ftftt TttttVKtihb Magicians sending Five Annual IZVI llliyv^iyiv« Subscriptions to this office will

™ receive their own booked gratis and post free for one year.

We don't expect impossibilities or ask you to do too much : the above is an interesting and simple task and will pay you in more ways than one.

G£plcmatop9 Ppogpammes.

THURSTON, Card Manipulator.

Programme, Palace Theatre, February 9th, 1901.

HAVING shuffled Cards makes ordinary front 'change, made by passing the right hand over front card of the pack held in left hand (see '' New Card Tricks'' p. 7., by Ellis Stanyon).

Under cover of passing the pack from hand to hand several times, palms a number of cards, perhaps twenty, in the right hand ; these cards are now produced, one by one, from the air, the greater number from the front palm while the back of hand is towards audience, and while performer is passing from right to left of stage ; he now makes a complete turn to the left, presenting his back to audience. The palm of the right hand is next seen to be empty and three more cards are caught from the air. These three cards were transferred from the front to the back palm under cover of the body when making the turn above described.

The last card (in above) is left on the back of the right hand ; a half turn is now made to the right, performer standing with his back to the audience. The card is transferred to the front palm under cover of the body and both hands are held as high as possible in the air, backs to audience. Both hands are now brought together, the right hand, 011 which is the card, being passed behind the left hand. The reverse is made. The hands are separated showing palms ; these movements are repeated several times showing back and front of both hands alternately. Both hands are now lowered (card front palm) performer turns a little more to the right, placing his right side to audience. The hands are again brought together, the right hand being passed under the left hand, under cover of which the reverse is made ; the movement is repeated and back and front of both hands shown alternately (for the exact positions of the hands in above see fig. 18 "New Card Tricks " by Ellis Stanyon). A turn to the right is now made and the card is produced from the air.

The card is next palmed (ordinary) in the right hand while seeming to place it in the left hand ; the change over palm (see " New Card Tricks" p. 6) is now made which leaves the card in the left hand (it has apparently disappeared altogether) ; the card is next transferred from the front palm of the left hand to the back palm of the right hand (see " New Card Tricks " by Ellis Stanyon, p. 19, Fig. 19) to be finally found in the air.

With his left side to audience performer again vanishes the card (reverse palm). Here a page comes forward with several cards on a tray, one of which he hands to the performer who takes it in the right hand, on the back of which he has one card palmed, when it disappears, as do four others, all passing one by one to the back of right hand. This movement is explained at page 45 of this vol., column 1, par 5. The vanished cards are now produced, one by one at the tips of the fingers, in quick succession, being allowed to fall on the stage as they appear. (/'New Card Tricks," by Ellis Stanyon, p. 19, Figs. 18-20).

The performer now has both hands free. Stepping to table on (his) left of stage, he takes up with the left hand, presumably one card only passing same into right hand, he really takes up two cards, the one a duplicate of the other, and under cover of taking the one in the right hand he reverse palms the duplicate on the back of the left hand. He is now in a position to pass the visible card, seemingly, from one hand to the other, through the knees from side to side. &c., &c. (see "New Card Tricks," p. 17). The actual passes made are as under.

Through the left knee and back again.

Through both knees and back again.

From the right to the left hand and back again.

Pass into left elbow, appears in left hand and back again.

From right to left hand.

Passed into right elbow, appears in right hands, and back again.

The card produced from the right elbow is now placed in the right hand in position for the reverse; under cover of doing this the card already on the back of the hand is placed at the rear of the visible card when, having shown the hand back and front, both cards are vanished as one card. The two cards are next produced from the air, care being taken to keep them well together that they may appear as one only. Back and front of the hand are shown and the two cards (as one only) are thrown on the table amongst the rest of the pack.

The performer now has both hands free.

Page comes forward with four or five cards held fan-wise in left hand. Performer standing on the left of page takes the cards, one at a time, in the right hand and causes them to disappear one after the other by means of the reverse palm. The movement is similar to that already noted, but the one hand only is employed. The cards are next produced one by one (see " New Card Tricks," p. 19. Fig. 20, by Ellis Stanyon) and are allowed to fall on the stage as before noted.

The New " Rising " Card.—The programme is concluded with this trick worked as explained in Magic for February with the exception that instead of three cards five are used, three cards being caused to rise at the rear of the stage and the remaining two cards nearer the footlights.

The Pyschological Problems presented by Herr and Madam Valadon at the Egyptian Hall consist of the Knights Tour, the Addition Sum (six lines of four figures written up by member of audience) and a game of nap (cards held by two members of the audience). The clairvoyant is seated 011 a chair placed on a small platform isolated from the stage by four short legs.

The several feats are worked together, i.e. the clairvoyant having run through a fourth part of Knights Tour, leaves that and adds up first column of sum, then proceeds to instruct the two card players as to the game and what cards they will play. The two first cards played she returns to the Knights Tour and works off another fourth part, and so on throughout.

The Knights Tour is of course memorised. The addition sum could be worked by the silent code, but this is questionable in this case as the clairvoyant is blindfolded (by performer) with a tricky looking bandage, and she is barely out of sight line with performer. The game of nap is memorised, the cards being palmed on to, and dealt from, top of pack after pack has been shuffled.

N.B.—All new Card Sleights, Tricks, &c., including the Continuous Back and Front Palm, and tricks therewith, as performed at the Palace Theatre, will be found clearly described with numerous original illustrations in " New Card Tricks," by Ellis Stanyon. [See Advt.]. Instructions for the New " Rising" Card, without apparatus, the first and only correct method yet published, will be found in Magic for February last.

Qiogpaphç of Ppof. flndçpson.


Sketches from, his Note Book, Anecdotes, Incidents, etc.

( Continued from page 48 ).

In 1851, the "Wizard of the North " went to America, and after obtaining the largest audiences that had been assembled in New York, with the single'exception of those which greeted Jenny Lind, made a tour of the entire Union from Maine to California, and from the St. Lawrence to the embouchure of the Mississippi. His success in all parts of the United States was most unequivocal.

Professor Anderson has appeared many times before the London public. First at the Strand Theatre, on the occasion of her Majesty's marriage ; then at the Adelphi ; a season at Co vent Garden ; and at the St. James's Theatre, in 1851 ; then at the Lyceum, where he was most successful, and obtained more popularity than fell to his share on any previous occasion. From this establishment he removed to Covent Garden, the lamentable destruction of which noble pile must still be fresh in the recollection of some readers. Professor Anderson's grandest coup, next, perhaps, to his appearance before her Majesty, and his successful American tour, was his season at the Lyceum Theatre, London, in 1855. For upwards of three months he caused the theatre to be thronged at every performance; 214 successive representations of a single entertainment, by a single performer, repeated nightly to houses so full that money was on each occasion refused at the doors, constituted an era in the history of entertainments in London.

We have hitherto spoken of John Henry Anderson as a Wizard only ; and it is not all the world that is aware of his having achieved fame in any other profession. For the benefit of those who have not heard of him as an actor, it may be as well to mention that his performance of the character of Rob Roy is regarded as one of the best upon the stage. It was witnessed by the: élite of London, at Covent Garden Theatre, where Mr. Anderson played it for 36 consecutive nights. His appearing in that character either at the Theatre Royal, Glasgow or Edinburgh, invariably fills the house from floor to ceiling. He has represented it in every theatre in America, and in nearly all the theatres of Fngland, Scotland, and Ireland. In his several impersonations of William in "Black-Eyed Susan," Rolla in " Pizarro," and Wandering Steenie in "The Rose of Bttrick Vale," he has illustrated the versatility of his powers.

At Covent Garden the season was about to close with a grand masquerade. Unfortunately, while it was going on, the theatre tock fire, and in a very short time was a mass of ruins. This was 011 the morning of the 16th of March, 1856. By this event Mr. Anderson was again overwhelmed with misfortune, and lost an immense sum of money ; for the destruction of Covent Garden .Theatre not only deprived him of a large portion of his properties, which had been perfected only after an amount of trouble and thought almost inconceivable, but he was a pecuniary looser by many thousands of pounds. Immediately on the occurrence of this tremendous misfortune followed the bankruptcy of the Royal British Bank, in which were deposited the remains of his fortune, all of which were entirely lost to him for a time.

With a spirit worthy of his character and his nationality the Wizard bore up bravely under this accumulation s of losses, and sought for an opportunity to retrieve the e great disasters. The most favourable means appeared o be by seeking out countries in which, although his fam had been sounded he was not personally known ; and accordingly he made an engagement to visit Australia, California, India, China, Japan, Ceylon. Sandwich Islands, West Indies, South America—in short, a tour round the world, and having, by the assistance of friends, prepared entirely new paraphernalia, at the expense of about ^4,000, he sailed on the nth of March, 1858, for Melbourne, in a vessel called the "Monsoon." After encountering all the vicissitudes of a sea voyage of 16000 miles (the particulars of which it is needless to relate), he reached Australia on the 16th June, ninety-seven days after leaving England. He immediately commenced to fulfil his engagement by appearing at the Theatre Royal, Melbourne ; but, although the audiences were numerous, and the drawings correspondingly large, these performances were not profitable to him in a pecuniary point of view, in consequence of the peculiar nature of the engagement he had entered into before leaving England. The

7he actual trick book and duplicate (vols. 1 & 2 of the Life of Napoleon) used by Prof. Anderson in connection with a favourite trick with birds.

other party to the arrangement had there represented himself to be the sole proprietor and manager of all the theatres in the Australias ; and Mr. Anderson, believing this representation, thought himself compelled to come to some arrangement, of whatever nature, with this person, and thus make better terms than otherwise he could have done. The first stipulation in the agreement was, that the Wizard's travelling expenses from Liverpool to Melbourne were to be paid by his partner ; but this was not done, and thus the terms of the bargain were broken at the very outset. Mr. Anderson had to give his own acceptances to Messrs. Ball, Black, & Co., the charterers of the " Monsoon," for the amount of his passage money, and had to pay the whole sum when the bills, which were payable in Melbourne, became due. His partner was further bound to pay all travelling expenses while Mr. Anderson remained in the colon}', to provide places for exhibition, to pay for advertising, bills, and bill posting, and to pay for the half of the door-keepers ; and, in return for this, he was to receive one-half of the gross receipts.

A Necromancer of the XVIII Century.

By Henry Ridgely Evans.

Author of " Hours with the Ghosts," &c., &c.

(Contined from page 44).

In 1776 Cagliostro arrived in Iyondon. He had assumed various aliases during the course of his career, but now he called himself Count di Cagliostro, worker of wonders, especially in medicine. He carried about two mysterious substances—a red powder, known as his "Materia Prima," with which he transmuted baser metals into gold, and his "Egyptian Wine," with which he prolonged life. He foretold the lucky numbers in a lottery and got into a difficulty with a gang of swindlers, which caused him to flee from England to avoid being imprisoned. After wandering in various countries — Belgium, Holland, Germany, and Russia—he came to Paris, and set up for a veritable enchanter, and founder of the Occult order of Egyptian Freemasonry, the true form of which was supposed to have been communicated by the Grand Cophta, or High Priest of the Egyptians, to Cagliostro. These degrees were conferred only upon master Masons, but Balsamo also instituted an order of female Masons, so as not to disappoint the ladies and deprive them of the higher branches of occult knowledge. Power over the spirit-world was promised to those who became adepts in Egyptian Masonry. It is difficult to say where Cagliostro was initiated into the degrees of Freemasonry. I have had some correspondence with Masonic scholars in England and on the Continent, but they have been able to shed no light on . the subject. It is asserted that he received the degrees of the Blue Lodge in the month of April, 1776, in the Espérance Lodge, No. 369, held at the King's Head Tavern, Iyondon ; but there is no actual evidence in support of this assertion. His first Egyptian Eodge was opened at Strasburg in 1779. In 1782 he inaugurated the lodge of "Triumphant Wisdom " (L,a Sagesse Triomphante) at layons, France, and in 1785 the famous lodge in Paris. Cagliostro is regarded as the greatest Masonic impostor of the world. His pretensions were bitterly repudiated by the English members of the fraternity, and many of Continental lodges. But the fact remains that he made thousands of dupes. Cagliostro declared that Moses, Elias and Christ were the Secret Superiors of the order. The meetings of the Egyptian cult were nothing more than spiritualistic séances, during which communications were held with the denizens of the celestial spheres.

His sojourn in.Paris caused the greatest furor. Prints, medallions and marble busts of him decorated all the shop windows. He was called ' ' the divine Cagliostro. ' ' To one of those old portraits is appended the following verses :—

" De l'Ami des Humains reconnaissex les traits :

Tous ses jours sont marqués par de nouveaux bienfaits,

Il prolonge la Vie, il secourt l'indigence ;

Le plaisir d'etre utile est seul sa récompense."

There were neckties and hats à la Cagliostro. He gave away large sums to the poor and cured their ailments free of charge, much to the disgust of the legitimate practitioners. His house was always thronged with noble guests, who came to witness the strange séances. People went to sup with the shades of Voltaire, Rousseau, and other dead celebrities, ancient and modern

April, 1901.

summoned from the ' ' vasty deep ' ' to amuse a frivolous aristocracy. How were those phantoms evoked? Concave mirrors, concealed confederates, and images cast upon the smoke rising from burning incense, constitute the art of phantasmagoria.

Arthur Edward Waite, author of the various works on the history of magic and alchemy, while acknowledging the fact of Cagliostro's "transcendental trickery," seems to think the so-called magician was really possessed of occult gifts of some sort which assisted no little his unparalleled rogueries. He says : ' ' Mystical knowledge beyond that of the age in which he lived was undoubtedly his, and though it was still superficial, he had a genius for making the most of it." Speaking of the charlatan's career in Paris, Waite says : "He assumed now the role of a practical magician, and astonished the city by the

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