Two of the finest tricks now on the stage are the ærial suspension and the Indian box-trick. The latter I explain in the next chapter. The ærial suspension, which is best seen in Prof. Seeman's performances, consists in apparently mesmerizing a young lady while she is standing on a stool between two upright bars, upon each of which she rests an elbow. When she is in the mesmeric state the stool is removed, leaving her suspended upon both elbows; then one of the bars--that under the left elbow--is removed, and the fair subject still remains motionless, her entire weight resting upon the elbow of the right arm, which is extended out from the body, with the hand thrown easily and gracefully against the cheek. Next, her figure is pushed out from the bar through various angles, until at last she reclines upon her strange ærial couch, which is scarcely more than one inch in diameter. The illusion is a beautiful one, and astonishes all who see it. Occasionally the creaking of the steel joints under the elbow is heard out in the audience, "giving away" the feat, for the actual fact is that the young lady is not in a mesmeric condition, but is held in position by a steel armor worn under her costume, with a joint at the elbow that fits into the upright bar, where a powerful system of leverage holds the body in any position desired. Hermann's bird trick is a fine one. He comes before the audience with a living bird in a small cage held between both hands, and "Wan! Two! T'ree!" with a sudden movement, and without turning away from the audience spreads his arms, when, lo! the bird and cage have disappeared. The explanation given by some is that the cage is made of rubber, which, when released envelopes the bird in a sort of sack which flies up the magician's sleeve. Nearly every young man in the land who has seen a magician on the stage, wants to master the black art. It is very easy for him to do so. All he needs is a great deal of what is vulgarly known as "cheek," and termed in theatrical slang, "gall," a quick eye, and ease and rapidity of movement in handling articles. The first thing to be learned is the art of "palming"--concealing small objects in the palm of the hand. Coins, balls, handkerchiefs, etc., are hidden in this way, being held in the open hand by the pressure of the fleshy part of the thumb. In this way the shower of coin and many like tricks are done. When the art of "palming" is understood, rapidity of movement is the next thing, and then come the mechanical and other tricks.