Or The Greek Hero

THE ORCHESTRA (which is Numerous) will be conducted

Tickets, Places and Private Boxes may be had of Mr. Massingam, at the Box Office of the Iheatre, Daily, from 10 till 5.

BOXES 5s. PIT 3s. Lower GALLERY 2s. Upper GALLERY Is. SECOND PRICE AT A QUARTER BEFORE NINE.

BOXES 8s.—PIT 2s —LOWER GALLERY is—UPPER GALLERY 6d. Doors to be Opened at Six and the perfofmances to commence at Se\en precisely.

Selected from the Portfolio of Mr. ARTHUR MARGERY.

G^plcmatopy Programmes.

HORACE tiOLDIN. Illusionist.

Programme, Palace Theatre, July 26, 1901.

Goldiu enters, in conventional evening attire, and without speaking (the entertainment is carried on throughout in dumb-show) proceeds to produce from a good sized neck-handkerchief, respectively a bowl of fire (ordinary small sized bowl) and a bouquet, (ordinary sized folding feather bouquet).

Next follows a few ordinary sleights with a small sized silk handkerchief which is eventually placed over the muzzle of a not over dangerous looking gun. Performer, by signs, indicates to audience that he is about to shoot the silk into their midst, it disappears, being drawn into barrel by a spriug released by pulling the trigger—(110 explosion) duplicate silk, ostensibly that fired from gun, is now taken from collar.

Goldin next goes to a small, but firm, square table, on his right, covered small cloth and containing sundry articles as glass jug of water, tumblers, etc, etc. Taking hold of two corners of the cloth he, with a quick jerk, removes it bodily from table leaving articles undisturbed.

I This is merely an illustration of the property of inertia and may be accomplished with but little practice. To ensure success, however, observe to place any small articles i.e. articles with small bottoms, on trays not less than 8. in square.

The next trick is that entitled New Vanishing Water, and described at length at page 4 of our "New Miscellaneous Tricks" the only exception being that a glass jug, instead of a china one, is employed.

A couple of canaries are now removed from a cage and ; placed in a paper bag. The bag is suspended 011 a slender j wire stand about 4 ft high. Goldin standing a few paces i from stand fires revolver at bag, where-upon the birds are > seen to re-appear in cage held by assistant at a similar distance 011 opposite side of stand. The weak point of the trick is that the birds are never seen in the hand of performer, as a matter of fact they never leave the cage, but are pressed through a kind of trap bottom under cover of the fore-arm of assistant who is holding cage. Performer must rehearse to hold his hand and shape the bag in a manner to induce the belief that all is fair and above board. Assistant still holding cage has but to release trap when birds reappear. It may be found more convenient to have a second cage, duly loaded, for there-appearance of the birds.

Here follows another example of the property of inertia. A small oblong tray is placed over four tumblers each partly filled with water, on the surface of the tray near the corners are placed four metal rings, one exactly over each of the tumblers. On each of the rings is placed an egg small end down. All ready, performer gives the edge of tray a smart blow with the flat of the hand sending it flying into the hands of assistant—the eggs fall, into each of the four tumblers:—This experiment forms a finale to a series of Juggling Tricks in throwing and catching the eggs (see explanatory programme on page 91, also our "New Juggling Tricks").

Vanishing Lamp. A small lamp, about 15 in. high, fitted glass globe and chimney, is seen burning on small round top table, performer covers the lamp with a special cover leaving only about 1 in. of top part of glass chimney visible (cover rests on top of globe). In this condition the lamp is removed by assistant, and placed on seat of a tricky looking chair. Goldin holds a handkerchief in front of lamp for a few seconds, then, appearing dissatisfied with the arrangements, replaces the lamp still covered on table. A revolver is now fired at lamp which collapses on table, its prototype appearing simultaneously on small shelf in centre of an elegant frame, mounted on brass supports, and standing at rear of stage. The trick is spoiled by the necessity of removing the lamp from table to chair for the purpose of ringing the changes, this is accomplished under cover of the haudkerchief and with the aid of a chair provided with a revolving back. The lamp replaced on the table is but an upright rod and a ring surmounted with a piece of talc, the pull of a thread causes the rod to fall into the hollow centre support of table, the ring falling flat on the table top. A second genuine lamp would be placed in readiness on small shelf at rear of revolving piece in centre of frame or if screens were placed in convenient positions, as is the case in the show under consideration, the lamp might be secretly removed by assistant from back of chair to back of frame. Next in order follows the now familiar Fish Catching Trick—if the way these fish make their presence felt is anything to go by, they must be real indeed.

A Necromancer of the XVIII Century.

By Henry Ridgely Evans. Author of "Hours with the Ghosts" &c., <Sfc. (1ContinuedI from page p2~)

A grand "soirée magique" is being held at the house of Monsieur le Comte de Cagliostro. Heavy old-fashioned carriages stand in front of the door, with coachmen lolling sleepily 011 the boxes, and linkboys playing rude games with each other in the kennel. A rumble in the street—ha, there, lackeys! out of the way! Here"comes

Engraving of Cagliostro in the Amiy Medical Museum at Washington.

the coach of my Lord Cardinal, Prince Louis de Rohan. There is a flash of torches. Servants in gorgeous liveries of red and gold, with powdered wigs, open the door of the vehicle, and let down the steps with a crash, Monseigneur le Cardinal, celebrant of the mass in the royal palace at Versailles, man of pleasure and alchemist, descends. He is enveloped in a dark cloak, as if to court disguise, but it is only a polite pretense. He enters the mansion of his bosom friend, Cagliostro the magician. Within, all is a blaze of light. A life-size bust of the divine Cagliostro ornaments the foyer. Visitors are received in a handsomely furnished apartment on the second floor. Beyond that is the seance-room, a mysterious chamber hung with somber drapery. Wax candles in tall silver sconces, arranged about the place in mystic pentagons and triangles, illuminate the place.

In the centre of the room is a table with a black cloth, on which are embroidered in red the symbols of the highest degree of the Rosicruciaus. Upon this strange shekinah is placed the cabalistic apparatus of the necromancer—odd little Egyptian figures of Isis, Osiris, vials of lustral waters, and a large globe full of clarified water. It is all very uncanny. Presently the guests are seated in a circle about the altar, and form a magnetic chain, As the old chroniclers phrase it, to them enters Cagliostro. the Grand Cophta, the man who has lived thousands of years, habited in gorgeous robes like the arch-liierophant of an ancient Egyptian temple. The clairvoyant is now brought in, a child of angelic purity, who was born under a certain constellation, of delicate nerves, great sensitiveness and withal, blue eyes. She is bidden to kneel before the globe, and relate what she sees therein. Cagliostro makes passes over her, and commands the genii to enter the water. The very soul of the seeress is penetrated with the magnetic aura emanating from the magican. She becomes convulsed, grinds her teeth, and declares that she sees events taking place that very moment at Vienna, St. Petersburg, Rome and Kamschatka.

Every one present is transported with joy. Monseigneur le Cardinal de Rohan is charmed, delighted, and lauds the necromancer to the skies. How weird and wonderful! Albertus Magnus, Nostradamus and Apollonious of Tyana are not to be compared with the all-powerful Cagliostro. Truly he is the descendant of the Egyptian tliaumaturgists.

The séance is followed by a banquet. Rose-leaves are showered over the guests from the guilded ceilings, perfumed water splashes in fountains, and a hidden orchestra of violins, flutes and harps plays soft melodies. The scene reminds one of the splendid feasts of the Roman voluptuaries in the decadent days of the empire. The lovely Lorenza Feliciani, wife of the enchanter, discourses learnedly of sylphs, salamanders and gnomes, in the jargon of the Rosicruciaus. The Cardinal, his veins 011 fire with love and champagne, gazes amorously at her. But lie is thinking all the while of the aristocratic Marie Antoinette, who treats him with such cruel disdain. But Cagliostro has promised to win the Queen for him, to melt her icy heart with love-philters and magical talismans. Let him but possess his soul in patience a little while. All will be well. Aye, indeed, well enough to land the haughty prelate in the Bastile, and start the magician 011 that downward path to the Inquisition at Rome.

The night wanes. The lights of the banqueting-hall burn lower and lower. Fnally the grandes dames and the seigneurs take their departure. When the last carraige has rolled away into the darkness, Cagliostro and his wife yawn wearily, and retire to their respective sleeping-apartments. The augurs of Rome, says a latin poet, could not look at each other without laughing. Cagliostro and Lorenza in bidding each other good-night exchange smiles of incalculable cunning. The sphinx masks have dropped from their faces, and they know each other to be—charlatans and impostors, preying upon a superstitious society. The magician, is alone. He places his wax light upon an escritoire and throws himself into an arm-chair before the great fireplace, carved and gilded with many a grotesque image. The flames of the blazing logs weave all sorts of fantastic forms 011 floor and ceiling. The wind without howls in the chimney like a lost spirit. The figures embroidered on the tapestry assume monstrous shapes of evil portent—alguazils, coweled Inquisitors and jailers with rusty keys and chains.

But the magician sees nothing of it all, hears not the warning cry of the wind: he is thinking of his newly hatched lodges of Egyptian Occultism, and the golden louis d'or to be conjured out of the strongboxes of his Parisian dupes.

ftAt Ttt1t10«ihl0 Magicians sending Five Annual IIVI llliyv^iyi^ Subscriptions to this ofiice will receive their own booked gratis and post tree 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.

A BIBLIOGRAPHY of CONJURING.

Compiled, with Notes by Ellis Stanyon.

Ably assisted by Mr. Arthur Margery.

(Continued from page 93).

Conjurer Unmasked C/fhe) or, La Magic Blanche Devoillee I Being a clear and full explanation of all the surprising performances, exhibited as well in this Kingdom as on the Continent, b>* the most eminent and dextrous Professors of Sleight of Hand, together with Descriptions, Observations, and Directions for the tricks of the Divining Rod—Automaton Chess Player—Self-performing organ—Speaking figures—Artificial serpents— Mechanical Birds—Automaton Flute Player—Transparent Magical Tables, & c, &c. (Translated from the French of Möns. Decremps). London 1785 121110., pp 89.

(Contains about 25 tricks of the Period, and 2 sections devoted to Automata etc. The frontispiece reads—The Professor of Amusing Philosphy who having burned a card (taken at chance) throws the pack in the air, at which he fires a pistol and ye card is found nailed to the wall (See Chap. 5).

Conjurers and Conjuring. By a London Professor. Boy's Own Paper. London, Vol 3. pp. 206-251-270-310.

Conjurers Magazine (The) or Magical and Physiognomical Mirror. London, Aug. 1792 to July, 1793. 2 Vols. Bound in Cloth 8vo. Vol 1. 498 pp. Vol 2. 521 pp.

(This was continued as The Astrologers Magazine, and Philosophical Miscellany—which made up Vol 3 all published. This last Vol was published in 1794, 252 pp.

Conj urer's Properties. Leisure Hour, Loudon, March, 6th and 20th, 1880, pp 150-152 and 189-191.

Conjurer's Repository (The) or the whole art and mystery of magic displayed by the following celebrated characters; Pinetti, Katterfelto, Barrett, Breslaw, Sibley, Lane, &c, embellished with an engraving. London 1795. Boards 121110 146 pp, (Col'd frontispiece.)

(This work appears a compilation of matter from various sources. It contains nothing original for its time of publishing although it is full of information, and explains all manner of deceptions, from the "Invisible girl" to "Chinese Shadows" and "Sympathetic Inks," The frontispiece is of a typical old magician, showing a young lady her face in a mirror, she standing aghast at the transformation. A cauldron is burning, skulls laying about Ac.)

Conjurers and Spiritualists. London, 1876. Chamber's Journal, Oct. 14th, No. 668, pp. 657-659 and 686-688.

Conjuring. By a Professor of the Art. " Boys' Own Paper," London, Vol. I, pp. 75, 139, 154, and 351. Author unknown. The articles are not of much importance.

Conjuring (The A.B.C. of), by a " Professor of Legerdemain." " Boys' Own Paper," London, 1892. A series of six articles on Conjuring.

Conjuring in the East. U.S.A. Current Literature, Jan. 1899, Vol. XXV. p. 84.

Conjuring. The Conjurer Unmasked. The tricks of the most eminent and dexterous professors of Sleight of Hand. London, 1790. i2tno. Frontispiece. Original Sheep.

Conjuring for Christmas. New Penny Magazine, Dec. 15th, 1900, pp. 316-320. Illustrated.

Conjurer, The London, or, The Complete Art of Legerdemain. London, N.D. Paper, 8vo., 36pp. Coloured Frontispiece. Very rare.

Conjurer's Museum, The, or, Hocus Pocus in Perfection. Tricks with Cards, Dice, and Philosophical Apparatus as practised by Ingleby, Breslaw, Pinetti, the Caledonian Conjurer (Prof. Anderson, Ed.), The White Devil, &c., &c., London, 1800. Paper, 8vo., 36 pp. Coloured Frontispiece.

Couradi, F. W. Der Moderne Kartenkünstler. Dres den, 1897. Cloth, 4k)., 231 pp. Illustrated. Coupin, M. Henri. A New Optical Illusion, N.Y. The Literary Digest, Feb. 23rd, 1901. Translated from '' La Nature.'' Coxe's Francis. Treatise declaring the detestable wick-ednesse of Magical Sciences, Necromancie, Conjurations of Spirits, Curiouse Astrologie, and such lyke. London, N.D. 8vo. Copy wanted. Craft, Rev. Amos N., A. M Epidemic Delusions. With special reference to Modern Spiritualism. Cincinnati, 1881. Cloth, 8vo. 341 pp. Crane, L. Modern Magic Explained. New York. Metropolitan, May, 1898, pp. 509-512. (Tying handkerchief ; Egg Palming ; Front and Back Card Palming, &c.)

Crane, W. B. The Mechanics of Magic. New York.

Metropolitan, November, 1898, pp. 551-4. Cremer, W. H., Jr. The Secret Out, or One Thousand Tricks in Drawing Room, or White Magic. London, 1871. Cloth 8vo., 307 pp. 300 Illustrations.

-Hanky Pauky. A Book of Conjuring Tricks.

London, 1S75. Cloth 8vo., 328 pp. Coloured Frontispiece. 250 Illustrations.

-Magic No Mystery. Tricks with Cards, Dice, Balls, etc. London, 1876. Cloth, Svo. Illustrated. Scarce.

-The Magician's Own Book. London. 1871. Cloth,

8vo. 250 Illustrations. Cruiksliank (George). A Discovery concerning Ghosts : with a rap at the " Spirit Rappers," to which is added a few parting raps at the "Rappers" with questions, suggestions, and advice to the " Davenport Brothers." Dedicated to the "Ghost Club," 2nd Edition. London, 1864. Paper, large 8vo., 60 pp. Illustrated. Very rare.

Culin (Stewart). Chinese Games with Dice and Dominoes. With 12 plates and woodcuts. 1825. Rare and interesting. Another edition, Philadelphia, 1889. Paper, large 8vo., 21 pp. Illustrated. Cumberland, Stuart A. A Thought Reader's Thoughts, Being the Impressions and Confessions of Stuart A. Cumberland. London, 1888. Fancy Cloth and Gilt. Large 8vo. Portrait of Author on Steel. 326 pp. Out of print, rare.

Quotations for any work in this list may be had on application to the Office of "MAGIC."

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