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Another Random Scribd Document
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 The Project Gutenberg eBook of Sleight of
Hand: A Practical Manual of Legerdemain for
Amateurs & Others
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
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Title: Sleight of Hand: A Practical Manual of Legerdemain for

Amateurs & Others

Author: Edwin Thomas Sachs

Release date: January 11, 2016 [eBook #50903]

Most recently updated: October 22, 2024

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK SLEIGHT OF

HAND: A PRACTICAL MANUAL OF LEGERDEMAIN FOR AMATEURS &
OTHERS ***
 SLEIGHT OF HAND
A Practical Manual of Legerdemain
for Amateurs & Others

EDWIN SACHS

Dover Publications, Inc.

New York

Published in Canada by General Publishing Company, Ltd.,

30 Lesmill Road, Don Mills, Toronto, Ontario.

This Dover edition, first published in 1980, is an unabridged

republication of the second, greatly enlarged, edition of the
work as published by L. Upcott Gill, London, 1885.

International Standard Book Number: 0-486-23911-X

Library of Congress Catalog Card Number: 79-54184
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N. Y. 10014
 CONTENTS.
CHAP. PAGE
Introduction 1
Part I. Drawing-room Magic. 4
I.—Palming 5
II.—Tricks with Coins 9
III.—Tricks with Common Objects 39
IV.—Tricks with Cups and Balls 54
V.—Tricks with Handkerchiefs 62
VI.—Chinese Tricks 70
VII.—Tricks at Table 77
VIII.—Tricks with Cards 88
Part II.—Grand, or Stage Magic. 149
IX.—General Remarks 149
X.—The Table and Dress 156
XI.—Sleights and Properties for General Use 163
XII.—Tricks with Cards 186
XIII.—Tricks with Handkerchiefs and Gloves 210
XIV.—Tricks with Coins 232
XV.—Miscellaneous 257
XVI.—The Cornucopian Hat 346
XVII.—Tricks with Watches and Live Stock 361
XVIII.—Sham Mesmerism, Clairvoyance, &c. 378
XIX.—Final Instructions 392
 PREFACE TO SECOND EDITION.
It is always a matter for self-congratulation on the part of an author
to be called upon to furnish a Preface to a second or subsequent
edition of some "bantling of his brain." In the present instance the
task is more satisfactory than usual, the author not coming before
the reader empty-handed. Since the publication of the first edition,
conjurors have not been idle, and numerous new methods for
producing magical surprises have been invented. Such of these as
are suitable or worthy—for, in their haste to be novel, many have
failed to be satisfactory—the author has incorporated; and, by a
thorough revision of the work, he has placed before the aspiring
conjuror, written up to date, all that it is possible for him to know in
the region of Sleight of Hand.
E. S.
London,
April, 1885.

SLEIGHT OF HAND
 Introduction.
"It is as pleasant to be cheated as to cheat," is a maxim that must
have been framed expressly for conjuring, for the more completely
one is deceived by its medium (and, be it said, by its medium alone)
the better one is pleased.
The date of the origin of conjuring, as we now understand the art, is
not known, but there must have been proficients in the practice of it
as early as the time of Chaucer; for that ancient writer speaks of one
Coll Tregetour (Tregetour signifying a juggler) producing a windmill
from beneath a walnut shell. There is doubtless some slight
exaggeration in this statement, or else modern wizards are far
behind those of early days—an hypothesis I cannot accept. In the
superstitious lands of the East, jugglery was doubtless at the bottom
of the many manifestations that were mixed up with religion, and
the wily priests made the best (or worst) uses of its influence on the
uncultivated mind. When we consider the effect that is even now
produced on the minds of an enlightened audience by a skilful
manipulator, the wonderment of people who were but half civilised,
and who were taught to believe in spirits, is scarcely a matter for
surprise.
Although superstition has not died out—if, indeed, it ever will die out
—there are now very few people who attribute the successes of a
conjuror to any other agency than that of his own skill; always
excepting that of the everlasting "confederate," who, as the reader
of the following pages will discover, exists, in ninety-nine cases out
of a hundred, only in the imagination of the spectator.
Formerly, conjurors appeared clothed in long robes and tall, pointed
hats, both covered with mystic signs and symbols; Robert Houdin,
whom we may consider the father of modern conjuring, being the
first to perform in the now conventional evening dress. This
innovation had the effect of increasing the genuineness of the
performance, as it was an easy matter to conceal large articles
beneath a flowing robe, such as had been previously worn; but the
close-fitting dress suit affords no means of concealment—to the
minds of an audience, at any rate. Houdin was the means of
elevating the art in the eyes of the public, besides investing it with
nearly all that it possesses of the graceful; and, as it has undergone
still more improvement since his time, it has now become a pursuit
well worthy the attention of anyone inclined to follow it up, as much
for the amusement of himself as of others. Besides its power of
amusing, conjuring affords an immense amount of instruction to its
student, and is useful in inculcating coolness, precision, and an
endless amount of resource, which will always stand one in good
stead on the world's wide and ever-changing stage.
It is my intention to give, in the following pages, such instruction as
shall enable the merest tyro to become an adept in the art of
Legerdemain, providing that a due degree of attention is given and a
reasonable amount of practice undertaken. Practice, indeed, is what
is required in order to achieve success in any pursuit or amusement,
whatever its nature may be, and without it the best of instruction is
given in vain. For this reason, I must exhort such of my readers as
may seek to amuse their friends through the medium of what I shall
impart to them to devote as much time as they can spare to practice
at the outset, in order that they may acquire a neat method of
manipulation, which is the keystone of success in a conjuror, and
which, once attained, will never leave them. If to this delicacy of
manipulation is added a suavity of manner, accompanied by a never-
failing cool daring, then the perfection of a conjuror is attained.
Magic may safely be divided into two parts, Drawing-room Magic and
Grand Magic. As it is in the family circle that every amateur conjuror
mostly exhibits his attainments, I shall first treat of drawing-room
magic; indeed, it is absolutely necessary to be a master of that
branch, in order to undertake grand magic successfully. The success
of the conjuror who can perform only on the stage, far removed
from all inquisitorial interference, will be but of short duration. I find
it has been the case with most amateurs, who rarely find
opportunities for performing on a stage, that their greatest
successes have been achieved in the drawing-room.
The very first thing a conjuror must procure is a conjuring-wand—an
implement that is always supposed by the audience to be for show
only; and for such they must always be made to think it is. It is,
however, an absolutely indispensable article, both to beginner and
proficient, as it serves as an auxiliary to the concealment of any
article in the hand, as will be explained hereafter. For the present, all
the learner has to do is to procure a round stick of ebony, about
18in. long, fitted with ivory, silver, or brass ferrules (not caps)
countersunk at each end, and to trust to me to its being necessary.
It is best to have the wand made to suit the taste, as those sold at
conjuring-shops are invariably too short. Any walking-stick
manufacturer will make it.
 Part I.
Drawing-room Magic.
This derives its chief beauty from the fact that it is almost entirely
dependent on pure sleight of hand, a fact which audiences are never
slow to appreciate. The most familiar objects are dealt with, and are
made to vanish and re-appear in unexpected places, as though they
really were disembodied and reinstated. The amateur will find, after
a few years' experience, that the impromptu performances he may,
from time to time, be called upon to give in the drawing-rooms of his
acquaintances, will be much more satisfactory to both himself and
his audiences than the more pretentious affairs given upon stages,
which call for a great deal of management, apart from ability, to
render them successes. When once the performer has attained the
credit of being better than the ordinary ruck, it will become
incumbent upon him to keep up the level of skill by means of
practice, as wonder must follow wonder in ever-increasing
proportion.
Coins, from being so readily procurable, and from their adaptability,
are deservedly favourite media, and with them I shall first deal. For
all general purposes, a well-conditioned florin will be found the best
coin for the beginner; although, of course, he must, in time, be able
to manipulate slippery half-crowns and pennies with equal ease.
Florins, as a rule, are more readily procurable in these days, but few
half-crowns being coined in comparison with them. But as the
conjuror must be provided against all emergencies, I shall give
directions for the best method of treatment for each coin. The
means adopted for the temporary concealment of a coin in the hand
is known as Palming, and I shall commence Drawing-room Magic
with a description of the various methods.
 CHAPTER I.

PALMING.
THE PALM PROPER—THE FINGER PALM—THE THUMB PALM—THE
REVERSE PALM.

Fig. 1.
 Fig. 2.

Fig. 3.

Method 1. The Palm Proper.—Hold the coin firmly between the

thumb on the one side and the middle and third fingers on the other,
the first and little fingers taking up graceful positions, as it were, to
cover the movement about to be made (Fig. 1). Remove the thumb
to its ordinary position of repose, and, at the same instant, let the
two fingers (second and third) press the coin into the palm of the
hand, half way down the root of the thumb, the muscles of which
must be brought to bear against the edge of the coin, so that it is
held firmly and forms a bridge over the hollow of the hand (Fig. 2).
A backward and forward swing should be given to the hand whilst
the coin is being palmed, as it not only covers the movement, but
also facilitates the operation in a marked degree. In pressing the
coin home, it will be found that the third finger will be more used
than the middle one. The instant the palm is effected, the hand must
be made to assume the most natural position possible under the
circumstances, the little finger being well thrown out, after the
dainty manner ladies affect when holding a cup, so as to give the
hand breadth. Some beginners think that in holding the hand
perfectly flat they are effecting a very beautiful palm; but this is not
the case, as can be seen at once by looking at the hand without any
coin in its palm. That is the model the conjuror must copy: any
unnatural position at once betrays the fact that something unusual is
going on. For this method, the florin will be found the best coin, its
edge affording a better hold than that of any other piece.
Method 2. The Finger Palm.—The coin is held between the thumb
and forefinger, and the latter then slid aside, so that the coin rests
upon the side of the middle finger. The forefinger then takes the
place of the thumb, and the coin is held as in Fig. 3. The action is
simplified if the coin is held in the first instance between the thumb
and middle finger, but it looks awkward and suspicious. This method
will be found particularly adapted for concealing coins of the size of
a shilling and less. Larger coins should not be treated thus, except in
emergencies, when anything is allowable.
Method 3. The Thumb Palm.—This palm is not generally known,
which is to be wondered at, for it is a very safe and easy one. The
coin is simply held between the thumb and forefinger, and then slid
to the root of the latter, where it is held, as in Fig. 4. The only
objection to this palm is that it keeps the thumb a close prisoner, to
the manifest loss of grace, but it is exceedingly useful for large and
slippery coins, such as half-crowns, pennies, and crowns.
 Fig. 4.

Fig. 5.

Method 4.—Two, three, and four coins may be palmed by the first
method, but the method shown at Fig. 5 is the safer. There is a
rather unnatural disposition of the thumb about it, but the fingers
are left free play.
 Fig. 6.

Method 5. Reverse Palm.—It is sometimes required of the performer

to show that his hands do not contain any coin. If a coin is palmed
in one of them, he must first exhibit the other open in a very
ostentatious manner, and, whilst the audience is momentarily
engaged in looking at it, press the coin, by means of the thumb,
through the fingers of the hand in which it is held, so that it
protrudes at the back, and cannot be seen from the front (Fig. 6).
Some performers have brought this palm to a great state of
perfection. One very telling effect is to pretend to throw the coin
away. For this purpose, it is held between the tips of the first finger
and thumb, whilst lying upon the side of the middle finger. As the
action of throwing is imitated, the forefinger is slid over the coin, the
thumb being removed, and the coin thus made to protrude at the
back of the hand.
Other fanciful methods of palming exist, but they will be of no
practical use to the conjuror, so I have omitted descriptions of them.
 CHAPTER II.

TRICKS WITH COINS.

TRICK FOR PALM PRACTICE—HOW TO "PASS" A COIN INVISIBLY—
HOW TO CHANGE A COIN—THE USE OF THE WAND IN PALMING—
TO PASS A MARKED COIN THROUGH A TABLE—METHOD FOR
CONCEALING MANY COINS—THE AERIAL VISIT AND JOURNEY—TO
"PASS" SEVERAL COINS—HINTS ON PRACTICE—TO CAUSE A COIN
TO VANISH FROM A HANDKERCHIEF—ON BORROWING A
HANDKERCHIEF—THE DANCING COIN—A MYSTERY WITHIN A
MYSTERY—TO CAUSE A FLORIN AND A PENNY TO CHANGE PLACES
—TO PICK A MARKED COIN FROM A NUMBER, BLINDFOLDED—THE
MARRIAGE—TO INVISIBLY EXTRACT A COIN FROM OUT OF A
GLASS OF WATER—TO PASS PENNIES INTO A BOTTLE—TO CAUSE
EXPOSED COINS TO CHANGE PLACES—TO "SLEEVE" COINS—HINTS
ON MARKING COINS—THE BEST COINS TO USE.
The uses of the palm will make themselves manifest in every trick in
which money is used as a medium, but the beginner can astonish his
friends, and, at the same time, make himself perfect, by any of the
following minor tricks:
(a) Throw the coin backwards and forwards, from hand to hand,
three or four times, in a careless manner, always taking care that the
left hand is shut well over each time the coin is contained in it; and
then make a feint of throwing, but, in reality, palm the coin after the
method that best suits its size. The hand (in most cases it would be
the left, as the majority of conjurers palm with the right; with left-
handed people it would be, of course, reversed) which is supposed
to receive the coin must be closed smartly, so as to make a noise
similar to that caused by a coin thrown into the palm. This is
effected by the ends of the two middle fingers striking the fleshy
part of the thumb (Fig. 7). If this is properly executed, the illusion is
perfect, and all eyes will be directed to the left hand, when the coin
can be quietly placed in a side or tail pocket, to which receptacle it
may afterwards be made to pass from the left hand, where it is
supposed to be, in a magical manner. I would recommend the
beginner to practice this movement sedulously in private, as it
teaches quick and neat palming, and will prove a most useful
auxiliary to many important tricks. By "passing" a coin from place to
place "in a magical manner" is implied the act of pretending to do
so; it being an accepted axiom amongst conjurers never to "pass"
anything invisibly to any given spot until the article is already safely
located there. This practice will, of course, commend itself to all as
avoiding untoward mistakes. To "pass" a coin from the hand, wave
the wand over it, and say whatever you think will go down best with
the particular audience you have before you. A sharp rap on the
knuckles will complete the operation, but always take care to show
the hand empty, otherwise the trick is spoilt. If the wand is not
handy, pretend to rub the coin away between the fingers, or affect
to give it to one of the audience. (See Figs. 8 and 9 for an effective
method.)

Fig. 7.
(The dotted line represents the coin
palmed in the right hand.)
 Fig. 8.

Fig. 9.

(b) Have a coin palmed in the left hand, and borrow a similar one
from the audience, and have it well marked (always have coins
marked where possible, "to prevent changing"). Make a movement
as though you placed the marked coin in the left hand, but in reality
palm it. At the same time, open the left hand, and the coin that has
been snugly concealed there will look as if it had just left the right
hand. By this means a change is effected which you can utilise
according to circumstances. By fidgeting about among the audience,
you may be able to place the marked coin under one of them; the
other coin being held by someone who is directed to hold it "very
high, sir, very high, so that everyone can see it"—the real object
being to keep him from examining it too closely. By standing the
holder of the coin on a chair, an opportunity for slipping the palmed
coin into his pocket presents itself, and should be taken advantage
of. The marked coin being once safely hidden, it is an easy matter to
palm the unmarked one (which, of course, the audience has been
led to believe is the marked one) and make it "pass" invisibly to
wherever the other may be. The conjuror's own coin should always
be provided with a very distinct mark—a cross is invariably a safe
one to employ—as it is rarely that one meets with people who can
refrain from instituting an illicit investigation so soon as the
conjuror's back is turned. When the holder of the coin is seen to be
surreptitiously examining it for the mark, the conjuror should not
prevent him, but call the attention of the audience to the fact, and
ask if the mark be visible. The holder, seeing the cross, will answer
in the affirmative; he not being aware, of course, that the borrowed
coin was possibly marked with a very different sign. This incident will
add to the effectiveness of the trick.
In tricks a and b the wand will be found very useful. It should always
be carried under the arm, after the manner in which soldiers carry
their canes; and when any palm has been effected, and the coin has
to remain concealed in the hand, the wand should be taken in the
hand containing the coin. Beginners, especially, will find this of great
assistance, as in the case of a somewhat defective palm the coin can
be pressed well home by clenching the wand hard. Besides this, the
fact of carrying a wand in the hand keeps the idea of the coin being
there from the minds of the audience; and the mind is what the
conjuror has to deceive.
(c) Have a coin palmed in the right hand (Palm No. 2), and procure
a similar one, marked, which hold up to the audience by the left
hand. Pretend to take it in the right, but let it fall into the hollow of
the left hand (Figs. 8 and 9); the unmarked coin in the right hand
being exhibited. In order to effect this daring change naturally and
without detection, the thumb of the right hand must be passed
through the ring formed by the thumb and forefinger of the left and
the coin held between them, and the fingers closed well over the
coin, which will appear to be grasped by them. Now place the left
hand under the table, the right hand remaining above. Covered by
the action of bringing it on the table, execute Palm No. 1 with the
right hand, but keep the fingers formed as though they still held the
coin, which you then pretend to lay on the table with a sharp "click."
This "click" is made by the coin in the left hand, under the table, in
order that the illusion may be perfect. The right hand will then affect
to rub the coin through the table, and eventually the one in the left
hand, which has in reality never been out of it, will be produced. The
noise of rubbing is also made by the coin under the table, only it
must not be continued too long; and care must be taken that the
two hands act in perfect unison, as it will not do for the noise to
continue when the action of rubbing with the right hand has ceased.
This trick is not so difficult as it looks on paper, and is very effective.
The whole trick consists in pretending to take the marked coin from
the fingers of the left hand without doing so.
(d) Conceal a number of coins in the left hand. As a quantity cannot
be easily palmed, they must be held in the hand with the wand. If
that is not handy, hold the flap of the coat; but care should be taken
that the wand is at hand for this trick. Borrow a hat, taking it in the
right hand (in which a solitary coin is palmed), and transfer it rapidly
to the left in such a manner that the crown is always towards the
audience, and the fingers holding the coins are inside. The coins
must not be jingled, or the trick will be exposed. Tell one of the
audience that he must be very rich if he can afford to carry money
about in such strange places as you perceive he does. Surprise will,
of course, be expressed on his part, when you will fumble about in
his hair, and eventually find the coin which you have had palmed.
This is a much better method of commencing than merely saying, "I
have here a shilling." It is sure to amuse the audience, and put you
on a good footing with them; besides which, it is always well to
mingle as much with them as possible, as then people go home and
say, "Oh! he came right down among us, and found money in
people's heads," &c. Also take care to find the money in an elegant
and inoffensive manner. Having spun the coin in the air, in order to
show that it is a real one, retire to the end of the room, as far away
as you can, if the room is small, and hold the hat, still in the left
hand, before you, with the crown towards the audience. With the
coin in the right hand, make a pass at the hat, palming the coin
(Palm No. 2), and letting one from the left hand fall. You will then
appear to have passed the coin from the right hand into the hat, by
way of the crown. Should the coin by accident fall on a soft place in
the hat, and make no noise in so doing, shake the hat about to show
that the coin really is inside, or no one will know what is supposed to
have taken place. Now advance a step or two, looking cautiously
forward as if you saw something in the air, and suddenly make a
dart out with the right hand, at the same time bringing the coin to
the extreme ends of the fingers. The idea conveyed is that the coin
has been caught in the air (Fig. 10). Pass it through the hat, letting
another fall from the left hand, and shaking the hat so as to ensure
the two that have been dropped jingling together, and find another
in the air a little farther on. Proceed in this way till all the coins in
the left hand are exhausted (varying the proceedings by occasionally
finding one at your elbow or foot), and then show the hat with coins
to the audience, a member of which will doubtless have "just one
more" seated on the tip of the nose, which coin is put into the hat in
the ordinary way. The beginner should use shillings, seven or eight
only in number, for this trick, although larger coins are certainly
more effective at a distance. It is best to use two palms, viz., the
finger palm when the coin is to be caught in the air or in the flame
of a candle (a very pretty effect), as it is more readily brought to the
ends of the fingers from that position; and either of the others (No.
1 for choice), when the coin is to be found on the body or
elsewhere. It is as well to occasionally pretend to put the coin into
the hat in the ordinary way, instead of through the crown. Some
conjurors object altogether to passing through the crown; but this is
merely a matter of fancy. It sometimes happens that the person in
whose hair you find the first piece will, from his being a "funny
man," or otherwise privileged person, ask you to give him back his
property. Acquiesce at once with his request, of course after your
own manner, which will be to palm the coin, and pretend to give it to
him, much to his discomfiture. In borrowing the hat, be sure that it
hides the left hand in the act of being taken, so that any accidental
exposure of the coins held there, which might occur through
inexperience, will be covered. Also observe the greatest caution in
dropping only one coin into the hat at the first pass. After the first
coin has fallen, it does not matter if two or more are accidentally let
fall at once, as the error could not be detected; but at the
commencement it would be simply fatal to do so. Under cover of the
hat it is easy to separate one coin from the rest for the first drop. If
the number of coins is very limited, you must give the hat a short,
sharp shake, which will serve in lieu of letting one fall; but only do
this now and then. This trick will be treated in an enlarged form,
under the head of "Grand Magic." When any number of coins are
required for any other trick, they should always be collected in this
manner, it being a most effective method. Always take a step in
advance each time a coin is found. For this reason the performer
should stand well to the right on the stage on commencing.

Fig. 10.
(e) The following makes an excellent "follow" to the preceding trick:
Suppose that you have sixteen coins in all in the hat; conceal four of
them in one hand. If the hat is then held by the same hand, it will
not be noticed that it contains any coins. Now ask someone to count
the coins in the hat, and, of course, there will be twelve. Take four
of these away, and give them to be held by another person. Hold the
hat high in the air, and tell the person who has the remaining eight
coins to drop them into it when you have counted "three." Watch the
action of his hand narrowly, and, as the eight coins fall, release the
four concealed in the hand which holds the hat so that they all fall
exactly together. The great thing to avoid is the sound of two distinct
drops, which would be fatal. Leaving the hat, covered with a
handkerchief if you please, in the hands of your temporary assistant,
who will, of course, be enjoined to "hold it very high," you take the
four coins just previously given to be held, and "pass" them invisibly
into the hat, where, of course, twelve coins will be found. The
method for passing used is the same as that depicted at Fig. 7, with
the difference that the coins are not palmed. They must be held in
the fingers loosely (Fig. 11) so that when the false movement of
placing them in the outstretched palm is made they will come
together with a clash, which is highly necessary for the success of
the pass. The hand actually containing the coins must instantly seize
the wand, which article will then cause the magic journey from left
hand to hat to be made. Be careful that the counting of the coins is
done in a very deliberate manner, and in a loud voice, so that
everyone in the room knows how many coins are supposed to be in
the hat before you pass the rest into it. If this is not done, the effect
of the trick is lost.
 Fig. 11.

Here let me advise my readers to assiduously practise quick palming,

for which purpose I would recommend trick a as a most effective
exercise. So much depends upon a quick and secure palm, that too
great a stress cannot be laid upon it. Indeed, I cannot too strongly
impress the learner with the necessity of practising everything, to
the minutest detail, in private, before venturing to perform before
others. By so doing, much chagrin and disappointment will be
averted.
(f) The trick I am now about to describe will, I have no doubt, be
known to many of my readers; but I ask no excuse for giving it here,
as those who can claim a previous acquaintanceship with the trick
will, perhaps, here learn a wrinkle or two worth knowing: Borrow a
handkerchief. When I say "borrow a handkerchief," I do not mean
simply borrow one without any comment. On the contrary, make a
great fuss about never using your own handkerchief, &c.; and be
particular to hand round all borrowed articles for inspection, to show
that you "have no confederates." By making your audience
thoroughly sick of looking at borrowed articles, they are more likely
to pass over anything of your own that will not bear minute
examination. This should be borne well in mind. Spread the
handkerchief out upon the table, and place a coin, not heavier or
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