Pentagram

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Vxd. 1 Ala. 11 Ou#u*t, 1947 Sluice Cine ShMinq.

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This is an outlaw of coincidence.

Three members of the audience are each invited to draw a card from a red-backed deck. The operator turns his back while the cards are looked at and remembered. The cards are then replaced in the deck which is left with a member of the audience. Taking a deck of blue-backed cards from his pocket they are handed to the holder of the red cards with a request that he shuffles both decks together. This being done, the cards are taken back, and cutting this double-sized deck in two, the operator places one half in each side pocket. Turning to the drawer of the first card he requests a small number, say not more than ten. Supposing that the number " five " is given, the operator shows both his hands to be empty and places one into each pocket and he removes one at a time four cards from each pocket, throwing them on to the table. He then removes the fifth card from each pocket, commenting : " You see what strange tricks coincidence can play . . . one blue-backed card from this pocket . . . one red-backed card from t'other." These two cards are rested backs towards audience against a glass on the operator's table. The drawer of the second card is asked to give a small number and the same ritual is observed . . . Again a red and a blue-backed card are produced and are rested against a second glass. Lastly the third drawer is asked for a number and again that number of cards are withdrawn- from each pocket culminating in a red-backed and a blue-backed card being placed against a third glass. Turning to the first drawer, the operator says : " You must admit that already we have seen a case of coincidence . . . still more so if the red-backed card that you looked at was at the number you named !...\Vhat was the name of your card?...'The King of Hearts ? ' " While talking, the operator has picked up the first two cards taken from his pocket. " As you see ... a still stranger coincidence." (He slowly turns the red-backed card face to the audience, showing it to be the one chosen !) " The sympathy of your card has, however, exercised its influence over its twin in the blue-backed deck." The

TWINS OF TRIGON — continued from bage 75

operator turns the blue card round showing that it also is a King of Hearts ! Needless to say that in the case of the second and third selected cards the operator shows that he has removed these from his pocket with their appropriate " twins." The reader may think that the repetition of discovery may not be climatic. The presentation should, however, go to show the ever-increasing odds against the magician.

The requirements are few . . . one blue-backed deck of cards, one red-backed deck of cards, three glasses, and (say) five red-backed Kings of Hearts, Fours of Clubs and Tens of Diamonds.

Preparation.—Remove fifteen cards from the red-backed deck and then from both the red and blue-backed decks remove the Kings of Hearts, Fours of Clubs and Tens of Diamonds. From the top of the red deck count five cards and then insert five duplicate Kings of Hearts . . . five more cards and then five Fours of Clubs . . . five more cards and then five Tens of Diamonds. To help the cautious a light pencil dot on the opposite corners of the first and last cards in the sets of duplicates may be helpful. The three red-backed and three blue-backed cards that were originally removed are set up like this. The blue-backed King of Hearts is placed face down. On top is placed the red-backed Four of Clubs, and on top of this the blue-backed Ten of Diamonds. This set of cards is placed in the operator's right hand pocket, the King being nearest the body. The remaining three cards are arranged in a similar order and placed in the left hand pocket. The reader may well say " Why not put all of the red-backed in one pocket and all the blue-backed in the other ? " The reason is merely that of attention to detail and what is noticed by ten per cent, of the onlookers. It looks better that way. If the operator has not used it in a preceding effect, the remainder of the blue-backed deck is placed in a vertical position in the right hand pocket, the red-backed deck being placed at hand. With the three glasses in a line on the table the operator is ready for the . . .

Presentation.—As he mentions that he wishes to show the audience an " outlaw " of coincidence, the operator picks up the red-backed deck of cards, casually showing the front twenty cards of the deck while talking. Approaching a spectator and fanning the cards face down the operator asks him to touch and withdraw a card. A second and third spectator is likewise approached ; in fact the three cards should be selected on the run . . . the five cards between each force card should give the right timing. (The expert who can force on the run will not need the duplicates . . . such experts are so rare that I can only call to mind one in this country.) If the reader who doubts his ability to get home with three sets of five cards, his alternative is to step up the number of ' force ' cards, for this effect does not allow for a mistake. It is not the type of effect where, if you miss on a ' force ' you come back and have another go. The cards having been drawn, the operator turns away while the cards are sighted and remembered. Approaching the drawers, he asks them to replace their cards in the deck, finally leaving the deck in the hands of the third spectator. The blue-backed deck is taken from the pocket, attention called to it, and it is then given to the holder of the red-backed deck with the request that he shuffles both decks together. This being done the operator takes the double deck and cutting it places the halves in the right and left pockets respectively. The two packets should go behind the three cards in each pocket (the three force cards should be nearest the body !). The first selector is now asked to name a small number. When given, the operator starts removing cards one at a time from the tops of each deck and throws them on to the table. When he reaches the number named by the spectator he removes from each pocket the first of the force cards. The coincidence of one being red and the other blue is commented upon, and the two cards are placed backs towards the audience against the first glass. This procedure is twice repeated, the second and third groups of force cards being withdrawn and placed against their respective glasses. The effect from the operator's point of view is finished. The finish from the spectator's point of view has already been outlined in the description of the effect.

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This is an apparent impromptu that has to be performed at the right time and place. In effect the operator wraps a half-crown (or foreign equivalent) in a piece of foil (tobacco or cigarette wrapping) and after asking a spectator to make sure that the coin is there by sense of touch rests it on the palm of their right hand. Slowly the hand is closed and when opened the parcel is seen to have diminished in size. It is then handed to a spectator who on opening it finds that the half-crown has changed into a sixpenny piece.

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The requirements are few ... a folding half-crown (George Mackenzie, of Glasgow, makes a lovely job of these), two similar pieces of lead foil, and a sixpence. All the preparation necessary is to place a sixpence on one piece of foil and wrap the latter round it until you have a little bundle which in length is equal to the diameter of a half-crown and in width to the diameter of the sixpence. This bundle is placed in the left hand trousers pocket.

The Torn and Restored Paper Trick in all its various guises has never appealed to me very much. Why, I cannot say. Perhaps it is that I cannot get the same out of it as other performers. Anyhow, the following routine was my substitute and I can assure you that it has audience appeal and the power to raise that enthusiasm to applause which we magicians are always striving to obtain.

Briefly the effect is that the performer, taking a large magazine, such as the Illustrated, " rips" the cover from its foundations and rolls the cover into a ball which is finally wrapped in a sheet of tissue paper. The latter is placed in full view of the audience on a small metal tray and the ' naked ' magazine is then rolled into a tube-like parcel with a sheet of newspaper. A lighted cigarette is then touched to the ' ball ' on the tray. A flash of flame is seen and the tray is left completely empty : a fact which the magician emphasises by turning the tray and showing both sides. The newspaper is then unrolled and the magazine cover is shown to be back on the magazine in its rightful place.

The method is simple and the small amount of preparation necessary worth while. Procure two magazines of the same issue, preferably with a brightly-coloured cover. The weeklv Illustrated will be found an ideal ' model' and size. Carefully remove the cover from one of the copies by prising up the staples. Open up the other magazine at the centre and lay flat on a table and prise up its staples at right angles, removing one complete sheet (i.e., two pages which are united as one). Place the duplicate cover face up (i.e., front side) over the pins and replace the latter in their former positions by carefully bending back. Close the magazine and press flat. You now have a complete magazine with duplicate cover at centre (as if you didn't know !).

You now require a sheet of tissue paper and a sheet of flash paper the same size. Taking the sheet of the flash paper, roll it into a hollow ball or parcel, the size of which you determine as follows : Take the page which you removed from the centre of magazine—which is, of course, the same size as the magazine cover—and roll it into a small ball or parcel. This will give you an idea of the size you have to make your ' flash ' parcel. Having rolled the latter to your satisfaction, gum the ends to prevent unrolling and place a spot of seccotine on one of its ' sides.' This parcel is now stuck to a small metal tray about nine inches in diameter. You can obtain one of these at the Sixpenny Stores, and it is simply a round, shallow, baking tin (for tarts, etc.). Care must be taken not to crush the hollow flash parcel on the tray which is now inverted, that is with the parcel downwards, on an open opera hat. The parcel is now, of course, invisible to the audience, who see a tray resting on the hat upside down.

Have a sheet of newspaper and a lighted cigarette handy and you are all ready. To perform pick up the magazine and riffle a few pages, being careful not to disclose the cover. Get fingers into centre of magazine and finally let the magazine hang down open by gripping at the top of the long side with right hand. Front and rear page of cover is now exposed to audience and the duplicate cover is at rear. With the left fingers and thumb at top of the front cover, tear off the whole page with a downward move. Lay it on a chair, pick up the sheet of newspaper with left hand and lay the ' naked' magazine with the duplicate cover against the newspaper, and, using the lower part of the body as a support, roll the two together into a tube and tuck in the ends. The duplicate cover is thus rolled to the front in full view of the audience but unseen owing to the newspaper. (I do not know the originator of this move but have been acquainted with it for the past seven years.) Take the cover and roll it into a ball as near to the flash parcel as possible in appearance, and wrap it in the tissue paper, keeping the shape and size to resemble the flash parcel as near as possible. Take it in the right hand and turning right to the table, raise the back of the tin tray with the left hand by gripping it at the edge farthest from audience and immediately bring the right hand with the tissue parcel behind it and drop it in the hat. Without pause turn the trav up, the right hand " following through" smoothly to touch the flash ball as the tray becomes horizontal. It appears to the audience as if you raised the tray and laid the tissue on it at the same moment. Either lay the tray on the hat again in in upright position or carry forward to the front of the platform. After the " usual business " chatter, produce the lighted cigarette magically or otherwise, and touch the parcel, giving the audience plenty of time to appreciate the emptiness of the tray after the flash has come and gone.

Lay down the tray and pick up newspaper tube. Loosen ends and unroll a little. Get fingers into folds and grip the cover at top with the left hand standing right side to the audience. Strip off the newspaper with one sweep with right hand in a downward movement. The cover comes to view with fine effect. Close magazine, show it each side, and take your bow.

Postcript.—A slot here and there, made with scissors, in the hollow flash parcel considerably speeds up the " flash " when it is touched with the cigarette.

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Editor's Foreword.— This is a good application of chemical magic which is not restricted to playing cards. As alternative suggestions, one of the three colours could be chosen, and a word, number or picture could appear— this ZL-ould open up possibilities for its inclusion in programmes for younger audiences.

Operator picks up a tray on which rest three coloured counters—one brown, one blue and one yellow. The tray is taken amongst the audience and three of its members invited to choose one counter each, the tray then being replaced on the table. A pack of cards is now introduced and shuffled, the spectators holding the coloured counters each drawing a card. (To make this easier to follow we will call the spectators A, B, and C, and that A has chosen the brown counter and the Three of Hearts, B the blue counter and the Four of Spades, and C yellow and the Jack of Clubs.) A few blank visiting cards are now introduced, one given to each assistant to be signed; they are then taken back on the tray.

A is now asked what colour and what card he chose. He replies as above (i.e., brown and the Three of Hearts) and the white card bearing his signature is handed to him and there, on the opposite side is the name of the card written in brown ink. This is repeated with the other assistants, except that the colours and cards are, of course, different.

How it's done.—The coloured counters are quite unprepared and the assistants have a free choice. Operator forces the Three of hearts on the assistant who chooses brown; the Four of Spades on the chooser of the blue ; and the Jack of Clubs on the one who chooses yellow. The white cards are prepared as follows : On one is written the " Three of Hearts " with solution Ammonium Thiocyaniate, on the next, the Four of Spades, with

CRUMPLE COIN — continued from page 76

For the best presentation the other piece of foil should be performing its proper function and encase an ounce of tobacco. The folding coin with some coppers is in the right hand trousers pocket. With the effect timed to co-ordinate with the removal of the tobacco packet here is the . . .

Presentation.—Operator reaches into his pocket and takes packet of tobacco, removing tobacco (or cigarettes which are alternatively placed in case), undoes the foil and leaves it on table whilst tobacco is placed in pouch. Handful of change is then removed from pocket, operator mentioning that he will show an interesting experiment with alloy. The half-crown is separated and placed on the table whilst the copper coins remaining are replaced in the pocket. With his hands obviously empty, the half-crown is placed on the foil and the latter is folded around it, making a square (but not too

Me (ifiemicalx I"

Potassium Ferrocyanate, and on the last is written " Jack of Clubs " with Lead Nitrate—this writing, needless to say, is invisible when dry. These are offered for signature on the unprepared side and laid down on a special tray, which is constructed as follows :—

Whilst it is made to look the same on either side, one side of the tray is specially prepared. At the commencement of the effect the coloured counters are offered on the unprepared side of the tray and during the process of the trick it is turned over to bring number two side into plav. The covering on both sides is a thin black cloth, but under this cloth on the prepared side three pads of cotton wool are let into the tray. The first is soaked in Ferric Chloride, the second in Ferric Chloride, and the third in potassium Iodide. (This can, of course, be applied without removing the covering cloth.)

The rest is simple. When the cards have been signed, number one card is placed on number one pad, and the same process is followed with the other two cards—number two on pad two, and number three on pad three.

As each assistant declares the colour and card he chose the appropriate card is pressed against the pad as it is drawn off the tray, and the re-agents immediately bring out the writing.

Editor's Note.—We would suggest that the cards have the writing on both sides and that at the commencement of the effect the appropriate card lies under each counter, the spectator being asked to choose counter and card. The cards are then initialled and taken back, and the playing cards introduced.

tight) packet. The packet is rapped against the table and a spectator asked to feel that the coin is there. The packet is rested on the palm of the right hand whilst the left goes in a natural manner to the left pocket to obtain possession of the packet containing the sixpence. Slowly the right hand closes, the coin being folded at the same time. (It is best to know the run of the folds in relation to the outside of the packet.) As the right hand slowly opens the left hand removes the duplicate packet from pocket. The opening of the hand shows that the packet has diminished in size. Turning half left the operator apparently passes the packet to his left hand. Actually he performs a switch which is more often used with billets, namely the right hand packet is retained and that in the left hand pushed forward and shown. This is then handed to a spectator on the left who is asked to open it.

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Editor's Foreword.—Possibly once or twice a year nv shall re-publish (with full permission of author and:or publisher) an effect which for some reason or another never seems to hare reaped the rezcard which its undoubted merit deserves. We had intended to start with the late Louis Nikola's " Impudent Imposition," hut that G.O.M. of Magic, Jean Hugard, beat us to it in ii recent copy of his Monthly. Thr effect to be described may, hozcever, be more attractive as it gets away from playing cards. We have only seen the effect performed twice, once by the originator and secondly by Major Brian McCarthy. In their hands it teas a beautiful illusion and left nothing to be desired. The author has indirectly referred to the need for thy right type of handkerchief, and tee should like to underline the fact that the use of the wrong kind can kill the effect. And so with many thanks to Edward Broun and Percy

Xaldrett here is the" Penetrating Tumbler."

Performers who are on the look-out for effects with the minimum of apparatus, and who do not mind spending a little time in acquiring the necessary digital dexterity, wilt, I am sure, appreciate the following.

The writer gratefully acknowledges that the idea of performing the " Glass through the Hat " hy means of sleight-of-hand, was derived from Mr. Eric Wilson's Tested Magic. The effect differs from Mr. Wilson's inasmuch as a borrowed handkerchief is used to identify the tumbler, and only one tumbler is seen by the audience throughout. The method, except for the sinking effect, differs entirety.

The effect, briefly, is as follows :—A borrowed handkerchief is placed into a small tumbler which is then covered with a silk handkerchief. Whilst the tumbler is held in the hand, an empty hat is placed crown downwards on top of it, and the glass apparently passes through the hat and handkerchief into the interior of the hat, from which it is then taken and the borrowed handkerchief returned.

There are no fakes whatever, the effect depending entirety on sleight-of-hand, and also it is necessary to admit a duplicate tumbler. That is the only thing required other than those seen by the audience, i.e., a tumbler, a coloured silk handkerchief, and an opera or bowler hat.

The duplicate tumbler is laid on a chair or table,

on its side, mouth away from the audience and is covered with the silk handkerchief in such a way that in picking up the handkerchief with a corner in each hand the glass is picked up as welt and hidden behind the left hand corner, by inserting the left thumb into the mouth of the glass and gripping the handkerchief and glass together. One corner of the silk, therefore, must lay over the tumbler, and the comer to be picked up by the right hand must also be easily accessible ; the remaining portion is carelessly bunched up to hide the presence of the glass.

The effect is commenced by showing the tumbler and persuading a lady to place her handkerchief inside it. The glass is now held in the right hand and the silk picked up and shown. In picking up the silk it is necessary to hold the visible tumbler between the first and second fingers of the right hand so that the corner of the silk can be grasped by the first finger and thumb. The left hand brings up the duplicate tumbler behind the left corner of the silk. The silk is now shown by holding it in front of the body.

The next move is to release the hold by the right finger and thumb and moving the right hand up to the left, the right thumb is inserted into the duplicate tumbler. The left hand now pulls the silk upwards and the right slides the two tumblers downwards, one on cither side of the handkerchief until the centre is reached. This position is shown in the first photograph.

The left hand then releases the handkerchief and takes the visible tumbler and places it under the silk. As soon as it is out of sight, however, the mouth of the tumbler is turned towards the body. The glass should now be held by the second, third and fourth fingers pressing it against the palm; this leaves the first finger and thumb in a position to grasp the bottom of the duplicate glass. The two glasses are thus held at right angles one to the other— the empty one is upright and the original one mouth towards the conjurer. The silk is now arranged over the tumbler, care being taken that the mouth of the original one is allowed to protrude. Care is also necessary in order to prevent the silk accidentally falling to the floor owing to its slippery texture. The position is shown in the second photograph.

All this sounds very complicated but it blends into one movement as the handkerchief covers the tumbler, and, what is more, apart from the present experiment, the reader will find it a very useful switch for a tumbler.

The hat is now picked up, thumb on the inside and fingers in the curl of the brim. In showing the hat it is held fairly close to the left hand. The inside is shown first, and in turning half left to show the outside the thumb is inserted into the mouth of the protruding tumbler, which is gripped between the thumb and the brim and so loaded into the hat.

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

This month we leave the Heights of Berkeley and descend on the City of Birmingham.

In a recent advertisement a claim was made for a preceding "Abracadabra " Special, that it was akin to a " Jinx " Special. Such a claim is imprudent to say the least. Let it rather be said that the "Abracadabra " Special issues are to " Abracadabra" what the " Jinx " Special issues were to the " Jinx," for whilst the former paper is completely national in outlook, the " Jinx " was international. This issue carries some fifty-two pages (some, of course, carrying advertising matter), is clearly printed and illustrated in the typical Dennis manner.

The issue under review opens with a four page Editorial which, among other things, deals with conjurers' domesticity, the twentieth-century silks, " Wu Ling" cabinet, Massey's " Ribbon Fantastique," Wilfred Tyler and Eric Lewis's forthcoming book on Children's Magic, Abbott's " Phantom Clock," the letter " I " and Goodliffe. This is succeeded by the following contributions :—

L. A. Belcher "The Three Sisters." A

children's effect using dummy rabbits a la three card trick. Our own opinion (from reading and not performing the effect) is that the climax kills the original part of the effect.

Peter Warlock's " Ribbonflash." An austerity version of his effect which appeared in the " Jinx " under the title of the " Jest of Gratoulet." If you saw Francis Watts (when he was with the Maskelyne-Harbin show) using the original, you will possibly like the present version.

Louis S. Histed " The Trials of a Magical

Inventor." An exceedingly interesting article by one of our most fertile inventors. It is, unfortunately all too short. As (one might almost say unnecessary) make-weight Mr. Histed gives an excellent suggestion in table construction, and concludes with an unsolved but very intriguing problem.

P. A. McDonald "¿1,000,000 Trunk Mystery." Mr. McDonald in his prefatory remarks says : " This is just an honest attempt to re-capture, in a form suitable for drawing room work, the undoubted thrill of the stage illusion where the magician changes place with an assistant who has been securely locked and double-locked in a

THE WIZARD

A modern monthly magic magazine. 20 pages of first-class magic. News and views on magical events. Per copy 11 post paid. Annual subscription 12 V>.

THE MAGIC WAND

A quartely book of magic. 48 pages of magic by world-famous contributors. Profusely illustrated. Per copv 3 8 post paid. Annual suoscription 14 u.'

GEORGE ARMSTRONG, THE MAGIC WAND PUBLISHING CO., 11 MONASTERY GARDENS :: ENFIELD :: MIDDLESEX

stars)—Outstanding. **** (Four stars)—Very Good. (Tito stars)—No Reason for Publication.

trunk." We can only say that Mr. McDonald seems to have taken a lot of trouble to get this attempted thrill.

Len J. Sewell " Crossed in Transit." From the fertile brain of that well-known Colonist here is an effect with giant cards. The basic idea is excellent because of its simplicity. Someone seems to have ' slipped ' on page 25 line 10.

Goodliffe "Chord On." This short article from Goodliffe and others contains some advice regarding stage technique.

John Kenyon "The Flying Princess."

There is a nice touch about this routine. It is designed for younger children and has the true fairy touch. As most of the necessary apparatus is to be found in the conjurers' stock cupboard we can imagine this going into a number of programmes.

Eric C. Lewis "Animation." This routine brings back very poignant memories of the late Ken Lancaster, for it was at an I.B.M. lunch during the war that we saw him perform the main part of the effect; it was, we believe, marked by Abbott's with a slightly different gimmick. Mr. Lewis has built up a very nice routine which we think has greater possibilities as a children's effect.

L. A. Belcher "Compere's Birthday."

Mr. Belcher is most ingenious, and whilst the presentation does not appeal to us, the mechanics and effect are excellent. Briefly it is a cake-making scena.

George Sylvestre "The Sacred Cups." A

routine using stock apparatus, but having a good descriptive story.

George Sylvestre "A Useful Ashtray." A piece of apparatus for switching a cigarette or similar object. This is one of the'" plums " of the book, for the reader who cares to make this up, has a fine utility " prop."

Jimmy Flozvers "The Wishing Well." Another children's routine making use of stock apparatus, this time the " Say When " glass. Besides all this material there is a storyette—" His act was Murder "—by Archie Elray and Dorothy, and innumerable drawings of our pet aversion " Marvo."

We are not grading this publication because of lack of balance in quality. Varying as it does from three to four star, it carries our unreserved recommendation.

PETER WARLOCK'S

Published on the 15th of each month

1/1 single copy, post free 11/- per year, post free from . . .

" GREENBANKS," BRAMCOTE, NOTTS.

The I.B.M. Convention at Buxton is past. It was here that we received John Gambling's gift of what must be the first locking flap slate. It was designed by and made for him about the year 1887 and is a beautiful piece of work. Its mechanism is perfect and, what is more, it looks like a real school slate. We cannot thank you enough, John, for singling us out like this.

Once more the orchestra played havoc with the big show. At first we thought that the Hereford Horrors had been trying to improve their standard, but a glance at the programme proved us to be wrong. Perhaps we are being hard on the players, who might put up a fair performance playing tea-time music. The accompaniment to a number of conjuring acts needs not only an orchestra used to theatre work but an experienced conductor.

Regarding the ten best tricks, we had nearly seventy replies. As we expected, half a dozen classics were in almost every list, the remaining four effects varying. Despite what we said in the first place, many writers specified an effect performed by a certain conjurer. This is the list according to the writers :— Cups and Balls The Linking Rings The Aerial Treasury The Egg Bag The Four Ace Trick The Diminishing Cards The Floating Ball Sympathetic Silks Lesson in Magic The Thumb Tie.

It is a list that is very thought-provoking, as

«« PENETRATING TUMBLER " — continued from page jy

The hat is now placed on the covered glass, crown down. The tumbler should now be held at the bottom which rests on the two middle fingers ; the first and little fingers now grip the sides and the tzuo middle fingers curl in tozcards the palm (as in back-palming a penny) leaving the way clear for the tumbler to sink. The left thumb should be outside the handkerchief, the edge of which should be held in the crotch of the thumb.

The first and little fingers now loosen their grip on the tumbler and it is allowed to gradually sink down until the hat touches the two middle fingers. The steadying touch of the right hand will probably be found necessary during this movement ; as soon as it is complete, the right hand removes the hat, letting the audience see the tumbler in the interior. At the same time the left hand is lowered and the two middle fingers straightened ; it will now be found that the glass can be held by its edge between the first and second fingers and the handkerchief, still held in the crotch of the thumb, hangs naturally in front of it.

The right hand brings the hat up to the left, the thumb of which grips the brim, and the right among the ten effects, only two belong to this century. The inclusion of Devant's " Lesson in Magic " prompts us to include a worth-while tip to English conjurers. Many, no doubt, would work, cut and/or burnt handkerchief effects were it not for the coupon difficulty. Excellent linen for such effects can be obtained by getting some draughtsman's linen, soaking it in warm water and then allowing it to dry.

The other day we received from Henri de Seevah his latest lists. Quite frankly we were amazed at the (literally) thousands of bargains in tricks, fakes and books that he has to offer. The pre-war fake you have been trying to get . . . the American manuscript . . . that out of print book ; they are all there.

" Twins of Trigon " has, of course, as its root, the idea that Annemann mooted in the " Red and Blue Back Mix-up "'in the " Book Without a Name." We have found that the selection of cards plus the concurrent withdrawal of the cards more telling.

Just as we go to press (very early because of the printer's holidays) we have received Bill Stick-land's and Eric Wilson's " Join the Party." Whilst we cannot review it within the confines of this column we can mention that it is (so far as we know) a pioneer effort insofar that the whole of the book is in conversation form.

Among the newcomers to the world of Magical Dealers in Ronald Crabtree. He is not only manufacturing quality apparatus, but putting out routines as well. Reports regarding his " Floating Electric Light Bulb " are good and as regular readers know we mentioned that we had successfully tried out his " Sixth Sense " routine. His catalogue carries many, many, items.

hand removes the glass. The glass is placed on the chair whilst the hat is again taken in the right hand and shown undamaged. The hat is held by the second, third and fourth fingers in the curl of the brim, leaving the index finger and thumb free. The hat having been shown, the right hand is brought over to the left, the first finger and thumb seize the silk, which is released by the left thumb, and at the same time the tumbler is loaded into the hat and the hat taken by the left hand.

The hat is placed on a chair, the handkerchief shown and dropped into the hat, and all that remains to be done is to return the borrowed handkerchief to its rightful owner.

It will be seen that the experiment resolves itself into four sections :—

(3) The sinking movement.

(4) The disposal of the duplicate.

With these four things in mind, try it over carefully and you will find it much easier to perform than it has been for me to explain it.

There are still a few copies of No. I "PENTAGRAM" AVAILABLE price I /1 post free

For those who were unfortunate enough to miss No. I have the good news that copies of this are now- being re-printed

PETER WARLOCK " GREENBANKS," BRAMCOTE, NOTTS.

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When Douglas Craggs saw itr he said : — " It's the best collection of wheezes and tricky ideas I have ever seen — worth many times its price to any professional performer.''

Price 2/6 Postage 3d.

ARCAS LIMITED