©ranO ffaebionabie Bag performances

TUESDAY, Oct. 10th, and TUESDAY, Oct. 17th, at Two o'clock.

Doors open at Half-past One. Doors open at Half-past Seven, the Wonders to commence at 8 o'clock. Front Seats, 2s.; Second Seats, Is.; Gallery, 6d. Tile Box Plan may be seen and Places secured at tile Music Hall, every Day from Eleven till Three, SAMUEL HOXON, PBINTEK, QUEEN'S-COORT, BRIGGATE, LEEDS.

Selected from the Portfolio of Mr. ARTHUR MARGERY.


A uthor of '' Conjuring for A mateurs,'' '' Conjuring with Cards," " New Coin Tricks," &c., &c.

Continued from page 35.


The Wonderful Production of Ribbons at the Finger Tips (and subsequent productions).—This is an excellent little trick and one very suitable as an introduction to a complete " production " trick, where objects of ever-increasing size, in a compressed condition, are produced under cover of similar objects, of a smaller size, but displayed to the best advantage. The trick of the tissue paper, ribbons, and flag (see " New Handkerchief Tricks," p. 18, by Ellis Stanyon) is of this type, and the trick immediately under consideration could be introduced with telling effect at the close of the burning of the tissue paper. The performer having, we will suppose, lighted the three pieces of paper allows them to burn down quite close, or as near as convenient, to his fingers, when, in spite of the fact that both hands have been shown unmistakeably empty, he commences to pull yard after yard of real coloured silk ribbon from the extreme tips of the fingers.

The secret depends upon the little accessory illustrated

in Fig. 18. This is a shield made to fit the second finger of the right hand in an exactly similiar manner to the handkerchief shield described at page 35 of the present volume, with the addition that it is provided with a lid to keep the four coils in position, also with a corresponding number of slots on the front through which the ribbon may be withdrawn. Each piece of ribbon should be about two yards long and of a width to readily pass the slot. Ribbon drawn from the apparatus when in position (see Fig. 18) will seem to come from the finger tips.

This ribbon, some eight or nine yards, is generally employed by the performer as cover for the production of a larger roll of ribbon which is quickly shot out over audience, and this larger quantity, when gathered together roughly in the hands, as cover for the produc tion of a case containing the Flags of all Nations, properly arranged for effective production. Each successive ' load ' is of course secured and placed in position some minutes before it is actually required (under cover of making a display of the previous production), that the precise moment of its arrival may not be suspected.

The various 1 loads ' are carried about the performer's person—the smaller ones in the bend of the elbow, under the armpit, etc., and the larger 'loads' in the breast pockets and in the vest, and still larger, or rather longer '' loads'' are pushed down the leg of the trousers, to which access is obtained by way of the opening in the vest.

In my own Entertainment, when having produced a large quantity of ribbon, some 5 or 6 " loads," each larger in every way than its predecessor, and while holding the whole displayed well in front of the body, I take up a Chinese cracker and place it in the hand holding the ribbon. I next light up the cracker, the sparks from which, in combination with the brilliant colors ot the ribbons give the idea of a volcano in miniature. The cracker cracks, smokes, rnd finally explodes, when immediately there appears in my hands, open to its full extent, a Japanese sunshade.

The sunshade, which when open is 3-ft. across is concealed partly in the vest and partly in the trousers leg, closed up of course. It is brought forth and carefully placed in readiness behind the ribbon while all attention is centred on the burning cracker. The sunshade is quickly pushed up and opened under cover of the confusion caused by the explosion and smoke of the cracker; it may be made to appear still more bulky by draping its ribs artistically with bright coloured ribbons.

The next thing you hear is someone saying, " Is'lit it wonderful." Well, it is.

A New Card Balancing Trick.

Have pack examined and shuffled and show both hands (back and front) prior to performing sleight. This is most necessary to prove to audience that no mechanical device exists. Take cards, show left hand

(both sides) first, and in act of transferring cards to left hand insert little finger of that hand under a few of the top cards (number immaterial). Show right hand in same manner. Place cards on tips of fingers of right hand at back (see Fig. 5¿at a) in doing which? the cards above the little finger of the left hand are back palmed into

Fig. 5-

position between ist and 2nd fingers (see b Fig. 5). This movement will be entirely covered by the left hand and the remainder of the cards. Take some little time in pretence of balancing, remove left hand slowly and cards will remain upright on end "without visible means of support.'' Do not leave in this position more than a few seconds, put up left hand to re-take cards, relax pressure on the cards which are back-palmed, push rest of cards (at a) down towards back of hand on to other cards, picking up the lot immediately and handing them once more to the audience to examine.

A Necromancer of the XVIII Century.

By Henry Ridgel*y Evans.

Author of "Hours with the Ghosts," âfc., âfc.

In the Marais quarter of Paris, situated at an angle of the Boulevard Beaumarchais and the Rue St. Claude, is an old house, gloomy and forbidding in appearance. The ponderous door that leads into the courtyard is iron-clasped and studded with nails. People pass and repass this mysterious mansion every day, but not one in a thousand knows that it was once the residence of the great Cagliostro, the necromancer of the xviii century. In this ghost house the magical séances, the spirit evocations took place. Nobles and grande dames flocked thither to sup with the shades of the illustrious departed. Of late years attention has been attracted to this antiquated mansion by articles which have appeared from time to time in French and American journals. But first as to the great Cagliostro, the most remarkable charlatan, the world has ever seen. Particularly is his career of interest to modern magicians, who are always on the alert to expose the pretensions of pretenders to genuine

cagliostro (joseph balsamo).

From a painting in the Versailles Historical Gallery.

cagliostro (joseph balsamo).

From a painting in the Versailles Historical Gallery.

sorcery. Cagliostro made use of hypnotism, optical illusions with mirrors, and chemical tricks in his séances. He was past master of the art of deception. Modern sleight-of-hand performers are fond of using his name for all sorts of magical feats, such as the " Mask of Balsamo," "Cagliostro Casket and Cards," Cagliostro's Cabinet," etc.

Joseph Balsamo, (Cagliostro) the son of Peter Balsamo and Felicia Braconieri, both of mean extraction, was born at Palermo, 011 the 8th day of June, 1843. He received the rudiments of an education at the Seminary of St. Roche, Palermo. At the age of thirteen, according to the Inquisition biographer, he was intrusted to the care of the Father-General of the Benfratelli, who carried him to the convent of that order at Caltagirone. There he put on the habit of a novice, and being placed under the tuition of the apothecary, he learned from him the first principles of chemistry and medicine. He proved incorrigible, and abandoned the convent for a dissipated life in Palermo. He was accused of forging theatre-tickets and a will, and finally, had to flee the city for having duped a goldsmith named Marauo of sixty pieces of gold, by promising to assist him in unearthing a buried treasure by magical means. Marano entered the cavern, and discovered, not a treasure, but a crowd of Balsamo's accomplices, who disguised as infernal spirits, administered to him a terrible beating. Furious at the deception practised upon him, the luckless goldsmith vowed to assassinate the pretended sorcerer, Balsamo, but that ingenious youth got safely to Messina, where he fell in with a strolling alchemist named Althotas or Altotas, who spoke a variety of languages. They travelled to Alexandria in Egypt, and finally brought up at the island of Malta. There they remained


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