Among them. Note 458 mentions a good idea by Al Baker for using twenty-six stacked cards in a pocket as an index, with a message written on each card. I think this lends itself to wonderful effects, despite Daley's lack of detail. Note 510 explains a Do-as-I-do idea using two slates, two decks of cards (one of them stacked), in which the card the spectator chose and the one directly below it in hi- deck (supposedly chosen In the magician) are 1 The effect is curious and interesting, but complex. Note 627 is Al T s version of "A Card and a Number". Note 628 contains Baker's idea for determining how many cards are cut. Note 695 is a pretty idea explained bN August Roterberg in New Era Card Tricks (1897): After a false shuffle, the magician deals four rows of cards face up. He pretends to memorize the fiftv-two cards in the positions they now occupy and turns them face down i place. He proceeds to turn face up the thirteen cards of any suit named by spectator, in order. Note 640 mentions Baker's pretended memorization of thirty-nine cards, after which the thirteen cards that are missing are named. The peg memory-system from Nikola's stack is used for this feat. There is a spelling idea by Daley explained in Note 231, in which the card desired is cut or passed to the appropriate position to spell to its name. Note 215 contains an idea for Card to Wallet or Card to Envelope, using a twenty-six card index (thirteen loose cards in the right pocket and thirteen in the left. Note 183 is the effect "Some Time Ago", included in this book (p. 254). As you can see, both Al Baker and Dr. Daley made intelligent use of a stacked deck.
In Notes 9 and 17 then? are two ideas by Dai Vernon for using thirteen or twenty-six cards in an effect in which one of those cards is thought of. Another idea by Annemann is found in Note 377: By spelling to a card in onedeck you arrive at a card; then the same card is spelled to in the other deck to arrive at the same card (both decks are stacked). Note 393 is a Charles Jordan effect using a stack and the one-ahead principle (I describe my version, Any Cards Called For" on p. 211 of this work)." Note 449
TRANSCUBU) W Frail Curi t
INTRODUCTION in Dai Va®«
refers to the idea of wrapping up the deck in a sheet of a newspaper and ringing it to a medium in another room. The page number tells the medium ne ,ard be divined. In Note 616 there is a pretty routining of two tricks
,md T-1><1gC VVri8ht< us'n8 an Ace-through-King sequence, Punch ' m"TniC Stack Fina11/' ^ Note 456 there is a system for ualban, Vincent lor plot ,Xa 4')an; P- is the first suggestion of the li< instL; Lt . d_S a Problem solve. Titled "Something to Work
lie detec-On", it
Mnemónica s 379
in the classic French work, lm magic blanche dévoilée (1784), he describes the program performed by Pinelti. Among the thirty three items that program contains, there is a divination by a blindfolded medium of all the cards in a packet selected by a spectator (stacked deck, the magician looks at the card preceding the
?d and codes to the medium while telling the spectator not to say whether his card is "for example, the Two of Spades or the Three of Diamonds". The second card named is the key for the medium. Fie also uses a stacked deck to learn the identity of a selection and communicate it through a verbal code to an assistant who operates a prepared automaton that represents a Turkish sultan. Through a hammer the sultan holds, he indicates the value of the selection, and when the suits are named he nods at the appropriate one. In the Spanish translation of this book, titled Im mágica blanca descubierta, ó el demostrador de Física y Matemáticas declarado un simple jugador de manos (second edition, 1792) the tricks are in Chapter XIV, p. 25, under the heading "Los naypes adivinados con los ojos vendados", and in Chapter I, p. 1, titled ''El gran sultán". Curiously, at least in the Spanish edition, there is no description of a card stack, but merely a reference to a deck in an order known by heart (although it's likely Decremps was alluding to a rosary stack, described years earlier by Guyot).
In his Effortless Card Magic (1997), he describes two approaches to the effect "Lie Speller" by Martin Gardner, using the Galasso-Stebbins stack. They are "Lie Stebbins" (p. 51) and "Lie Stebbins Plus!" (p. 54), in which one card or two cards, respectively, are divined.
"Tell Me Three Times", on p. 3% of Vie Collected Works of Alex Elmsley, Volume // (1994, written by the magnificent Stephen M inch) is an effect of the "liar" type (the spectator lies, and the magician discovers the lie and deduces the identity of a card) done with only three cards. It is very ingenious, like everything that comes from the mind of this intelligent and creative master. The more I know him, the inore I admire him.
lB his marvelous classic, The Expert at the Card Tabic (1902), there is a ,Hed "Tricks with the Prearranged Deck" (p. 179), which contains Sera" effects, as well as an original system by Erdnase for finding any card named in a rosary stack. evans, val
His trick "Digivision" appeared on p. 83 of My Best (1945), edited by I G. Thompson Jr. While the magician holds a deck behind his back, a card is freely selected. He divines it and hands out the deck (which hasn't been switched). An excellent idea, like others by Val Evans (remember his marvelous Multeffect Cards"). There are other versions by Joe Berg and
William Larsen, Sr.
In The Jinx, No. 140, June 18, 1941, he explains "The Card Knows" (p. 792), a divination of three cards done with the help of a black cat that is drawn on a card. A good presentation.
A great connoisseur, an erudite, versatile and prolific author, from whom I have learned so much, the endearing Alfredo Florensa, describes in his encyclopedic Lceciones dc lliismism (1960-1985) many very interesting effects and ideas, with analysis and historical data. Especially in Leccidn 7, pp. 38-83, where there is an exhaustive analysis of the various stacks. Included is a formidable one that allows the magician to arrive at card after card by spelling the value of each, until all forty cards in the Spanish deck have been produced. He also explains different formulas for memorization (some original with him), as well as the trick of weighing the cards, the apparent memorization of the whole deck, psychometry, etc. Also see Lection 5, p. 71, "Lin milagro de la era
(usin8a special order that allows you to find any card called for, starting from one reversed in the middle of the deck); Leccidn 13, p. 29, "Truco para
°r' FaUSt (sta8° na™ of my admired and dear friend, Roberto bvTT2„an appliCaH°n C)f the "endless chain" principle, first explored a Jwdan , T ** Charles ,ordan; Ucci6" U' P- 15' ™ adaptaHon of Trick mcX' ^-¿¡stance Mind Reading" (see Charles Jordan's Best Card
P-174 and in / • -P' Hu8ard's ^cyclopedia of Card Tricks (1937), byAl Konrn '"T ' ''P'"U" caso ^ clarividencia", a magnificent effect small window th^T ^^ decks inside X-ray card cases (they have a ^¡de) After a d k , y°U **the 'mdsx of the bottom card of the deck he retains while ¡he ( ^^ *8Pectator cuts it to select a card, which deck, the perform ^ dwk is Put hack into its case. From the second removes the identical card held by the spectator.
Mnemónica s 331
His study of Charles Jordan's fíes! Tricks (1992) contains material (sometimes rewritten) by Jordan from the 1920s and 1930s. I recommend it here-because it is currently in print while other Jordan titles are not. It's very very interesting. Also see Charles T. Jordan below
His rare Giochi di carte béllisshni di regola, e di memoria, published in 1593 in Venice, has only recently been discovered and reprinted with commentary by my friend, the ingenious Italian magician, Vanni Bossi, who also plans an edition in English for the near future. Galasso's book contains the earliest known record of the mathematical arrangement commonly known as the Si Stebbins stack. Galasso also gives a full routine with this stack (which would remain the only published instance of a card routine for many years). This routine opens with a method for stacking the deck secretly in front of the audience, during the performance of a memory feat (later repeated by Cardoso and others).
García Soutullo, Luis
In one of his books, published in very limited editions, there is a chapter devoted to Mnemónica (Testamento Mágico: el Eterno Retorno, 1991, pp. 172— 196). There he describes his fascinating personal story and relationship with the memorized deck, as well as some magnificent tricks with it ("Ritode iniciación" and Sumisión absoluta"). The profound studies and math-
Xtá j ounusiufi uvbuium j. 1 lie pruiuunu muuiu> <uiu nuiui-
ematical analysis, the poetic philosophical concepts ^^H
nnH fho ¡mfr>l 1 ¿<roriI roflo^Hí^nc rrmtnirwnl in fhi*; rharv and the intelligent reflections contained in this chapter make it worthy of reading, and a study of it will undoubtedly benefit anyone, even if you do not agree totally with some of his ideas (which can be beneficial too). Similar things could be said of all Luis's writings. By the way, he is one of the artists I have seen get the most out of the memorized deck, due to his beautiful and sensitive presentation of the tricks, and the exceptionally magical atmosphere he invokes. As I mentioned elsewhere in this work, the enriching conversations and teamwork with Luis were my inspiration for creating Mnemónica.
In The Sphinx, Vol. XXIX, No. 7, Sept. 1930, he describes a good idea lor two-person telepathy, titled "Call It What You Want Card Trick" (P. 287). It has been republished in the excellent book Martin Gardner Presents
, Lk The Complete Illustrated BookofCardMagic (1969), he describes ^^.■hslstebbins''(pp. 343-349).
In Roberto Super Light (1995), so far available only in German and Spanish, is the effect by my dear friend Ron Wohl "Dante, Herr Stcbbins! ' (p. 52), which, in the words of Roberto "utilizes the principle in a novel and ingenious way". For this and other last-minute additions to this bibliography, 1 owe thanks to Roberto (my soul mate!). See what I think of him in my foreword Volume 1 of his extraordinary Card College.
In the 192S February and March issues of the French magazine Le pres-lidigitateur, the author describes several tricks with a stacked deck, among them the one that A! Baker would eventually describe under the title "A Card and a Number" in his small yet great Al Baker's Book (1933). The text of the Gombert article was reproduced in the book bv Remi Ceillier, Manuel pratique d'illusionisme el de prestidigitation (1935). Also included are the trick in which a deck is distributed within several pockets and cards are brought out as spectators call for them, and the "Obedient Cards", which I describe in an extended version on p. 88. There is also a method for stacking the thirty-two cards of the deck while running them from hand to hand, and inserting them between the fingers (the first eight between thumb and forefinger, the next eight between forefinger and middle finger, and so on). It's a method that demands assiduous training, but seems to have been mastered by several French cardmen of the 1920s. (See lc on p. 287.)
He published two stacked-deck tricks in his book Cuff on Cards (1964). "Telephone Card Mystery" (p. 9) »s a divination of a card by a distant medium. This employs the idea of the medium apparently calling a wrong number, which happens to be the home where >e mag^ian is performing. She does not hang up and
¡BEST'S? "T""says cedes tho , I ° names lhe card that pre-
* "leCt'°n in lhe ^ck: "You cou Id have chosen
Ses uP t TW° °f Diam°nds' ^ J*"* of Spades...anything." She then >> P- someone m the party calls her, upon which she answers and names the card. The other trick, "A Question of Coined routine using the Galasso-Stebbins setup.
GUYOT, GlLLES E.
His book Nouvelles Recreates physiques et „MnaUques (1769, may be the first to describe a rosary stack (as opposed to a mathematical one, There are several interesting effects, such as calling all the cards in order a card found by ,Ls scent, having the deck divided and divining whether
- --------- v.i>uimK wnemer the two packets contam an even or an odd number of cards and, finally naming the values of several cards taken in wnn^m mp naming the values ot several cards taken in sequence.
In Vol. 23 of Genii, he wrote a series titled Conjuring for the Cognoscenti, which included "Memorized Deck Effects" (No. 5, Jan. 1959, p. 180), "The Memorized Deck" (No. 7, March 1959, p. 254), "Getting the Memorized Deck into Action" (No. 8, April 1959, p. 288) and "Memorized Deck Magic (No. 9, May 1959, p. 324).
Hatton, Henry and Adrian Plate
Their book Magicians' Tricks: How They arc Done (1910) includes two effects with a rosary stack: "A Feat of Divination" (p. 113), in which the magician ascertains the number of cards wrapped in a handkerchief and their identity, thanks to the transparency of the material when it is stretched; and the calling off of the order of a shuffled deck held behind the magician's back, through second sight or, perhaps, a supernatural ly refined sense of touch (p. 115)—or maybe a deck switch done behind the back (see Rüterberg below).
Hilliard, John Northern
In the monumental and marvelous work which is Greater Magic (1938), Hilliard published a section titled "The New Pack Location" (pp. 99-104), which contains several tricks using an Ace-through-King stack: In "The Perfect Card Trick" the magician begins with a brand new deck, which he unseals in front of the spectators and, after several shuffles, has cards selected and returned. He then divines them, even after the spectator has given the deck a riffle shuffle. Next he reverses the order of the deck and proceeds with a very clever divination. 1 he same procedure enables him to accomplish a good prediction called "Under Which King, Bezonian?", after which he concludes with a formidable divination atter
384 / j^an tamariz
, .a. in ^ spectator in "The Incomprehensible Detection". In Chaptcr :; ■ c v.''With Prearranged Pack" (p. 339) is an effect in which the ^nL-nly reverses a card in the deck, wh.ch later proves to match -TSby a spectator. Also included is the idea of allowing a spec-Z Tie the deck a quick overhand shuffle, after which he cuts it and k it a card By looking at the card above it, you can ascertain the iden-Z of the selection (with a slim possibility of failure). More tricks from /;„„,,', .M,v„ are mentioned in the entries for George Kaplan and William
HlSTED, LOUIS S.
■The Miracle Divination" on p. 41 of The Magic of Louis S. Misted (1947) is a magnificent effect and falls in the category known as The Princess Card Trick, the matrix principle and, in France, as Raynaly's Trick. Small groups of cards from the deck are distributed among a number of spectators, and each thinks of <i card, after which the magician divines all of their mental selections. Uisted's version has an important feature: The deck, or rather the distributed packets, may be shuffled by the spectators. It is, thus, an improvement on the excellent idea of Paul Fox in his "Paul Fox Miracle Gimmick". The great Simon Aronson also has a magnificent version of this trick, with the addition of a prediction of one of the thought-of cards.
This studious and very knowledgeable French magician has published, together with Thierry Depaulis, in Le Vicux Papier (1966), a very good study titled Enquete sur mt escaiMettr tin debut du XVIie stick, treating the magician known as L'Escot and his book, published in 1621, Les fantasies de L'Escot. That work includes an interesting and carefully documented history of the J diverse systems for stacking decks, including the contributions of DeLand and the 1597 Italian pamphlet II Cartaginese, the first tnck of which consists of calling all the cards in an apparently random order wnhout missing any (by adding four to each subsequent card and rotatmg the suits, with a few exceptions).
Hoffmann, Professor (Angelo John Lewis)
in °876) is the trick "To Name All the Cards in the Pack containsT" <P' 50)' '1S We" 35 the cffcct oi tellin8 whether a cut packet is resorted to fe Z^t °f (p' ™e Ei8ht Kin&S St3Ck form (^281 " Mw (1890) is CaPita' Q"
«rds taken ,ft ' * lhe classic "Q Trick", but with face-down
CUtt,nS a sacked deck, through which the magician
Mnemonic a s 385
learns the identity of the cards forming the Q configuration. He "divines" a card, which is forced by having the spectator count cards in the Q to a freely chosen number and then count back around the Q. When the effect is repeated, the spectator is told to add or remove cards from the tail of the Q. Nevertheless, the magician knows the new force card and divines it as well, without the need to look at any of the cards.
hofzinser, johann nepomuk
In the book about his card magic, J. N. Hofzinscr Kartenkunsle, written by Ottokar Fisher in 1910 (and translated into English by S. H. Sharpe as /. N. Hofzins-er's Card Conjuring), the author included everything he could recall or discover about the magic Hofeinser was doing in the nineteenth century. There are four tricks using rosary stacks (actual mnemonic decks, but with a cyclical order). These tricks are true miracles, as was everything coming from the Viennese genius. Their titles are: "Sensation" (p. 55), "Thought" (p. 65) and "Domination of Thought" (two methods, pp. 81 and 85). These effects combine, with a marvelous structural complexity, various top-notch original sleights, gimmicked cards (some invented by Hofzinser himself), highly refined psychological subtleties, elegant and poetic plots, and perfect constructions to achieve dumbfounding and artistically unique effects. 1 don't want to waste this opportunity to express here my highest regard for the card magic described in this book, which I consider among the best, if not the best, of all time.
In his excellent book Expert Card Technique (1940), written jointly with Fred Braue, the formidable concept of the half stack is described or 194, with no attribution. I wonder who thought of it. Vernon9 Hugard himself? Several magnificent handlings for the half stack are described, along with a subtle and
In Encyclopedia of Card Tricks (1937), edited by Hugard, there is a chapter devoted to tricks with stacks (p. 189). Several of these are cited in other entries of this bibliography: Theodore Annemann, Charles Jordan, A1 Baker, etc. Others are "New X-ray Trick" (p. 206) and, on the same page, "Shark Food, both divination effects. There is a routine by Howard P. Albnght (p. 216), in
> h the Performer pretends to read the spectator s hps with his finger.
Wht the latter names a card, moving his lips without uttering a sound.
Tn follow* a blindfolded location of a named card in the deck and ,
.. r*rAC sealed in an envelope and their rH«nu r Lion of the number of cards sealed in an envelope and their identi-? \nother effect, also by Albright and titled "Unique Telephone Test" - has the magician removing cards from the deck, which is inside his pocket The cards removed make up a telephone number thought of by someone, who wrote it on a piece of paper (which allowed the magician to learn it secretly). In another Albright trick, "Psychological Discernment" (p. 218), cards are removed from the pocket until reaching the selection. On p. 228, there is an idea attributed to William Larsen, Sr., similar to one by George Kaplan, commented on in this bibliography. Finally, there is a trick by Clayton Brown, "The Knockout" (p. 234), which is a superior version to one given in Dai Vernon's Further Inner Secrets of Card Magic (1961) by Lewis Ganson (p. 71). In Brown's version, three spectators each take a card and place it into a pocket. The magician hands another deck to his medium (who can be in another room from the start, and to whom a spectator brings the second deck). The medium takes three cards from that deck, and these turn out to match the three selections the spectators have in their pockets. The method is a very clever one, and the effect very strong. On p. 235 is the idea of using a stacked deck with short-long pairs (as in Val Evans's "Multeffect Cards").
in Hugard s Magic Monthly, Vol. VI, No. 1, June 1948, there is a routine titled "A Nikola Presentation" (p. 427), which has an excellent presentation for stacking the deck by asking the spectators for cards. The routine continues with stunts attributed to sharp eyesight and alleged memory, and concludes with a poker demonstration.
His book MAGI Card System (1942) is devoted entirely to a personal stack system, and its hundred pages contain various tricks and variations with this stack, as well as interesting memorization methods, sleights, psychology and routines. Hugo also describes diverse and interesting ideas combining the memorized deck with side strippers and end strippers, marked cards, a Svengali Deck and the Vi bra torn Deck (with card by touch) A Sl;ort"cornered cards, allowing us to locate any poker Hmi , /Pe,1,»g Bee" is built into the stack, as are some good
W^t tble spelling of ,hree cards- Jt's a vcry krouKh, iftoZ, d U> find (my admired friend Michael Weber o my attention).
Was this article helpful?
Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.