Copyright. PRICE ONE PENNY.

it

M
.Mac
Principal Contents.

Hints for Beginners.

Tricks w i t h Coins.
Experiments with Eggs.
Optical and other Illusions.
Magic Corks.
How to Change Water into Wine.
Some Simple Experiments.
String Tricks.
Some After-Dinner A m u s e m e n t s .
Tricks with Handkerchiefs.
Second Sight.
Curious Paper Rings.
String Sticks.
Tricks in Balancing.
Card Tricks.
Tricks w i t h Glasses.
Tricks w i t h Rings.
S w o r d - S w a l l o w i n g Tricks.
Magic Squares.
How to Tell Hidden Numbers.
The Automatic Dancer.
The Travelling Doll.
A The Lovers' Knot.
JOTIS? IZJI
A Bridge of Dominoes.
A Battery of Draughtsmen.
&c., &c., &c.

JOHN LENO & CO., Dundee, and IS6 Fleet Street, London.
 4 * * CI)C • • •

FOR H O M E A N D O U T D O O R READ2NG.

For

The Br

The Du
^ u
D

The Sei

The Lig

eader

ader
WILL ALMA
M.I.M.C. (LONDON)
y
Reader

The Humorous Reader

Contains Something suitable for every Reader.

'We doubt If there is anything better of I t i

WEEKLY

1
kind published a n y w h e r e . "

Daily Chronicle D.
( LonAen.)
 TABLE OF CONTENTS.

PAQE. PADS.
TABLE OF CONTENTS 1 T H E INDESTRUCTIBLE T H R E A D , ... II

INTRODUCTORY ~ 3 CUBIOUS P A P E R R I N G S
T o C U T A STRONG CORD WITHOUT
HINTS FOR BEGINNERS, ... — 3
K N I F E OR SCISSORS, .. 1ft
TRICKS WITH COrNS — 5 SPLICING STRING, ... 16
T H E MONET-MAKING T W O * 5 TRICKS WITH HANDKERCHIEFS,... „ 17
T H E FLYING SIXPENCE 5 T H E REEFING KNOT, ... _ „ 17
T H E V A N I S H I N G PENNY, 5 T H E MAGICAL K N O T , ... 17
T H E DISAPPEARING THREEPENNY, ... 6 T H E LOVERS' K N O T , — 18
A TWENTY-SHILLING THICK 6
T H E UNTYABLE HANDKERCHIEF, _ 18
T H E SUBMERGED COIN 6
CUT AND BURNED HANDKERCHIEF
A COIN AND BOTTLE PUZZLE RESTORED 18
T H E BLOWN SIXPENCE, T H E HANDKERCHIEF AND CANDLE, . . . 19
COINS AND CROSS,
CARD TRICKS
COINS IN A R O W , 19
T H E JUMPING SHILLING, To GUESS TIIE CARDS F I X E D ON BY
FOUR PERSONS,
T H E STATIONARY SHILLING 19
. T o TELL THE N A M E O F A CARD
T H E REVOLVING COIN -
THOUGHT OF, . . . 19
T H E E F F E C T OP GRAVITY, ... _ 8
F O U N D AT THE SECOND GUESS, 19
W H A T MAKES IT SWING? ... ... 8
T H E SURPRISE 20
T H E VANISHING H A L F - C R O W N , _ 8
T H E WANDERING A C E , _ 20
SECOND SIGHT — 8
A CLEVER CONSTABLE, 20
BOTTLE AND COIN THICK, ... » 8
T o T E L L H O W MANY CARDS A PERSON
A LIVELY PENNY 8
HAS S H I F T E D g 20
A SIXPENCE IN A BALL OF W O O L , ... 9
CAUGHT IN F L I G H T , ; 21
To DRIVE A N E S D L B THROUGH A
T o N A M E A CARD W I T H O U T ITS BEING
HALFPENNY 9 21
SEEN
T H E DISAPPEARING P E N N I E S 9 21
A CARD AND PENNY T R I C K ,
EASY W A Y TO M A K E MONEY 10
T o SCENT O U T A C A R D CHOSEN FROM
T H E OBEDIENT SIXPENCE, ... ... 10
A PACK OF SIXTEEN, 21
TRICKS WITH CORKS, 10 T o CALL A N Y C A R D IN THE P A C K , . . . 21
A N OBSTINATE CORK 10 BETRAYED BY ITS W E I G H T , 22
A DELICATE L I F T I N G F E A T , 10 BALANCING TRICKS _ 22
A DIFFICULT L I F T I N G F E A T , ... 10 T H E P E N C I L AND K N I F E F E A T , „ 22
A CLEVER SELL, _ 10 BALANCING A TUMBLER, 22
T H E FOUR CORKS, 11 TRICK IN BALANCING „ 22
T H E COHESIVE CORKS 11 T H E BALANCED PLATE „. 22
A LAUGHABLE F E A T 11 A C u p IN DANGER, ... ... .„ 22
EATING CORKS - 12 A BALANCED GLASS 23
CORKS EASILY DRAWN. 12 A BALANCED BOTTLE, 23
A N ACROBATIC CORK 12
TRICKS WITH GLASSES, 23
A SiMrLE FKAT, 12
CORK AND CAMPHOR T R I C K , 32 W A T E R CHANGED INTO W I N E AND
W I N E INTO W A T E R 23
A CORK MOUSE 13
W A T E R ABOVE A L E , 23
STRING TRICKS 13 FLOATING A P I N IN W A T E R 24
T H E BOUND SCISSORS, 13 A O N E - H A N D E D TUMBLER T R I C K , 24
T H E ENDLESS THREAD, 13 ANOTHER TUMBLER THICK, 24
STITCIIINO WITH A K N O T T E D T H R E A D , 13 LIQUOR U N D E R A H A T , . . . ... _ 24
CUTTING THROUGH THE F I N G E R S (NO. 1 ) , 1 3 T U B MAGICAL TUMBLKUS, ... ... 24
CUTTING THROUGH THE F I N G E R S ( N O . 2 ) , 1 3 A DIFFICULT L I F T , 24
T H E CUT T A P E 14 H o w TO KMPTY A GLASS, 24
THREADING THE N E E D L E , ... ... 15 TIIF. PISAITHARING GI..\SS 25
TRICKS WITH SCISSORS, . . . „ 15 A NOVEL M O D E OF EMPTYING A
T H E MAGIC THREAD, ... M H IS TUMBLER, ... ,M „ „ 25,-
 2 TABLE OF CONTEXTS.

PAGE. TACK.
E X P E R I M E N T S W I T H EGOS, 25 T o S P L I T AN A P P L E INTO T w o EQUAL
A N E a o M A T V A R I E S IN W E I G H T , . . . 25 PARTS WITH THE FINGER 39

H o w TO M A K E A MAMMOTH EGO, ... 26 A TOUCHING PICTURE, 39

FACIAL EXPRESSION ON AN ECGSHELL, 26 T o P E E L AN ORANGE WITHOUT LEAVING

T o BLOW AN EGG FROM O N E WINE- THE P I T H O N , 39

GLASS TO ANOTHER, 26 T H E L I T T L E CONJURER 39

Tins FLEXIBLE EGG, 26 F U N WITH CLOTHES P I N S 40

T H E ROTATING EGG 26 A SPRIGHTLY DANCER, 40

T H E SELF-COOKING EGG, 26 T H E W I N S E D ACROBAT,. ... 40

T H E PKRFOKMING EGG, , . . 27 ORNAMENW FROM LOBSTER SflfiLts,... 41

T U N H O O P AND THE EGG, 27 T H E LEMON P I G , 41

TRICKS WITH RINGS 27 SOME OPTICAL AND O T H E R ILLUSIONS, 41

T H E - R I N G ON THE STICK, 27 T H E GOTHIC ARCH 41
A RING PUZZLE, 28 T H E B I R D IN THE CAGE, 41
ANOTHER R I N G TRICK, 28
T H E DISAPPEARING W A F E R S , ... ... 41
MISCELLANEOUS TRICKS 28 A CANDLESTICK ILLUSION, ... ... 42
" TINI'DIVIBED PEAR 28
A TRANSPARENT H A N D , 42
T H E CUBE IN THE I I A T , 28
SWALLOWING A BARBER'S POLE, ... 28 ESTIMATION OF DIAMETERS, 42
T H E FOUR-MATCH PROBLEM, 29 HALFPENNY ILLUSION, ... ... (LL 42
T H E PAPKR T O P 29 COLOURED CARD TEICK, . . , ... „. 42
SWALLOWING A K N I F E 29 T w o MARBLES TRICK 43
A STARTLING SWORD TRtcK 31
T H E " ADHERING" COIN 43
, STRAW TRICK, ... 21
T H E DECEPTIVE P I L E , ... 43
T H E BRIDGE OF DOMINOES, ... ... 31
TRICK WITH MATCHES, 31 T H E E Y E DECEIVED, 43
A BATTERY OF DRAUGHTSMEN, ... 31 SOME SIMPLE EXPERIMENTS, 44
T H E L A W OF INERTIA, 31 INVISIBLE W R I T I N G ,
T H E TRAVELLING DOLL 32
F O U B LAYEBS o r LIQUIDS, 44
STRING STICKS, 33
EATING F I R S , ... 44
A BURNING SNOW MOUNTAIN, 33
T H E ELECTRIFIED P I P E , 33 CONVERTIBLE SUBSTANCES, .., ... 44
: A STRIKING SIGHT, 33 T H H M A G I C WHIRLPOOL, ... ... 44
. T H E . AUTOMATIC DANCER, 31 A GHOSTLY L I G H T , ... 44
ONE STROKE PUZZLE, 34-
W A T E B THAT W I L L N O T SPILL, ... 44
A R E .You. NERVOUS? TRY 35
MAGICAL TRANSMUTATION,
T H E TANTALISING PENCIL, 35
TELLING AN U N S E E N AMOUNT, ... 35 T w o MAGICAL FIGURES, 44
A N INGENIOUS CANDLESTICK, 35 A MAGIC DRAWING, ... 45
A CANDLE BURNING U N D E R W A T E R , 35 VORTEX SMOKE R I N G S 45
ANOTHER CANDLE THICK 35 T o B O I L W A T E B IN P A P E R , ... J„ 45
MAGIC SQUARES, - 36
CAMPHOR IN W A T E B , . ,,, 45
Tint MAG to OF NUMBERS 37
MAGIO TRACINGS ... 45
fc'o NEAR AND Y E T SO F A B , 37
. A TANTALISING SWEETMEAT, 37 A N O L D M E T H O D OF TELLING T I M E , 45
WINNING BY A NECK—NECK OB T H E STRENGTH OF THE BREATH, ... ' 46
NOTHING 37 A GREAT EXPERIMENT ON A SMALL
ATTRACTION AND REPULSION, 37 SCALE
W H E N A F R I E N D INTENDS TO R I S E , . . . 37
A DEAD GAS 46
T N S OBSTINATE L E A F ... 37
A SHRIMP SYPHON ; „ 46
KICKING THE SPOOL 38
INCONTROVERTIBLE, 38 SIMPLE F O R M OF SYPHON, „, ... 47
l l o w TO T E L L A PERSON'S A G E , ... 38 COMPLIMENTARY COLOURS 47
IMPOSING ON A COMPANY 38 A BEAUTIFUL EFFECT, 47
A STARTLING TRICK, 38 D O T S AND DASHES 47
N O T THE B E S T W A Y TO L I G H T A EXPERIMENTS IN ELECTRICITY,... ... 42
CANDLE, 38 A P I E C E OF BROWN P A P E R , ... ... 48
AFTER DINNER AMUSEMENTS 39 H o w TO PRODUCE ELECTRIC L I G H T , . . . 48
To MAKE A WINE GLASS WITH AN A HOME-MADE MAGIC LANTERN, ... 48
ORANGE, 39 CURIOUS MISHAP AT A CONJURING
H e w TO M A S S A P I G WITH OBANQB P E E L , 39 ENTERTAINMENT, ... 48
 The State Library of Victoria
" A L M A CONJURING C O L L E C T I O N "
INTRODUCTORY.
i H I S is the first of my many hand-
books whioh Iras been prepared, ex-
clusively, I may say, for my nephews.
I do not suppose t h a t many of my nieces take
any very practical interest in conjuring,
although, doubtless, thoy appreciate the- en-
deavours of their brothers and male friends
to mystify them by means of the "Black
A r t . " I do not forget t h a t women ha.ro oc-
casionally distinguished themselves as
magicians, but the great majority of con-
jurers axe drawn from the other sex, a n d it
is in the hope t h a t my nephews may have
something with which to amuse themselves
during the winter nights t h a t X have set
about the publication of this little work on
" Conjuring and Parlour Magic."
The contents which go to form this book
•were brought together in the first instance
by one who was no mean conjurer himself,"
and who, for more fchani a quarter of a cen-
tury, was almost continually giving hints to
a large circle of amateur magicians. Their
present arrangement has been undertaken
by another who has also evinced more than
a passing interest in " the t u r n of the wrist
and t h e twist of t h e elbow." I feel con-
fident, therefore, that, for the beginner, at
all events, the book will prove of no small
value.
I n the preparing of " Conjuring and Par-
lour Magic" on,© point that has been kepti.m
view is that 110 trick has been introduced
which demands much pecuniary outlay for
apparatus. Tricks with such easily avail-
able articles as coins, eggs, handkerchiefs,
and cards have been given in abundance,
and with a little practice and attention to
tho instructions Taid down no one should
find it difficult to arrange an interesting
conjuring programme. After the beginner
has mastered the contents of this book, and
become proficient in the tricks which it ox-
plains, I have no doubt he will pass to those
larger and more pretentious works, the prac-
tice of which demands greater skill and out-
lay. -AUNT KATE.
HINTS FOR BEGINNERS.
The first essential in conjuring is patieno*.
The facility and ease which are necessary t o
effective sleight-of-hand can only be acquired
by much patience, and if 0. man is not willing
to " try and try again," he should never
begin tho art. Everything is learned by
degrees, and the amateur conjurer will find
it judicious to begin with simple tricks. As
he gains proficiency in these, h e will pass oft
t o feats requiring greater dexterity. Ona
golden rule t o remember a t the outset is—
Always practice alone, and in f r o n t of a
mirror. If you stand before a large look-
ing-glass you see every movement you make,
and by gazing steadily into t h e mirror gra-
dually learn t o perform the tricks without
gazing a t your hands or following your
fingers with your eyes. Having acquired
the ability to work automatically, you are
in a fair way towards complete success. By
looking a t your audience and feigning in-
difference you beget in them increased won-
der a t the ease with which you do a thing,
and their mind becomes so occupied with
" wondering" t h a t they pay less attention
to solving the question how this or t h a t feat
is accomplished.
I t is always wise to acquire various
methods of performing tho same trick. If
you have an alternative way cf working, it
comes in handy should you blunder in the
first performance, or should it become ap-
parent to you t h a t some one in the audience
suspects your operations. Never be too
anxious to give a performance. Practise
incessantly, and only when perfect perform
in public. Having supposed t h a t by prac-
tice the. student has become expert, and is
ready to give illustrations in the aTt, we
shall proceed to give a few hints as to how
a performer should conduct himself before
his audience.
One of the first requisites is t h a t he be
able t o enter into the enjoyment of the
tricks he is about to perform. H e must
take a real pleasure in doing them, and in
proportion as he enjoys their exhibition! will
he delight his audience. A wizard must
 ttaro something to say im connection with
svery item, ana must put life and vivacity
Into all t h a t he says a n d does. H e should
hare a certain a m o u n t of p a t t e r or talk for
every trick, amid be able t o set i t off in a
free a n d easy style. If he is ready-witted,
»nd can throw in something appropriate o n
t h e spur of t h e moment, so much t h e b e t t e r
for his chanoes of suocess. A conjurer
should look his audience s t r a i g h t in t h e face
while he is speaking (he has already acquired
this habit by working in f r o n t of a mirror) ;
he should n o t remain s t a n d i n g on one spot,
but should move a b o u t with a free-and-easy
deportment. H e should keep his h a n d s
moving, and n o t let t h e m hamg loose a n d
motionless a t his sides.
The first and most i m p o r t a n t t h i n g for
the suocess of an e n t e r t a i n m e n t is t o get
the audience i n t o good humour—to t a k e
away from t h e m t h a t stolid o r keenly criti-
cal look which is so a p t t o discourage or
disconcert a n a m a t e u r . There m u s t be a
feeling of good fellowship created between
audience and e n t e r t a i n e r a t t h e very outset,
a n d once t h a t is obtained, all t h a t follows
becomes easy and pleasant and smooth, a n d
even a failure may b e laughed over good
humouredly. I t is j u s t a t this point t h a t
most a m a t e u r s fail. They come before their
audience stiffly and a w k w a r d l y ; they feel
anxious a b o u t t h e success of t h e entertain-
ment, and anxiety betrays itself on their
faces and general d e p o r t m e n t . W h e n t h e y
a t t e m p t a. joke, their joke falls flat, their
concerted p a t t e r comes insipidly f r o m t h e i r
lips, and t h e r e is a mechanical ring a b o u t all
their u t t e r a n c e s t h a t acts like a wet blanket
uponi theii" audience, and reacts with tell-
ing force upon t h e conjurer. H o w is all this
t o be avoided P I t is here t h e born conjurer
will appear a t h i s best. H e will feel easy,
a n d h e will joke pleasantly, a n d before
many minutes axe past he will be in com-
p e t e sympathy with h i s audience. N o
a m o u n t of instruction can give this neces-
sary qualification, b u t i t may to a large ex-
t e n t be acquired by s t u d y and practice. To
illustrate these points let us t a k e an imagin-
ary case.
W e will suppose t h a t t h e e n t e r t a i n m e n t
takes place in a small schoolroom. The
platform is raised, say a foot or two from t h e
floor. A t a t a b l e a t t h e back of the plat-
form is arranged t h e conjuring apparatus
for t h e evening's programme. A bare
table stands at t h e f r o n t of t h e platform,
and towards this t h e conjurer comes t o a n -
nounce his e n t e r t a i n m e n t , or on its being
announced by t h e Chairman. There is a n
easy expression of good h u m o u r on his face.
H e begins by offering a few observations
u p o n t h e happiness of being a conjurer and
able t o say and do whatever one pleases to
Bny one. H e t h e n observes t h a t , of course,
.Everyone would like t o be a conjurer, and'
i t is t o be his business t h e r e t h a t ereninJg,
not only to teach t h e m how t o become one,
b u t to make t h e m able t o show others w h a t
t h e y have seen him accomplish. H e t h e n goes .
on to tell t h e m t h a t those who desire t o ex-
cel in sleight-of-hand or necromancy m u s t
have certain n a t u r a l capabilities f o r the
work, and t h e person, who is able t o do t h e
feats which he is going to show t h e m will
have t h e best chance of excelling in t h e a r t .
I n t h e first place, h e " says, all magical
tricks a r e performed by t h e twist of t h e
wrist a n d t h e t u r n of t h e Tight h a n d , a n d
to illustrate this h e will show how t h e t w i s t
of t h e wrist is performed, and t h e person
who can m a k e t h e wrist turnj u p o n a pivot as
he does should have good hopes of success.
Now, any one can do this. Stretoh o u t t h e
left arm, p a t t h e back of t h e l e f t hand with
the right hand,
a n d cause t h e a r m
t o rise u p from t h e
elbow; t h e n when
t h e f o r e a r m is a t
right angles w i t h
t h e upper arm,
p a t t h e back of
the hand andi
cause i t t o bend
over to right
angles w i t h t h e
forearm, as shown,
i n t h e cut, t h e n
t a k e t h e l e f t hamidi
between t h e finger
a n d t h u m b of t h e
r i g h t hand, a n d twist t h e h a n d s outwards
as far as can conveniently be done. The
a t t i t u d e looks most ridiculous a n d strange,
and oauses much wonderment. On lifting
t h e finger and t h u m b from the l e f t h a n d ,
allow i t to r e t u r n t o its normal position with
a jerk, a n d t h e wonder will be still f u r t h e r
increased•
The t u r n i n g of t h e t w o h a n d s in opposite
directions is apparently a much more simply
performed feat, ^
a n d yet, s t r a n g e J
t o relate, we be- | |
lieve t h a t hardly '
more tha n one in
100 is able to do
it. I t consists
in making t h e
l e f t h a n d per-
f o r m a circular
movement, a n d t h e r i g h t h a n d p e r f o r m a
circular movement round it, b u t in an. op-
posite direction. The w r i t e r is able t o do
this with ease, a n d by practice m o s t people
could succeed in doing i t . I t s effect upon
a n audience of children is wonderful. They
a t once s t a r t t o t h e feat, a n d soon all are
engaged t r y i n g t o m a k e their t w o h a n d s go
r o u n d i n opposite directions. T h e illustra-
tion shows t h e method of placing t h e mda.
 Lots of people are capable of performing
some little, simple f e a t with- the hands or
fingers which others, without considerable
practice need n o t a t t e m p t . Anything of
this kind will be effective in creating a. good
understanding between amuser a n d amused,
and causing some innocent diversion. L e t
any of these things be don© t h a t suggests
itself to t h e experience or aptitude of t h e
conjurer, and so get a t t h a t desirable s t a t e
of good fellowship with your audience be-
fore beginning t o any tricks, however
simple.
TRICKS W I T H COINS.
One of t h e most suitable tricks with whioh
t o open your performance is t h a t i n which
you inform your audience t h a t you are going
t o show t h e m the easiest and most expedi-
tious method of making money. This will
immediately enlist interest i n your pro-
ceedings, as those who a r e averse from
learning the secret of acquiring wealth
easily and1 speedily a r e in t h e minority.
THE MONEY-MAKING TRICK.
P r o c u r e threo sixpences of t h e same issue,
a n d having previously p u t a little ordinary
candle wax on one side of t h e coins, take a n
opportunity, d u r i n g your opening address,
of secretly sticking them to tthe underside of
t h e table, about 'half a n inch f r o m t h e edge,
a n d eight t o t e n inches apart. Now you are
in a position to perform your " money-mak-
ing-trick." T u r n u p your sleeves and take
t h e third sixpence in your right hand, draw-
i n g particular a t t e n t i o n t o t h e exact d a t e
and its general appearance, and (indirectly)
t o t h e f a c t t h a t you have no other coins
concealed in your hands. Turn back t h e
tablecover, and r u b t h e sixpence with t h e
ball of t h e t h u m b backwards and. forwards
near the edge of t h e t a b l e : in this position
your fingers will naturally be under t h e
table. A f t e r rubbing for a few seconds you
s a y — " I t is nearly done—the sixpence is
getting hot," and t h e n a few moments later
draw t h e hand away quickly, and bring with
i t one of t h e concealed' coins, which you ex-
hibit as being produced by t h e friction.
Pocketing t h e waxed coin, and showing you
have only one coin in your hand, repeat t h e
operation with the second.
The next trick to be described may be
called
THE FIXING SIXPENCE.
and t h o following is t h e method of its per-
formance:—Take one . of t h e coins used ini
the first trick, and, having told t h e audience
you mean to make it pass from t h e table in-
to a h a t placed a t a distance therefrom, lay
it in the centre of a handkerchief spread out
on t h e table. Now this handkerchief should
have t h e corner nearest your right hand
slightly soaped before beginning t h e trick.
Taking t h e soaped corner in tho fingers of
t h e right hand, fold i t oyer to coyer t h e coin,
theni cover this dormer with t h e l e f t h a n d
one in t h e same way. You may now t a p
(or allow any party t o do BO) t o satisfy t h e
audience t h a t t h e coin is still u n d e r t h o
corners of tihe handkerchief. N e x t foldl
over t h e two remaining corners t o form t h e
handkerchief into a square. Secretly place
another'sixpence between tihe first and!
second fingers a n d t h u m b of t h e r i g h t hand,
and having borrowed a h a t , take it in this
hand with t h e tips of t h e fingers (sixpence
u n d e r them) just inside t h e r i m . NOT*
show t h e inside of t h e h a t , a n d t u r n it u p .
side down to satisfy every one t h a t it ia per-
fectly empty, and t h e n p u t i t im a n y position
away from t h e table (and where n o one caw
see inside). When* placing t h e ihat allow tho
sixpence t o slip f r o m u n d e r t h e fingers
down inside t h e crown. You now Teturn to
t h e handkerchief o n t h e table. Putting
t h e tips of t h e fingers of b o t h hands u n d e r
t h e folds of r i g h t anid> l e f t corners respec-
tively, you say, "one—two—three—pass I"
— a t tihe same time drawing t h e hands
smartly o u t w a r d s : this will bring t h e
soaped corner with t h e coin adhering t o i t ,
into t h e right h a n d , when i t can readily be
removed. Any person now examining tho
h a t will find t h e duplicate coin inside.
T H E VANISHING P E N N Y ,
Ths "-stock-in-trade" for the fol-
lowing trick consists of a yard
of thin black «lastio and three
pennies, one of t h e m with a hole ia
it, t h e two others scratched with a cross,
or some other mark, t o distinguish them
from, other pennies. The conjurer makes
t h e following preparations. H o ties the
elastic r o u n d his leg—right for preference
— j u s t above t h e ankle, and to t h e free end
of t h e elastic the fixes t h e bored penny, con-
cealing t h e l a t t e r under t h e upper of his
boot. Next h e hides a marked penny in any
odd corner t h a t may appeal t o his imagina-
tion, and t h e remaining marked penny he
drops, as opportunity offers, into t h e pocket
of t h e staidest old gentleman handy. H e
now opens t h e campaign by borrowing a
penny. Looking h a r d a t it h e pretends
t h a t he is about to read t h e date, b u t check-
ing himself he explains t h a t as dates are
very often alike it will be b e t t e r to mark it
(on t h e head side) with a cross, a n d this he
takes oaro to show h e h a s duly performed.
H e t h e n holds his a r m o u t straight a n d
slightly elevated, and grasps a p a r t of t h e
coin between his middle-finger and thumb,
and makes a motion precisely a s if h e wore
snapping his fingers. Noiselessly, amd w i t a
lightning rapiditj', t h e coin will fly u p his
a r m past t h e elbow joint, and will remain
snug t h e r e (unless t h e arm be briskly
shaken) until an opportunity occurs t o re-
move it. A f t e r showing t h e audience t h a t
t h e penny has disappeared, ha i n t i m a t e s
t h a t he has spirited it away to such and such
a corner, and invites some one t o prove his
assertion, whew, of course, what apparently
is the identical penny is found there. The
cries of amazement that break out on all
Hides are met by the conjurer with a modest
" Oh, that's nothing 1 Will any one favour
;>ie with a felt h a t ? " The hat being forth-
coming (ani ordinary one with an arched
brim for preference) he lays it down on the
carpet, selecting a part of the room out of
t h e full glare of light. Under this hat ho
elects to put the marked penny Which has
just been recovered ; but palming it, he
really fingers the coin to which the elastic
has been attached. To convince the com-
pany that there is no deception about the
penny being left under the h a t lie invites a
not too inquisitive member of the party to
stand erect and hold the coim down with the
pointed end of a n umbrella—the folds of the
latter being handy for hiding any possible
clumsiness—and then grasping the hat by
both hands, he edges it gradually over the
coim, and then gives the word for the um-
brella to • be withdrawn. Simultaneously
the penny flics noiselessly back to the con-
jurer's leg without in any way disturbing
the hat. Standing clear of the headgear, he
makes mystic passes and incantations, and
solemnly announces t h a t the penny has been
wafted into Mr 's coat pocket. A dash
is made for the hat, and, sure enough, the
penniy is not there ; and next moment Mr
announces, with much bewilderment,
that the marked penny is in his pocket right
enough. The deception may be accentu-
ated "if a soft felt hat with a hole in the
centre is available, for the coin ca.ni then be
held down with a walking stick when actu-
ally under the hat. A rehearsal or two will
enable the average reader to mystify his
friends considerably, but it must especially
bo not overlooked that the decoy coin, after
leaving the hat, is left dangling to his leg,
and tho other leg must be manoeuvred so
as to hide the fact.
T H E DISAPPEARING THREEPENNY.
Having previously stuck a small piece of
white wax oil the nail of your middle finger,
lay a threepenny on the palm of your hand,
and, addressing the company, tell them that
it will vanish at the word of command. You
then close your hand, and on bringing the
waxed nail in contact with the coin it will
adhere firmly to it. You then blow on your
liand, crying "Begone." You suddenly
open it, and, exhibiting the palm, show that
the coin is pone.
Make your own Clothes.
Full directions h o w t o cut dresses and
other garments in Aunt K a l e ' s Dress-
making; Book. Prico ONE PENNY; Sold
everywhere.
A TWENTY-SHILLING TRICK.
This deception, which appears as marvel-
lous to the eyes of the uninitiated, is thus
performed:—Borrow 20 shillings from tho
company, which display on a plate, having
previously prepared five shillings in your
left hand, which you keep concealed. Then
take the shillings from the plate in your
right hand, and mixing with them the con-
oealed five give them to one of the company
to hold. Ask the possessor to returni five to
you, which h e will do, supposing he then
retains' only fifteen, although in reality he,
of course, has twenty. Now have another
shilling placed in your right hand, so t h a t
when giving the fivo shillings to another
person to hold you may mix it with t h a t
sum, and place the six shillings in his hand.
You may now ask him as before to return
one. When you take i t remind him he has
only foui-, and you must now proceed with
the most marvellous paTt of your illusion!.
Take the one shilling you have just received
in t h e right hand, palm it, and pretend to
place it in the left. Then striking the left
hand with your magic rod, bid it fly into
the closed hand of the porson holding the
five, or, as ho supposes, the four shillings.
On unclosing the hand the shilling will, of
course, appear t o have been transferred
thither, and great amazement will result.
Now, taking the five shillings, make a more
dexterous pass into the left hand, whenoa
you bid them fly into the closed'hand of t h e
person holding the supposed fifteen, whom
you now ask to return you the full sum of
twenty ehil'linigs, and who, much to his
wonder and that of the company, is able to
do so.
T H E SUBMERGED C O I N .
Place a coin in a shallow plate, and near
it an inverted glass. Then pour enough
water into the dish to cover t h e coin. The
puzzle you now announce to those around
you is—How may you lift the coin from the
plate without wetting your fingers P The
answer is simple. Cut a slice of cork, and
place on the top of it some matches and
paper. Float the cork on the water, light
matches and paper, and carefully cover
them with the glass. When the burning is
over, the water in the plate will be sucked
up into the inside of the glass, leaving t h e
coin quite dry,
so t h a t you can
now pick it out,
fulfilling the
conditions . of
tho experiment.
The success of
the trick is due
to the fact that the heat causes tho air in-,
side the glass to expand, and therefore to
ra-rify, so t h a t the pressure of the air out-
side becomes greater than t h a t inside. The
result is t h a t the water is sucked in.
 A COIN AND BOTTLE PUZZLE. COINS IN A ROW.
One of tho simplest of coin tricks may H e r e is another coin puzzle. Place
be performed as follows. Across t h e m o u t h eight coins in a row. Then re-arrange
of a bottle place a them in couples, any coin you move being
passed over two (not more) other coins.
wooden match
This is t h e way t o do i t : — F i r s t place t h e
which has been
fourth coin upon t h e seventh, t h e n t h e sixth
broken a t t h e mid- on t h e second, t h e first on t h e third, and t h e
dle and bent back fifth on t h e eighth. Having asked your
until t h e ends a r e audience to t r y the puzzle first, allow them,
about a quarter of a f t e r a little wihile, to see you do it, and
a n inch apart. then let t h e m t r y again. Even then, in
Then place a most cases, they will be unable to do i t .
threepenny piece
T H E JUMPING SHILLING.
on t h e t o p of t h e
match and challenge t h e onlookers t o cause Place a shilling near t h e edge of t h e
t h e coin to drop into t h e bottle without table, and upon i t p u t a pint bottle, neck
touching t h e bottle, match, or coin. The downwards. W i t h a thin-bladed knife
strike t h e coin sharply on t h e edge, when
trick is very ingenious, and all t h e more so
it will fly f r o m beneath t h e bottle, leaving
on account of its simplicity. I t consists m
t h e l a t t e r standing. A n experiment de-
letting fall upon t h e angle of t h e match a pending upon t h e same
drop or two of water. The wood naturally mechanical principles
begins t o swell a t t h a t point, t h e result may be performed t h u s .
being t h a t the angle of t h e match slowly Take a piece of paper
widens, until it is sufficient t o allow t h e coin about 12 inches long by
t o drop through and into t h e bottle. about 3 ' or 4 inches
wide and place i t near
T H E BLOWN SIXPENCE.
t h e edge of a table,
I n t o a wine-glass (a conioal one, if pos- with about three-quar-
sible) p u t a sixpence, a n d above it place a t e r s of its length pro-
florin or a half-crown. The l a t t e r should jecting over t h e edge. Upon it place a
n o t be in contact with t h e sixpence, b u t tumbler, nearly full of water. Then, hold-
t h e glass should ing t h e o u t e r extremity of t h e paper, strike
be of such a the paper a sharp blow between t h e h a n d
shape and size t h a t and t h e tumbler. The paper will come o u t ,
t h e florin or half- b u t t h e tumbler will remain.
crown rests near
T U B STATIONARY S H I L L I N G .
t h e m o u t h of t h e
glass. Now blow Place a small card upon t h e tip of one
vigorously upon of t h e fingers of t h e l e f t hand, and on t h e
t h e larger coin. I t card, immediately above t h e finger, p u t a
will wheel round shilling. Now give a s m a r t blow t o t h e
upon its axis, and card with t h e second finger of t h e r i g h t
t h e sixpence be- hand, a n d the card will be whirled f r o m
n e a t h will bo sent under t h e coin so swiftly t h a t t h e l a t t e r
with a leap from will be l e f t on t h e tip of t h e finger.
t h e bottom of t h e The same, or a similar feat, can be per-
glass, being ex- formed with two wineglasses. Place a
pelled by t h e force sheet of cardboard, or thin wood, over both,
of tihe breath, and and then, with a smart fillip, send it spin-
ning f r o m u n d e r t h e coins you have placed
will fall either upon t h e table or upon t h e
upon it, a n d tihey will drop into t h e glasses.
florin. A little practice will make t h e trick
easjr of performance. T H B REVOLVING COIN.
L i f t a coin between two pins, as illus-
C O I N S AND C R O S S . t r a t e d in t h e sketch. Blow upon it with all
To do this amusing little trick place five
coins in a row, a n d one above and another
below the centre coins—seven in all. Then
ask one of your audience to make a cross
with these coins, having an equal number
of coins in all the arms of the cross, and to do
i t without moving more t h a n two of t h e
coins. The following is the solution: —
Take t)he two end coins from t h e row of your force, and t h e coin will revolve upon
five and place t h e m upon t h e middle coin. t h e pins as an axis with great rapidity.
 T H E EFFECT OF GRAVITY. SECOND SIGHT.

H e r e is a very puzzling little trick. Hold Borrow four coins—tho more metal iri
two pennies together between the thumb them tho better for t h e trick—pennies will
answer very well, and have them p u t into a
and t h e first two
hat. Ask a lady or gentleman to take one
fingers of t h e right
coin out, and after examining it, to pass it
hand, about 15 round so t h a t others also may become in-
inches directly above terested in t h e trick, when you will pick
t h e open palm of the out the same coin without looking into t h e
l e f t hand. Let the hat. Whilst t h e coin is being examined
lower coin drop, and keep tossing the other coins in t h e h a t t o
you will find t h a t it cool them' as much as possible. I t will not
has t u r n e d over in then be difficult t o select t h e coin, which
spite of you. You has been slightly heated on being handled
can modify t h e trick by several people before it is returned to hat.
by asking a friend BOTTLE AND C O I N T R I C K .
t o hold t h e coins. The following is dependent on t h e law called
Then inform him vis inertia. Turn an empty pint bottle
| t h a t you can always upside down 011 a penny placed on any or-
tell which side will dinary table not having a tablecover upon
come uppermost, if he will show you which it. Challenge one
side is underneath. The side, of course, of t h o company to
which you have seen, will.be t h e one, as t h e remove the bottle
coin t u r n s over in dropping. to a similar posi-
tion on another
W H A T MAKES IT SWINO. coin placed beside
Attach a heavy gold ring t o t h e end of a tho other without
piece of silk thread, a foot in length, and touching t h e bot-
fasten t h e other ex- tle. To perform
tremity t o the fore- the trick success-
finger of t h e right fully, select coins
hand. Then place which aro slightly
t h e forearm in t h e worn, a n d plaoe
position indicated in them close to-
t h e sketch, so t h a t
t h e ring hangs with-
gether. Whilst
the left h a n d ex-
erts a slight late-
0
in half an inch of the
table. When it has ral pressure on tho uncovered coin, strike
come to rest, place the table near t h e bottle smartly with t h e
underneath it three closed fist. There is always sufficient
or four one-shilling 'jilllMtWHIIIIIiliiiiiiHiiUHnl elasticity in a table t o yield slightly t o t h e
pieces, and for some blow, and before t h e bottle has time t o re-
reason or other i t will begin t o swing spond t o the downward motion of t h e table,
t h e left hand coin is pushed a little towards
like a pendulum from side to side. the right. The blow, which should never
T H E VANISHING HALF-CROWN. be so violent as to upset the equilibrium of
the bottle, must be repeated until t h e two
On account of their weight two half-crowns coins have changed their relative position.
are t h e most suitable with which to perform
this trick. First take both coins in the A LIVELY P E N N Y .
right hand, and throw them one a t a time I n tho right hand take a lamp shade, and
into the palm of t h e left hand. Repeat this with the other throw into it a penny re-
once or twice, and when about to present volving on its
them (apparently) to the onlooker, throw edge. The coin
t h e first one as bei:ore, b u t instead of repeat- may be kept in
ing this action with the second coin, bring motion by slightly
the right hand down smartly as before, and tilting the shade
a t the same time jerk the left hand upwards, from side to side,
and thus throw the coin it contains into the and it will be ob-
right hand, when it will strike against the served t h a t the
coin already there. To all appearance both faster t h e penny
coins will be in the left hand as before. You revolves the
can then ask the "sold one" to accept t h e higher it ascends
donation as you extend the left hand. This on the shade, and
is a very pretty trick when well performed, vice versa. The
but it requires a goou deal flf pragtice t o do trick requires a good deal of practice, which
i t well. its mastery well repays.
A SIXPENCE IN A BALL OF WOOL. it apparently into your left, b u t conceal ifi
A sixpence is borrowed from t h e company, in t h e r i g h t ; throw ib from you towards
carefully marked, so t h a t it may be known the ball, and cry " P a s s , " and tho triok ia
again, and is given into the hands of a boy done.
to hold. The conjurer now brings out a large TO D R I V E A N E E D L E T H R O U G H A
ball of common or fancy coloured wool. H e HALFPENNY.
places this in a crystal goblet or other
transparent article, and takes t h e end of the Scientifically even, this seems an utteB
wool from the goblet and gives it to some impossibility, for who would imagine that
young lady to hold. H e now tells the such a thin and bending instrument as *
audience t h a t it is his intention to pass t h e needle could be driven through a hard piec«
sixpence from his hand into t h e centre of of copper ? But in reality, steel is a muoh
the ball of wool without any one seeing it harder metal t h a n copper, so t h a t if th«
going in. Taking the sixpence from t h e b o y needle could be adequately supported alj
in his right hand, he places it in t h e left round it would be quite possible to perform
hand (apparently), and throwing i t towards t h e trick. An easy method of doing t h a t ia
t h e goblet cries Pass." H e then desires provided by passing t h e needle into a cork,
t h e young lady to pull out t h e wool as so t h a t t h e point j u s t projects through th«
quickly as possible, and when t h e ball is
completely unwound t h e sixpence will be
heard to jingle clearly in the goblet, and on
its being lifted therefrom by one of the
audience it will be found to be t h e identical
sixpence which was marked.
The method of performing this trick is
very simple, b u t very ingenious. A piece
of tin is made like t h e illustration shown.
I t is turned o r e r a t t h e top, and is of suffi-
cient width jit t h e bottom to allow a six-
pence t o pass through it easily. Take this
tin-flattened filler, as it may be called, and
proceed to rolMip a ball of wool round it,
leaving t h e mouth of it always free. When
this has been done you have a large ball of
wool with a tin filler in the centre of it.
This ball is now ready for t h e trick, and is
end._ W i t h a pair of pliers cut off t h e upper
portion which protrudes a t t h e other end.
Now arrange the coin and the needle as
shown in t h e sketch, supporting the edges of
t h e coin on blocks of wood of the same
height, and placing the cork with the em-
bedded needle on t h e top of it. Then hold •
t h e cork with one hand, apply a few
vigorous blows to the upper end of the cork,
and in a short time the point of t h e needle
will make Its appearance on t h e other side
of t h e coin, having left a beautiful, clean
hid from view. The borrowed sixpence is hole.
now given to the boy to hold; but m doing
this the sixpence is changed; and while you T H E DISAPPEARING P E N N I E S .
still retain the marked one in your hand you The conjurer sits a t t h e side of an ordin-
have given t h e boy a duplicate one to hold. ary table, with his legs under the mahogany.
Desire the boy to hold the sixpence up, Placing two pennies on the table he tells his
firmly closed in his hand, which he does audience (who must be before him) t h a t he
without ever thinking of looking at it. You means to pass t h e penny through the table.
now proceed towards the table where your With t h e fingers of the right hand he pulls
ball of wool is lying, drop the sixpence into the right hand penny towards him as if in
t h e filler, slip out the tin (which comes away the act of lifting it, but in doing so he jerks
easily), give the ball a squeeze in t h e hand, it over t h e edge of the table, where it falls
and the hole in which the tin filler was upon his knees, but closing his hand as if ha
placed is closed u p with t h e soft wool. You had it in his fist, he holds u p the right hand
now hold up the ball before the audience, with the penny apparently inside of i t . H e
and apparently i t has not been tampered now lifts t h e other penny, which is still lying
with in aiiy way. You now drop it into tfio on t h e table, with t h e left hand, places the
crystal goblet, take o u t the end of it to a left hand in below the table, and in doing so
lady or boy to unwind, take the sixpence, lifts t h e penny which is still lying upon his
which the boy holds, in your rijiht hand, ijasa knees, and quietly n u t s it into t h e left hand,
r # t allowing it t o clink upon t h e other.
Now holding u p the right hand he brings it
down smartly upon t h e table and cries
" Pass," at the same time opening u p the
hand and letting t h e palm lie flat upon the
table. With the word " Pass" he allows the
two pennies to clink together in his left Take a bottle with a somewhat wide neck,
hand, when the sound makes it appear as if and a cork which would fit a much smaller
the penny had actually passed through the
table. H e then draws out the left hand,
and, raising it above the table, allows the
two coins to fall from it upon the table.
This, if well done, is really an effective little
trick for any parlour company. If t h e con-
jurer can secretly spread a handkerchief
cporu his knees before beginning this trick,
there will be less chance of the pennies slip-
ping to the floor and discovering him.
E A S T W A T TO M A K E M O N E T . simple. Instead, however, of going into t h e
One need not be an alchemist t o make bottle, t h e cork insists on coming out, and
money, as t h e following trick will show. the harder you blow tho more vigorously
does it fly out of the neck.
money juto the water and oover the glass
with a plate. If the glass is now turned
around rapidly, the piece of money will be
seen gleaming 011 the plate, and a second
piece will be seen swimming on t h e surface
of the water.
I t is refraction of t h e rays of light which
causes this curious illusion, for, the moment
the glass is restored to its original position
and the water ceases to move, t h e second
piece of money disappears.
T H E OBEDIENT SIXPENCE.
Invert a tumbler and support the edges
on two pennies with a sixpence between
them, but not touching. Ask how the six-
pence can bo got from under the tumbler
without touching either it or the pennies.
Scratch tho tablecloth with the finger nail,
and it will be observed t h a t tho sixpence
immediately responds by coming towards
you, and in time from under the glass.
TRICKS WITH CORKS.
No one should experience much difficulty
in procuring a few corks, and we shall now
proceed to describe a number of tricVs with
these articles.
AN OBSTINATE CORE.
bottle. Hold
the bottle hori-
zontally, and
placing the cork
just inside the
neck, t r y to blow
it inside the
bottle—a thing
which a t first
sight seems very
A DELICATE L I F T I N G F E A T .
Place two corks on the table parallel to
and touching each other. Now endeavour
to life them off the table between t h e first
and second fingers of tho right hand, keep-
ing the fingers quite straight. This can be
done with care. Probably t h e easiest way
to do it is to force t h e f u r t h e s t off ends
apart, so t h a t the outer sides of the corks
lie along the inside of the fingers, producing
more friction, which tends to prevent t h e
corks from springing upwards or outwards.
A DIFFICULT LIFTING FEAT.
Place a cork upright on the floor against
tho outside of the right toe, and t r y to lift
it with the left hand, which must pass round
the right leg from the f r o n t . This is very
difficult to accomplish. The. secret of suc-
cess is in ntaking sure t h a t t h e left elbow is
placed well beyond t h e right knee before
putting the hand through between the legs.
The feet must be kept as close together as
possible, touching, iD fact, lit the toes.
A CLEVER S E L L .
Hold a cork in each hand between t h e
thumb and first finger, with the corks
pressed well to the roots of the thumbs.
The trick is to take the opposite corks be-
tween the points of first fingers and thumbs
longitudinally, and place them on the table.
I t is done in the following manner : —Hold
the back of the left hand upwards, and the
back of the right away from you. I n this
position place the first finger of left hand on
the top of the cork in right hand, and t h e
thumb on the other end, but instead of re-
peating this with the right hand pass the
thumb of the right hand through between
t h u m b and finger of left hand, and place it
on the opposite end of the cork, Brmg the
first fingar of right hand under the left
thumb, taking hold of the other end of t h e
cork. This trick requires diligent practice,
otherwise the quirk will be a t once detected.
 T H E F O U R CORKS.
This is a modification of t h e well-known
thimble-riggers' trick to be seen a t all race-
courses. I t is one of t h e best and simplest
magical illusions, and is a trick which may
be done on any common table with t h e
8iidience surrounding you on every side, and
yet, if performed with dexterity, will elude
t h e vigilance of even the most sharp-eyed.
You begin by soliciting t h e loan of two
soft caps. H a r d felt hats are not so good
for tho purpose, because they do not lie flat
on the table, b u t soft felt hats will suit the
purpose admirably. Having secured the
two hats or caps, you now ask if any one
present can let you have two corks.
Ordinary corks out of a lemonade or beer
bottle are what are wanted. Taking the
corks, you proceed to cut them through the
middle, thus making four half-corks, and
these you place at equal distances in the
form of a square on t h e table, each cork
being, if possible, about two feet distant
from the other. You ask t h e company if
they are convinced there are only four corks,
And that there are no others hid about t h e
caps. H a n d t h e caps round for inspection.
Turn up your sleeves to show t h a t no corks
are hid there. Having received back t h e
caps, you take t h e m u p one in each hand,
with t h e fingers inside and tho thumbs out-
side. You now make some flourishes with
t h e caps, talking all tho timo, telling your
audience you are going to show them the
thimble-riggers' trick on a large scale, using
corks instead of peas. Then, flourishing
the c a p , you take the right-hand one and
place it down dramatically on the nearest
right-hand cork without letting go the cap.
No sooner has the cap touched t h e table
t h a n it is raised again, and t h e left-hand
cap, with a similar flourish, is placed on
t h e left-hand nearest, cork. Tho moment
this cap has been placed, tho right-hand cap
is now being placed over the top right-hand
cork, and the cork underneath this cap is
quickly caught up between tho middle and
third finger of the hand. The hand is
pulled out with a flourish, which prevents
t h e cork being seen; ami, bringing it over
quickly to t h e left-hand cap, you now, with
both hands, place it with great formality
over t h e top left-band cork, a t the same
time letting go the cork which is between
the fingers.
The whole secret of this excellent sleight-
of-hand trick consists in doing it with great
dexterity and neatness, and no amount of
pains should be spared in accomplishing this.
You have now two caps placed over ap-
parently two corks, and there are two corks
before you, which are all the audience see.
You now place the palm of t h e right hand
over the right-hand cork, strike tho back
of the hand smartly with the left hand, and
cry, " P r e s t o , fly!" Then, contracting the
hand, you catch t h e cork u p neatly in t h e
palm, keeping it concealed there, and lift
with a flourish the left-hand cap, when, lo
and behold! two corks are discovered there.
You have lifted the cap with the fingers and
thumbs of each h a n d ; b u t now, in placing
it down again, you bring t h e fingers inside,
so t h a t the cork in t h e palm of tho hand is
brought under t h e cap, and in replacing
t h e cap again t h e c( rk is dropped gently in-
side and t h e hands withdrawn. In the same
way you place t h e right haud over the re-
maining cork, strike t h e back of t h e hand
as before, command t h e cork to fly beneath
t h e cap. You raise t h e hand, when lo! i t
is gone, but, of course, it is still in t h e palm,
and lifting u p the left-hand cap, three corks
are found there, and t h e cap is replaced in
t h e same manner as before, dropping a t tho
same time t h e fourth cork, which has been
in t h e palm of t h e hand. The audience, of
course, have been under tho impression t h a t
the right-haud cap has been all along cover-
ing a cork. You now declare you are about
to proceed to the most wonderful part of
tho trick, and to make the cork beneath
the right-hand cap vanish beneath the left-
hand cap T^thout any one seeing it flying
and without your touching the cap. Com-
mand t h e cork then to fly, and ask any one
of t h e audience who chooses to lift t h e
cap. On doing so nothing is discovered
beneath. Request t h e same person gently
to raise the left-hand cap, and on his doing
so the whole four corks will be discovered
safely stowed beneath.
T H E COHESIVE CORKS.
Take a bowl of water and seven ordinary
corks. How may these corks ba mp.do to
float upright in the w a t e r ? Of course,
every one knows t h a t a cork is deeper t h a u
it is thick, and always topples over on to its
side when placed upright m writer: bub it
a number of corks
be placed to-
gether i n tho
water tho case is
different. Place
the corks together
in a bundle, dip
them overhead
in tho water, and bring them to the surface
again. They will now act as if they formed
a compact mass, broader than it is deep, and
will float across the surface of the water.
A LAUGHABLE P E A T .
Stick an open penknife between the door
and t h e lintel (this will not injure the wood-
work), about tho height of tho shoulder, and
balance a cork on the handle. From ;i dis-
tance of two or three yards walk towards t h e
cork, keeping one eye closcd, and try to
knock off the cork with the first finger out-
stretched. Only one-eyed people are able
corrcctly to estimate t h e exact distance
when to strike.
 EATING CORKS. AN ACROBATIC CORK.
H a v e several corks on t h e table. Take Of itself, a cork is a helpless enough ob-
one between the first and fourth fingers of ject, b u t provide it with a pair of legs, in
right hand, second and third fingers over it. t h e shape of two
Convey the cork towards the mouth, b u t in pins stuck into
doing so bend the finger, when from the con- one end, and
venient position of the cork it will be readily with arms, con-
palmed. Pretend to put it into t h e mouth, sisting of t w o
and a t t h e same time force out the cheek knives of equal
with the tongue, make grimaces, and pre- weight, stuck
tend to swallow the cork; repeat with other into its body, one
corks, quietly dropping t h e corks on the on each side, and
floor each time. it is ready for
CORKS EASILY D R A W N . action and f u n .
If you want to amuse friends a t an even- The performing
ing party, tell them t h a t you can draw a cork, however,
cork out of any bottle without a corkscrew. requires a specially adapted platform on
Of course they will laugh ; b u t very soon it which to appear. I t must be narrow, in
will be your t u r n t o laugh. Take a piece order to give the long and heavy arms room
of sealing wax and hold one end of it over to play, and it must be sloping, for a cork—
like a boy or girl—can walk more easily
downhill than on level ground. For this
purpose a flat ruler, supported a t the ends
by blocks of different heights, will answer
admirably. Setting the cork upon its legs
on the ruler, give it a rocking movement.
The weight of the apparatus falling alter-
nately, upon each leg, t h e cork waddles along
its platform somewhat after the style of a
man on wooden legs.
A SIMPLE FEAT.
Place two corks upright on t h e table, and
close together, and then challenge any one
to lift them separately witn the arms out-
stretched. This is very simple, and will
cause a laugh when performed. To do it
you simply pick one up, t u r n the body as on
a pivot, and pick up the second cork.
C O R K AND CAMPHOR T R I C K .
A very pretty and amusing trick may be
performed with some pieces of cork and a
f e w bits of
camphor. Cut
t h e cork into
four pieces
a lamp or gas jet until it becomes s o f t ; then shaped as
let some drops of t h e wax fall on the cork shown in the il-
in the bottle. As soon as t h e cork is lustration, and
covered with wax, you must press the piece one round like
which you hold in your hand against the the centre
cork, and you must hold it there until t h e piece. Now
wax is quite dry. Then it will be easy for join them with
you to draw out t h e oork by using t h e stick n e e d l e s as
of wax which adheres to it in the same man- in the illustra-
ner as you would use a screw. No matter tion. Then to
how firmly fixed t h e cork may be, i t will al- the side of each oblong piece of cork fasten
most immediately yield to t h e pressure. a bit of camphor with sealing wax, as t h e
You must, however, take care not to wrench dotted lines show in the illustration. Now
the stick of wax away from it while you are cut out two paper figures of a lady and
drawing it out, and you must also see t h a t gentleman in the act of dancing. Fasten
the cork is perfectly dry before you pour tho figures to the centre of the disk, and
any wax on it. place t h e cork in a basin of water. The
figures will a t once begin to revolve, and if
Good and interesting notion is never out of the apparatus is well made they will con-
place. If you want romances of sterling value
read " Aunt Kate's Penny Stories." tinue waltzing incessantly for several days.
 i i CORK MOUSE.
Cut a cork to resemble a mouse, and burn
i t a little to make it black. Two little pieces
of black woollen cloth stuck in the head will
represent t h e ears, and about t JCo inches <.f
narrow black tape, or boot lace, for t h e tail.
To give this animal a life-like motion, attach
about nine inches of black cotton to the
breast of t h e mouse with a black pin. A pin
a t t h e other end of the thread can be readily
attached to the bottom of t h e waistcoat.
When introducing: t h e trick have the mouse
in the left hand, and stroke it with the
r i g h t ; now, push the left hand from you,
when the mouse will appear to r u n towards
y o u ; follow this' up with the right and left
hand alternately. See t h a t the undersido
is flattened to prevent it rolling over, and
few of t h e little ones of your audience will
know b u t t h a t they axe looking a t a live
mouse.
STRING TRICKS.
Many mystifying feats may be performed
with a piece of ordinary string or cord. The
following are a few of the more interesting
of t h e s e : —
T H E B O U N D SCISSORS.
Double a piece of string, and thread the
ends through the eves of the scissors, as in
t h e accompanying figure. Take hold of the
loose ends, and ask some one to liberate
t h e scissors. This can be done as follows: —
and points, and t h e scissors will be free.
T H E ENDLESS THREAD.
You must have often observed t h a t when
you see a piece of thread or wool upon
another person's coat you feel an irresistible
inclination to pick it off. Taking advan-
tage of this little weakness—shall we call it
—in human nature, play off upon your
friends the following amusing trick. Place
a reel of white thread in the inside pocket
of your coat, and by means of a needle bring
the loose end through t h e coat, leaving about
a couple of inches hanging upon the outside.
You will not be many minutes older before
you meet somebody who wishes to pick off
the conspicuous white object, and his sur-
prise a t finding it endless will well repay you
for the little trouble you expended upon t h e
trick.
STITCHING WITH KNOTTED T H R E A D
The use of a thimble when performing
this trick is imperative, as it conceals a few
turns of thread round the finger, the end
hanging down a foot or so. Gather up this
loose end in a ball between t h e finger and
thumb. Holding the thread m this way,
take another similar piece off t h e reel, and
thread t h e needle with it. I n pretending
to pull tho end through t h e eye, straighten
out the piece already concealed between
t h e thumb and finger instead. Ask some
one to tie a knot on one end of t h e thread,
of course giving this end to be knotted.
You can now stitch away as easily as if no
knot had been there, pulling t h e thread
quite through t h e cloth each time.
CUTTING THROUGH THE FINGERS ( N O . 1).
Double a piece of string, and hold it in
right hand, leaving a loop, say, t h r e e inches
behind first finger, which must point up-
wards through the loop. P u t the loop over
first finger of left hand, t u r n t h e right hand
downwards, p u t new-formed loops over
second finger of l e f t hand, again upwards,
next loop over third finger, downwards;
and loop over fourth finger, again upwards ;i
and loop over third finger, going behind t h e
fourth finger; and repeat same movements
and loops over t h e other two fingers. Tho
strings should now appear on t h e back of
left hand, as in t h e figure. Slip the loop
off the fourth finger, draw t h e two loose
ends, and the string will come off, even
although t h e points of t h e fingers are rest-
ing on the table or walls.
CUTTING T H R O U G H THE F I N G E R S ( N O . 2).
Tie two ends of a string together to make
a loop about fourteen inches. Take t h e
loop at t h e knot inside t h e right hand, and
the ou*er end of t h e loop inside the left
hand. Bring the end in right hand to t h e
left palm between first and second and third
and fourth fingers. Turn t h e fingers of
right hand upwards, and carry the strings
round t h e outside of left thumb. Turn
right hand down, and p u t a loop over fourth
finger, again upwards, and last loop over
first finger of left hand. Take both loops
off t h e thumb, and p u t them between
second and third fingers of left hand. Pull
t h e string lving across left palm, and all
the cords will pass between the fingers,
 T H E CUT TAPE. the piece of tape which stretches between
This is a trick which requires a consider- t h e two thumbs, he would cut t h e tape into
able amount of practice to be able to do it two separate parts, and, of course, you de-
neatly and with dexterity, but it is most sire to mako the audience believe t h a t this
effective when well done, and never fails to is actually done; but in turning round to
create a considerable amount of astonish- face tho audience you, with a quick move-
ment. The method of performing it, how- ment, drop tho tape which stretches across,
ever, is not very easily described, but with and catch up with the third finger of t h e
t h e aid of an illustration we shall endeavour right hand the tape which hangs from t h e
to mako it as lucid as possible. left hand, stretching it out as before, so t h a t
to all appearance t h e tape looks the same.
Take a piece of ordinary tape—say, half This movement must be practised until con-
an inch wide and about three yards in siderable dexterity is acquired. The long
length—and show it to t h e company t h a t it loose piece of tape hanging down prevents
is without flaw or join of any kind. You the audience from perceiving t h a t any
intend to show them t h a t your powers of dhango has been effected. You now desire
joining are not confined to a piece of string, one of the boys to cut through the tape.
as in one of the tricks described, but t h a t H e does so, and two ends drop down in
they may be applied to woven materials, consequence, while two ends apparently are
such as a piece of tape. You have two boys held up between the finger and thumb of the
t o assist you. Desire one of the boys to left hand. You now take these two ends
hold up his finger. You throw the tape and tie them together. This makes t h e
over his finger, and, grasping it by the two audience believe t h a t it is actually the two
ends with the forefinger and thumb of each loose ends of the tape t h a t are tied, whereas
hand, you draw it down straight till tho two it is only a small piece of tape, two inches
ends meet. The centre of the tape is now in length, which is tied over the centre of
over the boy's finger, thus— the entire length of the tape, although this
fact is concealcd by the left hand. With
some flourishes you ignite t h e two tied ends
with a match or a t a candle; then, impress-
ing upon the audience t h e importance of
watching for the fusible moment, you sud-
denly, with finger and thumb, rub out t h e
light, and place the burnt part in your right
hand. Lifting up one end of the tape with
your left hand, you hand it to one of the
boys to hold; then, graspiug the centre of
tho tape at the knot in t h e left hand, you
dexterously slide tho burnt knot along with
tho right hand, and, holding the end of the
tape out to the other boy, you at the same
Holding tip tho two ends of moment slip off the burnt portion and con-
the tape, with about an inch or ceal it about your person. The left hand
so of each end projecting above still grasps what is believed to be the burnt
tho finger and thumb of each hand, you part of the tape. You now take Up your
Indve towards the boy's finger, still holding magic rod in the right hand, strike the left
tha t a p e ; then grasping the tape at the hand, u t t e r somo cabalistic words, desire t h e
point where it is doubled over tho boy's tape' to become whole, and when you open
timer, you lift it up and carry it away, and your left hand, behold the tape is found per-
hold it lip before the audience like this. fect and without a flaw or damage of any
Now, it is at JJ - kind, and may now be handed round for the
Jtliis point— inspection of the curious. If once this trick
in taking it is thoroughly learned and cleverly done, it
it off the l j m will reward the wizard for the trouble taken
boy's finder MJKjs in acquiring it. I t is a feat requiring dex-
and turning I tfihzM terity and neatness in t h e manipulation.
v
round to-
wards the
a u dience —
t h a t dexter-
ity is re- T H E MOTHER'S QUIDE
-
quired in
manipulating tho tape. The tape is tells all about how to rear health>
ernsped with both hands, b u t with tho left babies. It contains much other useful
hand care must be taken to see that tho information, and anyone who follows
point held between the finger and thumb is Its advice will have healthy families.
placed at the back of the tape which hangs Sbld by all Newsagents) Price ONE
down. Now. if any one were to cut through PENNY.
 THREADING THE NEEDLE. T H E MAGIC THREAD.
Take a yard of string in the middle with If anybody should tell you t h a t you can
the left hand closed, wind t h e upper end cut in two without touching it, & t h r e a d
hanging f r o m t h e cork inside a sealed bottle,
you would be likely to t h i n k t h a t he was
fooling you. B u t it may be easily done,
and in shch a way as completely t o mystify
t h e spectators. Get a clear glass bottle—
a pickle bottle will do—and t o t h e u n d e r
part of t h e oork a t t a c h a b e n t pin. To t h e
pin tie a piece of thread long enough t o
reach three-fourths of t h e way down t h e in-
side of t h e bottle, and to the lower end o£
t h e thread fasten any small object, say ai
ing with a loop, as shown in the figure— shoe button, t o make the t h r e a d h a n g t a u t .
t h a t is, with tho loose side of the loop next I n s e r t tho cork and seal it with wax, and say
t h e root of t h e thumb. (If the loop is not
as it were reversed, t h e stitches will appear
as if made from t h e back of t h e loop, and
detection will follow). Now, take the other
end of t h e string between, thumb and first
finger of right hand as if about to thread a
needle. Make appear t o thread this end
quickly through t h e loop; a t same time slip
t h e string over t h e end of the left thumb.
Repeat as often as there are turns on t h e
thumb.
TRICKS W I T H SCISSORS.
Can you fasten a pair of scissors t o a wall
with a piece of cord and t h e „ remove t h e m
without breaking or c u t t i n g t h e cord? I t
seems impossible, yet it carl easily be done. to t h e company t h a t you are going t o c u t
F i r s t t h e cord is to be fastened in a loop t o t h e t h r e a d ini two without opening t h e
t h e l e f t handle of t h e scissors a n d t h e n t h e
bottle — in fact, without touching t h e
double cord is t o be d r a w n t h r o u g h t h e
right handle a n d secured to a nail a t some thread. To accomplish this, you needi a
distance. N e x t t h e noose a t t h e left handle reading glass, or sun glass, and access to a
window where t h e sun is shining clear and
bright. The f e a t is most mystifying if you
perform tlhis p a r t in private. You go to tho
window, hold u p your sun glass so t h a t you
can focus t h e rays from t h e glass directly
on t h e thread through t h e side of t h e bottle,
and in a short time t h e heat from t h e
focused' r a y s will burm t h e thread in two
pieces, t h e end) with t h e b u t t o n attached
falling to t h e bottom of t h e bottle. Then
go back t o t h e company with t h e bottle,
and they will see t h a t the cork has not been
moved, and yet t h e thread' is c u t .
THE INDESTRUCTIBLE STRING.
To keep a ring suspended after the thread
is consumed by fire, have a yard of cotton
in readiness which has been steeped in water
saturated with salt and t h e n dried. A
ring may be suspended by this from t h e
lustre or a bracket and t h e thread burned
without t h e ring falling to t h e ground. Re-
mark t h a t most people will no doubt have
seen this experiment before, and t h a t you
will now c u t a similar thread with a pair of
scissors, when a much heavier weight will
still remain suspended. W h e n you ar<
challenged to do this, place t h e first fingei
and so onwards until it is between t h e two of t h e right hand behind t h e hanging thread,
blades. As soon as this is done t h e cord throw t h e point of t h e finger round the
can easily be loosened f r o m t h e scissors, • upper part, and theft pull the lower part
through the loop thus formed, and draw SPLICING STRING.
tight. Now deliberately cut the loop with The a r t of splicing string simply with thet
a pair of scissors, when the " sell" will be at tongue may be explained as follows:—Pro-
once apparent, and cause great laughter. duce a piece of thin string about two yards
long. Examine this critically, and then tie
CURIOUS P A P E R R I N G S . the two ends firmly together. This " circle"
From an old newspaper cut three strips, doublo again, and hold it out as shown in
about eighteen inches long and three inches Fig. 1. Then request some one to cut
wide. The ends of t h e fist gum together, through both strings a t t h e point between
so as to form a simple band (Fig. 1). The your hands.
second strip twist once (Fig. 2), and the
third twice (Fig. 3), before the ends are
joined.

NOJT, if these three bands are carefully
cut with a pair of scissors through the
middle the whole of their length, the result
is somewhat surprising. Fig. 1, of course,
iroduces two separate bands, the same
Iength and half as wide. But Fig. 2 when
out forms two bands, linked in each
other, like the links of a chain; while Fig.
8, similarly divided, gives one long band
half the width but twice as long as Fig. 1.
T o C U T a. STRONG C O R D W I T H O U T K N I F E OR
SCISSORS.
Most people have no doubt wondered at
t h e ease with which shopmen cut strings
f
«9l
This being done, give two of the four
" ends" resulting from the cut to two of the
audience, and place the other two in your
mouth. Severe facial contortions follow;
the string is rolled about with the tongue ;i
and on being removed from the mouth it
will be found the ends have disappeared,
and that the two persons assisting you each
hold one end of a straight piece of string
without knot or splice! This is " how i t is
done." After the ends of the string were
securely tied, it was apparently doubled
into two circles, but in reality i t was
arranged as shown in Fig. 'I.

The join at A—just like two links of a

chain — was hidden by the thumb of one
h a n d ; the strings were cut at B ; and the
loose piece remaining was removed by' the
tongue and kept in the mouth till it could
be rejected unseen.

lapped round the fingers. I t is, however, T H E D U N D E E ADVERTISER,

a very simple process when the trick is
known. Practise it, following these in-
structions, and success is assured. Tie a
cord to the door knob, and hold the other
end with the right hand. P u t first finger
of left hand under the string, and make a
hitch at first joint of finger, as shown in the
accompanying figure. Press the thumb
nail finnly under the crossing, jerk the right
hand away, and the string will snap olean
across where it is held.
Only PENNY PAPER In a great district,
embracing the seat of the Jute and Linen
Trades; Shipbuilding and Iron Industries;
Preserve and Biscuit Works of world-wlds
fame; Important Agricultural Marts; St
Andrews University and University College,
Dundee; large Finance and Investment
Comp?dles; and many other interests.
ALL THE WORLD'S NEWS.
PRIVATE TELEQRAPH WIRE TO LONDON,
 TRICKS W I T H HANDKERCHIEFS.
By means of a handkerchief one may
perform a few interesting tricks in t n e way
of tying of- magioal knots. A silk hand-
kerchief is best, b u t a large-sized white
linen or cotton handkerchief will answer all
purposes. The first trick which we shall
explain, and whioh is called
T H E REEFING KNOX1
is a more difficult trick to perform well t h a n
some of those herein described, b u t it is well
worth a little study. I n any programme i t
might well follow t h e untyable k n o t trick,
mentioned on page 18. Taking t h e hand-
kerchief with which you have shown t h a t
trick, you take the ends of i t as therein de-
scribed, and slowly a n d deliberately
place the l e f t hand end on t h e top of t h e
right-hand end, and bring i t through below,
catching t h e two ends, and holding them
up. Now twist t h e ends of t h e handker-
chief once round from right to left, and
bring t h e end which is still in the right hand
over t h e top and through below t h e left-
hand portion. If t h e two ends are now
pulled, a knot will be formed resembling t h e
sailors' reefing knot. If t h e end held in
t h e right hand and t h e lower left-hand por-
tion of t h e handkerchief are pulled, i t will
be observed t h a t this portion forms
straight line through t h e knot, as in t h e
illustration, and will slip out if pulled. It
is in reality a simple knot tied round about
t h e left-hand end. If t h e knot in this way
is given t o any one of t h e audience to ex-
amine, he will very soon pull it' out for you;]
b u t by pulling t h e right-hand end the knot'
is drawn so tight t h a t even t h e audience
may be allowed to examine it, and will find
nothing wrong with it as a knot. To bring
it back into a slipping form, t h e left-hand
portion of the handkerchief on either side
of the knot should be tightly pulled. To
untie this knot with one hand, you take this
left-hand portion and p u t it into t h e right
hand, allowing t h e point of the t h u m b and
forefinger to go as close u p t o the k n o t as
possible. By holding i t there firmly t h e
other three fingers of t h e hand may be
worked in such a manner as to draw out t h e
e n d ; and t o conceal this manoeuvre t h e
loose portion of t h e handkerchief is thrown
over t h e knot, which is all t h e while being
silently worked out with t h e fingers. W h e n
the end has been carefully withdrawn, you
ask some one t o blow upon t h e handkerchief.
Then throwing t h e handkerchief out you
show t h a t the ends have become untied, and
t h a t t h e handkerchief is absolutely without
a knot of any kind. This is on (T of the best
tricks t h a t can be accomplished with hand-
kerchiefs, b u t it requires a good deal of
practice to do it with effect and dexterity.
The n e x t trick is
T H E MAGKJAL K N O T .
This is said to have been done by Dobbler
before the Czar of Russia, and t o have so
pleased t h a t autocrat t h a t he presented the
conjurer with a gold watch. Take the ends
of t h e handkerchief up as before, twirl t h e
handkerchief round until t h e loose ends a r e
taken up, then take t h e handkerchief by
t h e middle and smooth it into t h e form of a
narrow bandage. W i t h your audience in
f r o n t of you, you now take the handkerchief
and place i t round t h e
right leg immediately
below t h e knee, bring'
it round again in front,
and tie it there with
two knots. You now
toll your audience t h a t
you aro going t o draw
the h a n d k e r o h i e f
through your leg.
Catching it by t h e k n o t
in f r o n t , yon pull it out
from you smartly, when
i t is seen tied as before,
h a v i n g passed a p - /
parently through t h e \
leg. The trick con- '
s k t s in doubling it over
the t h u m b of t h e right
hand while passing it
round t h e back of the
leg. The l e f t hand portion is now passed
over this double portion, and, instead of
being brought round, is simply brought back
again and tied in front. This may be under«
stood by an examination of the illustration,
 THE LOVER'S KNOT.
Tho handkerchief trick known as t h e
lover's knot can scarcely be called a knot,
b u t rather a ball into which the handker-
chief is carefully worked, although it may,
unless the trick is known, become as de-
structive t o the handkerchief as if it had
been tied into
any kind of
knot what-
ever. The
method of roll-
ing it up is as
follows: — Lay
the handker-
chief flat on t h e table and fold the corners
to the centre, this will still leave it square ;
again fold tho corners as before, repeating
the operation again and again, taking care
t h a t 110 part is unequally folded. I t should
then be a loose ball, rather flat, and open a t
the top, as in Fig. 1. Hold the ball in the
left hand during this t h e more tedious part
of the process, and with the thumb and
fingers of t h e right hand take one thickness
of the cloth only and pull it inwards towards
t h e left wrist, t u r n the ball a little in an out-
ward direction, and again pull t h e outer fold
inwards. After going round t h e ball twice
in the same manner, it will hold well to-
gether, and t h e opening will be much con-
tracted. Rub the ball a little between t h e
hands, and repeat the winding process until
it is utterly impossible t o pull out one fold
without tearing the handkerchief. The only
method of opening is to unwind the ball in
the contrary direction, which can be accom-
plished in about half a minute. The writer
has frequently wound u p a borrowed hand-
kerchief in three minutes, and defied any
one not in the secret to undo it in the same
time without tearing it. Tho uninitiated
seldom think of unwinding t h e ball.
THE UNTYABLE HANDKERCHIEF.
Take t h e handkerchief up by its two op-
posite corners and twirl it round two or
threo times till its hanging ends are wound
up. ' Then, taking tne two free ends be-
tween the forefinger and thumb of each
hand. Leading about four inches of the ends
hanging loose, you take t h e right hand end
and place it over the left hand end of t h e
handkerchief, crossing it between the ex-
tended forefinger and the closed middle
finger. The moment this is done shut the
forefinger, which closes upon the right hand
end. Keeping it closed, you take up the
left hand corner, place it through below and
bring it out a t the other side, then you will
find t h a t t h e forefinger drags with it what
was the right hand end of the handkerchief
and t h a t no knot will bo tied. "With a little
practice this may be easily done. I t forms
a really most effective and simple little
trick. • Setting fire then to the portion in you*
CUT AND B U R N E D HANDKERCHIEP
RESTORED.
F o r this trick you require some previous
preparation. Obtain a small piece of white
calico—a portion of an old) white handker-
chief is best—about six inches square. I n t o
the centre of this piece place a halfpenny.
Catch u p the ends and twist them round]
about t h e halfpenny, rolling all u p com-
pactly and pressing i t inito t h e palm of t h e
left hand, where it must be'held concealed.
I t may remain in t h e vest pocket till t h e
moment it is required. Supposing t h e coin
t h u s prepared is concealed in the left hand,
you take your magic rod in your right, and,
going before t h e audience, desire any lady
to lend you a white handkerchief, and somo
gentlemani t o lend you a halfpenny, markedl
carefully, so t h a t it may be known again.
You ask t h e lady if she will know h e r hand-
kerchief again. Of course, she will. Then,
shaking it out by t h e two corners to show
t h a t there is nothing concealed about it,
you throw it over your left hand, and placo
t h e marked coin in t h e centre of the hand-
kerchief. Catching t h e coin .from t h e o u t -
side, you allow the ends t o fall d o w n ; then,
placing the coin in t h e l e f t h a n d , you dex-
terously t h r u s t u p between) t h e finger and
t h u m b of t h a t h a n d t h e halfpenny in t h e
small piece of white rag, and strike i t on
some h a r d object, t o show t h a t this is ac-
tually t h e coin—the thing being 6martly
done, of course no one will have a suspicion
t h a t this is not t h e genuine halfpenny a n d
handkerchief which you have in view. Get-
ting t h e loan of a pocket-knife, you desire
one of your juveniles t o cut t h e handker-
chief through close by the halfpenny. Tha
juvenile proceeds with great readiness t o
fulfil this request, and while he is cutting
you are speaking to t h e audience, and appa-
rently n o t paying attention to what h e is
doing.
When, he has cut completely through,
and severed t h e halfpenny with a portion!
of t h e handkerchief from t h e remainder,
you express great consternation, and de-
clare you desired him simply to mark tha
handkerchief and n o t t o c u t it through.
Throwing down the halfpenny on t h e table,
you take up t h e piece which has been cut,
and exhibit it to view, causing great fun
to t h e spectators, and perhaps a shade of
vexation t o t h e lady who owns t h e hand-
kerchief. Apologising gracefully, you de-
clare t h a t the mistake was quite uninten-
tional on your part, b u t you will do your
best t o remedy t h e evil, and see if the fire,
which was so efficacious in the case of re-
storing t h e tape in t h e trick already de-
cribed, will not be equally so in regard t o
this handkerchief.
right hand and t h e portion ini your l e f t hand
you allow both t o burn until near your
fingers, when you press both parts together,
and, by a dexterous movement, conceal the
b u r n t portions in tho palm of your right
hand. If you can get •\eni into your
pocket quickly, so much the better.
now roll up t h e handkerchief into a ball.
Of course the real marked halfpenny is still
in the centre of it, but, rolled u p as a ball
i t is not apparent even to t h e touch. Place
it in tho boy's hand, telling him to hold it
u p in view of the audience, and lifting the
halfpenny, which has been cut, apparently,
from tho handkerchief, and which no one
ever suspects not t o be t h e marked one,
you take it u p in your right hand between
tho finger and t h e thumb, and pretending
t o pass it into the left hand, conceal it in
t h e palm of t h e right hand by means of
what is called t h e pass. Then, holding up
t h e closed left hand with t h e coin apparently
in it, you throw i t towards the boy's hand,
and ask him if he did not feel t h e electric
shock from its passage into the handker-
chief. Desire the boy now to shake out
the handkerchief over the table. I n doing
so the marked coin will fall from the hand-
kerchief t o the amazement of the audience
and the burnt handkerchief will be found
perfect as before.
T H E H A N D K E R C H I E F AND C A N D L E .
One of the best tricks known is t h a t of
producing a handkerchief from a lighted
candle which has been previously examined.
I t is accomplished as follows : —The hand-
kerchief is a small silk one, and is concealed
a t the back of the drawer of an ordinary
match-box, which has the drawer half pulled
out as if in readiness to got at the matches.
The candle is given for examination, and you
t h e n place it in a candle-stick on a table,
and show your hands empty. Pick u p match-
box, and take a match from it and light
candle. Close t h e box, which pushes the
concealed handkerchief into your hand.
You then p r e t e n - to pluck handkerchief
from flame of candle, and let it expand as
you draw your hand back from flame.
Gbe people's Jfrfenb
Contains—
Splendid SERIAL nnd SHOKT STORIES.
mo<SISAI»SIICAL nml oilier SKETCHES.
TALES <>rsC«TTSSIJ II!I] null CHARACTER. course, denies it, and you begin shuffling
UOL'SEIIOLl* IIEI.I-S and HINTS.
BC1F.STIFK'nili! USKI'I'L BECIPB.
CIVIL SERVICE COMR; WESKIY.
liXI'lilMi mid NEEDLEWORK ItSiCIl'ES.
(OWKEKV and LLEIIICAI RECIPES.
HINTS on HOME IJIIESSMAIilXG.
ORIGINAL MUSIC, I'OETRY, and READINGS card
AC. <XC.
Fries ONE PENNY Weekly.
CARD TRICKS.
W i t h a little study and a pack of cards
endless amusement may be secured, a s the
following tricks will shew.
T o G U E S S T H E CARDS F I X E D ON B Y F O U R
You
PERSONS.
Take four cards from t h e pack, give them
to bho first person", tell him to fix upon one
of them and lay them down. Take other
four cards, present t h e m t o t h e second per-
son, ask him t o do the samo, and so on
with the other two persons. You now t a k e
up tho first person's oarus and lay them out
singly side by side; upon these place t h e
cards of t h e other three. Now show cach
pile to the persons in order, asking each,
in whioh pile lie finds t h e cards he has
thought of. The rest is easy, for the card
thought of by tho first person is the first,
in tho pile he indicates ; t h e second person's
is the second card in t h e pile h e points t o ;
and so on in rotation with the otBers.
T o T E L L T H E N A M E OF A C A R D T H O U G H T O P .
Ask .any one t o draw seven or eight carda
from the pack and think of one of them,
As soon as they are returned place them,
smartly a t tho bottom of t h e pack, shuffling
the pack at tho same time in such a way asi
not to disturb those placed at t h e bottom.
Then take four or five cards from the top,
throw thera on t h e table face upwards, ask-
ing if the card thought of is among them.
Of course it is n o t ; but while ho is looking
you slip one of tho bottom cards t o t h e top,
then lift oif five or six more, spread them
down in another place, and repeat tho
query, so doing till he sees his card. You
know then what his card is, as it must bo
the one 3"Ou brought up to the top. You.
now gather up the cards in a heap, sliufflei
them, and proceed to pick o u t the one hei
thought of.
F O U N D AT THE SECOND G U E S S .
Offer the cards to ouo of your audience,
and let him. draw one. Then hold tho cards
behind your back, and tell 'him to place his.
card on t h e top. Pretend to make a greats
shuffling, b u t only t u r n t h a t card with it3
back to t h e others, still keeping it a t t h e
top. Then hold up t h e cards with the faces
towards tho spectator, and ask him if t h »
bottom card is his. While doing so you i n -
spect his card a t your leisure. He, of
agairu furiously, and, as you are perfectly
acquainted with his card, you let him shuffle
as much as he likes, and then, when you
get the cards back again, shuffle until his
is at tho bottom. Then show him his.
card in any way you like. A very good way
in which to reveal the card is t h a t known aa
 T H E SURPRISE.
After you get the desired card t o the
bottom of the pack, tell one of the specta-
tors to hold the cards by one corner as
tightly as he J can. Give them a sharp rap
with your finger, not with your hand, and
all tho cards will be struck out of his hold
and fall on the floor, except the bottom card,
which will remain between his finger and
thumb. I t has a rather more dashing
effect you put the chosen card at the top,
and strike them upwards, when the whole
pack will fly about the room like a cloud of
butterflies, only leaving the top card in the
person's grasp.
THE "WANDERING AC®.
Place four aces on t h e table, as shown in
figure No. 1 ; shove them together and: mix
them with the rest of the cards. Then give
ithe cards t o somebody t o hold. Ask him to
)ook for the four aces, and, to the astonish-
ment of everybody, one ace will be missing,
und found in the pocket of the performer.
iThe trick is done in the following w a y : —
You do not place four aces on the table,
but only t h r e e ; the fourth one is the nine
of diamonds, covered right and left by two
otheT aces, so t h a t only the spot in the
middle is visible, as shown in figure 2.
Everybody will take it to be the ace of dia-
monds, which you have taken out of the
»ack before and placed in your pocket.
A CLEVER CONSTABLE. ..
From a pack of cards take the four knaves
and one king (the constable), and quietly
place one of tho knaves a t the bottom or
top of the pack. P u t the other three, with
the king, _upon the table. You must now
tell the company a story to the following
effect. One of a band of three notorious
housebreakers made a habit of entering
houses by the cellar window (here put one
of the three knaves at the bottom of the
pack); the second generally entered from
the garden (insert the second in the middle
of the pack); and the third preferred enter-
ing from the roof of the next building (plac-
ing the third knave on the top of the pack).
A constable being sent in pursuit, followed
the track of the third thief (place the king
on tho top), and after some hunting inside
tho house (cut the pack), came upon and
captured all three burglars. At the bottom
of the pack the king and the three knave3
will be found together.
T o T E L L H o w M A N Y CARDS A P E R S O N HAS
SHIFTED.
Take all the spot cards from any particu-
lar suit—that is to say from the ace u p to
ten. Place these face downwards in a row,
consecutively from one to ten. You them
ask any one to remove as many cards as he
may choose from t h e beginning of the line,
and t o place them im the same order a t the
rear part of the line, and you will1 tell him
how many have been shifted. The trick is
effected in this m a n n e r : Suppose the per-
son has shifted three cards; you, in the
first place, take u p the end card onj being
called upon, and, on looking a t the face of
it, you will find that the card has three
spots upon it, thereby indicating! t o you
t h a t three cards have been shifted. So far
the case seems simple enough, and t h e per-
son who shifted them will in all probability
ask you to t r y again. You t u r n your back
while he shifts some more cards, and wait
till he says he has done so. To find out the
cards shifted, you must now remember the
number t h a t was previously s h i f t e d ; this
was three. I n this instance, suppose t h a t
other three had been shifted; you add
one to tue previous shift, which makes four,
and upon taking up the fourth card from
the end the card with three spots will be
found, thus indicating that three cards have
again been lifted. Now, suppose another
trial is made, and t h a t four cards have been
shifted. You just remember t h a t twice
three have been shifted in the previous
turns, making six altogether. Add one to
this next, and. you have the seventh card.
Take u p the seventh card, and i t will be
found to contain four spots^ indicating
thus t h a t four cards have been shifted, and'
so on. The trick is most bewildering t o
those not in the secret.
 CAUGHT IN FLIGHT.
This is a very striking trick. Ask two
persons each to choose and remember a
card. Taking them back, place one at the
top and the other at the bottom of the pack,
which you then take in your right hand,
between the fingers and the thumb. Throw
the pack into the air, when the two chosen
cards, which should have been slightly mois-
tened, will stick to the fingers. With a dex-
terous movement conceal this fact from tne
onlookers, and make a dash with the hand
among the flying cards as if to catch some
of them. You then produce tho two cards,
to the wonder and astonishment of all.
A C A R D AND P E N N Y T R I C K .
Place a penny on an ordinary playing
card, and poise the card on the point of the
forefinger of the
left hand. Then
with a sharp
flirt of the fore-
finger and
thumb of the
right hand,
directed against the edge of the card, you
may drive away the card and leave the
penny balanced upon your forefinger.
T o N A M E A C A R D W I T H O U T ITS B E I N Q S E E N .
F i r s t glance at tho bottom card of the
pack. Suppose i t to be the ace of diamonds.
Lay out the pack in five or six heaps, noting
•where t h e one is laid which contains t h e ace
of diamonds. Ask one of the company to
take u p t h e top card of any heap, look a t it,
and then replace it. You now gather up
t h e heaps apparently by chance, b u t taking
care t o put the heap containing the ace
•upon t h e card which has been chosen. You
then give any person the cards to cut, and
on counting them over, t h e card t h a t fol-
lows the ace is the one t h a t has been chosein.
If by any chance the two cards have become
separated through cutting, t h e upper card
ef the pack is t h e chosen one, and can be
picked out at once.
T o SCENT OUT A CARD.
Lay out 16 cards, face upwards, in 4 rows
of 4 each, and desire a person to think upon
any card h e may choose from the 16, and to
indicate to you t h e row in which it is. Sup-
pose the person chooses, say tne ace of
spades, and that this card is in the 2d row.
You now lift u p the cards in succession, re-
membering that the card thought oni is in
t h e 2d set of four you lift up. Now t u r n
pack face downwards, and place t h e cards
in 4 heaps of 4 eaoh, giving one t o each
heap alternately, and each four being so
plaoed t h a t a portion of each card is plainly
visible. Now take u p one of the heaps, and
turning the faces of the cards towards the
person who selected the card, show the face
of them, and desire him t o say if the card
selected is in t h a t heap. Suppose he says
no; jou placa the hea® down then on the
table, and take u p heap number 2. Suppose
he declares t h a t his card is not in t h a t heap y
you take u p the third and repeat t h e pro-
cess. " Yes," he says; " I see my card, in
that heap." You now square the cards, in
each heap, and take them up in heaps by ro-
tation. Suppose the heap in which the ce-
lected card is is the 2d heap lifted, then i t
will be the third 4 from the top. Now place
the cards face downwards in 4 squares of 4
eaoh, giving one to each heap alternately
until all the cards are distributed. I t will
thus be seen t h a t in each of the four squares
there is a card from each separate heap, but
in placing the third four in their places you
just remember what place in the several
heaps these four cards have. Now ask tha
person to name two of the heaps. Sup-
pose he says number one and three, and sup-
pose his card, which you now know, is in
one of these heaps, you lift the other two
packets anid put them aside. Ask him now
to name one of the two heaps remaining.
H e does so, and you lift one of these away.
Now ask him to name two cards of the four
now lying on the table, and, on his doing so,
you lift two of them away, being careful, of
oourse, to allow his own card to remain.
Now ask him to name-one of t h e two cards
remaining. H e does so, and you lift one of
them away. Now tell him t o lift the only
remaining card, and t o his astonish meat i t
is the cardl h® has originally selected.
T o CALL A N Y CARD IN THE P A C K .
Seat yourself a t the table, so as t o havs
the Whole of the audience as much as pos-
sible in f r o n t of you, and a t some distance.
Take t h e pack of cards as i t usually lies,
and in passing i t under the table or behind
you, glance a t the card which happens to bo
exposed; then, pretending to shuffle tha
cards, place the one you have seen back to
back oni the other side of the pack, and)
holding the cards firmly by the edges raise
your hand between you and the company,
and show t h e card you have seen, calling out
a t the same time what it is. While doing
so observe which card is facing you (for you
have now the whole pack facing you except
the one card which is shown to the specta-
tors), pass them under the table again, andl
transfer the card which you have just seen
to the other side of the pack, handling the
cards as if shuffling t h e m ; again exhibit,
and cry out the name of the card turned t o
the company, taking care to notice the card
t h a t faces yourself, which change as before,
and so on. By this means you may go over
the whole pack, telling eaoh card as it is ex-
posed, without looking a t t h e cards except
when they are held u p between you andl
the spectators, and when they are anxiously
looking themselves t o see whether van 0x4
right or not.
 BETRAYED BY ITS WEIGHT.
Ask some one to t a k e a card from t h e
pack, and t o remember it. Take it again,
keeping it face downwards, and poise it in
your hand as if weighing it. While doing so
make a slight indentation in it with your
nail, which you will readily recognise again.
Then r e t u r n the card to tho person who
picked it, and ask him to insert it in the
pack wherever he chooses, and to shuffle the
cards. Let him then return t h e cards to
you one by one, and as he does so pretend
t o weigh each carefully in your hand. When
you come to the marked one present it to
t h e company as tho_ one chosen, and as
identified by its weight. The mark should
not be made top conspicuous.
TRICK IN BALANCING.
One is often asked a t an evening party to
endeavour to stand with the side of one foot
touching t h e wall, and t c hold up the other
foot for a few seconds. I t is, however, im-
possible to do so, as t h a t position throw*
most of t h e weight of the body beyond the
centre of gravity.
T H E BALANCED P L A T E .
Another trick in balancing is t h a t in which
a plate is balanced on the point of a needle.
The illustration will afford any explanation
t h a t is necessary. Split tw<) corks down the
middle, insert a fork near one end of each,

BALANCING TRICKS.

This last mentioned card trick naturally

introduces us to the subject of balancing,
and we shall now describe a few tricks in
t h a t art.
T H E P E N C I L AND K N I F E F E A T .
The following is a little trick in balancing
which is difficult enough to tax the busy
brains of our younger readers. The sketch
renders explanation almost unnecessary, but
it will be seen t h a t the feat consists in
balancing two pencils in mid-air—the ono
and place them a t equal distances round t h e
edge of tho plate. The forks should point
towards the axis of the plate. Then by a
little manipulation and care you should be
able to make the plate spin round on t h e
point of a needle inserted in a coTk which
passes into the neck of a bottle.
A C U P IN D A N G E R .
A striking trick in balancing is shown in
the illustration. The question is how to
balance a coffee-cup on the point of a
carving-knife. The first difficulty in the way
is the scruples of t h e housekeeper a t " lend-
ing you a good
horizontally, tho other vertically. The cup when you're
sharpened extremity of one pencil is inserted suro to break it."
into a loop in the end of a piece of thread ; These scruples
tho two knives, which are stuck in opposite overcome, how-
sides of the pencil, are of equal weight. Two ever, the trick
pens are fastened—one on each side—near is simple enough.
tho point of the second pencil, which is then Insert i n t n e
balanced on tho other end of the first pencil. handle of t h e
With a little adjustment of knives and pens cup a cork thick
the whole should be put in equilibrium, and enough t o fit
may even be made to rotate. pretty_ tightly.
BALANCING A T U M B L E R . Stick into this a
This is scarcely a trick, but rather a feat ; fork, in such a
however, it causes great fun, and can be mnnnor thnt
conveniently done a t any time. Balance a end of t h e fork
bottle or tumbler containing water on t h e hangs below t h e
crown of the head, and then try to pick u p cup. You should
a nut, or, more difficult still, a coin off the then be able" after a few trials and a little
floor with lips or teeth, and rise again with- adjustment of the fork to find tho centre of
out allowing the bottle to tumble. I t must gravity of t h e cup, and t o balance it as re-
not be touched with t h e hands. quired and as shown in tho sketch.:
 A B A L A N C E D O L A S S . TRICKS W I T H G L A S S E S .
At a short distance apart upon a table I n o u r section dealing with balancing
place two bottles of tho same size, fitted tricks occasional reference has been, made
with corks, t h e to glasses. H e r e are quite a n u m b e r of
projecting enda tricks t h a t may be performed with two
of which are c u t glasses of the same size a n d shape. If
t o resemble these are held lip to lip under water a n d
pivots. Upon then withdrawn one above t h e other it will
each cork bal- be found t h a t both remain full. T h e sama
ance a knife, thing may be done in another way. Fill
and bring t h e t h e two glasses with water. Cover one of
knives into such t h e m with a card. Hold t h e card firmly
a position t h a t on, a n d reversing t h e glass, place it mouth
they touch a t down on t h e top of the other glass. Then
t h e tips. Then gently withdraw t h e card, and if tho rims
upon- t h e junc- of t h e glasses a r e evenly placed one on tho
tion place a top of t h e other tho water will remain) in
wine-glass half-filled with water, and after both. A still more interesting trick can
a few trials you should bo able to produce a be performed in t h e l a t t e r way. This is
s t a t e of equilibrium. By dipping into t h e what is called
glass a coin or button attached to a piece W A T E B C H A N G E D INTO W I N E AND W I N E
of thread t h e balancing apparatus may be INTO WATER.
net into gentle motion. Fill two wine glasses of tho same size, the
A BALANCED BOTTLE. one with water, t h e other
The bottle you see pictured hero is half with any kind: of dark
filled with water, and is . placed upon a wine. Cover t h e glass
piece of broad containing t h e water with
tape, which is a card, invert it, and place
suspended be- it u p o n t h e glass filled
tween two with wine—as illustrated
points. The in t h e drawing. The two
handle end of brims of t h e glasses must
a soup ladle is fit exactly. Then slightly
inserted ill t h e move t h e card eo t h a t a
mouth of t h a small opening is l e f t be-
bottle, and tha tween t h e two glasses. The
equilibrium of water, i t will be seen, be-
t h e tvholft is gins to find its way down-
secured by wards and t h e wine, being
pouring watei? t h e lighter, rises, taking
gently into a t h e place of t h e water.
vessel suspended a t tho other end of a ladle. A f t e r a b o u t a n hour's
time t h e liquids will have
completely changed places,
VC SEE 30 t h e effect being as if t h e
water h a d been changed t o wins, a n d the
><S wine t o water.
W A T E R ABOVE A L E .
Scotland's National Weekly, Ale, unlike winie, is heavier t h a n water,
and this may be shown by t h e following
simple experiment. This is a trick some-
Why you should read it. thing like t i e " wine and water" one already
It* S « r l a l Stories a r e a l w a y s I n t e r e s t i n g . described, a n d serves t h e purpose of adding
It c o n t a i n s m a n y P r i z e Competitions. a little variety to these liquor feats. Fill a
I t s l e g a l a n d D r a u g h t s Columns a r e I m p o r t a n t
features. tumbler half-full of ale. Place
Its newt Is nlwnj-i fresh anil readable. a silk handkerchief over t h a
l o c a l a m i .District I n t e l l i g e n c e r e c e i v e s r a i l m o u t h of t h e glass, And press
attention.
It contains more advertisements than any i t softly down until it touches
o t h e r w e e k l y p a p e r in Scollniid. t h e surface of t h e ale. Gently
VhG " P e o p l e ' s J o u r n a l " contains t h e f u l l e s t pour in water till tho glass is
n e w s , finest stories, m o s t vigorous a r t i c l e s '
a n d most e n t o r t a i n l n g correspondence of full, t h e n d r a w u p the hand-
all w e e k l y newspapers. kerchief, and t h e water will be
seen forming a distinct layer
OF ALL NEWS-AGENTS, above t h e ale, a n d s u i t e un-
P R I C E ONE PENNY, mixed with i t .
 FLOATINQ A PIN IN W A T E R .
I t will not readily be supposed t b a t a
needle or brass pin can be made t o float on
water—steel and brass having a much
greater specific gravity than water. If,
however, t h e needle or pin be carefully
dried, it may, if dexterously handled, be
so laid upon tho
surface of a basin
or dish of water
t h a t no trace of
moisture finds its
way to t h e upper
surface of the in-
strument. The
water will simply
t a k e a convex
shape on each side
of the pin, which
i t will support as
in a cradle. The placing of the pin upon t h e
water is, however, by no means an easy pro-
cess. One way of accomplishing it is by
placing the pin upon a small piece of paper,
which is gradually allowed to drop on to t h e
water, soak, and sink, leaving t h e pin afloat.
A ONE-HANDED TUMBLER TRICK.
Fill a tumbler with water, and t u r n a
plate upside down on t h e top of it. The
tumbler may or may not have a stem, b u t
t h e safest and most effective trick is when
there is a stem to t h e tumbler. Holding
the tumbler and plate firmly together, t u r n
t h e tumbler upside down, which can be done
without spilling t h e water. Now, challenge
any one to take t h e plate with tumbler m
one hand, and with t h e other hand behind
his back t o drink t h e water without spilling
any of it. The secret is in using the teeth
when t h e tumbler has a stem. Reach the
head over the tumbler, ana take hold of the
off side of the base firmly with t h e teeth,
and whilst pressing t h e plate on the tum-
Dler, raise t h e head, and t u r n both plate
and tumbler the other way up. You can
lift the plate off with the right hand, and
set it on the table, and with t h e same hand
take the tumbler out of the mouth. You
should practise without the water to begin
with, if you wish to avoid a shower bath.
With an ordinary tumbler t h e trick
is similar, only t. e base of the tumbler
is pressed against t h e forehead.
ANOTHER TUMBLER TRICK.
Dry the tumbler thoroughly, and very
carefully fiU it brimful with water, so as not
t o wet t h e ' t o p edge. Try how many shil-
lings or other small coins can be p u t into
it afterwards without making the water flow
over. You are safe to challenge any one
to guess anything like the correct number,
as most people will imagine t h a t one coin
would cause t h e water to run over. This
is a mistake, a great many can be p u t in
provided they are dropped carefully from
t h e surface into t h e centre of the glass.
LIQUOR U N D E R A HAT.
Place a glass of any liquor upon the table
and cover it with a h a t . You may t h e n in-
form t h e company t h a t you will drink t h e
liquor without touching t h e h a t . Get u n -
derneath t h e table, make three mysterious
taps upon it, give a gurgle as if swallowing
a liquid, and s t a t e t h a t you have fulfilled
your promise. The company are only too
eager to test t h e t r u t h of your s t a t e m e n t ; '
some one removes the. h a t ; you seize t h e
glass, drink its contents, and say, " Gentle-
men, I have fulfilled my promise. You are
all witnesses t h a t I did n o t touch t h e h a t . "
T H E MAGICAL TUMBLERS.
Take two plain glass tumblers and p u t a
coin—a sixpence say—into one of them.
Next gum a piece of red blotting-paper over
the mouth of each tumbler. Trim the edges
of t h e blotting-paper so t h a t nothing over-
laps. Make two tapering tubes of brown
paper to fit on to and exactly cover the
tumblers. Close these tubes a t t h e narrow
end either with a disc or by folding in t h e
paper all round, thus ma—Jig opaque jackets
for the tumblers. Place the tumblers with
the jackets on, mouth down, on a sheet of
red blotting-paper, and you are ready to as-
tonish your friends. L e t us call t h e tumbler
with the sixpence in i t A, and the empty one
B. Borrow a half-sovereign from one of t h e
spectators, and place it under t h e tumbler
A ; lift off t h e jacket, and, lo! t h e half-
sovereign has changed into a sixpence. Re-
place t h e jacket and lift tumbler and jacket
together, and t h e sixpence has changed back
to t h e half-sovereign. Give back the half-
sovereign and borrow a sixpence, and place
it under the tumbler B. Proclaim t h a t you
can make t h e sixpence pass from B to A and
back again. L i f t off t h e jacket from B and
the sixpence is gone. L i f t off A's jacket
and—there is the sixpence in A. Replace
A's jacket, and lift tumbler and jacket to-
gether—where is t h e sixpence? Replace
B's jacket and lift B with its jacket on, and
there is t h e sixpence in its former position.
A DIFFICULT LIFT.
Next time you are seated a t dinner at-
t e m p t t h e follow-
ing simple little
trick. Place a
dry tumbler up-
side down upon
ithe table, and
grasp it, in t h e
manner ilus-
trated, with fore-
finger and thumb
of t h e right hand, allowing no other parts
of the hand to come in contact with t h e
glass. The feat consists in lifting t h e
tumbler from the table by t h e use of simply
forefinger and thumb.
 H O W TO E M P T Y A GLASS.
The trick consists in emptying a glass full
ef w a t e r by means of a bottle also full of
w a t e r anid1 w i t h o u t emptying t h e l a t t e r .
Take two pieces
of straw, one
r a t h e r longer t h a n
t h e d e p t h of t h e
glass t o be used,
t h e o t h e r twice as
long. Bore two
holes i a t h e cork
of t h e bottle a n d
insert t h e straws
w i t h o u t breaking
them. Them stop
the outer end
of the short straw
by means of a pel-
let of w a x ; fill
tihe b o t t l e u p t o
t h e brim and push in t h e cork u n t i l t h e
w a t e r squirts f r o m t h e end of t h e larger
straw. Now invert t h e bottle a n d hold it
so t h a t t h e shorter straw reaches to t h e
b o t t o m of t h e glass. C u t off t h e stopped end
of t h e straw with a pair of scissors, and t h e
w a t e r will flow u p the straw into t h e bottle
a n d out a t t h e larger straw, u n t i l t h e glass
is emptied. The reason of this curious oc-
currence is t h a t t h e s t r a w s f o r m t h e two
arms of a syphon.
THE DISAPPEARING GLASS
is a. simple little trick, a n d is performed as
follows. I t was awarded a prize of one
guinea ini a competition held some t i m e ago
by a Londoni weekly magazine.
S t a n d a t one end of t h e room, having all
your audience well in f r o n t of you. P l a c e
a penny on a small table, a n d cover i t with
a n inverted t u m b l e r . Then t a k e a stifiish
newspaper, a n d with it cover t h e glass,
allowing a good spread of p a p e r t o r e s t on
t h e table in f r o n t of t h e glass. P r e s s t h e
paper firmly over a n d a r o u n d t h e glass,
thus making a mould t h e exact shape of tihe
tumbler.
Take u p t h e glass and newspaper, holding
them, with your left hand, close t o your
body. A t this point h a n d t h e penny t o one
of your audience, u r g i n g t h e m all to make
or observe some mark on t h e coin by which
thfcy will kno'w i t again. Whilst they are
t h u s engaged, a n d u n d e r cover of t h e news-
paper, slip t h e tumbler, w i t h y o u r r i g h t
hand, into your jacket pocket (which has
been previously prepared t o receive t h e
glass easily).
Now take the penny back, place it on t h e
table once more, cover i t with what ap-
pears t o be t h e t u m b l e r (but what is Tea.lly
only t h e newspaper w i t h a t u m b l e r shape
t o it), a n d say you will now make the penny
disappear. Give a h a m m e r t o some timid
member of j o u r audience—preferably a lady;
—inviting her t o strike t h e glass asjheavily
as she oan. Should she object, d o i t your-
self.
Everyone will naturally b e expecting a
great smashing of glass. H a v i n g s t r u c k t h e
blow, remove t h e paper, t h u s exposing t h e
penny, and say you r e g r e t having made t h e
mistake of calling your performance a dis-
appearing penny trick instead of o< disap-
pearing glass trick.
A N O V E L M O D E OF E M P T Y I N G A T U M B L E R .
Place t w o tumblers of equal size in a
basin of water. W h e n t h e y a r e full, place
t h e m horizontally r i m to rim, press them;
somewhat tightly together, raise t h e m t o
t h e perpendicular, a n d lift t h e m out on t o
a large p l a t e o n t h e table. N o w a t e r will
escape f r o m them. The question now is—
How is t h e w a t e r in t h e topmost t u m b l e r t o
be extracted without t h e performer touch-
ing either tumbler or p l a t e ? Simply by
blowing between t h e rims.
E X P E R I M E N T S W I T H EGGS.
The list of amusing tricks t h a t may be
performed by means of eggs is almost end-
less, or, a t least, could be m a d e to fill a
goodly volume. The following are a few of
t h e simpler feats t h a t may be accom-
plished : —
A N E G G THAT V A R I E S I N WEIGHT.
F o r this little experiment you require
t h r e e long-shaped glass jars. One of these
is filled with cold water, and a second with
a strong solution of salt and w a t e r . The
t h i r d is half filled with a similar solution of
brine, upon which is t h e n gently poured a
q u a n t i t y of fresh cold water, so t h a t t h e two
liquids remain quite distinct and unmixed.
Now t a k e three fresh eggs. Drop one ol
t h e m Into t h e jar containing only water,
and it will sink to t h e bottom. Gently place
tho second in the jar filled half with brina
and half with w a t e r : it will sink until it
reaches the junction of t h e two liquids,
when it. will appear to encounter some re-
sistance and stop. The third egg, when
carefully laid in t h e third jar, will float on
tho surface. The explanation lies in t h e
different densities of the liquids, b u t if t h e
trick i3 performed before friends who are
unaware of t h e contents of t h e jars, their
astonishment will be considerably aroused.
. 26
H O W TO M A K E A M A M M O T H EGG.
At intervals paragraphs appear in news-
papers tolling of the high prices paid f6r t h e
»gg of t h e Great Auk. You may astonish
four friends by actually making an egg,
which, if not exactly resembling t h a t of t h e
Great Auk, is a t least as large. Break u p
ibout a dozen fresh egjjs, place t h e yolks in
one bowl, t h e whites in another, and t h e
ihells in a third. Then mix t h e yolks
thoroughly together, and pour them into a
bladder. Tie up t h e latter securely, and
place it in cold water until t h e contents
have solidified. When this has happened
take off the covering, p u t t h e ball of yolk
into a still larger bladder, and pour into the
latter t h e mixed whites of t h e eggs. Then
tie u p t h e bladder in t h e shape of an egg,
m d boil it in water until t h e contents be-
come hard, being careful to keep it turning
the while, in order t h a t t h e yolk may b e
kept in its proper position. While this
part of t h e egjg-making process has been
joing on tho shells have been steeping for
ibout a day in strong vinegar, and have be-
>ome pasty. When t h e egg has been boiled
lard remove t h e bladder, and paste it with
the softened shells by means of a brush. The
whole has only t o be kept in rain water for
the space of twenty-four hours, when t h e
shell will have become quite hard, and you
will have a gigantic egg.
F A C I A L E X P R E S S I O N ON A N EGGSHELL.
H e r e is a diverting trick which may be
performed any morning you may happen t o
have eggs to
breakfast. After
cutting off t h e
top, a n d depriv-
ing t h e egg of its
contents, sketch
upon t h e shell a
comical face,
marking t h e fea-
tures strongly with
ink, or a very
black pencil. Then
replace the slitil in t h e egg-cup, and by
living it a rolling motion with t h e hand,
;he. most ludicrous effects may bo produced.
To B L O W AN E G O FROM O N E W I N E G L A S S TO
ANOTHER.
Place an egg in a wineglass, thick end
downward. Then put an empty wineglass
immediately in front of tho other glass. The
trick is to blow tho egg from t h e one glass
into the other. I t is easily done, at least
after a little practice. The lips should bo
placed close to the rim of the glass contain-
ing the egg. Then tho experimenter should
blow strongly and sharply, directing the air
as far as possible between t h e egg and t h e
side of tho glass. The egg, if t h e experi-
ment is well done, will jump out of ono glass
into the other. I t is. wise t o 'use a hard-
boiled egg for the experiment.
T H E F L E X I B L E E G G
trick consists of t h e apparently impossiblt
feat of introducing an egg into a narrow-
necked bottle. The trick, however, is some-
what akin to t h a t of Columbus, whoso extra-
ordinary announcement t h a t he would
make an egg stand on end was slightly
marred by t h e fact t h a t ha
chipped the end of t h e egg
before h e effected his pur-
pose. Insert a piece of
burning paper into a dry
,nd narrow-necked water
decanter, and immediately
place a hard-boiled egg,
minus t h e shell, in t h e neck
of t h e bottle. The blazing
paper expands t h e air in-
side the bottle, creating a partial vacuum,
and t h e egg being acted upon by a greater
external t h a n internal atmospheric pressure,
gradually elongates, creeps slowly down t h e
neck of t h e bottle, and then drops suddenly
to t h e bottom with a loud report.
T H E ROTATING EGG.
All you require for this trick a r e a plate
and' t h e top of a n egg. Place t h e egg-shell
on t h e rim of t h e plate, which has been
moistened with water, a n d by moving the
plate in a circle
tho egg begins
also t o move, b u t
in a contrary di-
rection. With a
little dexterity
1
you should be able
to raise t h e speed1 of t h e rotating egg-shell,
which, it will be observed, revolves on its
owan axis a t tho same time.
T H E SELF-COOKING EGO.
This trick, while apparently simple and
easy, may prove very suggestive. The
necessary material for t h i s little experiment
may be bought for a few pence a t any drug
store. F i r s t t a k e a common silver or brass
teaspoon and fill it one-quarter full of potas-
sium and three-quarters full of common
cooking soda. Take a n egg and lay it upon
the teaspoonful of potassium a n d soda,
so t h a t it will conceal both of t h e m a n d ap-
pear t o rest on the bottom of t h e spoon.
Then get a common thick, heavy glass tum-
bler, till it about two-quarters full of water
(care should, of course, be t a k e n t h a t t h e
tumbler is n o t so full t h a t i t bubbles over
when t h e water boils). Then drop t h e spoon
holding t h e potassium, soda, and egg care-
fully down into the tumbler of water, give
t h e entire mixture a few sudden strokes
with t h e spoon so as a t once thoroughly to
dissolve tho compound; then wait a t least
one m i n u t e before taking o u t your egg.
When t h e egg is wholly cooled carefully •
break it opon and see how nicely cooked it
is—just nearly solid enough t o suit t h e
average t a s t e . "
 THE PERFORMING EGG.
H e r e is another amusing trick, which re-
quires considerable dexterity and skill, and
which may be regarded as ail elaboration of
one already described. Place a hard-boiled
egg on t h e bottom of an upturned plate or
tray, which you hold in tho manner illustra-
ted. Give t h e dish or tray a horizontal and
revolving movement, and' you will notice
the egg is carried along with it. Gradually
increase tho rapidity of the motion, when
t h e egg will raise itself until it stands on
end, revolving like a top. I t will help con-
siderably if tho performer takes care to
hold the egg in an upright position while it
is being boiled. By so doing t h e air chamber
is k e p t central along t h e axis of t h e egg.
A simple way to do t h e trick is as follows: —
Place the tray om t h e table, allowing i t to
project so far over t h e edge t h a t i t can be
readily grasped by t h e h a n d . Place t h e egg
in t h e middle, and with t h e t h u m b of t h e
l e f t ' a n d t h e first finger of t h e right hand
placed a t opposite ends, set i t spinning
vigorously. I t will raise itself on end, still
spinning. Now seize t h e tray and revolve it
as already described, in tho direction op-
posite to t h a t in which tho egg is moving.
T H E H O O P A N D THE E G O .
H e r e is an amusing and simple little trick.
Procure an egg and a hoop of wood or iron,
and inform t h e
company that
when you have
placed t h e egg on
t h e floor, they will
be unable to
break it with t h e
hoop. You will
no doubt be
laughed a t , b u t
will be able t o
t u r n ' t h e laugh on your friends by putting
t h e egg on t h e floor in a corner of t h e room,
and close u p to t h e wall. I t is easy t o see
t h a t t h e egg is secure, it being impossible t o
make any point of t h e hoop touch i t .
A u n t Kate's Household Guide
contains fullest information about tho
Spring; and Autumn Cleaning. Sold
evej-ywhore i Price OMS PENNY.
TRICKS WITH RINGS.
W e shall now describe one or two tricks
which a r e performed by means of rings.
The first of these is entitled—
THE RING ON THE STICK.
F o r this trick you require two curtain
rings about t h e size of a penny, a coloured
or white pocket handkerchief, and an ordin-
ary walking-stick. One of t h e curtain rings
is sewn into one of t h e corners of t h e h a n d -
kerchief, by p u t t i n g a small patch of t h e
same material upon t h e corner, and t h e
ring inside of it. This handkerchief is kept
in t h e coat pocket, or on the table out of
the reach of any of your audience. Coming
forward you show to the company a curtain
ring, and hand i t round t o show t h a t there
is no flaw i a it. A t t h e same time you take
u p t h e handkerchief with t h e concealed
ring in t h e corner, and holding u p t h e hand-
kerchief with this corner in t h e left hand,
you carelessly draw t h e handkerchief
through t h e r i g h t hand t o prove t h a t t h e r e
is nothing concealed about it. Then, tak-
ing t h e ring, which nas been handed round,
you declare you will now place it in t h e
centre of t h e handkerchief, and thrusting
the ring beneath the handkerchief, you pre-
tend t o place it there, b u t in reality you only
place t h e corner of t h e handkerchief con-
taining t h e sealed rimz there, while t h e
other r i n g is palmed in t h e right h a n d . Now
give t h e handkerohief with t h e ring inside
of it to a boy t o hold, and enforce upon him
t h a t he m u s t n o t allow the ring t o escape.
Take u p t h e walking-stick and s t a t e t h a t
you m e a n t o pass t h e ring from t h e inside of
t h e handkerchief on to t h e middle of the
stick, while a boy holds t h e walking-stick a t
either end. Take t h e walking-stick u p in
the right hand, and with t h e ferrule i n ' t h e
palm of t h e hand, ycrn ask t h e boy to t a k e
hold of t h e handle, then, slipping t h e r i g h t
hand with t h e ring up t h e stick t o t h e
centre, you grasp t h e stick there and desire
t h e second boy t o take hold of t h e other end
— t h a t is, by t h e ferrule. This movement
has enabled you to place t h e ring on the
stick, b u t still concealed by your r i g h t hand.
You now desire the boy holding t h e hand-
kerchief and ring to place t h e handkerohief
containing t h e ring over your right h a n d .
When this is done you grasp the handker-
chief by one corner and remark t h a t when-
ever you count three h e is t o let go t h e
handkerohief, when the ring will have dis-
appeared f r o m it and have passed on t o t h e
stick. A t t h e word " three" you cry to
the boy t o let go. H e does so, you snatch
the handkerchief away and a t t h e same time
open t h e right hand, when t h e ring is seen
dangling upon t h e stick as if i t had j u s t
flashed from t h e handkerchief thereon, t o
i h e £Teat wonder of j o u r audience.
 A RING P U Z Z L E .
A young wizard c a m e h o m e f r o m school
one day, a n d l i f t i n g a n a p k i n r i n g f r o m t h e
dinner table, inquired—" I say, c a n a n y of
you d o t h i s ? " Thereupon h e inserted his
two fore-fingers in t h e c e n t r e of t h e ring, in
t h e m a n n e r illustrated, twirled t h e ring
s m a r t l y o n his fingers, p u t his t w o fore-
fingers and t w o t h u m b s t o g e t h e r , a n d o u t
dropped t h e r i n g u p o n t h e t a b l e . T h e trick
seemed so absurdly simple t h a t his f a t h e r
lifted t h e ring, did, eo f a r as h e could, j u s t
»s t h e little wizard h a d done, and m a d e a
complete muddle of his a t t e m p t , for t h e
ring would never d r o p o u t with him, b u t
remained fi^ed between his t h u m b s and fore-
fingers. The trick was t r i e d by all p r e s e n t ,
b u t easy a s i t seemed, mo one succeeded in
doing i t . I n his a f t e r explanation, t h e
y o u n g wizard showed how t h e trick was per-
formed!. B e certain t h a t t h e backs of t h e
t w o fore-fingers a r e t o w a r d s each o t h e r
w h e n t h e pause is m a d e t o b r i n g tJhe tips of
t h e fingers a n d t h u m b s t o g e t h e r . P u l l t h e
r i n g i n t o a horizontal position, when o n e of
t h e fore-fingers will be pointing upwards a n d
t h e other downwards. Now bring t h e tips
of tho t h u m b s u p o n t h e tips of t h e fore-
fingers, place all f o u r tips t o g e t h e r i n t h e
c e n t r e of t h e ring, raise t h e u p p e r t h u m b
a n d fore-finger, anid o u t will drop t h e ring.
ANOTHER R I N O TRICK.
This was' only one trick t h a t t h e l i t t l e
wizard h a d acquired t h a t day. Taking u p
a piece of s t r i n g about a yard long, h e tied
t h e ends together, and asking one of u s t o
place his t h u m b s inside t h e loop, h e p u t t h e
r i n g upon t h e s t r i n g in t h e m a n n e r illustra-
. t e d . " Now," said |ie, " t h e problem is t o
t a k e t h e r i n g off t h e s t r i n g w i t h o u t t a k i n g 1,350,000 P e o p l e r e a d It.
t h e s t r i n g off t h e fingers." This seemed a n A w e e k ' s Issue w e l s h s tto tens.
impossibility; nevertheless, one or two of
those present made the attempt, only t o fail
utterly. T h e r e u p o n t h e y o u n g magician
was asked t o p e r f o r m t h e f e a t , a n d this ha
very smartly a n d successfully did. The fol-
lowing is a description of h o w h e pro-
ceeded:— '•
W i t h t h e l e f t fore-finger, t h e u p p e r p a r t
of t h e s t r i n g , f r o m t h e holder's r i g h t h a n d
side of t h e ring, was pulled forward andl
d o w n w a r d ; w i t h t h e r i g h t fore-finger, t h e
u n d e r s t r i n g was, f r o m below, pulled f o r -
ward a n d u p w a r d , causing t h e two strings
to cross each o t h e r . The s t r i n g held in t h e
right forefinger was t h e n carried f o n v a r d
between t h e fore-finger and thumb,- a n d
placed over t h e right t h u m b of t h e person
holding t h e string, from t h e u n d e r side. T h e
ring was now advanced towards t h a t t h u m b ,
and t h e u p p e r string seized in t h e s a m a
m a n n e r , and placed over t h e same t h u m b ,
again from t h e u n d e r side. The l e f t fore-
finger, which was still inserted in t h e loop
of t h e string, was t h e n withdrawn, and t h e
ring gently pulled, when; i t came away
freely. ''".''^'['i
M I S C E L L A N E O U S TRICKS.
I n order t o perform t h e trick of
T H E DIVIDED PEAR
you proceed as follows: —You Suspend a
pear from t h e ceiling by a t t a c h i n g a. t h r e a d
t o t h e s t a l k ; you t h e n hold t h e blade of a
knife u n d e r n e a t h i t , and on t h e string being
c u t or b u r n t t h e com-
pany is astonished t o
witness t h e pear de-
scend upon t h e blade
and split in t w o .
T h e explanation is
simple. Previous t o
t h e trick, and u n -
known t o t h e com-
pany, while t h e pear
is hanging in a s t a t e
of rest suspended by
t h e thread, you raise
a t u m b l e r of water t o
it, and let t h e pear
dip i n t o i t . Now
m a r k t h e exact spot
where t h e drops f r o m t h e pear fall. Im-
mediately above this you hold t h e knife,
with t h e result as already described. T h e
same trick in a different f o r m may be done
by suspending an opened penknife, and in
t h e same way causing i t t o e n t e r t h e neck of
a bottle. I n t h e illustration t h e knife is
drought near t o t h e pear for t h e sake of
economising space. - -
POINTS about t h e ' PEOPLE'S JOURNAL. 1
10,000 STews-agents »ell It. .'...„
It is the People's Family Newspaper.
Sold Everywhere, Priam Oao Panny.

THE CUBE IN THE HAT.
For t h e performance of this trick two
black satin hat3 are requisite. These are
borrowed from gentlemen present. There
are various excellent tricks to be performed
by means of hats, b u t a simple and easily
executed one, which forms a good pre-
liminary to t h e trick to be explained, is done
by means of a blown egg. Take an ordinary
hen's egg, blow t h e inside out of it by
making two holes, one a t each end. Take a
black silk thread, tie i t to a small piece of
lucifer match, and insert the piece of wood
inside t h e egg. Fill up the holes with a
small piece of white sealing or beeswax, and
to t h e other end of t h e pieco of silk thread,
which should be about half a yard in length,
fix a small bent pin. When t h e hats are
being brought to you by some boy, you go
behind your table, lift your blown egg in t h e
one hand, and a t t h e same time fasten the
bent pin inside t h e bottom of your waistcoat.
You now take u p one of t h e hats, drop t h e
egg in, and ask for a little music. When
Wo O j
t h e music begins, by gently putting the h a t
away from you, the egg is drawn up to the
rim'of t h e hat, and with a skilful manrauvre
may be made to travel all round the rim, ap-
parently keeping time to t h e music. You
now take u p the other hat, and make t h e
egg jump from one h a t t o the other, to t h e
wonder and surprise of your audience. You
now p u t away t h e egg and proceed to tho
trick with t h e cube. The cube is a square
piece of wood, say two inches each way. I t
is painted black, with white spots painted
like a die. These spots may be made by
means of pieces of white paper gummed on
the cube. If an ordinary piece of white
wood is taken and painted with black ink,
with white pieces of paper for t h e spots, it
will answer t h e purpose quite well, and cost
nothing. A cardboard case is made for this
to fit neatly, and this is also blackened with
ink, ,and white spots made upon it to re-
semble t h e solid die. F o r this, again, there
is another cover made, into which t h e solid
cube, with its imitation case, fife smoothly.
You bring forward your cube enclosed in its
case, take it out of t h e case, and knock it
hard upon the table t o show to your
audience t h a t i t is solid wood. Of course,
your fingers prevent the solid cube from slip-
ping out and betraying you. Your two hats
are now placed on the table with their open-
ings together, and taking up your cube with
its false covering in the right hand you place
it on t h e crown of tho upper hat. Tell your
audienco t h a t it is your intention to send
tho block right through the crown of the
hat. At t h e same time lift the top h a t with
t h e left hand and the cube with the right.
Right through t h e crown of the hat, you con-
tinue, into the bottom of this hat, a t the
same time placing your hand with t h e cuba
inside t h e h a t to illustrate what you mean
to do. You now allow your fingers to
slacken, tlip solid cube slips out of its case,
you lift u p what appears to be the solid cube,
and replacing the upper h a t , you with your
right hand place what appears to be the
solid cube on t h e crown of the upper h a t .
Understand now t h e solid cube is in the
crown of t h e bottom hat and t h e false cube
is standing with its open end down on the
crown of t h e upper hat. You now take up
your outer case—which may be ornamented
in any way to please t h e eye—show t h a t it
is empty, and with much formality cover up
with it t h e false cube, which all eyes see.
Now, take a knife, and make a pretence of
cutting round about t h e cube. Take your
magic rod, touch the case, command the
cube to pass through t h e hat, and imme-
diately thereafter lift up the case, when the
inner case comes along with it, and you hold
it u p before, all to show t h e case is empty.
Now lift u p tho upper h a t and place it on
t h e table, then take up t h e lower hat, turn
it gently over, when out drops t h e solid
cube with a crash upon t h e table.
SWALLOWING A BARBER'S P O L E
is a trick which is easy of accomplishment,
Take t h r e e sheets of stout white paper, and
cut each into strips two inches in width.
Paste or gum them together so as t o form a
long band, which has then to be coloured in
alternate stripes of red and blue, resembling
t h e characteristic decoration of a barber's
sign-post. Wind u p t h e band compactly
upon a round ruler, leaving the inner end so
folded t h a t it may without difficulty bo
pulled out. Then, all unknown to the
friends whom you are about to astonish, in-
sert t h e roll in your mouth along with a
quantity of paper shavings, and pretend to
chew tho latter. While holding t h e hand to
t h e mouth lay hold of t h e inner end of the
roll with t h e thumb and forefingsj, and
draw out t h e coil, when it will unfold itself
and present quite the appearance of the red
and white pole so significant of a hairdress-
ing establishment.
 T H E FOUR MATCH P R O B L E M .
If we believe a celebrated F r e n c h journal,
t h e problem of t h e f o u r matches would t a x
t h e patience of t h e best architects or
mechanicians, unless they have been pre-
viously told how t o do it. Of course, when
t h e plan is known i t seems very easy ; b u t
otherwise i t will mako a n interesting even-
ing's puzzle for a winter p a r t y . Split u p a
little t h e wooden end1 of a common lucifer
m a t c h (a). Take a second matoh (b) and
sharpen it longitudinally a t t h e wooden end,
like t h e extremity of a wedge. Place this
wedge (of b) into t h e split (of a), so t h a t tho
two matches may f o r m between t h e m a n
angle like t h a t in this illustration (less t h a n
a r i g h t angle). Place t h e m on t h e table as
in t h e lower diagram, w i t h t h e vertex of
t h e angle above, and leaning u p o n a t h i r d
m a t c h (e).
The problem is to l i f t these t h r e e matches
bodily u p like t h e t o p of a pyramid, Dy
means of a f o u r t h m a t c h , w i t h o u t touching
any of t h e t h r e e matches with t h e fingers.
There is only one way of doing i t : you can
do i t easily. W h e n t h e audience t r y and
give in, very likely saying i t is impossble,
you j u s t do it, a n d t h e y will be t h e m o r e
astonished. They t r y again, and again fail,
u n t i l you explain t h e method, which is as
follows:—Take t h e f o u r t h match (d) be-
tween t h e finger a n d t h u m b and b r i n g it
horizontally beneath t h e third matoh (c).
P r e s s t h e first two matches gently with it,
so t h a t they will lean on it, a t t h e same
time allowing t h e third match to fall on it.
Lower t h e hand in order t h a t t h e t h i r d
match may slip through t h e angle between
t h e first two, so as to p e n e t r a t e a little be-
yond. The t h i n g is done. You can now
l i f t u p tho t h r e e matches, as in t h e t o p dia-
gram, by means of t h e one in your h a n d ,
two being on t h e one side of i t and t h e t h i r d
on t h e o t h e r side
T H E PAPER TOP.
W h o can m a k e a t o p t h a t will set itself in
m o t i o n ? N o b o d y ? W e will show you how
it is done. Take a cork, a sewing needle,
and a square piece of writing paper. P l a c e
t h e cork on t h e t a b l e and: f a s t e n t h e needle
in it, point up, find t h e centre of t h e .piece
of paper by drawing t h e diagonal lines, a n d
balance i t on t h e needle a f t e r b e n d i n g t w o
opposite corners of t h e paper, one u p w a r d ,
t h e o t h e r down. Now we a r e Teady for t h e
trick. Hold' y o u r h a n d close to. t h e paper
as shown in figure. Before long t h e paper
will set itself in motion, and will stop as
soon as you remove your h a n d . This
simple mechanical effect is produced by t h o
w a r m t h of t h e h a n d catching t h e corner of
t h e paper t h a t h a s been b e n t downward,
which sets t h e paper t o p in motion.
SWALLOWING A K N I F E .
This is a pleasing and harmless diversion,
b u t in order t h a t t h e r e may be no f e a r of
one cutting oneself it is b e t t e r to perform i t
with small f r u i t knives. Besides two
knives all t h a t is required is a small piece of
white notepaper, r a t h e r longer t h a n t h e
knife blade, and twice t h e width of t h o
blade. Previous to exhibiting t h e trick con-
ceal t h e duplicate knife down t h e back of
t h e neck, blado upwards, care being t a k e n
t h a t t h e knife does n o t slip down. Fold t h e
piece of paper lengthwise in half, and p u t i t
over tho blade, explaining t h a t this will pre-
vent t h e knife cuttiug you as it is swallowed.
Place t h e • palms of t h e hands together,
lingers upwards, holding t h e blade between
t h e m , handle downwards, and between t h e
wrists. Keeping tho elbows as close to-
gether as possible raise t h e hands, and p u t
t h e handlo in t h e m o u t h , as if about t o
swallow it. Again withdraw i t , with t h e
remark t h a t it is n o t going down as easily as
usual. Again raise t h e hands smartly, b u i
this time allow t h e knife t o slip out of t h e
paper and fall behind t h e table on t h e knees.
The paper will bo visible above t h e finger
tips, and appear still to contain t h e knife.
Make appear to bo forcing t h e knife into t h e
m o u t h , but in reality only t h e paper, which
can be chewed into a ball and concealed be-
hind t h e t e e t h . Now reach t h e right h a n d
over t h e shoulder and withdraw t h e con-
cealed knife, and exhibit.
 A STARTLING SWORD TRICK. THE LAW OF INERTIA.
One of the newest and most startling of There a r e few readers who a r e n o t ac-
Bword tricks is t h a t which was recently de- quainted with t h e existence of t h e great
scribed and explained in " L a Nature." A n a t u r a l law of inertia, in virtue of whioh
boy picks u p a long, lithe, sword blade, and bodies a t rest t e n d to remain a t rest, and
making a t h r u s t a t t h e conjurer the blade bodies in motion continue in motion until
apparently enters his stomach and makes its external forces bring them t o a standstill.
appearance a t his back, I n e sword has no H e r e are two interesting experiments which
handle, but threaded through an eye a t the illustrate t h e law fax better than any expla-
end like a needle are a few yards of ribbon, nations could do.
and as if to show t h a t there is no deception
A B A T T E R Y OP D R A U G H T S M E N .
t h e sword is thrust right through t h e con-
jurer's' stomach and is pu^ed out a t his On a table place a pile of draughtsmen,
back, ribbons and all. Of course it is an il- near t h e edge of t h e table, and distant
lusion, and t h e small diagram explains how about t e n inches or a foot f r o m t h e pile, hold
it is managed. There is a metallic t u b e another " m a n " in
the position) indi-
cated in the
sketch, and by
pulling back t h e
hand, shoot it
smartly against
the column, Ac-
cording t o th e
manner in whioh it strikes, either one or
two of t h e men, will be sent spinning
out of t h e pile, b u t t h e equilibrium of
t h e l a t t e r will be i n n o way disturbed.
THE BRIDGE OP D O M I N O E S . '
The other feat is performed by means of
dominoes. Construct of these an aroh like
t h a t in t h e illustration. Underneath t h e
lower ardh place
on its side an-
other dominoe, in
bent t o t h e curre of t h e conjurer's body, such a position
and fastened thereto underneath his r e s t . t h a t by tilting it
When t h e boy thrusts a t him t h e conjurer smartly with the
seizes t h e point of t h e blade as if to ward fore-finger i t will
off the point, b u t in reality he directs it to strike t h e lower
t h e mouth of t h e tube, and t h e flexible blade, cross-brick. If this
impelled by t h e thrust, goes easily through is done swiftly
t h e bent tube, making its appearance either and steadily, the
through a hole in t h e back of t h e coat or brick will be knocked from its position,
between its tails, as t h e tube is fixed. The whilo t h e superstructure, owing t o its in-
illusion i3 complete, and the effect of seeing ertia, remains intact.
a sword apparently thrust right through a TRICK w n n MATCHES.
man's body is thrilling in t h e extreme.
Take t e n or twelve matches, and lay them
STRAW TRICK.
as shown in t h e diagram. Then p u t your
H o w may four straws and a coin be lifted finger on t h e match marked " A," and by
by means of a fifth s t r a w ? I t is allowable prossing upofl i t the match marked " B" will
lift itself u p and keep in motion by con-

tinued pressing without any of tho other

matches being seen to move. Always keep
the first matches straight, as shown. To
make this little feat more interesting put
to arrange o r fix them in any way, b u t your hand over your finger, and, to the as-
nothing besides straws and coin3 may be tonishment of t h e spectators, you may put
used. The sketch will make matters clear. the match in motion at command.
 THE TRAVELLING DOLL.
This is a trick which demands a con-
siderable amount of practice if i t would be
accomplished neatly. The things required
are—1st, A wooden doll such as may be pro-
cured for a penny a t any toy shop, with t h e
legs broken off. The doll should be one of
t h e old-fashioned kind, with a good-sized
head a n d body, about five or six inches in
length, the head being about one inch and
a half in diameter. If a doll cannot be pur-
chased, a very little ingenuity would enable
t h e reader to make one with a piece of wood
and a pocket-knife. The head is carefully
sawn off with a fine saw, and a peg of wood
is inserted into t h e head-piece a t t h e place
where it is out through. A hole is made t o
fit t h e peg on t h e place where this joins, so
t h a t when t h e peg is inserted in its place in
t h e socket t h e doll looks t o all appearance
as if it were whole instead of being decapi-
tated a t t h e neck. There is also required a
doll's petticoat. This may be made from
any fancy-coloured calico or other dress
material. It should be about 18
inches in depth, and gathered at
tho top a n d bound, with a hole
sufficiently large to enable t h e doll's head
t o be popped easily through t h e aperture.
I n t h e inside of t h e dress, and sewn to t h e
top, a loose pocket must be fitted suffi-
ciently large to hold and conceal t h e doll's
head. These are t h e things required, and
t h e illustration shows them. *
The method of doing; t h e trick is as fol-
lows : —You take u p t h e doll, and, holding
it in such a way as t o conceal t h e cut a t the
n^eck, you tell t h e audience t h a t this is a
common wooden doll, solid and perfect in
every respect, and t o prove this you dump
i t loudly on t h e table t o show t h a t it is
actually solid1 wood. Then, p u t t i n g down
t h e doll, you take u p t h e petticoat and roll
i t into a ball in your hand t o show t h a t there
is nothing concealed about it. You t h e n
tarn it inside out, b u t in doing so you keep
t h e pocket towards yourself, so t h a t it may
n o t be detected by the audience. You t h e n
t u r n it out ?gain, switdh it on t h e table t o
prove t h a t t h e r e is nothing concealed in its
^interior, and, gripping t h e petticoat with
left hand by t h e headband, you now t a k e u p
the doll with your right, and,- placing i t
inside t h e petticoat, you push t h e doll u p
until its head makes its appearance through
the opening a t t h e band. You now require
some lively p a t t e r t o interest a n d distract
t h e a t t e n t i o n of your audience. If you can
do a' litle ventriloquism a t this point t o
make t h e spectators believe t h a t t h e doll
really speaks, so much t h e better. The
talk may go on in this w a y : —
" Are you fond of travelling, Tommy ?"
you inquire. Tommy says " Yes." " W o u l d
you like t o go t o California, T o m m y ? "
Tommy will say " Yes" or nod his head, as
t h e case may be. " Would you like a little
money to pay your passage, Tommy?"
" Yes," Tommy would like a little money.
" Then I will see if I can find a penny for
you." So saying, you quickly withdraw t h e
r i g h t hand from t h e interior of t h e petti-
coat, taking away with it a t t h e same time
t h e body of tho doll concealed i n t h e palm
of t h e h a n d . Thrust this quickly into t h e
trousers' pocket, leaving i t there, andi
bringing f o r t h a penny or a coin of some
kind. Knock with this loudly o n t h e head
of Tommy, and now say, " A r e you ready,
Tommy, t o s t a r t upon your travels f "
Tommy nods or says " Yes." Then, p u t t i n g
down* t h e coin and holding u p your right
h a n d t o show t h a t there is nothing hid
about it, you now place it inside t h e petti-
coat, and pressing t h e head of Tommy down
through t h e aperture with t h e forefinger of
t h e l e f t hand, Tommy's head, of course,
comes into the fingers of t h e right hand,
and is deftly placed into t h e concealed'
pocket. You now say Tommy is gone, and
to prove your words you t u r n t h e petticoat
inside out, keeping, of course, t h e pocket
towards yourself, and lo 1 Tommy has van-
ished. Strike t h e table with t h e petticoat,
and no sound will bo heard, for t h e reason
t h a t the pocket being near t h e top, Tommy's
head does not come in oontact with t h e
table. Turn t h e petticoat right side o u t
again, and roll it u p into a ball, t o prove t o
the satisfaction of every one t h a t Tommy
has absolutely and u t t e r l y vanished. Hold-
ing the rolled u p petticoat ini t h e l e f t hand,
you may throw open your coat and roll u p
your sleeves t o show t h a t it is n o t concealed)
in any way, t h e n unroll t h e petticoat again
and place your right hand inside as before.
Bring o u t t h e head from t h e pocket, t h r u s t
it through t h e aperture—only so f a r as t h e
chin, of course—turn his head merrily
round, make him nod, and bid him disap-
pear a g a i n ; then, thrusting his head into
t h e pocket, you show t o all t h a t Tommy is
gone once more, and so t h e trick concludes,
t o t h e wonderment of all n o t in t h e secret.
 STRING-STICKS. a groove in t h e 6ticks, where you see t h e
This " puzzle of t h e streets" is called t h e dotted lines in Fig. 2, a n d place t h e s t r i n g
Pillars of Solomon—why, we know not. I t in t h e groove. Then glue oni to each piece
used to he made of beautifully-finished ivory another stick of the same size, and then
or boxwood, with elegantly-turned knobs. make t h e cloth hinge on t h e end. The little
Now it is simply, t o look at, two pieces of projections ( 0 C) are small pieces of string
ordinary wood three inches long and an glued in small holes, to h e i g h t e n t h e decep-
inch square. A t t h e bottom a piece of tion.
calico serves as a hinge. Close to the top A BURNING SNOW MOUNTAIN.
a piece of string is r u n through them. B u t This is a little trick which consists of set-
is it r u n through t h e m ? H e r e is t h e state ting fire to a heap of snow. Take with you
of affairs as t h e man has them on his t r a y : in your pocket a few pieces of camphor.
Then collect a heap of snow so as to resemble
a miniature mountain, and while smoothing
t M L ^ ML-
SSS&8 the sides and adding t h e finishing touches,
secretly insert t h e camphor in t h e summit of
the pile, taking care, of course, not to bury
it in snow. Then .fipoly a lighted match to
the camphor, and to the astonishment "of t h e
onlookers t h e miniature crater will burst
into flame, and burn with a beautiful light
for several minutes. r
THH ELECTRIFIED PIPB
Trick is easy of accomplishment despite t h e
fact t h a t it looks an impossible one. Place
" Now," says t h e man, " I will show you a clay pipe in equilibrium o n t h e edge of a
t h e r e is no deception, t h e string (A B, Fig. glass. The problem is t o make t h e pipe fall
1) runs freely through t h e hole"—as it does,
backward and forward, as fast as you like t o
pull i t . " 1 will now," continues t h e man,
" cut t h e string."
And h e does so, c u t t i n g down between!
t h e sticks in the line C D. H e passes t h e
knife r i g h t down between t h e sticks, opens
t h e m for a moment t o show t h a t the string
is cut, then shuts them as before, and, as
before, t h e string A B r u n s freely backward
a n d forward.
" I have crut t h e string, a n d joined it
again, ladies and gentlemen 1" h e exclaims
proudly. H a s h e really done this ? L e t us
buy t h e sticks and take t h e m home and
investigate. You will find t h a t t h e two
sticks are really four pieces of sticks, and
t h a t , in short, t h e string, instead of cross-
Sing where i t seems t o do, has t o r u n down
one stick and u p another, so t h a t n o knife without touching it, blowing upon it, oi
could injure it, used in t h e way an ordinary agitating t h e air, and without moving the
person would use it. And, in fact, to make table. Take another glass and r u b i t
a long story short, t h e string-sticks are rapidly on the sleeve of your coat. W h e n
made ini this fashion: — you bring i t close to tho pipe you will see
it t u r n a f t e r t h e glass until it falls.
A STRIKING SIGHT.
An astonishing parlour trick may be done
in this way. L e t a person sit down upon
a somewhat low chair. L e t a second per-
son seat himself or herself upon t h e first
person's knees, a third person upon t h e
knees of No. 2, a fourth on those of No..3,
and so on until there is a row of six or
seven. The chair oni whioh No. 1 is sitting
may t h e n be withdrawn with perfect safety,
no. 2 and t h e row of performers will be left sitting
Take two sticks, eaoh three inches long, on each o t h e r s kneea aa if n o t h i n g h a d
(me inch wide, ana half an inch thick. Oat happened.
 T H E A U T O M A T I C DANCER. t h e upper portion. The consequence is that
A capital diversion for an evening partyy when tho figure is gently placed upon the
(s t h e one we are now about to describe,, ground in front of the thread the slits catch
which, for want of a better name, we call lj in the thread, and thus support t h e figure,
the performer regulating his legs to t h e re-
the automatic dancer. The performer
» quisite height t o make the feet of t h e figure
brings into the room a cardboard figure of just touch the floor and no more. The per-
a sailor, Highlander, Turk, or other person-L
~ former then places his hands upon his knees,
age whom he may choose. The figure iss and by gently shaking his legs, keeping time
from 12 in. to 18 in. in height. I t is
3
to the music, t h e figure is caused t o dance,
brilliantly coloured, according to taste. and may actually be made to leap in the air
Each of t h e lower limbs is in two pieces,'' by a twitch of the limbs. A t the conclusion
being fastened a t the knees and thighs by' of tho performance the-figure may be again
knotted strings, which enable them to move6 handed round, and the company have
another opportunity of seeing t h a t there are

I no cords attached to it to cause it to per-

form. Tho dancer appears to act in a most
mysterious and wonderful manner, and the
astonishment is sure to be unbounded if t h e
trick is carefully and neatly done.
ONE STROKE PUZZLE.
H e r e is a puzzle with which you can catch
your friends. J u s t ask them to draw t h e
following figure without taking their pen-
cils off t h e paper and without going over t h e
same line twice: —
A f t e r you have tried it yourself for a
while you will find t h a t t h e r e is always one
line missing, and to supply this lime a n d
comply with t h e conditions you must go
freely. The performer shows the figure to, about i t as follows: —
his audience for the purpose of satisfyingr Take a sheet of paper and fold i t once.
them t h a t it is only a piece of cardboard.. Then fold back t h e upper lap about a n inch
H e then seats himself facing His audiencej from. the first crease. Now t a k e your pen-
on a chair at t h e back of the room, and,
placing tho figure between his knees, with
its feet touching t h e ground, he proceeds
to make mesmeric passes over it, when, lo!
t h e figure appears t o stand bolt upright, un-
supported, upon the floor. This will excite
general wonder, but t h e wonder will be in-
creased to astonishment when, to the in-
spiriting strains of t h e piano, or the
melodious whistle of the performer, a lively
jig or hornpipe is struck up, and the little
figure proceeds to dance energetically, keep-
ing time to the music. There is nothing
apparently to cause him to dance; he seems
quite unsupported,, and yet there he is, be-
fore the eyes of all, dancing away for very
life. This wonderful illusion is exceedingly
simple, and is produced in the following
m a n n e r : —The performer has previously
procured about a yard of black silk thread.
To each end he has fastened a black pin, and
these pins he has fastened in his trousers—
one in each log—at t h e outer sides, and just cil and, using t h e second crease as a ruler,
about tho level of his knees. H e can walk draw a line on t h e paper about two
with the utmost freedom, and the thread is inches long in such a way t h a t t h e pencil
quite unperceived while he is in t h e room. will make its mark along t h e crease as well
On seating himself on the chair he places as on t h e sheet itself. Then, without tak-
his legs widely apart, till the string is almost ing your pencil off t h e paper, smooth o u t all
t a u t . Then the figure has two slits made in tho folds and you will find t h a t t h e two sides
the head in t h e position occupied by t h e of t h e inner square have been made. You
ear3. These slits are slightly bent back on can t h e n continue to complete t h e figure in
any way t h a t may strike your own fancy.
 A R E YOU N E R V O U S ? T R Y . TELLING AN U N S E E N A M O U N T .
A simple test for steadiness of hand and Request a friend t o think of a given num-
Berve may be had in this way. Place your ber of pennies, and, in imagination, to bor-
row an equal amount from another membei
of t h e company, and to add both sums
together. " Suppose, now," you say, " that
I present you with fourteen pence. Add
t h a t sum to t h e former amount, distribute
half t h e t o t a l as you please, r e t u r n tho
money you borrowed, and I shall tell you
how much you have remaining." Where-
upon you open your hand, revealing seven
pennies, and you are safe in asserting t h a t
forefingers on t h e table, audi across them this is t h e amount in question. The ex-
lay a thin cutting of wood, or a straw t a k e n planation is simple—namely, t h a t t h e re-
from a broomstick. Upon this place two mainder is always one-half, of t h e amount
V shaped pieces of thin wood1 or straw, t h e added by way of a present. " ' ' '
ends of which should just reach to the W e will now t r y two little tricks in which
table. Your best atempts t o keep the t h e agency of water is required, Tho first
;
straw steady a r e sure t o be unsuccessful, of these we will term . *>
and the two riders will hobble nearer and A N INGENIOUS CANDLESTICK,
nearer until they meet in the centre. the candlestick being nothing less t h a n a
T H E TANTALISING PENCIL.
glass of water I Take a piece of candle two
Take a pen or pencu between t h e thumbs or three inches in
and first fingers when the palms of t h e length, and into
hands are together, as in Fig. 1. Now, t r y one end of it stick
t o bring t h e backs of both hands upwards, a nail of such
with t h e pencil across t h e palms and oyer weight t h a t when
t h e thumbs, as in F i g . I I . , a n d again back the candle is
t o t h e first position without letting go t h e placed in water
pencil With either hand. When neatly done, it shall float With
t h e movements are both smooth a n d grace- tho upper rita on
f u l , a n d a r e as follows: —Keep t h e fingers t h e sUTfaoe of the
close together and quite straight, raise t h e water. Place thi3
fingers of t h e r i g h t hand a n d pass t h e m be-* candle in a tumb-
tween th«" t h u m b a n d fingers of t h e l e f t ler of water and
hand andi .round t h e l e f t hand end-of t h e light tho wick. It
trill continue t o burn until tho candle is con-
sumed t o t h e water's edgo. An improve-
m e n t on this trick is that which we entitle
A CANDLE BURNING UNDER WATER.
This apparently extraordinary feat is in
reality one of t h e simplest imaginable. Float
a short lighted candle on a piece of cork
placed on t h e surface of a basin of water.
Then place e i t h e r ^ bell jar or a glass jelly-
jar over the
bandle, and press
t h e jar slowly to
t h e bottom of t h e
basin. Curiously
pencil, completing a circle round it, whilst enough, t h e jar
a t t h e same t i m e t h e thumb of t h e l e f t hand 'will n o t fill with
passes between t h e t h u m b a n d fingers of water, and the candle will burn until it ex-
t h e right hand, t h e t h u m b making a circle hausts the air in t h e glass, although mean-
round t h e opposite end of t h e pencil. The while it is floating considerably below the
h a n d s will now be i n t h e position sketched level of the surface of t h e water.
in Fig. I I . , with t h e point of t h e pencil a t ANOTHER CANDLE TRICK.
t h e opposite side. To reverse the operation, A candle t h a t won't be blown out mav he
let tho thumb only of the right hand pass be- made by wrapping round a candlo a r:ig
tween t h e thumb and fingers of the left hand which has been rubbed with salt. IF you
and round tho pencil, t h e fingers only of then light t h e wick, you may blow nt t h e
the l e f t hand . simultaneously passing be- candle to your heart's content, b u t it wnn'fc
tween t h e t h u m b and fingers of t h e right be p u t out and will end its life in t h e natural
hand, and r o u n d t h e end of t h e pencil, un- course of events despite your attempts to
til t h e first position is again attained. bring it t o a n untimely fate.
 M A G I C SQUARES.
Magic squares of odd numbers in which
t h e figures added in perpendicular, horizon-
tal, or diagonal rows make t h e same sum,
are found in book3 of puzzles, b u t the prin-
ciple on which they are based is never given.
There is a principle, and it is applicable
without limit, from one square to any odd
number of squares indefinitely. For illus-
tration, twenty-five squares are given, and
t h e sum of each of its rows of figures per-
pendicularly, horizontally, or diagonally is
65. Now for the rule. Always write your
17 24 1 8 15
23 & 7 U 16
4- 6 15 20 2Z
to 12 15 21 3 will be t h e number of t h e page, t h e next
11 FS 25 Z 9
numbers consecutively, diagonally, upward,
to the right. If t h a t direction carries you
outside of the squares, then go to the op-
iosite end of the row a t which you stand,
ff you reach a square t h a t is occupied, or
the upper right hand corner, then drop to
the square below t h e last one used, and pro-
ceed as before. Begin w i w 1 in t h e upper
centre square. Now, t r y i t .
T H E M A G I O OP N U M B E R S .
There are some very curious things t o be
noticed about numbers, so curious t h a t some
have declared t h a t there is " a magic" in
figures, and t h a t eaoh numeral is symbolic
of something else.
Take a piece of paper and p u t down t h e
figures 142857 and multiply by 2, 3, 4, 5, and
6, and you will find t h a t t h e same figures
occur in t h e answer, only the positions are
changed. For example, 142857 multiplied
by 2 equals 285714, the same figures exactlf,
and if you will commence reading them at
1 the figures will follow in the same rotation.
Suppose you nriltiply by 4, t h e answer will
be 571428, t h e same result as before. B u t
if you multiply 142857 by 7 t h e result is a
row of 9's, for t h e answer is 999999. This
is a curious fact and' may help you t o spend
a pleasant hour.
Ask a friend t o open a book a t random,
and select and mark any word1 within t h e
first 10 lines, amd within the 10th from t h e
end of t h e line. Now, letting your friend
do t h e figuring, proceed t o discover through
the " magic" of numbers t h e locatipn of t h e
word selected. Ask him t o double t h e
number of the page and1 multiply t h e sum by
5 and then- add 20. Them ask him to add
t h e number of t h e line. Then t o t h a t add
5, and multiply t h e sum by 10. To the
answer add the number of t h e word in t h e
line. Substract from this sum 250, and let
him tell you the Tesult. You will be able
to tell him t h e page Chosen, the number of
the line, and t h e number of the word in tho
line, for the remainder will indicate in t h e
unit column t h e number of t h e w o r d ; in t h e
10 column the number of the line, and t h e
remaining figures the number of the page.
To give an illustration of this, suppose your
friend selects the 6th word of the 6th line
on page 33, he would work it o u t in this
fashion:—33 multiplied by 2 equals 66,
multiplied by 5 equals 330, add 20 equals
350, t o this add 6, t h e number of t h e line,
and 5, making 361, multiply by 10 and yon
get 3610, add 6, t h e niumber of t h e word in
the line, and then subtract 250, and t h e
answer will be 3366, the first two figures 33
figures t h e number of t h e line, and t h e last
figure t h e number of t h e word.
Another interesting and curious problem
in t h e magio of numbers relates to our
system of oounting money. You know t h a t
12 pence make one shilling and 20 shillings
one pound. Now p u t down any number of
pounds not more t h a n 12, any number of
shilling not more t h a n 20, and any number
of pence under 12. Under t h e pounds p u t
the number of pence, under t h e shillings t h e
number of shillings, and under t h e pence
t h e number of pounds, thus reversing t h e
line; then subtract, reverse the line again,
add together, and t h e result will be £12 18s
l i d , whatever numbers you may have selec-
ted.
To illustrate, suppose we t a k e £ 9 16s 7d,
reverse this and' you will have £7 16s 9d,
subtract, and reverse again and add.
£ 9 16s 7d
7 16s 9d
£ 1 19s lOd
10 19s I d
£12 18s l i d
No matter what combination of figures
you take, t h e answer will always be t h e
same.
_ H a v i n g worked) a t these figures for some
time, you may ask your friends if they are
aware of t h e peculiar properties of the num-
bers 37 and 73? They will answer in t h e
negative, and you will tell them t h a t t h e
number 37, being multiplied by each of t h e
numbers in t h e arithmetical progression 3,
6, 9, 12, 15, and so on up t o and including
 AUNT KATE'S CONJURING AND PARLOUR MAGIO. 37
27, all t h e products will be composed of ATTRACTION A N D REPULSION.
three similar figures, and t h e sum is always With a bowl of water on t h e table t h e fol-
equal to t h e number by which 37 was multi- lowing amusing experiment may be per-
plied. F o r example: — formed. Float a number of matches, t h e
37 37 37 37 37 37 37 37 37
3 6 9 12 15 18 21 24 27

111 222 333 444 555 666 777 888 999

Add together t h e t h r e e figures in each
product and you have the amount of the
multiple. The number 73 being multiplied
by eacJh of t h e forementioned progressive
numbers, t h e products will terminate by one
of the nine digits, in reverse o r d e r ; 73 mul-
tiplied by 3 equals 219, by 6 gives 438, by 9 ends of which have been burnt, on it in t h e
equals 657, and so on until t h e terminal shape of a star. By inserting a piece of
figures are 9, 8, 7, 6, 5, 4, 3, 2, and 1. soap, cut into a point, into the centre of t h e
S o N E A R AND Y E T s o FAR'.
star, t h e matches will seem to be repelled
Throw a handkerchief on t h e floor, and from it, and will find their way into every
supporting yourself on your right arm and corner of t h e basin. If, however, a piece of
sugar be used, an opposite effect is a t once
both feet—with t h e remainder of your body
produced, and the matches, as if they had a
clear of t h e floor—pick u p t h e handkerchief
liking for sweets, are attracted to t h e piece
with your mouth. The feat seems easier of sugar a n d crowd round it.
t h a n it is.
W H E N A F R I E N D I N T E N D S TO R I S E .
H e r e is a case of
Here is a n easy method of discovering
A TANTALISING SWEETMEAT, t h e h o u r a t which a person intends t o rise.
and may fitly be performed a f t e r t h a t j u s t Ask your friend t o set t h e h a n d of a watch
described. Place a chair, as shown in t h e a t any hour he pleases (not necessarily t h a t
a t which h e intends to rise) and t o tell you
t h e hour. I n your own mind add 12 t o
this number. Then, telling your friend t h e
total of t h e two sums, ask him to start a t
t h e hour preceding t h a t a t which he means
to rise, and with i - e number which he first
named, as a beginning, to count backward
on the dial until be comes to t h e total which
you gave him. Singular to state, t h e point
he thus reaches is t h e hour a t which he in-
tended t o rise. H e r e is an example: —
Your friend wishes to get u p a t 7, and he
places the hand of t h e watch a t I I . To
this latter figure you add 12, making 23,
which number you ask him to count back-
ward upon the dial, starting with 11 a t t h e
sketch, and invite t h e performer to kneel hour previous to t h a t of rising—that is 6.
in the position illustrated, and while doing By so doing he will stop short a t 7.
so t o pick u p with his mouth a lump of T H E OBSTINATE L E A F .
sugar whioh has been plaoed on t h e back of
t h e topmost rail of t h e chair. As in t h e Take a piece of ordinary paper, of th«
former feat, do not judge by its appearance shape shown in F i g . 1, and place it on the
t h a t this is simplicity itself, b u t try i t . table, as illustrated in the engraving. Now,
stand as close as possible to the paper, and1
WINNING BT A N E C K — N E C K OR N O T H I N G .

Go down on both knees on the floor, place

t h e elbow of either arm against one knee,
a n d extend the hand and fingers straight
out. W i t h t h e other hand place a florin
or penny on t h e floor, just touching t h e tip
of t h e middle finger. The feat is to pick
u p the coin t h u s placed with t h e mouth
without falling forward, a rather difficult
task. By extending the hands behind the
back, and drawing t h e coin towards you
witn the upper lip, the trick is made r a t h e r
easier.
Fio.r FIG I L
try with might and main to blow i t over.
The trick will be found to be well-nigh im-
possible. However, by standing about a
yard from t h e table and giving a sharp,
strong puff, t h e paper will t u r n over on its
back quite readily. You must blow on thef
broad edge of the paper, n o t the e n d .
 KICKING T H E SPOOL. A STARTLINC1 TRICK.

Place a common cotton spool oni t h e floor W i t h a n ordinary m a t c h box a n d a few

touching t h e heel of t h e l e f t foot, next matches w e can h a v e a good deal of f u n . Ar-
place t h e r i g h t heel against t h e l e f t toe, r a n g e an experi-
and again t h e l e f t heel against t h e r i g h t toe, m e n t , as shown
You will now be t h r e e f e e t f r o m t h e spool, in t h e illustration
b u t n o t necessarily a y a r d . Spin r o u n d on — a vertical m a t c h
the ball of t h e l e f t foot as on a pivot. Reach on each side of
o u t t h e r i g h t foot and knock t h e spool over, ' t h o box, and a
a f t e r w a r d s bringing t h e r i g h t f o o t back horizontal one
level with t h e other. These movements, stretched be-
which should be performed w i t h o u t a pause t w e e n t h e m . The
between, m u s t be accomplished w i t h o u t al- puzzle is, by light-
lowing t h e r i g h t foot t o touch t h e ground ing t h e horizontal
t f t e r having spun r o u n d on t h e l e f t foot. match at its
centre, which of
INCONTROVERTIBLE. the vertical
H e r e is a n amusing t r i c k . T a k e a piece matches will catch
of stiffish p a p e r and fire first ? ;Try it
t u r n down t w o oppo- and see; .-
site corners as illus-
t r a t e d ini t h e sketch. T h e following a m u s i n g little f e a t is cer-
P l a c e i t o n t h e t a b l e tainly
with t h e p o i n t s down-
N O T T H E B E S T W A T TO L I G H T A C A N D L E .
wards. Now t r y to
overturn it without Two persons kneel down on t h e floor fao-
touching it. I t will b e f o u n d m o r e difficult ing each o t h e r . I n his l e f t h a n d each
t h a n you would t h i n k , b u t m a y b e done by
flapping t h e h a n d s s m a r t l y opposite one of
tho folded angles.
H o w TO T E L L A P E R S O N ' S AG«.
You m u s t provide t h e person whose a g e
is to bo told w i t h a piece of p a p e r a n d a
pencil, and ask h e r t o p u t down t h e n u m b e r
of tho m o n t h in which 6he was born—2 for
F e b r u a r y , o r 7 for J u l y , &o. T h e n She
m u s t double i t ; a d d 6 t o i t ; multiply t h e
result by 5 0 ; add h e r a g e t o t h e p r o d u c t ;
s u b t r a c t from t h a t t h e n u m b e r of days in a
year (not a leap year), and add t o t h e figure
left 115. Ask h e r to tell you t h e result,
and t h 6 t w o Tight h a n d figures will give h e r t a k e s al candle—one only of which is lighted
age, while t h e r e m a i n i n g figure or figures — a n d w i t h his r i g h t h a n d grasps his r i g h t
will bo the. n u m b e r of t h e m o n t h in which foot, as i l l u s t r a t e d . Tho f e a t now t o b e
she was born. Of course you have t o t r u s t performed is to light t h e o n e candle by
to her honesty and accuracy in adding, sub- means of t h e other. I t is well t o s p r e a d a
tracting, and multiplying correctly. newspaper before t h o operation is begun.
IMPOSING ON A COMPANY
A " little innocent impudence o f t e n a c t s as
a capital set-off for such a trick as t h e fol-
lowing.. Take six little pieces of p a p e r t h e
size of a shilling, and carefully place t h r e e of SERVICEABLE HINTS
them in a row on t n e back of t h e l e f t h a n d . • to I l o n s c w l v e s , Mothers, I t o m e W o r k e r s
A puff of b r e a t h will, of course, send t h e m a n d others, a r c round oil t w o p a g e s s p e c i a l l y
fluttering to t h e floor. Taking t h e other f o r t h e i r benefit In t h e P E O P I E ' S F R I E N D ,
three pieces, you inform your f r i e n d s you " F o r W i v e s a n d D a u g h t e r s " is a W o m e n ' s
are prepared to show t h a t by t h e exercise C l u b conducted b y J a n e t t e , In i r h l c h r e a d e r s
of your magnetic powers you will b e able a f f o r d e a c h o t h e r I n v a l u a b l e , assistance
T i l l list t h o " H o u s e h o l d P a g e " Is b r i i u r n l
to causo any of t h e papers indicated by t h e
company to remain on your h a n d , blow they e v e r y w e e k or c o o k i n g recipes, k u l t t i n s
a n d c r o c h e t d i r e c t i o n s . Instructions as to
ever so strongly. T h e execution of t h e
w o r k In the house, a n d o t h e r p r a c t i c a l
f e a t will, of course, be eagerly watched.
m a t t e r s . N o t h i n g so u s e f u l Tor o r d i n a r y
One of t h e company names a paper, you domestic r e q u i r e m e n t s is to bo ftmud any«
.coolly place a finger uponi it, blow on your w h e r e . T h e P E O P L E ' S I l t i r . ' . n is sold by
h a n d , and t h e other t w o pieces fly away. a l l N e w s a g e n t s ; P r i c e ONE P E N N Y .
 A F T E R D I N N E R A M U S E M E N T S . A TOUCHING PICTURE.
Here are a few simple tricks which may be Take an orange with pale yellow skin, and
performed with the aid of articles generally cut in t h e rind a face wearing as doleful an
a t hand a t the dinner or supper table, and expression as possible, .Raisin stones will
Which can be exhibited before the cloth is supply tho place
removed. These will certainly act like a of the eyes. Now
charm on the company when conversation is stretch a handker-
like to flag or become monotonous. ohief tightly over
T o M A K E A W I N E G L A S S WITH AN O R A N G E . the mouth of a
Cut through t h e peel, but not the pulp, wine glass, a n d
with a sharp knife. Insert the thumb nail upon i t place t h e
under the peel, and work round and round orange, with t h e
carefully, especially near the top and bot- features turned
tom, until all the peel is detached except slightly t o o n e
about half an inch a t side. By gently
both ends. Turn the pulling t h e hand-
two cups now made in- kerchief from side to side, over t h e mouth
side out. To make this of the glass, the orange takes on a rolling
effectively, a tough motion, and bears a striking resemblance to
skinned orange should the aspect of a person in the agonies of sea-
bo selected, but, fail- sickness.
ing that, roll the orange between t h e hands
to soften the rind. When properly made T o P E E L A N O R A N G E WITHOUT L E A V I N G T H »
P I T H ON.
it should easily support another orange or
apple. Although this is very simple, i t is little
H o w TO M A K E A P I G W I T H O R A N G E P E E L .
known. To do it, peel downwards from
Half of t h e peel only is required, b u t the t h e stalk end, and the pith will be taken
orange shorn- be cut in half, commencing a t away with the peel.
t h e p a r t where the stalk had been. The T H E LITTLE CONJURER.
following figure requires little explanation. H e is made by holding t h e hand in the
The result is very interesting to children. position indicated in Fig. I . The f r o n t of
Keeping t h e two t h e forefinger is painted to indicate'the face
sides close to- of a man, and upon t h e top of the finger is
gether, cut with placed a twisted cone of paper, coloured in
a sharp penknife, any style to suit the fancy. The robe is
as shown by t h e dotted lines for tho body, made with a handkerchief, either white or
ears, and tail, and insert raisin seeds for the
eyes. The ears and tail when folded
right over will remain in position. The
pig will t h e n stand nicely on the top of a
plate of oranges or apples, or by inserting a
piece of ginger beer wire a ring can be made
by which to draw it along.
To S P L I T A N A P P L E INTO T w o EQUAL PARTS
W I T H THE F I N G E R .

Take an apple off the dish, and exchange

it a t the most convenient opportunity for a
prepared apple, which have in readiness on
tho knees. This can be done by openly
placing the chosen apple on tho knees, as if
merely to get it out of the way, when turn-
ing your plate upside down. The action is
so natural t h a t no one can detect your ex-
changing it for the prepared apple, which
p u t on its side on the plate. To prepare coloured, draped over t h e hand in t h e
t h e apple, take a needle and stout thread. manner illustrated in Fig. I I . , the middle
Insert the needle in the side and take a finger being used as the arm of the conjurer.
stitch of about half an inch, re-insert t h e By holding the figure sideways, a very good
needle where it came out, take similar representation of a conjurer is obtained, and
stitches all round t h e apple, cross the two if the performer has at his command some
ends of t h e thread and pull them carefully, comical patter in the way of jests, pro-
when t h e thread will cut through the apple, phecies, conundrums, <£c., and accompanies
leaving scarcely a trace on tho skin. A his conversation with judicious nods and
smart blow of the fist on the finger placed twists of the head of t h e tiny magician, he
on the apple will divide the apple as if it will be successful in producing a very laugh-
had been cut with a knife. able diversion.
 F U N W I T H CLOTHESPINS.
I t is wonderful how much amusement can
be derived from such common things as
clothespins. They can be dressed u p in all
sorts of uniform, so as to represent a com-
pany of soldiers, sailors, policemen, or any-
thing. else. For instance, let us make a
company of soldiers. First cut out and sew
up little red trousers, each leg separate,
allowing plenty of stuff at the top to lap oyer
well a t the waist. Tuck them on with tiny
tacks. A blouse of blue must then be cut
straight, and drawn tight around the neck
of the clothespin. Sew with silk doubled,
and your work will stay. A bit of ribbon,
red or white, around t h e waist, will repre-
sent a belt. A little round cap of red can
be pasted or tacked on the head, and
adorned in front
with a small
feather or g i l t
paper s t a r , or
both. A gun cut
o u t of b r o w n
pasteboard is to be
tacked a t the side.
Faces m u s t b e
drawn on each sol-
dier—stiff, prim
faces, with tiny
moustaches. The
captain should be
distinguished by a
stripe down the
side of his trousers,
a broader b e l t ,
epaulets, a n d a
sword instead of a
gun. If you wish to take the trouble, you
can add sleeves to the blouse, and insert
little paper hands a t the wrists. The sew-
ing need not be very carefully done, and the
bottom of blouse and trousers can be cut
straight without hemming. Use tacks
wherever you can.
Other pins may be dressed as dolls. Some
of them may be demure-like housewives,
with sensible calico frocks drawn up around
t h e necks, and confined around the waists
with white aprons, small white caps on their
heads, and brooms fastened at their sides.
To make the broom, tie a few feathers to
the end of a match. Some can wear walk-
ing costumes of cloth, or silk skirts, with
shawls or capes over the shoulders, and bon-
nets of silk adorned with gay feifthers or
bows on top. Some may be dressed as
babies, with long white dresses, sashes, and
long white caps, some as nuns, with black
dresses and black veils. Each must have a
face as appropriate to the costume as you
can make it. Dresses which are tacked on,
or folded over, or pasted down, or tied
around with ribbons, do not require muoh
experience in t h e making.
A S P R I G H T L Y D A N C E R .
Many of our readers will doubtless be a©
quainted with this amusing little individual,
b u t for t h e benefit of those who are not we
venture to introduce him. Cut off parts of
the fingers of an old kid glove, and sew upon
it pieces of coloured material to resemble
a jacket and vest. Mittens, sox, and shoes
have next to be made and fitted on, and a
small collar adjusted round t h e neck. Now
paint a face upon t h e back of the wrist with
water colours, and t h e dancer is ready for
t h e stage. The fore and middle fingers, of
course, represent the legs, and as the fore-
finger is shorter t h a n t h e middle, t h e boot
should have some stuffing inside to lengthen
it. When t h e dancer trips it on the light
fantastio toe to music, on a table, t h e effect
is most comical, yet realistic.
THB WINGED ACROBAT.
Out of a piece of yellow pine, or other soft
wood, two or three inches in length, carve
roughly the figure of a man. His body must
be shaped like a long pear, coming almost t o
a point a t the bottom. You will see, ther&-
fore, t h a t we are not exactly imitating
nature, b u t are striking o u t a new departure
in the human form. The features of t h e
face may be traced
in ink or colour,
or, if the sculptor
has sufficient skill,
may be carved in
the wood. Instead
of arms like those
usually worn by
boys and men, you
have to provide
your figure with a
couple of o a r-
shaped blades of
equal s i z e a n d
weight, fastened
one in each shoul-
der, as illustrated.
They may be made
of thin wood, or of
tin, or sheet zinc. This completes the
mannikin, with the exception of his decora-
tion, which, however, we leave to t h e taste
and ability of our readers. If the figure has
been made " t r u e " — a s carpenters p u t it—
you should be able t o make him i t a n d erecfj
on the tip of your finger, and, by blowing S O M E O P T I C A L A N D O T H E R
upon his " wings," to make him revolve a t a I L L U S I O N S .
rapid rate. "' You should take care t h a t you T H E GOTHIC ARCH.
do not make the end of t h e figure too sharp, The sketch represents a Gothic arch c u t
otherwise t h e tip of your finger may suffer. in two, by a straight pillar, on one side of
'- ORNAMENTS FROM LOBSTER SHELLS. t h e apex A. To t h e eye t h e sides of t h q
There is a use for everything. B u t who
would imagine t h a t anything of utility could
be made from such an extraordinary article
as a lobster shell? Yet a little ingenuity,
combined with neat fingers, may produce
from t h e shell of a lobster very pretty little
articles, which are certainly more orna-
mental than useful, b u t which will repay t h e
trouble spent upon them. F o r instance,
having boiled the
lobster, and
thoroughly r e-
moved from t h e
s h e l l all fleshy
matter, one of the
big claws, without
t h e upper jaw, will arch seem t o have very different ctirvatareg,
serve as t h e body b u t by producing t h e arcs on t h e l e f t side of
of a little soldier
t h e pillar they will be found to r u n naturally
(the red colour of
to t h e points A and B, and t h e arch will ati
t h e shell is ap-
propriate). An- once assume a look of proportion,
T H B B I R D IN THE CASH.
other big claw, b u t
n o t so long, will H e r e is another optical illusion. Place
serve as a head t h e edge of a visiting card or a square p i j c e
when provided with of paper along t h e dotted line between t h e
painted eyes and
hair and a little
fcocked h a t and feather. Connect t h e head
to t h e body as securely as possible, and con-
ceal t h e join with a stiff military-looking
collar. Arms and legs can be constructed
f r o m t h e smaller claws, and fixed t o t h e
body with wires; and as an additional pre-
caution, t h e legs can be strengthened by
slim iron pins fixed in t h e stand behind them,
and fastened t o them by threads. As in t h e ti r
illustration, t h e little figure may now be
provided with a miniature rifle, and when bird and t h e cage, and bring t h e eyes down
nicely varnished will present quite a tidy t o t h e upper edge. After a moment's
and soldier-like appearance. watching, t h e bird will appear to change its
position and enter the cage,.
T H E J-IEMON PIG. THE DISAPPEARING "WAFERS.
A very comical little f a t pig may be made Take three wafers of different colours
out of an ordinary lemon. Select one with about t h e size of a sixpence (small circular
a projecting end, to form t h e head and neck pieces of paper will do just as well), and
of t h e pig. The mouth and ears are made stick them on t h e wall, just on a level with
by cutting the the eye, and about six inches apart from each
rind with a pen- other. Now take u p a position about a
knife. The legs yard away from t h e wall, and fix both eyes
a r e pieoes o f steadily on t h e centre wafer, and you will
lucifer matches, see all three plainly. B u t on closing t h e
and t h e eyes are right eye, and still keeping t h e gaze of t h e
either black pins other on t h e middle object, t h a t on t h e l e f t
or grape stones. side will disappear from view; or when t h e
A small piece of process is reversed, and the left eye closed,
string pushed under t h e skin, and curled the right-hand object will become invisible.
with the fingers, forms the tail. The pig If, in the first instance, after closing tiie
may then be passed round upon a plate for right eye, t h e left optio is directed from t h e
t h e admiration and amusement of the com- centre wafer to t h a t on t h e right, t h e onq qjj
pany. t h e l e f t will come into view, pnc§ mar?,
 K 'AtTNffl KATE'S OONTURING AND PARLOUR MAGIO.
A C A N D L E S T I C K ILLUSION. H A L F P E N N Y ILLUSION.
You have no doubt often observed t h a t Upon t h e bottom of a cardboard box fix
when sunlight falls a t a certain angle upon a penny, " head"-side uppermost. Close by
a pane of glass t h a latter possesses t h e pro- the rim of t h e penny thrust through tho
perties of a mirror. This fact may be made cardboard a pencil, on the flat end of which
•the basis of a very pleasing optical illusion. a halfpenny has been fastened by means of
Upon each side of an upright piece of glass sealing-wax. It
place a candle set in similar candlesticks, is our intention to
and of equal show how these
height. Allow t h e two coins may be
sunlight to strike
made t o appear
upon the glass in
t h e manner ^indi- t o t h e eye of
cated, so t h a t ob- exactly similar
jeots are reflected size, and this wo
in it as in a mirror. accomplish by an
Instead of < a real optical illusion.
candle on the Set up the lid of
t h e box a t a short distance from t h e box
other side of t h e ^ itself, and a t a convenient height make a
glass, you will only see the refie,ctioi5*»>f t h e neat pinhole, through which the eye can dis-
other. Talcing advantage Of this fact, you
cern objects clearly. Now, looking through
can undertake t h a t by lighting t h e
candle on the near side of the glass you will t h e hole, it is easy, by some little adjustment
also ignite t h a t on t h e other side. When of t h e pencil—should t h a t be necessary—to
you apply a light to the first candle, so per- give to t h e coins t h e appearance of being
fect will be t h e reflection t h a t t h e t r u t h of precisely of t h e same diameter, and if t h e
your statement will appear borne out. halfpenny is brought nearer to t h e eye It
may even be made to appear larger t h a n tha
A TRANSPARENT HAND. penny.
Do you wish to be able to see through t h e COIOMRED CARD T R I C K .
palm of your h a n d ? All you require is a Take a piece of white cardboard and, a f t e r
sheet of stout you have painted half of it black, cut out a
writing paper, portion, as shown in t h e accompanying pic-
about 4 inches
long, and rolled
into a tube about
a n inch in dia-
meter. Take t h e
t u b e in t h e right
hand, and bring
its side against
t h e edge of the
left hand, which should be fully opened and
have the palm upwards. Keep both eyes
open. With the right, look through the
tube, and with the left look steadily a t the
left hand. Sure enough you will see a cir- ture, and then, through t h e middle, stick
cular hole right through it. That the illu- either a long nail or a wooden peg, which
sion may be perfect, you must take care t h a t has a knob a t the top, so t h a t you may be
you have the left eye fixed on t h e hand a t ablo to t u r n it. .
the same time t h a t t h e right eye is looking Now, if you hold a green card behind the
through the tube. place where you have cut out a portion, and
ESTIMATION o r DIAMETERS. then t u r n t h e cardboard, the green card will
A threepenny piece, when seen a short seem to be red, and the more light is thrown
distance from a penny, looks as if it was on it, t h e redder it will appear. I n like
more than several diameters smaller. Re- manner a red card will appear green and a
quest ally one to guess how many three- piece of blue paper will appear yellow.
penny pieces can be placed flat upon a Even more startling effects than these can
penny (one deep oni"'' without the silver be produced. For example, a figure with
. coins, projecting over the edge of the bronze blue hair, a green face and crimson clothes,
coin, when the answer will likely be four, or will appear behind the revolving cardboard,
even fivo, and great will be the surprise as though it were altogether of natural
when they find it is impossible to p u t more colours, for its hair will be blonde, its faca
• than one on the penny, as the diameter of flesh coloured, and its clothes greenish blue.
a threepenny piece is more than five-eighths Similarly, if a blue flower with red leaves is
of an inch, and that of a penny under one placed behind the cardboard the flower will
inch and a Quarter. , . appear yellow and the leaves green.
 TWO MARBLES TRICK. THE DECEPTIVE PILE.
Another good trick is t o blindfold a per- You have no doubt been asked t o indicate
son and ask him t o cross the middle and in- on the wall with your finger how high the
dex fingers as shown in t h e illustration. crown of a silk or tall hat will reach when
Then place a marble on t h e top of his placed on the floor. The uninitiated will
generally point about twelve inches from the
floor, instead of about five inches, or more
than double t h e height. Hero is a similar
trick not quite so well known. Hold up a
shilling, and ask some one to state how
many shillings can be placed one upon
another to make a pile which will reach to
tho top of the shilling when placed beside
the pile on its edge, or a number equal to
the diameter of tho shilling. As a rule, the
answer will be between six and ten. Very
few will daro to answer as high a number as
sixteen, the correct number. This trick
can be varied by using pennies or other
coins.
T H E E Y E DECEIVED.
Set a cork upon the mouth of a bottle,
and endeavour to strike it off with a jerk of
the thumb and forefinger, darting the hand

fingers. I t will not only keep in position so

long as t h e hand is kept steady, b u t he will
positively assure you t h a t h e is actually
holding two marbles in this position, for t h e
sensation is t h a t of touching a couple.
THE "ADHERING" COIN.
Optical illusions are mot t h e only ones by
whioh persons can be deceived, as t h e fol-
lowing n e a t trick clearly shows. Take a
piece of money and tell some one t h a t if he forward while doing so a distance of several
l e t . you press it to his forehead for a few inches. Tho fear of tho fingers being h u r t
seconds h e will find it impossible to remove by coming in contact with the bottle will, in
i t without using his hands. If he laughs a t many cases, cause the performer to raise his
hand too high, so that it mi&ses tho cork en-
tirely.

For WINTER EVENINGS

and SUMMER DAYS.

AUNT
KATE'S
you, and tells you to go ahead, step behind
him and press.the money to his forehead for
ten or twelve seconds. Then remove your
hand and bid him got rid of the coin if he
can. He will shake his head and make
. grimaces, expecting every moment to see (Illustrated.)
t h e coin; fall to the ground, b u t this h e will Clever, Bright, day, and Charming.
nover see, and for tho excellent reason t h a t 4 0 Pages each Complete.
When you removed your hand you also re- OIST33
moved the money. SOLD BY ALL NEWSAGENTS.
 S O M E S I M P L E E X P E R I M E N T S . T H E M A O I C VVHIRPOOL.
INVISIBLE WRITING. I n a basin of perfectly clean water drop
Make a vej-y strong solution of nitrate of a few chips of camphor. These will d a r t
potash (saltpetre), then with a brush paint about in a wonderful manner. Should
on an oblong-shaped piece of paper (with a there, however, be any grease or dirt in the
fchinnish outline) some wording, ornament water, this experiment will not work. Thus,
(or face), &c., taking care to lead t h e line should you wish to stop the action drop in
(solution) to tho edge, and there mark a grease of some sort, and the motion will im-
Email cross to show place of starting. Now mediately cease; sometimes t h e simple
lay aside to dry. B e t t e r make a stock, dipping of the finger in the water suffices.
varying the subjects to make them as in- If this does not work wash basin o u t ' w i t h
teresting as possible. When complete they hot soda and water, and t h e n rinse out with
will appear to be plain bits of paper, with a cold water to take away all traces of grease.
cross in the corner. When performing, (Tho t a p its slf may carry sufficient grt as e to
light a match, blow out, and with the glow- spoil this experiment).
ing en<i start t h e fusing at the cross, then A GHOSTLY L I G H T .
slowly the outline will fuse its way into the I n a bottle with some spirits of wine p u t '
design formerly drawn on it. Better fold some s a l t ; cork up, shake, and let i t stand
a narrow margin all round at right angles, for a few hours. Pour a little of this liquid
so as to raise the paper up a quarter of an in two or three saucers, lids of coffee tins,
inch from t h e ground, in order to support &c., and in each likewise lay some cotton-
the combustion. wool or tow. Lay round t h e table, t u r n out
F O U R L A Y E R S OP L I Q U I D S . t h e gas, and light. A wonderful pale light
Fill a longish tumbler J full with cold is produced—the whole surroundings will be
water, then pour on J boiling water gently; altered. People with red complexions will
if properly done, t h e warm water will re- appear perfectly black, pictures will lose all
main on t h e top (the warm water being their colours, and, in fact, everybody and
heated expands, and is thus lighter). The everything will assume a ghastly and pale
beauty of this trick is better seen when t h e appearance which is highly amusing, causing
water is coloured. To improve on this now endless f u n .
pour on some oil, which will make another
W A T E R THAT W I L L NOT S P I L L .
layer; on the top of this again pour some
methylated spirit (spirits of wine). When Fill a wine glass over-full with water, t h a t
this is properly performed you will have four is, as full as it possibly will hold without
distinct liquids, one on the top of another. spilling. Now sprinkle fine table salt in i t .
You will manage to fill it i with salt without
EATING F I R E .
spilling any water.
Obtain some tow, teasing out an ordinary
MAGICAL TRANSMUTATIONS.
clothes rope will do. Light a few fibres,
sufficient simply to let it fuse, cover this I n f u s j a few shavings of logwood in
right over now with more tow slightly common' water, and, when the liquor is
damped, and insert into the mouth. Inhale sufficiently red, pour it into a bottle. Then
through the nose, and exhale through t h e take three drinking glasses, and rinse one
mouth. Sparks of fire will proceed a t a of them with strong vinegar; throw into
marvellous r a t e from t h e mouth. This is a t h e second a small quantity of pounded
perfectly harmless trick, and with a little alum, which will not be observed if the glass
practice one may become quite an adept a t has been recently washed, and leave t h e
it. F u r t h e r improve on this trick by placing third without any preparation. If t h e red
a few small coins in your mouth along with liquor in the bottle be poured into the first
t h e tow, and after t h e fire is out -spit out the glass it will appear of a straw colour, if into
money to the great wonder of the surround- the second it will pass gradually from
ing company. blueish grey to black, when stirred with a
key, or any piece of iron which has been
C O N V E R T I B L E SUBSTANCES. previously dipped in strong vinegar. I n t h e
Take a feather and dip it into muriatic third glass the red liquor will assume a
acid, and rub it on the inside of a glass violet tint.
tumbler, then take another feather dipped
in liquid ammonia, and rub it on tho inside T w o MAGICAL FIGURES.
of another tumbler; each of t h e glasses will Make two figures, of any shape or
have a very pungent smell; but upon hold- material you please, insert in t h e mouth of
ing t h e one over the other for a very few one a small t u b e / a t t h e end of which is a
seconds, dense fumes will arise which have piece of phosphorus, and in the mouth of the
no smell; or, by merely letting them stand other a tube containing at the end a few-
near each other dense fumes will form be- grains of gunpowder, taking care t h a t each
tween them. This experiment also shows be retained in the tube by a piece of paper.
t h a t two invisible substances produce one If t h e second figure be applied to the tiame
t h a t is visible. The visible substance of a taper it will extinguish it, and the first
ormed is sal-ammoniac. will light it again.
 A M A G I C D R A W I N G .
On a piece of smooth glazed paper or card
make a drawing of any article (in outline)
or write or print any word, with a mixture
of finely powdered chalk, water, and gum-
arabic. When t h e tracing dries, the out-
lines will be almost invisible, but on rubbing
t h e "card" with coloured crayons t h e colour
will adhere t o t h e lines, which have a rough
surface, but not to t h e glazed surface of the
card, and the outline is brought out with
great clearness.
A most beautiful and instructive scientific
experiment, known by the name of
-••••-:•• "VORTEX S M O K E RINGS,
is productive of almost endless amusement
and delight. Prepare a light box of card-
board, about 4J inches in length, by the
samo breadth and t h e same depth': I n t h e
centre of one end make a cir-
cular hole, | inch in diameter.
Fill t h e box with smoke—
either t h e fumes of tobacco
blown from the mouth, or t h e
smoke from a smouldering
^.piece of brown paper. Then
| by making a series of gentle
but rapid taps upon t h e end
of t h e box opposite t h e hole,
a succession of revolving and
curling rings of smoke may be made to
emanate from t h e box.
To BOIL WATER IN PAPER.
An answer is given t o t h e question how
mav you most easily boil water in tlie fol-
lowing experiment, for which the only re-
quirements are a candle, a piece of iron
wire, and a piece of strong paper. Having
p u t t h e candle in a candlestick, wind one
end of t h e wire tightly round it several
times, and bring t h e other end round in a
curve — as illus-
trated ;— finishing
by forming i t into
a ring which
should come
directly over t h e
flame of the
candle, and a which is said to be reliable, is here given.,
short distance
above i t . The
ring- is t h e holder
for t h e " kettle"—
t h e " h o b , " so to
speak. The
" k e t t l e " itself is
made out of t h e paper! Cut out a disc four
or five inches in diameter, and give it the
form of a saucer by pressing it between the
surface of a cricket or golf ball and the hol-
low of t h e hand. P o u r some water into the
" kettle," light the candle, and in the course
of a short time t h e water will boil.
C A M P H O R IN W A T E R .
The peculiar behaviour of camphor wlieii
placed upon water can be taken advantage
of for producing some very amusing results.
Camphor, being an oily body, does n o t m i l
with w a t e r ; on t h e contrary, it seems to
have a very repulsive effect when placed in
contact with i t . For instance, if a small
piece be placed on the stern of a little tin
or wooden boat, so t h a t it may be in con-
tact with t h e surface of the water, the re-
pellent action a t once sets in, and tho boat
is urged forward. For this experiment t h e
water should be hot. Again, if a number
of pieces of camphor be placed together
upon the surface of a basin of water and ar-
ranged in t h e form of some insect or reptile,
a very life-like effect will be produced when
t h e pieces of camphor set themselves in
motion. Head, legs, and tail move in 1 fro-
like unison, and the white crawling crea-
ture might easily be mistaken for one in
actual life.
MAGIO TRACINGS.
We have all seen those advertisement
papers which, when a light is applied to a
certain spot, t u r n s out the name of t h e
nrti.'le wanL,3d to bo made known. Capital
amusement is to be got by an application of
the principle on which these are manu-
factured. (Jet a piece if thill paper, and
with a strong solution of saltpetre trace
upon it the names of yourselves or friends,
the forms of animals, and so o n ; thoroughly
dry, and then apply the end of a red-hot
wire to a part of the tracing. The fire will
do the rest.
A N O L D M E T H O D OF T E L L I N G TIME
Slir.g a coin (a shilling or a sixpence) a t t h e
end of a piece of thread, by means or a loop.
Place an empty goblet on the table; t h e n
resting on your elbow, suspend the coin in
the goblet, holding the end of t h e thread
between t h e forefinger and thumb, and
taking care t h a t it passes across t h e ball of
the thumb. If you have a steady hand, t h e
coin will of course come to rest, but, strange
to say, it will soon begin to vibrate like a
pendulum, and after a few seconds will
chime t h e nearest hour on t h e side of the
goblet. I t s vibration will then cease, and
the coin will once more become stationary.
 THE STRENGTH OP THE BREATH. A DEAD GAS. '
People have very little idea of the extra- I t does not require a very profound know-
ordinary effects produced by the force of the ledge of science t o understand t h a t all gases
breath. I t is well illustrated in the accom- do not support life, and t h a t , indeed,, many
panying experi- gases kill out or suffocate anything living
ment. Near the t h a t is placed among them. Thus, coal gas,
edge of a table li>y which we use for lighting u p our houses, is
a long and narrow poisonous to life. I t would suffocate us in
airtight bag of a very few minutes. And so there are gases
thin, tough paper, which will n o t support combustion. They
the mouth to- do not contain any or enough of t h e life-
wards t h e opera- sustaining element-—oxygen. Such a gas is
tor. Then place carbonic acid, and its chief properties or
upon the bag two characteristics may be illustrated in t h e
or more light
books. To upset
these by blowing in the bag will be found
very easy; but t h e weights may be in-
creased until the volumes are of goodly size,
and then the performance will present a
very extraordinary appearance.
A G R E A T E X P E R I M E N T ON A S M A L L SCALE.
A very easy method of performing an ex-
periment which is held to demonstrate the
revolution of the earth is shown in the ac- following simple manner j ^ l n a good-sized
companying sketoh. Take a small apple, bottle place a quantity of washing soda, a n d
and through its centre pass a wooden match, pour upon it—just immediately before com-
mencing t h e experiment — a quantity of
strong vinegar, until t h e mass begins to
effervesce. This is a sign t h a t it is evolv-
ing carbonic acid gas. Supply t h e bottle
with a well-fitting cork, having a hole down
its centre, through whioh passes a glass tube
bent (ini a gas flame) to t h e shape indicated
in t h e drawing. Allow t h e lower end of t h e
t u b e to dip into t h e mouth of a large j a r or
basin in which are set t h r e e or four lighted
candles of different lengths, the top of t h e
tallest being about an inch beneath t h e level
of t h e brim. The gas escaping from t h e
effervescing mixture in t h e bottle finds its
way through the t u b e into t h e basin, and,
being much heavier than air, sinks t o t h e
bottom of the receptacle. And now is wit-
one end of which is sharpened to a fine point. nessed an interesting process. As t h e
To the other end of the match tie a silk volume of gas in the basin increases, gradu-
thread, the opposite extremity of which is ally displacing the air, the candles arc one
attached to a pin stuck through a cork. The by one extinguished by the rising fumes,
pendulum is completed by erecting it by which refuse to support combustion, and
means of forks in the manner illustrated. any a t t e m p t to relight them while the basin
Two little ridged heaps of sand being placed is full of t h e gas will be futile.
a t opposite sides of t h e plate, you can tell
by the marks left when the pendulum is A SHRIMP SYPHON.
swinging steadily, and in the same plane. Here is an interesting trick performed
When you succeed in this, gently revolve with a shrimp. Hang
the plate, and you will observe, by the one of these curious crea-
manner in which the match-point marks t h e tures, soaked in water,
sand that t h e plane in which the pendulum over t h e edge of. a wine-
is swinging remains unaltered. I n the more glass filled with water,
elaborate experiment tho revolving plate is when, on the principle
replaced by the revolving earth, and t h e of t h e syphon, it will
pendulum is of enormous length. The drain the contents of the
motion of t h e globe is indicated by t h e glass until t h e water
angles of the strokes in the sand, tne pen- stands a t a level with t h e
dulum having swung in exactly the same end of the shrimp's tail
plane. The following shows another
 S I M P L E F O R M OF SYPHON.
and is illustrative of the pressure of liquids.
Take a chestnut, or other nut with a large
kernel, and in it bore two holes a t right
angles to each other and meeting neatly in-
side the n u t . I n each hole insert a straw,
one of them being about twice as long as the
other. Make the joints air-tight by means
of soap or wax. Im-
merse tho whole in
Water until the tubes
are full of water.
Place a finger on tho
end of each straw,
put tho short leg in a
tumbler of water, re-
lease the finger, and
the water will begin
to flow from the
tumbler, up tho short
tube, down the long
one, and into a dish placed to receive it.
The end of the short tube must always, of
course, be kept under the surface of the
Water..
COMPLIMENTARY COLOURS.
The following is one of many beautiful
illustrations of t h e law of complimentary
colours. The arrangement of the apparatus,
if such it can be called—is shown in the
sketch. Two lighted candles are placed in the
foreground, opposite a sheet of white paper
which has been tacked on the wall. Be-
tween the candles and the paper you inter-
pose a sheet of cardboard, doubled down
the middle eo that i t stands unsupported.
I n one of the leaves of the cardboard! cut a
four-pointed star, the axes of which are
horizontal alid vertical. Exactly opposite
this, and in the other leaf, cut g u t a second
star, the axes of which make angles of 45
degrees with those of the first star. You
must now arrange the relative positions of
the candles and the cardboard, so t h a t in
the middle of the shadow thrown on the
screen by tho latter the luminous shall
lie one upon another, producing t h e effect of
a star with eight points. Now comes in
t h e colouring. Cover one of tho star-open-
ings with a piece of coloured glass, or a wino
glass filled1 with coloured liquor. If the gas
of the liquor is green, t h e eight points of tho
star will be red and green alternately, and
in the centre will be a smaller white eight-
pointed star, thereby giving t h e three
colours—red', white, a n d green.
A BEAUTIFUL EFFECT.
Some marvellously pretty effects are t o be
produced by the solution of aniline dyes.
These can be obtained in suitable quantities
a t a chemist's shop, and the experimenter
does well t o pro-
vide himself with'
dyes of six or
s e v e n different
colours. One cf
t h e prettiest ex-
periments t h a t can
be performed' with
them is t o soak
several small pieces of cleami white blotting-
paper in solutions of different dyes, a n d
when they are dry clit them into little discs
of t h e size of a threepenny. Then gently
drop them one by one into a glass jar con-
taining water, a n d t h e colour will seek its
way downwards in the jar in long, irregular,
and' brilliant streaks. The effect is exceed-
ingly beautiful.
D O T S AND D A S H E S .
Cut a strip of paper 2 by 15 inches. Draw
a line on both sides along the exact middle.
Make t h e line on one side a series of dots,
and on t h e other a series of dashes.' Paste
the ends of t h e paper together so that tho
•line through the centre will be rontinuoun,
but join t h e dotted line to the line of the
dashes. With a pair' of scissors carefully
out through the middle line all tho wsiv
around the rings. How many rings this will
make you will see for yourself.
« V
^ b e p e o p l e ' s Jfii 10
Contains
Splendid S E R I A L and SHORT STORIES.
BIOGRAPHICAL and other S K E T C H E S ,
T A L E S of SCOTTISH LIFE and C H A R A C T E R .
HOUSEHOLD HELPS and HINTS.
SCIENTIFIC and USEFUL RECIPES.
CIVIL SERVICE COLUMN W E E K L Y .
&c. &c.
Price ONE PENNY Weekly
 E X P E R I M E N T S IN E L E C T R I C I T Y .
I n t h e rapid and mighty development of
electricity, one is a p t t o forget how humble
and insignifioant t h e science was in its be-
ginnings. JEvery schoolboy knows about
W a t t ' s great discovery of t h e power of
steam. H e was a bov a t t h e time, t h e
issuing of steam f r o m a kettle was an every-
day occurrence, b u t the thoughtful observa-
tion of this simple fact set on its way t h e de-
velopment of one of t h e greatest and most
useful of forces. And so with electricity.
W e do not know who discovered it, but its
beginnings were very insignificant. I n its
simplest and most harmless form electricity
may be produced by t h e youngest of our
readers, and we propose t o show them how
t o do it. The experiments should be both
instructive and entertaining. Simplest of
toll, t h e a p p a r a t u s for producing electricity is
A P I E C E OF B R O W N PAPER,
Bay, about a foot square. Dry it thoroughly
before t h e firo, and while it is still h o t draw
i t smaTtly several times between t h e arm
and side. The paper is then charged with
electricity. This is made evident if you
bring it close t o a quantity of bran, small
pieces of paper, or feathers, which have been
sprinkled on t h e table. They will fly up and
stick t o t h e paper. Charge it again as be-
fore, and bring it near a wall, when i t will be
strongly attracted, and may even adhere to
t h e wall. Charge once more, this time
placing tho paper immediately above t h e
head. The hair will be felt rising on end,
and if you refer to a looking-glass you will
be a little astonished a t t h e sight whioh
meets your eye.
While using t h e brown paper as a means
of producing electricity, you may hear a
slight crackling noise, or even observe
small flashes of blue light pass between your
hand and t h e paper. This is nothing less
than t h e electric light, t h e same as the blind-
ing lightning flash, or t h e dazzling arc lamp
which blazes in our streets and on our public
buildings. To make its presence more ap-
parent, take a tumbler, dry it thoroughly,
allow it to remain before a fire for some
time, and place it, mouth downwards, upon
a table. Then place upon it a perfectly dry
small metal tray. Upon this again lay a
piece of brown paper, which has just been
electrified in the manner described above.
You have now a simple electric machine.
If t h e knuckle of one of your fingers i3 now
broug-- in proximity to the tray, a bright
electric spark will pass between them, and
if t h e experiment is performed in a darkened
ropm, the effect will be all tho prettier.
A H O M E - M A D E M A G I C L A N T E R N .
Stretch a white cloth against a wall in al
darkened room. Set a lighted candle op-
posite to i t o n t h e table, with a book or a
similar object intervening, so t h a t t h e light
will not directly strike t h e cloth. H o l d a
mirror sidewise before t h e candle in such, a
position t h a t t h e reflection of i t will be
thrown on t h e cloth. Hold a paper figure
between t h e oandle and t h e mirror, and the
mirror will reflect i t on t h e cloth. By mov-
ing t h e ngure forward between t h e oandle
and t h e mirror t h e figure will appear t o
walk more or less leisurely. Several figures
may b e used1 a t t h e same time. Other mo-
tions will readily suggest themselves t o t h e
imaginative mind. The figures as they ap.
pear on the white cloth will be silhouettes.
C U R I O U S M I S H A P A T A C O N J U R I N G
P E R F O R M A N C E .
As we have now got t o t h e conclusion of
our tricks, we may say t h a t there are many
little mishaps which beset a conjurer,
and against which h e cannot t a k e a n y pre-
caution. H e must just grin and bear these
things.
A celebrated wizard tells some very in-
teresting stories of his adventures on t h e
stage. Among t h e m he relates how one of
his most ingenious tricks had an unexpected!
ending, more amusing t o t h e spectators
t h a n t o t h e performer.
H e was giving a performance a t a Christ-
mas party, and1 had borrowed a r i n g f r o m a
lady in t h e audience, jokingly requesting
her t o place a value upon it. This she did,
pricing it a t four pounds. H e t h e n tied a
piece of ribbon t o it, placed t h e ring on a
plate in full view of t h e audience, and pro-
ceeded t o make a n omelette. H a v i n g mixed
t h e ingredients, h e threw t h e ring and rib-
bon into them, and, adding a little spirit,
he went through t h e make-believe of cook-
ing t h e omelette in a pan.
On setting fire to the spirit t h e r e is
usually a blaze, and a lid is placed upon t h e
pan. When t h e lid is removed, instead of
an omelette, a dove is found with the identi-
cal ring attached to Ss neck by a ribbon.
All went well until t h e performer removed
the cover of t h e pan. There was the dove,
sure enough, with t h e ring tied to its n e c k ;
b u t during t h e applause of the audience, t h e
dove flew up, winged its way round t h e
room, and dashed out of a n open window.
The conjuror never s^w it or t h e ring again.
H e accorcUnelv had t o make t h e best of a
bad bargain, and pay t h e lady four pounds
as compensation for her loss.
P R I N T E D A N D P U B L I S H E D BY J O H N L E N G * CO.,
AT T H E O F F I C E S OF T H E PEOPLES JOURNAL.
DUNDEE 7 t o 25 BANK S i u n
LONDON ISti FLEET a i u n .
FOR WINTER EVENINGS AND SUMMER DAYS.

FOR T H E FIRESIDE AND THE SEA S H O R E . .

AUNT
KATE'S
PENNY
STORIES
(ILLUSTRATED.)
40 Pages each Complete, Price ONE PENNY.
SOLD BY ALL NEWSAGENTS.

The people's Journal

Scotland's Rational Rewspaper. Weekly, One Pennp.
C O N T - A . I 3 V S :

Local, District, and General News.

Serial Stories by well-known Authors.
Helpful Hints to Housewives by Aunt Kate.
Political Articles.
Crisp Comments ant# Notes.
Prize Competitions.
Children's Column, by Dainty Davie.

OVER yJ ,000,000 READERS WEEKLY.

Sold Iby N e w s a g e n t s Everywhere.

Publishers: JOHN LENG & CO., DUNDEE; and 188 Fleet Street, LONDON, E.G.
 A LIBRARY IN THEMSELVES I

EOPLESJOURNALI

FOR THE. PEOPLE

C O O K E R Y B O O K (New Kditiou).
DRESSM A K I N G BOOK..
G A R D E N I N G BOOK.
H A N D Y BOOK of Useful Information
<N
K N I T T I N G BOOK. " W =««»»)•
MOTHERS' GUIDE.
ETIQUETTE BOOK.
D R A U G H T S BOOK.
L A W BOOK (Soots Law).
HOW TO READ, WRITE, & DEBATE.
P O U L T R Y B O O K (new and revised Editiou).
4 0 0 GOOD STORIES (Scotch Haggis).
CANARIES A N D HOME PETS.
1> T H E PEOPLE'S DOG BOOK.
HOUSEHOLD GUIDE.
HOME WORK, or Knitting Book No. 2.
T H E CRICKET HANDBOOK (Annually).
T H E FOOTBALL HANDBOOK ( „ ).
ALMANAC (Annually).
CONJURING and PARLOUR MAGIC.
SCOTTISH SONGS (with Music).

Itesgg?
Af\ to
SOLD
EVERYWHERE

CLEAR ! CONCISE ! RELIABLE !

P u b l i s h e r s : JOHN LENQ & CO., Dundee, and 186 F l e e t Street, London.