The double-runner is much lighter and very much easier to steer on account of the front sled being arranged so that it can be moved independently of the rear sled, for a turn to the right or the left causes the "bob" to take the direction indicated by the front runners; but double-runners steered with a wheel, lever or yoke in front, are very dangerous, as the steersman, in case of an accident, is thrown against the steering apparatus, usually with serious results.

The safety double-runner does away with serious results, having a bridle with which it is steered. It also does away with the danger of collision by having an automatic brake that will stop it, in times of danger, within the distance of its own length. These are qualities which will be appreciated by all who "slide down hill," as we called it when I was a lad, or who are fond of coasting, as our school- readers called it then, and as every one calls it now.

Double-runners, or bob sleds, can be made at home, but the work requires so much varied material, so many tools, and so much skill that I shall not tell how the thing is done. A number of boys, who desire to own a bob sled in partnership, can have the work done by a wagon-maker, who knows just how, and has all the material to hand. Such sleds, and they are usually well made, can be purchased at reasonable prices and of any size from establishments that deal in such articles. These can be found in any of our large cities. The safe and sane sled, for the ordinary youngster, and the average hill, is that which has a capacity for two—one is still better—and which is steered by sitting astern and keeping one leg back to act as a runner.

TOBOGGANING

The toboggan is much used in Canada, where the Indians taught the first whites how to make and use it, and has become popular in the northern states, particularly along the Great Lakes. It is made of smooth, closely joined, flexible boards, turned up in front by being steam heated. The toboggan lies flat on the ground and may be of any length from six to twelve or even more feet.

The passengers squat on furs or other coverings laid flat on the toboggan. The steerer sits behind and controls the direction by a trailing pole and sometimes with one foot.

Many Canadian cities have constructed toboggan slides for the use of the people. The most famous of these is at Montreal. This slide has a "joust" or obstruction at the bottom, which causes the toboggan and its occupants to leap into the air in a way that delights the experts and brings alarm to those who are taking their first ride. But the healthy boy does not limit his winter sports to skates and sleds. Without either of these appliances no end of fun can be had in the snow itself.

It would be a waste of time to describe snowballing, which may be made to afford pleasure, but which as too often done brings discomfort to the ones unexpectedly attacked.

A SNOW BATTLE

Now, a snow battle, if properly managed, is a different matter, and calls for that endurance and tact that distinguishes the true soldier.

The two selected captains toss up in the usual manner for first choice of men. Then alternately, as in a spelling bee, each chooses a soldier until all are taken. The taw lines are then drawn, about thirty feet apart, and two flag staffs with colored handkerchiefs for flags are erected in each camp. To bear the enemy's flag to your own camp, that is, over the taw line, wins the victory for your side. Tackling is allowed, as in football, and is limited by the same rules. No boy bearing the mark of a snowball on chest or back is allowed to take further part in the game, as he is considered to be a dead soldier, but the dead soldiers may coach their comrades as often as they please. No tripping, no striking, no ice balls, and no "soakers" (wet snowballs) are allowed.

Snow tag is another good game. Count out for "It." While "It" takes his place at the hub of the wheel, the other players scatter around the circumference or rim, and the word "ready" is given. "It" then darts out one of the "spoke" paths and endeavors to tag some one of the other boys, and the fun begins. Two cannot pass each other on the narrow paths, and the fleeing boys often step on each others' heels, trip and tumble head first into the deep snow, forming an easy prey for "It"; but again the lads will dance around in a most provoking manner, and as "It" darts up one spoke toward the rim, the players dart down the other toward the hub, and show great skill in eluding "It."



CHAPTER XXIV

SOME HINTS ON GENERAL ATHLETICS, INCLUDING WALKING, RUNNING AND JUMPING

I do not think the advice I have given, as to the games appropriate for each season would be at all complete, if I did not give some advice that will be useful for all seasons and every day in the year.

To the boy the enjoyment of the sport is the first thing to be considered, but it is not the only thing. Our lives are often affected for good or ill by very little things. Injuries have been received by boys in sport that marred all their after lives.

It is natural for the young to delight in exercise. It is by taking it that they develop, but the development, to be of value, must be along sensible lines.

Every healthy boy wants to be an athlete; wants to excel in some line, and as this ambition is reasonable, it should not be discouraged. The youth eager to win in his sports is not apt to be found lagging when he takes up the more serious business of life.

Competition is said to be the life of trade, and it certainly adds greatly to our interest in sports, but the boy who starts in to learn by trying to compete is doomed to failure. There would be more success in the end if we learned to go slower and so became more thorough in the beginning.

There are certain exercises that every athlete must take to have a good physique, and the very first, and by far the most useful of these, is walking.

WALKING

Can you walk? I hear you laughing at the question; but let me change it slightly and ask, "Can you walk properly?"

"Of course I can," you reply. "I walk just like other folks who are not lame."

Now very few people walk properly, and no two people, unless it be soldiers or others who have been drilled to the exercise, walk alike. Just watch and see for yourself.

The good walker is always the graceful, easy walker. He stands erect, but not stiffly. His shoulders are well thrown back. He keeps his mouth closed, except when talking, and he breathes and exhales through his nostrils as the wise God meant him to do. His clothes fit him loosely and comfortably. He steps naturally, and without a trying stride, or a short step mincing gait, as if he wore hobbles. He walks by lifting his feet and not by raising his shoulders. And he wears shoes or other foot gear that do not breed corns or bunions.

Unless in a great hurry the walk, even the brisk walk, should never exceed three miles an hour; good heel and toe walkers have made forty miles without fatigue in ten hours, but this power comes only after long practice.

Walking is the very best, as it is the very cheapest, form of exercise, and it is best enjoyed on a country road with a cheerful companion.

Remember in all your exercising that good health is the one great object. Suppress all ambition to be merely strong. Many brutes are stronger than many of the strongest men, and many strong men have gone to pieces where lighter but more enduring men have come through the ordeal fresh and unharmed. This I have often noted in war times, when soldiers were called on to make a forced march over trying roads and in a downpour of rain.

Endurance is the great thing to strive for. The man who lasts is the man who wins. Therefore, in your walks, particularly when you are learning to walk well, like an Indian or a soldier, never try to do more than can be done without making too great a demand on your bodily strength.

RUNNING

Running is a fine exercise, provided always that it be done in season and in reason. To do it in reason you must start in by acquiring the skill to run and the endurance to keep it up.

There is one organ which if it stopped for a minute, the owner would be dead; that is the heart. Yet many young athletes act as if they were not aware that they had hearts.

No exercise that requires sudden violent effort, like fast rowing, or a hundred-yard dash in running, can be undertaken without serious effect to the heart. The Andean Indians will run, lightly and easily, at the rate of ten miles an hour, and keep it up for ten hours without rest, but you cannot induce them to make a short dash at high speed; they do not want to feel the warning thump of the heart.

In learning to run, breathe as in walking, keeping the body slightly bent forward, and the elbows gripped close to the sides. Under no circumstances start out by competing with any one, or by trying to run against time. Such a course will result in final failure, and may bring on a serious injury.

The jog trot is the thing to start in with. Try it for a week or two, and you will be surprised at the ease with which you can do it. At first a mile is long enough for a run. After a month you can do two miles without as much fatigue. Finally, if the gait be not too fast, you can keep it up for hours.

After you have mastered the jog, it will be time enough to quicken the pace into a run, not your swiftest run, mark you, but a run that you can keep up for a mile, with as little exhaustion as you did your first mile trot.

It is only by this slow, pleasant training, that you can ever learn to walk and run well, but when you have learned you will be paid for the effort, and then if the time comes to test your speed you will be ready to respond.

Jumping is closely related to running. It is an exercise in which boys delight, but which they seldom practice so as to achieve any skill.

We divide this exercise into standing and running jumps, and each of these can be subdivided into high and broad jumps.

In running contests, hurdles or other obstructions are placed in the path of the runner. These hurdles vary in height, but if you want to learn, start in with one or two about as high as your knee. Of course, you could take them standing, and it is not a bad exercise, but learn to take them at a moderate run. When you can do this with ease, increase the number or the closeness of the hurdles and add to the length of the run.

After a time you can take more and higher hurdles and lengthen the run, but never do either if you find your heart beating, or that the effort brings fatigue.

I do not think the running high jump pays for the effort. It is spectacular, that is all; not so the running broad jump. This may be of use. It is safe and sane, and with practice it is surprising the distance that can be covered.

After violent exercise of any kind, be sure to take a bath and a brisk rub down. If this cannot be had, a towel well soaked in cold water will make a good substitute, if you dry down with another towel.

If your clothes are wet and you are exercising, they may be allowed to dry on you with safety, but if you cannot do this, get dry clothes if possible. I have known sturdy boys to contract rheumatism from wet clothes; and they never got over it.

In conclusion, let me advise common sense. Think before you act, even when you are out for sport.



CHAPTER XXV

BATTLE CRIES, HAILING SHOUTS, AND COLLEGE YELLS

The American Indians, like the uncivilized of all lands, had their own peculiar battle cry or war-whoop, which it is impossible to reproduce by letters. During our Civil War the Confederates gave a thrilling imitation of it in their famous "Rebel Yell," which every old soldier recalls with more or less admiration.

The ancient Greeks joined in battle with shouts of "Eleleu!" The Welsh cry was "Ubub!" from whence comes our word hubbub, meaning a confusion. The Irish war shout was nearly like that of the Greek, being "Ullulu!" The Scotch clans had each its own shout or slogan; the pibroch being the chant of the march to battle.

Of old, the Hungarian horseman, when charging shouted "Huzza!" and so the name Hussar is given to the light cavalry regiments of many of the European armies. The Australian herders have a hailing cry, learned from the natives, which, properly done, carries a great distance. It sounds like "Coo-ee!" the first syllable being made deep in the chest, and the other a shrill head note.

The Yaqui Indians of northern Mexico take their name from their peculiar war cry, "Ya-kee," which is produced like the Australian coo- ee. I have heard this thrilling cry for a distance of over one mile in the Sierra Madre mountains.

All boys, whether bound for college or not, are always interested in what are known as "College Yells." Each college has its own yell, and in some of them great pains, if not great originality, is shown in the construction of the words. Here are a few:

Princeton—"Hurrah! Hurrah! Hurrah! Tiger-siss-boom-ah! PRINCETON!" And the sturdy sons of

Yale—"Rah! Rah! Rah! Rah! Rah! Rah! Rah! Rah! Rah! YALE!" quickly and sharply enunciated.

Harvard boys cry, with long-drawn deep notes, "Rah! rah! rah! Rah! rah! rah! Rah! rah! rah! HARVARD!"

Cornell—"Cornell I yell! yell! yell! CORNELL!"

Williams College—"Rah! rah! rah! yums! yams! yums! WILLYUMS!" Trinity College—"Rah! rah! rah! Trinity! Boom-rah! Boom-rah! TRIN- EYE-TEE!"

Wesleyan College—"Rah! rah! rah! rah! Wesleyan! Rah! rah! rah! rah!"

Brown College—"Rah, rah, rah, rah! BROWN!"

Colorado College—"Rah! rah! rah! Pike's Peak or bust! Colorado College! Yell we MUST!"

The Leland Stanford, Jr.—"Wah hoo! Ya hoo! L. S. J. U.! STANFORD!"

Dartmouth College—"Hi! hi! hi! Rah! rah! rah! D-d-d-d-Dartmouth, wah, who, wah!" or, "Wah, who, wah! Wah, who, wah! Da, di, di, Dartmouth! Wah, who wah!"

Union College—"Rah, rah, rah! U-N-I-O-N. Hikah! hikah! hikah!"

University of Illinois—"Rah, hoo, rah! Zipp, boom, ah! Hip-zoo! Rah-zoo. Jimmy blow your bazoo! Ip-sidi-iki U. off I. campaign!"

Hanover—"Han, Han! HANOVER!"

Westminster-"Rah, rah, rah! Oh, yes, sir! Vive-la, Vive-la! WESTMINSTER!"

Cornell, of Iowa-"Zip-siss-boom! Cor-cor-nell! C-C. tiger-la! Zipp- siss-hur-rah!"

Amherst—"Rah! rah! rah!" etc., and terminating with the name of their institution. Boston University—"Boston, B-B-BOSTON! Varsity! Varsity! Varsity! Rah! rah! rah!"

Rutgers—"Rah, rah, rah! Bow-wow-wow! RUTGERS!"

Rochester University—"Waxico, waxico, waxico, wax! Waxico, waxico, waxico, wax! Brek-k-ks—Brek-k-ks, ah-h-ah! ROCHESTER!"

University of Washington—"U. of W.! Hiah! Hiah! U. of W.! U. of W.! Siah! Siah! Shooken' Shookem! WASHINGTON!"

Hobart College—"Hip-ho-bart! Hip-ho-bart! Hip-ho, hip-ho, HIP-HO- BART!"

Syracuse University—"Srah—Srah—Srah Sy-ra-cuse!"

This list by no means comprises all the college cries, but it will serve to illustrate the most striking of them.

Even the women's colleges have their own distinctive cries, and for oddness they quite equal those of the men. And now the high schools, and even the separate classes and school societies are indulging in original cries. But so long as these things keep up the class spirit and make for sound lungs and high spirits, why should old fogies object?



CHAPTER XXVI

CLEVER TRICKS WORTH KNOWING

THE VANISHING KNOTS

For this trick you must use a silk handkerchief. Twisting it, rope- fashion, and grasping it by the middle with both hands. You must request one of the spectators to tie the two ends together. He does so, but you tell him he has not tied them half tight enough, and you yourself pull them still tighter. A second and a third knot are made in the same manner, the handkerchief being drawn tighter by yourself after each knot is made. Finally, take the handkerchief, and covering the knots with the loose part, you hand it to some one to hold. Breathing on it, you request him to shake out the handkerchief, when all the knots are found to have disappeared.

When the performer apparently tightens the knot, he in reality only strains one end of the handkerchief, grasping it above and below the knot. This pulls that end of the handkerchief out of its twisted condition and into a straight line, round which the other end of the handkerchief remains twisted; in other words, converts the knot into a slip-knot. After each successive knot he still straightens this same end of the handkerchief. This end, being thus made straight, would naturally be left longer than the other, which is twisted round and round it. This tendency the performer counteracts by drawing it partially back through the slip-knot at each pretended tightening. When he finally covers over the knots, which he does with the left hand, he holds the straightened portion of the handkerchief, immediately behind the knots, between the first finger and thumb of the right hand, and therewith, in the act of covering over the knots, draws this straightened portion completely out of the slipknot.

THE DANCING SAILOR

The Dancing Sailor is a figure cut out of cardboard, eight or nine inches in height, and with its arms and legs cut out separately, and attached to the trunk with thread in such a manner as to hang perfectly free. The mode of exhibiting it is as follows: The performer, taking a seat facing the company, with his legs slightly apart, places the figure on the ground between them. As might be expected, it falls flat and lifeless, but after a few mesmeric passes it is induced to stand upright, though without visible support, and, on a lively piece of music being played, dances to it, keeping time, and ceasing as soon as the music ceases.

The secret lies in the fact that, from leg to leg of the performer, at about the height of the figure from the ground, is fixed (generally by means of a couple of bent pins), a fine black silk thread, of eighteen or twenty inches in length. This allows him to move about without any hindrance. On each side of the head of the figure is a little slanting cut, tending in a perpendicular direction, and about half an inch in length. The divided portions of the cardboard are bent back a little, thus forming two "hooks," so to speak, at the sides of the head. When the performer takes his seat, as before mentioned, the separation of his legs draws the silk comparatively taut, though, against a moderately dark background, it remains wholly invisible. When he first places the figure on the ground, he does so simply, and the figure naturally falls. He makes a few sham mesmeric passes over it, but still it falls. At the third and fourth attempt, however, he places it so that the little hooks already mentioned just catch the thread, and the figure is thus kept upright. When the music commences, the smallest motion, or pretence of keeping time with the feet is enough to start the sailor in a vigorous hornpipe.

CONJURING WITH COINS

Coin-conjuring has its own peculiar sleights, which it will be necessary for the student to practice diligently before he can hope to attain much success in this direction.

The first faculty which the novice must seek to acquire is that of "palming"—i.e., secretly holding an object in the open hand by the contraction of the palm. To acquire this power, take a half-crown, florin, or quarter (these being the most convenient in point of size), and lay it on the palm of the open hand. Now close the hand very slightly, and if you have placed the coin on the right spot (which a few trials will quickly indicate), the contraction of the palm around its edges will hold it securely, and you may move the hand and arm in any direction without fear of dropping it. You should next accustom yourself to use the hand and fingers easily and naturally, while still holding the coin as described. A very little practice will enable you to do this. You must bear in mind while practicing always to keep the inside of the palm either downward or toward your own body, as any reverse movement would expose the concealed coin.

PASSES

Being thoroughly master of this first lesson, you may proceed to the study of the various "passes." All of the passes have the same object —viz., the apparent transfer of an article from one hand to the other, though such article really remains in the hand which it has apparently just quitted. As the same movement frequently repeated would cause suspicion, and possibly detection, it is desirable to acquire different ways of effecting this object. It should be here mentioned that the term "palming" which we have so far used as meaning simply the act of holding any article, is also employed to signify the act of placing any article in the palm by one or the other of various passes. The context will readily indicate in which of the two senses the term is used in any given passage.

Pass I.—Take the coin in the right hand, between the second and third fingers and the thumb, letting it, however, really be supported by the fingers, and only steadied by the thumb. Now move the thumb out of the way, and close the second and third fingers, with the coin balanced on them, into the palm. If the coin was rightly placed in the first instance, you will find that this motion puts it precisely in the position above described as the proper one for palming; and on again extending the fingers the coin is left palmed. When you can do this easily with the hand at rest, you must practice doing the same thing with the right hand in motion toward the left, which should meet it open, but should close the moment that the fingers of the right hand touch its palm, as though upon the coin which you have by this movement feigned to transfer to it. The left hand must thenceforward remain closed, as if holding the coin, and the right hand hang loosely open, as if empty.

PALMING

In the motion of "palming," the two hands must work in harmony, as in the genuine act of passing an article from the one hand to the other. The left hand must therefore rise to meet the right, but should not begin its journey until the right hand begins its own. Nothing looks more awkward or unnatural than to see the left hand extended, with open palm, before the right hand has begun to move toward it.

Pass 2.—This is somewhat easier than Pass 1, and may sometimes be usefully substituted for it. Take the coin edgeways between the first and third fingers of the right hand, the sides of those fingers pressing against the edges of the coin, and the middle finger steadying it from behind. Carry the right hand toward the left, and at the same time move the thumb swiftly over the face of the coin till the top joint passes its outer edge, then bend the thumb, and the coin will be found to be securely nipped between that joint and the junction of the thumb with the hand. As in the last case, the left hand must be closed the moment the right hand touches it; and the right must thenceforth be held with the thumb bent slightly inward toward the palm, so that the coin may be shielded from the view of the spectators. This is an especially quick mode of palming, and if properly executed the illusion is perfect.

Pass 3.—Hold the left hand palm upward, with the coin in position. Move the right hand toward the left, and let the fingers simulate the motion of picking up the coin, and instantly close. At the same moment slightly close the left hand, so as to contract the palm around the coin, and drop the hand, letting it hang loosely by your side.

THE VANISHING TRICK

A word of caution may here be desirable. These "passes" must by no means be regarded as being themselves tricks, but only as processes to be used in the performance of tricks. If the operator, after pretending to pass the coin, say from the right hand to the left, and showing that it had vanished from the left hand, were to allow his audience to discover that it had all along remained in his right hand, they might admire the dexterity with which he had in this instance deceived their eyes, but they would henceforth guess half the secret of any trick in which palming was employed. If it is necessary immediately to reproduce the coin, the performer should do so by appearing to find it in the hair or whiskers of a spectator, or in any other place that may suit his purpose, remembering always to indicate beforehand that it has passed to such a place, thereby diverting the general attention from himself. As the coin is already in his hand, he has only to drop it to his finger-tips as the hand reaches the place he has named, in order, to all appearance, to take it from thence.

The various passes may be employed not only to cause the disappearance of an article, as above described, but to secretly change it for a substitute of similar appearance. These exchanges are of continual use in conjuring; indeed, we may almost say that three parts of its marvels depends on them. Such an exchange having been made, the substitute is left in sight of the audience, while the performer, having thus secretly gained possession of the original, disposes of it as may be necessary for the purpose of the trick.

With this brief practical production, we proceed to describe a few of the simpler tricks with coins.

HEADS OR TAILS

You borrow a quarter, and spin it, or invite some other person to spin it, on the table (which must be without a cloth). You allow it to spin itself out, and immediately announce, without seeing it, whether it has fallen head or tail upward. This may be repeated any number of times with the same result, though you may be blindfolded, and placed at the further end of the apartment.

The secret lies in the use of a quarter of your own, on one face of which (say on the "tail" side) you have cut at the extreme edge a little notch, thereby causing a minute point or tooth of metal to project from that side of the coin. If a coin so prepared be spun on the table, and should chance to go down with the notched side upward, it will run down like an ordinary coin, with a long continuous "whirr," the sound growing fainter and fainter till it finally ceases; but if it should run down with the notched side downward, the friction of the point against the table will reduce this final whirr to half its ordinary length, and the coin will finally go down with a sort of "flop." The difference of sound is not sufficiently marked to attract the notice of the spectators, but is perfectly distinguishable by an attentive ear. If, therefore, you have notched the coin on the "tail" side, and it runs down slowly, you will cry "tail"; if quickly, "head."

If you professedly use a borrowed coin, you must adroitly change it for your own, tinder pretence of showing how to spin it, or the like.

ODD OR EVEN; OR, THE MYSTERIOUS ADDITION

You take a handful of coins, and invite another person to do the same, and to ascertain privately whether the number he has taken is odd or even. You request the company to observe that you have not asked him a single question, but that you are able, notwithstanding, to divine and counteract his most secret intentions, and that you will, in proof of this, yourself take a number of coins and add them to those he has taken, when, if his number was odd, the total shall be even; if his number was even, the total shall be odd. Requesting him to drop the coins he holds into a hat, held on high by one of the company, you drop in a certain number on your own account. He is now asked whether his number was odd or even; and, the coins being counted, the total number proves to be as you stated, exactly the reverse. The experiment is tried again, with different numbers, but the result is the same.

The secret lies in the simple arithmetical fact, that if you add an odd number to an even number, the result will be odd; if you add an odd number to an odd number, the result will be even. You have only to take care, therefore, that the number you yourself add, whether large or small, shall always be odd.

TO RUB ONE DIME INTO THREE

This is a simple little parlor trick, but will sometimes occasion a good deal of wonderment. Procure three dimes of the same issue, and privately stick two of them with wax to the under side of a table, at about half an inch from the edge, and eight or ten inches apart. Announce to the company that you are about to teach them how to make money. Turn up your sleeves, and take the third dime in your right hand, drawing particular attention to its date and general appearance, and indirectly to the fact that you have no other coin concealed in your hands. Turning back the table cover, rub the dime with the ball of the thumb backward and forward on the edge of the table. In this position your fingers will naturally be below the edge. After rubbing for a few seconds, say: "It is nearly done, for the dime is getting hot," and, after rubbing a moment or two longer with increased rapidity, draw the hand away sharply, bringing away with it one of the concealed dimes, which you exhibit as produced by the friction. Leaving the waxed dime on the table, and again showing that you have but one coin in your hands, repeat the operation with the remaining dime.

THE CAPITAL Q

Take a number of coins, say from five-and-twenty to thirty, and arrange them in the form of the letter Q, making the "tail" consist of some six or seven coins. Then invite some person (during your absence from the room) to count any number he pleases, beginning at the tip of the tail and travelling up the left side of the circle, touching each coin as he does so; then to work back again from the coin at which he stops (calling such coin one), this time, however, not returning down the tail, but continuing round the opposite side of the circle to the same number. During this process you retire, but on your return you indicate with unerring accuracy the coin at which he left off. In order to show (apparently) that the trick does not depend on any arithmetical principle, you reconstruct the Q, or invite the spectators to do so, with a different number of coins, but the result is the same.

The solution lies in the fact that the coin at which the spectator ends will necessarily be at the same distance from the root of the tail as there are coins in the tail itself. Thus, suppose that there are five coins in the tail, and that the spectator makes up his mind to count eleven. He commences from the tip of the tail, and counts up the left side of the circle. This brings him to the sixth coin beyond the tail. He then retrogrades, and calling that coin "one," counts eleven in the opposite direction. This necessarily brings him to the fifth coin from the tail on the opposite side, being the length of the tail over and above those coins which are common to both processes. If he chooses ten, twelve, or any other number, he will still, in counting back again, end at the same point.

The rearrangement of the coins which is apparently intended to make the trick more surprising, is really designed, by altering the length of the tail, to shift the position of the terminating coin. If the trick were performed two or three times in succession, with the same number of coins in the tail, the spectators could hardly fail to observe that the same final coin was always indicated, and thereby to gain a clue to the secret. The number of coins in the circle itself is quite immaterial.

THE WANDERING DIME

Have ready two dimes, each slightly waxed on one side. Borrow a dime, and secretly exchange it for one of the waxed ones, laying the latter waxed side uppermost on the table. Let any one draw two squares of ordinary card-board. Take them in the left hand, and, transferring them to the right, press the second waxed dime against the center of the undermost, to which it will adhere. Lay this card (which we will call a) on the table, about eighteen inches from the dime which is already there, and cover such dime with the other card, b. Lift both cards a little way from the table, to show that the dime is under card a, and that there is (apparently) nothing under card b. As you replace them, press lightly on the center of card a. You may now make the dime appear under whichever card you like, remembering that, if if you wish the dime not to adhere, you must bend the card slightly upward in taking it from the table; if otherwise, take it up without bending.

THE MAGIC COVER AND VANISHING PENNIES

For the purpose of this trick, you require half a dozen cents, of which the center portion has been cut out, leaving each a mere rim of metal. Upon these is placed a complete cent, and the whole are connected together by a rivet, running through the whole thickness of the pile. When placed upon the table, with the complete coin upward, they have all the appearance of a pile of ordinary pennies, the slight lateral play allowed by the rivet aiding the illusion. A little leather cap (shaped something like a fez, with a little button on the top, and of such size as to fit loosely over the pile of cents) with an ordinary die, such as backgammon is played with, complete the necessary apparatus.

You begin by drawing attention to your magic cap and die, and in order to exhibit their mystic powers, you request the loan of half a dozen cents (the number must, of course, correspond with that of your own pile). While they are being collected, you take the opportunity to slip the little cap over your prepared pile, which should be placed ready to hand behind some small object on the table, so as to be unseen by the spectators. Pressing the side of the cap, you lift the pile with it, and place the whole together in full view, in close proximity to the die. The required cents having been now collected, you beg all to observe that you place the leather cap (which the spectators suppose to be empty) fairly over the die. Taking the genuine coins in either hand, you pretend, by one or the other of the "passes", to transfer them to the other. Holding the hand which is now supposed to contain the coins immediately above the cap, you announce that they will at your command pass under the cap, from which the die will disappear to make room for them. Saying, "One, two, three! Pass!" you open your hand, and show that the coins have vanished; and then, lifting up the cap by the button, you show the hollow pile, covering the die and appearing to be the genuine coins. Once more covering the pile with the cap, you announce that you will again extract the coins, and replace the die; and to make the trick still more extraordinary, you will this time pass the coins right through the table. Placing the hand which holds the genuine coins beneath the table, and once more saying, "One, two, three! Pass!" you chink the coins, and, bringing them up, place them on the table. Again picking up the cap, but this time pressing its sides, you lift up the hollow pile with it and disclose the die. Quickly transferring the cap, without the pile, to the other hand, you place it on the table, to bear the brunt of examination, while you get rid of the prepared coins.

THE PEPPER-BOX, FOR VANISHING MONEY

This is a small tin box, of the pepper-box or flour-dredger shape, standing three to four inches high. The "box" portion (as distinguished from the lid) is made double, consisting of two tin tubes sliding the one within the other, the bottom being soldered to the inner one only. By pulling the bottom downward, therefore, you draw down with it the inner tube, telescope fashion. By so doing you bring into view a slit or opening at one side of the inner tube, level with the bottom, and of such a size as to let a half-dollar pass through it easily. The lid is also specially prepared. It has an inner or false top, and between the true and false top a loose bit of tin is introduced which rattles when the box is shaken, unless you at the same time press a little point of wire projecting from one of the holes at the top, and so render it, for the time being silent. The box is first exhibited with the inner tube pushed up into its place, and the opening thereby concealed. A marked coin is borrowed, but either before or after the coin is placed therein, as may best suit his purpose, the performer secretly draws out the inner tube a quarter of an inch or so, thus allowing the coin to slip through into his hand. As he places the box on the table, a very slight pressure suffices to force the tube up again into its original position, and close the opening. Having made the necessary disposition of the coin, the performer takes up the box and shakes it, to show (apparently) that the coin is still there, pressing on the little point above mentioned when he desires it to appear that it has departed, and immediately opening the box to show that it is empty. The pepper-box will not bear minute inspection, and is in this particular inferior to the rattle box.

A NEST OF BOXES

This consists of half a dozen circular wooden boxes, one within the other, the outer box having much the appearance, but being nearly double the size, of an ordinary tooth-powder box, and the smallest being just large enough to contain a quarter. The series is so accurately made that, by arranging the boxes in due order one within the other, and the lids in like manner, you may, by simply putting on all the lids together, close all the boxes at once, though they can only be opened one by one.

These are placed, the boxes together and the lids together, anywhere so as to be just out of sight of the audience. If on your table, they may be hidden by any more bulky article. Having secretly obtained possession, by either of the means before described, of a coin which is ostensibly deposited in some other piece of apparatus, you seize your opportunity to drop it into the innermost box, and to put on the united lids. You then bring forward the nest of boxes (which the spectators naturally take to be one box only), and announce that the twenty-five cent piece will at your command pass from the place in which it has been deposited into the box which you hold in your hand, and which you forthwith deliver to one of the audience for safe keeping. Touching both articles with the mystic wand, you invite inspection of the first to show that the money has departed, and then of the box wherein it is to be found. The holder opens the box, and finds another, and then another, and in the innermost of all, the marked coin. Seeing how long the several boxes have taken to open, the spectators naturally infer that they must take as long to close, and (apart from the other mysteries of the trick) are utterly at a loss to imagine how, with the mere moment of time at your command, you could have managed to insert the coin, and close so many boxes. If you desire to use the nest for a coin larger than a quarter, you can make it available for that purpose by removing beforehand the smallest box.

THE BALL OF BERLIN WOOL

An easy and effective mode of terminating a money trick is to pass the marked coin into the center of a large ball of Berlin wool or worsted, the whole of which has to be unwound before the coin can be reached. The modus operandi, though perplexing to the uninitiated, is absurdly simple when the secret is revealed. The only apparatus necessary over and above the wool (of which you must have enough for a good-sized ball), is a flat tin tube, three to four inches in length, and just large enough to allow a quarter or half-dollar (whichever you intend to use for the trick) to slip through it easily. You prepare for the trick by winding the wool on one end of the tube, in such manner that when the whole is wound in a ball, an inch or so of the tube may project from it. This you place in your pocket, or anywhere out of sight of the audience. You commence the trick by requesting some one to mark a coin, which you forthwith exchange by one or the other of the means already described, for a substitute of your own, and leave the latter in the possession or in view of the spectators, while you retire to fetch the ball of wool, or simply take it from your pocket. Before producing it, you drop the genuine coin down the tube into the center of the ball, and withdraw the tube giving the ball a squeeze to remove all trace of an opening. You then bring it forward, and place it in a glass goblet or tumbler, which you hand to a spectator to hold. Taking the substitute coin, you announce that you will make it pass invisibly into the very center of the ball of wool, which you accordingly pretend to do, getting rid of it by means of one or other of the "passes" already described. You then request a second spectator to take the loose end of the wool, and to unwind the ball, which, when he has done, the coin falls out into the goblet.

The only drawback to the trick is the tediousness of unwinding. To obviate this, some performers use a wheel made for the purpose, which materially shortens the length of the operation.



CHAPTER XXVII

SLEIGHT OF HAND

TO BALANCE AN EGG

Lay a looking glass upon an even table; take a fresh egg, and shake it for some time, so that the yolk may be broken and mixed up with the white. You may then balance it on its point, and make it stand on the glass. This it would be impossible to do if the egg was in its natural state.

THE JUGGLER'S LUNCH

Pare some large apples that are rather of a yellow tint; cut several pieces out of them, in the shape of a candle-end, round, of course, at the bottom, and square at the top; in fact, as much as possible like a candle that has burnt down within an inch or so. Then, cut some slips out of the insides of sweet almonds, fashion them as much in the shape of spermaceti wicks as you can, stick them into your mock candles, light them for an instant, so as to make their tops black, blow them out again, and they are ready for use. When you produce them, light them (the almond will readily take fire, and flame for a few moments), put them into your mouth, chew and swallow them one after another.

RING AND RIBBON

Select two pieces of ribbon, alike in length, breadth, and color; double each separately, so that the ends meet; then tie them together neatly, with a bit of silk of their own color, by the middle, or crease made in doubling them. This must all be done in advance. When you are going to exhibit this trick, pass some rings on the doubled ribbons, and give the two ends of one ribbon to one person to hold, and the two ends of the other to another. Do not let them pull hard, or the silk will break, and your trick be discovered by the rings falling on the ground on account of the separation of the ribbons. Request the two persons to approach each other, and take one end from each of them, and without their perceiving it, return to each of them the end which the other had previously held. By now giving the rings, which appeared strung on the ribbon, a slight pull, you may break the silk, and they will fall into your hand.

THE CHANGING BALL TRICK

Take a ball in each hand, and stretch your hands as far as you can, one from the other; then state that you will contrive to make both the balls come into either hand, without bringing the hands near each other. If any one dispute your power of doing this, you have no more to do than to lay one ball down upon the table, turn yourself, and take it up with your other hand. Thus both the balls will be in one of your hands, without their approaching each other.

THE SENSITIVE GOBLET

To fill a glass with water, so that no one may touch it without spilling all the water. Fill a common glass or goblet with water, and place upon it a bit of paper, so as to cover the water and edge of the glass; put the palm of your hand on the paper, and taking hold of the glass with the other, suddenly invert it on a very smooth table, and gently draw out the paper; the water will remain suspended in the glass, and it will be impossible to move the glass without spilling all the water.

TO LIGHT A CANDLE BY SMOKE

When a candle is burnt so long as to leave a tolerably large wick, blow it out; a dense smoke, which is composed of hydrogen and carbon, will immediately rise. Then, if another candle, or lighted taper, be applied to the utmost verge of this smoke, a very strange phenomenon will take place. The flame of the lighted candle will be conveyed to that just blown out, as if it were borne on a cloud, or, rather, it will seem like a mimic flash of lightning proceeding at a slow rate.

THE MAGIC RE-ILLUMINATION

After having exhibited the trick of lighting a candle by smoke, privately put a bit of paper between your fingers, and retire to one corner of the room with a single candle, and pass the hand in which you hold the paper several times slowly over the candle until the paper takes fire; then immediately blow the candle out, and presently pass your hand over the snuff and relight it with the paper. You may then crumple the paper, at the same time extinguishing the flame, by squeezing it suddenly, without burning yourself. If this trick be performed dextrously, it is a very good one. It is not necessary for the performance of this trick that all the other lights in the room should be extinguished; in fact the trick is more liable to discovery in a dark room, than in one where the candles are burning, on account of the light thrown out by the paper while it is burning, previous to the re-illumination.

THE MOVING BALL

Roll up a piece of paper, or other light substance, and privately put into it any small insect, such as a lady-bird, or beetle; then, as the creature will naturally endeavor to free itself from captivity, it will move its covering toward the edge of the table, and when it comes there, will immediately return, for fear of falling; and thus, by moving backward and forward, will excite much diversion to those who are ignorant of the cause.

THE PAPER FURNACE

Enclose a bullet in paper, as smoothly as possible, and suspend it above the flame of a lamp or candle; you will soon see it melt and fall, drop by drop, through a hole which it will make in the paper; but the paper, except the hole mentioned, will not be burnt. The art of performing this trick consists in using a smooth round bullet, and enclosing it in the paper with but few folds or uneven places.

STORM AND CALM

Pour water into a glass until it is nearly three parts full; then almost fill it up with oil; but be sure to leave a little space between the oil and the top of the glass. Tie a bit of string round the glass, and fasten the two ends of another piece of string to it, one on each side, so that, when you take hold of the middle of it to lift up the glass it may be about a foot from your hand Now swing the glass to and fro, and the oil will be smooth and unruffled, while the surface of the water beneath it will be violently agitated.

THE END.