.

BY

J . Albert Briggs
 WILL ALMA
M.I.M.C. (LONDON)
THE COX.JCRER LIBRARY, Xo. 1

Jt,C
^ JOOOOQOOOOCOOCClOOOOCOO'aOOOOOOQ J00 3 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

DINKU/A MAGIC
B Y J. A L B E R T BRIGGS.
- 0 C COOOOOO0^CC>0CObC06t.00DOOO^00ep0C.y0OOOO0l300O Q o 3 o/yjSj^o o O c "
Ij o o t . o o o v o c ocoLiJoiooccaocuooscosoooaoocssftoeorocOCojoocic

THE AUSTRAL MAGICAL CO.,

782 B O T A N Y ROAD,

ALEXANDRIA, N.S.W., AUSTRALIA.

 I.YTROJ) r CT J OX

The contents of this book are portion of a laiger M S . S .

prepared for publication in U.S.A. over ten years ago.
Owing to war-time conditions, however, the publisher went
out oi business ; and, at that time the publication of
magical books was not encouraging.
Several of the items have previously appeared in the pages
of " The Conjurer'; one, " The Flying Dice " as far back
as 1S09 ; but as this mapazina was issued for private
circulation only, it may not be as well known as it
deserves.
Each item has figured in the writer's repertoire, and
they have always been successful; therefore there can be
no question about them being practical. For the benefit
of those readers who wish to make up the illusion
described herein, B.P. drawings have been prepared, and
photographs are also available Price will be quoted on
request.
It is commonly asserted that if a magician finds one good
trick in a book, he purchases. If this is so, then we think
the majority of readers will be amply repaid for their
p e r u s a l of " DINKUM M A G I C . "

J. A L B E R T BRIGGS,

ALEXANDRIA, N.S.W.,

AUSTRALIA.
 T h e State Library of Victoria
<c
'ALMA CONJURING COLLECTION'

!! The Enolianted Serviette U

e c
IS
0 0
8

The series of effefts appearing in this combination were

suggested after witnessing Mr. Max Sterling present his little
fantasy, " The Magic of Japan." I think, however, that the
arrangement I am offering will be found much more novel, and
it was for many years a great favourite with myself, and the
audiences before whom I presented it.

THE EFFECT. The conjurer enters with a fancy Jap

paper serviette, in one hand, and a jug of water and a glass in
the other.
The paper is shown to ba free from preparation in any way,
and it is then screwed up into a ball, and placed on a tray (or
plate.) Mesmer'ic passes are made over the paper ball, and
the tray is lifted about six or seven inches from the table.
The tray is then removed, and the ball remains suspended,
without visible means of support. Gently fanning the ball, it
is made to rise and fall, and follow the will of the performer, a
solid steel ring being passed over it to prove the absence of
threads. Finally it is opened out.
It is now folded in four, and the corner, (the centre of the
sheet) is torn out. The torn out partio i is placed on a fan and
danced about merrily, until it gradually changes into an egg,
T o prove the genuineness of the egg, the performer breaks it
into a borrowed hat; producing it later therefrom fully
restored.
The sheet of paper, which now has a hole in it, is torn in
pieces. Rubbing it between the hands it becomes restored as
at first.
The egg is now taken in the hand and crushed ; the hand is
fanned, and the " egg" flutters away in a shower of confetti.
Once more the serviette is taken, and twisted into a paper
cone; water is poured into the cone, and a light is applied to
the tip of the cone.
 Instantly it flashes off, disappearing entirely, and at the
finger tips is seen an egg.
All traces of the water has gone.
Finally the egg is broken, and inside is the Enchanted
Serviette, which cannot be destroyed.
B Y W A Y OF E X P L A N A T I O N . Although this series
entails considerable preparation, the cost is small, and the
working easy. Moreover it will play for 1 5 minutes without
patter, or very little, and it takes up very little space. The
mere fadt of the trouble necessary will prevent many from
attempting it, but, after all, it is well worth while, and the
lazy conjurer never gets far in the business.
I shall not detail a list of requirements; but describe the
various moves, and the reader can then make use of an/
portion which appeals to him.
The Floating Paper Ball has been described in Latter Day
tricks (Roterbei g) also in Magical Notes and Notions (Naldrett)
The tissue paper to egg can be purchased at any leading
magical depot.
The torn and restored paper is too well-known to require
description here, and the change of egg to confetti is caused
by a hollow egg-shell filled with white conletti.
The breaking into the hat is accomplished by employing
what is known as the Melot Hermann Egg T r a y , a shallow
nickel tray, made in two parts, and described in Later Magic
(Hoffmann.)

The final effect is attained by the use of a cone of transparent

celluloid. This is about five inches long, and about three
inches in diameter at the top, tapering to a point at its lower
end. It also has a hook, composed of a narrow strip of
celluloid on the top rim. This hooks over the jug, which
should be of glass.

Make up the cone, and taking up the jug in the other hand,
pass the cone behind the jug, and load in the celluloid fake.
After pouring in the water, the movement is reversed, and the
cone lett hanging behind the jug, where it is invisible. The
cone in this instance is made of flash-paper.
 When picking up the box of matches, (a " Swan ' box) the
egg is picked up with it; the " swan" box if stood on edge
offers sufficient concealment for an egg, and the box is passed
to same hand which holds the cone. This is a necessary
movement to allow the remaining hand to open box and take
out match and strike same. It also leaves the egg in palm of
hand holding the cone. The cone " flashes" off, and the egg is
displayed. This is merely a shell in which is poked a duplicate
serviette.
T h e best paper for servietses is jeweller's white tissue.
ecoo0
ctccecOSococossccc;cocoooocooo6ctCCOOO';occoce3cecoc'eocooeceeoooecooeii5-;-i-v e0o so

| The Travelling Thermos

5 o
oo 0 00 0Q
o cocoooeoeooojeooooooocoooccgoocoj6Soo3Qtisoooco&cectooooc5oocoo6tee6cec c0 g
o oo

This effedt will be found a useful variation of the old passe-

passe bottle and glass. Moreover it can be worked in
company where the beer-bottle would be "taboo." It has
been produdive of much amusement and not a little mystery
wherever worked, even in Magical Society gatherings.
The performer shows an ordinary thermos flask, and two
cardboard covers, which are empty. The thermos is stood
upon a tray, and one of the covers placed over it. The other
cover is shown empty, and placed alongside. Now a spectator
is asked to name under which cover is the flask. He will
naturally name the one under which he saw it g o ; but he is
proved to be wrong, the flask has hopped over to the other
tube.
Again the thermos is shown, and covered, and again a
member of the audience is invited to pick the tube under
which it is placed; but again he names the wrong one, for the
cover selected is shown to be empty, and when the other tube
is lifted, there is the thermos flask. A s it is obvious that there
is only one flask, the performer suggests that possibly the
table might be suspedted of having a trap in it, so he places
the tubes aside, and removes the cover from the table.
Tube number one is shown empty, and placed on the bare
table. The thermos is shown in number two.
There is no shufflng of the covers ; no movement to create
suspicion, and the performer invites another guess. In order
to help |his andience he places a small metal clip on tube
number one, stating that this tube contains the thermos. A s
it has just been shown empty, there is immediately a cry that
he is cheating, and that the thermos is under the other tube.
The excitement is worked up by offering to wager on the
correctness of his verdidt, and he lifts up number two to show
it covers nothing. This is done, however, in an apparently
clumsy way, as though concealing something, and on lower-
ing tube, when it is near to table a portion of the thermos is
accidently (?) exposed. The laugh is now against him, but
he still protests that the tube is empty, and the thermos is
under number one. Of course the smart man in the audience
challenges this statement; whereupon tuba number one is
lif:ed, revealing the thermos flask; and the other tube is
shown to be perfectly empty, and may be tossed up in the air.
I have fcund this little trick to create all the atmosphere of the
ae-old dice-box trick ; and as a puzzle, it has left many an old
conjurer guessing.

' T H E PROPERTIES. A thermos flask, two cardboard

covers to fit over the flask neatly, a shell, consisting of the
body of a thermor, with the bottom taken out. (If this is too
expensive, a tin tube to match the thermos answers the
purpose.) In the lower end of this fake about a quarter of an
inch from the bottom is soldered a pin, and one of the tubes
has a slot cut in it, so that the pin slides in the slot. This is on
the principle of the bayonet catch. The inside of this shell, also
the tubes are painted a dead black. One other item, a disc of
tin to fit neatly into the tubes, covered on one side with velvet,
and on the other with material to match the cloth.

P R E P A R A T I O N AND P E R F O R M A N C E . The disc is on

table with velvet side up, and is therefore invisible. T h e
shell is in the tube with slot. Both covers should be lying on
table with open ends to audience, so they can see they are
empty without the necessity of drawing their attention to the
fad.

The thermos is stood upright on the tray, and covered over,

The second tube is shown cmptv and stood upright on table.
Performer then changes them ab ut two or three times until
there is a doubt as to which tube covers the flask However,
one of the covers is lifted, revealing the flask; and the other
cover is shown empty. Here the first deception takes place;
for the flask that is shown is mereiy a shell, (care being taken
not to lift the cover too high) and in lifting the other cover,
performer grips it by the lop rim, with fingers inside, and
thumb outside (at rear) and lifts the thermos inside. The
bottom of the theimos should be raised slightly, and care
taken to tilt cover in lifting so spectators cannot see inside
bottom.
 Now returning both tubes to table, performer changes them
over, whilst patten'ng, apparently with intent to deceive. But
naturally he is detected, and, put'.ing on an injured air of
innocence when he finds himself deteded, says he has no
intent'on to deceive, and that he has not changed the thermos.
Of course this statement is received with derision, so he lifts
the tubes and shows that the audience are once again mis-
taken. A s it is the real thermos which is this time exhibited,
the cover should be removed entirely and stood alongside.
There is also another reason for this. The cover is placed
over the disc, and pressed down, and when the cover is lifted
the disc is lifted with it. Now the cover is turned completely
over, and replaced over the flask. The cloth covered disc is
now on top, and it is pushed down until it touches the top of
the flask. (My covers are 1 J4" longer than the flask.)
Now comes another source of misdirection. Pretending
that the table might be suspected, the tubes, and flask, are
placed aside while the cover is removed, and performer then
works on the bare table. Meanwhile the tubes have been well
mixed. But the thermos is shown (Fake) in tube number one,
and tube number two (which actually contains the flask) is
shown perfectly empty. The ruse is accomplished by showing
the end of the tube which contains the disc, the opposite end
of the tube being held against the clothing. The effect is that
the audience see through the tube, and the illusion is a perfect
one
All is now ready for the final denouement. Somebody is
asked to remember where the flask is, and you tell them they
are wrong, that you placed it in the other tube' And then when
some other person, or persons, chime in you lift the covers
and leave them more bewildered than ever,
This explanation may seem a little tedious; but the reader
will find the effedt well worth troubling over, for it belongs to
to the humourous, and that is what so many magicians lack in
their programmes.
P S. If the reader does not work with loose covers, a tray
will offer the needful excuse for the last change over.
 ! THE LINKING CHAIN SUPREME |

Here is a little magical gem, which will appeal to the worker

ot subtleties.
The effedt runs thus :
A glass tumbler is shown to be unmistakeably empty, and
a number of links of a brass chain are dropped into it. Thev
are then shaken up, and tossing them into the air, they are
seen to be joined together.
The apparatus consists of :
(a) A tumbler, preferably of a moulded design.
(b) A celluloid lining to fit neatly in the tumbler (see fig. 1.)
This lining has the bottom cemented nearly half an inch.up
irom the bottom, and it is under this cavity that the chain
is concealed. On the under side of the celluloid bottom is
glued a patch of cloth to match the clothes of performer
(preferably black) and the inside of the lower compartment
is lined with tin foil.
(c) A shallow tray, on which are displayed the loose links.
It is also advisable to have a table with a black-art well
but this is not essential, as the fake can be disposed of on
servante, or into a hat which has been used in some
previous trick.
 P R E S E N T A T I O N . The links are shown to be sepaiate;
and that it is impossible to link them together physically. T h e
tumbler should be on a table, a matchbox, or silk, carelessly
laid in front to a d as a mask for lower portion of celluloid f a k e
containing chain. This again is merely a precaution, and not
essential, as the tin foil, if properly applied, a d s on the
principle of a mirror, and hides the chain.
Explain'ng that you know of a good method of telling
fortunes, pick up the glass, and drop the links in, one at a time,
remarking " she loves m e ; she loves me not." This will
usually raise a smile. When you come to the last few links
you bring the tray over to front of glass, and as you get to last_
link, tilt the tray (which you are holding in the right hand) to
pour link into left. This momentarily covers the tumbler, and
holding tray by thumb and first finger' the lining is griDped by
Second and third fingers, and as the hand with tray rises, the
lining is removed behind tray (see fig. 2.) Laying tray on
table, you lower the celluloid lining into open well.
The tumbler is now picked up with right hand, and the lefc
placed over the mouth, and the chain is shaken up, to generate
the necessary fridion to weld the links securely together. It
will be remembered that one of the links is still loose in the
glass. To remove this, whilst shaking the chain, the glass i s
brought into a horizontal position. One of the fingers of the
left hand is inserted in tumbler, and presses the chain to side
or bottom of glass. This allows the loose link to slide into
hand. Returning tumbler to the perpendicular, the loose l i n k ' s
dropped into right hand and concealed under bottom of
tumbler. It is only a small detail; but just one of those little
touches that make for perfedion. Should the link drop on the
floor, you merely remark that that is ' the missing link,' and
either return to tumbler and shake over again, or let it pass as
one that refused to join company with its mates.
 The Flying- Dice and Flag!!
o o
o o
oo

OOOOOO- - ...........S.M.....J. ?
J
-OOOOCLOtCOOQ^OOOOJCO ^ JOSO^^DBODOCOOOtOCCOJCC : o " < o o J O - ? : o O o C, C O O 0 a 3 D 5 0 o C

The effetSt to be described has proved a very effective item,

not onlv in the writer's programme, but in several others for
whom the apparatus was constructed. It is suitable alike for
the silent aft, or for the conjurer who talks while he works.
A plated metal framed houlette is first shown on all sides to
t e devoid of trickery. It is. The sides are just plain window
glass.
A large dice is next shown on all s'des. and rapped to prove
its solidity. This is inserted in the houlette, and covered with
a large handkerchief, or foulard.
Next a polished wooden cabinet is shown. It has doors in
front and on top, and these are opened, and box shown empty-
It is also turned round, to show there is nothing concealed on
the back. A Union Jack is placed inside, and the box closed.
A transformation now takes place. The covering is removed
from the stand, and the dice has disappeared;, in its place is
the flag, and the houlette is otherwise empty.
 And when the box is opened, out tumbles the dice.
APPARATUS AND CCNSTRUCTION. The houlette is
entirely free from preparation. It is a skeleton affair con-
structed of 20g sheet brass. The sides are inch wide, and
the bottom is solid, and mounted on a fancy metal candlestick.
The inside measurements are 4 M inches each way, and 4 ]
inches high.
The dice wlr'ch is slwwn is a composite affair. We com.
imence by making a shell. The base is a piece of wood 3 16
nches thick and 3M inches square. The sides are of STOUT
celluloid, 3 % inches high. There is no top.
The bottom (inside) is covered with a thin sheet of lead,
painled black, and in the centre there is a small wire hoop.
A silk cover is now made to slide EASILY over this, the top
being stiffened by the insertion of a sheet of cardboard, 1,16
inches wider each way than the top of the celluloid box.
The dice is 4 inches cube, and is constructed from H inch
timber. The top and front are hinged to open out. This fits
snugly inside the box, so that when the two are opened together,
the presence of the dice inside is not noticed. This is made
more ellusive by placing }/$ inch stripes, the width of the thick-
ness of the timber used in box, (I find 5/16 inch stock the best)
along either side of front flap, and along sides and front of top-
If the lid grips dice at all, the latter strip should be pared off on
the inside, until it leaves dice freely. Inside of box and dice
are painted a dead black.
The patter'' presupposes that in each case the front sides of
dice are three spot. The bottom of composite dice should be
one spot.
PREPARATION. Through the wire loop in bottom of
celluloid box (inside) tie a double piece of cotten, and pass this
through centre of top of silk lining.
Drape a Union Jack around the thread, and cover shell with
silk cover. Pull thread tightly, and tie it around a short piece
of match stick, then cut off remainder of thread. From corner
to corner outside at top is a black thread loop.
The dice is in box, both being open, and to prevent top flap
falling prematurely, the flag is laid across.
 P R E S E N T A T I O N . The " patter" used for this experiment
WES in verse (?) and we offer it for what it is worth. It has one
thing in its favour, one remembers verses where otherwise we
are apt to forget our best gags when the time comes to spring
them. We shall combine " p a t t e r " and working, as being
much better to follow.
" When Shakesoeare wrote " Never say die,"
'1 his wes the die he referred to."
(Exhibit dice, rapping same to prove its solidity, and show
bottom to discount any idea that it may be a ' shell')
" And this pretty little casket, (show all round)
Is one ycu all can see through."

" Never say die" then, our motto shall be

Y o u will notice the spots in front are three.
I cover it up, so you shan't see
A working arrangement, twixt the die and me.
" And here I have a caddy box,
A relic of an olden day.
I'm going place Ibis flag inside
Because it's very apt to stray.
Y c u know it flies o'er half the world,
And unless I hold itght,
I'm very much afraid 'twill fly
Across the stage to-night"

(Flag is inserted in box, and doors closed. It should be

mentioned that in front of top of dice is a small pin which
sticks in front side of dice, and thus holds it together securely)

" Never say die" then, our motto shall be.

We're getting silk in ' duty free.'

(Covering handkerchief is removed, and with it the silk shell

This action will be made easier, if, when placing cover over
dice in stand, a finger is inserted in the thread loop, and shell
lifted about inch or so. Then the cardboard can be gripped
through the foulard.
" But the dice has vanished, as you can see
Now, I wonder where it can be ? "
 "Suppose we open up the box.
In which we placed the flag
That knocked the boasting German out
On the day he called " Dei T a g . '
Y e s , just as I expected,
That flag has been up to its tricks,
And left our good old spotted friend
T o help us out of a fix."

" Never say die" then, our motto shall be.

If you want him just ring up number three.
But there's one thing I hope you did not see.
That's the w a y it bamboozled both you and me."

"THE CONJURER"
ti THE ONLY MAGICAL M A G A Z I N E IN A U S T R A L A S I A .

y? Contains Latest News, Tricks and Programmes of

Magicians.
I
Published Quarterly. Price 6d.
v VSS'ta?*, gJ90ll,'CjJOco(}ooi)oeotQoaocoooeoco00oocOoi)t)Ooooocoooooocoooooooiiccieoooo 0oocc
 e>r

\\ A H(eandle)ous Deception II

Fig. ) , T h e top sheet shr.uhl overlap the f.ike, slii>htly.

Fig. 2. A f t e r t h e change t h e loose sheets, (not shown in sketch) lie o v e r
cniK'.Ii!, IS. T h e candle is shown out ol proportion; actually it lies lielow top of f;ike

T H E E F F E C T , A card is chosen, and is torn into small

pieces by a member of the audience. The pieces, except one
which is retained by the spectator, are dropped into a silk
h andkerchief, held on performer's open hand.
T h e handkerchief is "oiled into a ball and placed "on table.
An examined lighted candle is now rolled into a sheet of news*
paper, and laid on candlestick.
The handkerchief is then taken and rubbed between the
hands, which on being opened are shown empty.
The candle parcel is now opened by audience, and the
handkerchief is found in place of the candle, and when the silk,
unrolled, the chosen card is found restored, minus therein,
the corner which was retained for 'identification. Of course
this (its, exaftly. The candle may be produced, if desired
from the pocket.
HOW I T IS DONE. The card is forced; and a duplicate,
minus a corner, is rolled into a cylindrical shape in a duplicate
silk to the one you propose using. This is then rolled in a
sheet of paper to look just like the candle wrapped up. The
best way of fixing this bundle s j it will not unroll, and yet
when finally passed out to be opened up, and not arouse any
suspicion of being prepared, is to attach a very tiny dab of
seccotyre in the centre of paper, and then fasten a rubber band
around until it is dry. It will then be found that the paper
will unwrap as though it had not been stuck together.
A fake is now required as shown in the illustration. 1 h'
is employed to exchange the candle for the dummy parcel. Ic
is made from a piece of sheet tin, covered with cloth to prevent
it talking," and then attached at one end to a piece of news-
paper about 12" x 8". The duplicate parcel is placed behind
this, and then three or four loose sheets of similar paper are
laid on top.
Now if the candle is placed at A (fig. 1 ) and rolled in top
sheet of paper, towards the rear of table, it will on arrival at B
tip up the fake as sho vn in fig. 2, and force the duplicate rol' -
into hand, whilst the real candle remains in the curved part of
fake, as B, (fig. 2) and the paper is brought up, lifting also the
loose sheets, entire y masking the real candle load.
The disposal of the handkerchief ball may be achieved by
dropping in a black-art well, in a f t of picking up wand, or any
other method which suits performer's working. The missing
corner is too well-known to require explanation.

The size of tin before beading is 2" wide, and 2" longer than
the candle you intend using.

I f MAGICAL GOODS THAT SATISFY

6o
$
o
ss ' s i
it -o I!
ff THE AUSTRAL MAGICAL CO.
Can supply any of the tricks described in this book '
M A D E I N A M A N N E R T H A T W I L L N O T L E T YOU D O W N
J0000000000000000
o o o o o o o 3 C O o o Jr.Ooooooooooooooooocoooooooooo JOOO
 Broken Melody,

Fig. 1

A - O u t e r Cylinder

B - I n n e r Cone

C Phono. Record

I give this trick the title it was presented under many years
ago. This was suggested from the fadt that an Edison phone,
graph record was introduced, and the title of this was that
given above, it being a Cello solo, by the late Auguste Van
Biene, a Dutch actor-musician, who was very popular in his
time, both on the legitimate and vaudeville stage.
The experiment also introduces a ' prop' which of late years
has been very popular with magiciansThe Ghost Tube.
This has been used by the writer ior the past twenty years,
and was described in its modern form as far back as A u g . , 1910
in The Conjurer. I merely mention this because there have
been quite a lot of inventors of this idea bespeaking their
claims to priority.
Well, to 'cut the cackle' and ' get to the hosses' the effeft
runs thus :
On each of two side tables reposes a plated candlestick. In
one is a candle, and on the other rests a square of plate glass
about 3]4 inches square. An opera hat is crushed flat to prove
there is nothing in it, and also to allow the performer to spring
the old, old gag ' there never was, because ' It is then
opened out and placed over the candle
We now take a little walk over to the other table. An
ordinary cylindrical phonograph record is shown and stood on
the glass sheet, and covered with a decorated metal cylinder-
A little music is playedthe crooning of a violin, or cello,
playing ' ' T h e Broken Melody," and when the hat was lifted
the candle had disappeared, and in its place was the record
lying on its side across the candlestick. If ano'her record had
been found when the metal cover was lifted on the ot'aer
candlestick, it would surely have been a record trick, but as
the candle was found here, the performance worked to
schedule.
PROPERTIES. T w o records, one is quite ordinary, but th^
other is shaved off inside one end to make the end taper.
A metal cylindrical cover, to fit easily over the last-mentioned
record This has a conical lining (see fig 1 ) and the length of
the cover is such that the record just fits up into the top of the
inner compartment. It will be an advantage to line this with
velvet, as a protection for the record, and the best method of "
doing this is to first stick the velvet to thin c o a r s e cardboard'
and then attach the caid oa d to the metal with gold size

A. Candlestick

B. Plate glass square.

C. Candle.

D. Small brass tube in which candle

fits.

E. Knob attached to slide.

F. Hole in back of candle from which

handkerchief is produced.

Fig. 2
T w o candlesticks. One is quite ordinary, but the upper
bowl is filled with wax, and then grooved out down the middle
to form a resting place for the record. The second is prepared
a ; in fig. 2. The body should be sufficiently large to permit
the candle to slide up and down. A slot is cut in one side, as a
guide for the screw attached to a small cup in which the candle
is placed. This permits the candle to slide up and down. The
sketches have been made from the actual apparatus, and in the
sketch the candle is shown below for production of silks but
in the experiment under notice it is advisable to use ' dinkum'
candles.
The glassthick transparent celluloid may be usedhas a
hole 7 8" diameter in the centre. A s this, however, is not
noticeable, it is unnecessary to mention it to the audience.
The hat, although shown empty, has a record inside it. This
is held by the springs when you crush up the hat, and when
you open the hat out again, and turn it casually to the audience
it is not noticedbeing blaek. O.i inside rim of hat is a wire
servante (as fig. 3) to hold candle-

On candlestick No. 1 is a candle. This is stuck lightly with

wax, but a slight twist removes it when wanted.
PRESENTATION. Show hat and crush it fiat, holding
crown side to audience. As you open out you slip a couple of
fingers into record, and hold it to side of hat. You can then
casually show inside of hat, without actually remarking that it
is empty. Place over candle. The position now should be that
the right hand holds the record, and the left is in front. The
wire clip is also to the front. A s you lower the hat over candle-
the candle is twisted off by left hand, and the right slips the
record on top of candlestick. If the candle is not too long, the
difference in height will not be remarked.

The record is now stood on the glass plate, and covered over-
and whilst doing this, the slide is operated, and candle slides up-
It now only remains to make any necessary command, and
when the hat is removed there is the record; and on other
candlestick is the candle.

V A R I A T I O N . The drawings for this book have been made

frcm the actual apparatus, and the years have necessitated
altering this trick somewhat. In fig. 1 is shown the apparatus
at present employed. The variation now is that a tumbler has
been substituted for the record in both instances. This in
some respects is much better, as it enables the height of the
candle to be better matched in No. 1 candlestick. Also afte*-
covering over the tumbler on No. 2 stand, a silk handkerchief
was vanished. Tn the final denouement this was apparency
n o n e s t ; but the performer merely lighted the candle, and
passing his hand over the flame, produced the silk therefrom-
This was obtained from the candle itself which was a hollow
tube, with a hole in the back, and a little cup on top to hold a
little piece of candle.

ooooooo ooooooo oooooooooooooooooujooooooocoooocooooooocooooooooo ooOOWOOoc

o A N Y A P P A R A T U S OR BOOK M E N T I O N E D IN Q
oO I oCio

II T H I S BOOK ff
CAN BE OBTAINED FROM

The Austral Magical Co., Alexandria, N.S.W. fi

00
I
0oooi>oq6oqoo o<500ooooooo<soooooOoooc.Ooo&oooocoe.oooooooooooooooooooo0o^ oc0 j
y 3oooooocoooo 2 *oooooocooooooc o&noOooocOooCOOooooooooooooooooooooooo o o ooooco
 Flight.
ocooooooooooooiooO^)0o^coo:ocooocca c o
|| A P R O B L E M IN M Y S T E R Y . [J

Fig. 1 Fig. 2
This combination of old ' props' offers a delightful finish to a
small show, and will prove most bewildering to magicians.
The description is somewhat unconventional; and since the
' patter' is absolutely essential, we give our own version for you
to use, or mutilate, as your fancy dictates.

The performer shows a solid wooden cone, similar in shape

to that in Fig. 1, and a paper cone open at both ends. The.cone
is placed over the block, just to show it fits. N o ! there is no
other reason, for the cone, when removed, is shown quite
empty, and placed on the table. The block is wrapped in a
sheet of paper, and given to some person to hold. A tumbler
is filled with water, and disappears; and when the parcel is
unwrapped the glass of water is found in place of the block:
and this latter article is discovered to be hiding in the paper
cone.
 First of all we will explain the ' secrets,' and then pass on to
the presentation.
Secret Number O n e . - T h e Exchange of the Wooden Block
to a Glass of water.
The wooden block is similar in appearance to that shown at
Fig. 1. You commence with a tumbler. The size of this must
first be determined by the jug, which we shall describe later-
The rim must be giound flat, and a 'stepped' celluloid disc
made to fit the mouth, so that it will hold water when inverted-
Now get some glazed surface paper (white) and make a shell
to fit neatly round the sides of the tumbler. At the smaller end
it should extend be\ ond the bottom of the tumbler for about
an inch. Next cut a disc of cardboard slightly larger than
bottom of tumbler. Push a drawing pin through the centre,
and place, with pin poir.t upwards, on top of the upturned g'ass.
The extending portion of paper is now cut in serrated fashion,
and the ends turned over and gummed to the cardboard diec-
A half of a wooden ball is now impaled on the pin, and you
have a replica of Fig. 1. Then, when you have made this, get
a wooden cone turned to match.

And now to make your shell look like polished wood. If you
mix Oxide of Iron with ordinary Carriage Varnish, and brush
this lightly ever the paper, waving the lines with the brush,
you will get an excellent imitation. The cone is then varnished
with the same material.

Secret Number Two.The Disappearance of the Tumbler.

This gees into the glass jug. This is shown at A (Fig. 2)
with the tumbler B inside. A jug should be selected with a
fluted design if possible. After filling the tumbler it is covered
with the usual ringed handkerchief, and lowered into the jug.
Care must be exercised that there is no ' talking' on the part of
the glass, and the amount of water in the jug must be such
that the tumbler does not float, but just rests in the fork of the
jug.
Secret Number T h r e e . T h e Appearance of the Cone in
the Paper Cylinder
Mention of 'Black-Art' to the average conjurer usually
means nothing more than a ' cave' draped in black velvet, with
a performer in a white suit, producing white-washed articles
from behind velvet screens. Few have even thought of
utilising this principle to other departments of misdirection.
Yet that is the extent of secret number three.
Over the solid ccne is a loosely fitting paper cover, covered
cn the outside with black velvet. The other cone which is
shown in the early part of the trick, is made to fit over th's
sufficiently tight to pick it up. Also a hole can be punched in
the back for a finger hold. This latter cover can be decorated
to fancy.
PREPARATION. The table top mas: be covered with
b k c k velveteen.
Fill the tumbler which is to be covered with the paper shell
with water, and place the celluloid disc over. Wipe it dry, and
then slip the shed over, and place on table. The jug of water,
tumbler, handkerchief, and decorated cone are also in a
prominent position. Now towards the back of the table, place
the solid cone, and cover with velvet cone. It is now necessary
to have a black screen behind this ; and the writer has found
nothing better than an ordinary opera hat. If the velvet cone
is placed in front of this, it is not visible at six feet. Other
means may be adopted, but this is so imocent that it disarms
suspicion.
Now for the business, which I will describe with the ' patter*
I have iound very effective
'' I've one more little problem
To present to you to-night.
It's ciuite a novel mystery,
Which I've entitled " Flight."
" Now here I have a block of wood."
1 he block is shown and rapped with the wand to prove it is
solk', It sounds just as represented.
" And a cover which you see
When placed upon the wooden block
Fits as neatly as could be."
Show cover empty, place over block, and when removing
again show perfectly empty. It is then replaced on tableove r
the velvet-covered cone.
And now to cover up the block,
. I'll wrap it in this paper."
 Use plenty of paper, and when wrapped up, the bundle can
be rapped smartly with the wand, and will give forth a wooden
sound
The jug is now picked up, and the tumbler filled with water
The jug is replaced on table, and turning to pick up th^
handkerchief to cover tumbler, the latter is brought ove*-
mouth of the jug, and under cover is lowered into same.
Meanwhile you have been pattering,
Now, here I have a crystal glass.
I'll fill the glass with water.
I'm going to make it disappear,
And if it don't, it oughter."
Now come forward with the handkerchief, and as you speak
the following lines, try to convey the impression that the glass
is still under the handkerchief.
" You think the glass beneath this silk,
But, no! It's out of sight.
A wave of the handkerchief, and glass has disappeared.
" And when I lift the paper cone
I think you'll get a fright.
You know that I put nothing there,
Yet there's the cone quite sound,
Entirely free from trickery,
Solid, vyooden, round."

Lift up paper cone, with the velvet cone inside, revealing th->
block
" The package now I'll please take back
And see what it contains.
The wooden block I placed inside
Yes, there it still remains."
Give pa"cel a sharp rap with the wand.
' And yet if here I find the block"
Performer turns to cone on table, and scratches his head in
perplexity.
' Why, then I'd get a fright."
Tear open the package, sliding off the celluloid disc, and pull
glass clear. Crumple up remainder of parcel and toss aside,
and r.s the glass is held, spill some of the water, and conclude,
" All's well; it is the crystal glass.
I wish you all " Good-night."

l
'" lj U(, l . ll (ioOOC'" J ' ? -j'-'joooooooooooco^ioooo'joooooooco^uoooao JOOOOt C0O0'JC' ;o 0 0o00(ioooo0Q oo 0

fi The "Milky W a y .
s-- ar,c L "CK>n""->-. Q " o c o t i o o o o o o i p Q looooooooocoioonOootQjosoooaooi-nooOjjOoO 0800
0
-^ ' " " 0 o 0 OOOOOOOOOflOOoQjOOOSOOOOOOOOOOnOjOC(y,i}OOOOOOfcOOOCOOt'Uo0o()0(,()90l

T H E P R O B L E M . An opera hat, which lies on the table,

crushed flat, is opened out, and stood, crown down, on table. A
tumbler is filled with milk and momentarily placed in the hat.

Performer then remarks, " It is a well-known f a d that if the

centre of equilibrium is disturbed, the periscopic axis of the
auto dynamic effulgence immediately summarises the whole
Into the concentrated position. You all, of course, know that
it must be so."

The remark is, of course, pseudc-scientific bunkum, but it

should be delivered seriously, and the audience will begin to
wonder what is coming next, and performer continues,
" It is, therefore, a principle which one could easily demon-
strate with chemicals. That being so, I employ a glass of milk.
The tumbler is taken from the hat, and placed on the palm of
the band. It is then covered with a cardboard, or metal,
cylinder, painted green.
" You have all heard that the moon is made of green cheese ;
well, I will show you how to make green cheese. All that is
necessary is to turn the milk upside down on a Tht
night." (Performer mentions whatever day he should happen
to be showing) " L i k e this." The other hand is placed over
mouth of cylinder, and the whole reversed.
" You see the milk is so taken by surprise, it doesn't know
whether it is standing on its head or its heels; and until it
makes up its mind, it forgets to fall out."
The hand underneath is removed, and nothing happens.
" Possibly," rem irks the perf )rmer, " the milk has gone for a
journey along the milky way." He peeps in'.o top of cylinder.
Yes, it's gone! "
The cylinder is held horizontally so audience can see right
through.
" But, every cloud has a silver lining ; also every hat."
He turns and peeps into hat, and removing the glass of milk,
he remarks,
" N o w , if anybody can loan me some rice, I will show ycu
how to make a rice pudding."
This is just a little comedy eff et which can be introduced in
any part of the programme. The secret is simple. You will
require, in addition to the glass of milk, a bottomless tumbler
with a white ivorine lining. This reaches within half an inch
of the top of glass; and of course, when pouring out the milk,
that tumbler is filled to the same level.
Now lay your bottomless tumbler in the opera hat, and crush
the springs. One of the springs on the end, or long side, of the
hat is inserted in the tumbler, and the other springs are closed
on top. In this manner the hat can be laid on table, crown up-
and it will appear to be quite empty.
WORKING. The hat is picked up, and opened out, care
being taken that the audience do not see the tumbler. If it is
opened on an angle, the tumbler will fall along one side, and
when hat is raised to vertical position the tumbler will be
standing upright.
The glass of milk is placed in the hat alongside the prepared
one; and it is the bottomless glass which is removed. The
cover is the ' ghost tube' as mentioned elsewhere. And that's
that.
c-

<m
The Billiard 1
Ball Bcx 0 ij
x' X. . / . . . . ,, .. . w w w s , w W w WN ^v V C ^

The effect obtained with s |

this Ball Box is identical
with that of the u s u a l ! I
Sucker Dice Cabinet. 1\

O-

In construction it is much different than any other pattern

with which I am acquainted, and also more effective, as the ball
is apparently really placed in the box, and is visible at all times
desired.
The illustration shows a section through the box; the outer
appearance can be according to fancy ; but it has two compart-
ments, with a door to each in front, and another on top. Also
there is a concealed sliding weight in the bottom for the
, sucker' effect.
Referring to the drawing, it will be seen that one of the com-
partments of the box is divided by a partition which slopes at
an angle of 45. The knob indicates which is the front of the
box. In the centre of this division is a revolving disc (D.) This
has a smaller disc glued to it, or it may be turned from the one
piece. The larger disc should be a quarter of an inch larger in
diameter than the ball shell used and th"3 smaller disc is of such
size that the shell fits fairly tight on it. To cause this to revolve
a wire runs through the centre of both partition and disc, (E,)
and this is bent back underneaih the box as at (G) so it can be
operated from underneath. Cover the underneath side of box
with black cloth, and paint the inside of box a dead black. The
working is exactly as in the Dice Box trick. Show a ball with
shell over, and place in hat. Then remarking that you can show
a disappearance which is a little more magical, take out the shell,
and place in box, (on disc.) The doors are closed, the wire
catch (G) is swung over to make the disc revolve and take the
ball shell to inside of box. The usual 'sucker' sliding effect is
worked, finally shewing empty, and produce ball from hat.

The drawing is a dual purpose one, showing in front the shell

a s the audience would see it if door was open ; and at rear the
effect of shell reversed.
 coooOOoscc - oo6oc>eooooeooosoo;=cio icosceoocccosocccaoaOO o^cocooo&ooccosjcco^Oc
iii-f/^S

The Magic Bricks. f)

ooooocoocoec oooococooooooooooceosovocootoooecoo ooooooooooaoooe ocooooooooe

It is more years than I care to remember since I first pur

chased a set of Magic Brieks. But nearly ten years elapsed
before I got them sufficiently to my liking to present in public-
It ."may be thai I am fastidious, but 1 certainly had the satis-
faction of completely puzzling those who were acquainted with
the usual routine method of working the trick. The effect
embodied several improvements, and I was enabled to prove
the blocks unprepared before and after the trick, and also show
the cover to be unmistakebly empty. Also the audience
had a free choice in the arrangement of the letters.
The blocks used were the usual set of four with separate
wooden shells. My blocks measure 4" by 3 " on the face and
are 214" thick. They are made hollow to reduce the weight,
and the shells are of wood H" thick. The blocks are painted
black, with silver lettering.
The cover has a wire down the back to engage the shells, and
the front of the cover opens to show the interior completely
empty.
The only other arrangement is a small turntable fitted to the
table. The leg of table is hollow, and is plugged 2" down from
table top. The centre pin of turntable (see fig. 1 ) is 2V% inches
long, and to this is soldered a tin disc 3j4 inches in diameter.
The top of this disc is covered with velvet to match table covei,
and the underside is covered with paper of a similar colour.
Here I might suggest that there is no necessity for the table
cover to be black. T use a loose cover of claret colour, with a
small hole (14 inch) in centre. I mention this because of the
magicians' fetish for patting his equipment in continual
mourning. There are occasions when black paint or velvet is
a necessity; but whene/er it is possible to get away from black
I prefer to do so, and make my gear as bright in appearance as
possible.
The " patter" is from some verses published in The Wizard"
some years ago, and I have inserted bracketed numbers to
which T shall m i k e reference when describing the presentation
" And now if you can stand another of my tricks,
Allow me to present to you my set of Magic Bricks.
 OJ

Each has two sides v'l) inside and out, and now you know
them better,
Y o u will observe, without a doubt, that each one has a
letter. (2)
The drawback to a trick like (his with letters bright and large
Is because there's so much expense on the initial chargJ.
This little brick cost one and six ; (3) but there's this in its
defence,
You couldn't get a decent tea much under eighteenpence!
You'll see they're stacked to form a word, 'tis one of many
parts.
Commence to read them from the top, you see they spell
out " Arts." (4)
Now these four blocks are all I use. I've no more up my
sleeve. (5)
And the cover you can plainly see, (G) was not meant to
deceive.
I've trained those blocks to read your thoughts. You
merely have to think
Of other words those letters form; then quicker than a wink
They change. For instance there you are (7)
It happened as I told you. Of course someone thought of
S.T.A.R.
(8) Now my blocks always speak the truth, I've trained
trained them to be moral.
They speak the truth as ladies do. Especially when they
quarrel.
We'll try again, and this time so they shan't move,
1 11 place this cover on them. It fits them like a glove.
Now what shall it be ? Alright! those cunning little brats,
Sha'l twist and whirl until they twirl their order into
R.A.T.S. (9)
The " R " you see is upside down, that's done to cause me
worry.
Or, it may have been because they changed in such a hurry.
And now we'll leave our Magic Bricks, and you the trick to
guess,
And wonder how they change from Arts to R,A.T. and S.
 The turntable is outlined by white line in front of cover.

Fig. 1

Fig. 2

P P R E A R A T I O N A N D P R E S E N T A T I O N . At the outset the

cover lies horizontally on the table, immediately behind the dis-
of the turntable. The blocks are stacked on the cover, as
shown in Fig. 2. The arrangement is, however, not so fair as
it appears, the block R being the only genuine block in view ;
the other blocks being c vered with their respective shells.
A has on its rever e ne'e side S, and contains block S
S has on its reverse side R, and contains Block T
T has on its reverse side A, and contains block A
Behind the cover, and immediately behind block R is the
remaining shell with R in front, and T at the rear.
In the working, the numbers indicate the corresponding
numbers shown in the patter.
( 1 ) Show block R on both sides, rap with wand to prove its
solidity. Now drop it behind cover, with LETTER AT BACK, and
pick up block and shell together and place on cover. This
should be done in apparently returning block to cover.
(2) Point to blocks and commence stacking.
 (3) 'i hese lines are delivered as you pick up T.
(4) The pile is now complete.
(.5) Draw back sleeves.
(6) Show cover open and empty, and then, with front still
cpen, stand it up in front oi the blccks. This gives cover for
turning the blccks around, and bringing to the front reading
S.T.A.R. The turning can be arranged by means of a thread
if desired.
(7) Lift cover away with a flourish, revealing change of
blocks,
(8) Re-stack blocks to read T.A.R.S. and place cover over.
This move not only demonstrates that the blocks are separate-
but also it now leaves but one moie arrangement of the four
letters, viz, R.A T.S. so that you can give the audience a f r e e
choice of words.
(9) Lift cover, (do not forget to turn back the catch to lift
shells) and as you deliver the last line toss out each block for
examination as you repeat the letter. Lay cover down on
table so it can be seen through.

^V' " * ' ' 'f J:

t"-cflcf)noooo"G<|CO'3t>ooo(iCCCQ Qion.ioooooijrrif < cOctaomODjOy1,00! 1i>>il'1-'JOOu<iol,-jt'(^

H The Austral Magical Co. \\

II Wholesale and Retail Manufacturers and Importers \\
\\ of The Finest Magical Coods. \\
% 0

I\ 782 BOTANY ROAD, ALEXANDRIA, N.S.W. |j

oc tfioo^'cofl(,0( .fooCOOOOOooooooooooOQOe0000 A 00000000000006 6600000000000 050c\oc00&0000i0oo
The Goddess of D r e a m s
A N ILLUSION.
Without commenting on
the several gccd points
this illusion offers to the
average worker, we j will
describe the effect.
In the centre of the
stage is a shrine similar
1o that illustrated at Fig.
1. The size may be ac-
cording to performer's
f a n c y ; but our construc-
ti n was approximately
5 feet high by 3 feet wide,
and deep.
In front of the shrine
is a praying mat, and per-
former dressed in the
flowing robes of a priest,
enters from the side, and
lighting incense in the
small bowl, which will be
seen in the lap of the
image, makes obeisance
to the Goddess. The
Goddess, however, is ill-
pleased ; and expresses
her displeasure, by flash-
ing red, or green, light
fi om her eyes. The bow-
ing is repeated, and [again
the eyes flash their dis -
pleasure. Suddenly there
is a flash of flame from the
bowl, and when the
audience look again, the
shrine and worshipper
have vanished; and in
their place, the performer
is seated at a table, wear-
ing evening dress. '1 he
table is shown in trig. 2.
We hinted that this ap-
prratushad much to re-
commend it. It is
worked without traps, or
Fig- 2 stage preparation, if one
excepts a stout thread pull to wings. Also the outfit of a size
as mentioned will pack into a space not more than than 3 feet
square, by 1 foot deep, and weighs less that one cwt.
To describe the working we shall first of all refer you to the
final effect, (Fig. 2.) This consists of a table about 32 inches
high, by 30 inches wide. The legs are plain, tapering from 3Yi
inches wide at the top to 2 H inches at the bottom. They are
made detachable, for packing, and hollow to reduce weight.
If the cloth was removed we should find that it had sides 8
inches deep, with a back of the same size, but the opening
between the front legs was clear.
The top is just a plain board, H inches thick, with a hole in
the top 3 inches in diameter, to which reference will be made
later. Tne lamp may be turned from wood, and gilded, or
decorated, to fancy. The shade is hinged at the back, and so
fixed that it can fall forward into the natural position shown at
Fig. 2.
The shade is covered in at the top, so that no light can show
upwards.
The image is of papier-mache, and hollow, with the eyes cut
cut, and coloured gelatine glued behind. It should not be
more than 6 inches or 7 inches deep.
The inside of table, top is wired for the lighting effects, the
wires to lamp being carried through the hole in table top, and
the wiring for the flash effect from bowl being transmitted by
means of brass studs in the baseboard to which figure is
mounted, and thence by wires inside the bust. This baseboard
is 8 inches wide, and 22M inches long, and is hinged to front
of table.
The front of the shrine is a board painted in Egyptian,
or Oriental design. It is 34 inches wide, and 30 inches deep,
and is hinged to the bottom of the front legs. The opj osi;e
side is covered with fancy baize, or matting; a similar piece
being laid on the floor, directly in front.
We can perhaps better explain the secret it we include it in
the preparation and working. Commence with the table as at
Fig. 2. The. cloth is folded over on top, and the under side
should be black, Then the image swings out from under
table, which is its final concealment, and is stood as in first
drawing. The front cf cloth should be attached to under side
cf baseboard of figure, so that it pulls it down at finish.
The front board is hinged to legs, and brought upright, it
being held in th's position by a catch on one of the legs hook-
ing on to back of board.
Now from the centre of top of board a fine piano wirfe is
stretched, and hooked over forehead of the idol.
The flash is arranged by means of an eledtric circuit passing
through a fine wire, igniting magnesium powder, or other
flash mixture. When this flash occurs, the assistant pulls
thread which releases front boarc1. This falls, pulling the
image forward, and the momentum carries it right under
table top, where it is Tetair.ed by means of two spring catches,
and the cloth is pulled over front.
The performer, who gives the cue by bending low, and has
worked his w a y to front of carpet, quickly pulls his loose rob?
over his head, and tosses it on the mat, where it is covered
by the board; and he hurriedly seats himself in the chair
which has been hitherto unnoticed alongside table, because it
is in the shadow, the illusion being worked in coloured lights,
or coloured spot. The lamp shade, which it will be remem-
bered, is hinged, is held back by the image. This allows full
play of the electric globe on to back of image, and lights up
the eyes as required. But when the image falls, the shade
also falls into position, giving the effedt shown at Fig. 2.
Wholly net up and printed in Australia, by J. M<sKel
21 Creel- Street, Fovcsl Lodge.