Water Wizardry: A collection of tricks in which water is the chief agent

wl of water and taking it out-perfectly dry. But the trick in that form is har

white sand is not really white, but the natural colour of the sand. In this case, not only does the c

the conjurer says it is and nothing more-an ordinary bowl nearly filled with ordinary water-and unless the audience are further convinced of the fact that the sands of di

ion. The bowl can be either of glass, metal, or china. The trick is most ef

placed in bags, the red sand

he bowl for inspection; then he gives it out for examination. If he is performing in a room he should have a

tity required. If there is too much water some of it may get splashed over the brim during the performance of the trick, a

e trick, and in pouring out the sand he should work slowly so that the audience see that he pours out nothing else but sand. While he is doing this he should hold his hand over the bowl, because some of the sand w

e audience see that the bags contain nothing but sand and that he places nothing els

ng his empty hand to the audience, he dips it into the water and takes out a handful of the wet sands and holds

opens it, shows it to the audience, and puts the goblet down. Then he washes his hands in the bowl, and repeats the performance with the white sand and the blue, so that at the end of the trick the audience can

means. Most conjurers hold the opinion that the bes

ands. First of all a quantity of sand is dyed red and a similar quantity is dyed blue,

g.

Then drop in a small piece of tallow candle. When the grease melts stir it well into the sand, so

e conjurer merely has to feel in the water for the particular blocks of sand that he requires at each dip. The white sand can be put into little round, flat m

d the blue sand in oval or round moulds; the shapes

ottom of it inwards. Then place two or three of the blocks of sand of the right colour in the cavit

g it about an inch from the table with the left hand; then grasp it round the middle with the right hand and hold the little finger un

s his hand over and lets the sand drop into the bowl; at the same time he merely has to take his right little finger away from the bottom of th

back into the bag. He does this once or twice; then he takes out a handful of sand and lets it fall into the water, taking care to let the audience see that he puts in nothing but sand. He repeats the action. Then, in taking another handful of sand, he gets t

cks even if they are dropped from a height with the sand, but in a room, with the audience cl

trick that there has been "no deception," then the trick will go for nothing. For example, if the conjurer neglects to take out a handful of the wet sand and show it to the audience, he misses a point. Of course, all that the conjurer really has to do is to feel in the

ger and more inquisitive members of your audience come round behind your screen at the close of the performance they will be sure to

is that when the conjurer is letting the dry sand trickle away from his hand into the goblet he cannot immediately let the audience see that he has nothing concealed in his hand. He has to go at once to the bowl for the next handful and leave the "fake," whatever it may be, in the bottom of the bowl. By using the method I ha

e is performing to an audience composed chiefly of children the first two or three rows of seats are usually occupied by very small children, and from the