Published On The First Of Every Month

Proprietors, ELLIS STANYON ¿c Co. Editor, ELLIS STANYON.

Office: 76, Solent Road, West Hampstead, London, N.W.

SUBCRIPTION.—12 Months by post, 5/6 ($1.50); Single Copy, (15c.)

Cheques and Postal Orders should be drawn in favour of Mr. Ellis Stanyon. Money Orders should be made payable at " Mill Lane, West Hampstead, N. IV."


Magician COMUS, appearing in " The True Briton " (Nolumua Leges Angliae Mutari), Wednesday, February 11th, 1795.


'TVHE SIEUR COMUS will display his astonishing Performances: PART I. He will exhibit in the grandest manner, with JAPANNED CASKETS LETTERS NUMBERS



Also a variety of uncommon Experiments with THAUMATURGIC MACHINERIES,

PART? II. Mr. Comus will exhibit, in the most extraordinary manner, as follows, viz.

I. He will tell several Ladies and Gentlemen the Cards or number which they think of, without asking any questions, and (however impossible it may appear) will communicate the thoughts of one person to another, without speech or writing, by means of a wonderful, curious, and grand APPARATUS,

Which is not to be equalled in this Kingdom !

PART III. Mr. COMUS will discover to all the Company, experimentally, some of the most occult Operations in Nature, and exhibits,

FIRST—His enchanted Sciatericon, which tells the Thoughts of any Person in company !

SECOND—His Operation Pallengenesia, or Regeneration !

THIRD—His Pixidees Literarum, which proves a knowledge of future Events!

FOURTH—A11 Operation on Steganography, by an Invisible Agent!

FIFTH—His Unparallelled Sympathetical Experiments, too wonderful to be believed till seen !

SIXTH—His Magical Deceptio Ovorum, with Eggs, &c.

SEVENTH—His Operation of Capiromancy, without Writing or Speaking !

EIGHTH—His curious Mechanical Fishes will swim in the Water, and discover the real Thoughts of the Company, in a most extraordinary manner.

PART IV,—A Variety of Chartomantic Experiments, and various operations with Magical Watches and Sympathetic Clocks.

PART V.—His unparallelled Sympathetic Figures, whereby the great Power of Sympathy is displayed, by the operation of two Boxes, containing an equal Number of Figures, capable of being varied different ways.

The whole to conclude with THE GRAND COUP DE MAIN: Or, Pyramidical Glass Machineries, A11 Operation never attempted by any other Man living, and will astonish every beholder.

Doors to be opened at Six o'Clock, and begin exactly at Seven —Tickets to be had of Sieur Comus, at the Place of Exhibition—The Room will be elegantly illuminated, and commodiously prepared, so that every person may have a view of the performance.

Admittance Half-a-Crown each person.

Lessons in fl)agi<j by Prof. ELLIS STANYON,

Author of '' Conjuring for Amateurs,'' '' Coujuring with Cards," " New Coin Tricks," &c., &c.

Contained from, page 26.

The Aerial Handkerchief.—Under this heading I shall describe a very subtle and pleasing trick having the following effect.

The performer shows an ordinary 15m. silk square, rolls it up into a ball and passes it into the left hand ; to prove that he has really placed it in the left hand he pulls out (from the top of the fist) some 4 or 5 inches of one corner. Having thus satisfied the spectators that there is no deception he tucks back the corner, using one finger only. On again opening the left hand the handkerchief has entirely disappeared and both hands may be minutely examined.

The secret consists of a small cone of thin spun brass exactly resembling a thimble in size, and made in imitation of the end of the first or second finger, also a small piece of silk to match the handkerchief. The smal 1 piece of silk is cut and hemmed in imitation of a corner of the handkerchief and one end is then glued into the apex of the metal cone, when dry the remaining portion is tucked in and all is ready.

The thimble ready for use is placed in the right hand trousers pocket. The performer shows the handkerchief and when seeming to place it in the left hand really palms it in the right hand which he forthwith thrusts into the pocket leaving handkerchief behind, and bringing out thimble on the tip of, say middle finger. At this stage he may, or may not, be accused of having put handkerchief in pocket, in any case he inserts the finger, carrying thimble, into top of left hand, leaving it behind and pulling out corner which appears to be a portion of the original handkerchief. When tucking back the handkerchief the thimble is removed unseen on tip of finger. The right hand being, unmistakedly, empty, all attention is centred on the left hand. Under these circumstances it would hardly require a conjurer to secretly dispose of the thimble, and when this has been done the silk may be shown to be non est, and both hands may be minutely examined.

I ant indebted to Prof. Herwinn of Bristol for this ingenious and subtle trick.

The Finger Shell.—With the aid of this ingenious, but insignificant piece of apparatus the following effect is made possible. The performer comes forward with his arms out-stretched and bared to the elbow, showing his hands on all sides, thus proving beyond doubt that they are empty. Still keeping his arms out-stretched he closes the right hand. A slight up and down motion now takes place, after which the hand is opened and a colored silk handkerchief found therein.

The secret lies in the use of the finger shell (see Fig. 16). This shell, usually modelled in thin brass and painted flesh color, fits the inside of the middle finger, when the hand is in a natural position with the fingers slightly curved (see the Fig.), It mustbe " lined" on the front to represent as nearly as possible its natural prototype.

Immediately before introducing the experiment the handkerchief is inserted in the shell which is in turn adjusted to the finger, the performer then steps on the stage in the manner already described.

To produce the desired effect the shell is allowed to fall from the finger under cover of closing the hand, the handkerchief being pushed out with the thumb.

By reversing the modus operandi the handkerchief may be caused to disappear in an equally mysterious manner. If the performer has been thoughtful enough to place a duplicate handkerchief behind his collar, or in some other out of-the-way-place, an additional effect may now be obtained. ,

For obvious reason this trick must be the first on the programme.


As now being performed at the Palace Theatre, London.

Three cards are ' forced' on as many members of the audience who afterwards return them to the pack, shuffling the cards themselves. Performer now returns to stage and holding the cards, squared well together in the left hand, raises the right hand well above his head commanding a card to rise : suddenly one of the chosen cards is seen to jump from the pack to the hand held aloft—this card is returned to the front of the pack and the effect is repeated with the two remaining cards.

The secret depends mainly upon a new application of the black silk thread ; the cards are forced in the ordinary way, i.e.—there is nothing extraordinary in the ' force ' employed. The actual cards to rise are specially prepared and are added to the top of the pack under cover of the body during the return to stage. They are prepared as follows :—Two U shaped cuts are made near one end of the card (see 'A' in fig. 17) the bottom of the U in each case being pushed up to form a hook. The face of each card thus maltreated is gummed to the back of another card, duplicate of the one to be forced, and the '' trick '' cards are ready.

The thread is carried right across the stage about i8in. above the head of the performer, one end being fixed to one of the '' wings,'' while the other end passes over a stout smooth pin driven into the opposite wing and is weighted with 4 or 5 cards, i.e. just sufficient to keep the thread always taut. Having taken up his position under the thread the performer passes his disengaged hand completely round the pack several times thus, casually, showing there is no connection ; he then raises the hand and commands a card to rise. The card does not rise—the hand is lowered and with it the thread which, under cover of tapping the cards coaxingly, is secretly passed under the hooks of the one at the rear. The right hand is again, held aloft and this time, as soon as the left hand releases its hold, the card will rise, being drawn up to the extended hand by the greater weight of the several cards on the free end of the thread.

Several threads arranged as above explains how the performer is able to work the trick oti any part of the stage.

An improvement on the above.

This method does away entirely with the trouble of arranging the thread as in the foregoing. The effect is exactly the same and the trick can be done anywhere independent of time and space.

In this case the ' trick ' cards are prepared by cutting a fineslotin one end as shown at B in Fig, 17 One end of the thread (about 3 ft. long) is attached to the lowermost button of the waistcoat, a knot being made at the opposite end for the purpose of catching in the slot cut in the card. To _ properly adjust the length of the thread, note that it ^ should be just long enough to prevent the card attached to it, in case it is accidently dropped, from dangling ignominiously in mid-air.

The working of the trick is as follows :—The pack with the three slotted cards duly on top is held in the left hand. The thumb of the right hand is now passed under the thread, (hanging from the button) which, under cover of a graceful sweep of the arm, is carried over the top of the cards entering the slot afore mentioned (See B in Fig. 17). The right hand is now held aloft, the fore-finger being under the thread at C in the Fig.

The thumb of the left hand holding pack is now passed behind the thread at D in the Fig., when it will be found that a slight downward movement of the left hand will cause the card to rise as already explained. The movement of the left hand will pass unnoticed if the performer remembers to attract the attention of the audience to the right hand by looking fixedly at it himself.

N.B.—Other new Card Sleights, Tricks, &c., including the Continuous Back and Front Palm, and tricks therewith, now being performed at the Palace Theatre will be found clearly described with numerous original illustrations in " New Card Tricks," by Ellis Stanyon. (See Advt).

By an oversight the knot on the end of the thread in Fig. 17 is shown on the face of the card—it should really be on the back.


Fig. 17,

Qiogpapbç of Ppoî. Anderson.


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

(Continued from page 28).

After he left Brechin Castle, Mr. Anderson went to Edinburgh, and gave his first magical entertainments in the great Scottish metropolis. The story of how one of his great transformation tricks was brought about must here be told. His professional soubriquet in his early career was that of "The Caledonian Necromancer ;" but this was destined to be metamorphosed into " The Great Wizard of the North ;" and the metamorphosis came about in the following manner :—The young magician was performing in Edinburgh, where his success was so great, that Sir Walter Scott hearing of him requested

Autographed photo of Prof. Anderson (about 1&54).

that he would perform at Abbotsford on the occasion" of the son of the great novelist attaining his majority. The cleverness of the young magician was such, that at thé conclusion of the performance Sir Walter made the remark, in a very complimentary manner, '' They call me ' The Wizard of the North,' but they have made a mistake—it is you, not I, who best deserve the title." Mr. Anderson accepted the compliment, and entitled himself accordingly.

A successful tour in Scotland was followed by a visit to the northern and midland counties of England, where liis wizardry gained hitn numerous friends. Few professional men were better known than '' The Great Wizard " in the northern districts of the country ; while in Glasgow and its neighbourhood his name was almost a " household word." He erected on Glasgow Green—the scene of many of his early triumphs—the largest' theatre in Scotland, incurring in its erection an expenditure of many thousand pounds. The house had not been open threemonths, when, during the rehearsal of DerFreischutz, it caught fire, and was entirely destroyed ; the Wizard losing by this disaster nearly every penny of the fortune his industry had accumulated. Maddened by the sense

7 he remains of the actual 'vatch used by Prof. Anderson in his Entertainments. '

of the calamity with which he was thus suddenly overwhelmed, it is said that he endeavoured to rush through the crowd into the burning building, where he would inevitably have perished. Prevented, however, from doing so, he made his way to Glasgow Bridge, and there watched the progress of the flames, the falling in of the roof, and the last cloud of sparks which announced the entire destruction of his property.'

It had been his ambition to be the manager of a theatrical establishment in Scotland.; but that, hope seemed to be consumed in the flames before him. Nothing daunted, however, he started for Hull, in Yorkshire, and there recommenced his magical performances. Thence he proceeded to Hamburg, and on to Sweden, Norway, and Denmark. After visiting the various towns ot the Baltic, he readied St. Petersburg, and obtaining the patronage of the Emperor Nicholas, remained some mouths in the Russian capital, where he acquired a considerable amount of money. Thence, proceeding to the interior of Russia, he erected his magic temple in most of the chief towns of that extensive empire. He returned to England by way of Vienna and Berlin.

Shortly after his return to Great Britain, he had the great honour of being specially summoned to Balmoral Castle, by command of Iler Majesty the Queen, to give a performance there 011 the occasion of His Royal Highness Prince Albert's birthday being kept there in royal .state, on the 26th of August', 1846. A flattering note from Her Majesty, forwarded to the Wizard by Colonel Anson, expressed the gratification which .royalty had received from the magical entertainment.'

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