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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
445
The
performer
has,
meanwhile,
again
put
the
right
hand
under
the
cloak,
and
with
two
fingers
holds
the
little
pocket
open
for
the
reception
of
the
head.
As
he
says
the
last
words,
he
gives
the
head
a
sharp
downward
rap
with
the
fingers
of
the
left
hand,
and
lets
it
fall
into
the
little
pocket,
the
effect
being
as
if
the
figure
had
suddenly
vanished.
The
performer
shakes
the
cloak,
and
turns
it
inside
out
to
show
that
it
is
empty,
taking
care
always
to
grasp
it
by
that
part
which
contains
the
head,
when
all
other
portions
of
the
cloak
may
be
shown
freely;
and
as
the
audience
are
not
aware
that
the
figure
is
divisible,
and
supposing
it
to
be
indivisible,
it
would
be
clearly
much
too
large
to
be
concealed
in
the
closed
hand,
there
is
nothing
to
lead
them
to
guess
the
secret.
If
it
is
desired
to
make
the
doll
reappear,
the
head
is
pushed
up
again
through
the
opening
of
the
cloak,
the
hand
beneath
supporting
it
by
the
peg
which
forms
the
neck,
and
it
may
thus
be
made
to
vanish
and
return
any
number
of
times.
With
tolerable
skill
in
“palming,”
the
little
pocket
may
be
dispensed
with,
the
head
being
simply
held
in
the
hand.
This
mode
of
working
is,
in
our
own
opinion,
to
be
preferred,
as
the
cloak
may
then
be
handed
for
examination
without
giving
even
the
infinitesimal
clue
which
the
pocket
might
suggest.
Some
performers,
to
still
further
hoodwink
the
spectators,
make
use
of
two
figures--the
first,
which
is
handed
round
for
inspection,
being
solid,
and
being
afterwards
secretly
changed
for
its
counterpart
with
the
moveable
head.
Others
again
use
only
one
figure,
which
is
solid
throughout,
but
are
provided
with
a
separate
head
(whose
existence
is,
of
course,
not
suspected
by
the
spectators),
and
having
handed
round
the
solid
figure
for
examination,
conceal
this,
and
work
the
trick
with
the
head
only.
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