignity prevail. Mr. Hugard does not (as is becoming so common to-day) tell his reader in every issue how good is his magazine. Quite rightly he knows that if his readers are conjurers, they know that it is good. There is also no attempt to claim prestige at some other journal's expense.

Award : 67 points. Indispensable.

of Ten Points in the following categories (when applicable) :— Material (C)— Value to Magic (D)—Clarity I—Sincerity TOTAL 70 POINTS

"OPEN SESAME" by Eric C. Lewis and Wilfred Tyler (published by Goodliffe of Birmingham, price 30/-).

After a Preface by the publisher, and an Introduction by Mr. Lewis, we find the latter in Chapter one calling the reader's attention to the paucity of books anent " Conjuring for/to Children." From this, Mr. Lewis goes on to deal with the many aspects of children's entertainment, all of which is clear and unbiassed. The subjects actually dealt with in this chapter are : The Basic Principle, Factors in the Entertainment of Children, Comedy Situation, Suspense, Repetition, Audience Participation, Dressing-up, Action, Story, Colour, and Education. Although he does not give it a heading, Mystery is also included.

Chapter two deals with what the authors call " Magi-gags," and all the bits of business described are practical, even if not suited to all performers.

Chapter three starts the actual trick part with what the authors entitle " Characterised Magic." Under this heading four very novel and original effects are described, respectively entitled " What a Life-bouy," " Chuff-Chuff," " Opium," and " Big Chief Money Ha Ha."

Chapter four deals with Glove Puppets, and should appeal to all those who want a maximum of effect with a minimum of apparatus. There are three routines : " A Slate, a Silk, and a Rabbit," " Monkeying with the Monkey," and " Spelling Puppet Routine."

In Chapter five the authors have taken three standard effects and routined them. They are, respectively, " The Recipe " (with a Dove Pan), " The Children's Penelease " (Silk and Cords), and " Linking Rings for Children."

Chapter six is entitled " Story Magic," and contains " Little Bo-Peep," " The Temperamental Clown," and " School or Picnic." For younger children these should make a very strong appeal.

In Chapter seven we come to seven more effects and routints under the heading of " Various Effects and Routines." From these seven items we would pick out for special mention " Aladdin's P-alace," and the splendid adaption of a standard toy in " Alf's Button."

The Book concludes with a Chapter called " The Games' Master." ■ This Chapter is very valuable, containing something which many conjurers have never thought about. We are glad to know that a small book may soon be published devoted exclusively to this angle of entertainment.

We have not singled out Mr. Tyler's effects from those of Mr. Lewis. Both of these well-known children's entertainers have, with enthusiasm and good hearts, given in this book ideas, tricks and presentations that have proved successful. There has been no stinting with the result that this becomes an outstanding book dealing with this branch of entertainment. All the descriptions are enhanced by the work of Dennis.

Binding and paper are quite adequate. There are two illustrations in two colours about which the publisher makes much ado. We should like to correct his remark about the introduction of colour-plates in magical books as a new departure. We know at least four German books having colour-plates.

The words " Open Sesame " will for you, as they did for Ali Baba, open a door revealing a treasure hoird.

Award : 65 points. Unreservedly recommended.

She MagiC'Qa-Jlouftd

The growing population of would-be conjurers has naturally meant a larger market for dealers and manufacturers of apparatus. Despite the limitations and restrictions a remarkably good show has been made. Whilst we cannot equal the metalwork of Kling'l of Vienna, or the woodwork of Thayer of California, the quality of apparatus put out by reputable manufacturers is better to-day than it was ten years ago. Unfortunately this improvement has been counter-balanced by the mushroom growth of backroom workshop boys, who just see the possibility of a new racket for divorcing good money from the born sucker. No dealer with a reputation would accept such goods for sale, but, unfortunately, there is a way of bringing effects to the eye of the would-be buyer other than through a dealer's counter. That method is through an advertisement section in a conjuring magazine. The buyer who buys something that has been misrepresented should consider whether all his spleen should be vented on the racketeer. The magazine must bear a share. Whilst we quite rightly consider that a magazine may accept an advertisement from an unknown source, it should, once it knows that there is misrepresentation, drop that advertiser. This is only fair from the point of view of bona-fide advertisers ; for a newcomer to magic may rightly say, in the terms of Alice's dormouse, after being caught once, " They are all much of a muchness." We will say now that every advertiser in our own bulletin has his wares endorsed by us. We will (and we now have) turn down any offer of advertisement in which the product does not live up to the specification. Furthermore we shall, in the interest of magic in general, give the fullest publicity to any case of purposeful misrepresentation. We dislike having to labour anything like this just as we dislike the idea of selling the Pentagram to its own readers, but it does mean that we are doing what no other independent conjuring paper is doing in this country.

We were sorry to hear that Chris. Van Bern was in hospital, and on behalf of our readers wish him a rapid return to good health.

Our congratulations to M. Sardina and his colleagues on the marvellous publicity they achieved for the International Congress in Paris. For an English Sunday paper to take this meeting as a basis for a political cartoon indicates the size of the event. Our great regret is that we could not make the journey.

We feel that in Book Reviews we have not done full justice to the fine printing and good binding and covers of the Fleming Book Company's productions. Books that are needed for constant reference need such binding. Just as we go to press we have received the first volume of the translated version of Dr. Dhotel's " Magic with Small Apparatus." We shall give it a full review next month, but right now we shall say that it more than lives up to the Fleming standard. There is a Floating Candle routine that, for the stage performer, is worth the cost of the complete work. Full particulars of this and all other Fleming books (and many modern American books) can be obtained from our good friend, J. Robertson Keene at 301 Norwood Road, Southall, Middlesex.

In this, the first number of the second volume, we should like to announce the Pentagram Trophy Award. This prize, which will take the form of a specially designed Plaque, is to be competed for annually. It will be awarded to the best contribution of trick, routine, presentation or essay, appearing in the Pentagram. The judges will consist of two professionals and two amateurs, the Editor having a casting vote. The main pointer for the award is something that practically or theoretically will add to the stock of magic. Would-be contributors please note that the first twelve months for eligibility of award will be from December, 1947, to November, 1948. Besides the actual trophy the winner will receive a voucher for to be spent on either books or apparatus. There will also be prizes for runners-up.

From our good friend Zaharee we have received the " Eyes of the East." This is a very cute mental effect that only requires effective presentation. From Vanestro, at the Magic Box, comes the Devano Dictionary Feat. In effect the mentalist has memorised the contents of a fair sized dictionary.

Some of you may have seen Wilfred Tyler's " Abdul and his Egg " and know that it is superb comedy conjuring for either adults or children. When Wilfred showed us this effect at " Green-banks," we thought (but didn't say) it would look and read well in the Pentagram. We were more than pleasurably surprised when, just as he was preparing to depart, Wilfred said that we could publish it. So, next month, we proudly present " Abdul and his Egg " ! !

As we go to press we hear that the date of the I.B.M. Convention has been fixed for September 30th, 1948.

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ANY OF TEN OTHER FINELY-PRODUCED AMERICAN BOOKS ON MAGIC

Our English Representative—Mr. Robertson Keene, 301 Norwood Road, Southall, Middlesex, will send full particulars on how to purchase these books upon receipt of postal enquiry. You should be acquainted irith The Fleming Magic Classic Series—the handsomest and most valuable books in magical bookdom

FLEMING BOOK COMPANY BERKELEY HEIGHTS, NEW JERSEY, U.S.A.

THE DEVANO DICTIONARY FEAT

EFFECT is of the memorising cf p. complete dictionary. Performer lists words on any page called, detailing their position. As a climax he detnils the position in the dictionary of ANY word called

Limited number only will be sold -fa A'o forces or accomplices

VANESTRO, THE MAGIC BOX, 36 LEE HIGH ROAD :: S. E. 13

After Devano demonstrated his effect before the Society of Magical Entertainers, he ivas r?qitested if possible to make his method available for sale.—Vanestro.

NEW MAGICAL BOOKS

CRAGGS MASTERPIECES IN MAGIC

G.4.Y.SO.V EXPERT MANIPULATION OF CARDS

FA MAS TWELVE NEW TRICKS

CrOOULIFFE SIMPLY WIZARD

HALL TESTAMENT OF R. W. HULL

HALL NOTHING IS IMPOSSIBLE

HALL READING IS BELIEVING

MACKESZIE COMPERE'S CORNER .

.WOMB FIRST BOOK OF WILLIAM

WARLOCK PATTERNS FOR PSVCHICS

WILL A XF. WILLANE'S WIZARDRY

PLAYING

Please add postage on orders under £1. 3d. stamp brings list of books available on loan

FRED ROBINSON, MAGICIAN, STATHERN :: MELTON MOWBRAY :: LEICS.

WILLANE'S WIZARDRY

You all know the author's vaudeville act. This book contains all the publicity and stunt items he does outside his act. If you are a conjurer looking for advanced magic you can take it or leave it

" It's the best collection of wheezes and trieky ideas I have ever seen — worth many times its price to any professional performer,"

Price 2/6 Postage 3d.

ARCAS LIMITED 484 6 Sydenham Road, Croydon

MASQUE

A printed magazine giving details of our latest releases in exclusive magical effects. Issued free. If you are not on our mailing list, write now.

THE MAGIKRAFT STUDIOS i

32 Vernon St., Northampton <

The Magic Circle

President : His Grace the Duke ol Somerset,

I ice-President : Douglas Craggs, Esq., M.l.M.C. Clttbroom und Library and Museum :

St. Ermin's Hotel, Caxton Street, S.W.I.

Magical Theatre :

King George's Hall, W.C.

Particulars from Hon. Secretary :

Francis White, 39 Al verstone Avenue, Wimbledon Park, S.W.19

If you like good comedy magic you Kill like

"MILK SHRINK" the shrinking glass of milk—22 6 post free

ZAHAREF, (Geoff. R. Hursell) 16 & 18 Watts' Place CHATHAM :: KENT

HENRI DE'SEEVAH

THE FRIENDLY MAGICIAN

invites all bona tul'- MaKH'ians to M-nd fi,r his list ,,f new awl ii-i'd apparatus ami txifiks, it call at his stmlin :—■

1 CLARENCE ROAD Harborne, Birmingham IT

HENRI DE'SEEVAH

THE FRIENDLY MAGICIAN

invites all bona tul'- MaKH'ians to M-nd fi,r his list ,,f new awl ii-i'd apparatus ami txifiks, it call at his stmlin :—■

1 CLARENCE ROAD Harborne, Birmingham IT

INSTITUTE OF MAGICIANS

Fmnuted 1931 President. A. Zomah. Hon. Sei: Oscar Oswald t02 Elmslead Avenue, Wembley Park, Middlesex ll.o. and Library : No. 2 Hand Court (Victory Clubj,

High Holborn, W.C. MEETING EVERY THURSDAY, 7—11 p.m. VISITING JUI'.K'IANS ALWAYS WKU'OMIi Your Mi!iiibiTshi|i i-,iri'ial!y invited—('nip a lino tn the HiiiuTarv Si-i-reUry- for literature

MAGICIANS' BOOKBINDING SERVICE " PENTAGRAW " VOLUME I. tiindtni Prices CLOTH 5 6, REXINE 6 6, MOROCCO FINISH 7 6

Alderson

FIELD Road, Sheffield

also complete sets of " Sphinx " 1920-33

25 SILCHESTER ROAD St. Leonards :: Susses

JAMES

GRAYSON

MAKER OF HIGH-CLASS MAGICAL EFFECTS, STAGE ILLUSIONS, ETC.

Telephone or Telenrnui : MORLEY 893 Ad.tress

23 GREENFIELD AVENUE GILDERSOME, Near LEEDS

Xearty 30 ye.trs iti the business

Every Advertiser's goods are fully endorsed by this Bulletin

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