Cup and ball conjuring is believed to represent the earliest known form in which the art of sleight of hand was exhibited. Whether this be so or not is of little moment, the performance may certainly be considered the ground work of all legerdemain. This is proved by the fact that the best known performers (stage and drawing room) from the time of Kopp (German), Guyot, Ponsin, Bosco, Conus (French), etc., down to those of the present day, have included it in their programs; it was a special feature with Mr Charles Bertram, and is still a favourite with others of his type and ability, while many who do not include it in their professional repertoire can usually acquit themselves remarkably well when called upon to give a display. Why? Because, whether the aspirant to conjuring fame desire to include it in his program, or not, he will do well to practice it assiduously for the purpose of keeping his fingers supple, just as a pianist for like reasons will devote a portion of each day to the practise of difficult exercises. In other words, the sleights and “feints” of Cup and Ball conjuring will be found to apply, almost without exception, to any small object used in the production of a sleight of hand effect; thus the time and trouble expended in acquiring the necessary skill will not be wasted whether or not the trick be exhibited, with others, for gain.

Closely allied to the Cup and Ball conjuring is the bastard form of the trick known as Thimble-Rigging, employing three ordinary thimbles and an ordinary pea; and another known as the Shell Game, both swindles of itinerant fakers. The latter, in which three half walnut shells are used in conjunction with a pea fashioned from india-rubber, together with the method employing three half potatoes, scooped out, in place of the shells, and the above mentioned thimble variation, will be explained for completeness in later lessons.

Talking about Thimble Rigging reminds me of a little experience. Traveling up North with some friends, an occupant of the car invited me to have a game. I agreed. He thereupon produced three thimbles and a pea, and having shuffled the objects more or less, asked me to guess under which thimble was the pea. I found it the first time.

He then asked me to cover a piece of money with a like amount, and if I found the pea the next time, the money would be mine. I was successful and took the stakes. This happened a second time, somewhat to the dismay of our friend, who thereupon asked me to double the stakes. I did so, found the pea and took the money, whereupon, being unable to control himself any longer, he exclaimed “What in the name of thunder is the matter – why! I’ve got the pea in me ‘and.” I replied “That’s very likely, but on occasions like these I always carry my own pea.”

EXTENT OF TIME OF PERFORMANCE

A rehearsal of all known “Passes” (the different tricks are known as “Passes”) possible with the Cups and Balls, would occupy some considerable time, probably hours. It must also be admitted that the various passes bear a close resemblance one to another. In fact, the whole science of the art resolves itself into two elements: – (1) The magic production of a ball beneath a cup; and (2) its disappearance from such position. Therefore, to avoid monotony and, what is of even greater importance, THE EXPOSURE OF THE METHODS EMPLOYED BY A TOO CONSTANT REPETITION OF THE SAME, the performer is recommended to make a judicious selection of passes from the many hereafter described, and which may be done entirely in accordance with his own fancy, but which must not on any account occupy more than Ten Minutes – quite enough can be shown in five minutes by an expert performer.

PROPERTIES EMPLOYED

These are of the simplest possible description and which doubtless accounts, in a large measure, for the astonishment created by a skilful exhibition of the trick.

Three tin (or brass) cups, each in the form of a truncated cone about three inches in height. These are used as covers for the balls, and are provided with a rim or shoulder round the lower and open end, that they may be conveniently raised at this point by the thumb and forefinger of either hand; the upper and closed end is inserted about one-eighth inch below the end proper and is further made concave so that a ball may rest thereon. Thus when one cup is placed over another, the upper one rests on the shoulder of the lower, a space being left between the two sufficient to contain one to three small cork balls about five-eighths inch diameter.

Four little cork balls about five-eighths inches in diameter, blackened in a candle flame.

Four large cloth balls, stuffed with hair, of a size to pinch into the upper and smaller end of the cups, but in a manner to be dislodged when the cup is brought down with slight force.

Three potatoes, oranges, of Spanish onions of a size to just go into the cups, to be used in place of or supplementary to the cloth balls; and any other curious object (Bird, Guinea Pig, etc.), likely to create astonishment or surprise when unexpectedly produced.

An ordinary conjuring wand. The functions of the wand are to stimulate a cabalistic power; to provide a source from which a ball may be produced or made to disappear; to act as cover for the “palm”, i.e., to silently suggest the impossibility of concealing a ball in the hand which, whilst actually doing so, handles the wand in a delicate manner at the fingertips.

(To be continued…)