Sm

Effect.—Two whiskey glasses are shown to be empty, and in one is placed a twelve or eighteen inch silk. This glass is then covered with an opaque handkerchief which is kept in place over the mouth of the glass with the aid of an elastic band, making a tight drumhead. The remaining glass is then turned down and on its base is placed the covered glass, both glasses then being stood on a china plate. On the word of command the silk in the top glass penetrates the bases of both glasses and arrives in the bottom glass !

That is the broad effect which is accomplished by the most simple means, plus a couple of subtleties.

Requirements.—Two whiskey glasses (this size or type of glass is not essential but makes for extremely clean working) of similar size, one bright coloured twelve or eighteen inch silk square, an eighteen inch opaque handkerchief (nylon would answer the purpose well, but I have been using cambric), a china plate, an elastic band and a metal or plastic lid which will comfortably fit the top of either glass. (A search through the larder or a visit to one's grocer will soon see this article forthcoming).

Preparation.—In the metal or plastic lid are punched two diametrically opposite sets of small holes. Through these holes the lid is stitched to the centre of the opaque handkerchief. The inside part of the lid is now lined with material similar to the handkerchief to which it is attached. This is partly to prevent talking. Prior to presentation the two glasses should be on the operator's table together with the coloured silk, rubber band and opaque handkerchief. The latter should be so arranged that it can be picked up without there being the slightest suspicion that the lid is attached to it. The china plate is placed on a chair or another table on the operator's right.

Presentation.—Operator picks up the two glasses and shews them to be . . . just two glasses. The coloured silk is then placed inside one, care being taken that the silk comes just above the rim of the glass (the reason for this will be explained later). The opaque handkerchief is now picked up and placed over the mouth of this glass (the lid actually going over the top of the glass) with the result that a small amount of the coloured silk should overlap the side. Holding the opaque handkerchief tight against the sides of the glass with the left hand, the right picks up the elastic band and places it over the handkerchief and apparently secures the latter to the glass. Actually it encircles the opaque handkerchief and encircles the lid ! The glass is still retained in the left hand whilst the right hand turns the remaining glass mouth down, the left hand then lowering the covered glass so that its base rests on top of the upturned glass (illustration A shows the position at this stage). Remarking that complete isolation is necessary for the success of the effect, the operator places his left hand on top of the opaque handkerchief, whilst the right hand goes underneath to hold the glasses. In this position he apparently places both glasses in the same relative positions on the plate, which, as you may remember, was on his right. Actually in the course of moving across to the plate, the right hand, gripping both glasses where they meet reverses their position so that the empty glass becomes the top glass and vice-versa.

There is no need to rush this move, as it is more than covered by the handkerchief. The empty glass, of course, comes to rest inside lid. There is no chance of the silk falling from the glass in the move as a simple trial will tell. The operator has now finished the effect, but there is one point which tells heavily with an audience. The operator now announces what he proposes to do. The elastic band is then removed from the handkerchief, which is turn is lifted to show the top glass empty. The latter is picked up with the left hand as the right hand places the opaque handkerchief down ; the right hand comes up and flicks the glass with the second finger causing it to ring. The audience can see that the silk is in the bottom glass, but the operator holds the applause. Remember that the silk slightly overlapped the rim of the glass. The result of this is that a portion of the silk should be protruding outside the glass and lying almost flat on that part of the plate's surface that is adjacent. The empty glass is placed down and the right hand picks up the plate so that the thumb comes down and grips the projecting piece of silk. The left hand now removes the glass in a forward and upward motion. The result being that the silk is left on the plate. The effect to the audience is that the operator has lifted a glass and the handkerchief has fallen out of it. It is a small point, but, as I said before, it not only tells, but it gives the mag'rian a curtain to the effect.

Siaitit ffiuwA

Many years ago I published a description of this flourish in The Magician Monthly under the title " Original Colour Change," but as the illustrations which then accompanied the text did more to mislead than to aid comprehension, and as the younger generation of conjurers may never have heard of, or seen, this particular method of performing a colour-change, it may come as a novelty to the majority of readers of the Pentagram.

In most of the colour-changes the action of stealing a card from the back of the pack has a certain degree of unnaturalness, no matter how well it is handled. In this method, the withdrawal of the rear card is covered by a perfectly natural and logical action.

Coiowt Change

Instead of the usual plan of rubbing the palm of the hand over the face card of the pack to make the change, the Joker (or any other card) is used as the covering medium. Hold the pack in the left hand face up exactly as if about to make the Charlier Pass, but have the little finger at the side instead of at the bottom edge. Overlap the top end of the pack with the face-down Joker as shown in Fig. i. Two movements have now to be made, one with left fore-finger and the other with right thumb and fingers; actually they blend into one continuous action. With index finger of left hand push the Joker down flush with rest of pack and straightway carry it away with right thumb and fingers. No change of the bottom card is seen but unknown to the onlookers the rear card of the pack is drawn away behind the Joker as shown in Fig. 2, which gives a side view of the important part of the sleight. Actually it amounts to no more than the regular colour-change steal operated under the cover of a face-down card.

Now comes the part that is really troublesome to describe. As all eyes, including the conjurer's, follow the elevated pack, the two cards in right hand are pressed hard into thumb crotch and the first and little fingers grip the sides as if about to back-palm. This grip, which keeps the cards in perfect register, is maintained as the right hand comes up and returns the supposed single Joker again to the position shown in Fig. 1. The colour-change can now be made by pushing down the two cards (presumed to be one only) with left index finger and withdrawing the faced Joker together with the rear card of pack in preparation for the next change.

The dropping of the right arm for the hand to square the two cards and the simultaneous raising of the left hand, are the essentials of the sleight which I suggest should be performed a few times with smooth, even action. Finally, the Joker is turned to show that it has not been changed.

3te#* Qayton't

Climax

As the title suggests, this is a prediction effect with a definite climax (apart from the truth of the prophecy). I suppose I must add the inevitable rider that I hardly dare claim this for my own, but I have never seen it in print, and did think it out whilst playing about with something else. It is easy to follow and simple in operation.

What the spectator sees:—The operator takes a pack of cards, shuffles them, and then writes something on a piece of paper. The latter is folded

SWedicticn and placed on the table, being immediately covered with a card taken from the top of the pack. Next the spectator is asked to select a card. He is told to remember it and return it to the pack. Pointing out that he wrote something on the paper before the card was selected, the operator asks his helper to push the card covering it to one side, and read that which was written, thus verifying the truth of the prediction. Saying that he will carry the effect gietvt cWwdadi'&

SjM16jH in

Oxford Dictionary.—Psychometry : Faculty of divining from physical contact or proximity the qualities of an object or of persons, etc., that have been in contact with it.

On page 36 of the Jinx Annemann described " Pseudo-Psychometry. As described it must have been worked by many mentalists. In working with a very small group I have considerably altered the working. The main reason for this alteration was that with say only half a dozen spectators, it could be construed that the articles placed in the envelopes might be apparent before commencing the effect and simply memorised. Only too often I have found spectators dropping rings or even a wrist watch into an envelope. Here then is the . . .

Effect.—The operator talks of psychometry . . . of how even the mental make-up of an individual can be assessed by something they have handled. Whilst speaking, envelopes with small adhesive seals are distributed to members of the audience. The mental ist asks each holder of an envelope to take some small object that is in his or her possession and drop it into the envelope, the envelopes then being sealed by means of the adhesive wafers they have been given. Whilst this is being done the operator turns round, and, taking a handkerchief from his pocket, blindfolds himself, remarking that the exclusion of one sense tends to arouse that sen^e commonly called sixth sense. Asking if all the envelopes are dealt with he then prevails upon one of the company to collect them (I provide a small waste-paper basket for this purpose). This being done the operator asks that one envelope be handed to him. He half turns and takes the proffered envelope behind his back, then going on to say the ®wih how he gets (say) a male impression, etc.; finally he walks up to one of the members of his small audience asking him to verify the contents of the envelope. The recipient opens the envelope and confirms that the contents belong him. This procedure is continued with the other envelopes the mentalist, always being right. One point I must add, and that is an important one. It is not enough to say this article belongs to a male with blonde hair and pink eyes. The operator must assess his victims beforehand and give some character pointing, i.e., artistry, love of outdoor life, academic, etc. This method is not offered as an improvement but as alternative for certain conditions.

Method.—This simply boils down to identification of the envelopes. These are prepared in a simple way. Obtain eighteen good quality business envelopes, a few old razor blades, a pair of scissors, and some rubber cement or library paste. Now cut away the fronts of nine of the envelopes, trimming their edges and making them ready for insertion into the other envelopes (the conventional double envelope). The razor blades are now cut into approximate half-inch squares and one placed in each envelope at a position shown in the illustration. Rubber cement (or paste) is applied around the part of the envelope adjacent, more rubber cement being applied to the insert which is then pushed into place, the two flaps being sealed. The envelopes are allowed to dry under pressure. When dry, the operator will find that by lightly running his thumb and second finger across the envelope he can feel the position of the metal inside. (If his finger tips are so insensitive that he cannot, a small alnico magnet palmed will soon find it for him !) With the envelopes arranged in a set order and a handkerchief in his breast pocket and some paper seals on the table, the operator is ready for the . . .

Presentation.—The envelopes are handed out together with the seals. Instructions are then given regarding the placing of some small object such as a coin, button, etc., inside, the envelopes then to be sealed. The operator turns away. As he does so he removes the silk from his pocket and rolls the two diagonally opposite corners into the centre, so that when he places it over his eyes there is the merest fraction of an inch of single thickness silk over his eyes whilst the several thicknesses of silk come above and below. He thus has full vision directly in front. He now gives instructions for the collection of the envelopes, and at this point, if he cannot trust his sense of touch he obtains possession of the magnet from his pocket. The first envelope is now handed to him and he locates the piece of metal between the layers of envelope. He looks at its corresponding number in the audience, gives his analysis, walks unhesitatingly up to the spectator and hands him the envelope. This is repeated with the remaining envelopes.

The use of adhesive seals means that the prepared envelopes can be used over and over again.

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

***** 44 OUR MAGIC " by Nevil Maskelyne and David Devant. Second edition published by The Fleming Book Company, Berkeley Heights, New Jersey, U.S.A., price five dollars.

Mr. Fleming in his Preface to this edition remarks that it is difficult to understand why this work was allowed to remain out of print so long. The answer is very simple : The golden days have gone and a great number of present-day conjurers think only of entertaining the lowest level of intelligence that is to be found in a public audience. Such persons only see in magic a few tricks which with commonplace patter and presentation will enable them to make a temporary reputation. The consequence is that the demand for any work dealing with magic as an Art is naturally in small demand. In our own simple way we think that Magic is not only an Art, but a fine Art, and, therefore, a second edition of this work with attendant publicity is more than timely.

The book is in three parts.

Part One deals with the Art in Magic. It is a section that can provoke much debate, and we think that the Author would have welcomed more stringent and analytical criticism of this part of the book. Here the dictum laid down by Robert Houdin that " A conjurer is an actor playing the part of a magician " is altered to " A great conjurer is an actor," etc. With this statement we disagree, if Magic is to stand as an Art by itself. This definition simply makes magic a phase of the Actor's Art. Is it said, regarding music, that Toscanini is an actor playing the part of a conductor ? It certainly is not. We simply say the Toscanini is a great musician. Thus if the author wants to be consistent, a Magician is a magician. The difference between the magician and one who simply demonstrates some puzzles is a matter of mind, just as much as the instrumentalist who, having great digital dexterity can find no composition too difficult to play, but, having the mind of a pig fails to be a musician ; such difference, please note, is unnoticed by the public (who will loudly applaud) but only by the cognoscenti. Chapter six deals with " Surprise and Repetition," and here again there is not only food for thought but again for debate, for surely an effect which achieves its result purely by surprise allows no repetition before the same group. Part One covers in all some 104 pages and bears reading and re-reading.

Part Two deals with the Theory of Magic. Being believers in simplicity, the opening paragraph strikes a concurrent note, for it says : " The study of magic is too often conducted upon lines that demand

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a maximum of energy in obtaining a minimum of resultant benefit." (A great complementary work that should be read in conjunction with this section is Fitzkee's " Trick Brain.") There are ten chapters relating to the following: Terminology, General Analysis, Misdirection, Styles of Magic, Manipulative principles, Principles of Mental Magic, Mechanical Principles, Optical Principles, Accoustical Principles, Electrical Principles, Chemical Principles and Magical Inventions.

Part Three deals with the Practice of Magic and contains twelve effects from the programme of the Master, David Devant. The effects are:—

The Triangle, The Production of Billiard Balls, Simple Addition (a slate and rising card effect), The Forgotten Guest (an interlude with a borrowed watch), A Lesson in Magic (this is without doubt the finest routine based on the " Sun and Moon " effect), The Homing Bells (older readers may remember Oswald Williams brilliant presentation of this effect), The National Colours (an effect with flags), The Three Vases (a general post effect utilising liquids and a flag), The Silver Ball (a trick with a silver ball, a rabbit and two hats), The Educated Fish (a version of the rising cards), The Point of View (a transposition effect using doves and rats), The Phoenix (a trick using a target and a canary). All these effects are explained in the fullest of detail and the original patter is given. Had the Master been alive we think other effects would have taken the place of " Educated Fish," " The Point of View," (this was unsatisfactory owing to the fact that movement of the livestock in such a light container caused movement) and the " Phoenix." They are not in the true Devant tradition. To our way of thinking out of all these the " Lesson in Magic " stands head and shoulders above the other effects, and is a lasting memorial to the greatest magician of all time.

WThilst forming part of the original edition, we feel that the " Bibliography of Card Tricks" (wrongfully headed as " The Triangle ") now very much dated might have been omitted.

The book is well printed and bound in the standard Fleming manner. The original photographs have been replaced by a number of line drawings (in these certain small details seem to have escaped the notice of the artist, Jeanne McLavy) which are adequate. There are 318 pages against 487 of the original. To those unacquainted with the original this edition is more than recommended, and the thanks of all serious students of Magic should be more than grateful for its publication in modern form.

PETER WARLOCK'S

PENT^GR^M

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

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3Jhz Mugic-Qa-Jlaund

On behalf of our readers we extend the deepest sympathy to Fred. Walker (Hon. Secretary B.M.S.) and W. H. Williams (Hon. Librarian of the Magic Circle) on the occasion of the loss of their life partners.

When we published Robert Harbin's " Symsilk," we didn't think it would be long before the root idea of this effect became a dealer's item. Our thoughts were justified and we see that Thayer's announce a preview of the " Hopping Handkerchief." The handkerchief, instead of changing colour, keeps appearing and disappearing.

Is this coincidence ? It was in 1939 that we last saw Maurice Fogel. Twice during the war we .missed seeing his show. On the 25th June we wrote and posted a letter at 9 a.m. . . . at 10 a.m., one hour later, a long-distance call came through from London asking for us ... it was Maurice Fogel! ! Fogel's place in magic is unique, for his is to the best of our knowledge the first real one-man mental act to play in Variety in this country. Incidentally, we think that there are very few acts at number one Music Halls that would give an individual act twenty-three minutes. Members of the Cotswold may remember that some eighteen months ago, when we lectured on Mentalism, Psychic Research and the Magician, we gave great prominence to Fogel and his bottle prediction (the effect, but not the method, that can be attributed to the fertile mind of Charles Waller). This effect, because of the broken glass resulting, has had to be cut from variety shows.

Some while back we wrote anent the use of music (by way of an electric amplifier). Those readers who might be interested will find two reasonably priced amplifers now on sale. One is the Collaro " Microgram," which sells at £20, the other is called the " Porto-gram," and sells at approximately £25. Both amplifiers are reasonably " portable."

Any readers essaying a recently published pinchbeck version of " Electrovan," in which a self-lighting bulb is attached to a piece of elastic, will find the accompaniment of either music or noise necessitous to drown the swish of the pull. This shoddy example of puzzledom only goes to show that it is better to purchase an effect that works.

The response to our request for the " Ten Best Tricks " has been interesting if not illuminating, and we shall publish the result (based on majority figures) next month.

We cannot let this issue pass without praising the " Thompson Parade " in the June Linking Ring. The ultra-wave deck is just one of the effects described which could have become a dealer's item. In the May issue of the same magazine (a jubilee issue of 180 pages) bouquest must be presented to Edward Heyl, who in " Seven Up ! " writes what is undoubtedly the last word in single-man telephone card transmission.

Some people are born ambassadors of magic, and it is a source of pleasure, when receiving foreign magazines, to" see mention of their names. John Charlesworth is one who springs to mind. Only the other day we received a copy of Illusionismo from Spain in which appeared a photograph of this magician with his wife Tina.

We have recently been working with Reg. Gayton on an angle in coincidental magic. It is rather out of the run of usual effects, and a drawing-room version will be published in the September issue. The stage version, which involves the use of a slate, will appear in our new slate book. Next month James Douglas submits a very clean effect with a magazine (not a mental or psychic effect) and in the same issue Harry Vernon gives an example of chemical magic, the chemical part being used as a means to an end, and not as is so apparent in many chemical tricks, as the end itself.

We were sorry to hear that our friend James Grayson has been on the sick list (incidentally we don't know a better celluloid worker in this country). Another invalid is Aimee Swaine (one of the few lady conjurers in this Country) who did some excellent work with Ensa during the war. We hope that by the time this is in print that both will be on the road to good-health. To those who have made enquiries, we shall be publishing as a separate item, a four-page sheet which will carry title page, index and errata to Volume I. of the " Pentagram."

George Jenness has just sent us a new list of books, both new and second-hand. The list is classified and has something of everything.

Our friend Francis White tells us that the Magic Circle is nearing its thousandth member mark. This made us look at our first volume of the Magic Circular. On page eight of the October number we found just over a hundred names. It was tragic to read the names of those who have gone . . . Devant, Nikola, Hoffman, J. N. and Nevil Maskelyne, Oswald Williams, Leipzig, Sachs, and Malini. What a chorus of talent that the present generation has missed!

Ronald Crabtree has sent us " Sixth Sense " for review. It is a very well designed psychic routine that will stand any mentalist in good stead. Using our own presentation we have tried it out under the conditions instanced by Mr. Crabtree and we found it left little to be desired. The routine comes complete with a small crystal ball, and everything you require for the sum of 10/6 from 12 Beech wood Avenue, Pontefract.

COPIES OF No. 1 " PENTAGRAM "

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The following two books are for sale :— Buckley's "Card Control," price £2 12s. 6d. "Sleight of Hand," by Sachs (second edition) £1 15s. 0d.

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