Modern Magic: A Practical Treatise on the Art of Conjuring

We shall, in the first place, describe the trick as performed with the set of eight rings above mentioned, afterwards noticing the more elaborate performance with twelve. We must premise, however, that the manipulation of the rings admits of almost infinite variation, and that the practice of performers differs greatly as to the mode of working them. The performer comes forward holding the eight rings in his left hand, arranged as follows. First (i.e., innermost), comes the set of three; then the “key” ring (the opening uppermost in the hand), then the set of two; and, lastly, the two single rings. Taking the first of these, he hands it to a spectator for examination; passing it when returned to another person, and carelessly handing a second ring to be examined in like manner. This should be done without any appearance of haste, and with an air of being perfectly indifferent as to how many of the rings are examined. The two “singles” having been duly inspected, the performer requests one of the spectators to take them both in his right hand, at the same time taking in his own right hand the next two rings, which, it will be remembered, are the set of two, though the audience naturally believe them to be, like the first, separate. “Now, sir,” the professor continues, “will you be good enough to link one of the rings which you hold into the other.” The person addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says the performer, in pretended surprise. “My dear sir, nothing is easier. You have only to do as I do. See!” Laying down the rest of the rings, he holds the two as in Fig.