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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
55
Third
Method.--Hold
the
card
to
be
changed
face
downwards
between
the
thumb
and
first
and
second
fingers
of
the
right
hand,
the
thumb
being
above
and
the
two
fingers
below
the
card.
Hold
the
pack
in
the
left
hand,
as
if
about
to
deal
the
cards,
the
card
for
which
that
first
mentioned
is
to
be
changed
being
on
the
top.
Bring
the
hands
rapidly
together,
pushing
the
top
card
with
the
left
thumb
about
an
inch
beyond
the
rest
of
the
pack,
and
at
the
same
moment
place
the
card
held
in
the
right
hand
with
a
sliding
motion
upon
the
top
of
the
pack.
(See
Fig.
18.)
Both
this
card
and
the
original
top
card
(which
is
now
second)
will
now
be
between
the
two
fingers
and
thumb
of
the
right
hand.
Press
lightly
on
the
top
card
with
the
left
thumb
to
keep
it
back,
and
quickly
draw
away
the
right
hand,
pressing
gently
upwards
with
the
two
fingers
on
the
face
of
the
second
card,
which
you
will
thereby
draw
away
in
place
of
the
top
card.
If
neatly
done,
the
keenest
eyesight
cannot
detect
the
substitution
of
the
second
card.
Your
only
difficulty
will
be
to
find
a
colourable
pretext
for
placing
the
card
you
hold
on
the
top
of
the
pack.
This
achieved,
the
rest
is
easy.
The
nature
of
the
trick
you
are
performing
will
frequently
suggest
a
plausible
excuse.
A
very
successful
plan
is
to
boldly
request
the
company
to
observe
that
you
do
not
do
that
which
you
at
the
same
moment
actually
do.
“You
will
observe,
ladies
and
gentlemen,”
you
remark,
“that
I
do
not,
even
for
one
moment,
replace
the
card
in
the
pack,
but
simply,”
etc.,
etc.
At
the
words
“replace
the
card
in
the
pack,”
the
hands
are
brought
together,
and
make
the
change.
The
action,
suiting
the
words,
is
taken
by
the
audience
as
an
indicative
gesture
only,
and
thus
the
change
is
effected
under
their
very
eyes
without
exciting
the
least
suspicion.
In
this
mode
of
making
the
change,
you
should
aim
at
being
easy
and
natural,
rather
than
very
rapid.
The
main
movement
(that
which
brings
the
hands
together)
is
undisguised,
but
attributed
to
a
fictitious
motive;
and
the
subsidiary
movement
of
the
fingers,
which
actually
effects
the
change,
is
so
slight
as
to
be
practically
imperceptible.
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