Magic Tricks For The Beginning Magician. CIGAM FTP PDF version by TARKO the GREAT. Trick #1. The Self-Tying Handkerchief. A knot instantly ties. Street Magic. Revealed .. This coin is available through all good magic suppliers. .. learn master and perform self and object levitation very quickly with. PDF Drive is your search engine for PDF files. As of today we have Bobo's Coin Magic - Learn Free Magic Tricks - The Hottest. Pages·· MB· 5,
|Language:||English, Spanish, Arabic|
|Distribution:||Free* [*Registration needed]|
magic tricks based on secret chemistry, physics of science and magic have inspired me hope you learn from and have fun with this book. Your child's birthday should be memorable and special. Since Brett has children of his own, and he has spent several years teaching, he has a unique way of. Magic is a wonderful hobby. We have selected superb magic tricks, most of which can be performed with simple everyday objects. Once learned, you will be.
The atmosphere was an uneasy one of materialism and superstition, and those who exploited French society would later find themselves consumed in its ultimate destruction by the French Revolution. Of Cagliostro, Greeven wrote in the Calcutta Review: It is not enough to say that Cagliostro posed as a magician, or stood forth as the apostle of a mystic religion.
Cagliostro impressed himself deeply On the history of his time. He flashed on the world like a meteor. He carried it by storm. Princes and nobles thronged to his " magic operations. He was offered, and refused, a ducal throne. Goethe made him the hero of a famous drama. A French Cardinal and an English Lord were his bosom companions.
Cagliostro's career began with his arrival in London It was there that he announced himself as a wonder-worker, capable of duplicating the alchemists' art of transmuting base metals to gold and of knowing the ingredients of an Egyptian wine that would prolong life.
He took an interest in rituals associated with Masonic lodges, and though bitterly repudiated by British members of the fraternity, Cagliostro attracted thousands of eager followers. Claiming the gift of miraculous cures, the ability to conjure gold from worthless metals, and the power to see the future, he was an instant celebrity. In her Memoirs the Baroness d'Oberkirch wrote: No one can ever form the faintest idea of the fervor with which everybody pursued Cagliostro. He was surrounded, besieged; everyone trying to win a glance or a word.
A dozen ladies of rank and two actresses had followed him in order to continue their treatments. Cagliostro's greatest fame and the beginning of his ultimate downfall came with his appearance in Paris in He was greeted as the latest sensation and no story of his prowess seemed too impossible to believe.
The guest of royalty, he nevertheless proclaimed himself the chief of the Rosicrucians and thus a being elevated above the rest of mankind, nobles included. He gave a spirit seance at which the ghosts of six dead men were made to appear. At the height of his fame he was arrested and thrown into the Bastille on a charge of complicity in the theft of a diamond necklace. After a long incarceration in the Bastille without trial, he was ultimately acquitted.
The public's outrage at the practices of French royalty was but a hint of the revolutionary fervor that was to grow stronger and spread, culminating in the bloody thunder of the French Revolution. The Freemasons repudiated him, and he soon became the object of continued and widespread ridicule. Deeply in debt, unable to attract an audience of the gullible, threatened with lawsuits, he fled to Rome.
It was a fatal choice. In he was arrested and jailed in the fortress of San Angelo on the charge of attempting to practice Freemasonry. Tried before tIle cowled inquisitors of the Holy Inquisition, he was found guilty and sentenced to a dungeon at the Castle of San Angelo. An attempted escape failed. He was never seen nor heard from again. It is said that Cagliostro died in August, , but officially the exact date of his death is a blank - an ignoble end to a once notoriously powerful figure.
A contemporary of Cagliostro's, the chevalier Pinetti, represents an interesting contrast in style. Pinetti was born in in Tuscany. The general public, awakened to the enchantment of inexplicable mysteries as performed by Cagliostro and Mesmer, were quick to proclaim Pinetti's magical abilities.
A ring, borrowed from a lady in the audience, was made to vanish at the shot of a gun. The ring was later found when Pinetti opened a small box to reveal a dove, which held the borrowed ring in its beak. Ina single quick movement, Pinetti then removed the shirt from the man's body.
Although a confederate was sLlspected, surprisingly enough there was no confederate. Impossible as it seems, the shirt was removed from an innocent spectator chosen at random who had no more idea how the trick was done than anyone else in the audience. Pinetti exposed the shirt trick in a book published in the summer of This was in part a response to the Decremps expose mentioned earlier.
The Decremps revelations led Pinetti to change his act. Pinetti's fame survived the many exposes of his act, but in time a rival, Torrini, overtook him in fame and popularity.
Mortified that he was playing to near-empty houses while Torrini played to packed theatres, Pinetti closed his theatre and journeyed to Russia. Penniless and broken in spirit, he died at the turn of the century at age fifty. It is well to observe that while some of Pinetti's work smacked of mysticism and the occult, generally he presented tricks that avoided the intimidating overtones of Black Magic.
His influence on magic was widespread, and many aspiring conjurors tried to imitate his stage manner and presentation. Though his performing career spanned little more than a decade, he was to have a profound effect on magicians who followed him.
Napoleon had just fought the battle of Austerlitz and was at the zenith of power as emperor of the French Empire. The book, describing a large number of scientific curios and magical effects, wrought a great change in Houdin. He was bedazzled by the cleverness concealed in the workings of magical tricks, and saw immediately that he had a natural talent toward magic. He was to remain a watchmaker until , when the count de l'Escalopier visited his shop.
The count's eye was attracted to mechanical toys in the window, but he was particularly taken with a clear crystal clock that ran apparently without watchworks.
The performances were to become quite popular. One of his greatest tricks was "The Light and Heavy Chest. At the snap of the fingers, the box would become light again. This time it was the spectator, an Arab summoned from the audience, who was hypnotized and robbed of the power to lift the box. This sounds rather pat in print, but no threads or wires were used to bring about the illusion.
Another of his inventions was the "Aerial Suspension," still in use and very popular with present-day illusionists. The king thought carefully, then declared that the handkerchiefs should appear near an orange tree outside the castle.
As soon as he gave his decision, the king told several of his guards to run to the orange tree in question and surround it to preven t fra ud. The handkerchiefs were gathered and caused to vanish. Then Robert-Houdin directed the king's men to dig at the base of the tree until they found a metal chest that had been buried near the base of the tree sixty years before the performance. The chest was uncovered and taken to the king.
The chest was locked and rusted shut. But the last person who reaches under to feel the ball is a confederate, and he calmly takes the ball away when he removes his hand! Hence the remarkable disappearance. When the empty hand is held beneath the handkerchief, the confederate reaches underlast again and puts the ball back in the magicians hand. It is a bold trick that works.
A ball is dropped through the tube from the top, and of course it comes out at the bottom. But when the ball is dropped in again, it stops half way, and then falls through at the magi cians command. The tube is too thick to be pressed, and as the ball slides freely through, its sudden stopping and starting again is very mysterious, especially as the ball may be seen while suspended in the tube, and the tube may be so held that people can see through it.
Various means have been devised for halt ing the ball in its progress through the tube.
One end is knotted. The other end, which is twice as long as the diameter of the tube, has a small bead tied on the end. A strip of colored paper should be pasted around the tube to hide the knotted end of the thread.
The bead is covered by the thumb. When the ball is dropped through the tube, it falls freely until the thumb draws down the bead, tightening the thread, which stops the ball.
As soon as the thumb releases pres sure, the ball falls again.
The interior of the tube may be shown provided it is not held directly in front of the light. It is advisable to have a duplicate tube unprepared which may be left where some one w ill examine it A light ball should be used. There are many magi cians who specialize in card tricks only, and the skillful sleights and passes that are pos sible with cards are exceedingly numerous.
On the other hand, there are many perplexing tricks with cards that require very little skill, and some of the best of these form the present chapter. Before attempting to perform card tricks, the amateur magician should first learn tC shuffle and deal cards with ease and precision. I f he handles the pack clumsily, the people watching him w ill quickly realize that he is not performing feats of skill; but if he pro ceeds with smoothness, they w ill attribute his tricks to skill in sleight-of-hand, and w ill take an interest in his performing.
Therefore, the magi cian must find ways of learning, or of controll ing a selected card, either before or after it is taken from the pack. We will first consider a number of simple but effective methods by which this end may be accomplished. There are other methods which form intrinsic parts of certain tricks, and they w ill be explained later in the chapter.
Certain packs of cards have what is known as one-way backs. This is particularly true of high-grade cards. Instead of a symmetrical design on the backs of the cards, these packs have pictures or initials. Suck a pack is espe cially suited to the needs of the magician. He first arranges the cards so that the pic tures are all pointed in the same direction.
Then he fans the cards and allows a person to select one. As soon as the card has been drawn, the magician quietly turns the pack around. Thus when the chosen card is re turned, its design w ill be reversed.
Bicycle' cards do not, as a rule, have one way backs. There is one exception, however, in the pattern known as the Emblem Back. Such a pack is the best available for this trick. The Pencil-Mark Pack Any pack of cards may be made one-way by a very simple process. Square up the pack and make two or three straight pencil lines at one end of the pack, the lines crossing every card. When a card is selected, the pack is turned around, and the chosen card is returned A glance at the marked end of the pack will reveal a break in the pencil lines; at the other end of the pack, tiny pencil dots w ill appear.
The breaks at one end and the dots at the other indicate the chosen card, and the pack should be cut at that point. Pointed Cards A glance through a pack of cards will re veal the fact that certain cards are pointers. It has seven spots and five of them point in one direction. The nine of hearts has five points in one direction. The aces of spades, hearts, and clubs are pointers. The seven of dia monds is a pointer, because it has one odd point above the center. To make use of this interesting principle, take ail the pointers from a pack, and ar range them with their principal points in one direction.
Group these cards at the center of the pack, and fan the cards so that one of the pointers will be selected. Turn the pack around, and let the chosen card be returned After the pack has been shuffled, a glance a- the faces of the cards will reveal the chosen card, for it will be pointing the opposite way from the others. This is an ideal form of card locator for the magician who performs with his own pack. A pack of cards with white margins should be used.
Take the odd card which generally comes with such packs and trim off the white margin. At a very close distance, the double thickness can not be detected. As soon as a card has been taken from the pack, square up the cards and riffle one end of the pack. Your finger w ill encounter a sud den stop as soon as the double card falls. Let the chosen card be replaced at that point, and it will be directly above the double card. Then the pack may be squared up and cut. Your fingers will naturally lift off the cards above the double card, and thus the chosen card will be brought to the bottom of the pack.
The short card serves the same purpose as the double card. It is simply a card which has about a sixteenth of an inch trimmed from one end. It is handled just the same as the double card and serves as a locator when the chosen card is replaced just above it. The short card, however, may be adapted to any pack of cards, if the magician takes the precaution to carry a pair of small scissors preferably folding ones in his pocket.
In this trick, the magician fans the pack and holds the cards with the faces toward a spectator, inviting him to touch one of the cards. As soon as the spectator does so, the magicians left thumb, which is hidden behind the pack, bends up the corner of the selected card. After the pack has been shuffled, a glance at the corner of the pack reveals the position of the chosen card, and the pack can be cut at that point.
False Shuffling False shuffling is the means whereby a card may be kept at the top or the bottom of the pack while the magician is shuffling the cards.
A false shuffle should not be shown as a trick in itself. No especial skill is required in false shuffles; anyone who can shuffle a pack of cards in the ordinary manner can execute the false shuffle just as easily. The magician has located the chosen card and has cut the cards to bring it to the top of the pack. In riffling the ends of the pack, he merely retains the top card with his thumb, so that it is the last card to fall and its position is undisturbed. Second, for an ordinary shuffle, to keep the chosen card on top of the pack, grip the pack between the thumb and fingers of the right hand, the thumb at one end and the fingers at the other.
Hold the pack with the bot tom card facing the audience. Now the left thumb comes up, and pulls away some of the cards from the bottom of the pack.
As it does so, the left fingers bring along the top card also. Then the right hand, aided by the left thumb, shuffles the remaining cards in front of the first group. The chosen card still re mains on top. If the chosen card is originally on the bottom, the right hand holds the pack with the back of the top card toward the audi ence. Otherwise the shuffle is the same. H e should begin by la y in g the card s on the table as though re a d y to be dealt.
T h e se conditions a re a lw a y s considered the sam e, no m atter in w h a t position the pack m ay be held. Hold the pack as previously described, with the top card toward the audi ence. The left thumb pulls away the top rard alone and the remaining cards are then shuffled on top of it, so that the chosen card becomes the bottom card. To bring the bot tom card to the top, the magician should first take the precaution of turning his right side toward the audience; then he takes the pack between the fingers and thumb of his right hand, with the top card toward the palm.
The left thumb pulls down the bottom card alone, letting it fall into the bend of the left fingers; then the remaining cards are shuffled from the right hand into the left, the desired card then being on top of the pack. Cut to the Card The items previously described in this chap ter are not complete card tricks in themselves. They are methods that lead up to clever con clusions which would be impossible without their aid.
Effect: A card is chosen and returned to the pack, which is thoroughly shuffled. The magician takes a card from the pack, and ex hibits it.
It is not the chosen card. With a sudden movement, he thrusts the card face up into the center of the pack, and using it as a lever, lifts off the upper portion of the pack. When he turns the upper portion face up, be hold! The quick thrust into the pack has discovered the chosen card. Method: Refer to trick six of the present chapter.
The trick is performed by the aid of the bent corner. When the magician holds the pack, he turns the edge toward himself and looks for the bent corner, which stands out quite plainly.
It is a simple matter to thrust the odd card, face up, just below the card with the bent corner. The Spelling Trick A card is selected from the pack and is re inserted. The magician cuts the pack several times.
Suppose it is the queen of clubs. He turns up the last card. It is the queen of clubs!