562 PSYCHOLOGY OF PRESTIDIGITATION. 



I borrow this description from Ponciii, who is really the classical author 

 of this art: ''Take a regular juggler's ball (small size) between the 

 thumb and index iinger of tlie right hand. Ber.d the index finger, 

 wliich will make it draw back and cause the ball to roll a little, which 

 ought then to rest upon the first joint of the middle finger. Bring the 

 ring finger inside the hand so as to make a greater .space between it 

 and the middle finger. Roll the ball with the thumb into the space, 

 raise the ring finger, and the ball should be then just between the 

 joints of the middle and ring fingers and near the roots of both." 



This tri(;k will never be perceived, because it is invisible to the audi- 

 ence, the back of the hand being turned toward them, and although 

 the object is in the palm, the hand appears relaxed expressive of inac- 

 tivity and repose. But what would augment the illusion considerably, 

 and give it even an irresistible effect, is tliat while juggling the ball 

 in the right hand we make a gesture as if placing it in the left hand; 

 we then bring both hands together, describing a half circle if it be 

 necessary to augment tlie distance, and therefore give more time to the 

 securing of the ball in the j^alm, and as soon as the fingers of the right 

 hand touch the palm of the left hand, we close the left hand, as if 

 holding an object which we did not wish to let fall. This gesture suf- 

 fices to make those looking on believe the object is really in the left 

 hand; and the illusion will be all the more perfect if the artist shows 

 himself a good comedian. Our advice is to repeat the act frequently 

 before a mirror in order to become expert in its performance. More- 

 over, the effect of the act is increased by the words with which he 

 accompanies it, his affirming that tbe object is in his left hand, the 

 manner of looking at his leit hand, and, in fact, his whole expression 

 of countenance, all go to increase the force of the illusion. Of course 

 it is necessary not to overdo it by putting too much zeal in the action 

 of the hand, or wearing an unnatural expression of countenance, as 

 this woukl only arouse suspicion in the minds of the audience. 



There exists another artifice, to which we may have recourse to 

 heighten the effect of the trick, wliich is for the artist to treat his audi- 

 ence to a little set si)eech he has all prepared for the occasion, and 

 which has on the minds of the audience an effect most favoi-able to the 

 illusion. If the artist announced beforehand that a nutmeg would 

 disappear while he was bringing both hands together their eyes would 

 become so fixed on the movements of his hands as to cause him no little 

 embarrassment, and no doubt some among them would perceive the 

 fraud. To throw them off" the scent, he envelops the trick in a sort of 

 mystery. He announces to them, for example, that by squeezing a nut- 

 meg in his right hand he has the power to melt it, and cause it to 

 evaporate and disapj)ear; everyone present, of course, knows this to 

 be impossible, but such is the power of the human speech that we are 

 almost compelled to give our best attention to the act the magician 

 announces he is about to perform, and in consequence we keep a close 



