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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
226
The
various
passes
may
be
employed
not
only
to
cause
the
disappearance
of
an
article,
as
above
described,
but
to
secretly
exchange
it
for
a
substitute
of
similar
appearance.
These
exchanges
are
of
continual
use
in
conjuring;
indeed,
we
may
almost
say
that
three
parts
of
its
marvels
depend
on
them.
Such
an
exchange
having
been
made,
the
substitute
is
left
in
sight
of
the
audience,
while
the
performer,
having
thus
secretly
gained
possession
of
the
original,
disposes
of
it
as
may
be
necessary
for
the
purpose
of
the
trick.
We
proceed
to
describe
various
forms
of
changes,
denoting
them,
as
in
the
case
of
the
passes,
by
numbers.
CHANGE
1.--You
desire,
we
will
suppose,
to
exchange--or,
in
conjuror’s
parlance,
to
“ring”--a
florin,
marked
by
the
audience,
for
another.
You
have
the
latter,
which
we
will
call
the
“substitute,”
ready
palmed
in
your
left
hand,
of
course
taking
care
to
keep
the
palm
turned
away
from
the
audience.
Taking
the
marked
florin
in
the
right
hand,
you
palm
it
in
that
hand
by
Pass
1,
but
instead
of
closing
the
left
hand
as
the
fingers
of
the
right
touch
it,
keep
that
hand
loosely
open,
and
show
lying
on
its
palm
the
substitute,
which
the
audience
take
to
be
the
original
just
placed
there
by
your
right
hand.
CHANGE
2.--This
is
the
same
as
Change
1,
save
that
you
use
with
the
right
hand
Pass
2
instead
of
Pass
1.
CHANGE
3.--Here
also
you
use
Pass
2,
but
you
have
the
substitute
palmed
in
the
right
hand
instead
of
the
left.
Taking
up
the
marked
florin
with
the
same
hand,
you
make
with
it
Pass
2,
at
the
same
instant
dropping
the
substitute
from
its
palm
into
the
left
hand.
This
is
a
very
neat
and
effective
change.
Some
performers
are
expert
enough
to
make
this
change
by
means
of
Pass
1
instead
of
Pass
2,
the
genuine
coin
taking
the
place
of
the
substitute
in
the
palm;
but
this
demands
dexterity
of
a
more
than
average
order.
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