A collection of ingenious and clever tricks of the genuine juggling order, as performed by the most skilful jugglers of the present day. The tricks have been selected by the author from his own Entertainment, preference being given to those that combine simplicity of working with the maximum of effect. This with a view to provide elementary lessons in the Art of Jugglery.
There is a trite saying "neither wise men nor fools can work without tools," and this applies particularly to the juggler's art. The performances of the modern jugglers are, undoubtedly, exceptionally clever, but there is no gainsaying the fact that many of the tricks are partly acquired to the soi-desant juggler once he is in possession of the proper apparatus and knows exactly how to proceed to practise.
It is my intention in this little book to expose some of the deceptions practised by the juggler of the present day, and, further, to explain the construction of some of the apparatus he uses. As the space at my disposal is somewhat limited I propose to confine my explanations to tricks that I have worked in my own Entertainment for some years, further selecting out such that experience has taught me to believe combine simplicity in working with the maximum of effect.
I have not yet been able to discover a book explaining the secrets of expert juggling tricks, and, on this account I believe the present one, though small, will be acceptable to the Magical Fraternity who desire to add a little variety to their Entertainment, and to others who would like to take up Juggling as a Hobby.
I am of course aware that several attempts have been made to expose certain tricks of the jugglers in various magazines, but these, owing either to a desire on the part of the writer to still further bamboozle the public, or from gross ignorance of his subject (probably the latter) have in every case been utterly mis-leading.
In support of my desire to make everything as clear as possible, should any reader meet with a difficulty, I will gladly give him further verbal instruction and ocular demonstration if he will trouble himself to give me a call.
I am prepared to supplement the present work with others on the same object should the demand justify such action, in the meantime I can only hope that this first instalment of "New Juggling Tricks" will prove acceptable to the community it would benefit.
ELLIS STANYON,76 Solent Road,West Hampstead, London, N.W.
Mr. STANYON pays special attention to the tuition of Shadowgraphy, teaching his pupils to impart life-like motion to each and every figure, and to present them in every respect, with great accuracy.
The working is as follows: - Taking the paper the performer attempts to balance it on one hand without having prepared it in any way; it of course falls in a heap. He then announces that he will mesmerize the paper, and this he proceeds to do as follows:-
Taking one end in the left hand he places the fore-finger of the right hand in the centre of the width at the same end, gripping the sides of the paper with the remaining fingers of the same hand. He now draws the right hand down the whole length of the paper, making a heavy crease down the centre. This movement (apparent mesmerism) is repeated several times until the proper crease is obtained. The effect of the crease is to stiffen the paper throughout its entire length thus nullifying the aforementioned difficulty.
Balancing a Paper Bag. - A very pretty and by no means a difficult feat of balancing is that performed with a conical paper bag (see Fig. 1). To ensure success the bag must be well made and well pointed at the bottom: in the course of construction the bag readily points itself and may be kept in position by simply moistening the corner at the bottom with the tongue.
The quality and size of the paper used being important, I may mention these desiderato may be obtained in once by using a full page, i.e. two leaves joined, taken from "Exchange & Mart"; the size, weight, and substance of this paper is all that can be desired to make the trick a success.
An additional effect is obtained by setting fire to the bag at the large end, then replacing it on the nose, and while still maintaining a perfect balance, allowing it to burn down to within an inch of the small end, then to blow it out. It is interesting to note that the ash of the burning paper remains standing in the form of the original bag, but this would not be the case were a very common paper used.
The simplicity of the feat, as compared with others in the art of balancing, is accounted for by the lightness and shape of the bag which does not allow it to fall rapidly from the perpendicular. It follows as a natural consequence that the burning bag, producing a column of heated air and gradually growing lighter, is the simpler of the two to balance; and this incongruity, such from the point of view of an audience, is all in favour of the performer.
Egg Card and Wand. - I have arranged a new Combination juggling wand (see Fig. 2) by means of which several effectual additions are made to an old trick. For instance an egg may be balanced on and caused to roll from one end of the wand to the other (see "A" in the Fig.) the egg may also be balanced on the wand as shown at "C"; also a Card, and the same Card surmounted by an Egg as at "B," further the egg may be balanced on one end of the same wand, the wand, in turn, being balanced on the nose or chin (see "D" in the Fig.).
The illustration pretty clearly explains the construction of the apparatus, the wand is 20 in. long, 3/4 in. thick, and contains a groove, deep and wide enough to steady the egg, running throughout its entire length, as seen at "A" in the Fig.; it is further provided with a pin (for holding the Egg) and a small hole (for holding the Card) "B" and "C" in the Figure. One end of the wand is made concave for holding the Egg as at "D." The Card is composed of two Cards glued together with a steel wire running through them diagonally. The egg is a wooden one enamelled white and provided with a hole in the small end to fit the wire of Card or the pin on the wand. The wand is painted black. With the exception of the final balance on chin, the whole thing is absurdly simple; it is nevertheless very effective in the hands of an entertainer, and most suitable for an audience of young children. I am acquainted with several Conjurors, clever entertainers, who always refuse to work for children. It is only a question of the selection of suitable tricks, where a child cannot be expected to appreciate terse Sleight of Hand feats, he will (I speak from experience) dance with delight at the exhibition of such tricks as the above, or at the exhibition of that even greater Conjuring absurdity known as Jack the Funny little Vanishing Man.
The china bowl should be selected with the inside as near the inside of the letter "U" as possible. I have seen the feat elaborated by spinning the coin in a bowl with a hole about 3 1/2 in. diameter in the bottom, the coin being passed, still spinning, via the hole into a second basin prepared in a similar manner; then into a third and so on. In this case the bowls were shaped like the letter "V" with the bottom cut away to form a hole of the required diameter (See Fig. 3). To start the coin running round such a bowl, it (the coin) is first held flat, by the extreme edge, between the tips of the finger and thumb of the left hand; then thrown to the left round the side of the bowl, the movement of the bowl in the right hand commencing simultaneously with that of the coin.
I have seen three coins kept spinning at once at the same time in separate china bowls without bottoms as above described; once the coins were set in motion and spinning evenly and rapidly, the basins were placed on the tables; as the coins slowed down the manipulation was again repeated. A cardboard lamp shade, as used over a billiard table, or any article of a similar shape may be used as occasion demands.
The Spinning Handkerchief. - The properties required in the performance are a prepared stick and a large sized cambric handkerchief, borrowed or otherwise.
The stick is best made from a round blind rod and should be about 2 ft. long. Round off one end of the stick, then drive in a steel pin and file off the head to a point - the point should project about 3/4 in.
In practise place the pin in the corner of the handkerchief about 3 in. from either edge (See "A" Fig 4). Hold the stick at the lower end and describe a circular motion from the wrist, the arm in spinning should be almost still. The point of the stick attached to the handkerchief should describe a circle about equal to the size of the handkerchief itself.
Only very little practise is required to become expert; eventually the handkerchief may be tossed in the air and caught on the point of the stick.
To pass the stick for examination use a loose ferrule, provided with a pin for capping the end of the stick (See "X" in Fig. 4).
This feat is of great importance, affording as it does in once a simple but effective Juggling Act and a means whereby the proper movement of the wrist, as required for spinning an ordinary china soup plate, q.v., meat dish, basin, or similar article on the end of a stick, may be practised without fear of unpleasant results.
Ball or Plate on Stick. - A ball is thrown in the air and caught on the end of a stick where it continues to spin as long as desired (See "B" in Fig. 4).
The stick must be provided with a dull point which must then be chewed between the teeth until all hardness is removed. This will cause the stick to touch the ball and prevent slipping; this is the secret required for spinning an ordinary soup plate or pie dish on the end of a stick (See "C" in Fig. 4).
By a movement of the wrist, similar to that in the previous trick, the stick is caused to describe a small circle under the ball - obviously if the movement be quick and regular the ball cannot escape. As the velocity increases the ball (or plate) will centre itself on the stick and spin, apparently motionless. This recalls to mind the celluloid ball kept in the air, mechanically, for shooting purposes, by a thin stream of water.
The larger the ball the easier it will be to spin it on the stick. The ball used by Jugglers is turned in light wood, covered according to taste, and is usually 7 in. in diameter. For practise obtain a child's large indiarubber toy ball (See "D" in Fig. 4) first spin the ball on the fore-finger then try it on the stick.
It will be well to note that, unless the plate be centred, it will confuse matters somewhat to attempt to transfer it from the right to the left hand. I am not saying that to do so is impossible.
In an exactly similar manner a small tray, a tambourine a la the niggers, is kept spinning on the fore or little finger. The larger and heavier the tray the simpler the feat, therefore practise with a tea tray, it need not of necessity be round; an oblong or oval tray will spin equally well. Dexterity only is required. By all means learn to spin with both hands. Practise with both hands alternately.
Hat on Stick. - Here a soft felt sombrero hat about 18 in. in diameter is kept spinning rapidly at the end of a stick as at "A" in Fig. 5. Dexterity only is required to cause the stick to describe a rapid circle round the edge of the hat. The stick is required to be of a flexible nature, therefore a cane is used.
The hat may be tossed in the air and caught again, still spinning, on the stick. Walk over the stick, still keeping the hat spinning, throw it over the left shoulder and catch again in front; and other fancy movements will be suggested in practise. Spin two hats, one in each hand. If you cannot manage the left-hand stick on the outside of the hat, let the point be on the inside of the crown; this applies to either hand in practise.
Ring and Sunshade. - The properties required for this effective juggling act are a common paper (Japanese) sunshade, length of rib 16 in., and an ordinary brass curtain ring 4 in. in diameter. The sunshade should be selected strong, to open easily and when open to full extent must be nearly flat on the top and quite firm. For juggling purposes the handle must be cut off so that it is but 6 in. longer than the ribs. Having obtained a brass curtain ring of the required size, and having removed the eyelet rivetted into it for domestic purposes, you are ready to commence practise.
Hold the handle of the shade at "X" (See Fig. 5) in the left hand, and give it a turn to the left, continue to do this keeping the shade spinning. The ring, held in the right hand at the tips of the fingers, is now thrown in the air a twist being imparted to it causing it to turn to the right on its own axis; it is caught on the shade where it continues to spin, its motion being accelerated or retarded according to the movement of the shade in the opposite direction. The ring does not run round the shade, but continues to spin rapidly in or near the position indicated in the Fig.
Once the ring is in motion both hands may be utilized for keeping it balanced and for causing it to spin with increasing rapidity.
You will not accomplish all this at the first or even at the second attempt; the ring has a beautiful knack of running in a straight line right off the shade. But do not be discouraged, and never continue practise after the muscles have become the least bit tired; put your properties away and try again the following morning; you will probably be surprised to find you can accomplish what you desire.
At the outset you need not attempt to throw the ring on the shade, simply place it on and give it a start with the right hand.
First of all practise the following movements with a tennis ball. Keep the ball spinning as explained for the ring. Bounce the ball on the floor, and catch it on the sunshade causing it to be kept spinning. Toss the ball (still spinning) into the air, and quickly turn over the sunshade; the ball falls and is kept spinning on the inside of the sunshade - reverse this movement. With the ball spinning rapidly close the sunshade half way, spin the ball on the shade in this position, open the shade again without displacing the ball.
It is second nature to me to execute the whole of the above mentioned movements with a 4 in. brass ring, a tea plate, or a half-a-crown; the movements are much easier with a ball, and that is why I recommend the ball for practise.
I am also able to cause the ring to stop and lay down on the shade, then to "Kick" it up with a jerk when it will continue to spin.
A small china tea plate (I use an aluminum plate for lightness and other reasons) may also be used with good effect; also a half-a-crown, but a five shilling piece on account of its size will be less difficult to manipulate.
When catching heavy articles on the paper sunshade do not forget to break the fall, or the shade will be injured. What I want to teach you to do in this respect, you frequently do almost unconsciously (not quite at times) on the cricket field, I refer to catching the ball.
Ring and Fan. - The ring may be tossed in the air and caught on a fan held in the right hand. The ring touches the fan on the left and runs across it to the right being jerked into the air in the direction of the dotted lines (See Fig. 5) to be again caught on the fan or sunshade as desired. Here again it will simplify matters to practise the movement with a tennis ball. The fan used is the ordinary pattern as shown in the illustration, but must be selected or made strong enough for the occasion.
Some years ago I saw Mons. Trewey perform this feat. In place of the sunshade Trewey used a round flat board about 18 in. diameter, covered black cloth, with a stick fixed to the centre forming the handle. I have never used the board and only give it here as a suggestion, it appeals to me as a novel variation of the older form of the trick.
Plate and Basin Spinning.- Tea plates, dinner plates, soup plate, soup and washhand basins are spun on their edge on the table as one very often spins a coin for the amusement of the juvenile members of the household, or as in the childish game of Turn the Trencher. The plate at first spins rapidly on its edge, then gradually settles down vibrating round and round until it finally falls flat, bottom upwards on the table. The plate however may be kept spinning rapidly by a touch of the tip of the second finger, and a skilful operator will readily keep five plates and a large basin going, without fear of a collision, on a table, size about 4 ft. by 4 ft., as shown at "C" in Fig. 6.; the operator standing at "X."
Practise only is required, there is no other secret. Practise first with an ordinary tea plate. Place the plate on its edge on the table with the bottom of the upper edge resting against the inside of the top of the second finger (See "A" in Fig. 6). Now move the hand round and round in a small circle and you will find the plate will follow the movement almost clinging to the finger. Quicken the movement until the plate spins with sufficient rapidity, then remove the hand and watch the course of events. You will find that the plate eventually begins to settle down, bottom upwards, vibrating round and round until with a quick whirling noise it falls flat on the table. While the plate is vibrating rapidly, and just before it falls flat on the table, it may, by a quick rotary motion of the tip of one finger (in the direction of which it vibrates), on the bottom near the centre, be brought into the upright position again and caused to spin with increased rapidity - thus a plate is kept on the move for an indefinite period. It will require a little practise to touch the vibrating plate in the right spot at the right moment, so as to bring it into the perpendicular again (your first attempts will be sure to stop the plate suddenly), but the knack will be quickly acquired; once this difficulty is overcome the rest is a matter of pleasurable practise. The following "tips" however will be found helpful to the student.
Iron-stone china is the most suitable for the purpose being strong and heavy; the heavier the article the longer it will spin. Heavy articles, as large basins, will require more pressure on the bottom, during vibration, to keep them vibrating or to bring them into the perpendicular, therefore you will use the tips of the second and third fingers, or what may by found the best in practice. Flat plates spin the longest in the upright position. Soup plates are easy to spin but are not so effective as owing to their formation they do not spin so long in the upright position. Spinning large basins is, comparatively, easy work.
The spinning plate will always follow the motion of the hand and consequently may be made to SPIN or VIBRATE, and to travel about the table in time to music. A short stick held in the hand may be used in place of the finger, the stick striking the plate in time to the music; here is a theme - the waltzing plates.
The table must of course be absolutely level with a smooth surface, but the surface must not be polished. It is not necessary to have a special table. A prepared board placed on an ordinary table and made ready with a spirit level and sundry bits of packing will be found to answer every purpose. The top of the board as stated must be quite level all over save at the extreme edge, which should be raised slightly all round as indicated in section at "B" in Fig. 6. This will prevent a spinning plate, if left to its own resources, from travelling off the table.
The plates must be spun with equal facility with either hand; the left hand plate will turn to the left, and the right hand plate in the opposite direction, it follows therefore that it will be the more difficult to handle the left hand plate with the right hand and vice versa - but this is not necessary. The plates will not only follow the hand about the table but may be made to ascend an inclined circular plane at the summit of which is a see-saw, Fig. 7. The two plates play see-saw, then travel back in safety (perhaps) to the table.
With the centre of the plate prepared as above described, the following evolutions may be carried out.
One plate spins on a stick held in left hand, a second balanced on chin, and a third held in right hand. Observe that until the third plate is properly going it will be well to hold both the first and second in the left hand ; the third plate is placed on chin and the second is passed into the right hand.
A plate spinning on a stick may be balanced on a second stick (See 1 in Fig. 8). The plate is tossed in the air, the loose stick being caught in the left hand, while the plate descends on to the point of the stick in the right, see also the other positions affected in Fig. 8.
Two jugglers a few paces apart, each spinning a plate, may throw the plates across the intervening space, each one catching his partner's plate on the end of his stick, this maybe kept going with good effect.
Space only compels me to leave other movements to suggest themselves in practice.
An ordinary straw hat provided with a tin-spinning bottom same as the candlestick hereafter described will provide an interesting variation to the plates. The performer takes care to wear the hat to give the impression that it is unprepared.
Candlestick, Card and Cigar Combination. - I have used this feat in my own "show" as a grand finale to my card tricks for the past 5 or 6 years, and shall be pleased to give ocular demonstration of its effect at any time. To those who would ask "is it difficult to acquire" I would answer "as a juggling act it combines simplicity with wonderful effect."
The Act as presented is shown in Fig. 9. The performer is smoking a cigar on which is balanced a card, on the card a stick, and on the stick a candlestick with lighted candle; the most effective part of the trick, i.e., a quick rotary motion of the three objects, on the cigar is, unfortunately, not visible in the Fig. (We are not yet able to show animated photography in books).
The properties used are all, more or less, prepared for the purpose; in describing their construction we will begin at the top of the structure and work downwards to the bottom. First in order comes the Candlestick, the construction of which is shown in section at "A " in Fig, 9. The centre pillar is a plain piece of tube 2 3/4 in. long, provided with a shallow tray at top for holding small piece of good composite candle; the candle is made to appear larger by pasting a 1 in. band of white paper round the top of the pillar (See the Fig.) This arrangement is made to reduce weight in the pillar; the weight is required round the extreme outside edge which is finished with a stout iron wire.
The stick, top and bottom of which are shown at "B" and" C" in the Fig., is 3 ft. long, and about 1/2 in. thick at bottom, tapering slightly to top. It will be seen that the top of the stick may be let very much pointed or cut down to a dull point; this you will have to adjust so that the candlestick spinning, while not meeting with more resistance than possible, will obtain sufficient grip on the stick to cause it to turn, thus turning the Card on the Cigar. The bottom of the stick is made, as shown in section at "C," to fit the corner of the Card "D" ; the junction of the Card and Stick must be absolutely rigid - it is impossible to balance from 2 points, in the same perpendicular, at one and the same time, a fact overlooked by ignorant persons attempting to describe tricks which they have not worked - more - the construction of which they do not even understand.
The Card is fashioned in brass, for strength, with one corner "D" cut to fit tightly in the slot "C" at end of stick. A piece of steel, cut as shown, is soldered diagonally across the card, one end fitting the stick and the other end pointed for spinning on the Cigar. The Trick Card is completed by pasting the back and front of a playing card, one on either side of the metal plate.
The Cigar is really a piece of plain brass tubing (See "E" in the Fig.). One end, as shown, is filed down on both sides to provide a grip for the teeth; the opposite end is provided with a centre punch mark, 1/4 in. from the end, made to receive the point on the lower corner of the Card. A strip of brown paper is now wrapped round and round the tube to bring it to the required shape and colour; it is finished by passing round the centre a band taken from the centre of an ordinary Cigar. A small pipeful of tobacco is next inserted in the end, under the centre punch mark, and the Trick Cigar is complete.
The working is as follows:-
I. Balance stick on tip of nose.
2. Holding stick in the right hand, take the Candlestick between the two hands and give it a sharp twist to the right, at the same time throwing it in the air and catch it on the end of the stick when it will centre itself and spin for a great length of time. The heavier the Candlestick the longer it will spin. If required to increase the speed, you simply work the stick round the flange on the bottom of Candlestick, the movement being the same as explained at page 7 under The Spinning Handkerchief. Until you become expert you may start the Candlestick spinning by simply hanging it by the flange on the end of the spinning stick - the motion of the stick, as explained will cause it to commence to spin and to increase in rapidity.
3. When Candlestick is spinning rapidly, remove spinning stick and catch on fore-finger of right hand, where it will continue to spin; throw under right leg and again catch on finger. Other fancy movements will suggest themselves in practise.
4. Light your Cigar, spin Candlestick and when centred and going rapidly transfer stick to left hand; pick up matchbox, which also place in left hand, take out match, strike it and light candle, throwing box on table. Next pick up Card from table with right hand and adjust stick to, then place point on centre punch mark of Cigar; let go, keeping balance and all will spin merrily. To cause the Candle to light quickly, dip the wick in turpentine.
As regards taking down the structure (it will come down easy enough) you need not be disheartened when I tell you that graceful movements will come with practise.
Brass juggling balls, hollow with a shot inside to jingle, are perhaps the best for practise on account of their size and weight. Round ball bicycle or tram-horse jingling bells produce a novel effect. Tennis balls are useful for obtaining additional effects as, bouncing, catching one between two (the cloth prevents slipping), &c., &c., but a smaller ball than the regulation tennis ball is best for practise, one about 1 7/8 in. in diameter - a small size billiard ball in wood.
Methods of practise: - The crosses in Fig. 10 represent the hands.
Take a ball in the right hand and throw it about 3 feet high to a point in the air exactly over the hand. The throw should be made from the elbow, not from the shoulder. Do the same with the left hand, then with both hands together. Practise this until you can throw the ball with such precision that it will fall direct back into the hand again (See "A" in Fig. 10).
Next throw the ball from the right hand to a point exactly over the left hand into which the ball falls. Do the same with the left hand. Then take a ball in each hand and throw them so that they cross in the air and fall into opposite hands. Avoid a collision (See "B" in the Fig.) Continue to practise this until you can cause the balls to change hands, without throwing them in the air; really throwing them from one hand to the other, keeping the hands as far apart as possible (See "C" the Fig.).
Next take three balls, two in the right hand and one in the left hand (See "D" in the Fig.). Throw No. 1 from the right hand to a point over the left hand, and then before it can fall into the hand throw up No. 2 to a similar position over the right hand; before No. 2 can fall into the right hand No. 3 follows No. 1, and these movements must be kept up indefinitely. This is technically known as the "shuffle" inner movement, the balls passing under each other. Another form of the "shuffle" is that known as the outer movement, where the balls, instead of passing under each other, are thrown over each other as shown at "E" in the Fig. A combination of the inner and outer movements is also made - the right hand balls are thrown OVER and the left hand balls are thrown under the balls that are falling (See "F" in the Fig.). Reverse the work of the hands in this latter effect. To ensure the left hand executing any particular movement with the same deftness as the right hand, practise should be made with both hands alternately. In practising any form of the "shuffle" throw up balls Nos. 1 and 2, then stop, i.e. do not throw up No. 3. No. 3 should be introduced only when some confidence has been gained.
A very pretty movement with three or more balls is that known as the "shower" (See "G" in the Fig.). Here two balls are held in the right hand and one in the left hand, Nos. 1 and 2 are thrown into the air one after the other at regular intervals, to the same point over the left hand. Before No. 1 call fall into the left hand No. 3 has been passed from the left hand into the right to follow No. 2 in regular order - this must be kept up indefinitely. When required to practise the "shower" with four balls, three must be held in the right hand and one in the left hand, then proceed as above.
N.B. - Do not throw the balls higher than you can help, the prettiest and most dexterous juggling is shown where the balls are kept close together following each other in rapid succession.Bottle and Plate. - In this act a dinner plate, on which is a bottle, is held in the right hand at the point "X" (See Fig. 11), then by a successive series of throws or jerks, the latter is made to assume various positions on the plate as depicted in the Fig. Dexterity mainly is required but note that -
A strong china plate should be selected, the edge, all round, being ground to prevent slipping. The bottle, an ordinary wine bottle, should be selected opaque and with a deep "Kick" in the bottom, the bottom and mouth being ground to prevent slipping on the plate. The various positions shown in the Fig. will be effected more readily if the neck of the bottle be weighted to bring the centre of gravity more in the middle. The plate is gripped at the point "X," the thumb being on the bottom and the fingers on the inside, "X " in the diagram in all cases represents the bottom of the plate. The bottle is first jerked from position No. 1 to positions Nos. 2, 3 and 4 respectively; it is next thrown and caught on the plate (don't forget to break the fall as explained on page No. 10), as at No. 5. The next and last stage, as usual, is the most exciting - the bottle is thrown and caught by the neck on the edge of the plate, as at No. 6, in which position it is balanced for all indefinite period.
Erratic Paper Bands. - This is a trick of a very subtle nature, and one suitable for a beginner, in as much as it maybe shown at close quarters without fear of detection. It was a favourite with Mons. Trewey, the renowned juggler, so should be worthy the attention of my readers.
It is performed with three endless paper bands (rings), preferably made from newspaper as savouring the less of preparation, made as follows:-
Preparation:- Cut off a strip of paper 4 ft. long by 2 in. wide (See Fig 12), then with this strip form an endless band by pasting end "A" on the under side of end "B"
With a second strip of paper fashion a second endless band, but this time, before pasting the ends together, give end "A" a half turn, then paste the under side of "A " on the under side of "B."
With a third strip of paper fashion still another endless band, this time giving end "A" a complete turn before pasting it on the under side of "B."
You are now ready to present the trick, which consists of cutting the bands right around in the direction of the dotted lines in Fig. 9, with a scissors, or it may be considered more effective to simply fold and tear the paper.
Results. - No. 1 band, when cut or torn as described, very naturally gives two plain bands of the same size, as the original. ("A" in the Fig.)
No. 2 when cut in an exactly similar manner, not quite so naturally gives one plain band twice the size of the original (See "B" in the Fig.).
No. 3 when cut in the same way, to the surprise of all, gives two bands of the size of the original but interlaced. ("C" in the Fig.).
It is hardly necessary to state that, the twists in bands No. 2 and 3 are not at all likely to be noticed, and if noticed at all would in all probability be put down to accident; it is very possible to throw a twist on the plain unprepared band No. 1.
The papers may be cut or torn as described; I prefer to tear them myself, and to facilitate this I fold them several times; the result is, if anything, even more bewildering.
We will publish, and give credit to persons sending to us, any New Sleight, Subtlety, Complete Trick, or Novel Combination of Tricks.
No. 8 "New Card Trick" (Second Series). In preparation.