Modern Magic: A Practical Treatise on the Art of Conjuring

We have endeavoured to be as explicit as possible in the foregoing description of the different sleight-of-hand processes, so that the reader may, by following our instructions closely, be able to teach himself, unassisted, to perform the various movements described. We have done our best to make our descriptions intelligible, and trust that we have fairly succeeded. We should, however, strongly advise any student who desires to make rapid progress to take, if possible, a few preliminary lessons under the personal guidance of a competent performer, professional or amateur. It is an old saying that an ounce of example is worth a pound of precept, and a reader who has once or twice seen the processes we have described practically illustrated by skilful hands, will not only avoid the difficulties which are sure to be at first found in even the clearest written instructions, but will escape the formation of bad habits, which it may take much time and trouble to eradicate. Should the novice seek such assistance, he must not expect to find that any one performer uses indifferently all the processes we have described. Every Professor has his own favourite methods of procedure, and, generally speaking, pours scorn and contumely upon all others; or, in the words of Byron (a little altered)-- “Compounds for sleights he has a mind to, By damning those he’s not inclined to.” The student who commences his labours without such assistance must make his own selection. In the “pass” we should recommend him to stick to the first method, the remaining passes being rather curious than useful. Among the false shuffles, the first, third, fifth, and sixth will be found the most effective. For the remaining processes he may be guided by his own taste, and the greater or less facility with which his fingers adapt themselves to one or the other of them.