f LIBRARY I 
 
 I UNIVERSITY Of J 
 

MAGIC 
 
 UP TO DATE. 
 
 -OR- 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 -BY- 
 
 W. H. J. SHAW, 
 
 PRICE, S1.0Q 
 
PREFACE. 
 
 In presenting this little volume to my readers, I trust 
 that it will meet with their approval. While neither profundity 
 of matter, nor perfection of style is aimed at, it is written in 
 e very-day language, and a careful perusal of the following pages 
 may both interest and be of value to my readers. 
 
 Bespectfully, 
 
 W. H. J. SHAW. 
 Chicago, III. 
 
 LOAN STACK 
 
 GIFT 
 

 SHAW'S MAGICAL INSTRUCTOR. 
 
 THE MYSTIC PERCOLATOR:- 
 
 A two gallon size glass percolator is used for this beautiful 
 experiment. The percolator is shown to company perfectly empty, 
 It is then covered with a shallow silver cover and given to a lady or 
 gentleman to hold. A large silk handkerchief is thrown over it, to 
 exclude the light. Performer now empties a cornucopia of paper 
 roses which were produced mysteriously a few moments before into 
 his blunderbuss "bang" goes the pistol which performer hands to 
 assistant. He then steps forward and removes the handkerchief 
 and shows percolator full of beautiful flowers. 
 
 Flowers were concealed inside the silver lid of percolator 
 which is made on the same principal as the "Coin Cork" so that on 
 pressing a small projecting pin on top of cover, the trap door in bot- 
 tom of lid gives way and releases the contents and is again closed 
 by a spiral spring inside of cover. This is a wonderfully effective 
 trick. 
 
 WATER INTO ICE:^ 
 
 A square tin box is brought on the stage and placed on a frame 
 The box is shown empty and remains on the frame during the en- 
 tire experiment. The box is now filled with water and covered 
 with a thin cover. A candle is placed underneath the box for a few 
 moments, the cover is removed and instead of the water is a large 
 cake of ice, nearly filling the box. In the centre of the cake of ice 
 are seen previously borrowed articles and the ice has to be broken 
 to get them out. Explanations— The box is on the principal of the 
 Inexhaustibal Box i. e. it has two bottoms and contains the cake of 
 ice when brought on. Tip the box towards the company and show 
 empty, tip in the opposite direction and show the bottom solid etc. 
 The water runs down side of ice through the legs and into the dou- 
 ble bottom of frame. There are two holes in the real bottom of 
 the box for the water to pass through and these are concealed by 
 the fingers when the box is tipped forward. Have a fake pail with 
 a false bottom near the top. The cake of ice must not entirely fill 
 the box as it could not be tipped forward then. The right size is 
 best accertained by trial. To find articles in centre of ice have it 
 sawed through, make a hollow space in it, then put in the articles 
 and unite the two halves by spreading salt on the surface where 
 cut. 
 THE NATIONAL BALL TRANSFORMATION:- 
 
 A solid blue ball covered with gold stars is given to the au- 
 dience for examination and is found to be made of wood and free 
 
 710 
 
SHAW S MAGICAL INSTRUCTOR. 
 
 from preparation. After it is returned the performer rubs it be- 
 tween his palms and it changes to an orange. 
 
 Explanation— The ball you give is made of hard wood painted 
 blue and decorated with gold stars in imitation of the national 
 flag. Underneath your vest you have another ball made as follows: 
 procure an orange a trifle smaller than the wooden ball, wind the 
 orange lightly with blue yarn and paste on some stars made of gilt 
 paper. After having given the wooden ball for examination and 
 while returning to the stage you vest it and produce the prepared 
 one. Now all you have to do is to work off the yarn under cover of 
 the hands, then palm the yarn and exhibit the orange. 
 
 NEW SPIRIT GHOST SEANCE:- 
 
 This is one of the finest seance of its kind ever introduced. 
 I will bring effect and explanation together. The medium is tied 
 to a chair, and the assistant lifts him into the cabinet, (when se- 
 cond back of cabinet is in its place,) between the two backs of ca- 
 binet is a natural skeleton painted luminous; the head and arms of 
 skeleton can easily be detached and attached at pleasure. The 
 medium releases himself from the chair and takes off the arms and 
 pushes them through the openings of curtains and lets them float 
 high above the cabinet, by using a reaching red. To the end of 
 this apparatus is fastened an arm and medium waves it high in 
 the air, at last a grinning skull shows itself through the opening of 
 curtain, only to vanish again, finally a whole skeleton steps out of 
 the cabinet and walks about the stage, moving arms and legs, at 
 last it goes back into canopy; lights turned up and medium found 
 in a trance, knots undisturbed. This last effect is managed by the 
 medium taking the loose back ground and throwing it over himself, 
 he then removes his shoes and with a strap buckles the skeleton to 
 himself. The spinal column of skeleton is strengthened by a thin 
 iron rod, the medium then puts his feet into half slippers, fastened 
 to the skeletons feet, he then grasps the wrists of the skeleton 
 with his hands and walks out of the cabinet and around the stage, 
 never turning his back to the audience, and walks backwards into 
 the cabinet again. To the eyes of the audience the medium is ab- 
 solutely invisible, being covered with the black back ground. After 
 the medium returns he puts skeleton and back ground in their re 
 spective places again, raps and simulates a trance. This has a 
 most wonderful vivid uncanny effect upon the audience. 
 
 SPIRIT BELL ON GLASS Top Table. For answering questions, 
 etc. There are two bells used, one is concealed underneath the up- 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 per end of the run down which is raised by a block of wood high 
 enough tc admit the bell. This bell has a strong cord fastened to 
 the clapper in such a way that when it is pulled it rings, the clap- 
 per falls back of its own weight, the cord runs off to an assistant. 
 The skeleton stand can be of any style you wish. You pass it for 
 examination, then place it on the run down next to the stage, al- 
 most over the concealed bell. You now pass an ordinary call bell 
 for examination, when returned you place it on the stand, com- 
 mand it to ring, the assistant pulls the string and bell rings. To 
 the audience it appears to be the bell they have examined. The 
 addition of glass makes no difference but increases the effect. To 
 tell the name of cards they must be forced. The drapery on run 
 down must be very thin so as not to interfere with the sound of 
 bell. 
 
 THE SPIRITUAL KING TE^T:- 
 
 A ring five inches in diameter is passed for examination. A 
 gentleman is chosen by audience to assist performer who proceeds 
 to blindfold him by placing a small sack over his head. In center 
 of stage is a small curtain three feet square, hanging about three 
 feet above the floor. Performer and gentleman now join left hands 
 same as shaking hands; instruct gentleman to hold tight, you then 
 stand close behind the curtain so that left arms are not seen by au- 
 dience. A boy now brings the ring to you, when you take it with 
 right hand and instantly pass ring around gentleman's left wrist, 
 still holding fast, walk to front of stage so audience can see. It is a 
 very excellent trick, takes well if some responsible man is chosen to 
 assist you; [this is important], as audience will naturally think 
 the assistant lets go of your hand unless a person is selected whose 
 word is beyond dispute. Secret:-Have two rings alike previous to 
 introducing trick; place one ring around your left wrist concealed 
 under coat sleeve. The curtain is made of heavy cloth with a ring 
 at each upper corner to hang by. Curtain is made double being 
 open st bottom, the back part a little the shortest. In center be- 
 tween curtain have a hook covered with cotton, now all you have 
 to do is to take ring from boy, pass it up between the curtain and 
 hang it on hook, then rub your hand up and down gentleman's arm 
 and slip ring over his arm. 
 
 THE EXTINGUISHED CIGAR:- 
 
 Performer takes any cigar while blazing hot and instantly 
 puts out the light by dabbing it on his tongue a few times. This 
 trick may be performed without preparing the mouth in any way 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 by simply causing sufficient saliva to flow towards the cigar thus 
 extinguishing the light upon tongue. If fear is entertained in re- 
 gards to its burning the tongue, simply suck a piece of lump "Borax" 
 in the mouth for a moment and you can then lick the burning end 
 of a cigar with impunity. It looks very heroic. 
 
 THE CHARMED ORGAN PIPES:- 
 
 A plain board which may be examined, is supported on two 
 chairs. Six large cylinders of polished metal, numbered respective- 
 ly 1 to 6 are shown. Each cylinder is slightly smaller than the 
 other, so that No. 2 will pass through No. 1, and 3 through No. 2, 
 and so on. Performer commences by taking up No. 1, holds it so 
 that audience can see it is quite empty; he stands it on the board 
 and drops No. 2, down through it proving that there is nothing in- 
 side. He next proceeds to pass No. 3 through No. 2 and so forth 
 till all the tubes have been proved empty and are standing side by 
 side on the board, like pipes of huge organ. 
 
 Performer bares his arms and takes from No. 1 a table cloth 
 which he spreads upon a table, then four napkins, four pair of 
 knives and forks and three dishes; from No. 2 he extracts a roast 
 chicken, from the next one a bottle of wine and glasses, and from 
 each succeeding tube he brings forth different viands which are all 
 spread upon the table, thus producing a sumptuous repast for four 
 persons. The tubes are shown quite empty again. 
 
 ExPLANATioN:-There are five buckets made of light tin, each 
 one has a flange at the top which holds them up in the tube, as the 
 flange rests on top of the tube. The buckets are filled with the ar- 
 ticles you wish to produce. Load buckets 2-3-4-5 and 6, leave the 
 big bucket 1 empty; all being ready show 1 empty and set it down, 
 pick up 2, and drop ii down through 1 and lift 1 up, leaving 2 on the 
 table, (the flange on the bucket catches on 1); the load is now in 1, 
 and 2 is empty. Now show 2 empty, then work 3 through 2, in same 
 manner and so on until all the tubes have been shown empty. The 
 loads are now in the first five tubes, if you wish to use the last tube, 
 palm 25 or 50 spring flowers and when you show tube empty throw 
 flowers in and shake out. 
 
 D'ALYINI'S ALBUM TRICK:- 
 
 The album is nothing more than a cardboard box, opening 
 like a book. In one side of the album is a trap, (see dotted lines on 
 side of album in fig. 1,) same as in portfolio trick. In table top is 
 a trap corresponding with trap in album. In the album itself have 
 concealed folding cages, folding trunks, bon bon boxes, flowers, etc. 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 
 
 -r/A 
 
 A 
 
 >S 
 
 
 
 . 
 
 li 
 
 
 
 Behind "A" fig. 1 of table is concealed a spring roller as long as table 
 upon which is sufficient black velvet to reach from the fringe to flcor 
 
 To the lower edge of velvet 
 shade is fastened a thread 
 which passes through a 
 hole in floor of stage, when 
 thread is pulled down and 
 velvet shade with it; the 
 part of table behind front 
 legs are hidden from view, 
 several feet behind this ta- 
 ble stands a large table 
 draped to the floor with 
 velvet also, so when shade 
 on front table is down au- 
 [Fig. 1.] dience imagine they see se- 
 
 cond table. The album is layed on table with trap down and back 
 of album toward atidience, so when opening it, audience cannot see 
 into it. ' D'Alvini placed the album on table and opened cover, and 
 then took out the articles, then walking away from album he would 
 execute his fantastic dance; in the meantime the shade was pulled 
 down and a boy dressed as a dragon came up behind the shade 
 through stage trap, table and album trap, and out of album. Eed 
 fire was burning in the album, which was set off by the dragon. 
 
 LIGHTNING, SLATE AND BLACKBOARD TEST:- 
 
 Have blackboard and common slate, also a piece of white 
 chalk, you call on some person to come upon the stage to assist you, 
 gentleman or boy will do; have con federate i n front seat of audience. 
 Now request gentleman to write on the blackboard five or six names 
 any names he likes, placing one name under the other until he has, 
 say, five names down. Now request him to write one of these names 
 on the slate but to be sure he does not give you a chance to see it. 
 When he has done so, request him to show it to audience and then 
 rub it out, and place the slate downwards on the floor so you can 
 not see what was on it; now take him to blackboard, and taking 
 chalk from him, take his left hand in yours, and ask him to look 
 you in the eye a moment and then turning to blackboard, cross out 
 with chalk the name he wrote on slate, then proceed with numbers 
 as 25-28-67-45, etc., or get someone else to come up and do it. 
 
 Secret:-Ycu understand when your confederate sees what is 
 on the slate he gives you a "sign," that is with his fingers on lapel 
 
() 
 
 SHAW'S MAGICAL INSTRUCTOR:. 
 
 of coat, or looking at ceiling, or floor, to right or left, rubs his hand, 
 on head or nose, etc., or whatever signs you agree upon. This does 
 not look like much of a trick, but only try it and you will find it a 
 ''telling" one. 
 
 THE EGYPTIAN CREMATION:- 
 
 The principal part of this trick, lays in the table X X X X 
 (Fig. 2.) are traps in top of table, that open under pressure, and 
 lock same as all traps in conjuring tables. The top of table is cov- 
 ered with black cloth and is six inches deep, and closed to form a 
 box. Inside of table are placed dummy shapes, to represent the 
 head and iimbs of person to be decapitated; these shapes are secur- 
 ed by wires to retain their place if you turn table over in showing 
 it to audience. The next important apparatus is the furnace. 
 
 13> 
 
 ¥ 
 
 [Fig. 2.] 
 "A" in fig. 2, is the fire basket which is very shallow, there is a 
 wide opening behind basket which runs into the body of furnace; 
 around the bottom of furnace is a row of holes to admit plenty of 
 air to the interior, so whatever may be dropped inside will not be- 
 come hot from the fire in fire basket. The person to be decapitated 
 somes forward, and, lays on the table in position upon the traps, 
 performer takes a piece of cloth and twists it around subjects arm, 
 then taking a knife he pretends to cut off subjects arm, undercover 
 of movement performer unlocks the arm trap, subject forces his 
 arm through the trap and the performer lifts out the dummy arm, 
 (the cloth conceals the opening of trap,) and drops it into the fur- 
 nace (back of basket); the same movement is repeated for the head 
 and remaining limbs which are also placed into the furrface. Per- 
 former now pokes up the fire and removes some ashes and drops 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 them into a gun and fires at the table; the subject jerks up his head, 
 leg and arm, and sits up on the table, traps closing as soon as limbs 
 are removed. It is well to place a heavy charge of powder in gun 
 and stand directly in front of table, the smoke, report and your 
 figure will hide the opperation of restoring the subject. Inside of 
 table is painted black. 
 
 NEW HAT FAKE:- 
 
 This is a brass cylinder made large enough to contain ten sil- 
 ver half-dollars. The coins are fed upwards by force of a spiral 
 spring of sufficient strength and are checked from passing out by 
 the rim being turned over at the end half way round. A simple 
 downward pressure of the finger slides a coin off when it is wanted 
 and another one takes its place. Two wire pins are soldered to the 
 top of the cylinder an such a manner that when the points are stuck 
 through the hat band inside the hat the coins must slide down- 
 wards. The effect of the Aerial Treasury is most bewildering when 
 this little helper is used, especially when used in connection with 
 the coin wand as the performer can at any moment lay the hat on 
 the table and by gesture prove the emptiness of his hands. 
 
 THE DIAMOND MYSTERY- 
 
 The ace of diamonds is forced on some one and then burned; 
 the ashes are gently rubbed in left hand and from them is produced 
 a diamond which has been previously palmed in the hand. (A good 
 diamond may be obtained from a flashy 25c. ring.) Make pass and 
 pretend to swallow this diamond, but drop it in your pocket and 
 palm a large crystal such as is sold by school supply houses to illus- 
 trate geometrical solids etc. Produce this from ycur mouth and 
 show it, then make pass and palm it in right hand, while left hand 
 throws it towards audience and vanishes it. 
 
 THE SPIRIT SCRIBE:- 
 
 This test is often performed by mediums with good effect. 
 Heat a sheet of thick glass over a spirit lamp or stove thoroughly, 
 and suspend it on the stage before curtain goes up, and it should 
 be introduced as the first trick; also have a sheet of paper prepared, 
 by writing a message on it with diluted Sulphuric Acid, using a 
 clean pen. This writing when dry will be invisible, but when laid 
 on the hot glass the writing will immediately appear in black char- 
 acters. 
 
 A LIVE HAT:- 
 
 This is a very good finale to the favorite hat trick. A skull 
 
8 
 
 SHAw'S MAGICAL INSTRUCTOR. 
 
 is introduced into a hat, from servante of center table, and the hat 
 placed rim downwards on a glass top stand. The skull has a hole 
 running through the center from bottom to top. The glass stand 
 is fitted with a piston which is about eighteen inches long, and, 
 which when pulled, goes through the hole in skull, and coming out 
 at top encounters the crown of hat and lifts it up, disclosing to 
 view the skull. By having a movable jaw on skull, the jaw can be 
 made to move by means of a black thread stretched across the stage 
 as in "Head of Ibicus.'* 
 
 CHANGING DECAPITATION:- 
 
 For this illusion you must have a cabinet lined with black 
 cloth, and arrange lights so as not to shine inside of cabinet. The 
 skeleton is a man dressed in a suit of black tights, with a skeleton 
 painted on front, and wearing skeleton gloves; at a short distance 
 the black body is not visible. The skull is metal enameled, but 
 not attached to the skeleton, but to a piece of black cloth "B" fig 3, 
 which is stretched on wire, (the skeletons real head is an imitation 
 of the performers head). There is also another one of these cloths, 
 
 'A" and both pieces of 
 
 cloth are weighted at 
 the lower edge. To the 
 upper corners of each 
 cloth is fastened strong 
 black cords which run 
 over pully's in the top of 
 cabinet and then down 
 behind it to assistant. 
 When performer steps 
 into the cabinet, he 
 takes his position dir- 
 ectly under cloth "A.'- 
 At the moment the per- 
 former fires pistol the 
 assistant pulls the cord 
 [Fig. 3.] attached to cloth "B" 
 
 (which raises it up out of view,) bringing into view the head of 
 skeleton, which is made to resemble performers head. The assist- 
 ant at the same timeslackens cords "B" which drops down to per- 
 formers shoulders, before his head, and brings into view the skull 
 attached to it. The two moves are made together and at the same 
 instant of pistol report. By the alternal pulling and slacking of 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 9 
 
 cords, you may cause the head and skull to change places any num- 
 ber of times. It is best to mark the cords to prevent the assistant 
 from letting the clothes down to far, in which event they would con- 
 ceal a portion of the skeleton or performers shoulders, and expose 
 the trick. 
 
 THE WONDERFUL LAGER-BEER GLASS AND PAPER 
 CONES:- You fill the glass with beer and cover it over with a 
 handkerchief, then take two pieces of white paper (which may be 
 examined,) and make them into two paper cones or sugar bags; you 
 aho show two ordinary wine glasses quite empty, over each of which 
 you place one of the paper cones. You then command change to 
 
 take place. Uncover the lager glass 
 and show that the beer has disap- 
 peared and that it is quite empty. 
 Next remove the paper cones, and 
 each of the glasses is full of beer. 
 The paper cones are unrolled as 
 they are taken off and shown to be 
 quite empty, and may be examined. 
 Figure 4, gives an idea of appara- 
 tus used. 
 
 Secret:— The glass is filled 
 [Fig. 4.] with beer, and it has a small hole 
 
 in the bottom which is kept closed by a small piece of damp mica. 
 You place glass on a book or tray, sliding it along so as to remove 
 mica from off the hole. The book or tray is really hollow and con- 
 tains a tin receptable with a hole in top side, to correspond with 
 that in glass through which the beer runs. After the paper cones 
 are made up, you load into them two small tin fakes which hold 
 beer; they have an outlet tube at bottom and the beer is kept in 
 them by a small valve at top side, this valve when pressed admits 
 air, and so lets beer run into glass. [You press valve when placing 
 paper covers over glasses.] Cover large glass with a handkerchief, 
 and as you lift off cones, drop the fake out on to servante and 
 immediately unroll paper and show to audience. 
 
 THE DICE HOUSE :- 
 
 For this trick you need a small wooden house large enough to 
 contain three 31 inch dice, one of which is red, one black and one 
 white. Audience look into house and suppose it to be empty as 
 they see only two shelves, on which the dice are to be laid. These 
 
10 SHAW'S MAGICAL INSTRUCTOR. 
 
 shelves are the tops and bottoms of three shell dice already conceal- 
 ed in the house. These shells are made of pasteboard and one side 
 is open, this is the side presented to the audience. The three dice 
 are pasted together and a small projection at the top and bottom 
 fits in a small hole. The walls of the house look thick from the 
 outside, but they are hollowed out on the inside so that by turning 
 the chimney you may turn the shell dice around. Each of the three 
 sides of these dice are painted a different color; (red, black, white). 
 Have the three solid dice examined, place them in the house, really 
 into the shell dice, close the door and give the chimney a quarter 
 turn, open the door and show the audience who will see the new 
 sides of the shells that the dice have chanced places, repeat this 
 three times, which will bring the dice to their original places; now 
 take them out again. Here are the positions of changes on the 
 shell dice: 
 
 ice put in. 
 
 1st Change. 
 
 2nd Change. 
 
 3rd Change. 
 
 Ked 
 
 Black 
 
 White 
 
 Ked 
 
 Black 
 
 White 
 
 Ked 
 
 White 
 
 White 
 
 Bed 
 
 Black 
 
 Black 
 
 The house can also be used to appear or vanish one to three 
 dice to good advantage. 
 
 THE DEVIL'S EOD OR STICK OF ENCHANTMENT:— 
 
 The effect of the Stick of Enchantment is as follows:— The 
 performer turns his sleeves up right to the elbow and the arms are 
 quite bare; instantly the performer produces a very handsome long 
 stick, with ferrule and knob. It is a perfect representation of an 
 ebony stick, and to prove that it is quite solid the performer hits 
 the table with it, which proves it perfectly solid. Now the perfor- 
 mer takes the stick between his hands, and it is seen to grow small- 
 er and smaller, till it is about one quarter of its size, then in an in- 
 stant it vanishes altogether. 
 
 The apparatus used in this trick are as follows:— Procure a 
 piece of the very thinest sheet steel spring, about six feet long and 
 three inches wide; this you coil into a tube similar to the magic 
 barber pole, so that when opened, it is about three feet long and is 
 japanned black, and has a nickel-plated ferrule fastened on one end 
 and a nickel-plated knob fits on the other end of stick. Knob can 
 be put on and taken off, at will, when the stick is opened. A brass 
 case four inches long and one inch in diameter, is used to carry 
 stick in when not in use. 
 
 To prepare this trick take the spring out of the case and hold 
 
SHAW'S MAGICAL INSTRUCTOR. 11 
 
 the spring together in the right hand. Have the knob in your poc- 
 ket so that you can easily get at it. To perforn this, trick, you pull 
 up both your sleeves, then quickly open your hand and let the spring 
 fly out, which you pull out as far as it will go, forming a walking 
 stick, and twist it very tight, so as to make it appear quite solid, 
 and by hitting it on the table it sounds perfectly solid; unperceived 
 slip the knob on, which holds the stick firm. 
 
 To vanish the stick take the knob off and slip it into your 
 pocket, and slightly unscrew the- end, then, with the left hand 
 catch hold of the ferrule and hold the top end in the right hand, 
 gradually bringing the two hands together; as you do so give a screw- 
 ing movement with both ends, until you get it as small as it will go 
 then quickly palm it in the right hand, holding it so that it cannot 
 spring out; whilst you are making it smaller you should gently 
 move your hands. Next put your right hand in your trousers poc- 
 ket and produce it slowly, then again screw it up and make it quite 
 solid by placing on the cap. The performer then vanishes it again 
 or can let it remain in sight of the audience, as there is no fear of it 
 springing out with the knob on. This wants a little practice, as 
 one has to find out which way they can hold it best. 
 
 IMPKOVED TORN CARD TRICK:- 
 
 Requisites:— Changing card box (loose flap business), corner 
 flap card, forcing pack to match corner flap card, and pistol. 
 
 Place torn card, with corner folded down, under flap in box. 
 Tear a similar piece out of a duplicate card; conceal this piece some- 
 where about the person, and have a card placed beforehand in a 
 place to be determined on, such as on a curtain, or on a wall, with 
 loose flap of the same material over the same, to fall down by as- 
 sistant pulling a thread when the pistol is fired. Force the card, 
 and have the corner torn off, which must be changed for the dupli- 
 cate corner you have. Then tear up remainder of card, and wrap it 
 up in a piece of white paper, and pretend to place it in the left hand 
 in which you have a piece of flash paper; touch in flame of candle, 
 and it disappears. Say pieces are gone into candle; say they pass 
 down candlestick, which lift up and find underneath the duplicate 
 card minus the corner (which you have previously placed there); 
 have corner fitted to card to show it matches, and say it was un- 
 fortunate you forgot the corner but it will be easy to restore card if 
 it is put into the box and shut up (turning it over and changing for 
 corner flap card) but say you won't use any apparatus, but restore it 
 visibly, therefore.take card out again, but this time the corner flap 
 
12 
 
 SHAW S MAGICAL INSTRUCTOR. 
 
 card. [To take the card out, simply turn the box over on the table 
 and let the cards drop out, but slip the fake behind some object on 
 the table to conceal it.] Leave the box in a condition to be picked 
 up empty. Hold the torn card in the left hand, throw the piece at 
 the card (palming it), and show the card whole, saying, "you see it 
 is quickly restored without any mechanism whatever, not even such 
 a trifling affair as this," giving a half turn and picking up the 
 empty box from the table, and .handing it for examination. In 
 making this turn, you exchange mechanical torn card for duplicate 
 whole one, either by "profonde" or "pochette," letting hand drop 
 to side on turning; or on "servante," while leaning over to reach 
 the box; hand both for examination, and call attention to the per- 
 fection of the joining of the card. Finally, tear the card up again, 
 load the pistol with the pieces, and fire at the curtain, revealing 
 the duplicate Grand Effect. 
 
 NEW TAPE TRICK:- 
 
 Take three yards of ordinary tape, place centre in mouth fig. 5, 
 and let the ends hang down; A, right end of tape; B, left end. Take 
 end of B in right finger and thumb, and A with the left hand; the 
 tape will now be crossed, B part being next the body, bring right 
 hand up to mouth and hold end B on the right side of the mouth 
 against tape, do the same with the other end A, to the left side of 
 mouth. On gripping at the two points and removing centre from 
 mouth, it will be as follows: 
 
 [Fig. 6.] [Fig. 7.] [Fig 5.] 
 
 Hold ends A and B, at the points where they cross tape, near 
 centre fig. 6, so gripping the two thicknesses of tape; this position 
 must be thoroughly shown so that audience can see that X, is really 
 center of tape. Now ask someone to get out a knife to cut it at X, 
 in fig. 7; moving forward to this person, drop that part of the tape 
 against which you hold the end with the right hand; quickly but 
 quietly sieze in its place the tape just below the end A, held in left 
 hand. The aspect of this is the same as before but instead of X 
 
SHAW'S MAGICAL INSTRUCTOR. 13 
 
 being in middle it is only a short piece from A. Have this cut, i. e., 
 really a small piece from end A. When cut drop the ends into the 
 right hand but keep the left finger and thumb over the part where 
 the tape crosses. Now tie the two ends, which are really the two 
 ends of little piece, together tie these two ends "round" the tape 
 and pull tight. The short severed piece will now be tied round the 
 middle of tape and will look as if it had been cut and joined again 
 at that point. Show it openly and jerk it from ends as if to test 
 strength of knot. Go through this same process two or three times 
 so that there will on the end be several apparent cuts and joins near 
 centre of tape. You will find it convenient to have two gentlemen 
 assisting you, and in the turning from one to the other gives time 
 to execute the movements To rest on B exhibit well in this condi- 
 tion, then take in right hand and twist it around left hand, letting 
 it slide through and so drawing all knots toward one end; when ends 
 is reached they all slip into that hand, and you give length of tape 
 for examination and secretly put loose knots in pocket. 
 
 NEWEST WINE AND WATER TRICK:- 
 
 This splendid trick requires practice in order to attain profi- 
 ciency in its various details, but it is a trick that astonished the 
 Egyptian Hall audience for weeks. First make a solution of sulpho- 
 cyanide of potassium with about a pint of water— a chemist will do 
 it for you. Then knead some powered oxalic acid into a stiff paste; 
 make this into lozenges about the size of a halfpenny, but thicker, 
 and let them dry and get hard. Get a small quantity of saturated 
 solution of perchloride of iron (this is sold under the name of "steel 
 drops.") Have on the table the following:— A jug which we 
 will call A, and five wine glasses, B, C, D, E, F. Prepare the jug, 
 A, by pouring into it enough water to fill four wine glasses, and a 
 tablespoonful of the cyanide solution. Glasses B and D are unpre- 
 pared. In C and E put two drops of the "steel drops;" in F put 
 half a teaspoonful of ammonia. 
 
 Trick:— Pour water from the jug, A, into the glasses, B, C, D, 
 and E, when water and a wine red liquid will appear alternately. 
 The contents of the four glasses are then poured back into A, which 
 will now be found to contain a wine red liquid. This liquid is once 
 more poured into B, C, D, and E, and A is shown empty. Now slip 
 into A, unobserved, one of the oxalic lozenges, without breaking it, 
 if possible. Pour the red liquid from the glasses into A, and it 
 Changes into water; pour some of this into F, and it is again red. 
 
14 SHAAV'S MAGICAL INSTRUCTOR. 
 
 W Oxalic acid is deadly poison. The amalgamated liquids 
 should be got rid of as soon as possible. Of course, on commencing 
 this trick you show the glasses as empty, and the jug as containing 
 water. 
 
 COLORED SANDS OF ENCHANTMENT:- 
 
 Consists of a small quantity of differently colored sands. You 
 can make these by dying ordinary silver sand. Prepare a small 
 quantity of each of these by charring over the fire in a frying pan, 
 with a small piece of wax candle; you will best find out the quanti- 
 ty by trying. Now put these sands so prepared in the bottoms of 
 small tumblers, heat slightly, and press down the sand, to cause it 
 to adhere and form little cakes. Put each of these cakes into bags 
 (small ones) containing unprepared sands of the same color. Have 
 the different sands examined, taking care that the audience do not 
 see the cakes in the bags. Pour the sands from each bag into a 
 large basin of water, and mix up thoroughly with the hand; the 
 cakes being at the bottom are not seen. Now put the hand in the 
 water and get hold of one of the little cakes, take it out, and in 
 doing so squeeze it, and it will fall into grains, which you let fall 
 from the hand to the plate, dry, and of the chosen color. To insure 
 picking the right color make the cakes of different shapes, say one 
 oblong, one square, and another round. After the cakes are taken 
 out, let the audience try and test for themselves. 
 
 NEW SENSATIONAL CARD TRICK:- 
 
 Requisites:— Spirit writing slate; plain frame, with clear glass 
 front, and loose back fastened in with crossbar; forcing pack; pho- 
 tos of three statesmen pasted on back of three cards to match forc- 
 ing pack; and paper bag made double, really two bags fastened 
 together. 
 
 Effect: — Three freely selected cards leave a marked envelope 
 held by one of the audience, and appear in the empty frame. The 
 names of three cards are found written on two slates in place of the 
 cards; the envelope contains three photos of statesmen, whose 
 names are found written on a piece of paper that has been freely se- 
 lected out of a dozen or more collected from the audience, after 
 they have written on them the names of any three statesmen they 
 fancy. 
 
 Secret:— Arrange forcing pack as follows:— Suppose it is com- 
 posed of ace, ten, and three; put a ten, then a three, then an ace, 
 and so on all through the pack. Offer the pack to be cut, and have 
 
SHAW'S MAGICAL INSTRUCTOR. 15 
 
 the three top cards taken, when they are bound to take the three 
 cards you wish to force. Have them shown to the audience and put 
 in the envelope. Take the envelope, and in walking back to the 
 stage, change it (vest); then, as if you had forgotten, say you will 
 have it marked (of course they then mark the changed envelope 
 which contains the three photos), and leave it with the audience. 
 Next give out a lot of slips of paper for them to write on the names 
 of any three statesmen they fancy. Collect them in bag (double 
 bag, one side containing several slips, all having written on them 
 the names of the three statesmen you have in envelope). In walk- 
 ing back turn bag round, and ask someone to freely select any paper 
 he chooses (all being alike he cannot take the wrong one) and retain 
 it. Now show slate (on which you have beforehand written the 
 names of the three cards you forced, and covered up with loose flap) 
 blank at both sides, and put it down on the table. Next call atten- 
 tion to the frame, which take to pieces; take out the back, then the 
 brown paper (which has pasted on the side next to wooden back 
 duplicate cards to those which you forced), then the glass. Borrow 
 a handkerchief, and lay frame face down on it, put in the glass, 
 then the brown paper (which now has the cards underneath), with* 
 out turning it over (cards will now face the glass), and put in the 
 back, fasten all up in the handkerchief (without letting the audi- 
 ence see the front of the frame, or they will see the cards there), 
 and give someone to hold. Command the changes to take place, 
 and show the slate with the names of the cards written on, frame 
 with the three cards in, and the envelope will contain the three 
 photos of the statesmen whose names are written on the slip of 
 paper. Grand Effect. 
 
 ECLIPSE COIN, CAKD, AND CANDLE TRICK. 
 
 Effect:— A pack is shuffled and a card selected; this is taken 
 and placed in the hat band of a gentleman's hat, or anywhere in 
 full view. A half-dollar is borrowed, marked, and passed for iden- 
 tification. A cigarette paper is then handed to a lady, who is asked 
 to write her name and address on it, and tear it in half, so that it 
 can be matched later. The half-dollar is then taken and wrapped 
 in the half cigarette paper. This is taken to any candle, and as 
 soon as it nears the flame it goes in a flash. The card is taken by 
 the gentleman from the hat, or from its position, and the coin is 
 felt to be inside; the card has to be broken to get the half-dollar out 
 which is identified as the same coin. Any candle on the table is se- 
 lected; it is first cut up into two pieces, and the audience select 
 
16 SIIAW'S MAGICAL INSTRUCTOR. 
 
 either piece; this is cut again, and the audience select either of these 
 pieces; cut again, and the audience select either piece; this, on being 
 cut open by the lady, contains the piece of paper which matches 
 her own piece. "Requires coolness and dexterity." 
 
 Preparation:— Have two half-dollars cf the same date marked 
 alike, so that no difference can be seen. Have a piece of flash paper 
 wrapped up in the shape of a half-dollar. Put the flash paper on 
 the table out of sight, or easily accessible. Take a similar card to 
 that which you will force, and split it carefully open from the top, 
 so that the back comes away from the front. When you have 
 stripped it to half the length of the card, put one of the half-dollars 
 in and paste the sides around, placing heavy weights on the sides 
 to keep it in its original form; when it is dry it is as an ordinary 
 card, this card you can place on the table face upwards; no one to 
 see it but you. The other half-dollar put in hip pocket, or anywhere 
 so that you can get it easily. Then cut up a candle, take one piece 
 about an inch long, and hollow out the inside. Put one in side 
 pocket, or vest it. The candle must be of the same color, etc., as 
 those burning on the table, which you intend to use. You are now 
 ready. 
 
 Bring forward the' pack (false shuffle), and force a duplicate 
 card to that which lies prepared on the table; leave the card with 
 the gentleman, and ask him to show it to the company; while doing 
 this, carelessly lay your pack on the table, faces upwards. Lay the 
 pack upon the prepared card, which, when you take the pack, will 
 be on the top. Explain to the audience that you are going to do a 
 remarkable trick, etc. Take up the pack and hold it in the left 
 hand. Go to the gentleman and ask him to give you the card, and 
 you will place it in full view, now, by means of the pass or other- 
 wise, change the card, or you can change it as you go to the table; 
 place the card facing the audience in full view, and later put in 
 some gentleman's hat band; the best plan is to keep the hat on the 
 table, to prevent the owner becoming curious. [I am explaining 
 this very fully to you.] Now get the marked half-dollar and keep 
 it between the first and second fingers of the right hand. Borrow a 
 half dollar and get it marked with a penknife. Get one or two 
 near the marker to look at it, and then take it to the opposite side 
 and let others examine it; as you pass across with the borrowed 
 coin between the second finger and thumb, bring it down to the 
 palm and produce the duplicate— this can be done without detec- 
 tion before anyone's eyes. Now take it in full view (apparently the 
 
SIIAW'S MAGICAL INSTRUCTOR. 17 
 
 borrowed one, but "really" the marked one of your own), and place 
 it in full view (I put mine in a cleft stick on the table). Now get 
 a lady to write her name, etc., on a cigarette paper, meanwhile, 
 drop the half-dollar in your pochette, ready for reproduction later. 
 Take the half of the cigarette paper, and put it on the table, under 
 the pretence of tucking your sleeves right up. Put the half of the 
 cigarette paper upon the flash bit which is wrapped up like a half- 
 dollar. New hold the cigarette paper between the top of the second 
 finger and top of the thumb of each hand; it will face the audience. 
 Behind this is the flash unseen. Now take the half-dollar from the 
 table and place it in front, and fold the cigarette paper over it so as 
 to surround the coin. Slip up the flash paper from behind; go to the 
 candle: "Presto! gone!" in a flash. In the flash drop the wrapped- 
 up half-dollar in your trousers, or elsewhere,— it won't be wanted 
 again. While putting the half-dollar away, get hold of the paper 
 in which it is wrapped, which is the half corresponding to that held 
 by the lady; squeeze this up very small, long fashion; you can stand 
 in easy posture with hands behind you; get the piece of candle from 
 your vest, and force the paper in, dropping the candle in your poc- 
 ket, or vesting it again. [This sounds complicated, but you will 
 And it remarkably easy]. 
 
 You talk, of course, to keep the audience on the move. The 
 rest is easy. Go to the hat; let the gentleman take the card, and he 
 and others will feel the coin. Get the parties who identified the 
 coin to open the card, and they will see it is the same, and as you go 
 to the owner of the coin, change it for the one you actually borrow- 
 ed. 
 
 NEW PROGRAMME, RING, AND ENVELOPES TRICK:- 
 
 Effect:— A ring is borrowed, also a programme, and the latter 
 is torn in two. Volunteer is invited on the platform. Half of the 
 programme is spread over the hand, and the ring placed on it. The 
 performer then squeezes up the programme and ring, and commands 
 the programme to change into a series of envelopes, with the ring 
 in the centre one, and this is found to have been done. Volunteer 
 has to open the four envelopes before he finds the ring. Performer 
 now repeats the trick with the other half of the programme, and 
 again the ring is found in the innermost envelope, and is returned 
 by the volunteer to the owner. The broken envelopes are then 
 taken in the hand, squeezed up, and transformed into programme 
 again. "Very elaborate effect." 
 
 Secret:— The ring is changed on wand (old dodge). The first 
 
18 SHAW'S MAGICAL INSTRUCTOR. 
 
 series of envelopes is perfect (made out of similiar programmes, of 
 course) and carefully sealed up with dummy ring inside, concealed 
 (say) in right pochette, and (when programme is handed) taken be- 
 tween root of thumb and finger — forefinger. The programme is laid 
 on the hand, the substitute ring is placed thereon under the thumb, 
 all squeezed up, and envelopes produced— the programme is slipped 
 into pocket while the audience are gazing at the opening of the 
 envelope. Lay great stress on the fact of each envelope being se- 
 curely fastened, and ask the volunteer if he can take out the ring 
 without breaking the seals, &c, &c. Meanwhile arrange for the 
 repetition of the trick. The second series of envelopes is open at 
 one end, and has a flat thin tube (a la shilling in ball of wool) down 
 into "not quite" the bottom of the smallest one (the tube to fit 
 loosely), and place each succeeding envelope wax side downwards. 
 While the volunteer is working with the first set, drop the borrow- 
 ed ring down the tube into the innermost envelope (say in the right 
 pochette), shake the tube, withdraw it, then bend the ends of the 
 envelopes over tightly, and proceed with the trick with the second 
 half of the programme as before, asking the volunteer if he' would 
 like to do the trick. 
 
 A good finish is made by collecting all the envelopes, having 
 a complete programme in the hand, and changing them for it. To 
 do this, simply squeeze up the bundle, bring the programme to the 
 top, and hand it over, immediately taking wand in hand. 
 
 NEW METHOD OF GETTING FLOWERS INTO CONE:- 
 
 Have a little cardboard pocket (into which the flowers will 
 slip easily) stitched just under the left breast of waistcoat. To the 
 elastic band round the flowers have a black thread attached, the 
 other end of the thread being secured by a swivel to a ring stitched 
 on right side of vest (a la handkerchief vanisher). While showing 
 paper, not folded, hook the thread over the right thumb, and first 
 showing paper to audience, turn it down to make a cone, and at the 
 same instant pull the thread with the thumb, which brings the 
 flowers well behind the paper, both hands being at least six inches 
 from the body throughout. The thread is then broken, and the 
 flowers squeezed out. I usually make a pretence of putting the 
 flowers into the cone, and when about [apparently] to shake them 
 out, undo the paper and again show that the audience are deceived, 
 as they are not there. Sleeves up, and arms bare to elbows. Fine 
 effect and goo3 business, 
 
SHAW'S MAGICAL INSTRUCTOR. 19 
 
 THE ORNITHOLOGICAL LABYEINTH:- 
 
 Apparatus required:— Vanishing canary of the usual shape. 
 A lemon prepared as follows: Scoop out the inside and after having 
 allowed the shell to dry, put a live canary inside which has a piece 
 of ribbon tied around its neck. The ribbon has a small watch 
 swivel at the loose end. Close the lemon up and allow the swivel 
 to hang out of a hole on one side; put this in your coat tail pocket; 
 fasten the elastic of the dummy bird to the inside of the back of 
 your coat "a la vanisher." Borrow a ring which you change on 
 your wand for a dummy which you give to some one to hold. Place 
 your hand in your coat tail pocket and after having hooked the 
 ring on the watch swivel, bring out the lemon; place the lemon on a 
 plate, ring away from the audience. . Make a cone out of paper at 
 the same time calling attention to some birds in a cage on the table. 
 Give the cone to someone to hold, go to the cage to take out a bird 
 and as you do so get the dummy into your hand and take it out of 
 the cage instead of a live bird. Go to the person holding the cone 
 and, tipping it slightly towards you, place your hand inside and 
 release the dummy bird, which flies up under your coat. Close the 
 top of the cone and have it held up, take the dummy ring and, plac- 
 ing it in your pistol, fire through the cone at the lemon; now open 
 the cone which is found to be empty, cut open the lemon and reveal 
 the bird and ring. 
 
 THE FLIGHT THROUGH CRYSTALS:- 
 
 Effect: — You hand to audience for examination, three silk 
 handkerchiefs; one red, one white, and one blue. Next you show 
 two crystal cylinders, such as is used on gas jets. Have someone 
 in audience to tie the corners of blue and white handkerchiefs to- 
 gether and roll them into a ball, which you place in one of the cyl- 
 inders, and give to someone to hold. You next take the red hand- 
 kerchief and place it in the other cylinder, and hold one hand over 
 each end of cylinder, and away from your body. You now command 
 the red handkerchief to vanish, and instantly the cylinder is seen 
 empty; hands are still covering both ends. Person holding the 
 other cylinder removes the two handkerchiefs and unrolls them, 
 and to their astonishment they find the red handkerchief which had 
 disappeared from the other cylinder between the blue and white 
 handkerchiefs, all being tied together. Very effective. 
 
 Secret:— After person has tied blue and white handkerchiefs 
 together, you request him or her to roll handkerchiefs into a ball, 
 rolling the white one inside of the blue one, and place ball on a 
 
20 SHAWNS MAGICAL INSTRUCTOR. 
 
 plate which you hold. On returning to stage you palm duplicate 
 ball from under vest, and drop it on plate and palm first ball which 
 you place under your vest. The ball now on the plate is composed 
 of three handkerchiefs, the blue one being on the outside of the ball. 
 Now take one of the cylinders from table and place on plate with 
 ball; going to someone in audience, have them place ball in cylinder 
 and hold the palms of their hands over each end of cylinder. Per- 
 former returns to the stage and picks up red handkerchief and slips 
 it through loop of "pull," which until now has been over left 
 thumb. [The pull is double, same as described on page 34, "Magic 
 and its Mysteries," a la handkerchief pull]. Now you take up the 
 cylinder and place handkerchief in it and, holding palms of hands 
 over each end of cylinder, you -command hankerchief to vanish, at 
 the same time raise hand a little from end of cylinder on the side 
 which pull is, in order to allow handkerchief to slip out easy, which 
 is drawn up your sleeve by pull, as you extend your arms a little; 
 place cylinder on table and walk to person holding the other cylin- 
 der and have them remove ball, which they unroll and find the 
 three handkerchiefs all tied together; red, white and blue. 
 
 MEPHISTO'S GLASS CYLINDERS:- 
 
 Effect:— Two glass cylinders are shown and then placed oppo- 
 site to each other on the stage. Performer borrows a dozen hand- 
 kerchiefs and has them all tied together; he then places them in 
 either cylinder, as selected by the audience. Performer now com- 
 mands the handkerchiefs to vanish, which they instantly do, and 
 appear in the other cylinder which was previously shown empty. 
 These cylinders can also be used for the vanishing and appearing of* 
 birds, rabbits, liquors, flowers, etc., etc. 
 
 Secret:— Have a cylinder of opaque glass about two feet high; 
 also two shells of same colored glass which fit over the genuine cyl- 
 inder that has bottom in it; also have two pedestals (imitation of 
 marble), which are hollow; these are placed over traps in stage at 
 each side. Assistant under stage has a long rod on one end of 
 which is a wooden disc; this disc is a little smaller than the inside 
 of glass shells. Performer shows shell and cylinder together, then 
 places them on one of the pedestals; assistant pushes up rod from 
 below so that disc is flush with top of pedestal. Performer now 
 places the other cylinder (shell), on the second pedestal. He now 
 borrows some handkerchiefs and has them tied together, these he 
 places in first cylinder and, on command to vanish, assistant quick- 
 ly lowers rod and disc (cylinder containing handkerchiefs is resting 
 
SHAW'S MAGICAL INSTRUCTOR. 21 
 
 on disc); down, and quickly shoves it up into the shell on second 
 pedestal, from which the performer produces the handkerchiefs. 
 Performer steadies outer cylinder or shell, by placing his wand 
 across top of it and bearing downwards, meanwhile addressing the 
 audience upon some point of interest, while assistant pushes up 
 inner cylinder. Of course you must have audience imagine that both 
 cylinders have bottoms in them. 
 
 NEW SPIRIT PICTURES:- 
 
 Effect:— Medium shows a wooden frame, on which is a piece 
 of cloth, both sides of which are shown and this is placed on an 
 easel. A lamp is then placed behind cloth thus rendering it trans- 
 parant, and impossible for anyone to touch cloth from behind with- 
 out being seen. Lights are then lowered a trifle, a little music, and 
 a spirit picture is slowly precipitated upon the cloth in colors, this 
 being visible to every one present. 
 
 Secret:— For this experiment procure the following ingredi- 
 ents from some druggist: "Sulphate of Iron," for blue; "Nitrate 
 Bismuth," for yellow; "Sulphate Coppa," for brown; make solutions 
 seperately of each, by dissolving a small quantity of each ingredient 
 in warm water. Now make a solution of "Prussiate of Potash," 
 and put it in bottle of Atomizer. Now with a brush for each color, 
 make a picture, landscape, portrait or anything you desire, on a 
 screen of unbleached muslin, when dry these are invisible. Show 
 the screen and set it on an easel in front of cabinet, now slightly 
 dampen muslin and place a lamp back of it on a chair, lower lights 
 a trifle; your assistant or medium in cabinet takes the atomizer, 
 and from behind sprays all over the back of screen with the solution 
 of prussiate potash, which slowly brings colors out. Effect is wierd 
 and, although, perhaps not artistic, it is a novelty and is apparently 
 done by unseen agency. Light being placed at back of screen, audi- 
 ence can see that no one approaches screen. A little music covers 
 sound of atomizer. Always see that the atomizer is screwed up 
 air tight before using it. 
 
 KELLAR'S NEW KARMOS:- 
 
 Effect:— On the stage is seen a platform with four feet. On 
 this stands an ordinary looking chair. The lady sits down on the 
 chair facing the audience, and is securely blindfolded by the perfor- 
 mer, who then makes some magnetic passes over her. He then 
 passes an unprepared pack of cards out for examination and has 
 them shuffled. Going back to the stage, he stands behind a small 
 
22 SHAW'S MAGICAL INSTRUCTOR. 
 
 table, and holding the cards so that their face is turned towards 
 the audience, he draws off one card after the other and throws it on 
 the table, the lady naming each card as soon as it becomes visible. 
 For the next test he borrows a banknote and with it walks to 
 a blackboard on the stage; the lady dictates to him the value and 
 the number of the banknote, he writing it down on the blackboard. 
 He also borrows a check and the lady states at what bank it is pay- 
 able, who made out the check, who is its owner, what the amount 
 is, etc. A spectator next chooses a word out of an unabridged dic- 
 tionary and asks the lady what the word is and she instantly tells 
 him and describes the word. Another spectator writes a couple of 
 numbers on a blackboard, brought down in the audience by the 
 performer; the lady instantly squares and even cubes the number. 
 For the final test some one writes four rows of figures on the black- 
 board, each row containing four figures. The lady audibly adds 
 the numbers and dictates the result to the performer, who then 
 carries the blackboard way to the front cf the stage and she now 
 adds the rows in any manner desired, that is, from right to left, up 
 and down, etc. She also mentions any number struck out or touch- 
 ed by the performer. 
 
 The secret of this seemingly remarkable performance is a very 
 simple one. Everything that the performer does is seen by an as- 
 sistant behind the scenes, who tells the lady what to say by means 
 of an invisible speaking tube, which consists of a rubber hose, pass- 
 ing from behind the wings, underneath the floor up to the platform, 
 the rear leg of which is hollow. There is a small opening here on 
 which the rear leg of the chair, which is also hollow rests. The 
 chair used is a cane seat one, of the kind known as "Vienna Bent 
 Wood Chairs. The rear leg of chair is hollow, also part of the seat 
 of chair, also spindle in back of chair where connection is made. 
 The lady who enters from the rear does not show the back of her 
 dress, on which is fastened another tube, leading up to her ear and 
 hidden by her hair, which hangs down loosely. Under cover of 
 making passes over her the performer connects the tube on her back 
 with the crosspiece in back of chair, thus completing the connect- 
 ion. Anything spoken by the assistant into his end of the tube, 
 which has a mouth piece there, is heard distinctly by the lady. The 
 rest is easy. The assistant sees the faces of the playing cards and 
 tells them to the lady who calls them off. The performer holds 
 the banknote in such a manner against the blackboard, which is 
 turned slightly sideways, that the assistant can read its number 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 and value by means of a spy glass, same with the check. In the 
 dictionary test, the performer requests the gentleman to ask the 
 lady what the 10th word on the 35th page is. The assistant who 
 has a duplicate dictionary, hears this, looks the word up and tells it 
 to the lady. The squaring and cubing of two figures is done by 
 means of assistant refering to a table of numbers, already squared 
 and cubed before the trick, the table including all numbers from 
 1 to 100. The adding of four rows of figures will be easily under- 
 stood now. Meanwhile the assistant copies the four rows and the 
 performer now moves the blackboard to the front of the stage, thus 
 bringing it out of the assistant's range of vision; but as the assist- 
 ant has copied the figures, he can tell the lady what the result of 
 adding the first row comes to and any other question pertaining to 
 the figures. The trick of the lady telling any figure touched by the 
 performer is one of prearrangement, the lady and performer having 
 learnt by heart a number of figures, which are touched and called 
 off by the lady in their regular order. The performer then makes 
 some more passes over the lady, under cover of which he disconnects 
 the speaking tube and then removes the blindfold from her eyes. 
 She bows and leaves the stage but does not show her back. 
 
 THE CHAMELEON HANDKERCHIEFS:- 
 
 Three silk handkerchiefs perfectly white, are given for exam- 
 ination; also a small sheet of paper, all of which is found to be free 
 from deception. The paper is then rolled up in the form of a tube, 
 the three handkerchiefs pushed in one at a time, a few "passes" 
 and the paper unrolled, when the handkerchiefs will be found to 
 have changed to red, yellow and blue. 
 
 Secret:— For this trick you have a tin tube 3 inches long H 
 inch in diameter; also a piece of white paper 8 inches square, and 
 six handkerchiefs; three white, one red, one yellow, and one blue. 
 The three white handkerchiefs are laying on your table, also the 
 paper for cone. Under paper have the tube prepared as follows: 
 Cover the tin tube with one end of the red handkerchief, and sew 
 it nicely, so that when you take the red handkerchief out of paper 
 cone, the tube hangs behind the handkerchief. You tuck the red 
 handkerchief into tube first, then the yellow one, then the blue 
 one, and all is ready. To perform, show the three white handker- 
 chiefs one at a time, to prove that they are unprepared; then lay 
 them on your table and take up the paper. The three white hand- 
 kerchiefs conceal the tube that was under paper. Show paper and 
 
24 SHAWNS MAGICAL INSTRUCTOR. 
 
 roll into a cylinder, then take up. a white handkerchief at same 
 time the tube containing the colored handkerchiefs, which is not 
 noticed by audience as it is concealed by white handkerchief. Get 
 the tube into the paper cylinder behind white handkerchief, in the 
 act of pushing in the white handkerchief. As it is pushed in, out 
 comes the blue handkerchief. Next push in second white handker- 
 chief and out comes the yellow handkerchief, then push in the last 
 white handkerchief and out comes the red handkerchief, allowing 
 it to hang over the paper cylinder, then catch it near top of cylinder 
 and pull it out, tube and three white handkerchiefs are drawn out as 
 the tube is sewed to red handkerchief, lay it on table, no one sus- 
 pecting the red handkerchief contains a tube and three white hand- 
 kerchiefs, now open paper and show it is empty. Another method 
 of loading tube into cylinder is as follows: Have a fine wire loop 
 attached to one end of tube, and concealing tube under vest at 
 bosom, allowing loop to hang out. In the act of showing the paper 
 (which you hold in both hands), catch thumb of left hand, into loop, 
 and as you start to convert paper into cylinder, secretly pull tube 
 into same. And still another method is to have tube concealed on 
 back of chair, and when you show white handkerchiefs, throw them 
 over back of chair, then show paper and make it into cylinder, 
 taking up one of the white handkerchiefs you secretly take tube 
 with it and push into cylinder, etc. 
 
 THE MYSTEEY OF L'HASSA:- 
 
 Effect: — Performer comes forward and, picking up two tres- 
 tles which are on the stage, he walks to footlights to show that the 
 trestles are unprepared; he places the trestles in center of stage 
 about six foot apart. Next he places a board on the trestles and 
 introduces a young lady, and after making some hypnotic passes 
 over her, picks her up and places her on the board on trestles. He 
 now removes the two trestles from under board and, to the aston- 
 ishment of the audience, the board with lady on it is seen floating 
 in space. 
 
 Secret:— There is a curtain hanging at back of stage, it is of a 
 striped pattern, lines running up and down (dark lines on light 
 back ground). The two trestles we will call No. 1, and No. 2. Pick 
 up No. 2 first, swing it around, then do the same with No. 1; then 
 place them in center of stage, (well back), just far enough apart to 
 allow board to rest on them. No. 1 trestle is unprepared, but No. 2 
 has a wire fastened to it. The end of wire is made into a loop and 
 this loop goes around two nails, one in each end of trestle. The 
 
SHAw's MAGICAL INSTRUCTOR. 25 
 
 wire does not show as the back ground conceals it, as it is a striped 
 pattern. The end of wire goes to top of stage. Now show the 
 board (which is a foot and a half longer than the lady used in the 
 illusion), and lay it across the trestles, getting end in loop of wire on 
 trestle, take a long stick and wave it all around, over and under 
 board, but you must guard against hitting wire on end of board. 
 Now introduce the lady and, apparently hypnotize her, then pick her 
 up in your arms and lay her on the board, (feet towards trestle No. 2). 
 Assistant now brings in a leather pillow from side of stage to which 
 is fastened second wire, running to top of stage; the pillow is placed 
 under the lady's head, at the same time get wire under the board. 
 Now remove trestle No. 1, then trestle No. 2, and lady lays floating 
 in space on the board and front curtain is dropped. 
 
 An improvement can be made on the above by having the 
 board drop to the floor when you remove trestles. In order to do 
 this it is necessary for the lady to wear a sheet-iron band over her 
 shoulders, under dress; also a sheet-iron band around the calf of 
 each leg, under stockings. These iron bands are to protect lady 
 from being cut by wires, as one wire in this method is placed around 
 lady's shoulders, when placing pillow under her head, and the other 
 wire is placed under her legs when placing her on the board. Lady 
 must make herself very stiff, so that when trestles and board are 
 removed she will lay straight in space. 
 
 SHRINE OF KOOMRA SAMI:- 
 
 Effect: — A large cage containing a small one is seen on stage. 
 A person is placed in small cage, when he instantly multiplies into 
 three distinct beings, i. e., his double, his astral being and himself. 
 
 Secret:— The large cage is six foot high and three and one-half 
 foot square, standing on four small legs with castors. Small cage 
 is in center of large cage, and is twenty inches square and same 
 height as large cage. Both cages have bars on all sides running 
 from bottom to top. The large cage has red curtains in front and 
 on both sides, all work on spring rollers. The background of stage 
 is dark green, and the large cage has a curtain at back of same 
 material; behind this curtain are concealed gentleman and lady. 
 When performer places the man in small cage, he pulls down red 
 curtains in front and sides of large cage, gentleman and lady now let 
 green curtain at back fly up, move two or three bars aside, and step 
 into cage replacing bars. [This must be done quickly]. Performer 
 quickly lets red curtains fly up, opens door of cage, and out step 
 the three persons. If you wish you can have green curtain on back 
 
26 
 
 shaVs magical instructor. 
 
 of cage painted with black stripes to represent the bars of cage, in 
 this case you do away with bars at back of large cage, but you can- 
 not turn cage around after trick, as you can do by using bars. 
 
 THE GLASS BOWL AND GOLDEN STAND:- 
 
 This is a beautiful stage trick and a fine finish to the Aerial 
 Treasury. Performer exhibits a light brass stand and a glass bowl 
 or vase, having shown the vase empty he places it on the stand, and 
 standing some distance away he invisably passes a number of coins 
 into the vase. 
 
 Secret: — The top of table is thin sheet brass with edge turned 
 down about one quarter of an inch. The supports are three semi- 
 circular strips of brass H inch wide and ± inch thick, resting upon 
 a column with three 
 feet,, as shown In fig 8. 
 The stand is of ordinary 
 height with a 20 inch 
 top. The top has a slot 
 at one side over support 
 the half dollars are pla- 
 ced in this slot and lay 
 as far as "B" in fig. 8, 
 B to C is a tongue, C to 
 D is a spring to force 
 half dollars up, (spring 
 is wire bent zig-zag): 
 tongue is brass, made 
 to fit support and has 
 a hole in the center. 
 The upper end of piston 
 passes through hole in 
 tongue. E— E in fig. 9, [Fig. 8.] [Fig. 9.] 
 
 is piston, "F" is half dollars, "X" is spring. A strong-black thread 
 is attached to lower end of piston to pull at the proper time. To 
 prepare, push half dollars into slot, then piston through hole in 
 tongue. By pulling thread spring forces half dollars up and they 
 drop into bowl, which is on center of stand. Care must betaken to 
 get the correct circle of support and proper strength of spring. 
 
 THE CRYSTAL CHEST OF THE GENI:- 
 
 Effect: — A person (male or female), can be securely locked in 
 the "Crystal Chest;" then the "Chest" is corded all over by the 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 27 
 
 company, seals being placed by them upon every knot. A small 
 screen is placed before the "Chest," when the person "locked and 
 circled inside the Chest" appears outside the "Chest" in less than 
 half a minute. Then the company can freely and minutely examine 
 every part of the "Chest" to find it securely locked, the ropes and 
 knots secure, and every seal perfect. 
 
 
 K 
 
 — i 
 
 
 END OF 
 BOX 
 
 
 
 
 
 DUO 
 
 [Fig. 10.] 
 Secret:— The trick lies in the construction of the ends of the 
 Chest. The ends are double, that is, the frame of wood divides, 
 half is firmly fastened to Chest, (out side); the other half works on a 
 hinge inside of chest. See fig. 10, "A" is solid to chest, "B" is glass 
 "C" is frame inside of chest to which glass is fastened, this frame 
 works on a hinge at bottom and fits so snugly against outside frame 
 that it is impossible to detect that it is not a solid frame. Near 
 the edge of this frame that holds glass is a spring bolt, (between 
 the glass and frame); directly under the bolt is a narrow opening 
 about one-sixteenth of an inch wide and two inches long. To get 
 out of "Chest all you have to do is to pass a small flat hook of steel 
 between glass and inside frame and pull out bolt, when door can be 
 pulled inside, assistant crawls over glass and closes door, the spring 
 bolt catching in top and holding it in place. 
 
 NEW UMBRELLA AND HANDKERCHIEFS TRICK:- 
 
 Performer borrows half a dozen handkerchiefs and wraps 
 them up in a newspaper and lays parcel on table. He shows a para- 
 sol and places it in a cylinderical tube made out of cardboard, just 
 large enough to hold parasol. Tube is unprepared. He now asks 
 some gentleman to come up on stage and assist him. Performer 
 proceeds to load blunderbuss and gives it to gentleman to hold. He 
 stands with gentleman close to right wing while showing him a 
 certain spot at left wing to fire at. The performer at same time is 
 holding tube containing parasol in his hand, gentleman fires, par- 
 
28 SHAW'S MAGICAL INSTRUCTOR. 
 
 eel on table is opened and found to contain cover of parasol; para 
 sol taken out of tube, held by performer, and is found to be minus 
 cover and one of the handkerchiefs is hanging to each rib. Hand- 
 kerchiefs are taken off and returned to their owners. 
 
 Explanation:— Performer first exchanges parcel containing 
 the handkerchiefs for parcel containing parasol cover on servante 
 of table or chair. They are immediately removed from there by 
 assistant who, behind scenes, ties each handkerchief to ribs of a 
 duplicate parasol without cover. While performer and gentleman 
 stand by right wing, performer lets one end of tube that he is hold- 
 ing just rest a little behind wing, assistant sneaks up and deftly 
 removes parasol from tube, inserting the fixed one instead, this is 
 done while performer indicates to gentleman at which point to fire, 
 then pistol is fired and the changes are discovered as described 
 above. The parasol without cover and the cover may be restored 
 to their previous state, by wrapping both in paper and exchange 
 them for another parasol already wrapped on servante. They are 
 wrapped twice for this purpose, the change is made while wrapping 
 in second sheet of paper. 
 
 MYSTERIOUS TRANSMISSION OF THOUGHT:- 
 
 The principle and details of this code are easily acquired and 
 are fully described, so that they may be more readily understood; 
 there being not any elaborate codes to learn, it will be seen that 
 this method does not require so much application and practice as 
 systems in which certain '"codes and signals" have to be memorized. 
 By means of this code all the usual effects usually exhibited at 
 Thought Reading Seances can be reproduced; the medium being 
 completely blindfolded and if necessary surrounded by the audience 
 not being eonnected to the performer in any manner, and he does 
 not make any queries to the medium, or need not alter his position 
 if necessary. This system is an entirely new idea and not employed 
 in any other codes, it is by no means difficult to learn. It consists 
 in both the medium and the performer counting "mentally" and 
 "together." It is a known fact that, say the beats for "common 
 time" are always the same in music, .thref ore, with a little practice 
 it is easy for two persons starting on a given signal, to count at a 
 given and the same rate, and when another signal is given to stop 
 and, of course they will both have arrived at the same number. 
 This is the actual method employed in this code and from it you 
 will see that any number, from to 9 can be transmitted by the 
 performer to the medium, which of course is all that is required. 
 
SHAW'S MAGICAL INSTRUCTOR. 29 
 
 It is best to experiment and find out what rate of counting 
 suits the persons employing this code best, but the following sug- 
 gestions are offered:— It may be best perhaps to commence counting 
 at a slow rate and then gradually increase the rate until you find it 
 advisable to go no quicker, and then adhere to one rate and always 
 keep to it. Say you have in the room when first practicing a loud 
 ticking clock with a fairly slow beat, on the given signal you both 
 start counting at the same rate as the beats of the clock, of course 
 the clock must be removed when the rate has been well learnt; or 
 count at the rate of "Common Time" in Music, viz: 1 & 2 & 3 & 4 &c, 
 or practice with "Metromon," such as is used during "piano prac- 
 tice" for the purpose of setting time and is of course made adjusta- 
 ble. A very good rate to finally adopt is a little shorter than a 
 second of time about 70 to 75 per minute. Whatever rate is found 
 to suit best must be adhered to. You will find that at the rate 
 above mentioned any number up to "9" can be transmitted with 
 absolute certainty, after an hour or so at practice. 
 
 Now that the principal has been explained the next item is 
 the signals to be transmitted, to give medium the cue when to start 
 and when to stop counting mentally. It is done in this way: Say 
 the performer has borrowed a coin the date of which is 1862, the 
 first figures of the coin 1 and 8 are generally understood as most 
 coins now in use are 18 something, or if of other date than 18 in the 
 hundreds, the performer must advise the medium of this, by means 
 of a wording of reply to the person who lent the coin which can 
 easily be arranged to suit ones fancies, The 6 and 2 have therefore 
 to be transmitted. The performer stands away from medium or 
 amongst audience if only a small one, the medium being on stage 
 and securely blindfolded, performer takes his position, with chalk 
 in hand in front of board, and holds coin in other hand; he does not 
 speak a word but simply looks at coin, after a pause, the medium 
 calls out:— The first figure I picture is a "one" or words to that 
 effect. Now "immediately" the lady stops speaking they both com- 
 mence the mental counting, at the rate previously agreed upon by 
 practice. In this case the number to be transmitted is 6, as the last 
 word of the sentence is spoken they therefore commence counting 
 internally 1-2-3-4-5-6, during this short period the performer glances 
 down on the coin as if to verify what the lady has called out, as 
 soon as they reach the figure "6" the signal to "stop" has to be 
 transmitted; this is done by the performer putting down on the 
 blackboard sharply the figure called out by the lady viz 1. It will 
 
30 SHAW'S MAGICAL INSTRUCTOR. 
 
 9 
 
 be seen by this method that the signal is quite easy to transmit, 
 and it is perfectly natural to put down the figure on the board 
 quickly and sharply. The third figure of the coin is now known to 
 the medium. The last figure 2 is transmitted in the same manner 
 as the previous figure. The lady says— "the second figure I see is 8" 
 as soon as she ceases speaking they commence the counting again, 
 1-2, on the arrival at the figure "2" the performer puts down the 8 
 previously called out, sharply on the board, which is the signal for 
 stop; the lady now knows the full date of the coin. 
 
 Banknote Test:— The performer having brought on an ordina- 
 ry blacboard and a piece of chalk, says that the lady will now tell 
 the value and number of a banknote borrowed from an entire stran- 
 ger, by the performer. He states that the lady does not see the 
 number of the note in the right order, and that he will therefore 
 make divisions on the blackboard for the numbers. Supposing she 
 sees a 3 first, she would cry out, I see three and it belongs in the 
 second place, and so on till the whole number had been called off. 
 He also states that first she will call off the value of the note. Per- 
 former now borrows a banknote, remarking that he usually returns 
 it; we will suppose he is handed a five dollar bill, number 00481; he 
 takes it back to the stage and on the way there he looks at its value 
 when the lady hears that he has returned, she raises her hand to 
 her head as if in thought at the same moment that her hand starts 
 to move, both performers ccunt in second time, 1-2-5- 10-50-100 etc., 
 at the third beat i. e., 5, performer gives a sigh, the lady then waits 
 a moment and says, "it is a five dollar bill," while she does this the 
 performer has looked at the third figure of the note, as it is under- 
 stood between them that she should first call out the third figure, 
 which in our case is number "4." [It should have been mentioned 
 before, that in "banknote" and "blackboard" tests the following 
 order must be learnt by both performers, previous to the perfor- 
 mance, 1-4-5-3-2, so that now when the lady has got to the five dol- 
 lars as mentioned above, both begin to count 1-4, in second time. 
 In the second beat i. e. 4, performer will stop lady from counting 
 any further by slowly writing down $5. lady knows now that the 
 next number is a "4" she however waits a moment and then ex- 
 claims, "I see a 4, and it occupies the 'third place;" as soon as the 
 word "place" is said both again begin to count. Now the figure in 
 the first place is to be called off next, according to the prearranged 
 order; this order is supposed to be 3rd, 1st, 2nd, 4th, 5th, 6th; of 
 course any other order will do as long as both know it beforehand. 
 
SHAW'S MAGICAL INSTRUCTOR. 31 
 
 Now "0" is the same as 10 for this test, for when a number is not in 
 the formula 1, 4, 5, 3, 2; you must take the number to which, when 
 five is added to it, makes the number you desire. For instance, for 
 7 take 2 & 5 -7; for 6, 1 & 5 -6; for 10 5 & 5 -10; so the third beat will 
 be the one on which the performer will write down the 4 just called, 
 immediately that lady has said place, both begin to count 1, 4, 5; 
 and on the "5" performer will write down "rather quickly" in the 
 third place a "4" immediately the 4 is written down lady knows 
 that the next number, which according to the above arrangement 
 occupies the "first" place, must be an "0" but she allows a second or 
 two to elapse before calling it out, by this, giving performer time to 
 look at the note for the next figure. By putting down a previous 
 number rapidly lady knows that she has to add 5 to the number just 
 communicated to her, which occupies the second place and so that 
 he is ready to begin counting immediately she has finished her sen- 
 tence, then she calls out, I see an "0" and it occupies first place; 
 immediately she has said place, both count for the "0" in the second 
 place, -1, 4, 5, on the "five performer rather quickly writes down 
 the "0" in the first place; after a moment or so the lady says I see 
 another "0" and it occupies the second place; immediately on the 
 word "place," both count for the "8" 1, 4, 5, 3, on the beat for 3, the 
 performer "rather quickly" (by this communicating to her that she 
 has to add five to the communicated number 3), writes down an "0" 
 in the second place; then after a moment or so, the lady exclaims! 
 "The next figure I see is an "8" and it occupies the fourth place, at 
 the word "place" the performer "deliberately" writes down an "8" 
 in the fourth place and the lady calls out "I see a "1" and it belongs 
 in the fifth place." She would go on counting to herself as she 
 would not know whether there were some more figures or not, but 
 the performer would next refer to the number being alright and she 
 would know that it was all over. $5. (00481.) 
 
 I will now describe a mode of transmitting the letter which 
 "always" precedes the number on a banknote, and the mark that 
 follows the number for example, B. -185932. These letters go all 
 through the alphabet (26 letters), although they are seldom found 
 beyond N. Divide your letters into divisions as follows: 
 
 1. A. B. C— 2. D. E. F.— 3. G. H. I.— 4. J. K. L.— 5. M. N. O.— 
 6. P. Q. E.— 7. S. T. U.— 8. V. W. X.— 9. Y. Z. 
 
 You can remember this by this little memory sentence. 
 "All dear girls just make pies so very young." (Or any other that 
 suits you). This gives you the first letters of the three. Now when 
 
32 SHAW'S MAGICAL INSTRUCTOR. 
 
 you have transmitted to the lady the value of the bill, and she 
 names the value, you do not count but mentally repeat the above 
 sentence. For example: If the letter is a "G" you say to yourself 
 and simultaneously does the lady. All-dear-girls and as you arrive 
 at "G" you make the $ mark on the board. The lady knows then 
 it is either G-H or I. When yon have made the "S" part of it stop 
 one-quarter of a second, and then make two strokes || either quick 
 or slow. If "quick" it is the first letter, if "slow" the second; but 
 if you make the first stroke "slow" and the second "quick," it is 
 the third letter. Thus in the case of "G" write both strokes quick. 
 In case of the letter being an "N" you count 5 or, (All-dear-girls- 
 just-make), and then write "S" stop one-quarter of a second and 
 then complete the $ very slow and deliberately. The mark after 
 number is indicated as follows: When you come to the last figure 
 on the board, the lady says it is a "so and so," (say 8), as you write 
 "8" make a period after it, the lady can hear distinctly and knows 
 there are no further figures, so she says "now make a mark behind 
 it," you copy the mark which is either like an F without a top 
 or like an E, or star * or an angle. If you will practice a little 
 you will find that if the lady listens, she can easily discern which 
 one of these marks you are putting down. For example:- The 
 star is made in three strokes of the chalk while all the others 
 only need two strokes, so when she hears three strokes she knows 
 it to be a star, and the chalk makes an entirely distinct noise in 
 writing. It is a good point if the lady says, "after you have made 
 the mark," I don't know what you would call it but it looks like 
 an old fashioned E, or it seems to be a Roman F without a top, 
 etc., etc. 
 
 Blackboard Work:— The performer asks any member of the 
 audience to put down upon the blackboard four or five rows of 
 figures, usually composed of about five figures in each row; while 
 this is being done the performer informs the audience that he shall 
 transmit the total of the columns of the figures now being put 
 down, to the medium. The sum having been put down on the 
 board, say something like the following: 
 
 7234 The performer takes a glance at the first row and 
 
 8679 quickly adds it up mentally, so as to arrive at the first to- 
 320 1 tal of the unit column, this you will see amounts to 22; 
 3795 he has, however, only to transmit the 2, as the amount to 
 6423 be carried is not necessary to be made known to the medium 
 He therefore, now takes the chalk in his hand and says 
 
SHAW'S MAGICAL INSTRUCTOR. 33 
 
 audibly to the persons who have written down the figures "thank 
 you;" the lady who has been listening and waiting tor this signal, 
 as soon as the performer ceases speaking they commence the mental 
 counting to the transmission of the "2" viz: 1-2. Immediately on 
 the repitition of the figure "2" the performer draws a second line 
 under the columns of figures, on the board in this way: 
 7234- The sharp tap of the chalk on the board at the com- 
 
 8679 mencement of the action of drawing the line, indicating 
 320 1 to the lady to cease counting mentally, and to call out the 
 3795 figure that she has mentioned to herself when she heard 
 6423 the tap on the board, which she does, saying "put down 
 ■ v T ' under the unit column the figure "2." The performer 
 glances at the column as if to verify what the lady has called out but 
 in reality to allow time to transmit the total of second column which 
 he has added up during the time the lady was speaking, not forget- 
 ting to add on the "2" carried from first column. In this case it 
 amounts to 23, the three has therefore to be transmitted as soon as 
 the lady ceases speaking, i. e. On the word two as above, they com- 
 mence counting for the second column, in this case three. They 
 count 1-2-3, the performer then sharply puts down on the board the 
 "2" first called out by lady, which indicates the signal to stop, and 
 then the lady knows that the second figure is 3 and calls out accord- 
 ingly; you proceed in this way until the whole of the columns have 
 been added up. Two rows may now be substracted, the result being 
 transmitted figure by figure. This test is usually concluded by the 
 performer pointing in quick succession to any figure on the board 
 which the lady calls out. This is simply an addition and is a pre- 
 arranged order of certain numbers which the performer picks out 
 from the figures on the board, as if it were hap-hazard, but really 
 from the order arranged beforehand. What I mean by a prearrang- 
 ed order is to commit to memory a set of figures, for example: 482- 
 102-749 053-863-229. Both medium and performer, having memo- 
 rized this set of figures, at the conclusion of the foregoing test the 
 performer points to 4, then 8, then 2, then to 1 and so on; medium 
 calling out the figure as soon as performer points to it. Of course 
 you could learn a half dozen such sets and thereby being able to 
 change set when necessary; both having agreed upon what set they 
 will use. 
 
 Card Test:— Have your cards memorized by their numbers: 
 Ace- 2-3-4-5-6-7-8-9 10, Jack 11, Queen 12, King 13. Ask some 
 one to select 7 or 8 cards; (the more the easier). To illustrate the 
 
34 SHAW'S MAGICAL INSTRUCTOR. 
 
 method we will suppose he selects the "2 of hearts," "3 of dia- 
 monds," "5 of hearts," "7 of clubs," "8 of spades," "10 of hearts," 
 "10 of clubs," "queen of diamonds," "king of diamonds," (nine 
 cards in all); let him lay them in a row on the edge of the table (the 
 edge fartherest away from you). While he does so take a look at 
 them and notice which is the lowest card, convey the denomination 
 (or value), of the card according to the following rule: "Value" is 
 given by laying down the card last named; count from the time the 
 last word leaves the lady's lips, until the time that the card is laid 
 upon the table, the number counted to be added to the value of the 
 card last named, and if the sum is over 13 deduct 13 from it. Suit 
 is given by the manner of picking up the next card. 
 
 Clubs:— Pick card up sharply and quickly, giving it a kind of 
 a turn on the table which will make an audible "scratch." 
 
 Diamonds:— Draw the card slowly over the table toward your- 
 self before picking it up. 
 
 Hearts:— Make "thump as in hearts but follow it up by the 
 scratch in clubs. 
 
 The "value" of the first card cannot, of course, be given by 
 "laying down" the last card named, nor can we count from the 
 time the last word leaves the lady's lips as she has not yet said any- 
 thing, you say "thanks" to the person who selects the cards and 
 then you "both" start counting, and the figure to be indicated 
 make a "sigh." Thus in our example:— Above the lowest card is 
 the two of hearts, say "thanks" and count 1, 2; at "2" heave a sigh, 
 or better still breath hard. The "hearts" you indicate by picking 
 up the card with a "thump." Lady knows the first card, she says it 
 and as soon as the last word leaves her lips count again. Now the 
 next card in value is "3" of diamonds, but we will skip this and go 
 to the "5" of hearts; you do not count 5 but only 3, (the last card 
 named), is "2" of hearts, 2 plus 3—5. The heart is again indicated 
 by a "thump." Skip the "7" of clubs, and go to the "8" of spades, 
 the lady says "5" of hearts and you both count, at "3" lay the card 
 down with an audible snap; lady adds 3 to 5 and knows next card is 
 "8." The spades is given with a "thump" and a scratch. Then 
 you can give the "10" of hearts, by adding 2; then the queen of dia- 
 monds, by adding 2; the king, by adding 1; (queen 12, plus 1x13 king). 
 Now you have skipped the "3" of diamonds, "7" of clubs and "10" 
 of clubs; this was done so that the audience may not notice that 
 the cards are given from low to high. You count 3 from king (king 
 13 plus 3, but according to rule you deduct 13, leaving only 3). For 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 35 
 
 example:— If the last card had been a jack, and you wish to give 
 a "2," you count 4 (jack plus 4, 15x13—2). After giving the "3" you 
 give the "7" of clubs by counting 4, and lastly giving the "JO" of 
 clubs by counting "3." Of course always indicating the suit by 
 picking up the card. All the "thumps" and "scratches" and 
 "draws," are really natural moves, as motions should not be made 
 unnatural by making them to pronounced; the practical ear can 
 easily tell them apart. 
 
 THE CASKET CREMATION:- 
 
 The performer carries with the help of an assistant, the cas- 
 ket down to the foot lights; they open it and turn it in any shape, 
 to show it is entirely empty and solid made. It is then placed 
 down and two trestles are shown and a long board, the trestles are 
 placed in position, the board then placed on them and a decorated 
 cloth is thrown over the board, then the casket is placed on this 
 stand The cloth and trestles have nothing to do with the working 
 of the trick, but everything depends on the casket, the back of the 
 casket is hinged to the bottom, it is held in place by two sunken 
 bolts, placed in the cross (top) piece of the back frame; there is a 
 small point projecting from each bolt into the casket. When the 
 lady gets into the casket and the lid is placed, the lady presses down 
 on each of the projecting points, thereby drawing the bolts, then 
 pressed back against the back which drops down on its hinges and 
 is supported even with the bottom of the casket by the trestles. 
 [The trestles must be one third as long as the casket is wide]. The 
 
 lady now rolls herself over 
 on to this lowered back. 
 You can now pass the 
 swords through the casket; 
 (there are holes in the bot- 
 tom of the casket exactly 
 beneath the holes in the 
 top), the lady can have a 
 sponge filled with some 
 red liquor, and can squeeze 
 it against each sword, as it 
 runs down the blade and 
 drips on the floor, giving 
 the appearance of "blood." 
 [Fig. 11.] Fig. 11 represents the back 
 
 dropped down, B-B., the supporting bolts; the lid of the casket is 
 
36 SHAW'S MAGICAL, INSTRUCTOR. 
 
 double, that is, there is a piece of wood one half an inch smaller 
 each way than the lid, the lid itself is one and one half inches thick 
 and is hollowed out three quarters of an inch, this false top is cov- 
 ered on one side with tin, this tin has wires soldered over its surface 
 in every direction, around these wires you twist a little cotton, 
 with the cotton on it, it must not be over three quarters of an inch 
 thick. The other side of this board you finish the same as the in- 
 side of the casket- You place this piece in the hollowed out part of 
 the lid which it just fits, this is held in position in the lid by means 
 of four small wire bolts which are sunk into it, and covered with 
 the same material that you line the casket with, (thin black leather 
 is the best lining), with the wire points projecting through by 
 which the lady inside can slip back the bolts; after the sword is 
 withdrawn the lady slips back these bolts thus releasing the piece 
 lining the lid, which drops down in the casket and is supported on 
 the lady's hands and one foot, the performer raises the lid and lays 
 it back, then pours a little spirits of wine over the cotton and sets 
 fire to it; the lady must raise the piece up nearly to the mouth of 
 the casket, which makes it appear as if a terrible fire was going on 
 within the casket. When this burns out the lid is closed, the lady 
 then replaces board in the lid, se- 
 cures by means of the wire bolts, 
 then rolls into the casket, pulls up 
 the back, secures it by the bolts, 
 then raps on the lid as a signal to 
 the performer, he then opens the 
 lid, lady gets out, the casket is lift- 
 ed off the trestles and shown as at [Fig. 12.] 
 first. Fig. 12 shows the lid, the dotted lines, the lining that drops 
 down A-A-A-A, the wire bolts B-B, the hinges by which the lid is 
 secured to the casket. 
 
 WATER ON THE BRAIN:- 
 
 This is a fine finish to the celebrated Fish Bowl Trick. Two 
 vanishing fish bowls with sunken tops are used for this experiment. 
 Have a plug hat with trap door in back of it, (door working on a 
 hinge downwards, out side); also have a double handkerchief with 
 a circular piece of cardboard sewed in center between handkerchiefs. 
 IS T ow show handkerchief and produce bowl containing water and 
 fish, place same on table. Have some gentleman or confederate 
 come upon the stage, if confederate he brings fake hat with him, 
 if gentleman hand him the hat to place upon his head. "Remark 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 37 
 
 to confederate or gentleman:— Now if you have no objection I will 
 throw this bowl of water at your hat and knock it off :— Oh, you 
 object! Well pray be seated and I will merely stand this bowl upon 
 your hat, cover bowl with the fake handkerchief, holding cardboard 
 a little aloft with right hand and while walking over to gentleman 
 spill all the water off of the top of bowl; carry forward and make 
 movement of placing bowl on top of hat, under cover of handker- 
 chief. In reality you open trap at back of hat and place bowl inside 
 of hat, whispering to gentleman to keep still it will be alright. 
 Leave handkerchief on top of hat, make fun of gentleman's looks, 
 now remove handkerchief and throw it over your arm and produce 
 second bowl that you had secreted about your clothes, this bowl 
 has no cover or water on top; vanish this bowl into pocket, or on to 
 servante of table by means of handkerchief or, "simple drop;" lift 
 off gentleman's hat and show bowl on his head. 
 
 EXCELSIOR SECOND SIGHT:- 
 
 The performer invites a committee of five or six persons upon 
 the stage, one of them blindfold him and the performer will give 
 results of examples placed upon a blackboard, almost as soon as 
 last figure is placed on the board. Also, tells dates of coins held by 
 persons in the audience. 
 
 fr/Wy//////EESE^ ^ 
 
 [Fig. 13.J 
 
 Explanation: — It is necessary to have an assistant concealed 
 
 at left entrance of stage "front;" if curtains are used, small holes 
 
 should be made in them, so that the assistant can see contents of 
 
 blackboard, holes also should be made in the partition, so that he 
 
38 SHAW'S MAGICAL. INSTRUCTOR. 
 
 can see the audience. The assistant does all figuring while the 
 committee is writing down examples, and as soon as he gets the re- 
 sults, telegraphs same to performer, thus:— If the result of an ex- 
 ample in addition should be 4,763 the assistant first telegraphs the 
 figure 4, the performer calls out 4 and requests committee to write 
 it down; then the figure 7, and every other figure in the same man- 
 ner. The committee then should be requested to prove the exam- 
 ple and of course it will be found correct. 
 
 Directions for making the Telegraph Apparatus. [See fig. 13.] 
 This apparatus should be nailed to the bottom of the stage directly 
 under where the performer is to sit. Number 1, in fig. 13, repre- 
 sents a small iron rod, which passes through a small hole in the 
 floor; the top of the rod should be made to resemble a nail driven in 
 the floor. If carpet is used, the rod should resemble a tack. By 
 observing fig. 13, you will see that the rod can be raised or pushed 
 a short distance through the hole in the floor. This is done by 
 pulling string, which is No. 3, in fig. 13, and No. 2, which is a piece 
 of elastic or wire spring, pulls rod back even with floor as soon as 
 the string is slackened. No. 4, is simply a boaTd to which all the 
 apparatus is fastened. No. 5, represents floor, and No. 6, a pulley 
 or screw eye, through which string passes. The string runs from 
 the apparatus under stage to where assistant is concealed, then up 
 through a hole in floor to where he stands. It is necessary that the 
 performer should have a hole cut in the sole of one shoe "see fig. 13," 
 so that when the string is pulled, the rod will raise just far enough 
 to touch the bottom of his foot. Thus:— If the figure on the black- 
 board is 2, the assistant who can see the number, pulls string twice, 
 the rod will touch the bottom of his foot twice and he will call out 
 two, and committee writes same, and performer is ready for next 
 figure. If the answer is 476, the assistant first pulls the string four 
 time; after a slight pause, pulls string seven times; another pause, 
 pulls string six times. To telegraph the cipher, give one long 
 steady pull. When vacant space is being pointed at, do not pull 
 string, of course there being a long pause, the performer will under- 
 stand that vacant space is being pointed at and will say, you are not 
 pointing at any figure now. 
 
 To tell dates of coins which are in the audience:— To perform 
 this trick it is necessary to have another assistant, who passes 
 among the audience; This trick is done by signs made by assistant 
 in the audience to the assistant who is concealed at left entrance 
 of stage, who must watch the assistant in the audience, through 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 39 
 
 the holes in the partition. The signs which must be made by the 
 assistant in audience, and understood by the assistant who is con- 
 cealed at the left entrance of stage, are as follows:— Always keep 
 coin in your hand and eyes on same until the signs are all made, 
 then you may pass the coin to a few persons, while they are exam- 
 ining it, the assistant telegraphs the date to the performer, who 
 will call it out. 
 
 The sign for figure 1, wipe your mouth with handkerchief; 
 figure 2, bite your lower lip; figure 3, cast your eyes to the right; 
 figure 4, cast your eyes to the left; figure 5, raise your eyebrows; 
 figure 6, force tongue against right cheek, making cheek bulge out; 
 figure 7, do the same with left cheek; figure 8, rub chin with your 
 hand; figure 9, draw your mouth to the left; figure 0, draw your 
 mouth to the right. I would suggest that if you wish articles de- 
 scribed, you might originate your own signs and code. 
 
 AIRY VOYAGE OF PERFORMER FROM A CHAIR:- 
 
 The trick lies in the chair, which is placed well back on stage 
 with back towards the audience, as shown in fig. 14. The chair is 
 
 made as follows:— In fig. 
 14, "A" is a mirror set at 
 an angle of 420 from the 
 center of bottom of chair, 
 to the bottom of front legs 
 and rests on the floor; dot- 
 ted lines represent the po- 
 sition of mirror, "C-C" in 
 fig. 15, is where the mirror 
 is fastened to the chair 
 bottom. The bottom of 
 chair marked "E," is cov- 
 ered with red cloth, to 
 match cloth curtain that 
 hangs at back of stage, 
 [Fig. 15.] about four feet behind the 
 
 chair. "D-D" are half legs which are fastened to bottom (on top of 
 cloth), when in position, and lights arranged "D-D" are reflected in 
 "A" and you imagine you see the back legs of chair. "E" is also 
 reflected in "A" and causes it to appear that you see under chair 
 and see the curtain at back. The chair stands directly in front of a 
 trap in stage. To introduce trick, curtain goes up showing chair, 
 you now place two strong wires in position in small holes in back of 
 
 
 
 
 
 c 
 
 
 
 
 £ 
 
 
 
 
40 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 chair, (dotted lines X-X show the wires); the wires should be long 
 enough to reach a little above assistants head, when he or she is 
 standing on chair, a light curtain is placed over the wires and 
 reaches down to seat in chair, and conceals the person on chair, 
 this person now steps down through the trap. Cloth is removed, 
 the impression is created that the person has vanished in the air. 
 
 THE QUEEN OF KNIYES:- 
 
 Performer places a block of wood twelve inches in diameter 
 and three feet high, on the stage floor or ground; this block has a 
 slit in the top for to hold a large sharp knife or meat ax, which the 
 performer next places in the slit. He now introduces a lady and, 
 making a few magnetic passes over her, she is seen by audience lay- 
 ing lengthways in the air with her neck touching the sharp edge of 
 knife. 
 
 [Fig. 18.] [Fig. 17.] [Fig. 16.] 
 
 Seceet: — Have a large block of wood about one foot in diame- 
 ter and two or three feet high, fastened to the stage floor or ground, 
 also have a large meat ax. This ax is driven into the block of wood 
 or you can have a slot cut into the block and place knife in slot, up- 
 side down. Next have an iron bust or apparatus, same as shown in 
 fig. 16, it is similar to the old suspension. "A" in fig. 17, is the 
 notch that fits snugly over edge of knife. "C-C-C-C" in fig. 18, 
 shows how straps of apparatus are fastened around lady. The lady 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 41 
 
 wears a sort of mother hubbard dress, made very elegant, with a five 
 inch lace collar, to hide the iron notch. The lady keeps her legs 
 crossed when she is placed on the knife. The iron at back of har- 
 ness as is seen in fig. 17, is long enough, so that lady can rest when 
 laying on it. 
 
 THE MAGIC DECANTER:- 
 
 Effect:— Performer passes a Clear Crystal Decanter to audi- 
 ence for inspection, on receiving it back, he places same on a small 
 table in center of stage, then taking two eggs and a cork, he loads 
 them into his pistol, which he fires at decanter, and instantly two 
 live birds are seen in the dacanter, and the cork is found tight in 
 neck of decanter. 
 
 Secret:— A special trap is fastened in a bellows top side table. 
 The trap consists of a small box four inches long, two and a half 
 inches wide and two inches 
 deep; it has a thin sliding 
 cover with a cord fastened 
 to it. This cord runs over 
 servante, then to table leg 
 and off to assistant. "A" 
 in fig. 19, is the box; "B," 
 the opening of trap; "C," 
 the sliding cover pulled 
 back; "D," the cord fas- 
 tened to cover "C." Place 
 two canary birds in the 
 trap and slip cover over it. 
 The top of table and cover 
 are black. Have two de- 
 canters, (use the square 
 style), one of which has 
 the bottom cut out of it, 
 see "G" in fig. 19; there is [Fig. 19.] 
 
 also a hole in the decanter at "F." This decanter is placed on ser- 
 vante of table, a string is fastened to cork "E" which is also on 
 servant, the string passes down into the decanter and out of hole 
 "B," then to table leg and off to assistant. Now being ready, give 
 unprepared decanter for examination, load a cork and two blown 
 eggs into pistol, take decanter to table and change for "fake" de- 
 canter on servante, and place the "fake" decanter on table over 
 trap:— fire pistol at decanter, assistant pulls both strings, pulling 
 
42 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 cork from servante into mouth of decanter and pulling open the 
 trap, the birds see light and will fly out of trap into the decanter. 
 
 INDIA'S WAND OF WONDERS:- 
 
 This is a new, pretty and very effective trick. 
 Performer by the aid of this charming novelty is en- 
 abled, while performing some elaborate flower tricks, 
 to produce in his open hand a beautiful plant in full 
 bloom in a small pot. The experiment is repeated 
 and a second pot of flowers is produced by simply 
 touching the wand to the palm of the hand. The 
 wand may be used for many tricks, such as, the 
 production of several silk handkerchiefs, or a small 
 bag of candy is produced by simply inserting the 
 wand in a small bag previously examined. This is 
 done by nipping the cap off the wand and leaving it 
 r-n in the bottom of the bag, and emptying the contents 
 § out for company. A feather plume made to fit the 
 ti) full length of wand can also be produced. The caps 
 ' 5 at each end are removable and fit over the enlarged 
 ends of wand. This metal wand unscrews at the 
 center (see "A" fig. 20), and having a very even joint 
 it is almost invisable. The wand is ebonized in imi- 
 tation of your ordinary one. The wand when un- 
 screwed, allows a beautiful bouquet of feather flowers 
 to be pushed down each division, the stem of each 
 being held by a metal catch inside each cap. Per- 
 former taps his left hand and, holding the cap by his 
 fingertips, he slides it off of the wand and the ex- 
 panding flower is instantly produced. Wand is sim- 
 ply turned end for end, while making a dash at left 
 hand, and the experiment repeated even though in 
 opposition to the great fundimental laws of magic. 
 
 MAGNETIC SECOND SIGHT: 
 
 Effect:— While performer is absent from room any person 
 may write a number, word or sentence upon a slip of paper which he 
 folds and places in his pocket. Performer now enters grasps the 
 hand of the writer, and immediately re-writes the word, number or 
 sentence. Not a question is asked nor a word spoken. Impossible 
 to detect. 
 
 Secret:— For the performance of this trick a confederate is 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 43 
 
 necessary; he acts however, in the capacity of manager. Performer 
 leaves the room, and manager remains to give instructions. He 
 instructs anyone in the room to write a number, word or sentence 
 on a slip of paper, as they do so, under pretense of instructing the 
 writer concerning ^ood plain writing, proper folding of paper, etc , 
 he must learn what is written. When performer enters, this infor- 
 mation is given to him by manager using the telegraphic alphabet 
 by winks of the eye. For instance, "A" (. -) given by one natural 
 wink, followed by one slightly prolonged one. This can be learned 
 in a very short time, is very easily given or received after a little 
 practice, and is almost impossible of detection if performed with 
 care. 
 
 THE TRAVELING FLAME:- 
 
 Effect:— A grand passe-passe illusion. Performer and assist- 
 ant come forward from opposite wings of stage, each holding a can- 
 dle in hand, (no candle sticks used); performer at left wing shows 
 his candle lighted and states to the audience that he will fire his 
 blunderbuss at the candle held by assistant, and by atmospheric 
 concussion or molecular disturbance engender sufficient heat to 
 light the candle. He fires and instantly assistants candle is lighted 
 and performers light goes out. These changes take place as often 
 as desired, finally performer takes both candles, one in each hand 
 and blows them out, and addressing the company be states that he 
 will cause both candles to relight by simply employing the heat of 
 their imagination. 
 
 Secret:— This trick is performed by using two spring candles, 
 made similar to the "Harlquin Candles' in candlestick," but with 
 
 
 Jpr> 
 
 //*< 
 
 w/kvM 
 
 Canc/lt 
 
 111 
 
 f 
 
 Stud AirHoIes 
 
 my improvoment. 
 
 [Fig. 21.] 
 Performer can remove the candles from the cau- 
 
44 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 dlesticks and hold them in open hand; a projecting stud, (see fig. 21), 
 works up and down in a narrow slot, carrying the lighted candle 
 with it when pressed downwards by the finger. The light to all 
 appearances being extinguished, and again relights by releasing the 
 stud, the spring carrying candle upwards. When required to work 
 in candlestick as in old method, the screw must be withdrawn, 
 unless candlestick is made to fit candle just below the bottom of 
 slot. Performer and assistant come forward from opposite wings of 
 stage, each holding a candle in hand. Performer at left wing shows 
 his candle lit, he states that he will fire his blunderbuss (held in 
 right hand), at the other candle, and by atmospheric concussion or 
 molecular disturbance engender sufficient heat to light the other 
 candle. He fires, and instantly assistants candle is lighted, perfor- 
 mers light however goes out. Laying blunderbuss on table he 
 quickly takes up a firing wand and states that by the subtle influ- 
 ence of magic, he will fire that light out:— bang goes the wand and 
 light is out, at this moment performer releases the spring and his 
 own candle is seen relighted. Performer then strikes a match on 
 the sole of his shoe and pretends to throw same towards assistant, 
 remarking: I will aid you to a light, if you have no objection. Per- 
 former pretends to blow out both candles at command, and causes 
 them both to relight by simply employing the heat of your imagina- 
 tion; addressing company. 
 
 THE MYSTERIOUS HAT AND BALLS:- 
 
 Effect: — Fill a hat with solid cloth balls and place hat on one 
 of your side tables. Now borrow another hat and place it on your 
 other side table. Then command the balls to pass from one hat 
 into the other hat, which they do. 
 
 Secret: — The first hat is your own and is fixed with a hinged 
 bottom, which is covered with felt to correspond with the rest of 
 
 the hat. By looking 
 over fig. 22, you will 
 have some idea of how 
 hat is fixed; "A" is a 
 flap, when closed it is 
 held in place by a catch. 
 Set the hat on your ta- 
 ble directly over the 
 trap and fill with the 
 [Fig. 22.] [Fig. 23.] balls, then cover hat 
 
 with a handkerchief and release the trap in table and the balls will 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 45 
 
 fall down into the table box. Cover the other hat with a plate 
 made of tin, which has a false bottom. The under side of the plate 
 is hinged and is held with a catch when closed. Fill the plate be- 
 tween the false and hinged bottoms with spring balls, close up the 
 bottom "A," and the catch will hold it in place, and it will look 
 like an ordinary plate. After placing the plate on the hat, release 
 the spring and the balls fall down into hat, slide the plate off the 
 hat sideways, this will close the bottom without the audience seeing 
 it. Fig. 23, is the plate showing trap "A" open. 
 
 NEW COFFEE, SUGAR AND MILK TRICK:- 
 
 Effect:— Performer exhibits three wooden boxes, one contain- 
 ing rice, one ground coffee and the other bran. He also shows 
 three lemonade shakers which he fills as follows from the three 
 boxes. One with bran, one with rice, and the last one with ground 
 coffee; placing these in a row on his table, he covers each cup with 
 a piece of board and, making a few passes over the cups, he removes 
 the boards, when in one cup is found milk, in another hot coffee, 
 and in the other one sugar. 
 
 Secret:— The cups have false tops on which is glued rice to 
 one, ground coffee to the second and bran to the third. In the 
 
 center of each false top is 
 
 II' -_ 
 
 IE 
 
 l i 
 
 a catch as is seen in fig. 24. 
 In the board which is used 
 as a cover is a sunken cir- 
 cular space just the size of 
 the false top. In the mid- 
 dle of this space there is a 
 small hole into which the 
 catch of the top can fasten 
 itself, so now when the 
 cover is removed the false 
 top comes off with it. The 
 cups have been previously 
 [Fig. 24.] filled with coffee, milk and 
 
 sugar, and of course, are in their respective places in boxes. You 
 can have three duplicate cups which you show empty and in the act 
 of filling them you leave them in the boxes, and bring out the cups 
 that are full and have "fake" tops on. 
 
 EDGAR POE'S RAVEN IN THE GARLAND OF THEBES:- 
 
 Effect:— A fine raven sits in a beautiful garland of roses, sus- 
 
46 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 pended in mid air by two ribbons. The raven talks, sings, whistles 
 and tells fortunes, with startling effect, and always causes the 
 greatest astonishment and admiration. 
 
 Secret:— The raven \ (\c 
 
 is a beautiful stuffed .-/$()&£& 
 
 bird, surrounded by a 
 garland of flowers which 
 is suspended in the air 
 by two silk ribbons, 
 just opposite the birds, 
 mouth. [See fig. 25]. 
 These ribbons are dou- 
 ble and contain a rub- 
 ber tube, the ends of 
 which are concealed a- 
 mong the flowers. As- 
 sistant who is out of [Fig725,] 
 view speaks whistles, sings, etc., into a metallic chamber connected 
 with one of the tubes, the sound passes out in a direct line with the 
 birds mouth and cannot be detected. 
 
 OUR SPELLING BEE: 
 
 On a pack of 32 blank playing cards have the days of the week, 
 the months of the year, and the balance of the cards numbered from 
 1 to 13. Arrange these cards in the following order, face (or printed 
 side up,) upon the table. 
 
 12. Eight. 
 
 13. June. 
 
 14. One. 
 
 15. Tuesday. 
 
 16. Seven. 
 
 17. February. 
 
 18. September. 
 
 19. November. 
 
 20. Saturday. 
 
 21. July. 
 
 22. Eleven. 
 
 Place a small rubber band around these cards, call this pack 
 number 1, and place it in pocket or under vest. Now to make the 
 trick very effective have another pack of cards printed similar, of 
 same pattern and number; these may be passed to company for ex- 
 amination, cut, counted and shuffled by anyone, and upon receiving 
 
 1. 
 
 October. 
 
 2. 
 
 Thursday. 
 
 3. 
 
 Ten. 
 
 4. 
 
 Nine. 
 
 5. 
 
 January. 
 
 6. 
 
 May. 
 
 7. 
 
 Monday. 
 
 8. 
 
 December. 
 
 9. 
 
 Three. 
 
 10. 
 
 Friday. 
 
 11. 
 
 Five. 
 
 23. Six. 
 
 24. March. 
 
 25. Wednesday. 
 
 26. Two. 
 
 27. Four. 
 
 28. Sunday. 
 
 29. Twelve. 
 
 30. Thirteen. 
 
 31. August. 
 
 32. April. 
 
SHAW'S MAGICAL, INSTRUCTOR. 
 
 47 
 
 them back performer very adroitly changes this pack for pack num- 
 ber 1, and at once proceeds to spell out the words upon each and 
 every card. The pack is held in left hand, printed side down, and 
 each card is called by a letter singly, and then placed under the 
 bottom card of the pack, thus: — Begin with the days of the week 
 first, and spell Monday thus: take off the top card and call out "M" 
 and then place this card on the bottom (face downwards, always), 
 then take second (the now top card), call out "O" and place at bot- 
 tom, similarly, and so on through the word Monday, and when the 
 card for "Y," the last letter has been put at the bottom, take the 
 next top card which has the word Monday on, and show and place 
 on table. Proceed thus with Tuesday and other days of the week 
 in rotation, and when the week is exhausted begin with January 
 and spell in the same manner through to December, and then the 
 numbers one to thirteen. Spelling must be correct or you will fail. 
 
 WONDER KRAUT:- 
 
 Effect:— A cabbage held in the hands of performer is instantly 
 transformed into an aquarium containing water and live gold fish, 
 
 which is immediately passed 
 
 to the audience for inspec- 
 tion. This is a most charm- 
 ing and effective trick. 
 
 Secret:— A small aquari- 
 um having mouth closed by 
 a rubber cap, same as in the 
 Fish Bowl Trick. This aqua- 
 rium is inserted in an artifi- 
 cial cabbage (see fig. 26), made 
 of silk and rubber, nicely 
 painted to resemble the gen- 
 uine article. A colored silk 
 handkerchief is thrown over 
 cabbage and removed with 
 rubber cap when silk hand- 
 kerchief is taken off. 
 
 [Fig. 
 
48 
 
 SIIAW'S MAGICAL INSTRUCTOR. 
 
 THE VANISHING BRIDE:- 
 
 For this illusion you have a platform, or rather, a sort of 
 pedestal on the stage; platform is two feet six inches square and 
 two feet six inches high. A wire cage five foot high is placed on 
 top of platform. A young lady appears on stage dressed as a bride, 
 (dressed in white with a wreath of flowers on her head). She walks 
 into the cage, door is closed and a screen is placed around the cage 
 on top of the platform so that audience can see under platform all 
 the time. [This cage folds up]. There is also a trap in center of 
 platform. The upright or pedestal that holds platform top, is half 
 round with gold strips to make it look round, in the back there is 
 another half round. The lady wears black tights under her bridal 
 costume, and the costume is made to fall off as soon as she pull a 
 string. The assistant under stage opens the trap and upright, and 
 lady passes her costume and cage to him and then drops through 
 herself, and hastens to front of house, where she appears in audi- 
 ence with the cage on her back, and dressed as at first. 
 
 CARTOMANIC FLORAL CHARM:- 
 
 A very beautiful trick. After performing some card trick, you 
 hold pack of cards on fingertips when instantly cards transform to 
 a profusion of Mowers. 
 
 [Fig. 27.] 
 Secret:— A hollow metal "fake" pack is loaded with silk 
 spring flowers, "A" having a fine wire loop, "B" hanging out. Per- 
 former passes his thumb through this loop, and at the same time 
 pushes clip "C" onto "fake" pack. He now pulls flowers out quick- 
 ly and lets go of "fake" pack, which is carried under his coat by 
 means of a strong rubber attached to clip. By looking over fig. 27, 
 carefully, you will at once understand the whole trick. 
 
 THE MARVELOUS WRITING HAND:- 
 
 This experiment belongs to those illusions by which, appar^ 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 49 
 
 entry, automatic motions seem to be marvelous; because they are 
 supposed according to their construction, to have spiritual help. 
 In the top of a four leg table, a thick plate of glass with a dark 
 back is put in, the edge of which is surrounded by a four inch wood- 
 en frame, The table stands on a platform which is at least high 
 enough so that a man can hide himself under it in a laying position. 
 
 [Fig. 28.] 
 A lady's hand made of wax, lays on the glass plate in its center. 
 In the interior of it is, apparently, a clockwork which is wound up 
 with a key before the eyes of the spectators, but really there is no 
 clockwork in it, only a simple spring is turned around. The specta- 
 tors are led to believe that a real clockwork and an ingenuous 
 mechanism makes the motions of the hand, they believe it so much 
 more, as they observe after the winding up of the work, that the 
 hand moves. The performance is a 'different one than it is usually 
 thought, under the plate of glass is a second one a little larger than 
 the top one, the edge of whieh is covered up by the wooden frame 
 of the table, under the latter little ball rollers are fixed on which 
 the glass plate rests. In the four corners holes are drilled, and in 
 each one a gut string is fastened, which runs over the rollers and 
 fit, through a hollow leg of the table (see fig. 28). Under the plat- 
 form where the strings come forth are also four rollers, over which 
 
50 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 the four ends are laid, stretched straight and tied together in the 
 center between the four rollers. Now the under glass plate makes 
 the same motions that your assistant makes with the knot, but as 
 the edge is covered by the frame the motion of the glass cannot be 
 seen. In the center of the upper glass plate is a hole about one 
 inch large, upon which you lay the automatic hand. The latter 
 has a pencil on the inside, which is to be placed through the hole 
 into a smaller hole of the under plate, made for it and so the hand 
 makes at the same time, the motions with the under plate. If now 
 a person of the company calls a name, which shall be written by 
 the hand, the assistant sitting under the table hears it and seizes 
 the knot, makes the motion with it as if he writes the name, and 
 the hand holding a soft lead pencil writes the name on a piece of 
 paper. 
 
 A more recent performance of this writing hand, shows to 
 the spectators a drawing board on a free standing easel, and before 
 the board is a rule on which the hand is placed. I will give a 
 description of this hand at some length later on. 
 
 THE MYSTIC SOUR DROPS:- 
 
 This new and excellent trick is in effect as follows:— Twenty- 
 five real lemons are produced from seed, planted in a plate full of 
 earth, held on a tray by assistant. A marvelous trick for the draw- 
 
 ingroom or stage. 
 yl Secret:— A flower stand 
 
 is used to perform this ex- 
 periment; a common paper 
 cone is inspected, also a 
 plate of earth. Performer 
 rests plate upon the flower 
 stand and proceeds to 
 plant a handfull of lemon 
 seed in the earth. Assistant 
 comes forward with a large 
 tray and stands just to the 
 left of the flower stand. 
 Performer with hand, pla- 
 ces the plate-full of earth 
 on the tray, and at this in- 
 stant, drops the cone over 
 the other cone in the back 
 [Fig, 29.] of stand, (see fig. 29), bring- 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 51 
 
 ing it up as though empty. He places cone over the plate of earth 
 and, a moment later lifts cone off, when to the surprise of everyone 
 the plate and tray are covered with real lemons. The inside cone 
 can be metal if preferred, and has to be "faked" with a tin bottom, 
 painted to look like earth on top, and white beneath. Three or four 
 brown threads are connected at top and bottom, everything is held 
 securely by having a little catch at top of inside cone, this can be 
 released by fingers inside the cone, the threads falling down on tray 
 among the lemons will not be noticed. The tin "fake" bottom 
 resting on plate cannot be told from the earth. 
 
 THE MAGIC WINE TASSELS:- 
 
 Two elegant tassels hang in an ap- 
 propriate place on the stage, and when 
 required, various wines are produced from 
 them with startling effect and passed to 
 the audience for consumption. 
 
 Secret: — The tassels are made to 
 resemble the ordinary every day tassel, 
 use to tie up heavy curtains. The body 
 of these tassels are hollow spun metal, of 
 ; sufficient capacity to contain a full glass 
 of wine. "A" in fig. 30, is an air hole; 
 "B" is a plug in bottom which is drawn 
 out by the performer when he wishes 
 wine to run out, by simply pulling smart- 
 ly on a thread which hangs below tassel. 
 j At a short distance thread is not visable. 
 By having a tube covered to represent 
 cord connected with a similar tassel, as- 
 sistant in the flies could pour down 
 through funnel at top, any liquor as call- 
 ed for by the audience. 
 
 [Fig. 30.] 
 
 THE FLORAL GLOBE OR TOTAL ECLIPSE:- 
 
 Effect:— A terrestrial globe is shown to the audience; then 
 the performer holding the globe in his hand, it instantly trans- 
 forms into two large bouquets. This will be found a very charming 
 /trick, and will delight all those who see it. 
 
 Secret:— A terrestrial globe made out of a large rubber ball, 
 divides at equator, changing into two gorgeous floral productions. 
 Spiral springs are firmly fastened to the inside center of each hemis- 
 
52 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 phere (at the poles). Under cover of a large handkerehief, hemis- 
 pheres seperate and are turned inside out, so as to cover all trace of 
 the globe. This inside "fake" is nicely arranged with feather and 
 other artificial flowers, so that each hand may be shown to contain 
 a bouquet much larger than the globe itself. 
 
 NEW GLASS CARD FRAME:- 
 
 Effect:— Performer passes a frame, cards and tumbler to audi- 
 ence for inspection. On receiving frame back he suspends it on 
 two upright rods on side table, then taking pack of cards he has 
 three selected, then returned to pack and shuffled and placed in 
 glass tumbler, which is placed on table, at command the selected 
 cards appear on glass, and as mysteriously disappear. 
 
 # 
 
 i i 
 
 : i 
 
 :w 
 
 i i 
 
 *-,g&/ 
 
 ng33 
 
 2- 
 
 I 
 
 o <y 
 
 F '§ 
 
 32 
 
 £ 
 r.-.zzz'J?.- 
 
 Secret:— Fig. 31, is the frame; consisting of a plate of glass 
 set into a wooden frame. At each upper corner is a ring "WW" 
 used to suspend the frame by. Fig. 32, shows the back of one of 
 the cards. These cards are split and pasted on tin, "X' and Z-Z" 
 
SHAW'S MAGICAL INSTRUCTOR. 53 
 
 are small loops. Use a side table with two rods "A-A" as shown 
 in fig. 33. To the single loop "X" in fig. 32, fasten a fine black 
 thread. "D" in fig. 33 shows this thread; carry it up above opening 
 over and down behind side screen to your assistant "G." To each 
 of the lower loops "Z-Z" fasten thread "E" and carry these threads 
 down over servante, down table leg "F," and off to assistant "G." 
 Where these threads pass over servante you may terminate them in 
 a single thread. The object of useing two threads at this end of the 
 card is to prevent the card from swinging around when drawn up. 
 Thread each of the remaining cards in the same way and lay them 
 on servante of table. Show frame and suspend it on the rods of 
 table eighteen inches above servante. Force duplicate cards and 
 have them replaced and shuffled, and place pack in a glass tumbler 
 and set it on table nearly under frame. Command cards to appear, 
 assistant pulls "D" and cards appear on glass; command them to 
 return to the pack, assistant pulls floor thread "E," and slackens 
 upper thread "D," when the cards are drawn down on servante. 
 You can cause them to appear and disappear one at a time, by pull- 
 ing corresponding threads. When the cards have disappeared, take 
 down the frame and again pass it for inspection together with the 
 tumbler and pack of cards 
 
 THE BLOODSTONE WONDER:- 
 
 Effect:— A large solid white stone is inspected, and performer 
 remarks that the old adage declares that you cannot get blood from 
 a stone. This is now made possible by the charmed bloodstone. Per- 
 former taps the stone when blood pours from stone into a glass tum- 
 bler, blood vanishes and the stone changes to bread which is passed 
 for examination. 
 
 Secret:— A large white stone is inspected, at the same time 
 performer remarks that, the old adage declares that you cannot get 
 blood from a stone, this is now made possible by the charmed blood- 
 stone. Here performer taps stone several times with his wand, at 
 third blow wand and stone are lowered over a tray on table and 
 blood pours from stone into a glass tumbler on tray. [Blood comes 
 from hollow metal wand]. Blood is vanished by vanishing glass of 
 water process. Stone is wrapped in paper and package exchanged 
 on servante for one containing bread, this is placed on run down; 
 performer fires pistol at package, opens it and states that Satan has 
 changed the stone into biead. 
 
§4 
 
 SIIAW'S MAGICAL INSTRUCT OR. 
 
 THE MAGIC SQUEEZERS:- 
 
 Effect: — Performer during the per- 
 formance of some trick requires a glass of 
 wine* taking a deck of cards in hand he 
 squeezes them tightly several times, un- 
 til an entire glass of wine is extracted 
 from same. 
 
 Secret:— An imitation pack is pick- 
 ed up from table with several loose cards 
 in front, to spread out fan shape to prove 
 that they are genuine cards. Remove 
 pellet of wax from air hole "A," (see fig. 
 34), and the wine will run out of hole in 
 bottom of the tin "fake," which has 
 nicely painted edges. Front and back of 
 tin "fake" have real cards pasted on. The 
 "fake" is filled by using a fine tubed 
 syringe. 
 
 [Fig 34] 
 
 THE CREATION, OR EA.RTH, AIR, FIRE AND WATER:- 
 
 Effect:— A fine sensational act. Several light and handsome 
 skeleton stands with narrow fringe, no drapery, are shown to the 
 audience. On one is placed a few feathers, on another a little earth 
 and a third a few matches, and on the fourth a few drops of water. 
 The top of each one is then covered with a handkerchief, which is 
 removed instantly, and on one is found several large bowls of water, 
 on another several blazing bowls of fire, on the third a large and 
 superb growth of flowers, and on, or rather from the fourth comes a 
 flock of doves. Excellent effect. 
 
 Secret:— The tables for this trick are made as follows:— Fig. 
 37, shows table as it appears to audience, this has three feet, (I show 
 but two in illustration); the supporting leg extends through these 
 feet and touches the floor. The fringe on the table is five inches 
 deep. The top of the table inside the dotted lines is movable and 
 consists of a very thin sheet of wood, or stiff cardboard can be used; 
 the entire top of the table is covered with some dark figured cloth, 
 but cut through along the dotted lines; the underside of this mova- 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 55 
 
 ble top is painted a dead black. There is another piece of wood 
 exactly the same size as this top and covered with the same kind of 
 cloth, this has a weak spring fastened at each end, on the opposite 
 side from the one that is covered with cloth, this springs is fastened 
 in turn by each end to the lower end piece of the table frame, (see 
 fig. 35). "A" the board, "B-B" the spring, "C" the piece of frame 
 that the spring is fastened to; the dotted lines at the opposite end 
 show the same arrangement of spring and frame at that end. There 
 
 [Fig. 35.] [Fig. 36.] [Fig. 37.] [Fig. 38.] 
 
 is a small easy sliding bolt, placed at each end on the under side of 
 this board, but placed in such a position as not to interfere with 
 the springs when the board is pressed down, the bolt shoves into 
 position catching in holes in the lower end pieces; the board is held 
 in this position until the bolts are withdrawn. [See fig. 36]. "B-B" 
 the bolts, "C-C" the lower end pieces in which the bolts catch. The 
 bolts are withdrawn by a simple arrangement of black cord. To the 
 back end of each bolt a strong cord is fastened, this cord is then 
 pressed through a ring placed on the under side of the board, the 
 cords are then fastened to a single strong cord; this cord runs down 
 the back of the supporting leg and is fastened to the upright end of 
 an iron sliding bar, this bar terminates in a step shaped arrange 
 ment when the bolts are in position in the holes "C-C." This step 
 should be about four inches above the floor, (see fig". 36), the dotted 
 lines represent the cords, "H" the ring they pass through. Fig. 40, 
 shows the cord running down the leg to the sliding step piece. 
 Fig. 41, shows the step enlarged. Fig. 38, shows the table with a 
 movable top removed, and the sliding top "A" raised by the springs 
 "B-B" up in a place of it, the fine lines show the positions of the 
 springs, sliding up, and the releasing top and step. Fig. 39, shows 
 
56 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 underneath of the table frame with the crossed pieces attached, to 
 which the leg is fastened at the round. After making your table 
 as above, put on your fringe then operate as follows: 
 
 mJiX j 
 
 [Fig. 39.] [Fig. 40.] [Fig. 41.] 
 
 Operation:— You use a stiff cardboard covered with black 
 paper on both sides, this must be just the size of the movable top; 
 press down the sliding top, shove the bolts, then place your bowls 
 of water or anything you wish to produce down on "A," then place 
 the movable cover in position. When the curtain raises you ad- 
 vance, show cardboard cover, pass it for examination then make a 
 few remarks on the creation of the world; tell them you have dis- 
 covered the secret and will show them how to create the elements. 
 Sprinkle a few drops of water on the table top, then place your 
 cover on the table at the same time put the toe of your boot on the 
 sliding step and press down on it; lift up the cover carrying with it 
 the movable top The audience see two or three bowls of water and 
 fish setting on the table, turn round the cover show both sides. 
 They can see nothing of the top because it is black, the same as the 
 examined cover. Now lean the cover and top up against the leg of 
 your table and go on to the next table. 
 
 THE MYSTIC PEACHES:- 
 
 Effect: — An original and extraordinary wonder. Performer 
 coming forward with sleeves rolled up, and showing hands back and 
 front, he asks for the loan of a pocket-book, and upon receiving the 
 book he immediately opens it and produces from same, six beautiful 
 large peaches which are passed to the audience, who dispose of them 
 with a magical relish. This is a most charming experiment for 
 drawing room or stage. 
 
 Secret: — Have several peaches made of silk over fine tempered 
 spiral spring. The exterior is hand painted, to immitate the natural 
 peach. A long bill-book is borrowed from someone in the company 
 and, while walking towards center table the bundle of peaches are 
 palmed from vest in left hand, and at the instant required to turn 
 
Sit AW' S MAGICAL INSTRUCTOR. 
 
 57 
 
 toward the company, the hands are brought together, bill-book in 
 front, flap opened and the peaches placed on a plate Assistant 
 takes plate off of table and when just inside the left wing perfor- 
 mer turns around and says, whjere are you going with those peaches 
 they are not for you, take them to the ladies. The moment assist- 
 ant reached the wing he changed the "fake" peaches for a plate of 
 natural fruit, which are then passed to the audience. Of course 
 oranges or any other fruit can be used instead of peaches. 
 
 OMEGA :- 
 
 This illusion has becomejiuite celebrated in Europe; although 
 simple in construction is very effective if well presented. 
 
 In front of rabbit 
 trap of your center ta- 
 ble stands a little frame 
 with top, as seen in fig. 
 42; on this top rests a 
 childs head. On the top 
 of center table around 
 this frame is placed a 
 screen which covers the 
 sides and back of frame 
 From the bottom of 
 front feet of frame to 
 I "-. the center bar, a mirror 
 I is inserted; and from 
 bar to the top of the 
 j§P same leg is inserted 
 ~ another mirror. In the 
 
 |Fig. 42.] top of the stand is a 
 
 round hole through which the little girl puts her head, her body 
 being concealed behind the glasses and her feet are in the rabbit 
 trap. The under side of the top of frame is covered with the same 
 material as screen is covered with, which is reflected in the mirror 
 and the audience imagine they see back of screen under top of the 
 frame. 
 
 TUSSAH: 
 
 Effect:— This illusion has caused considerable sensation in 
 this and other countries. It is managed in the following manner: 
 The back of the stage or room is hung with a dark curtain, and 
 hanging in front of this is a smaller curtain, which, when drawn 
 
 
58 
 
 SHAw'S MAGICAL INSTRUCTOR. 
 
 aside, reveals a box-like cavity about four feet from the floor, in 
 which is seen the head of a lady This head is apparently suspend- 
 ed, so to speak, upon nothing, being exactly in the center of the box 
 the back, top, sides and bottom of the box being to all appearance 
 visible; the head is endowed with life, and speaks and answers 
 questions. 
 
 
 
 
 
 
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 [Fig. 43 ] 
 Secret:— This illusion is caused by the aid of a plate of look- 
 ing-glass. An oblong, box-like frame is made, which is open at the 
 front and bottom, and a sheet of plate looking-glass is fixed from 
 the front edge and slopes backward at an angle of 45 degrees to the 
 top. In the center of this glass an oval-shaped hole is cut, to allow 
 the head of the young lady to be passed through; and around the 
 edges of this opening, upon the surface of the glass, a piece of dark 
 fringe about three or four inches wide is glued, the young lady her- 
 self wearing a piece of the same kind of fringe around her neck; this 
 fringe prevents any shadow from being thrown upon the glass when 
 the lady has her head through the hole— (see fig. 43). The top and 
 
SHAW'S MAGICAL INSTRUCTOR. 59 
 
 sides of the box are prepared or painted in diamond-shape designs, 
 and the top is edged around the corners with a narrow gilt mould- 
 ing. When the light is placed in front, the reflection of the top 
 and sides is shown in the glass, and thus it appears to be the bottom 
 .and full sides that the spectators see; and this causes the apparent 
 illusion of seeing top, bottom and sides, when in reality it is only 
 the top and a portion of the sides that they can see. 
 
 THE GOLDEN FLASH OF LIGHT:- 
 
 Performer borrows a lady's handkerchief, and exchanges it 
 for a flash handkerchief of same size. The handkerchief is ignited 
 and instantly disappears in a flash, leaving in sight nothing but a 
 heap of gold coins, in the performers hand This is an elegant 
 trick and very simple to perform. Purchase from any first-class 
 news stand, a pile of gold coins, (sold for paper weight purposes); 
 this will need a catgut or wire loop attached to one side, and you 
 are all ready to produce the trick. Suspend this pile of gold coins 
 on back of left hand and swing into palm of hand, at the same mo- 
 ment flash handkercheif is placed over hand to be vanished. 
 
 THE NE PLUS ULTRA COIN TEICK:- 
 
 Effect: — Performer shows his hands empty, then catches with 
 his right hand a genuine half dollar, apparently from the air; after 
 holding his hands wide apart, throws the coin invisibly into his 
 left hand, where it appears at the extreme finger-tips; again shows 
 right hand entirely empty (exposing palm); then proceeds as before 
 with his right hand catching another half-dollar at finger-tips, and 
 passes the coin again invisibly to finger-tips of left hand in compa- 
 ny with the first coin, both coins being held at extreme finger-tips. 
 Again showing right hand entirely empty proceed as before, and 
 catch the third coin from the air, which he passes across invisibly 
 with the other at finger-tips of left. How the coins get there is a 
 mystery, as no one can see them go, but every one can hear it as it 
 arrives in the left hand, and as it strikes the other coins and as it 
 appears at finger-tips with the others. He continues catching half- 
 dollars in this manner with right hand and passing them invisibly 
 over to finger-tips of left hand until fifteen or twenty coins are 
 produced at finger-tips of left hand where all coins are spread out 
 in a very pretty "fan shape." This is a marvel in coins, and is just 
 as much a mystery to professionals as it is to novices, as the palm 
 of the right hand is always shown empty before catching each coin, 
 and left hand is also shown empty and sleeves rolled up before 
 
60 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 commencing the trick. This is one of the greatest coin effects up 
 to date. 
 
 Secret:— The performer comes forward with a wand in his 
 hand, which he lays on the table; exposes both hands, palm and 
 back, and picks up wand with right hand at the same time picking 
 up and palming a stack of half-dollars, say fifteen or twenty. Pick- 
 ing up wand merely serves as an excuse to get coins palmed in 
 
 [Fig. 45.] [Fig 44 v 
 
 right hand, after showing hands empty. Now remember you have 
 twenty half-dollars in palm of right hand, and you transfer any one 
 of them to the palm of left hand, then by the reverse palm, palm 
 the coin back between thumb and third finger, as in fig. 44. Now 
 show palm of left hand empty, make a grab in the air, at the same 
 time throwing coin to the finger-tips. Show coin number one as 
 being caught in the air: Now hold the right hand up in the air 
 with back of hand towards the audience, (see fig. 45), and make a 
 pass as if to throw the coin just caught to finger-tips of right hand, 
 
 [Fig. 46.] 
 at the same time palming the coin back between thumb and index 
 finger, again showing palm of hand empty, at the same instant 
 producing at the finger-tips between the thumb and index finger 
 one of the coins palmed in right hand, (see .fig. 46), where it appears 
 to audience as having been invisibly thrown from left to right hand. 
 Now make another clutch at space with the left, and produce coin 
 to tips of the fingers as before, and proceed as before and apparently 
 pass coin invisibly across to tips of fingers of right hand, at the 
 same instant producing coin number two with second and third 
 
SHAW'S MAGICAL INSTRUCTOR. 61 
 
 finger from palm to tips of finger in company with coin number 
 one. Above deception may be repeated making pass with left hand 
 as above described, and producing coins with left, until all coins 
 palmed in the right are produced at tips of fingers. This is a very 
 difficult feat and requires long diligent practice. 
 THE DISSOLVING HALF DOLLAR:- 
 
 A half-dollar is borrowed and sleeves rolled up to elbows, coin 
 placed in palm of hand and hand slowly closed, showing coin to last 
 moment still in hand. Hand is immediately opened and coin has 
 disappeared. Hand shown both back and front. Hand can be ex- 
 amined to prove coin is not concealed about it. This is a new prin- 
 ciple and knocks out all previous methods and does not require 
 much skill to perform. 
 
 Secret: — Take a small piece of tin foil size of half-dollar, and 
 press down over a half-dollar, (new coin preferred), make a good 
 impression, so it will look like a genuine coin. After making sever- 
 al passes with genuine coin, change it for "fake" by any of the 
 numerous methods; place "fake" in palm of hand, slowly close hand 
 which will crumple tin foil in a small wad, then in act of opening, 
 hand, throw it (tin foil,) by the reverse palm, back between thumb 
 and first finger, entirely concealing it. Show both palm and back 
 of hand. It greatly strengthens the effect to roll both sleeves up 
 before commencing this feat. 
 THE WONDERFUL TURNOVER WITH COINS:- 
 
 Effect:— Take twenty-five or thirty half-dollars and spreadign 
 them from tips of fingers to extreme lower part of palm of hand, 
 cause them to turn over, same as done with cards. 
 
 Seccet: — Take the stack of coins, and place them with lower 
 coin resting on second and third fingers of right hand, and with 
 left hand spread the coins along 
 whole length of right hand. By 
 slightly raising the tips of se- 
 cond and third fingers, cause 
 coins to turn over, and by slight- 
 ly lowering the tips of fingers, 
 and at same time contracting 
 the muscles of the hand, you can 
 reverse them back to their origi- [Fig. 47.1 
 
 nal position. This is a very pretty finish, looks very neat, and 
 although it appears easy requires considerable practice. Fig. 47, 
 shows position of coins in the hand. 
 
62 SHAW'S MAGICAL, INSTRUCTOR. 
 
 ELECTRICAL COIN TRANSPORTATION:- 
 
 Two common glass goblets are examined by audience. Five 
 half-dollars are visibly counted out and placed in one'of the glasses, 
 which is covered by a black silk handkerchief and placed on a side 
 table, or may be held by one of the spectators. The other glass is 
 shown perfectly empty, covered with a handkerchief and placed on 
 other side table or, given to another spectator to hold. Performer 
 now commands coins to pass from glass No. 1 to glass No. 2, and on 
 being uncovered they are found to have done as commanded. Per- 
 former does not touch the glasses or handkerchief after handing 
 to persons to hold. Persons holding the glasses take the handker- 
 chiefs off themselves. This is a very fine stage trick. 
 
 Secret: — Before commencing this trick have two glass goblets 
 and two handkerchiefs on centre table, and a third goblet on ser- 
 vante. Begin by taking five half-dollars in right hand, pass them 
 ■apparently to left, then with appropriate patter, place the left hand 
 <over top of one of the glasses on table, as if dropping coins in it, 
 ;and at the same instant drop coins from right hand into glass on 
 servante; take glass that is supposed to contain coins, and place on 
 :side table covered with handkerchief, take up other glass, call 
 attention to the fact that it is perfectly empty, then as you pick up 
 handkerchief from table with right hand, change glass with left 
 for one on servante. This gives you the glass containing coins, 
 which you place on other side table and cover with handkerchief; 
 thus the trick is finished when spectators think you have just begun 
 it. Glasses, handkerchiefs and coins may be examined by audience 
 ^before or after performing, if desired. 
 
 DISAPPEARING STACK OF COINS:- 
 
 Effect: — Performer places any number of U. S. half-dollars, 
 for instance 25 to 40 in the palm of hand and by simply blowing on 
 tiand causes coins to disappear. Hand shown empty and coins 
 produced under vest. This is a remarkable illusion as there are so 
 many coins employed and it always creates a sensation. 
 
 Secret:— Take 25 or 30 half-dollars between index finger and 
 thumb of right hand, and apparently place them in palm of left, 
 but in reality retain them in palm of right, at same time closing 
 left hand as though they were still there, being careful to keep your 
 eyes on the left as spectators eyes invariably follow performers. 
 You may now lower the right with coins palmed, and pick up wand, 
 and pass over the left hand, when upon opening hand, coins have 
 apparently disappeared. You may now finish by introducing the 
 
SHAW'S MAGICAL INSTRUCTOR. 63 
 
 palmed coins under vest with second and third fingers of right hand 
 and producing or dropping them in a shower into palm of the hand, 
 It would seem almost like an ~. 
 
 impossibility to palm so large a V*^w 
 
 number of coins at one time, but V 
 
 by palming the stack together 
 with milled edge to palm, as in ( 
 fig. 48, it becomes an easy mat- 
 ter with the proper amount of 
 practice. You may execute the 
 feat without using the wand if [Fig. 48.] 
 
 you wish, but the wand may aid a beginner. If you are expert 
 enough, you may introduce the coins under vest while spectators 
 attention is attracted to left hand; then after showing the right 
 empty, produce coins from under vest. 
 
 THE BALDWIN ACT:- 
 
 This act is styled under the "guise" of mind reading, spirit- 
 ualism, second sight, etc., etc., by the Baldwins, who have been 
 mystifying thousands of people for the last twenty years. By care- 
 fully perusing the following description, you will see how simple 
 the act is to operate, but somewhat mysterious in effect. 
 
 Effect:— During the first part of the performance a number of 
 slips of paper are distributed among the audience with the request 
 that they write questions on them, such as, "who stole my watch," 
 etc. They are then asked to fold them up and place them in their 
 pocket and to keep their mind on them. They are also requested to 
 sign their full name to them. During the latter part of the perform- 
 ance Mrs. Baldwin is brought on the stage, in a supposed hypnotic 
 state. She starts by saying "I have an impression, it comes from 
 the centre of the house, it is from James Brown, he wishes to know 
 who stole his pocket-book." Mr. Baldwin now asks for the slip 
 and Mrs. Baldwin either describes or gives the initials of who stole 
 the pocket-book, probably telling when it was stolen and the amount 
 of money it contained. In this manner she answers three or four 
 questions when she appears to feel chilled. A piece of cheese cloth 
 is now thrown over her and she answers the rest of the questions 
 and probably describes some recent murder. 
 
 Secret: — Amongst the audience are placed four or five 'cappers' 
 who take sliqs of paper, but instead of writing questions they make 
 copies of the questions that are written by those around them, 
 
64 SnAw'S MAGICAL INSTRUCTOR. 
 
 giving the row and the number of the seat and if they cannot make 
 out the name they give a description of the writers dress. These 
 slips are passed to the attendants when they collect the pencils and 
 the small tablet from which the slips weie torn. They are taken to 
 Mrs. Baldwin and a list is made of them with such answers as they 
 see fit. When possible, information of lost friends is obtained 
 from twenty or thirty directories, which Mr. Baldwin carries in his 
 trunk. Additional information is also obtained by taking into 
 confidence the manager or treasurer of the house. For instance if 
 some person when buying a ticket tells the treasurer that he has 
 lost some article and that he is going to ask Baldwin about it, the 
 treasurer makes a note of this and also of the seat the person buys. 
 In her act Mrs. Baldwin uses this information. If the party does 
 not happen to write the question, she will tell them that they 
 thought of it and so make the act all the stronger. Before Mrs. 
 Baldwin goes on the stage she conceals in her dress the list of ques- 
 tions; but she commits four or five of them to memory which she 
 gives first. When these are exhausted she has the cheese cloth 
 thrown over her which gives her an opportunity to consult the list. 
 For each performance one or two good questions are worked up by 
 the "cappers," for the star test of the evening. These usually relate 
 to some great local sensation, such as a murder, or a rail-road acci- 
 dent, etc. By this method you can see that an unlimited amount 
 of sensation can be produced, limited only by the skill of the per- 
 formers. And still further information can be obtained by having a 
 lady and gentleman confederate make a systematic canvas of the 
 t^wns you wish to play, with the ostensible purpose of disposing of 
 in some manner, of merchandise, such as books, bibles, photograph 
 albums, patent medicines and household utensils. It is however, 
 well, if these confederates keep their real business to themselves, 
 keep their eyes and ears open and learn all they possibly can, both 
 of the living and the dead, among prominent spiritualists. They 
 should also provide themselves with a blank book suitable for the 
 pocket, which contains an index. Under the proper letter record 
 every name and date which they imagine may be of future service 
 to the professor. By the exercise of a little shrewdness, the con- 
 federates can soon learn at the post office and principal news stands 
 of the town who are the greatest readers of spiritual papers, while 
 the local cemetery will furnish much desirable information con- 
 cerning those who have passed into spirit life. With the names 
 and dates thus secured, the confederates will be able in most in- 
 
SHAAV'S MAGICAL INSTRUCTOR 
 
 65 
 
 stances to make brief histories, which they mail to the professor, 
 who travels eight or. ten days behind. This preliminary work is 
 what is called by professional mediums, "planting a town," and 
 the larger the area planted the more knowledge the professor will 
 have. 
 
 THE ANNIE EYA FAY COTTON BANDAGE TEST:- 
 
 Fasten three cleats to post at base, one on back, and one 
 on each edge. Fasten screw and ring in post, at height of your 
 wrists when sitting down, with hands behind you. Procure six 
 
 THE TIE BY THE COMMITTEE. 
 
 [Fig. 49.] 
 
 strips of cotton about one inch wide and eighteen or twenty inches 
 
 long, (each). Now after committee have been selected and examine 
 
 post and cabinet, have them tie a strip around each wrist, so two 
 
66 
 
 SIIAW'S MAGICAL INSTRUCTOR. 
 
 GENERAL NIaniFESTATIONS, THROUGH THE COTTON 0ANDA&eTi£ 
 
 [Fig. 50.] 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 67 
 
 THE GLASS OF WATER 
 Spirits Disproving the Agency of Electricity 
 
 [Fig. 51.] 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 ends hang at the inside of wrists (see fig. 49). Now they can seal 
 knots and place court plaster over strips so they could not he slipped 
 off of wrists. Now place your hands behind you, resting one on 
 each hip, so hands are nine inches apart, and have them tie all four 
 ends together. Now your assistant takes another strip and ties its 
 center twice around these two on left of knots, leaving two ends 
 hanging; committee now tie these securely to ring on post, sealing 
 knots, (last ones), if desired. They then tie a strip at center around 
 
 THE HOLDING TEST BEFORE MANIFESTATIONS. 
 [Fig. 52.] 
 each arm above elbow, and tack two ends of each to side of post. 
 Hold arms well forward at thigh, so they are not tied back to tight. 
 They also tie and seal a piece around neck and tack loose ends to 
 top of post; they are then asked to state to audience what they have 
 
snAw'S MAGICAL INSTRUCTOR. 69 
 
 done. They then take seats at side of stage, assistant places a bell, 
 horn and tambourine in your lap and closes cabinet. You place 
 left hand back of you and bring right around in front, (wrist strips 
 sliding through the one tied to ring). Place the horn in mouth, 
 bell in left hand, guitar in right, (see fig. 50), and you can make all 
 the noise you want. When carrying right hand around in front it 
 may be necessary to turn your body to right a little at finish. Throw 
 tambourine, etc., out at front curtain, call for light when all is well 
 
 THE HOLDING TEST DURING MANIFESTATIONS. 
 [Fig. 53.] 
 assistant places an inverted tambourine in lap, a goblet half full of 
 water, and closes curtain. You reach around right hand, take 
 goblet by bottom, move body round and head as low as possible; 
 place the goblet to lips (see fig. 51), and drink contents, replacing 
 empty glass in lap, light and all secure. Sheets of examined blank 
 
70 SHAW'S MAGICAL INSTRUCTOR. 
 
 paper and pencil placed on tambourine in lap, messages written on 
 several to several people present. Assistant now places a board, a 
 couple of nails and a hammer on a chair near you. You again do 
 the contortion act, get hold of chair, get it up next to you, get a 
 nail in left hand and hammer in right and drive nail half way 
 through board, using perhaps two nails, replace hammer and board 
 on chair and shove same back to former position; this is one of the 
 best tests. Now have one of committee blindfolded, then a chair 
 placed on your left close to you; he sits there, places his left hand 
 on your left knee and his right on top of your head (see fig. 52) ,and is 
 cautioned not to move or remove his hands. A light guitar is laid 
 upon your lap its head toward your right, and a large twelve inch 
 ring on its end, cabinet closed. You take hold carefully of guitar 
 by its head, lift guitar and ring up and let latter drop over his head 
 (see fig. 53), then grasping same by neck you rap him a couple of times 
 on head and thump strings, moving it around his head, and he 
 believes guitar is floating around cabinet, finally lean it up against 
 him, its neck upon his right arm, light, and all secure and he knows 
 nothing. The last test:— You have assistant place a knife in your 
 lap and close cabinet, get knife and sever strips around waist at 
 "back" of each hand, leaving knots still secure, cut each strip at 
 front of each arm, and neck strip in front, then replace knife in 
 chair and step out of cabinet, "free." Committee examine knots 
 and find all undisturbed. It was the self-acting knife. The spirit 
 carpenter drove the nails. At first glance the above may look 'im- 
 possible but it is correct, and as the there is no release, detection is 
 absolutely impossible. A little practice should make you quite 
 proficient; quickness of action is the most important thing. Of 
 course the committee can use their own ring and screw if they 
 wish. 
 
 THE MYSTERIOUS COIN:- 
 
 Fiveor six coins are produced and a person is requested to 
 select one, hold it tight in his hand, tell him to remember the date 
 then hold his hands in front of him, the performer makes a few 
 motions as if to hypnotize him, at the same time tell him to keep 
 his mind on the date, then request him to throw all the coins to- 
 gether in a hat and shake them up, the performer then takes the 
 hat, holds it behind him and picks out the coin first selected. 
 
 Explanation:— The heat from the hand will warm the coin 
 and it can very easily be told from the others by feeling, as the 
 others will be cool. This is a very clever trick for the parlor. 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 71 
 
 EXTRAORDINARY FLIGHT OF COINS:- 
 
 Performer rolls both sleeves up to elbows and proceeds to catch 
 five ordinary half-dollars from the air, and places them all in palm of 
 left hand and closes it; he then announces that the coins will leave 
 his hand, and upon opening hand finds that the coins have flown, 
 and are immediately produced from some gentleman's whiskers or 
 elsewhere, at option of performer. This is especially recommended 
 to performers of ability wishing something novel and skillful. 
 
 Secret: — Take five half-dollars and drill a hole through each 
 one, from one milled edge to opposite edge. String the five coins onto 
 a thread, and tie one end of thread to your finger ring, and run the 
 
 thread along arm, up sleeve, 
 (see fig. 54), and down under 
 vest and tie end to button 
 on vest; thread should be ad- 
 justed to proper length so you 
 can slack or tighten it as you 
 [Fig. 54.] wish, by natural movement of 
 
 the arm. By lowering hand coins will travel down thread to back 
 of the hand, and by raising the hand coins will run down to the 
 elbow. After rolling up sleeve, commence by showing hands empty 
 both back and palm, then while palm is still toward spectators, drop 
 hand slightly, which will cause coins to run down on back of the 
 hand as far as finger ring. Call particular attention again to palm 
 of hand being empty; now make a grab at the open air, at the same 
 time slacking the string, and throwing coins around into the hand; 
 now close hand on coins but leave room between fore-finger and 
 thumb for them to pass out on to the back of the hand as you 
 straighten your arm, which causes slack to be taken up and coins 
 disappear from palm to back of hand. 
 
 MARVELOUS VANISHING AND RE-APPEARING COIN:- 
 
 A borrowed dollar or half-dollar is placed on the back of right 
 hand. Upon being rubbed with finger tips of left hand coin mys- 
 teriously disappears. Both hands are shown empty, back and front, 
 fingers spread apart, and sleeves rolled up to elbow before perform- 
 ing trick. Upon rubbing right hand again with finger tips, coin is 
 found to have re-appeared on back of right hand. 
 
 Secret:— Take half-dollar and drill a hole through it, from one 
 edge to opposite edge; string it on a horse hair or fine thread, fasten 
 one end of thread to one end of finger ring on middle finger, (inside), 
 
72 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 and on other end fasten just above elbow to rubber band around 
 left arm. This thread acts as a track for coin to travel up and 
 down. Have a second thread attached to the coin, and run it up 
 and down the body and legs, and fasten below knee. [See fig. 55]. 
 
 | com J/ 
 
 Dotted L//7PS 
 
 S/?&ms Str/n.t 
 
 Rubber 
 BcLnc/ 
 
 [Fig. 55.] 
 When properly adjusted you will find it an easy matter to cause 
 coin to travel from palm of hand to elbow, and vise versa, either 
 slowly or as rapidly as desired. Arm being between spectators and 
 coin, it is, of course, impossible to see coin as it goes up and down, 
 or enroute. Several different effects may be performed by this 
 arrangement. To perform, after having threads properly adjusted, 
 place coin on back of right hand, placing finger tips of left over it; 
 then by slightly straightening legs and arm, which takes up the 
 slack, causes coin to travel up to elbow, under cover of sleeve, and 
 vice versa. 
 
 THE VERY LATEST AERIAL TREASURY:- 
 
 Effect:— Performer comes forward with sleeves rolled up, after 
 showing hands entirely empty proceeds to catch any number of 
 coins from the air, "all at tips of fingers" as called for by any specta- 
 tro, say any number, for instance 20. Coins are produced "one at a 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 [Fig. 56.] 
 
 time at tips of fingers," until all are produced; coin can be heard 
 distinctly as it strikes the other coins. When all the coins are pro- 
 duced, they are spread out in a very pretty manner at tips of fingers, 
 making a very beautiful finish. 
 
 Secret:— Have coins lying handy on table or 
 servante. After showing hands empty and rolling 
 sleeves up to elbow, pick up wand with right hand 
 at the same time palming coins five, ten, fifteen 
 or twenty in number, as the case may require, 
 pointing in the air with wand — remark that there 
 seems to be a great many coins floating around 
 promisciously. Transfering wand to the left hand 
 proceed to make a grab in the air with your right 
 hand, at the same instant producing one of the 
 palmed coins to tips of finger and thumb. This is 
 done by catching coin on top of stack in the palm 
 with second and third fingers, (see fig. 56), introduc- 
 ing the coin at the tips of index finger and thumb. 
 Repeat operation until all the coins are produced 
 in the same manner. 
 CAGLIOSTKO'S SPIRIT SLATE:- 
 
 I will combine the effect and secret of this trick. It is as 
 follows: Procure a pin and an ordinary book-slate, scratch the de- 
 sired message on either flap of the slate, rather deep; this has the 
 exact appearance of slate pencil writing, but when wet it cannot 
 be seen, unless inspected very closely. Have a damp napkin handy, 
 show slate, and make some fancy scriblingon each flap in full view 
 of audience, making suitable remarks; then wash all sides with the 
 damp napkin, and while the slate is thus quite wet, walk among 
 the audience, holding the slate up to their very eyes for inspection, 
 but do not let it out of your hands. Remark!— You see there is no 
 writing on it. Return to the stage and wipe slate dry with the 
 dry end of napkin, drop piece of pencil on slate, close and tie up. 
 Now give the slate to some person to hold up over their head, and, 
 after a little while, during which time you make some remarks as 
 to what the spirits can do; have person open slate and read the 
 message. [Always allow time enough for writing to dry thoroughly]. 
 After opening slates you can pass them for examination, and should 
 any one ask you to erase the writing, wet your finger and do so 
 under their eyes. When well worked up it is an excellent slate 
 trick. 
 
74 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 [Fig. 57.] 
 
 AFTEB, THE BALL. 
 
 A large mirror set 
 in a handsome frame is 
 seen standing on the 
 stage. A glass shelf is 
 placed on brackets in 
 front of mirror, about 
 three feet from the floor. 
 On this glass shelf a 
 lady takes her position 
 and a screen is placed in 
 front of her so as to hide 
 her from view, but the 
 top, bottom and sides 
 of mirror are seen by 
 audience all the time; 
 after a few moments 
 have elapsed the perfor- 
 mer removes the screen 
 and lady has disappear- 
 ed. 
 
 Secret:— The secret 
 of this most beautiful 
 and astonishing illusion 
 is a simple one. Fig. 57, 
 shows a front view of 
 mirror with glass shelf 
 in place; fig. 58, shows 
 the sliding mirror "B", 
 both lowered and raised; 
 fig. 59, shows a section- 
 al side view. The frame 
 that holds the mirror is 
 nine feet high and three 
 feet wide. The top part 
 of frame is eighteen 
 nches high. "A" is 
 permanent mirror, "B" 
 sliding mirror, "C" is 
 glass shelf or platform, 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 75 
 
 "D" wooden platform at 
 back of mirror, "E" pul- 
 leys over which cords run, 
 "F" weights to act as a 
 counterbalance, "G" limit 
 or check to mirror when 
 raised. The mirror "B" 
 has a piece cut out as 
 shown in fig. 58. The lady 
 raises the mirror while the 
 screen is in position on 
 glass shelf "C," and goes 
 through opening, and re- 
 mains on shelf "D" at back 
 and pulls down the mirror 
 and screen is removed by 
 performer. Mirror "A" is 
 in position all the time, 
 and the prong of mirror 
 "B" is behind it, when 
 down. Mirror "B" is bal- 
 anced by weights working 
 in the two uprights of 
 frame. The shelf "D" at 
 back is eighteen inches 
 lower than shelf "A" at 
 front, and about twelve 
 inches from stage floor. 
 
 THE MYSTIC CARD:— 
 
 Borrow a handkerchief 
 and place it on the table, 
 ask a person to select a 
 card from the pack, which 
 you take and tear to pieces 
 and load in a pistol; throw 
 the handkerchief into the 
 air or let some one do it 
 for you, shoot at it— and 
 the card in the pistol will 
 be found printed on the 
 
16 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 [Fig. 59.] 
 
 handkerchief. 
 
 Secret:— Have the fig- 
 ures of a card printed in 
 relief, on a small board; 
 rub the figures of this 
 sample with powdered Ver- 
 million if the card is red; 
 if black, take soot or black- 
 ed cork. Some parties 
 paint the figures with the 
 same colors dissolved in 
 water, but you must be 
 very quick in doing this 
 trick on account of the 
 short time these colors 
 keep moist; the safest way 
 is to put oil colors on these 
 spots, it will not spoil the 
 handkerchief. The board 
 thus prepared, is placed 
 on your table behind some 
 object, or sunk in flush 
 with table top. When you 
 place the borrowed hand- 
 kerchief on the table to 
 fold it up, you simply press 
 it on this stamp, the rest 
 is clear; throw up handker- 
 chief and shoot, then un- 
 fold it to show card which 
 was a "forced" one, of 
 course. This trick takes 
 very well and is easily 
 worked. 
 
 PHOTOGKAPHIE MYS- 
 TERIEUSE:- 
 
 This new and excel- 
 lent trick is in effect as 
 follows: Performer hands 
 out several slips of paper 
 and as many pencils for 
 
SHAW'S MAGICAL INSTRUCTOR. 77 
 
 any persons to write the name of any celebrity on their paper, the 
 slips are then collected in a borrowed hat. Meantime the perfor- 
 mer borrows a watch, which he wraps up in a borrowed handker- 
 chief. Now any lady selects a slip of paper from the hat, name 
 read, slip is burned, and the ashes put in pistol and fired at the 
 handkerchief, which is unwrapped, and in the watch is found a 
 photograph of the person whose name was selected by the lady. 
 
 This fine trick is worked as follows: Get twenty or thirty 
 slips of paper, two inches long by three-quarters wide. On half of 
 these cards write, say— Mrs. Langtry, and fold them up until they 
 are about one-quarter inch across and three-quarters in length, i, e, 
 in eight folds, and secret them in your pocket or vest. Advance 
 with an equal number of pencils, and the remaining slips of paper, 
 on which ask several members of the audience to write the name 
 of any celebrity. While this is being done, borrow a watch, also a 
 handkerchief, and in wrapping watch in handkerchief, open it 
 and slip in it a head, cut from a cabinet photo, in this case (Mrs. 
 Langtry), and give the watch, wrapped in the handkerchief, to any 
 person to hold up over his head. Gather in the slips of paper and 
 among them put one of your own prepared ones. Have the names 
 read out from all the papers, one by one, and as they are read and 
 refolded and given to you. When all have been read, put apparently 
 these papers, but really your prepared bundle, into a hat, from 
 which ask a lady to draw one; as they are all alike it matters not 
 which one is chosen. Take chosen slip and burn it, put ashes in 
 your pistol and fire at watch, which on being opened is found to 
 contain photograph required. 
 
 LaCREMATION:- 
 
 The apparent burning of a living lady, in full view of an au- 
 dience, is quite sensational. There are many methods, some of 
 which are good, and I have seen some that were very poor. The 
 following method is one of the best, and very effective if properly 
 presented. 
 
 Secret:— The table used for this trick looks like a box with- 
 out front or back, standing on four legs— (see fig. 60). The top of 
 the table "A" is only one-quarter inch thick and made of brass. 
 The under side of "A" is lined with black velvet; next to velvet is 
 a mirror; this mirror is hinged to the back edge of "A" in such a 
 manner that it can be swung down, and the front edge of the mir- 
 ror will then rest on the front edge of "B." A moulding runs 
 
78 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 all around "A" and "B." A pin fits in a small hole "C" and holds 
 the mirror up against "A." The box is painted black inside. The 
 table can now be pushed all around, and back and front shown. A 
 lady is introduced and requested to stand upon the table. A wire 
 frame covered with muslin is placed over lady. The bottom of the 
 
 [Fig. 60.] 
 table box, "B" consists of two boards with a space between them 
 large enough to contain a plate of iron, which slides in and out 
 like a drawer— (see fig. 61). After you have placed the frame over 
 the lady, your assistant pulls out the slab about half way. He does 
 this while sprinkling spirits on the muslin. The slab now forms a 
 shelf behind the table box. At the same time the performer re- 
 
 [Fig. 61.] 
 leases the pin "C" at the front, which allows the mirror to drop 
 down. Performer makes some remarks on cremation, and while he 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 79 
 
 is talking the lady cuts the muslin in the back of frame and crawls 
 over the back edge of "A" and onto the iron plate. Performer now 
 sets fire to the muslin and when it has burned away, removes the 
 frame, and shows that lady has vanished. A black velvet curtain 
 hangs at the back of the stage, and when the mirror is down the 
 top of "A" is reflected in mirror and looks like back of stage. 
 
 THE CEYSTAL COFFIN :- 
 
 In the middle of stage, hanging from four handsome chains, 
 is a large coffin. Sides and ends are of heavy, transparent plate- 
 glass. A young lady or gentleman is introduced and placed in the 
 coffin and lid closed; on performer shooting at it, the person dis- 
 appears from inside of same, and appears at the same moment in 
 the gallery of theatre. 
 
 Secret:— Fig. 62, shows the coffin as it appears on the stage, 
 with person in it who is to disappear. "H'-'H" is a curtain that hangs 
 about three feet behind the coffin. The top and bottom of coffin is 
 wood, the two ends and both front and and back are of plate-glass. 
 
 [Fig. 62.] 
 On the inside of ends, two strips of black paper are pasted; they 
 
80 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 run from corner to corner, "A'-' A" — (see fig. 63). The lid is on 
 hinges at upper edge "L." There is fastened to the under side of 
 the lid, a large mirror; this mirror is fastened by two hinges, to the 
 back edge of lid, so when the lid is closed the mirror will drop 
 down in casket— as shown by dotted lines— (see fig. 63). The bottom 
 side of mirror is painted to represent the wood of lid. The mirror 
 is held against the lid by means of a short bolt. The lid proper is 
 lined with a piece of red cloth similar to the curtain, "H'-'H," so 
 when the coffiin is raised by the chains, and the party in coffin pulls 
 the bolt, the mirror drops down, its ends resting against one of the 
 cross pieces, "A'-' A". The upper half of the other one is reflected 
 in the mirror, and gives the appearance of extending across the 
 same— as before the mirror falls. The red lining of the lid reflects 
 
 [Fig. 63.] 
 in the mirror and causes the spectators to imagine they still see 
 the curtain, "H'-'H," at the back, through the coffin. There are 
 two persons used who resemble one another, and dressed alike. 
 When one gets into the coffin, the other slips around behind the 
 audience and into the gallery. When everything is ready the per- 
 former fires gun, standing near one end of coffin, at the same 
 moment the person in coffin pulls the catch down and mirror falls; 
 the smoke concealing the edge of mirror as it falls. At the same 
 moment second person hallows from the gallery and comes running 
 down to stage. The audience take party for the same person who 
 was placed in coffin. The lights in theatre and on stage should be 
 lowered a little. 
 
 THE IRON CAGE TEST:- 
 
 For this act, a canopy is erected on a platform, which is 
 about four feet square, and raised about twelve inches above tbe 
 stage floor. The frame work of canopy is of gas pipe, (see fig. 64), 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 81 
 
 and the curtains are hung on frame with rings. There is a cage 
 made of wire netting which will go over the medium when he is 
 seated on a chair. After being bound to the chair this cage is 
 
 placed over medium and firmly 
 screwed to the platform. Cur- 
 tain of canopy is closed, and im- 
 mediately hands and faces are 
 seen above and through the open- 
 ings in the canopy— curtain 
 opened, and medium is still 
 bound, and the cage screwed to 
 the platform as at first. 
 
 To do this you have flesh- 
 colored gloves and faces, made 
 of thin rubber; you also have a 
 Telescopic reaching, rod, made 
 of thin brass tubing, which can 
 be stretched to a length of four 
 feet— (see fig. 65); these are con- 
 cealed about the medium's per- 
 son. On the small end of the 
 rod is a hook by the aid of which 
 you can pick up such articles as 
 a bell, tambourine, guitar, etc., 
 Have a ribbon bow 
 in 
 
 Cabinet and Gaye 
 [Fig. 64.] 
 placed on the platform, outside of the cage, 
 tied on all these articles so that you can easily catch the hook 
 them. To the wrist of glove is attached a piece of wood with a hole 
 
 in it, into which you can fit 
 the small end of the rod. In 
 this manner you can blow up 
 the hands and faces. Shove 
 the hands and faces through 
 the squares in the wire net- 
 ting of cage, then blow them 
 up and stick them through 
 the openings of the curtain, 
 so as to appear on the outside 
 but do not allow the rod to 
 show. After finishing the 
 manifestations, conceal the 
 properties about your person 
 
 Reaching Rod, Open 
 
 Kid Glove with 
 wooden block at wrist 
 
 Rubber mask 
 mounted on wooden back 
 [Fig. 65.]" 
 
82 SHAW'S MAGICAL INSTRrCTOK. 
 
 and allow everything to be examined. Have committee ten or 
 twelve feet away while tests are going on; also have a fish horn 
 arranged so that you can attach it to the reaching rod. Of course 
 you can use any of the many rope tests, as you only require the use 
 of your hands. 
 
 NEW DANCING CAKDS:- 
 
 In some tricks it is necessary to lay a single card on the table 
 so the audience can keep it in sight. To turn this little incident 
 into a pleasing trick ask some one to do this for you, of course it is 
 done, but you remark: — that in a lying position the card cannot be 
 seen by the audience, therefore, you ask him to make it stand on 
 one end; he tries, but gives it up. You say!— I advise you to go 
 through a course of gymnastics, to make yourself familiar with the 
 equilibrium of objects. You take the card and place it on the table 
 and it stands up on end, you take it up again and ask the person to 
 examine it well, to make sure there is no deception about it. You 
 stand the card up again and leave it so as long as you may require 
 to do the trick. This little incident always makes a clever im- 
 pression. 
 
 Secret:— To do this take a very thin piece of copper or brass, 
 about one and a half inch long, and bend about one third of it at a 
 right angle— (see fig. 66). On side "A" put a little wax, hold this 
 fake in your left hand, take the card with the right and 
 passing it over to the left, press the back of card against 
 the side "A" so that surface "B ,} lies level with the 
 lower edge of the card, this motion must be made. quick- 
 ly and being natural it will not be noticed. Place the 
 card upright on the table, facing audience, and of course 
 [Fig. 66.] it will remain in a standing position. Now to make 
 the card dance or promenade you must have a fine black silk thread 
 stretched across the stage or room, one end fastened about the 
 height of the card, the other end in the hand of your assistant. 
 Further, the piece of copper must be bent in a hook on the upper end 
 of surface, and the long surface must be higher than the one above 
 described, so that the card hanging on the hook does not move. 
 After you have stood up the card, let it be examined and replaced. 
 You announce that this card which must be a Queen, stands so 
 firmly that if the audience wishes, it will dance a polka if one of 
 the ladies will play. Find some one willing to do so, then hang on 
 the thread, the hook behind the card, the card attached to front 
 
SHAW'S MAGICAL INSTRUCTOR. 83 
 
 of it of course, and the assistant must do his best in keeping time 
 to the music by pulling the thread; after a moments dance you take 
 off the card and have it examined, while you palm the fake in your 
 hand. It is advisable to place the thread so that the assistant can 
 remove it as soon as the trick is done, in which case you could ask 
 the audience to come up and examine the table if they desire to do 
 so. 
 
 CLAIRVOYANT CARD TRICK:- 
 
 Three persons each think of a card, and performer, by clair- 
 voyance, writes down their names on three slips of paper, and puts 
 them in a glass. They are then asked to remove their cards from 
 the pack, which is counted, and of course the three cards are miss- 
 ing. Pack is placed on another glass, and the three selected cards 
 in a card-box, from which they vanish, and on recounting the pack 
 it is found that the three cards have gone into it, and on opening 
 the papers the names written thereon are found correct. 
 
 Secret:— Assistant has four slips of paper, one for each suit, 
 two words on each, thus: — of clubs — of hearts — of spades and of 
 diamonds, concealed on person. On table is a pack of cards with 
 three cards removed, which performer has vested; performer pre- 
 tends to write something on three slips of paper, rolls them up and 
 drops them into a glass, when cards are removed from pack, he 
 takes pack, goes to the table for second glass and changes pack; 
 assistant brings on card box and takes away first pack, sees what 
 cards have been taken, selects three slips of paper and fills in the 
 missing word to name card, and rolls up same as performer did the 
 first three, meantime performer has pack counted, there are twenty- 
 nine, which is right, at the same time he palms the three vested 
 cards and adds to pack, placing all on second glass. Show card-box 
 empty, have the three cards placed face down in the box and put on 
 table — revesting it of course. In passing curtain, assistant slips 
 him the prepared slips of paper with names of cards on. Performer 
 then commands the cards to leave the box and return to pack, 
 which occurs, and pack counted, showing thirty two cards and 
 box empty. Performer takes the slips of paper out of glass and 
 changes for the prepared ones, and reads out the names, which are 
 found to be correct. Any method can be used instead of card-box. 
 (to change cards), and as more than one of a suit may be drawn, 
 assistant should have several slips of paper to duplicate. 
 
84 
 
 SHAW'S MAGICAL INSTRUCTOR. 
 
 THE ORIENTAL BARREL MYSTERY :- 
 
 On stage is seen standing a platform, about twelve inches 
 high. Performer going behind platform, pushes a sword through 
 underneath it, in order to show that audience can see beneath it. 
 He then shows an ordinary newspaper and places this upon the plat- 
 form. He then brings forward a common ash barrel and puts this 
 on top of the paper and platform. He then introduces the young 
 lady, with whom he is going to perform the illusion. He then 
 gives her a pistol and places her in the barrel, and tells her to 
 crouch down so that he can put the cover on. Performer then asks 
 lady to hold out the revolver and one of her hands from beneath 
 the cover, so audience can see that she is there all the time. The 
 barrel is held together by two hoops, one at the top and one at the 
 bottom, and by a piece of string tied around the center. Performer 
 commences to remove the hoops, the bottom one first and then the 
 top one. The barrel is now held together by the string only. Lady 
 is instructed to shoot when he says three. Performer counts one- 
 two— three, and at the word "three," pistol is heard, the barrel 
 falls apart, the lady is gone.— Audience look up in the gallery and 
 see lady standing there. 
 
 [Fig. 67.] 
 Secret: — Fig. 67, shows the barrel as it appears to audience. 
 The bottom of the barrel has a trap in it— (see fig. 68), The news- 
 paper is made of a common newspaper, pasted onto a piece of stiff 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 85 
 
 cardboard which also has a trap cut in it— (see fig. 69). The bottom 
 of the barrel is a ring of wood, to the inside of which is hinged a 
 star trap, and to the outside the staves of the barrel are hinged— 
 
 [Fig. 68.] 
 (see fig. 70). When the performer introduces lady and all eyes are 
 fixed on her, the assistant beneath the stage, lowers a black cur- 
 tain between the two front legs of platform, A-B— (fig. 67). There is 
 
 
 
 
 
 
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 [Fig. 69.] 
 a black screen standing some distance back of the platform and 
 audience looking from the front take this curtain for the screen. 
 When the lady gets in the barrel she stands on the wooden ring. 
 When she is told to crouch down, she slips through the traps and 
 hustles to her place of appearance. Immediately the assistant 
 
86 SIIAW's MAGICAL INSTRUCTOR. 
 
 pushes up a dummy hand and pistol, which the audience take to be 
 those of the lady. Performer removes the upper and" lower hoops 
 and inserts a knife between the staves, ready to cut the string 
 when he counts three. Assistant now takes in the hand and pistol 
 
 [Fig. 70.] 
 and closes the traps. Performer cuts string, and the barrel falls 
 apart. Lady has vanished and audience hear a pistol shot up in 
 the gallery, and on looking up they see the lady standing there. 
 
 SPIRIT SLATE MYSTERY:- 
 
 Performer comes forward towards audience, bringing an or- 
 dinary looking slate, a sheet of newspaper and a piece of chalk; 
 paper and chalk place on table and hold slate in left hand, thumb 
 on one side and four fingers on the other, then inform audience 
 that there is nothing written on either side of slate, but to satisfy 
 them further, he takes a cloth and thoroughly cleanses each side of 
 slate. Now take newspaper and place slate within its folds, but 
 suddenly changing his mind, informs audience that if he covered it 
 with newspaper they might think he was going to do something to 
 the slate, or change it in some way, therefore, to prove such is not 
 the case, he will stand slate upright on his table in full view of 
 audience, and performer does so, letting it rest against a goblet or 
 anything that may be on the table. Now bring forward a small 
 slip of paper, on which request some person to write three figures 
 with a black lead pencil, after this is done another person is asked 
 to add another line of three figures, then a third person, and lastly 
 a fourth person who is requested to draw a line under written 
 figures, and then fold up paper which is then handed to performer 
 again. Performer now returns to stage and requesting some person 
 in audience to come forward and assist him, (but this person must 
 
SHAw'S MAGICAL INSTRUCTOR. 87 
 
 not be one of the four who have written on the slip). On the 
 gentleman coming forward he is handed the slip and requested to 
 add up the rows of figures correctly, and after doing so to fold up 
 paper and put it in his vest pocket, and he is then to fix his mind 
 on the figures or numbers, or the total which he has just added up. 
 Performer now steps to gentleman's side, (right side), and taking 
 his hand, places the open palm against his, (the performer's fore- 
 head), and then dropping the hand suddenly, says:— for example, 
 that the total of the figures amounts to 3892, which is found to be 
 correct. Performer now addresses audience and says:— he will call 
 on the spirit of some great man, to write the answer on the slate. 
 Performer now places a piece of chalk on the frame of slate, and 
 turning to the gentleman on the stage, tells-him to listen intently 
 and he will hear the spirits write an answer. In a very few mo- 
 ments you can request the gentleman to go to the slate and open it 
 and see if the answer has been written, and on his doing so, finds 
 the answer written legitible in chalk on the slate, signed by Mr. 
 
 , some great man, whoever you select. The slate 
 
 is then handed around for examination by the performer, to show 
 that it is just as he represented— an ordinary slate and nothing 
 more. 
 
 Secret:— Slate is an ordinary one but has another very thin 
 flap of slate fitting exactly into the frame, and on the underside of 
 this slab is pasted a piece of newspaper. When the slate is first 
 shown, this loose slab is held in position in the frame by the press- 
 ure of the fingers, and when the performer places the slate between 
 the folds of newspaper, he places it with loose slab "downwards" 
 after making remarks about placing slate in paper etc. When per- 
 former takes slate out of paper he leaves loose slab lying face 
 downwards in paper, and as the back is pasted over with a piece of 
 newspaper it cannot be seen. Performer now stands slate upright 
 on table. Of course answer is written on slate before trick is com- 
 menced. Performer provides himself with two pieces of paper ex- 
 actly alike, and on one of these he writes four lines of three figures 
 in each, which, when added together, will correspond with writing 
 on slate; this paper he folds up and retains in his hand, (palm of 
 hand), and hands out other paper for audience to write four lines of 
 figures of three numbers in each line, when this is done paper is 
 returned to performer, who changes them quickly and hands pre- 
 pared paper to gentleman who comes up to add the numbers to- 
 gether, which, when added up correctly, will correspond with what 
 
88 SHAW'S MAGICAL INSTRUCTOR. 
 
 is already written. This trick never fails to elicit round upon 
 round of applause when worked up well. 
 
 SPIRIT PULL TEST:- 
 
 Use a good smooth rope about fifteen feet long and three- 
 eights of an inch in diameter. Pass it to the committee for exami- 
 nation, all of whom are requested to come upon the stage. Medium 
 takes a chair and seats himself in center of stage, then taking the 
 rope passes it under his legs to center, and ties two ordinary knots 
 just above his knees and unobserved, pulls this into a slipknot same 
 as in handkerchief trick, which is the secret of the whole business. 
 Now ask the committee to tie your wrists together, or have them 
 appoint some one to do it; place your hands, palms together, and 
 allow committee to tie three or four knots, then allow the entire 
 ten men to pull on rope, five on each side, it looks to audience as 
 though your very wrists would be cut off, and of course you make 
 the most of this impression by asking the committee if they are 
 not ashamed to rope a man in such a cruel manner? Please exami- 
 my wrists and see if they are not cut off? — Then give me a little 
 more sympathy by tying one more knot and also place a coat over 
 my hand, or arms, you know that spirits develop better in the dark, 
 that's why they keep spirits in the cellar for development. Now 
 all take a hand in another pull, and in less than half a minute after 
 it is placed over Medium's hands, he slips the rope, by forcing his 
 hands apart, sideways, and freeing them, one or both, usually the 
 right hand, and pinches or slaps one of the committee men, then 
 quick as a flash the hand is replaced, and by spreading knees apart 
 slightly the rope is again intact — to their great surprise. 
 
 THE MAHATMA MIRACLES:- 
 
 This is an excellent anti-spiritualistic exhibition for light 
 seance. A cabinet with translucent gauze opening in front curtain 
 stands on stage, and is freely inspected by a committee from the 
 audience, to prove there is no double-back, sides or top. The medi- 
 um then takes a seat in the cabinet and passes his or her hands 
 through the apertures in the sides of cabinet where they are tied 
 with ribbons, and ribbons held by committee on outside. Curtain 
 is now closed and not withstanding the hands being held by com- 
 mittee, manifestations immediately take place, such as — bell rings, 
 musical instruments are played— hands and faces are seen through 
 gauze opening — an empty basket placed in the cabinet becomes 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 filled with flowers, and many other tests take place. 
 
 Secret:— The cabinet is an ordinary cloth one, on a raised 
 
 platform four feet square. The front curtain has a gauze opening 
 
 about eighteen inches in dia- 
 meter, and each side has an 
 opening large enough to al- 
 low medium to pass his hands 
 through — (see fig. 71). The 
 legs of the cabinet are eight 
 inches high, and one of the 
 front legs is hollow, (see fig. 
 72), or you can have both of 
 the front legs hollow if you 
 desire. The floor of cabinet 
 is laid off in squares, so that 
 one of the squares comes over 
 hollow leg, and acts as a trap, 
 a strong screw-eye is screwed 
 into the bottom side of trap 
 and a rope attached to same. 
 This rope passes down leg and 
 through hole in stage floor, to 
 your assistant under stage, 
 who holds trap down while 
 the audience inspect cabinet. 
 Ribbons or ropes are tied a- 
 round medium's wrists, then 
 medium takes a seat on chair 
 in cabinet and committee 
 
 [Fig. 71]. 
 
 pass ribbons, and medium's 
 
 hands tbrough holes in sides of cabinet, and hold same on the out- 
 side. Curtain is now closed and tests occur, such as—musical in- 
 struments being played— a glass of water is placed on floor of cabi- 
 net, curtain closed, and audience see a hand pass glass of water to 
 medium's mouth, curtain opened and glass found empty. A bunch 
 of keys borrowed from one of the audience is placed on medium's 
 lap, curtain closed, when some one brings keys from front of house. 
 A newspaper and a pair of scissors are placed inside of cabinet, in- 
 stantly the curtain is opened, and the newspaper is found cut into 
 beautiful designs. Ghosts appear at opening, also faces and hands, 
 in fact there is no limit to the number of tests that can be intro- 
 
90 
 
 SHAw'S MAGICAL INSTRUCTOR. 
 
 duced. The closing test is called "Precipitation," in which wing- 
 ed and feathered animals, such as: ducks, doves, etc., appear. The 
 doves alight on medium's shoulders. In order to accomplish all of the 
 above tests it is necessary to have rubber faces and hands, a long 
 wire painted black, a rubber ghost painted up nicely, and a stuffed 
 glove with a wire running up and down each finger; this glove must 
 be painted flesh color. The assistant under stage works everything 
 by pushing his hand and arm up through hollow leg. In the key 
 test assistant pushes a wire up 
 through hollow leg and pulls 
 down keys, which are carried to 
 front of house by some one. The 
 paper test is also a simple one. 
 Assistant has a paper already 
 cut into designs, under stage, he 
 pulls down the other paper and 
 pushes up the cut paper into 
 cabinet. For the glass and wa- 
 ter test, assistant pushes up the 
 stuffed glove, then runs his own 
 hand up through hollow leg and 
 places glass of water in "fake" 
 hand, between thumb and fore- 
 finger, then raises glass to me- 
 dium's mouth, after medium 
 drinks the water, assistant low- 
 ers hand down, takes out glass, 
 and pulls hand under stage. The 
 ghost, faces and hands are so 
 arranged that you can fasten 
 them to a brass tube painted 
 black; after assistant pushes 
 them up through leg, he blows [Fig. 72.] 
 
 them full of air and moves them in front of gauze, then he lets air 
 out and pulls them down. Assistant fills the basket with flowers 
 by passing them up the hollow leg. All the other tests will now be 
 clear. The assistant must always pull trap down and hold it tight- 
 ly by rope, after each test. Medium gives assistant the signal 
 when to open trap, by tapping foot on trap. The cloth of cabinet 
 should be of some dark material. 
 
SHAW'S MAGICAL, INSTRUCTOR. 
 
 91 
 
 THE PHANTOM KNOTS:- 
 
 A fine anti-spiritualistic trick. Performer passes a common 
 rope forty or fifty feet in length to audience for inspection, proving 
 conclusively that the rope is perfectly free from knots or any pre- 
 paration. On receiving the rope back he forms it into an ordinary 
 coil in his hand, and holding one end of rope he throws coil among 
 audience— when ten to twenty hard knots are seen on rope, and the 
 audience can untie the knots if they so desire. 
 
 [Fig. 73.] 
 This trick mainly depends on the manner of coiling the rope. 
 Instead of coiling the rope in the usual manner do it as follows: 
 
 [Fig. 74.] B 
 Hold the rope across the palms of hands straight in front of you— 
 (see fig. 73), now turn your right wrist in toward your body and 
 
 [Fig. 75.] 
 throw back of hand outwards, this makes a loop in the rope- 
 
 -(see 
 
92 SHAW'S MAGICAL INSTRUCTOR. 
 
 fig. 74); now leave this loop over the fingers of left hand— (as shown 
 in fig. 75). When you have made sufficient coils and placed them all 
 on left hand, the end "B" of rope is slipped through all these coils. 
 Both ends of rope are now together and are given to two persons to 
 hold while coils are placed into a hat. When you run end of rope 
 through the coils, it forms each coil into a knot. You now place 
 your hands in the hat and remove the coils, helping the knots along 
 to the different parts of the rope, otherwise they will all be in a 
 bunch. The parties holding ends of rope should walk away from 
 the hat in opposite directions, when the medium is helping coils 
 out of the hat. 
 
 SPIRIT CIRCLE, UNDER TEST CONDITIONS:- 
 
 On a board the size of a table, eyelets are carefully arranged 
 at measured distances apart, and in such a manner that there are 
 two for each sitter, whether lady or gentleman; one eyelet for the 
 right hand and one for the left. Beginning at any point in the cir- 
 cle, apiece of copper wire is passed through the sleeve at wrist of 
 the first sitter, then through the eyelet in the board, then through 
 the other sleeve and through the other eyelet and so on, to the next 
 sitter. In this manner the wire is threaded through and through, 
 fastening each person to the board. The company including the 
 medium being interlaced. The ends of the wire are then tied to- 
 gether, joints covered with paper and sealed with wax, and sewed 
 and tied as desired, and any seal is set thereon. Now the lights 
 are extinguished and the usual manifestations take place. 
 
 Secret:— The medium has on false shirt sleeves, so all he has 
 to do is to slip his arms out as soon as the lights are extinguished, 
 then go through the various manifestations; replace his arms in the 
 sleeves and call for lights, and all can be examined and of course 
 is found O. K. Now have some one cut the wires. 
 
 ELECTRICAL COIN SHUFFLE:- 
 
 A stack of thirty half dollars is shuffled up arm, and spread 
 from one hand to another in a very mysterious manner, with won- 
 derful effect. A decided novelty in the coin line and very easy to 
 perform. A beautiful finish for any Coin trick. 
 
 Secret:— It lies in having the coins strung on a string, same 
 as in the electrical pack of cards— (see fig. 76). Coins have two 
 holes bored in each coin near opposite sides, and strings are adjus- 
 ted so as to have all coins an equal distance apart. By taking hold 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 93 
 
 [Fig. 76.] 
 of top coin of string with one hand, and the lower coin with other, 
 you may shuffle them rapidly apart, or up the arm, same as with 
 cards, making a very pretty effect, and has the appearance of gen- 
 uine skill. 
 
 THE BALANCING COINS, HAT & WAND: 
 
 Performer borrows three or four ordinary 
 U. S. half dollars and proceeds to balance one 
 of the coins on the rim of a hat, then places 
 another coin on top of the first, on milled edge, 
 and so on until all four coins are balanced in 
 this position on the hat. Hat is now balanced 
 on top of wand. 
 
 Secret:— Prepare three or four half dollars 
 by drilling a hole from one edge to opposite 
 edge, (any jeweler can do this for you). Fig. 77, 
 shows coin and hat balanced on wand. "B'-'B" 
 shows where point "E" shoves up and down by 
 the pressure of your thumb. "C" shows where 
 rim of hat rests on wand. You can now see 
 how easy it is to balance one coin at a time, on 
 rim of hat. "C" also shows where point "A" 
 comes up through the hole in wand. "E" is 
 a strong steel wire. The experiment may be 
 varied without the use of the hat with fine 
 effect, causing coins to balance on the end of 
 wand. 
 
 CLAIRVOYANT FIGURE READING:- 
 
 Take 50 or 60 blank cards, number them 
 from 12 to 79, leaving out 20—30—40—50—60 and 
 70; then multiply them in the following man- 
 mer and place the answer on the other side of 
 card, and they are ready; all you have to do is 
 to remember the manner of multiplying. Mul- 
 
 [Fig. 77.] 
 
94 SHAW'S MAGICAL INSTRUCTOR, 
 
 tiply the second figure by 8, the first figure by 7, second figure by 6, 
 first figure by 4, add the number together and multiply by 3. For 
 example:— take card No. 22, the following figures would appear on 
 the back of card— "161412812. 33 8 times 2 is 16, 7 times 2 is 14, 
 6 times 2 is 12, 4 times 2 is 8, 2 times 2 is 4, and 3 times 4 is 12. 
 You can work this effective act either in Second Sight, or a person 
 can do it alone, having passed the cards out to audience and as soon 
 as they call off a number, write down the figures on back of card on 
 a blackboard quickly. 
 
 MULTIPLYING AND DISAPPEARING COINS:- 
 
 Have a number of gold or silver coins, on a plate or tray upon 
 your table. You must make a "fake" after this manner: Get a piece 
 of gold or silver paper, (tinsel paper if possible), with figured lines 
 on it, and make a small round box out of it, like half a pill box. 
 Paper should be embossed and the top covered with a piece of gold 
 paper, bottom open; make this of such a size as to be equal to a pile 
 of six coins, this you may use and at a little distance it will look 
 exactly like a pile of coins. Have this palmed in left hand. From 
 tray on table take up, say, six coins in right hand, square them up 
 and exchange for "fake" in left hand, (any pass), place this openly 
 on a small piece of white paper on table so that all can see it. Now 
 pick out a like number of coins and place them in front of a china 
 bowl or tray, on table. Now get some one to take a handful of 
 coins from plate and count them on to a tray, (multiplying tray 
 previously loaded with a number equal to the two piles you have 
 made on table), pour them, (and the concealed ones), from tray into 
 a persons hand or hat. (You may palm these coins if desired, thus 
 dispensing with the multiplying plate). Return to table, pick up 
 coins in front of bowl with left hand, transfer to right, (by pass), 
 drop left hand and as you pretend to pour from right into bowl 
 drop the coins from left into profonde, in which you have placed a 
 small china or glass bowl, so as to imitate the sound apparently 
 produced by other hand. Now roll up the other packet, (fake), in 
 paper. You now command coins to vanish, show bowl empty, burn 
 paper on plate and show all trace of coins gone, and then have in- 
 creased coins counted in hat. The above "fake" may be made by 
 taking coins and pressing with thumb a piece of tin foil, by which 
 means you can get a correct and perfect impression of the coins, 
 which cannot be detected from the original, but "fake" so prepared 
 needs care in handling, as it is easily crushed. 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 95 
 
 ," OR THE DAUGHTER OF THE CALIPH OF BAGDAD:- 
 
 A canopy is erected over a chair standing on the stage. Two 
 gentlemen selected from the audience are seated one on each side of 
 the chair. The medium is fastened with ropes to the sides of the 
 chair, and the hands are held by the committee. At a given signal 
 the medium suddenly vanishes in the most inexplicable manner. 
 This illusion has created the greatest sensation wherever pro- 
 duced. 
 
 Secret :— On the stage is the following apparatus: Four up- 
 right nickel plated rods, seven feet high and one and one-half inch 
 
 [Fig. 78.] 
 in diameter. These are screwed into an iron plate, one-half inch 
 thick and about two and a half to three feet square. At the top 
 these are connected by a wooden frame-work— (see fig. 78). The 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 iron floor part has a trap cut in it, which is hidden by a few brass 
 mountings which run checker board fashion across it. The trap 
 opens downwards. To the frame is attached a curtain, which, at 
 
 the beginning is at the bottom. The 
 curtain is six inches shorter than the 
 frame work, and is pulled up to the 
 top by ropes which run over pulleys 
 and gather together at one of the 
 poles. Here is where one part of the 
 trick lies: One of the ropes runs in- 
 side of one of the poles, then down 
 through the plate, and is connected 
 with a spring which opens the trap. 
 You see that in this manner when the 
 performer pulls up the curtain he 
 opens the trap for the lady himself. 
 * On the iron floor is a very queer chair, 
 made something after this fashion: 
 There are two cast iron posts, in size, 
 [Fig. 79,] about four by four inches at the base 
 
 and about twenty inches high, and they taper slightly from bottom 
 to top — (see fig. 79). They are decorated with scroll work and on 
 one side near the top is the head of a Sphynx in relief. The chair 
 is fastened to the top of these two posts and is leather covered, 
 with a wooden back, and at the front is a foot rest, which is only 
 six inches lower than the 
 seat. Now, when the lady 
 who wears a male costume 
 sits in this chair and puts 
 her feet on this foot rest 
 her knees almost touch her 
 chin. On the two posts just 
 above the Sphynx heads 
 are two tubes through 
 which a short rope runs. 
 This rope is knotted close 
 to the tubes so that it will 
 not pull through either [Fig. 80.] 
 
 way. The two posts are hollow and the iron floor has two holes on 
 which the posts are set. The two sphynx heads open outwards but 
 are held by catches. The two ropes are "faked," they do not run 
 
SHAW'S MAGICAL INSTRUCTOR. 97 
 
 through the tubes, but a slack runs into the hollow post and is held 
 by a catch, which is released by the same spring that opens the 
 trap. Now conies the execution: Lady enters and seats herself on 
 the chair and places her feet on the foot rest. The committee man 
 ties her hands to the ropes, but the ropes are so short that they 
 will not go around twice; when this is done the performer pulls up 
 the curtain from the bottom, when it reaches high enough to cover 
 lady's form, there seems to be a hitch as if the ropes are caught in 
 the pully, this gives him a chance to pull the extra rope which 
 opens the trap and releases the slack in the short ropes. Lady now 
 slips through the trap which she closes quickly. The closing draws 
 the ropes tight again. Performer now pulls up the curtain until it 
 is clear of the floor. He now calls attention to the fact that audi- 
 ence can see underneath, so the lady cannot leave. To -show that 
 she is still there he pulls her hands out on each side, through a slit 
 in the curtain. Lady has placed her hands up through the posts, 
 opened Sphynx heads and put her hands out through slits. Gentle- 
 man takes hold of her hand and the other hand holds a wand. Per- 
 former takes hold of the ropes and counts: one — two— three, and at 
 the word three, he quickly pulls down the curtain. At the word 
 three, the lady drops the wand and gentleman drops her hand, she 
 quickly withdraws both hands and the Sphynx heads close automa- 
 tically— lady has vanished! If done at a theatre the lady can ap- 
 pear at the door. In this case an assistant lady must put up her 
 hands as soon as first lady is gone. Ladies should wear similar 
 rings. Fig. 80 shows an enlarged view of "A." 
 
 THE DISAPPEARING HANDKERCHIEF:— 
 
 This trick although simple is one of the .prettiest sleight of 
 hand feats in existence. Use a fine small silk handkerchief. Be- 
 tween the joint of thumb and forefinger of the left hand, (at rear), 
 conceal a small piece of the same silk rolled up into a ball. Roll up 
 your sleeves, show hands empty, have handkerchief examined and 
 taking it between the hands, roll it up into a ball which you pre- 
 tend to pass into the left hand but really palm in the right. Let 
 silk at rear of thumb expand in left hand, letting audience see it. 
 They are now sure that the handkerchief is really there, meanwhile 
 you get rid of the handkerchief proper. In due time, join hands, 
 roll up the bit of silk into a ball again and press it back into its 
 former hiding place, then show handkerchief gone, and hands emp- 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 ty. Cause handkerchief to reappear by causing silk to expand, and 
 let it be seen, then vanish the silk again as described above. 
 
 THE BUNGALOW ILLUSION:- 
 
 A lady enters an open skeleton cabinet, which hangs on chains 
 from four uprights in center of stage. The cabinet is about three 
 feet above the stage floor and is surrounded by gentlemen from the 
 audience. A small fine curtain is placed around the hanging cabinet 
 so that only the lady is covered. On the command of the performer 
 the curtain falls down on stage floor and the lady has disappeared 
 from the cabinet, and appears in the gallery of theatre. 
 
 Secret: — This illusion 
 consists of four uprights, 
 each eight feet high. From 
 the top of each upright is 
 a chain which suspends a 
 skeleton cabinet— (see fig. 
 81). The skeleton cabinet 
 is about three feet square 
 and five feet high and is 
 made of brass tubing. The 
 bottom of the cabinet is a 
 wooden frame with two 
 spring blinds in it, which 
 open in the center and roll 
 up into the side of frame — 
 (see fig. 82). The blinds 
 are made of very heavy 
 canvas, and are held to- 
 gether in the center by a 
 small catch. The top of 
 cabinet is composed of two 
 tops, one of which is sta- 
 tionary and the other is 
 movable— (see fig. 83), it 
 slides up and down on the 
 four rods of the cabinet 
 [Fig, 81.] and will form a false top or 
 
 bottom, according to which position it is in. Around the top, un- 
 derneath the wainscoting are four rods— (see fig. 84), one on each 
 side, working in sockets at the corners. Each rod has four pins 
 
SHAW'S MAGICAL INSTRUCTOR. 
 
 rivited in it. On the stage floor under the cabinet is a trap, open- 
 ing in the middle, downwards, and they are counterweighted so 
 that when a person drops through they return to their place again. 
 A square carpet or rug is glued over the trap, and the carpet is cut 
 
 [Fig. 82.] 
 where the openings are. To cover the cabinet you have a square 
 curtain which is ringed at the top. The rings are the same distance' 
 apart as the four pins are on the rods. Two of the rods, one at each 
 
 [Fig. 83,] 
 side, have an extra pin sticking out at the exact middle, with a 
 tongue catch. To arrange the apparatus you turn up all the pins 
 of the four rods, bring up the false bottom and place it against the 
 
 [Fig. 84.] 
 top, and keep it up with the tongued catches— (see fig. 85). Now 
 introduce the lady and after the usual patter, (having committee 
 on stage, etc.,) you place some steps against the cabinet, which the 
 lady ascends and enters the cabinet. You now hang the curtain 
 around by means of the pins on the rod. The lady now spreads her 
 legs and stands on the side frame-work of the bottom, and opens the 
 
100 SHAW'S MAGICAL INSTRUCTOR. 
 
 catch in the middle of bottom which allows the blinds to roll up 
 into the side of frame, this leaves the bottom of cabinet open. Now 
 
 . Section of pivoted ro6 showing 
 Curiam and false bottom in position 
 
 [Fig. 85.] 
 at a pistol shot, the lady pulls the tongue catches at the top which 
 permits the top to come down, and with it the curtain. As sosn as 
 the curtains touch the floor, the lady drops through the trap in 
 stage floor and goes around to the front of Theatre. As soon as 
 the false bottom ,trikes the frame of real bottom, the two tongued 
 pins sticking out at each side, turn up; and the curtain pins turn 
 down, and the curtain slips off and falls to the floor, and the lady 
 has vanished. All of this must be done very quickly 
 
 THE SPIEIT ANSWER:- 
 
 Entirely new and without exception the most effective and 
 unexcelled Spirit writing ever introduced, for stage or parlor. Any 
 spectator in audience writes a question on a blank slip of paper, 
 either furnished by performer or themselves. After writing ques- 
 tion they fold it up and place it in an envelope or their pocket-book 
 and place it in their own pocket. While spectator is writing ques- 
 tion, the performer can either leave or remain on stage, or in a room 
 as desired. Performer on being informed that spectator is all ready 
 at once writes the question and the answer to same, on a slate or 
 blackboard. Spectator now produces and opens envelope and the 
 performer is found to be correct. 
 
 Secret: — For this test you must have a table arranged as fol- 
 lows: The legs of table are made of brass tubing, and the top of table 
 must be nice and smooth. You also have a piece of strong string at- 
 tached to the center of a piece of white silk. This string runs down 
 the leg of table, through a hole in floor to assistant under stage. The 
 silk is spread on table, then place a piece of Carbon cloth or paper 
 over silk, then put on a thin table cloth and tack it to the sides of 
 table top. Now have a sheet of paper and a hard lead pencil on the 
 
SHAWNS MAGICAL INSTRUCTOR. 101 
 
 table and ask some one to write a question on the paper, (the ques- 
 tion is transfered onto the white silk), and as soon as the question 
 is written assistant pulls down the white silk and reads the ques- 
 tion and tells it to the medium, who then walks up to the person 
 and taking hold of his hand, leads him to a blackboard and writes 
 up question and the answer to same. Party takes paper out of his 
 pocket and reads aloud the question, and medium is found to be 
 correct. This test can be worked in many ways; it can also be 
 worked in parlor by having the floor arranged for it. 
 
 W. H. J. SHAW, 
 
 MANUFACTURER OF 
 
 MAGICAL APPARATUS, ILLUSIONS, STAGE EFFECTS, and 
 
 WAX FIGURES of EVERY DESCRIPTION. 
 
 CHICAGO, ILL. 
 
102 SHAW'S MAGICAL INSTRUCTOR. 
 
 CONTENTS. 
 
 PAGE 
 
 Annie Eva Fay, Cotton Bandage Test 65 
 
 A Live Hat. 7 
 
 Airy Voyage of Performer from a Chair 39 
 
 After the Ball. 74 
 
 Bloodstone Wonder— The 53 
 
 Baldwin Act— The 63 
 
 Balancing Coins, Hat and Wand. 93 
 
 Bungalow Illusion — The « 98 
 
 Clairvoyant Figure Reading 93 
 
 Charmed Organ Pipes— The 4 
 
 Changing Decapitation. 8 
 
 Colored Sands of Enchantment .. 14 
 
 Chameleon Handkerchiefs— The 23 
 
 Crystal Chest of the Geni— The 26 
 
 Casket Cremation— The .....' 35 
 
 Cartomanic Floral Charm. 48 
 
 Creation of Earth, Air, Fire and Water— The 54 
 
 Cagliostro's Spirit Slate. 73 
 
 Crystal Coffin— The . 79 
 
 Clairvoyant Card Trick. 83 
 
 D' Alvini's Album Trick. 4 
 
 Diamond Mystery— The - 7 
 
 Dice House— The 9 
 
 Devil's Rod or Stick of Enchantment 10 
 
 Dissolving Half-Dollars— The 61 
 
 Disappearing Stack of Coins. 62 
 
 Disappearing Handkerchief — The 9 
 
 Extinguished Cigar— The 3 
 
 Egyptian Cremation— The 6 
 
SHAW'S MAGICAL INSTRUCTOR. 103 
 
 Eclipse Coin, Card and Candle Trick 15 
 
 Excelsior Second Sight. 37 
 
 Edgar Poe's Raven in the Garland of Thebes 45 
 
 Electrical Coin Transportation. ; 62 
 
 Extraordinary Flight of Coins. 71 
 
 Electrical Coin Shuffle. , 92 
 
 Flight Through Crystals— The ..'.. 9 
 
 Floral Globe or Total Eclipse— The 51 
 
 Glass Bowl and Golden Stand— The 26 
 
 Golden flash of Light— The 59 
 
 Iron Cage Test— The .80 
 
 Improved Torn Card Trick 11 
 
 India's Wand of Wonders. 42 
 
 Kellar's New Karmos. . . . . 21 
 
 Lightning Slate and Blackboard Test 5 
 
 La Cremation. .77 
 
 Multiplying and Disappearing Coins 94 
 
 Mahatma Miracles— The .88 
 
 Marvelous Vanishing and Re-appearing Coin 71 
 
 Mysterious Coin. 70 
 
 Mystic Percolator— The 1 
 
 Mephisto's Glass Cylinders. 20 
 
 Mystery of L'Hassa— The 23 
 
 Mysterious Transmission of Thought 28 
 
 Magic Decanter— The 41 
 
 Magnetic Second Sight. « . .42 
 
 Mysterious Hat and Balls. 44 
 
 Marvelous Writing Hand— The 48 
 
 Mystic Sour Drops— The • 50 
 
 Magic Wine Tassels— The 51 
 
 Magic Squeezes— The 54 
 
 Mystic Peaches— The 56 
 
 Mystic Card— The 75 
 
 New Spirit Pictures. , 21 
 
 New Programme, Ring and Envelope Trick 17 
 
 National Ball Transformation— The 1 
 
 New Spirit Ghost Seance. 2 
 
 New Hat Fake. 7 
 
 New Tape Trick. 12 
 
 Newest Wine and Water Trick. ..... t 13 
 
 New Sensational Card Trick. 4 14 
 
104 SHAW'S MAGICAL INSTRUCTOR * 
 
 New Method of Getting Flowers into Cone .18 
 
 New Umbrella and Handkerchief Trick 27 
 
 New Coffee, Sugar and Milk Trick 45 
 
 New Glass Card Frame. 52 
 
 Ne-Plus-Ultra Coin Trick— The 59 
 
 New Dancing Cards. 82 
 
 Ornithological Labyrinth. 19 
 
 Oriental Barrel Mystery—The 84 
 
 Our Spelling Bee. 46 
 
 Omega Illusion. 57 
 
 "Oh" Illusion. 95 
 
 Phantom Knots— The 91 
 
 Photographie Mysterieuse. 76 
 
 Spirit Answer— The 100 
 
 Spirit Bell on Glass Top Table. 2 
 
 Spiritual King Test— The 3 
 
 Spirit Scribe— The 7 
 
 Shrine of Koomra Sami. 25 
 
 Spirit Slate Mystery. 86 
 
 Spirit Pull Test. 88 
 
 Spirit Circle Under Test Conditions 92 
 
 The Queen of Knives. 40 
 
 The Traveling Flame. 43 
 
 The Vanishing Bride. 48 
 
 The Very Latest Aerial Treasury ,72 
 
 Tussah Illusion. 57 
 
 Water Into Ice. 1 
 
 Wonderful Lager Beer Glass and Paper Cone 9 
 
 Water on The Brain. 36 
 
 Wonder Kraut. ^ 
 
 Wonderful Turn over with Coins. 61