Asking the reader, then, to bear in mind the very great number and ingenuity of such devices, and insisting once more that the only complete safeguard against being misled by them to the extent of forming false conceptions of their _modus operandi_, is the acquisition of the purely technical knowledge that underlies their success, I shall cite in detail a trick combining illustrations of several of the principles to be discussed. Several rings are collected from the audience upon the performer's wand; he takes the rings back to the stage and throws them upon a platter; a pistol is needed, and is handed to the performer from behind the scenes; with conspicuous indifference he hammers the precious trinkets until they fit into the pistol. A chest is hanging on a nail at the side of the stage; the pistol is fired at this chest, which is thereupon taken down and placed upon a table towards the rear of the stage. The chest is unlocked and found to contain a second chest; this is unlocked and contains a third this a fourth. As the chests emerge they are placed upon the table; and now from the fourth chest there comes a fifth, which the performer carries to the front of the stage and shows to contain bonbons around each of which is tied one of the rings taken from the audience. The effect is most startling. This is the appearance of the trick from the audience. Now let us consider what really takes place. In the hand holding the wand are as many brass rings as are to be collected. In walking back to the stage the genuine rings are allowed to slip off the wand and the false rings to take their places. This excites no suspicion, as the walking back to the stage is obviously necessary, and never impresses one as part of the performance. The pistol is not ready upon the stage, but must be gone for; and as the assistant hands the performer the pistol, the latter transfers to the assistant the true rings. The hammering of the false rings is now deliberately undertaken, thus giving the assistant ample time to tie the true rings to the bonbons; and, while all attention is concentrated upon the firing of the pistol, the assistant unobtrusively pushes a small table on to the rear of the stage. This table has a small fringe hanging about it, certainly an insignificant detail, but none the less worth noting. The chests are now opened, and, after having shown the audience that the second chest comes out of the first, the third out of the second, and so on, the performer can very readily and quickly draw the last, smallest chest from a groove _under_ the table, where it was concealed by the aforesaid fringe, and bring it forward as though it _had come_ out of the next larger chest; this smallest chest is opened and the trick is accomplished. So thoroughly convinced is the observer by the correctness of his first three inferences that the last box came out of the one before it, that I venture to say this explanation does not