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jQuery Reference Guide

A Comprehensive Exploration of the Popular

JavaScript Library

Jonathan Chaffer
Karl Swedberg

BIRMINGHAM - MUMBAI
jQuery Reference Guide

Copyright © 2007 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form or by any means, without the prior written
permission of the publisher, except in the case of brief quotations embedded in
critical articles or reviews.

Every effort has been made in the preparation of this book to ensure the accuracy of
the information presented. However, the information contained in this book is sold
without warranty, either express or implied. Neither the authors, Packt Publishing,
nor its dealers or distributors will be held liable for any damages caused or alleged to
be caused directly or indirectly by this book.

Packt Publishing has endeavored to provide trademark information about all the
companies and products mentioned in this book by the appropriate use of capitals.
However, Packt Publishing cannot guarantee the accuracy of this information.

First published: August 2007

Production Reference: 1240707

Published by Packt Publishing Ltd.

32 Lincoln Road
Olton
Birmingham, B27 6PA, UK.

ISBN 978-1-847193-81-0

www.packtpub.com

Cover Image by Karl Swedberg (karl@learningjquery.com)

 Table of Contents
Preface 1
Chapter 1: Anatomy of a jQuery Script 5
A Dynamic Table of Contents 5
Obtaining jQuery 7
Setting Up the HTML Document 7
Writing the jQuery Code 10
Script Dissection 11
Selector Expressions 11
DOM Traversal Methods 11
DOM Manipulation Methods 12
Event Methods 12
Effect Methods 13
AJAX Methods 13
Miscellaneous Methods 13
Plug-In API 14
Summary 14
Chapter 2: Selector Expressions 17
CSS Selectors 17
Element: T 17
ID: #myid 17
Class: .myclass 18
Descendant: E F 19
Child: E > F 19
Adjacent Sibling: E + F 20
General Sibling: E ~ F 21
Multiple Elements: E,F,G 22
Nth Child (:nth-child(n)) 22
First Child (:first-child) 23
Table of Contents

Last Child (:last-child) 23

Only Child :only-child 24
Not :not(s) 24
Empty :empty 24
Universal: * 25
XPath Selectors 25
Descendant: E//F 25
Child: E/F 26
Parent: E/.. 26
Contains: [F] 27
Attribute Selectors 27
Has Attribute: [@foo] 28
Attribute Value Equals: [@foo=bar] 28
Attribute Value Does Not Equal: [@foo!=bar] 29
Attribute Value Begins: [@foo^=bar] 29
Attribute Value Ends: [@foo$=bar] 30
Attribute Value Contains: [@foo*=bar] 30
Form Selectors 30
Custom Selectors 31
Even Element (:even) Odd Element (:odd) 31
Nth Element (:eq(n), :nth(n)) 32
Greater Than :gt(n) 32
Less Than : lt(n) 33
First :first 33
Last :last 33
Parent :parent 34
Contains :contains(text) 34
Visible :visible 35
Hidden :hidden 35
Chapter 3: DOM Traversal Methods 37
The jQuery Factory Function 37
$() 38
Filtering Methods 40
.filter() 40
.not() 42
.contains() 43
.eq() 44
.lt() 45
.gt() 46
Tree Traversal Methods 47

[ ii ]
 Table of Contents

.find() 47
.children() 48
.parents() 50
.parent() 51
.siblings() 52
.prev() 53
.next() 54
Miscellaneous Traversal Methods 55
.add() 55
.is() 57
.end() 58
Chapter 4: DOM Manipulation Methods 61
General Attributes 61
.attr(attribute) 61
.attr() 63
.removeAttr() 64
Style Properties 65
.css(property) 65
.css() 66
.height() 67
.height(value) 67
.width() 68
.width(value) 68
Class Attribute 69
.addClass() 69
.removeClass() 69
.toggleClass() 70
DOM Replacement 71
.html() 71
.html(HTML) 72
.text() 72
.text(text) 73
.val() 74
.val(value) 74
DOM Insertion, Inside 75
.prepend() 75
.prependTo() 76
.append() 78
.appendTo() 80
DOM Insertion, Outside 81

[ iii ]
Table of Contents

.before() 81
.insertBefore() 83
.after() 84
.insertAfter() 86
DOM Insertion, Around 88
.wrap() 88
DOM Copying 89
.clone() 89
DOM Removal 91
.empty() 91
.remove() 93
Chapter 5: Event Methods 95
Event Handler Attachment 95
.bind() 95
.unbind() 99
.one() 101
.trigger() 102
Document Loading 103
$() 103
.load() 105
.unload() 106
.error() 106
Mouse Events 107
.mousedown() 107
.mouseup() 109
.click() 110
.dblclick() 111
.toggle() 112
.mouseover() 113
.mouseout() 114
.hover() 115
.mousemove() 116
Form Events 118
.focus() 118
.blur() 119
.change() 120
.select() 122
.submit() 123
Keyboard Events 124
.keydown() 124

[ iv ]
 Table of Contents

.keypress() 126
.keyup() 127
Browser Events 128
.resize() 129
.scroll() 129
Chapter 6: Effect Methods 131
Pre-Packaged Effects 131
.show() 131
.hide() 133
.toggle() 135
.slideDown() 137
.slideUp() 138
.slideToggle() 139
.fadeIn() 141
.fadeOut() 143
.fadeTo() 144
Customized Effects 146
.animate() 146
Chapter 7: AJAX Methods 149
Low-Level Interface 149
$.ajax() 149
$.ajaxSetup() 153
Shorthand Methods 154
$.get() 154
$.getIfModified() 155
.load() 156
.loadIfModified() 157
$.post() 157
$.getJSON() 158
$.getScript() 159
Global AJAX Event Handlers 160
.ajaxComplete() 161
.ajaxError() 162
.ajaxSend() 163
.ajaxStart() 164
.ajaxStop() 165
.ajaxSuccess() 166
Helper Function 167
.serialize() 167

[]
Table of Contents

Chapter 8: Miscellaneous Methods 169

Setup Methods 169
$.browser 169
$.noConflict() 170
DOM Element Methods 171
.length 171
.size() 172
.get() 172
.index() 173
Collection Manipulation 174
.each() 174
$.grep() 176
$.map() 177
$.merge() 179
$.unique() 180
$.extend() 181
$.trim() 182
Chapter 9: Plug-In API 183
Using a Plug-in 183
Developing a Plug-in 184
Object Method 184
Global Function 186
Selector Expression 188
Easing Style 189
Example: Maintaining Multiple Event Logs 192
Summary 194
Chapter 10: Dimensions Plug-In 195
Size Methods 195
.height() 196
.width() 197
.innerHeight() 199
.innerWidth() 200
.outerHeight() 201
.outerWidth() 202
Position Methods 203
.scrollTop() 204
.scrollTop(value) 204
.scrollLeft() 205

[ vi ]
 Table of Contents

.scrollLeft(value) 206
.offset() 207
.position() 212
Chapter 11: Form Plug-In 215
AJAX Form Submission 215
.ajaxSubmit() 215
.ajaxForm() 217
.ajaxFormUnbind() 223
Retrieving Form Values 223
.formToArray() 223
.formSerialize() 224
.fieldSerialize() 225
.fieldValue() 226
Form Manipulation 228
.clearForm() 228
.clearFields() 229
.resetForm() 230
Appendix A: Online Resources 233
jQuery Documentation 233
JavaScript Reference 234
JavaScript Code Compressors 235
(X)HTML Reference 235
CSS Reference 235
XPath Reference 236
Useful Blogs 236
Web Development Frameworks Using jQuery 238
Appendix B: Development Tools 239
Tools for Firefox 239
Tools for Internet Explorer 240
Tools for Safari 241
Other Tools 241
Index 243

[ vii ]
 Preface
jQuery is a powerful, yet easy-to-use JavaScript library that helps web developers
and designers add dynamic, interactive elements to their sites, smoothing out
browser inconsistencies and greatly reducing development time. In jQuery Reference
Guide, you can investigate this library's features in a thorough, accessible format.

This book offers an organized menu of every jQuery method, function, and selector.
Entries are accompanied by detailed descriptions and helpful recipes that will assist
you in getting the most out of jQuery and avoiding the pitfalls commonly associated
with JavaScript and other client-side languages. If you're still hungry for more,
the book shows you how to cook up your own extensions with jQuery's elegant
plug-in architecture.

You'll discover the untapped possibilities that jQuery makes available and hone your
skills as you return to this guide time and again.

Demos of examples in this book are available at:

http:\\book.learningjquery.com.

What This Book Covers

In Chapter 1 we'll begin by dissecting a working jQuery example. This script will
serve as a roadmap for this book, directing you to the chapters containing more
information on particular jQuery capabilities.

The heart of the book is a set of reference chapters that allow you to quickly look up
the details of any jQuery method. Chapter 2 lists every available selector for finding
page elements.

Chapter 3 builds on the previous chapter with a catalog of jQuery methods for finding
page elements.
Preface

Chapter 4 describes every opportunity for inspecting and modifying the HTML
structure of a page.

Chapter 5 details each event that can be triggered and reacted to by jQuery.

Chapter 6 defines the range of animations built into jQuery, as well as the toolkit
available for building your own.

Chapter 7 lists the ways in which jQuery can initiate and respond to server
communication without refreshing the page.

Chapter 8 covers the remaining capabilities of the jQuery library that don't neatly fit
into the other categories.

In the final three chapters, you'll dive into the extension mechanisms jQuery makes
available. Chapter 9 reveals four major ways to enhance jQuery's already robust
capabilities using a plug-in.

Chapter 10 walks you through the advanced measurement tools available in the
popular Dimensions plug-in.

Chapter 11 empowers you to bring AJAX technology and HTML forms together, a
process which is made easy by the Form plug-in.

Appendix A provides a handful of informative websites on a wide range of topics

related to jQuery, JavaScript, and web development in general.

Appendix B recommends a number of useful third-party programs and utilities for

editing and debugging jQuery code within your personal development environment.

Who is This Book For?

This book is for web designers who want to create interactive elements for their
designs, and for developers who want to create the best user interface for their
web applications.

The reader will need the basics of HTML and CSS, and should be comfortable with
the syntax of JavaScript. No knowledge of jQuery is assumed, nor is experience with
any other JavaScript libraries required.

[]
 Preface

Conventions
In this book, you will find a number of styles of text that distinguish between
different kinds of information. Here are some examples of these styles, and an
explanation of their meaning.

There are three styles for code. Code words in text are shown as follows: "Taken
together, $() and .addClass() are enough for us to accomplish our goal of
changing the appearance of the poem text."

A block of code will be set as follows:

$(document).ready(function() {
$('span:contains(language)').addClass('emphasized');
});

When we wish to draw your attention to a particular part of a code block, the
relevant lines or items will be made bold:
$(document).ready(function() {
$('a[@href$=".pdf"]').addClass('pdflink');
});

New terms and important words are introduced in a bold-type font. Words that you
see on the screen, in menus or dialog boxes for example, appear in our text like this:
"The next step is to run those tests by clicking the All button".

Important notes appear in a box like this.

Tips and tricks appear like this.

Reader Feedback
Feedback from our readers is always welcome. Let us know what you think about
this book, what you liked or may have disliked. Reader feedback is important for us
to develop titles that you really get the most out of.

To send us general feedback, simply drop an email to feedback@packtpub.com,

making sure to mention the book title in the subject of your message.

[]
Preface

If there is a book that you need and would like to see us publish, please send
us a note in the SUGGEST A TITLE form on www.packtpub.com or
email suggest@packtpub.com.

If there is a topic that you have expertise in and you are interested in either writing
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Customer Support
Now that you are the proud owner of a Packt book, we have a number of things to
help you to get the most from your purchase.

Downloading the Example Code for the Book

Visit http://www.packtpub.com/support, and select this book from the list of titles
to download any example code or extra resources for this book. The files available
for download will then be displayed.

The downloadable files contain instructions on how to use them.

Errata
Although we have taken every care to ensure the accuracy of our contents, mistakes
do happen. If you find a mistake in one of our books—maybe a mistake in text or
code—we would be grateful if you would report this to us. By doing this you can
save other readers from frustration, and help to improve subsequent versions of
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Questions
You can contact us at questions@packtpub.com if you are having a problem with
some aspect of the book, and we will do our best to address it.

[]
 Anatomy of a jQuery Script
He's got a brand new start
Now he's a happy guy
—Devo,
"Happy Guy"

A typical jQuery script uses a wide assortment of the methods that the library
offers. Selectors, DOM manipulation, event handling, and so forth come into play
as required by the task at hand. In order to make the best use of jQuery, we need to
keep in mind the wide range of capabilities it provides.

This book will itemize every method and function found in the jQuery library. Since
there are many methods and functions to sort through, it will be useful to know what
the basic categories of methods are, and how they come into play within a jQuery
script. Here we will see a fully functioning script, and examine how the different
aspects of jQuery are utilized in each part of the script.

A Dynamic Table of Contents

As an example of jQuery in action, we'll build a small script that will dynamically
extract the headings from an HTML document and assemble them into a table of
contents for that page.
Anatomy of a jQuery Script

Our table of contents will be nestled on the top right corner of the page:

We'll have it collapsed initially as shown above, but a click will expand it to
full height:

[]
 Chapter 1

At the same time, we'll add a feature to the main body text. The introduction of the
text on the page will not be initially loaded, but when the user clicks on the word
Introduction, the introductory text will be inserted in place from another file:

Before we reveal the script that performs these tasks, we should walk through the
environment in which the script resides.

Obtaining jQuery
The official jQuery website (http://jquery.com/) is always the most up-to-date
resource for code and news related to the library. To get started, we need a copy
of jQuery, which can be downloaded right from the home page of the site. Several
versions of jQuery may be available at any given moment; the latest uncompressed
version will be most appropriate for us.

No installation is required for jQuery. To use jQuery, we just need to place it on

our site in a public location. Since JavaScript is an interpreted language, there is
no compilation or build phase to worry about. Whenever we need a page to have
jQuery available, we will simply refer to the file's location from the HTML document.

Setting Up the HTML Document

There are three sections to most examples of jQuery usage— the HTML document
itself, CSS files to style it, and JavaScript files to act on it. For this example, we'll use a
page containing the text of a book:
<?xml version="1.0" encoding="UTF-8" ?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">

<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">

<head>

[]
Anatomy of a jQuery Script

<meta http-equiv="Content-Type" content="text/html;

charset=utf-8"/>
<title>Doctor Dolittle</title>
<link rel="stylesheet" href="dolittle.css" type="text/css" />
<script src="jquery.js" type="text/javascript"></script>
<script src="dolittle.js" type="text/javascript"></script>
</head>
<body>
<div id="container">
<h1>Doctor Dolittle</h1>
<div class="author">by Hugh Lofting</div>
<div id="introduction">
<h2><a href="introduction.html">Introduction</a></h2>
</div>
<div id="content">
<h2>Puddleby</h2>
<p>ONCE upon a time, many years ago when our grandfathers
were little children--there was a doctor; and his name was
Dolittle-- John Dolittle, M.D. &quot;M.D.&quot; means
that he was a proper doctor and knew a whole lot.
</p>

<!-- More text follows... -->

</div>
</div>
</body>
</html>

The actual layout of files on the server does not matter. References from
one file to another just need to be adjusted to match the organization
we choose. In most examples in this book, we will use relative paths to
reference files (../images/foo.png) rather than absolute paths (/
images/foo.png). This will allow the code to run locally without the
need for a web server.

The stylesheet is loaded immediately after the standard <head> elements. Here are
the portions of the stylesheet that affect our dynamic elements:
/* -----------------------------------
Page Table of Contents
-------------------------------------- */
#page-contents {
position: absolute;
text-align: left;

[]
 Chapter 1

top: 0;
right: 0;
width: 15em;
border: 1px solid #ccc;
border-top-width: 0;
border-right-width: 0;
background-color: #e3e3e3;
}
#page-contents h3 {
margin: 0;
padding: .25em .5em .25em 15px;
background: url(arrow-right.gif) no-repeat 0 2px;
font-size: 1.1em;
cursor: pointer;
}
#page-contents h3.arrow-down {
background-image: url(arrow-down.gif);
}
#page-contents a {
display: block;
font-size: 1em;
margin: .4em 0;
font-weight: normal;
}
#page-contents div {
padding: .25em .5em .5em;
display: none;
background-color: #efefef;
}

/* -----------------------------------
Introduction
-------------------------------------- */
.dedication {
margin: 1em;
text-align: center;
border: 1px solid #555;
padding: .5em;
}

After the stylesheet is referenced, the JavaScript files are included. It is important that
the script tag for the jQuery library be placed before the tag for our custom scripts;
otherwise, the jQuery framework will not be available when our code attempts to
reference it.

[]
Anatomy of a jQuery Script

Writing the jQuery Code

Our custom code will go in the second, currently empty, JavaScript file which
we included from the HTML using <script src="dolittle.js" type="text/
javascript"></script>. Despite how much it accomplishes, the script is
fairly short:
jQuery.fn.toggleNext = function() {
this.toggleClass('arrow-down')
.next().slideToggle('fast');
};

$(document).ready(function() {
$('<div id="page-contents"></div>')
.prepend('<h3>Page Contents</h3>')
.append('<div></div>')
.prependTo('body');

$('#content h2').each(function(index) {
var $chapterTitle = $(this);
var chapterId = 'chapter-' + (index + 1);
$chapterTitle.attr('id', chapterId);
$('<a></a>').text($chapterTitle.text())
.attr({
'title': 'Jump to ' + $chapterTitle.text(),
'href': '#' + chapterId
})
.appendTo('#page-contents div');
});

$('#page-contents h3').click(function() {
$(this).toggleNext();
});

$('#introduction > h2 a').click(function() {

$('#introduction').load(this.href);
return false;
});
});

We now have a dynamic table of contents that brings users to the relevant portion of
the text, and an introduction that is loaded on demand.

[ 10 ]
 Chapter 1

Script Dissection
This script has been chosen specifically because it illustrates the widespread
capabilities of the jQuery library. Now that we've seen the code as a whole, we can
identify the categories of methods used therein.

We will not discuss the operation of this script in much detail here, but a
similar script is presented as a tutorial on the Learning jQuery web log:
http://www.learningjquery.com/2007/06/
automatic-page-contents.

Selector Expressions
Before we can act on an HTML document, we need to locate the relevant portions. In
our script, we sometimes use a simple approach to finding an element:
$('#introduction')

This expression creates a new jQuery object that references the element with the ID
introduction. On the other hand, sometimes we require a more intricate selector:

$('#introduction > h2 a')

Here we produce a jQuery object potentially referring to many elements. Elements

are included if they are anchor tags, but only if they are descendants of <h2>
elements that are themselves children of an element with the ID introduction.

These selector expressions can be as simple or complex as we need. Chapter 2 will

enumerate all of the selectors available to us and how they can be combined.

DOM Traversal Methods

Sometimes we have a jQuery object that already references a set of DOM elements,
but we need to perform an action on a different, related set of elements. In these
cases, DOM traversal methods are useful. We can see this in part of our script:
this.toggleClass('arrow-down')
.next()
.slideToggle('fast');

[ 11 ]
Random documents with unrelated
content Scribd suggests to you:
 My own plan is as follows: Two packs, exactly alike are used. As to
one of these, I treat all four corners after the manner indicated by
Mr. Farrelly, when any card of the second pack, inserted into the one
so treated, naturally becomes in effect, a long card. There is in this
case no need to reverse the pack, and as the minute projection is
duplicated at each end of the diagonal, a less degree of rounding off
is necessary.
As a practical illustration of the possible uses of such a pack, I
offer the trick which I am about to describe. The expert will
recognise that, save for the use of the new pack, it is merely a
combination of well-known methods, but as regards the mode of
presentation it is original, and I think will be found worthy of a place
in the répertoire of the card-conjurer.
For the purpose of description we will call the pack with rounded
corners the “short,” and the other the “long” pack. Three known
cards are borrowed from the long pack, which may then be put
aside, as it plays no further part in the trick. These three cards are
palmed, and after the short pack has been shuffled by one of the
company, are added to it, and forced upon three different
spectators. We will suppose that the three selected cards are the
queen of hearts, forced on a gentleman; the king of clubs and the
ten of diamonds; the two last mentioned forced on ladies.
This done, each of the drawers is invited to replace his or her card
in the pack, which is passed from the one to the other for that
purpose, and before it is returned to you is once more shuffled. You
then deliver a “yarn” to something like the following effect:
“Please bear in mind, ladies and gentlemen, exactly what has
been done. To begin with, you have seen that the pack was
thoroughly well shuffled. Three cards were then freely chosen from
it. They have been put back, not by me, but by the persons who
drew them, and the pack has since been shuffled again. It is
therefore obviously impossible that I should know either what cards
have been chosen, or whereabouts they may now be in the pack.
But I enjoy impossibilities. The more impossible a thing is, the more
I want to do it. I will find out these cards or die! Don’t be alarmed, I
don’t mean to die just yet; so I must do the other thing. It’s easy
enough, if you know how to do it.
“In the first place I cut the pack into three portions.” (You cut
three times, nipping the “long” corners between second finger and
thumb, at each of the drawn cards in succession, and placing the
cards left at bottom on one or other of the three heaps; then
solemnly rub your wand, without remark, with a silk handkerchief,
and lay it across the tops of the three packets.)
“Now, if the electric influence is strong enough, the three chosen
cards will gradually sink down to the bottom of these three heaps. A
nice easy way of finding them out, is it not? It will take a minute or
two for the charm to operate, so in the meantime I will try to find
out the names of the cards for myself by thought-reading. You drew
a card, I think, Sir? Will you kindly think of that card, as hard as you
can, and meanwhile look straight at me? Thank you. Judging by
physiognomy, I should say that you were rather a ladies’ man. Don’t
blush, Sir. It’s nothing to be ashamed of, is it, ladies? But he did
blush, didn’t he? Now, being a ladies’ man, you will naturally have
chosen one of the ladies of the pack, that is to say one of the
queens, and your blush suggests that it was a red queen. Now there
are only two red queens to choose from. The queen of hearts
represents Love, and the queen of diamonds Money. If I read your
thoughts aright I feel safe in declaring that you chose the queen of
hearts. That is right, I think? Quite simple, when you know how it’s
done.
“And now, Madam, for your card. I can see at a glance that you
have a liking for aristocratic society, and you will therefore naturally
have chosen a king. But which king? Think hard of your card, please.
A picture of a dark-complexioned gentleman comes up before my
mind’s eye, and I feel that I can say with confidence that the card
you chose was the king of clubs. Am I right?
“And you, Madam. I have an idea that you have a taste for pretty
things, particularly jewellery. Such being the case, you would
naturally choose diamonds. Think of your card, please. Thank you. I
see I was right in my guess. The card you chose was the ten of
diamonds.
“And now to verify my discoveries. If my wand has done its work,
those same three cards will now have percolated through the rest,
and settled down at the bottom of these three heaps. Let us see
whether they have done so.” (The three heaps are turned over.)
“Yes, here we have them: the king of clubs, the queen of hearts,
and the ten of diamonds. It is a curious thing for the cards to do,
and I daresay you would like to know how it is done. As a matter of
fact, it is done by synthetic re-adjustment of dissociated atoms. You
don’t know what that means, perhaps? Well, to say the truth, I don’t
quite know myself, but that is the scientific explanation, so no doubt
it is correct.”
The trick may very well end at this point, but if the reader
possesses a card-box, or other apparatus adapted for “vanishing”
cards, he may bring it to a still more striking conclusion. In this case
he may continue as follows:
“Now, I should like to show you a curious effect of sympathy. I
take away these three cards and hand the rest of the pack to the
gentleman who drew the queen of hearts. Kindly hold it up above
your head where all can see it. The three drawn cards” (show them
one by one) “I place in this box. Again I electrify my wand a little,
and lay it across the box. Now I want each gentleman or lady to
think of his or her card. Think of it kindly, and feel as if you would
like to see it again. Think hard, please, because it is you, not I, that
perform this experiment, and if you don’t think hard it will be a
failure. I am pleased to see by the expression of your countenances
that you are all thinking hard. Thank you very much. You may leave
off now. The deed is done. The three cards have left the box, and
gone back to the pack. Please look it through, sir, and tell the
company whether it is not so.”
The reader, being familiar with the wiles of conjurers, will
doubtless have guessed that the three cards supposed to have
returned to the pack have in fact never left it, being those naturally
belonging to it, corresponding with the three long cards. But to the
outsider their supposed return will be, in the words of the lamented
Lord Dundreary, “one of those things that no fellow can understand.”
As regards the disappearance of the three cards, the performer is
of course by no means restricted to the use of the card-box. If he is
an expert in sleight-of-hand, he may with even better effect,
“vanish” them one by one by means of the back palm, dropping
them a moment later into the profonde.

THE MASCOT COIN BOX

This is a little device on the same principle as the well-known flat
card-box, but adapted for use with coins, and with an addition which
largely increases its utility inasmuch as it will not only enable the
performer to “change” or “vanish,” but to get instant and secret
possession of a coin placed in it.
The box (see Fig. 14) is of ebonized wood, unpolished, and in size
about three inches square. It consists of two parts (a and b), which
are alike in size and appearance, so that either half may be regarded
as “box” and either as “lid,” at pleasure, according as the one or the
other is made uppermost, no difference being perceptible between
them. In the centre of each half is a circular well, not quite two
inches in diameter.
Used with the box is a thin disc of wood corresponding to that of
which the box is made. This is of such diameter as to fall easily from
the one well into the other, according to the way in which the box is
turned, but on the other hand fits so closely within that its presence
or absence is not perceptible to sight. If a coin be laid in the box
upon the disc and the box is then closed and turned over, the disc
settles down over the coin in the opposite half, either leaving the
box apparently empty or exhibiting in place of the original coin a
substitute with which the opposite side of the box has been
previously loaded.
 Fig. 14

Thus far, as the reader will doubtless have perceived, the effect
produced (save that a coin instead of a card is dealt with) is
precisely the same as in the case of the card-box. But the “mascot”
has a speciality of its own, in the fact that in that half of the box
marked a (see Fig. 14) a horizontal slot is cut on the side opposite to
the hinge, just long enough and wide enough to allow the passage
of a half-crown. The wood being dead black, this small opening is
invisible save to close inspection, which the box is never called upon
to undergo.
When it is desired to gain secret possession of a coin lent by one
of the company, the lender is invited to place it himself in the box,
held open bookwise as in Fig. 14, the side b of the box having been
previously loaded with a duplicate coin.
The lender of the coin may place it in whichever side of the box he
pleases, but the manner of closing the box will vary accordingly. If
he places it in the side a, the opposite (or loaded) side is treated as
the lid and turned down over a. In this case, the coin being already
in the slotted half, no turn-over of the box is necessary, the
performer having merely to allow the coin to slip out into his hand.
In the opposite case, viz., that of the coin being placed in b, a is
treated as the lid, and the coin being in this case above the disc the
box must be turned over before it can be extracted. If preferred the
performer can hold the box so that the coin will naturally be placed
in b, but in this case the turn-over is unavoidable.
When the box is again opened, the duplicate coin is revealed in
place of the original, which is meanwhile dealt with as may be
necessary for the purpose of the trick. After the borrowed coin has
been extracted, the further fall of the disc closes the slot, and bars
any possibility of the substitute coin escaping in the same way.
The following will be found an easy way of working the exchange.
“For the purpose of my next experiment,” says the performer, “I
shall have to ask the loan of a half-crown; marked in such a way
that you can be sure of knowing it again. I should like one, if
possible, that has seen some service, for a coin in the course of
circulation imbibes a certain amount of magnetic fluid from each
person who handles it; and this renders a well-worn coin more
susceptible to magical influences than a new one.”
The reason alleged for asking the loan of an old coin is of course
“spoof,” but there is a reason; and it is two-fold. In the first place it
ensures your getting a coin tolerably like your own; which you have
chosen in accordance with that description, and which you have
marked after some commonplace fashion, say with a cross scratched
upon one of its faces. Secondly, a well-worn coin, having lost the
sharp edge which is caused by the milling in a new one, passes the
more easily through the slot, which for obvious reasons is kept as
narrow as possible.
Performer, advancing toward the person offering the coin,
continues:
“I don’t want even to touch the coin myself till the very last
moment, so I will ask you meanwhile to put it in this little box. I
believe it was built for a watch-case, but as I don’t happen to need
one, I use it to hold my money, when I have any, or when I can get
somebody to lend me some.”
 The box is held open bookwise, as above mentioned, and closed
according to circumstances, in one or the other of the two ways
described.
“I will now ask some gentleman to take charge of the coin in the
box. Who will do so? You will, Sir? Thank you. But stay! I think I
heard somebody say (it was only said in a whisper but I heard it) ‘I
don’t believe the half crown is in the box.’ It is very sad to find
people so suspicious, especially when I take such pains to prove that
there is ‘no deception.’ But the gentleman was wrong, you see.” (He
opens box, and shows the substitute coin.) “Here it is. Take it out,
sir, and keep it in your own hands till I ask you for it again.”
During the delivery of the patter the borrowed coin has been
extracted, and the coin exhibited in the box and handed for safe-
keeping is, of course, the substitute. The box, as being no longer
needed, is laid without remark upon the table, and the trick
proceeds, after whatever may have been its intended fashion.
 MISCELLANEOUS TRICKS
MONEY-MAKING MADE EASY
Requirements. Coin mat loaded with two double pennies, shell
side undermost. Lighted candle and velvet mat (with pocket) on
table.
Presentation. Performer comes forward with coin mat hanging
down in his right hand (mouth of loaded space upwards), and asks
for the loan of a penny, marked in some conspicuous way. Receiving
it on the mat, he shows it, so placed, to the persons, seated on each
side of the owner, in so doing making it obvious to them, without
remark, that his hands are otherwise empty. Then returning to his
table, with the mat and the coin on it still in his hand, he delivers
patter to the following effect:
“Now I am going to show you a nice easy way of making money. I
was told when I was a small boy, ‘Take care of the pence, and the
pounds will take care of themselves.’ I believe they do. The pounds
take such good care of themselves that very few of them seem to
come my way. But you can make a bit even with pennies, if you
know how to set about it. All you need is a really good penny to
start with. It doesn’t matter how you get the penny. You may beg,
borrow, or steal it. Personally, I prefer to borrow it. If you try the
other two ways you get yourself disliked, but you can always get
people to lend you things, if you ask prettily; and I’ve always been
celebrated for my nice borrowing manner. You must all have noticed
that the gentleman lent me a penny without the slightest hesitation.
I daresay if I had asked him, he would have made it two-pence, or
even six-pence, if he had as much about him. In this case, however,
one penny is enough for my purpose; and here it is with the owner’s
own mark upon it. Observe that it is just a plain ordinary penny, and
you can see for yourselves that it is the only one I have—in my
hands, I mean. I am always truthful. As a matter of fact, I believe I
have another in my left trouser-pocket, but I promise you that I
won’t use it.”
Pass mat, with coin on it, from one hand to the other, showing the
hands otherwise empty, and leaving the mat finally in the right hand:
then let the marked coin slide off it into left hand, the concealed
coins passing with it. Put down the mat, and show all three coins
together (the marked coin in front) held between forefinger and
thumb, broadside toward the spectators. Thus held, they are, even
at a few feet distant, undistinguishable from a single coin.
“Now I am going to make money. Not much, perhaps, in fact only
a penny at a time. I shall start by making this one penny into two.
Cent per cent is not bad, is it? Observe, I use no violence. It’s all
done by kindness. I just warm the coin a little over this candle-
flame. That softens the metal and I am able to squeeze another
penny out of this one, so!”
Show as two accordingly, by sliding off the hindermost coin in its
shell, exhibiting it on both sides, and laying it on the table.
“You have all heard of turning an honest penny. Well, this is one
way of doing it. It is said, too, that one good turn deserves another,
so we’ll try again. I warm the first penny a little more, and again I
pull another out of it.” (Draw second double coin from behind the
original penny.) “Now we have three, two in my hands” (showing
one in each hand) “and one on the table.
“I think I heard somebody say that I couldn’t make any more? I
don’t like to do it, because the process takes a good deal out of the
original penny, and I might spoil it. On the other hand, I don’t like to
decline a challenge, so here goes! I warm these two again, and
then, with a little extra pressure, because it naturally becomes more
difficult each time, I get yet another penny, as you see. So now, in
all, we have four.” (Show those in hand as three, by drawing solid
coin out of shell, then, picking up double coin from mat, show as
four accordingly.) “Did I hear a lady say ‘Just one more’? Well, then,
one more.” (Develop the double coin just picked up, and show as
five.) “But here I must really draw the line. If I kept on like this,
there would be none of the original penny left. It is already getting
weaker and weaker. Besides, there wouldn’t be time for anything
else, and I have several still more wonderful things to show you.
“And now to put these extra pennies back again into the original
coin. At present it is only one-fifth its proper weight and if the owner
tried to pass it in this condition there would be trouble. I should
explain, by the way, that these others are not really solid coins:
though they look like it. They are what the spiritualists call astral
coins, if you know what that means: I don’t quite know myself; so I
won’t attempt to explain, but I believe in the Police Courts they are
known as ‘duffers.’”
Lay all five coins on the velvet mat, each of the shells slightly
overlapping the solid coin to which it belongs.
“Here we have one, two, three, four, five. I pick up two of them.”
(Draw shell over solid in act of picking up.) “I give them a gentle
squeeze and they become one only.” (Show as one, and replace on
mat behind the mouth of pocket.) “Now I treat two more in the
same way.” (Repeat accordingly, replacing these also, as one, on
mat.) “We have now only three left. Let me see, which is the
original? Ah! here it is, with the owner’s mark upon it.” (Pick it up
and show in left hand.) “Now I rub one of these others into it.”
(Make the movement of picking up one of the double coins, and of
rubbing it into the coin in left hand, but in reality “vanish” it, in the
supposed act of picking up, into the pocket of mat.) “And now I pass
this other one into it in the same way, and we have only the original
penny left. It is like the ten little niggers, isn’t it, only that they never
came back. Here is your penny, Sir. Please observe that it still has
your own mark upon it, which is proof positive that there has been
‘no deception.’”
N. B. If the performer is a novice, he may simplify the trick by
loading the coin mat with one double and one ordinary coin only, or
two ordinary coins, limiting the successive productions accordingly.

THE MISSING LINK

At an early period of my magical career, I devised a trick to which
I gave the name of Concatenation Extraordinary, and which will be
found described in Later Magic, page 94. In effect it consisted of the
magical welding of a number of loose iron links into a continuous
chain. It was performed by the aid of a Black Art table, a bottomless
tumbler, and a silk thread. “Though I say it that shouldn’t,” it was an
ingenious trick, and I was very proud of it. Unfortunately, some good
natured friend (I rather think it was Mr. David Devant) pointed out to
me that about ninety-five per cent of my ingenuity was wasted,
inasmuch as the same effect, so far as the spectator was concerned,
could be produced by infinitely simpler means, viz.:—by using a
glass with double mirror partition, when all the other paraphernalia
became unnecessary. You had only to load the hinder compartment
with the complete chain, and after a due amount of “talkee-talkee,”
drop the loose links into the forward one, turn the glass round, and
the deed was done.
The trick, as a trick, was just as good in its new shape as before,
but being at that time (comparatively) young and foolish, its extreme
simplicity spoilt it for me, and I lost all interest in it. Not long since,
however, I was reminded of it by coming across the chain and links
which had figured in my performance of the trick, and it struck me
that, in a slightly modified form, it may still be worth the attention of
the drawing-room conjurer.
The requirements for the trick in this, its latest form, are as
follows:
First, the mirror glass; and as to this I may note in passing that
the “mirror” is best made of tin-plate, not too highly polished, in
place of the looking-glass plate which was, until a quite recent
period, generally employed for the purpose.
 Secondly, a length of small iron chain, made up of twenty-six links,
connected in the centre by a twenty-seventh link of brass.
Thirdly, two shorter lengths of similar chain, consisting of thirteen
links each, and a loose brass link, corresponding to the one in the
centre of the longer chain. The complete chain is to be placed at the
outset in the hinder compartment of the mirror glass, which should
be of such a size that the chain nearly fills it.
Lastly will be needed a bottle containing Eau de Cologne, of which
a few drops have been poured on the chain in the glass.
The patter may run to something like the following effect.
“You are doubtless aware, ladies and gentlemen, that electricity is
now largely employed in the welding of metals. Of course to produce
such a result on a large scale, such as welding guns, enormous
strength of current is required; amounting in fact to millions of
ampères, or volts, or ohms, or watts. I blush to confess I don’t know
which is which, but it’s of no consequence. If I had ever so many
ampères, or the rest of it, I shouldn’t know what to do with them. I
am only able to manufacture my electricity on a very small scale, but
with the aid of a little magic, I get very good results.
“You are also no doubt aware that when certain metals,
particularly copper and zinc, are brought into close connection, an
electrical current is set up between them. The same thing applies, in
a less degree, to iron and brass, as I hope to be able to show you.
“I have here two short lengths of iron chain. Will somebody be
kind enough to count the links? You will find, I think, that there are
exactly thirteen in each. Please notice this, because, in some
mysterious way, it has something to do with the success of my
experiment. You know thirteen is an unlucky number, and the chains
themselves don’t like to consist of that number of links, and if they
can alter it, they try to do so. I am going to give them the
opportunity, with a little electrical assistance. Thirteen, as I have
said, is an unlucky number, and twice thirteen makes twenty-six,
which is not much better, but if you add one more, you get twenty-
seven, which is a very lucky number indeed. Everybody knows that
three is a lucky number. Three times three are nine, which of course
must be luckier still, and three times nine are twenty-seven, which is
naturally best of all.
“Now I am going to give these two chains an opportunity to
convert themselves into that lucky number, by taking in this extra
link, which as you perceive is brass, an opposition metal. Observe, I
drop one of the chains into this glass. See that I do so fairly. Then I
drop in the single link, and lastly, the other piece of chain. And now,
in order to set up an electrical reaction, I add just a few drops from
this bottle of Eau de Cologne. As a matter of fact, a little salt and
water would have the same effect, but I use Eau de Cologne
because it smells nicer. And now I must ask the loan of some lady’s
handkerchief, to cover the glass, and concentrate the electric
current.”
Holding the handkerchief in right hand, pick up the glass with left
hand, and raise it a few inches from the table. In lowering it, cover it
with the handkerchief, and at the same time give it the necessary
half-turn. Take out your watch, and make believe to time the
operation, remarking, “I find it needs a full half-minute, to allow the
charm to work. Time! Let us see how we have succeeded.”
Take off the handkerchief, and draw the chain slowly out of the
glass. “Yes. All is well. I should say welded, and I trust you will say,
‘Well done.’ The chain is complete, and now consists of twenty-seven
links, the lucky number. Perhaps some gentleman will verify the fact.
“I must tell you frankly that I don’t guarantee the correctness of
my explanation. I can’t say exactly how much the electricity has to
do with it. I only know that if you go to work the right way, which
means, do as I do, you get the result, and there you are. This
experiment always provokes a lot of discussion. The other evening
one gentleman said it was done this way. A lady said it was that way,
and a sharp boy (the younger they are the more they know) was
quite sure it was done another way altogether. But they were all
wrong. It is done just the way I have shown you, and if you do as I
do, and say as I say, you will no doubt produce the same result.[7] If
you don’t, well, you will be no use as a conjurer, and you had better
go into some other business.”
Some less instructed reader may possibly enquire, “But why the
Eau de Cologne? What does that do?” Precisely nothing, and therein
lies its virtue. As indicated in the section on “patter” (post) it often
happens that some little bit of spoof, supererogatory in reality so far
as the spectator is concerned, is accepted as covering the real key to
the puzzle. This is a case in point. Taking it for granted that the Eau
de Cologne would not be used without some reason, the spectator
sets to work to discover that reason, and so gets farther from the
real solution.
 [7] This last bit of patter is a plagiarism from somebody or
other, I rather think the late Dr. Lynn.

CULTURE EXTRAORDINARY
The root-idea of this item must be credited to Signor Antonio
Molini, the inventor of the very effective stage trick known as Le
Souper du Diable. The principle on which that trick is worked is so
subtle, and withal so simple, that it is surprising that it has not long
since been applied to the production of less bulky objects than the
tablecloth, eatables and drinkables which figure in the Satanic
supper. The following is an application of the Signor Molini’s idea on
a scale better adapted to the drawing room.
Requisites.
(1) Three zinc or zinc-lined tubes, as a, b, c, in Fig. 15, ranging in
height from about three inches upwards, and graduated in size so as
to fit easily one within the other.

Fig. 15
 (2) Three balls, one red and two white, of such diameter as to
pass easily through the narrowest tube. Two smaller balls, one red
and one white, about half an inch in diameter.
(3) A box of matches.
Each of the two smaller tubes (c and d in diagram) to be loaded
with one of the larger white balls, suspended from the upper edge of
the tube by a wire hook, shaped as a in Fig. 16, connected with the
ball by a loop of fine silk or cotton thread. The red ball is vested, and
the two little balls may rest in a shallow tray or other appropriate
receptacle on the table, deep enough as to conceal them from the
view of the spectators.

Fig. 16

Introductory Patter. “You have no idea, ladies and gentlemen,

what a lot of hints I get from different people for the improvement
of my entertainment. If I were to adopt them all, I have no doubt it
would be very fine indeed. The worst of it is that it would take a
year or two to try them, so for the present I am obliged to leave
things as they are.
“You will observe that I have here three tubes” (showing No. 1
and passing wand through it to prove it is empty), “quite ordinary
tubes, with a hole at each end, and nothing at all between. I don’t
suppose you would notice anything to object to about them, but
some people are so very particular. A gentleman who said he had an
artistic eye (I don’t know which eye it was) said to me, ‘Look here,
Professor, that trick of yours would be ever so much better if you
had all those tubes the same size. That lot looks as if you had picked
them up at a jumble sale.’[8] I explained to him, kindly but firmly,
that there was a special reason for having the three tubes of
different sizes; namely, that by so doing it was made possible”
(suiting the action to the word) “to pass this one (No. 1) over this
other (No. 2); and this again over the smallest one, thereby saving
much space in packing. He said, ‘Never mind, you take my tip and
make ’em all the same size.’ I dare say he was right, but I haven’t
had time to do it yet.”
During this little harangue, which appears to be mere “spoof,” you
have practically worked the trick. Suiting the action to the word, you
have passed the largest tube No. 1 over No. 2 and lifted it off again.
In its downward movement the tube passes over the little hook on
No. 2; but in lifting it off again its upper edge comes within the outer
arm of the hook, and carries this off with the ball attached to it,
leaving tube No. 2 empty. The latter, shown empty accordingly, is
passed over No. 3 and carries off its load in the same way.
You have thus proved (!) in the most convincing way that all three
tubes are empty, though as a matter of fact No. 3 is the only one in
that condition, Nos. 1 and 2 each containing a suspended ball.
The patter from this point may vary according to the fancy of the
performer. If he has the knack of producing the appropriate
combination of fact and fiction, it is preferable that he should do so
for himself. As I have elsewhere remarked, borrowed patter rarely
comes so “trippingly on the tongue” as that of which the performer
can say with, let us hope, undue depreciation of his merits, “a poor
thing, but mine own.”
The fable with which I should myself introduce the trick would run
somewhat as follows:
 “You have all heard, ladies and gentlemen, of intensive culture,
gooseberries grown while you wait, and that sort of thing. It is done
by enclosing the seed, or the young plant, in a confined space and
keeping it warm and comfy. It has always seemed to me that there
is a good deal of magic about the process, and I thought I would
like to try it myself, but it would be no good my trying to grow
vegetables. I shouldn’t have room to grow more than one radish, or
one spring onion at a time, which would hardly be worth while. I
finally decided to grow a few billiard balls, for use in my
entertainment, and I’ll show you how it’s done.
“You must please imagine that these three tubes are three
hothouses on the new system.” (Picks up and exhibits one of the
little white balls.) “Of course everything has to be raised from seed
in the first instance, but it would take too long to show you the
whole process from the beginning, so we will start with this little
ball, grown from seed last night. In its present condition it is too
small to be of any use, but by means of my intensive culture we can
soon make it grow larger. I will drop it into No. 1 forcing house.”
Performer shows little ball in right hand and makes believe to
transfer it to the left, in reality rolling it, as in the well-known “Cups
and Balls” trick, between the roots of the second and third fingers.
The left hand, held above tube No. 1, makes the movement of
crumbling an imaginary ball into it. “Now we will plant another in the
same way.”
You pick up apparently another little white ball, but in reality the
same; which has remained in the right hand. Now, however, it will
be well to vary the sleight used, so you show the ball between the
second finger and thumb of the left hand, and apparently take it
back by means of the pincette or tourniquet; then professedly
dropping it into the second tube.
“And now, to complete the set, we shall have to grow a red ball.
Here is a seedling of that colour.” You pick up the little red ball, and
make believe to pass it after the same fashion into the third tube.
 “And now to supply the heat. We do not need much, the space
being so confined. I find that even the flame of a match is
sufficient.”
You strike a match and move the flame round and round within
the top of the larger tube till the thread catches fire and releases the
ball. Should this be heard to drop, you account for it by remarking “I
dare say you noticed a little explosion. That is caused by the sudden
radio-activity of the component atoms re-arranging themselves in
the expanded form.” You raise the tube and show the ball: then go
through the same process with the second tube. Under cover of
raising this tube to show the ball, you get the large red ball from the
vest into the left hand and palm it.
“Perhaps you would like to watch the progress a little more
closely.” You pick up the third tube and place it upright on the palm
of the left hand, in so doing introducing the palmed ball from below,
and advance with it to the company.
“The red balls are especially sensitive to heat. Even the warmth of
the breath is generally enough for these. Anyhow, we will try.” You
breathe into the tube, and lifting it show the ball, then offering both
tube and ball for inspection.
It will hardly be necessary to point out to the acute reader that
the alteration of procedure in the case of the last tube is rendered
necessary; first, by the fact that the tube up to that point contains
no ball, and secondly in order to avoid the difficulty of striking a
match with the right hand only, the left being otherwise occupied.
The trick may appropriately be followed by the exhibition of a few
of the usual ball sleights. If it is worked on a “black art” table it may
be brought to an effective close by the “dematerialisation,” in
succession, of the three balls.

[8] Rummage.

THE BOUNDING BEANS

 This is another application of the principle introduced by Signor
Molini and utilised in the trick last described.
The requisites for the trick are as follows:
(1) Mirror glass; at the outset, empty.
(2) Two tubes of cardboard, sheet brass, or zinc, as A and B in
Fig. 17. The height and width of A are about 3½ and 2½ inches
respectively. B is a little taller, but a trifle less in diameter.
(3) A third tube, C, with its lower edge turned inward an eighth of
an inch all around. This tube is a little shorter than A, and in
diameter a trifle smaller than B, which must pass easily over it.
Attached to either side of its upper edge, outside, are soldered two
little wire hooks, the points on the outside directed downwards.
(4) A coil of paper ribbon, of such size as to fit closely into the
lower end of C, and forming, when so placed, a temporary bottom to
it. The inner end of the coil must be drawn up an inch or so, so as to
form a little cone in the centre.

Fig. 17

(5) A similar coil unwound into a loose mass of paper ribbon.

(6) About three-quarters of a pint of haricot beans. Of these a
sufficient number must be poured into C (around the little cone), to
fill it. The remainder are to be brought forward on some sort of tray.
[9]
 C loaded as last described, is to be placed within B.
The trick may be introduced as follows:
“Most of you, I dare say, have seen the little natural curiosity
known as the Jumping Bean. To all appearance these are just like
other beans; but if you spread a dozen or so of them on the table
and watch them carefully, you presently see one or more of them
turn over, or even make a little jump. A young and lively bean will
sometimes hop as far as half an inch.
“Scientific gentlemen tell us that their agility is caused by a little
insect inside the bean. When he wags his tail, or scratches himself
with his hind leg, it causes the bean to turn over, or to make a hop.
That seems to me rather a lame explanation because there is no
hole in the bean that the insect could possibly have got in at. I
believe myself, that they are in truth magic beans, and I have been
trying to train some beans of my own to do the same thing on a
larger scale, and in such a way that you can all see them do it.
“Here are my beans.” (Show those on tray.) “Examine them as
much as you like. The more you examine them, the more you won’t
find anything particular about them. You won’t notice any difference
between them and any other beans, but as a matter of fact they are
a good deal more energetic than beans of the ordinary kind, and
when they get to know and love you, they will do all sorts of
remarkable things.
“I will pour a few of them into this glass.” (The front compartment
of the mirror glass is filled to about two-thirds of its height.) “To
prevent their getting out again without your knowing it I will press
them down with a handful of these pretty paper shavings.”
This is also done, the quantity of paper being so regulated, in
accordance with previous experiment, that when pressed down it
shall come half an inch or so below the brim of the glass.
“To make matters still more secure I will ask the loan of a lady’s
handkerchief to cover the glass with.”
 The handkerchief is taken in the right hand, the left meanwhile
raising the glass a little way to meet it. In covering and lowering it
again to the table the needful half-turn is made.
“I will not touch the glass again until the experiment is finished.
Meanwhile I want to call your attention to these two tubes. You will
observe that one of them is slightly larger than the other. A
gentleman told me the other evening that I was wrong in saying so.
He maintained that the one was smaller than the other. I didn’t
argue with him. I never do with that sort of man. It is just a
question of the point of view. Anyhow, I had the one made larger, or
the other one smaller, whichever way it is, so that the one can go
comfortably over the other, like this.”
A, first carelessly moved about so as to show clearly that it is
empty, is brought down over B and lifted off again, carrying off
within it C and its load; after which B is in turn shown to be empty.
“Now I am going to order the beans to jump out of the glass and
into one or other of these empty tubes, at your own choice. Right?
or left? Which shall it be?”
Performer asks the question standing behind his table, and by
means of the familiar equivoque (“my” or “your” left or right)
interprets the answer to mean A.
“And now I have only to pronounce the proper magic spell. The
trouble is to remember the right one. They are rather confusing, and
if you happen to pronounce the wrong one, or even pronounce the
right one the wrong way, the consequences may be serious. But I
think I know this one pretty well. ‘Peripatetico-paticocorum.’ I fancy I
have got it right. I don’t know quite what it means myself, and
nobody seems to be able to tell me. A Japanese gentleman told me
he thought it was Spanish, but a Spaniard said he felt sure it was
Welsh. Somebody else suggested that I should ‘ask a pleeceman.’ I
did ask a policeman, and he said, ‘Go to—’ somewhere I won’t
mention, but I don’t think he meant it as a translation. My own idea
is that it is a bit of Esperanto. Anyhow, it has the desired effect; for
you see the beans have left the glass” (uncovering it and showing it
empty), “and they have jumped into this tube, which is what I
wanted them to do.”
The beans are poured from the tube into the vacant portion, now
to the front, of the mirror glass, with due care that the coil at
bottom shall not be seen.
“But there’s something wrong here. I must have made some little
mistake in the pronunciation of the magic spell, for the paper seems
to have disappeared as well as the beans. There is certainly no room
for it in the tube. Here it is, though, or some of it.”
The paper is unwound, and when it comes to an end the wand is
passed through A and C (now bottomless) together, again proving
(?) that the former which is always shown to the spectators could
not possibly have contained the beans in any natural way. A moment
or two later the inner tube can easily be got rid of behind the mass
of paper ribbon.

[9] The little dishes of paper pulp sold for picnic purposes will
be found to answer this and similar purposes excellently and have
the further advantage of being exceptionally portable.

LOST AND FOUND

This trick may be worked either upon a black art table or black art
mat. We will assume that the latter is used.
The requisites for this trick will in such case be as follows:
1. The mat. This may be a small circular one, a few inches in
circumference without pocket.
2. A handkerchief, fourteen or fifteen inches square, of some
gaudy pattern, carefully folded and placed in a square Japanese
handkerchief box.[10]
 3. A circular velvet patch as described ante, in the chapter dealing
with novel applications of the Black Art principle.
4. A half-crown placed in a pochette, or otherwise so as to be
readily get-at-able.
Presentation. Performer opens the box and takes out the
handkerchief, which he carefully unfolds, handling it as if it were
something of extraordinary value.
“I have here, ladies, a curio of an exceptionally curious kind. This
is said to be the identical handkerchief which Othello gave to
Desdemona, and which afterwards caused so much unpleasantness.
No doubt you all know your Shakespeare, and will remember that
Othello tells his wife, ‘There’s magic in the web of it.’ And there is
magic in it still. Not so much as there was, I dare say, but still it
retains a good many magical qualities. Among them is a curious
talent for recovering lost property. For instance, I once had a dog.
His name was Socrates, but he was generally called ‘Socks.’ In fact,
he preferred it. He was a valuable dog, because he combined so
many different breeds. He was partly pug, and partly greyhound,
and partly dachshund, and partly chow, and partly bull-dog and
partly terrier, and partly of two or three other breeds that I can’t for
the moment remember. One day Socks went out to see a friend, and
didn’t come back again. I sat up all night for him with a stick, but he
didn’t come home till morning. In fact, he didn’t come home even
then. I thought I had lost him for good, and I was quite distressed
about it.
“Just when I was beginning to get over the loss I had a further
shock. My precious Desdemona handkerchief was missing. But the
very next day I heard a barking outside, and there was my dog with
the handkerchief tied round his neck and three other dogs with him.
The handkerchief had recovered them all.
“You don’t believe that little story. I thought you wouldn’t. People
never will believe anything a little bit out of the way. It is just the
same with fish stories. I know a man who, when he was a boy,
fishing in a pond with a maggot on a bent pin, caught a four-pound
salmon. He didn’t claim any credit for doing it. He says himself it was
just an accident, and might have happened to anybody. But he never
can get anyone to believe him, and it has spoilt his character. He
was naturally a truthful man, but being always disbelieved has made
him reckless, and now, whenever he tells the story he sticks another
half-pound on to the salmon. I believe it is a fifteen pounder now.
[11]

“With regard to the handkerchief, however, I can easily prove to

you that what I have stated is correct. I can’t prove it quite in the
same way, because even if any lady or gentleman present had lost a
dog, it would take the handkerchief a day or two to find it, and you
would get tired of waiting. So I must show you the virtues of the
handkerchief in a simpler way.
“Will some gentleman oblige me with the loan of a half-crown,
marked so that he can be sure of knowing it again?”
On receiving the coin the performer returns to his table, holding it
on high so that it can be seen that there is no substitution, and lays
it on the black art mat.
“Presently I propose to lose this coin, and get the handkerchief to
find it, but first you would like, no doubt, to have a look at the
handkerchief itself. Notice the richness of the pattern. It is said to be
after a design in the Alhambra. I don’t mean the Alhambra you
gentlemen go to, but the real Moorish one in Spain.”
Leaving the handkerchief for the time being in the possession of a
spectator he returns to the table, meanwhile palming the velvet
patch, and the substituted half-crown, and ostensibly picks up the
original, in reality rendering it invisible by laying the patch over it,
and showing the substitute in its place, after the manner described
at p. 19. He then advances to the company with the substitute coin
and offers it to one or other of the spectators, remarking, “Take it,
please, and pass it to one or other of your neighbours so that I
shan’t know where it is.”
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