WILL ALMA

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 Goldston's
Famous Conjuring
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THE COMPLETE APPARATUS OF ANY TRICKS

EXPLAINED IN THIS BOOKLET SUPPLIED

WILL GOLDSTON, Ltd.

14, GREEN STREET, Leicester Square, LONDON, W.C. 2.
Mysterious
Tricks
BY

HORACE GOLDIN

A SERIES OF MAGICAL MYSTERIES

PROFUSELY ILLUSTRATED.

ORDERS OF MERIT
CONFERRED BY ROYALTY.

SOLE DISTRIBUTORS :
WILL GOLDSTON, LIMITED,
14, GREEN STREET LEICESTER SQUARE,
LONDON, W . C . 2.
 Horace Goldin's
Modern Stars of
Variety, 1930-31
In addition to a strong variety combination of Trans-
atlantic Stars, the following effects are produced in Horace
Goldin's performance : —

T H E P H A N T O M PILLION RIDER.
SEX P R O B L E M .
A 100% T A L K I E (First produced in 1916).
W A L K I N G T H R O U G H GLASS.
T H E M A N WITH THE PUNCTURED
STOMACH.
A N ORIENTAL EXECUTION.
T H E MUSICAL FLIGHT.
S A W I N G A W O M A N I N H A L F (by request).

The above items are just a few of Horace Goldin's

repertoire of his world-famed illusions — 50 Mysteries in
50 Minutes.
SEVERAL N E W SENSATIONAL THRILLERS
N O W BEING CONSTRUCTED.

Horace Goldin is the crcator and inventor of all his effects,

each and every one fully protected. A n y infringements will
be strongly resented.

Managing Director: General Manageress:

H. LEIGHTON. Mrs. HORACE GOLDIN.
Telephone: Telegrams:
R e g e n t 3304. "Mysticity, W e s t r a n d , L o n d o n . "
Permanent Address:

c/o WILL GOLDSTON, LTD

14, Green Street, Leicester Square, London, W.C. 2.
 CONTENTS.

PAGE

PHOTOGRAPH 6

INTRODUCTION 7

A FEW HINTS 9

HEARING WITH THE TEETH 10

To CAUSE A COIN TO VANISH 10

THE VANISHING RING 11

ANOTHER RING TRICK II

THE PENETRATING PENNIES 12

THE VANISHING HANDKERCHIEF 13

A THOUGHT-READING TRICK 14

MORE THOUGHT-READING 15

THE VANISHING CIGARETTE 15

A HOLE IN T H E SLEEVE 15

THE FOUR COINS 16

STRING MAGIC 16

THE LATEST DISAPPEARING SIXPENCE 17

THREE HYPNOTIC TRICKS 18

THE CANDLE AND FLAG TRICK 20

KEDA 21

HORACE GOLDIN AT THE EMPIRE T H E A T R E , PARIS

(TRANSLATION) 23

YOUR FUTURE FORETOLD 25

ILLUSTRATIONS

Pages 6, 9, 10, 11, 12, 13, 14, 16, 17, 19, 25

The State Library of Victoria

" A L M A CONJURING C O L L E C T I O N '
The Contents in this Booklet copyrighted and fully protected.
HORACE G O L D IN.
 INTRODUCTION.

N the following pages Horace Goldin, the Greatest

Magician of all Time, the K i n g of Magicians and the
Magician of Kings, steps down from his stage and,
for the benefit of all amateur conjurers—from the
rawest beginner to the most earnest student of the
art of magic—shows the way to that fairyland known as " behind
the scenes."
Explorers of that enchanting country will soon find themselves
in possession of some priceless treasures, the work of a Master Mind.
Horace Goldin is known to the general public as a brilliant Illusionist,
but every student of magic knows that this Master Magician is also
one of the cleverest Inventors that this world has ever known.
His problems are his own, and, therefore, the solutions of those
problems are necessarily his own. His would-be rivals may try
to imitate some of the illusions that emanate from this bewilderingly
fertile brain, but their efforts to fathom the mysteries of Horace
Goldin arc absurdly futile and, compared with the finished work
of the G R E A T O R I G I N A L their productions are as the feeble flicker
of a candle is to the blazing majesty of the sun.
This Magical Genius writes in these pages for those who do not
know the A.B.C. of the Art of Magic. Here are tricks which any
amateur magician, man or woman, girl or boy, can perform, and
every trick is so clearly explained that to follow the instructions of
this famous magician is a very pleasurable pastime.
To the uninitiated some of these little magical problems may
seem to be very simple things, and therefore it is well to point out
that their very simplicity is proof of their great value. Whereas
an incompetent artist will cover his paper with lines before he gets
the effect after which he is striving, a finished artist will produce a
very much finer effect with a few simple strokes.
Therefore, let no reader pass over any part of the contents of
this little book as being " too simple " ; let him rather be grateful
to the author for smoothing away the difficulties that confront the
novice who studies the fascinating art of magic.
A word or two of advice to those who wish to study these pages
with good results to themselves
 A professional magician, a man who devotes the whole of his
life to the study and practice of the art of magic, will not present
any trick to an audience until he has rehearsed it thoroughly. How
much more necessary is it for an amateur, to whom magic is only a
pleasant and absorbing recreation, to practice every trick system-
atically and thoroughly, before he attempts to perform it to any
audience. Up to a certain point the art of magic can be learned
b y anyone—just as anyone can learn how to make a rough sketch,
or how to play a simple piece of music on a piano. But beyond
that point the lesson cannot be learned from anyone but the performer
himself, and the performer cannot be his own teacher until he has
mastered every detail of each trick he wishes to perform. He should
practice until his hands make the necessary movements automatic-
ally and until he can present the trick without pausing for a second
during any part of its performance.
When he has arrived at that stage in his studies the novice will
probably realise for the first time he has much work to do before he
can attain to the expert deftness of the professional magician and,
maybe, he will also realise that Horace Goldin, the magician who
has outdistanced all his rivals, must indeed be a Super-man, a Master
of Masters, a Genius.
Consider any of the tricks explained in this book and then
consider 'that the man who explained it also invented the greatest
illusion of modern times, " S a w i n g a Woman in half," an illusion
that has baffled the world. To many a magician the invention of
such an illusion would be the work of a life time, but not so with
Horace Goldin. This is only one of the many mysteries that he has
produced for the entertainment of his vast public, and one is bewil-
dered by the thought that such an inventor can still have the ability
to be the great performer of all time. To see a magical entertainment
by this Great Master is the finest lesson that any magician can have,
and many students of magic make a point of never missing an
opportunity of seeing the Great Master's bewildering performances
whenever the opportunity offers.
W e strongly advise the reader to do likewise. He must not
hope, of course, ever to acquire the polished ease with which Horace
Goldin presents his many magical problems, but he cannot fail to
gain valuable help by a close study of the methods of the most
brilliant magician and inventor the world has ever known.

WILL GOLDSTON.
 MORAC€ GOLDIN
THE M A S T E R M A G I C I A N

A FEW HINTS.
It is one thing to know how a trick is done ; it is quite another
thing to know how to do it properly, so that it puzzles those who
see it.
The tricks which are explained in this little book have been
chosen with great care, for I did not want to put the reader to a lot
of trouble. These tricks can be performed after a very little practice,
but they should not be shown to any audience until they have been
rehearsed.
It is a good plan to practice in front of a looking-glass ; then
you can see for yourself how the trick will appear to an audience.
This method has another advantage. B y looking into the glass you
will get out of the habit of looking at your hands when you are doing
a t r i c k — a fatal thing for a conjurer to do, as a rule, because the
conjurer does not want the audience to watch his hands and the
audience invariably look in the direction in which the conjurer is
looking.
The reader who is going to master these little tricks will have
an easy task, but if he wants to get the best effect out of them he
should make up some " patter " to go with them. ("Patter " is the
conjurer's conversation.) The performer should know his tricks and
patter so well that he does not have to hesitate for a second during
his entertainment.
The best w a y to practice is to begin a trick and go on with it
until you reach the point which seems difficult. Then practice that
part by itself a few times and start again. Y o u should know the
tricks so well that you can perform them without thinking of what
your hands are doing; then you can concentrate on the task of
entertaining your audience by talking to them in an amusing manner.
The performance should be given apparently without an e f f o r t ;
then it will be thoroughly enjoyed by everyone.
Whenever I am asked which are the best books to study on
magic, I always recommend the works of Will Goldston.
HORACE GOLDIN.
 HEARING WITH THE TEETH.
This is hardly a trick. It can be introduced as a puzzle. Ask
anyone if he can hear with his teeth and the answer is sure to be
" N o . " Then you sissert that it is possible to hear with the teeth
and you show how it can be done.

Place your watch on the table and stand a yard away from it.
No one can hear the ticking of the watch. But if you hold a long,
thin stick in your mouth, and place the other end of the stick on the
watch, you will find that you can hear the ticking distinctly.

TO C A U S E A COIN T O V A N I S H .
One of the easiest ways of causing a coin to vanish is to go out
and spend it, but there's nothing magical about t h a t ! If you want
to surround the disappearance of the coin with mystery, proceed in
this way.
Secretly get hold of a small rubber ring—an umbrella ring
answers well for the trick—and hold it in the left hand. Take care
that no one sees it. Take out your handkerchief and throw it over
the left hand, thus concealing the ring. Borrow a penny and put
it in the centre of the handkerchief. As you place it there push it
through the ring. In doing this you also push a small portion of the
handkerchief with it, and this part of the handkerchief thus forms
a little bag in which the penny is securely held. (But the audience
do not know that). Now fold over the handkerchief and make a
little bundle of it. Then take one corner and suddenly flick the
 a co/rv VANISH

handkerchief in the air. The coin has disappeared ! Put the

handkerchief in your pocket and in doing so get hold of another
penny. Give that penny back to the man from whom you borrowed
it.

T H E V A N I S H I N G RING.
Hold out your hand to the audience and call attention to the
ring on your middle finger. The fingers should be closed in while
you do this. Then wave your hand quickly and show the audience
that the ring has d'sappeared.

WHERE3 MY RING ?

This is a very easy trick. The ring is really only half a ring ;
hence the necessity of closing your fingers when you show your
hand to the audience ; they must not see under the fingers. The
half-ring is attached to a piece of strong cord elastic, the other
end of which is sewn to the top of the coat sleeve (inside it, of course).
Thus, to cause the " ring " to vanish all you have to do is to open
the fingers and let the elastic carry the " ring " up your sleeve.

ANOTHER RING TRICK.

This is a capital little trick. The only articles required are a
yard of thin string and a ring, and as both of these can be borrowed,
it is obvious to the audience that they are not prepared in any way
for the trick.
 Ask a boy to assist you. Tie the string to his wrists, leaving
about two feet of the string between the wrists. Now ask the boy
if he can thread the ring on the string without untying that part of
the string which goes round one of his wrists. When the boy has
given it up you do the trick, and as it is very easy to do when you
know the way you can throw a large handkerchief over the boy's
hands while you do it, so that the audience do not see how you do it.
This is what you do. Take up a little loop in the centre of the
string and pass it through the ring. (See Fig. A in the illustration).
Enlarge this loop and pass it under the string which is round one of
the wrists. Then pass the loop over the hand. (See Fig. B which also
shows the direction the loop should take). When the loop is over the
hand pass it under the string round the wrist once more and bring
it right over the hand again. (See Figs. C and D.) The result of these
movements will be that you have not only got the ring on the string
but you have also tied it there, and you can pull the knot open to
let the audience see that it is a real knot.

T H E PENETRATING PENNIES.
The effect of this trick is very mysterious. Y o u borrow a
large wine-glass and place three pennies in it. Then you give the
glass a shake and two of the pennies fall through it, and the audience
see that there is only one penny in the glass.
 The coins are specially prepared for the trick. One of them" is
a little smaller than an ordinary penny. Hold the glass nearly
horizontally—the illustration shows the right position—and place
the small penny near the bottom of the glass. The other two pennies
are known as " shell " pennies, being ordinary pennies with the
" inside " removed. One of these fits over the penny you have put
in the glass, so you lay it half over the penny. The second " shell "
penny fits over the " shell " penny which you have put in the glass.
Thus, when you give the glass a little shake and hold it vertically
the first " shell " penny has fitted over the bottom coin and the
other " shell " penny has fitted over the two, and thus the audience
see only one coin.
A t the beginning of the trick you secretly got hold of two real
pennies and hide them in the hand holding the glass ; those are the
two pennies which the audience see falling through the glass ! Then
you can show the audience the glass ; apparently there is only one
penny in it.

THE VANISHING HANDKERCHIEF.

Having shown a small silk handkerchief you roll it between
your hands for a moment and then open your hands. The handher-
chief has vanished !
 To perform this trick you use a " handkerchief vanisher,"
which is a small tube, closed at one end and fastened at that end,
by a piece of strong cord elastic, to the back of the waistcoat.
When you are rolling the handkerchief between the hands you
are secretly working it into the " vanisher " and when it is all in you
merely have to open your hands and the " vanisher " takes it out
of sight. If you are wearing a coat with tails the " vanisher " can
hang down under the tails.
Another good way of fixing the " vanisher." Sew a small
ring to the centre of the waistcoat. Pass the free end of the elastic
through the ring and then round the body, finally attaching it with
a loop to a button. Then, if you pull out the " vanisher " you are
ready to do the trick ; when it is released the " vanisher " flies to
the back of the waistcoat.

A THOUGHT-READING TRICK.

Ask a boy to assist you in this experiment. Instruct the boy

to sit down, close his hands, and rest his hands on his knees. Then
hand the boy a sixpence and a penny and tell him that he is to put
the sixpence in his right hand and the penny in the other hand.
While your back is turned the boy is to think har„d of one of the
coins and while he is thinking he is to hold the hand containing the
coin of which he is thinking close to his forehead.
Turn your back on the boy and wait a few moments. Then
tell the boy to put his hand back in its original position. Turn round,
face the boy, and look into his eyes. Y o u can then tell the boy of
which coin he was thinking.
Most of this little trick is just showmanship ; in reality the
trick is very simple. The hand which the boy holds to his head will
be slightly paler than the other, and so, when you turn round you
merely glance for a second at the hands, and you have done the
trick !

MORE THOUGHT-READING.
P u t a dozen pennies on a plate. Hand them to a member of
the audience with the request that one may be taken from the plate.
Ask your assistant to mark the penny and then pass it round to
other members of the audience so that they may see the mark and
remember it. When this has been done pour the pennies from the
plate into a hat and drop the chosen penny in among them. Shake
the hat so that everyone may know that it is impossible for you
to know the position of the chosen penny. Then ask all the members
of the audience who saw the penny to think hard of its appearance.
Dip your hand into the hat and take out the chosen penny.
This is easy, because the penny will be slightly warmer than
the others which, you will remember, were on a plate. That was
why you used a plate—to keep the other pennies cold !

THE VANISHING CIGARETTE.

Light a cigarette, take a few puffs, and then, closing your left
hand, quietly put the lighted cigarette into that hand. Open the
hand and the cigarette has vanished.
This trick is similar to that of the vanishing handkerchief, but
instead of a tube large enough to contain a handkerchief you have
a small, tapering tube of tin, fastened to your body with a piece of
elastic. The " vanisher " is held in the left hand and the cigarette
is pushed into i t ; the " v a n i s h e r , " being tapered, holds the cigarette
securely.
A H O L E IN T H E S L E E V E .
Throw a penny down the left sleeve of your coat. Bend the
arm, so that the hand points upwards, and ask someone if he can
see a little hole in the sleeve. The answer will be " N o , " because
there is no hole there. Y e t you pretend to draw the penny through
the imaginary hole, and you openly show the penny and drop it on
the table.
*

This is not as difficult as it seems, because you prepared for

the trick by fastening between two of the buttons on the cuff of
your coat sleeve. When you bent your arm you secretly pulled
this penny out of place with your right hand, and it was this penny
which you produced from your elbow ; the other penny remained
in your sleeve. Of course you must take the first opportunity of
getting rid of this penny, so that the audience do not see it.
 THE FOUR COINS.

Borrow four sixpences, or show four of your own. Open your

hands and hold them about a foot apart. Ask someone to put a
sixpence into each hand. Close your hands and ask your assistant
to put the other two sixpences on the nails of your two middle
fingers.
Tell the audience that the little feat you are going to attempt
is difficult and you are out of practice. Hold the hands farther
apart and make a throwing motion with them. The two sixpences
fall to the ground, and the trick appears to have failed. Say that
you will have " another try " and ask your assistant to replace the
two sixpences on your finger-nails. * Hold your hands apart and
give a sudden upward motion with them. Then open your hands
and show that you have three sixpences in one hand and one sixpence
in the other. One sixpence appears to have travelled across invisibly.

The trick was realy done when you made the " mistake "
at the beginning. It was not really a mistake. Unknown to the
audience you opened one hand and allowed the two coins in that
hand to fall to the floor. Y o u also secretly opened the other hand,
taking in the sixpence on the nail and closed the hand. The audience
thought that the two coins which dropped were the two which had
been placed on your two finger nails, but the audience were wrong 1
The two coins were picked up and placed on your finger nails and so,
at the next attempt, all you had to do was to open your hands and
take in the coins. Then you had the coin in one hand and three coins
in the other.

S T R I N G MAGIC.

This most entertaining trick is very little known, and may be

performed at close quarters, and repeated with perfect safety.
 The conjurer begins by putting the loop of string over his left
little finger and holding out the loop with his right fore-finger. He
now laces the string over his fingers in the way shown in the illustra-
tion 2nd position. When he passes the loop round the thumb he
gives it a half turn to the right, making the strings cross. (See
illustration of yd position). Now, if the thumb is slipped out of the
loop, the string can be drawn clear away from the hand, leaving the
hand at the little finger. The main thing to remember is that the
string is laced on the fingers in such a way that the strings cross
between the fingers. The directions shown in the illustrations must
be followed exactly, or the string will remain fast on the hand.

THE LATEST DISAPPEARING SIXPENCE.

I N V E N T E D B Y R. F I N D L A Y .

The novelty of this little trick consists in the way the prepara-
tions are made ; the performer has nothing to do with them .'
A handkerchief and a sixpence are borrowed and someone from
the audience is invited to come forward.
Under the direction of the performer the assistant spreads the
handkerchief out flat on the table and places the sixpence in the
 centre of it. The assistant is then asked to fold any corner of the
handkerchief to the centre, thus covering the coin, and then to fold
the opposite corner over in the same way.
The performer then continues the folding until the little bundle
is about two inches divide ; he then brings the right corner over to
the left, thus folding the rolled-up handkerchief in half. Suddenly
the performer picks up the handkerchief by two corners and shows
that the sixpence has vanished ; at any time during the working of
the trick the performer can show that he has not secretly obtained
the possession of the coin ; he does not touch it at any time.
The whole secret is in the rapidity with which the performer
picks up the handkerchief. He must pull the two corners apart
quickly so that the handkerchief is "taut.
The sixpence is safely hidden in the handkerchief at the end of
the trick ; the folds prevent it from falling.

THREE HYPNOTIC TRICKS.

It has been truly said that in conjuring, as in other things it is
not w h a t you actually do that matters, but what you can persuade
people you do !
The following three tricks are perfectly simple, but if dressed up
with the requisite amount of showmanship, they will appear to be
very mysterious—in fact, almost alarming 1
Ask someone to hold out the right hand, palm upwards. Instruct
the person to hold the hand easily and to banish all thought of
nervousness. Then, grasp your assistant's hand lightly with your left
hand and rub vigorously, in a circular motion, with your right hand
on his palm. Take your hand away and your assistant's arm will
suddenly shoot upwards !
The simple secret is, of course—pressure. When you were rub-
bing your hand on your assistant's you were really pressing on it and
when you took your hand away his arm naturally shot upwards.
To an audience the effect is uncanny.
The next seems just as wonderful. Y o u can volunteer to make
anyone helpless without touching him.
Ask someone to stand close to the wall, with his right side next
to the wall. The man doing this is to lean heavily against the wall.
Then ask him to raise the left leg off the ground. He c a n ' t ! T h a t
is to say, he cannot bend the left leg without falling and is therefore
in a helpless position.
The next seems still more mysterious. Stand with your right
hand behind you, and ask for the services of an assistant.
 Instruct the assistant to hold out his right hand, palm upwards.
Hold his wrist lightly with your left hand. Then, bending the fingers
of your right hand—in other words, " cupping " the hand—bring this
hand quickly over your assistant's and he will feel a mysterious
draught of cold air blowing on to his hand.

The effect is doubtless due to the fact that your half-closed hand,
being brought round quickly, causes a disturbance of the air near
your assistant's hand, and so he " feels the draught." Be this as it
may, the effect is really good, and of course the experiment can be
repeated with everyone in the room.
 THE CANDLE AND FLAG TRICK.
This is a neat and effective trick for the platform or drawing-
room. The conjurer having vanished a silk flag, goes to a candle
burning in a candlestick, and, having blown out the flame, wraps
the candle in a sheet of white paper. The paper packet is instantly
broken in half, when the flag is discovered in place of the candle.
Prepare the " candle " by inserting a duplicate flag to that to
be vanished, in the paper tube, and finish top with a piece of real
candle, which may be allowed to burn during the early part of the
experiment. The first move is to blow out candle and wrap it up
in a piece of white paper and lay it on one side. Then take up a
duplicate flag, and vanish it by pushing it into the fake concealed
in your hand and letting the elastic pull take both under your coat
tails. Now pick up the candle bundle, and breaking both cover and
false candle reveal the fllag, and the fact that the candle has vanished,
In conclusion produce a real candle from the breast pocket.

PATTER.

Let me introduce to you this ordinary wax candle—the light

of other days. This (Pointing to the flame) always reminds me of a
Saturday to Monday—it's the week-end (wick-end). A little light
on the subject is all very well but personally I prefer just a little less,
so I hope you will pardon me if I blow the flame out. Now the
poor candle has it's light out. This little piece of paper is pure
white—the colour of purity and innocence—and into this I shall
wrap the candle very carefully. Please notice it is not sent up my
sleeve or behind my thumb nail. I shall leave the parcel in full
view while I am performing my problem. This little Flag is very
often called the Union Jack, but I prefer to call it Union John, as
the other sounds so common. I simply take the little flag between
my fingers in this manner, and you see it has vanished into thin air.
Something seems to tell me that the Flag wandered in the direction
of that little parcel. I wonder whether it went there when you all
blinked. Yes, here it is, none the worse for its adventure and here
is the candle in my breast pocket.

IN PREPARATION

"ALL THE BEST IN MAGIC"

BY
HORACE GOLDIN.
Further particulars from the publishers :
W I L L G O L D S T O N LTD.
 KEDA.
" A SECOND-SIGHT E X P E R I M E N T WITH AN O R D I N A R Y
PACK OF CARDS."

A good card trick is always to be appreciated, especially one

which can be performed with an ordinary pack of cards.
The effect I am about to describe is one I adapted and built
up some years ago from the fragments of an old route that happened
to come my way. For drawing-room work the experiment has
always proved very acceptable, and with hopes that it may be of
interest to brother magicians, I have much pleasure in detailing the
effect and modus operandi.
EFFECT.

The performer introduces a card-case and relieves it of its

contents, which prove to be nothing more than a usual pack of
fifty-two ; these he exhibits fanwise in order that the spectators
may readily perceive the cards are all different and thoroughly
mixed—without, of course, making special mention of the fact, for
a remark uttered to that effect would be bound to arouse your
audience to suspect that something fishy really existed, whether
it did or not—the fan is closed, the cards ruffled and then placed
face downwards on the table.
The performer now calls for a volunteer assistant from the
audience, and when this helper is sccured he announces that he (the
performer) will retire from the room, and during his absence he will
be very pleased if the audience's representative will cut the pack
and enclose the upper portion of the cards cut in the case, which he
can place in his pocket for further security. The lower portion of
the pack is left untouched on the table. When the assistant has
executed these little duties, the performer is duly warned ; he comes
forward, picks up the remaining heap of cards, apparently weighing
them in his hand, and states that he is able to ascertain the number
of cards missing by the weight of the remaining cards, and imme-
diately gives proof to this remark by declaring the number of cards
placed in the case. The spectator is now requested to open the
case and count out the cards, the number of which it is found
corresponds with the given by the performer.
HOW TO P R E P A R E A N D ACCOMPLISH THE MYSTERY.
I. The first step in the essential preparation is to arrange the
four suits face upwards on the table in the following order : —
Diamonds .. Ace 2 3 4 5 6 7 8 9 1 0 J Q K
Club . . .. K Ace 2 3 4 5 6 7 8 9 10 J Q
Hearts .. Q K Ace 2 3 4 5 6 7 8 9 10 J
Spades .. J Q K Ace 2 3 4 5 6 7 8 9 10
 T h e next step is to pick up the cards into y o u r h a n d — s t i l l
keeping them face u p w a r d s — t h e first card being the " J a c k of S p a d e s "
the second the " Queen of H e a r t s , " followed b y the " K i n g of Clubs,"
and " A c e of D i a m o n d s . " Y o u continue gathering up the cards in
this fashion, always starting with a spade, until every card is in hand
It will be noticed the top card of the pack is the " J a c k of Spades,"
and the bottom card the " K i n g of D i a m o n d s . " Place the cards
in their case, and then y o u are ready to present the trick.

2. The performer introduces the effect, and passes through

the various stages as previously mentioned until he comes to the
p a r t where he returns to the room and picks up the remaining heap
of cards. It is a t this point that he executes an upward and down-
ward weighing movement of the hand, an act intended only as a mere
blind, for it is under cover of this manoeuvre the performer gains
sight and knowledge of the top card's value. This can v e r y easily
be done b y raising a corner of the card with the thumb, and noting
the index, or any other of the m a n y known methods m a y be applied
as the performer chooses. Once the value of the top card has been
ascertained the rest is simple, for you hold the k e y to the mystery,
and all that remains t o be done is t o apply the following table : —

If the card be a diamond,multiply its value b y 4 and substract I.

If the card be a club, multiply its v a l u e b y 4 and add 2.
If the card be a heart, multiply its v a l u e b y 4 and add 5.
If the card be a spade, multiply its value b y 4 and add 8

The value of " J a c k " is eleven, the " Queen " twelve, and the
" K i n g " thirteen.

This table, needless to say, should be memorised.

P . S . — S h o u l d the total sum exceed 52, simply substract 52,

and the result will give you the required information.

This clever method has been devised by Mr. Henry Tunstill, and
permission to publish from Mr. Will Goldston.

R E A D E R S P L E A S E N O T E : The apparatus to perform t h e tricks

described in this booklet can be purchased a t t h e following prices :
Where's My Ring, 9d. The Penetrating Pennies, 1/6. The
Vanishing Handkerchief, 2/9. The Candle and Flag Trick, 10/-.
Post paid.
WILL GOLDSTON LTD.
14, Green Street, Leicester Square, London, VV.C. 2.
 "FIGARO," MONDAY, 21st, 1930.
TRANSLATION.
HORACE GOLDIN A T T H E EMPIRE THEATRE, PARIS.
I was going to w r i t e — h o w imprudent—this : among the many
attractions which the Empire offers us, and which have a very great
success, the celebrated American Illusionist, Horace Goldin, is the
most important dish.
Delete that phrase, because we know too well now what Horace
Goldin does with his favourite dishes—a woman, for example.
Nothing can resist him, he is, to use the adjective by which he is
described in the programme, he is " f o r m i d a b l e " ! And in his
particular way, this is true. I have never, for my part, seen such a
talent. W h a t a man, so uncertain to his colleagues, and at the same
time, so certain of his extravagant effects ! Would you like to
marry an illusionist, young lady ? I would advise you against it.
1 think that the place for such a demon would be rather in the League
of Nations than in a household. In his own home this gentleman,
who amuses himself tying Gordian knots in all the serviettes of the
linen cupboard, to pile them on the chairs, and then to take them up
again one by one, delicatcly, untied and free—(they did this all by
themselves) ; this gentleman would complicate the daily work of
the washerwoman. I know that on mail day, parcels and packets,
precious perhaps, would become all untied, since, with the greatest
ease, despite tying and cutting, he returns you the cord intact and
supple. But worse still, he perforate his visitors, not only with
revolver bullets, but also with enormous instruments which from
the stomach come out at the back, and he submits them to all sorts
of other joking welcomes. I know that here is a method of ridding
oneself of unwelcome guests ? Not at all. The Orientals in flowing
robes who present themselves to H. Goldin are enchanted to be
thus treated ; as if they were leaving the hairdresser or the manicurist,
after having been riddled through and through they reappear
respectable, polished, and with a smile on the lips. One only is
reduced to cinders by being fired from a cannon, unless he has
found it more prudent to disappear, to evaporate by some magical
means. The house dog also submits to the fantasies of the master.
It is held stretched out on a table ; Goldin opens it up and then—-
extracts a white r a b b i t ! With rabbits and the classical pigeon also
Goldin performs charming effects. As to the mistress of the house,
he cuts her in two with a large saw. He is so pleased with this
terrible crime that he has two spectators on the stage ; one holds
the feet of the poor lady, projecting from a long box, where she is
laid out flat, and her head comes out at the other end, and is held
by the second spectator ; she needs support and encouragement,
the poor victim ! During the brief time that the two spectators,
very much moved, participate in this crime and share the responsi-
bility, Goldin, assisted by another and robust sawyer, with an
enormous saw which they bear on from either side, cut right through
the box and the woman. We see, yes, actually we see, during a
long instant, a large gap in the middle, and on either side, the separate
halves of the box and of the lady, still sustained by the gentleman
who holds her head on the right, and by the other gentleman who
holds her feet on the left. Don't go and fetch the police. The lady
is miraculously rejoined, entirely resussitated, at least, apparently
but can one be sure that she recovers all the bits of herself ? The
box itself remains in two parts, and is cleared away by the terrible
assistant, whilst Goldin receives terrific applause for his crime.
For this hall is perhaps filled with those assiduous readers of detective
magazines, which inflame the schoolboy and the apache, inspiring
them to the most sinister deeds.
I give you a very small insight into the performance, astonishingly
rapid and varied, of Goldin, illusionist. See him, manipulating
scarves blue, white, red : and then from these scarves, a large flag
is formed in less than a second, and floats before our eyes. Here is
another lady, shut in a box also, but this time vertically ; between
the woman and the lid a solid piece of glass is placed. How can the
woman liberate herself ? Nevertheless she escapes from her strange
prison, the cover falls, the lady appears and goes off. And yet the
sheet of glass which imprisoned her in the bottom of the sarcophagus
remains in place, immovable, etc., etc.
W h a t astonishing feats ! and which one could use perhaps to
greet visitors of importance.
One of the most ingenious ideas of Horace Goldin is to show us
a little film in which the talking pictures are under his dircct control,
Goldin real and living. He shakes the hand of the young lady in
the film, lights her cigarette, etc. And then there comes a moment
when the living being is so familiar with the shadows that he passes
in his turn on to the screen, seizes an individual who does not please
him in the film, throws him into reality through a little window, and
thus on to the stage. W h a t a beautiful recreation. How adroit,
clever, inspiring !
H. Goldin is a very remarkable magician ; he merits his fame
and the title formidable. And from a distance—I do not see very
well—so you must excuse me if this is not quite true, he reminds me
a little of M. Pierre Benoit. Well, there is nothing astonishing in
that, is there ? since for three-quarters of an hour he makes us believe
things that we really know are not so.
The idiomatic phrase " prendre les vessies pour des lanternes et
meme pour des ' Soliels de M i n u i t ' is not translatable."
 Horace Goldin, the Master Mind, has brought from Calcutta,
India, the wonder of the twentieth century, in Y O U G E , the man
that can look at you, or at your hand-writing, and tell you in one
minute what no one in the world knows but yourself ; and more
than that, what you do not know correctly about yourself.
Mr. Goldin has succeeded in inducing Y O U G E to produce for
this .book a series of forms whereby you can be aided in your own
development and at the same time understand your fellows.
The key to the system on pages 18 to 30 inclusive is the letters
in Horace Goldin's name.
H-I or H - 2 — A person born between December 20th and January 17th.
O - i or 0 - 2 — A person born between January 18th and February 16th.
R - i or R - 2 — A person born between February 17th and March 18th.
A-1 or A - 2 — A person born between March 19th and April 16th.
C 1 or C - 2 — A person born between April 17th and May 18th.
E-I or E - 2 — A person born between May 19th and June 16th.
G-5 or G - 6 — A person born between June 17th and July 19th.
0 - 5 or 0 - 6 — A person born between July 20th and August 16th.
L-5 or L-6—A person born between August 17th and September 15th.
D-5 or D - 6 — A person born between Sept. 16th and Oct. 19th.
1-5 or 1-6—A person born between October 20th and November 18th.
N-5or N-6—A person born between Nov. 19th and Dec. 20th.
This system is not based on the Zodiac or upon phrenology,
but upon a Hindu system. Two different forms have been given
under one date so that you may be able to see the vast differences
in a given type and not be mistaken in what you see.
The following set of figures represent a puzzle. The object is
for you by using any six numbers, to add up a total of twenty-one.
1 1 1
3 3 3
5 5 5
7 7 7
9 9 9
KEY H - l :
A commercial type with commercial instincts. Fitting the
non-productive part of either the manufacturing business, or trained,
come through the accountancy and as a good type executive in
banking. j
Prevalent trait—Strength. To be determined and have courage
of your conviction, and with it the will to do. Precise, accurate and
discriminating. Weakness—to.be stubborn and set in opinions and
not always open to reasoning—headstrong. Given to irritate others.
Ability—Calls for the developing through study and sticking
to things of the Brain. Then to increase proper force in personality
the next ability—preciseness, accurateness and discriminating—
needs either thorough training along the lines of figures or training
in manufacturing that fits you for a production department. Third
— a b i l i t y that is, to handle authority, is depended for growth on
the style of training and the type of work. Therefore y o u can lead
better than follow.
K e y n o t e — N o t too blunt.

KEY H - 2 :
A professional type with commercial instincts. Impulsive
individual. Restless and not set in purposes. Continually desiring
to change position. Given to form habits. To procrastinate—to
be lazy.
Training and position—Public school and commercial or night
school training. Should have strong obedience instilled in youth.
Women or girls—trained domestic science. Occupation—Office
work and strong leadership. Training is the solution to this life.
Abilities—The brain has also the use of the hands. So that
you should not alone think things out, but do things b y hands.
Because you have strong imagination and a degree of originality in
mentality. Mechanically you could come through in the production
end, and be of service in working out ideas of merit. Will develop
faster under leadership rather than being the leader. Third ability
— i s to express self. Y o u talk at times without thinking and are
over-talkative. Use this ability after careful mental preparation.
K e y n o t e — A v o i d degrading habitual companionships. Save
your money.

KEY 0 - 1 :
A professional with commercial instincts. Determined with
temperament. Fitting the commercial world—in the selling end
rather than the production or office end.
Prevalent strait—Stength—Energy and vitality with remarkable
courage and good assertiveness with strong tenacity of purpose.
Precise and accurate. Weakness—not sceptical enough and will
take for granted—assume you are correct—worry and fear as to the
outcome of tilings. Will get depressed and sullen and can be
impetuous with anger. Will not procastinate and will stand up
and fight for a friend.
Abilities—Develop your brain—commercially along expressive
lines—for selling—teaching—or theatrical work. Because you
have strong sentiment and emotion and also originality. Tiii.s will
take care of your imagination which otherwise will help you into
difficulties. Temperament—Can devise and plan but needs self-
confidence and training to bring it out correctly. Executive ability
— t o inspire others. To enthuse others.
K e y n o t e — " Stick-to-itiveness " — a n d lookout for over-
sensitiveness and going to extremes.

KEY 0 - 2 :
A professional type with the need for acquiring instincts to
apply self properly. Impulsive of action—Man fitting the professional
world—woman—should be developed in youth along the lines of
designing or drawing. Also can be trained for teaching and should
study music.
Training should be early developed along the lines of strict
obedience. Care should be exercised in the proper physical educa-
tional development. Proper placement through early schooling
of a .strong energy.
An individual desiring expression—Impetuous and contrary
with strong rcmorsefulness. Highly sensitive and shy on first
approach. Needing strengthening of the personal confidencc and
the power to rclv upon the experience gained in life.
Registers impressions many times without giving proper thought
to the reasoning of the same—therefore inconsistent—and—crratic
with strong determination.

KEY R-l :
A professional type with professional instincts. Fitting the
professional rather than the commercial world. In doing copy work,
in advertising-abilities make possible the acquiring of knowledge
quickly, therefore, apply self in expressive arts—such as speaking,
and if equipped properly, singing. Trained fit the theatrical
profession.
Can do many different things, therefore should be taught early
that experience counts materially—That you should do one thing
well.
Abilities—Call for expression and power to do things in a w a y
different from that in which others would do them. Avoid contro-
versies and disputes. Y o u are self-centred at times. Again
foolishly over-generous.
KEY R-2 :
A commercial type with professional instincts. Fitting the
commercial world along the lines of leadership, because you can
carry heavy responsibilities.
Determined with courage and tenacity of purpose. Very
opinionated and not always open to counsel and advice. Given
to form excessive habits and want your own w a y most of the time.
Jealous and sarcastic.
Working for self you will find the best w a y of advancing. Keep
away from petty detail and avoid legal tangles.
A creature of many abilities—the best thing being executive
and the ability to handle responsibilities. Should have commercial
administrative trainingto equip you-forlife and also an understanding
of others.

KEY A - l :
A virile type with temperament desiring s y s t e m — h a r m o n y —
order and also like to be humoured and petted. Good self-control.
Avoiding entanglements. Frank and cautious in actions—refined
in manners. A l w a y s one way. Takes too much for granted
although very precise and accurate ; not sceptical enough.
Determined and thorough with courage, needing greater self-
assurance to bring out the abilities—such as, power of dissecting
things. A good mental development—power to plan and devise
through strong originality in mentality.
Trained along the lines of analytical chemistry or mechanical
or civil engineering. Or on the other hand, office executive training
with accountancy in mind. Can handle responsibilities, but sort
of fear and has anxiety as to your ability. T a k e stock as to how
you have succeeded through past experiences and the amount of
education you possess—then realize that regardless of heredity or
environment y o u can help yourself.

KEY A-2:
A placid type—meaning a calm type, following the environment
that you find yourself in and saying to your self that you cannot
do what others are doing. Experiences build, but y o u hold back
from responsibilities and shirk taking on good obligations.
Increase your self-confidence and stop being fearful and
worrisome of the outcome of matters. W h y — I t is H O W you do
things (providing you are right) and not W H A T you do that counts.
Take a straight commercial education and get into the material
side of the commercial world. Department store, or Manufacturing
concern. Stick and follow strong leadership. Be more self-assertive.
Y o u r brain trained—you will find that a course in salesmanship for
man or woman will be the means of giving you stronger expression.
Stop Procrastinating. A c t to-day.

KEY C-l :
Possessing strong abilities along the professional rather than
the commercial side of life. For commercial life take a training
along lines of salesmanship and from that into commercial law or
stenography, typewriting, commercial English and commercial
bookkeeping.
A v o i d excessive habits and stop changing positions and remember
you cannot have everything at once in this world. Rome was not
built in a d a y — n o r can your success be measured in this fashion.
Stop using your imagination and allowing yourself by an impulsive
action to do different things without using the originality you possess.
Y o u can determine and have confidence in others but will " guess
or maybe " as to what you should do.
H a v e the ability to inspire others and to give pretty good
judgments also, can express self. B u t headstrongness and contrary-
wiseness cause you to speak before you think or to be stubborn.

KEY C ' 2 :
Allowing impulses, impressions and influences to upset your
determinations and therefore w h a t you propose to do is weak and
ineffective. Need to acquire commercial instincts and to be more
calculating as to the reason w h y you do things.
A salesman—yes—under strong leadership you would develop
to a sales executive. Play as consistently as you would work.
Three discouragements do not constitute a day's work.
Egotistical at times and then give the impression that you
would know it all. Very affectionate and too sentimental.
Increase your tenacity and learn to save early in life.
Spend your evenings in training yourself in music—or reading—•
or studies of different kinds.

KEY E-l :
A n alert type with strong temperament—that is, sentiment
and emotion and imagination and originality. Possessing commer-
cial instinct and very shrewd and calculating. H a v e the power to
lead with strong determination, courage and the will to do.
A creature with good ability and also the power to express
yourself in a satisfactory way. Look out for worry and the burning
up of excessive nerve forces in trying to handle all the detail of matters.
Take the type of training that equip you for making money. As an
executive or trader, or both seller and buyer and you fit either of
 these avenues. Also develop strong asethetic nature. Relax as
easy as you work, have a hobby and work it hard. Plenty of sleep
and be careful of excessive foods.
Very accurate in handling responsibilities and very analytical
in regarding to gauging the worth of others. Selfish at times and
this retards the help that others could give you in life. Ideals are
as important to you as ideas.

KEY E-2 :
A temperamental type—Zealous of an attainment and Jealous
to reach the objective. Have a way of finding out w h a t you
desire to know easily.
Should be trained along commencial lines and fit the retail selling
line rather than the wholesale. Like to meet others and very
energetic and desire to get the most out of everything you do.
Over-generous and too genial at times.
You are given to brood over your weaknesses and instead should
in a masterful way develop your strength. Take a course in person-
ality development—also—how to develop executive ability.
Have ability to express and also to inspire others and to do
many different kinds of things—be careful of " too many irons in
the fire."

KEY G-5 :
Fitting the professional world. Engineering—medicine—
nursing or strong leadership. With commercial instincts. Very
calculating as to the necessity for the doing of given things.
Sensitive and dislikes harsh criticism, but open to counsel and
advice. Likes harmony—order and quiet—and avoids controversies
and disputes. Have a strong sense of honour—loyalty and devotion
— w i t h sympathies and affections.
Strengthen your initiative and use the great creative power in
your mentality and do things of magnitude—this force lies in your
power. Therefore develop consistently your mentality, apply
yourself to research and keep everlastingly at the problem.
Avoid companionships that tend to degenerate ; work along
scientific lines. Develop strong resistcnce—as Thos. Parker said :
" S e l f denial is indispensable to a strong character."

KEY G-6 :
A professional type. Needing careful training, so that your
imagination does not run away with you. Bear in mind that you
arc versatile—therefore, as Emerson said : " There is nothing so
much worth as a mind well instructed." Training is the answer in
your life. P a y strict account to why you are studying given subjects.
Commercially a good type private secretary. Professionally practical
sciences.
Need an increase of applied courage—tenacity—self-confidence—
intensity of purpose. Use your ability to express self and also use
your judgments regarding executive matters—not biased by petty
detail or annoyance. Look-out for over-irritation.
Over-impulsiveness and self-consciousness are both weaknesses
that cause you annoyance. Therefore strong self-control and not
over-talkativeness is the key.

KEY 0 - 5 :
Strong intellectual development. Good insight and tuition
into matters. Therefore a keen deliberateness should exist in your
forming of judgments. Do not be guided by and allow a strong
confidence to form on the basis of your first visual impressions.
They are not your best.
Even in disposition and not given to the forming of excessive
habits. Like refined things. Will be given to be impetuous and
then get contrary and be very sorry. When once your confidcnce
is lost it is gone forever. Y o u do not hold enmity. Will defend a
friend to the last.
A good type executive can sell and also buy. Have strong
powers for leadership. Like to be humored. Giving to chiding others.
Worry upon taking on added responsibilities. Assuming that some-
thing might take place to deafeat your purposes.
Possess good powers of expression. Like a select companionship.
Home life and also club life of a particular variety. Constant in
your love.

KEY 0 - 6 :
A temperament type. Impetuous in nature. Cyclonic in anger.
Given to procrastinate and to follow the lines of least resistence.
Lackadaisical to the full extent of your purpose. Frank and too
blunt and given to sarcasm. Bear in mind what Martin Tupper
said : " The tongue is not steel—yet it cuts." A commercial t y p e —
fitting the manufacturcring end of the business world—should
develop mechanical ability and allow yourself to grow in one concern
rather than allowing your restless energy to cause you to make
constant changes.
Look out for excessive egotism and then giving others the
impression that you know it a l l ; at times, not given to be reasoned
with.
Have good ability, but should learn to think first and speak
afterwards. Are precise in what you want others to d o — b e more
precise and accurate yourself.
 Avoid degrading companionship. Habits that destroy others
confidence in you. Spend more time reading and avoid controversy.
Y o u should save more consistently.

KEY L-5 :
A staple type with temperamental forces in mentality and keen
mental preceptions. Quick to see a given point. Given to procras-
tinate and expect others to be punctual. A professional type—
untrained fitted the mechanical f i e l d ; trained fitted for the field of
law—teaching—lecturing. Acquire knowledge.
Very discriminate and sceptical, in youth cynical as to w h a t is
right. Like orderly and well arranged things.
Be more exacting as to your application of self toward the
problems of life. Save your physical strength—preserve your nerve
energy and also save your money and stop being so over-generous.
Y o u r abilities need training of a technical nature and then your
greatest strength is shown. Develop stronger determination and
use your courage when you receive conviction on a subject—do not
treat it in a sentimental, wasteful fashion.

KEY L-6 :
A staple type without temperamental forces. Given to do the
things set before you and not active for growth. Being wasteful in
the things that you possess. Like amusements and constant good
times. H a v e energy and sort of fear as to responsibilities and your
own powers to come through.
Fit the non-productive fields of activity. Should take early
training along the lines of office detail and then give yourself over
to the acquiring of executive ability—providing it has not been
inherited in good volume.
Stop working on your impressions and be more assertive with
well reasoned out opinions.
Y o u r ability demands the technical as well as the practical
side of matters—so therefore, apply yourself diligently to training.
Arts and letters and then commercial training. Could write well.

KEY D-5 :
Commercial and professional instincts. Untrained and sticking
to things—can come through as one able to handle the authority
placed upon your shoulders. Y o u are never " too busy " to aid
another. Strongly sympathetic with the weaknesses of others.
Trained make a good legal type and also a managerial type.
Good determination—courage and will force with self reliance.
Intense with your purposes. H a v e abilities to bring chaos out of
the most depressing situation. When you analys yourself firmly you
will note that when things go wrong you are at your best.
 Be careful of the type of companionship you choose for life and
avoid arguments and discussions that tend to irritate and disturb.
Forget and forgive easily although when your confidence is gone
y o u r are through.
Strong abilities and also individualities throughout your
personality. Like to have the best things in life and are not wholly
materialistic in your view. Strong sense of devotion and remarkable
self-control.

KEY D-6 :
A positive type with temperament. Therefore, have useless
sentiments and apply these through your intense sympathy. A
professional type with commercial instincts. Given to the wasting
of energy and feel that you are constantly under an obligation to
others and must please many. Affable and genial, but not secretive
enough.
Increase you initiative and as you will form one weak habit
avoid the companionship that produces this habit.
Ability to handle responsibility, but avoid the detail of some
matters and this weakens the effect given others and destroys their
confidence in you.
Get technical training and keep everlastingly at it until you
have the proper leadership. F i t banking and insurance better than
any other field.
Very expressive in your manner and therefore trained can enter
the theatrical field. Don't allow your imagination to run away
with you.

KEY 1-5 :
Commercial with commercial instincts. Fitting directly the
commercial world. Economy, thrift and given in later life to
avarice—and as Bancroft said : " Avarice is the vice of declining
years."
Good type as manager and can handle large authorities. Will
get into legal entanglements and not give up when beaten. Given
at times to argue and to be opinionated and give also the impression
that you know more than the others. Foolishly generous. And,
then dreadfully tight.
Impatient with the weaknesses of others and will be irritated
when they do not do as well as you do. Be more calm and self-
composed and do not allow your poise to be upset.
Have a hobby and work it hard. Then you will be freshened
for the activities of another day.
A n individual of few abilities, but they are very strong and the
practical side of all matters appeals. But, you can be attracted by
the novelty of a situation and will take some matters for granted.
KEY 1-6 :
A commercial type with mechanical abilities. Fit the mechanical
world. Learn early in life some practical things and then stick and
do them correctly.
Should have training along the apprenticeship line and also
study commercial subjects so that your mentality will be co-ordinated
and you can grow.
Selfish and inconsistent and like to have your own way. Stubborn
and headstrong. Will get discouraged their course, rather than you
stepping out and changing them.
Have ability to do and originality to do things in a way different
from that of others. Read and study and avoid excessive habits
and coarse companionships.

KEY N-5 :
A positive expressive type. A professional type with commercial
and professional instincts. A strong, decisive, promotion type.
Courage and tenacity with assertiveness are the foremost character-
istics.
Imagination—vacillating in mentality and then strong originality.
Need technical training along practical lines.
Law, Medicine, Lecturing, A c t i n g — a s well as promotion
manager—are some of the fields in which you can find a proper
place for the use of your abilities.
Y o u think before you speak and can render strong opinions.
Calculating and analytical and desire preciseness and accurateness.
Loathe coarseness and disorder. Impulsive of action.
A course in commercial training would be of great help in your
development. Over-generous and then contrary and get cold
quickly on propositions.

KEY N-6 :
A temperamental type with creative ability. The power to
plan things, devise ways and means and then put them over. Not
set in what you propose to do and overlook the importance of detail.
Have good expressive ability and also can handle authority
but, in giving confidences, you can be sarcastic and then too affable.
Y o u are exasperating at times.
Like to have your own way and impulsive of action. Work
better for yourself and then have great energetic forces to assist you
Good determination and your courage is of worth under adversity.
When things go well you are extravagant and do not count the cost.
Proper training and care in rest periods—so that nerve energies
are preserved. Take good scientific education, such as engineering
or medicine and this will be the basis for higher training. When you
start something finish it. Y o u let go too soon. J ,> N> j -

c', .i d
 GOLDSTON'S
Books
on Magic,
PAPER MAGIC, by Will Blyth. 2/3 post paid.
MODERN CARD MANIPULATION, by C. Lang Neil. 2/3 post paid.
MAGIC MADE EASY, by David Devant. Post paid, 2/3.
MATCH-STICK MAGIC, by Will Blyth. Post paid, 2/3.
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T H E YOUNG CONJURER, Part 1 and 2, by Will Goldston. Each part,
2,6 post paid.
MORE TRICKS AND PUZZLES, by Will Goldston. Post paid, 2/9.
PRACTICAL MAGIC, by Guy Austin. Post paid, 2/9.
MAGICAL ROPE TIES AND ESCAPES, by Harry Houdini. Post paid, 5/9.
ELLIOTT'S LAST LEGACY, by Houdini. Post paid, 4/6.
QUALITY MAGIC, by Okito. Post paid, 5/9.
WESTMINSTER WIZARDRY, by Frederick Montague. Post paid, 5/9.
EASY ROAD T O MAGIC, by Will Goldston. Post paid, 6/-.
T H E WHOLE ART OF VENTRILOQUISM, by Arthur Prince. 5/4 post paid.
PRACTICAL VENTRILOQUISM, by Robert Ganthony. Post paid, 2/9.
TRICKS YOU SHOULD KNOW, by Will Goldston. Post paid, 7/9.
T H E MAGIC OF TO-MORROW, by Hammon and Mole. 5/9 post paid.
TRICKS AND ILLUSIONS, by Will Goldston. Post paid, 4/10.
HAND SHADOWS, by Louis Nikola. Post paid, 2/3.
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REVELATIONS OF A SPIRIT MEDIUM, by Harry Price and E. J. Dingwell.
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 NOW READY. By WILL GOLDSTON.

TRICKS YOU
SHOULD KNOW.
72 pages, 102 diagrams. Well printed 011 good
antique paper. Bound in boards. Limited
edition one thousand copies. This book con-
tains the Trick Section t a k e n from the De-Luxe
Edition of " Sensational of Mystery Men."

CONTENTS.
T h e Newest Chinese Bat.
T h e Thought Reader.
Performing Matches.
T h e Best Penetrating Coin.
A Borrowed Handkerchief Burned.
A Mysterious Match.
Swallowing a Solid Wand.
Which Cigarette?
T h e Vanished Egg.
T h e Expanded Egg.
T h e Newest Card Changing Box.
T h e G.W. Hunter Pull.
Cigarettes to Matches.
Flowers from a Wand.
T h e Production of a Bottle from an Empty Hat.
A Cut String.
Card and Cigarette.
Very Lightly and Very Tightly.
T h e Inquisitive Knave.
Martin Chapender's Latest Method of Performing
the Diminishing Cards.
Owen Clarke's Nest of Boxes.
T h e Ace of all Magical Pillars.
T h e N e w "Matter Through " Frame.
Chickens from Paper.
T h e Magical Dog.
T h e Educated Handkerchiefs.
7s. 6d. $2.00 Post Paid.
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