discoverie

The Discoverie of Witchcraft
... by Reginold Scot
... sixteenth century

THE ART OF JUGGLING DISCOVERED, AND IN WHAT POINTS IT DOOTH
PRINCIPALLIE CONSIST.
Now, because it is relevant, and witchcraft so apparently
accomplished through the art of sleight of hand, I thought it would be
worthwhile to explain it. I am sorry to be the one to do this, and regret any effect this may have on those who earn their living performing such tricks for purposes of entertainment only, whose work is not only tolerable but greatly commendable. They do not abuse the name of God in this occupation, nor claim their power comes through him, but always acknowledge what they are doing to be tricks, and in fact through them unlawful and unpious deceivers may be exposed.

The true art of sleight of hand consists of legierdemaine, the nimble
use of your hands, in three principal ways. First, in the hiding and
manipulation of balls; second, in the altering of money; and third, in the
shuffling of cards. Whoever masters these techniques will create much
pleasure and show many feats of skill, and be greater than all witches or
magicians. All other parts of this art are taught in the explaining; but
these techniques can not be mastered without tremendous amounts of practice
and dedication. I intend to explain rather than teach these mysteries, and it will become obvious to you that the object of those who perform these tricks is to confuse the eyes and judgement of those who watch them. So, to put it in in plain words, my intention is to expose certain magic effects: some of which are pleasant and enjoyable, others dreadful and frightening, but all mere illusions, as shall be seen by examining the techniques described by me in the following chapters.

CHAPTER XXIII

OF THE BALL, AND THE MANNER OF LEGIERDEMAINE THEREWITH, ALSO NOTABLE FEATS WITH ONE OR DIVERSE BALLES.
Concerning the manipulation of balls, the variations are infinite,
and if you can handle them well you can demonstrate a hundred different
feats. But whether you seem to throw a ball into your left hand, or into your mouth, or into a pot, or up into the air, it is always retained in your right hand. If you practice first with a lead bullet, you will find it that much easier to do when you switch to balls made of cork. The first thing you
should learn is to conceal a large ball in the palm of your hand using your
ring finger to help hold it in place. A small ball should be placed, with
your thumb, between your ringfinger and middlefinger, then you practice it
between the other fingers, then between forefinger and thumb, and with the
forefinger and middlefinger together. Lastly, you should practice holding the same small ball in the palm of your hand, and with practice you will not only be able to retain the ball in your hand while appearing to place it
elsewhere, but also be able to palm four or five balls as well as one. This
being attained you will be able to work wonderful feats, such as:

Place three or four balls on the table in front of you, and the
same number of small candlesticks or bowls. Appear to place one ball into
your left hand, then take one of the candlesticks, or any other thing having
a hollow "foot" and not being too big, and appear to place the ball thought
to be in your left hand under the candlestick. Do the same with the other
balls and candlesticks, appearing to place each ball under each candlestick.
Then, after uttering some magic words, pick up the first candlestick and
blow, saying "You see that the ball is gone". Do the same with each
candlestick, and the spectators will wonder what has become of the balls.

But if, in lifting up the candlesticks with your right hand, you
leave all three or four balls under one of them (which you can easily do by
letting them fall down into your hand from out of your palm and holding them
in place with your little and ringfingers), casting the balls up into the
hollowness of the candlestick so they don't roll right out, then people will
be astonished when you reveal all four balls under one candlestick. It will
be even better if, while showing the other candlesticks empty, you leave
under one of them a large ball, or any other thing, you will be set up for an even greater miracle.

By now the spectators think you have made all the balls vanish
through a miracle, and in the same way you have brought them all together
again, and they do not suspect that anything remains under any of the
candlesticks. This way, after you have performed some other tricks, you can
go back to the candlesticks being careful not to touch the one containing the ball. Show an identical ball and, in the same manner as before, appear to place this duplicate ball under the candlestick farthest from the one holding the concealed ball. When you seem to cause the ball you just placed under a candlestick to disappear, and to reappear under a candlestick which you have not even touched, it will seem wonderful.

TO MAKE A LITTLE BALL SWELL IN YOUR HAND TILL IT BE VERIE GREAT.
Conceal one large ball, or three medium-sized balls, in your left
hand. Display one little ball, or three little balls, in your right hand, and appear to place them into your left hand, not revealing the large ball or balls that are hidden in that hand. Using magic words, such as "Hey, fortuna furie, nunquam credo, passe, passe when come you sirra", you can now appear to make the ball or balls swell (grow larger), opening your hand to show they have increased in size.

This can be varied one hundred ways, such as finding all the balls
under a candlestick. Or, using the same method, you can go up to a spectator
and, after removing his hat, show the balls to be there by loading the balls
into it in the same manner as the candlestick, as you turn the bottom upward.

TO CONSUME (OR RATHER TO CONVEIE) ONE OR MANIE BALLES INTO NOTHING.
If you take one ball, or more, and appear to place them into your
left hand and, while saying magic words, let the balls now concealed in the
right hand drop into your lap, it will appear amazing. Because, when you open your left hand to show the balls have disappeared some will say they are in your other hand, and when you open your right hand to show it is also empty, they will be greatly surprised.

HOW TO RAP A WAG UPON THE KNUCKLES.
I will move on from speaking of tricks with balls, because I could
go on about it all day, and still not be able to teach you how to use it, or
fully understand what I mean or write concerning it. Remember that the right
hand should always be kept open and straight, with the palm kept from view.

You can end with this trick (which is chiefly concerned with
provoking laughter):

Balance one ball on your shoulder, another on your arm, and place
the third on a table. Ask a spectator to pick up the one on the table and lay it on the point of a knife you are holding in one hand, saying you are going to throw all three balls into your mouth at once. When he is trying to
balance the ball on the end of your knife, which you are holding like a pen,
you may easily rap him on the fingers with the handle of the knife, for the
other matter will be hard to do.

CHAPTER XXIV

OF CONVEIANCE OF MONIE.
Manipulating money is not much lower in rank than manipulating
balls, but is much easier to do. The principal place to hide money is in the
palm of your hand. The money must not of too large or small a circumference
or it may hinder the sleights, with the best coin being a testor. However,
with practice any size coin can be palmed, unless the money is very small.
Then it should be held between the fingers, almost at the fingers' end,
whereas a ball is held farther down and near to the palm.

TO CONVEIE MONIE OUT OF ONE OF YOUR HANDS AND INTO THE OTHER BY
LEGIERDEMAINE.
Lay a big coin on the open palm of your right hand. Place your left middlefinger on top of the coin and suddenly turn your right palm over,
bending your hand a little to hold the coin palmed while drawing your right
hand through your left, and closing your left as though it held the coin. To
add to the effect take a knife and, opening your left hand a little without
revealing the coin is not there, appear to knock the knife against the coin,
actually using the other end of the knife to knock against the coin
concealed in the right hand. Then use magic words, and open your
hand, showing the coin has vanished. This is pretty if it is cunningly
handled, as both the ear and the eye are deceived.

TO CONVERT OR TRANSUBSTANTIATE MONIE INTO COUNTERS, OR COUNTERS INTO MONIE.
Use the sleight just described, only have a counter concealed in
the left hand so that when the left hand is opened the coin will seem to have been transformed.

TO PUT ONE TESTOR INTO ONE HAND, AND AN OTHER INTO THE OTHER HAND,
AND WITH WORDS TO BRING THEM TOGITHER.
Anyone that has mastered being able to retain a coin in his right
hand may show a hundred pleasant tricks by that means, and can palm two or
three coins as well as one. And then you may seem to place a coin into your
left hand, retaining it in the right, then pick up another coin with the
right hand, and with magic words seem to bring both coins together.

TO PUT ONE TESTOR INTO A STRANGERS HAND, AND ANOTHER INTO YOUR OWNE,
AND TO CONVEIE BOTH INTO THE STRANGERS HAND WITH WORDS.
Take two coins held close together and handled as if they were a
single coin and put them into a spectators hand as though they were one. Seem to place a coin into your left hand, then with magic words make it seem that you cause the coin in your left hand to join what everyone thinks was just one coin in the spectators hand. With this principle, I say, a hundred tricks can be devised.

HOW TO DOO THE SAME, OR THE LIKE FEATE OTHERWISE.
To keep a coin hidden between your fingers serves well for the
preceding trick and other purposes. Hold out your hand and have a coin laid
upon its palm, then let the coin fall to your fingers' ends, putting your
thumb on it to hold it in place. Retain the edge of the coin between the ends of your right middle finger and forefinger while appearing to place it into your left hand, making sure the edge of the coin does not appear through the backs of your fingers. Pick up another coin and handle the two as one, either placing them in a spectators hand as in the previous trick, or keeping them in your own right hand. Then, after words spoken, open both hands to show the one coin has joined the other.
You must be careful to be sly: or else you discredit the art.

TO THROWE A PEECE OF MONIE AWAIE, AND TO FIND IT AGAINE WHERE YOU
LIST.
With the middle or ringinger of the right hand place a coin into
the palm of your right hand and appear to throw it away, actually keeping it
palmed. A confederate plants a duplicate wherever it is decided the coin
should be found.
But these things without practice can not be done, so I will
describe some tricks with money which are simpler to accomplish, but still as strange as the rest: which when shown to people who do not know them are
considered marvellous, but when shown to people who know how they are done
are derided, and considered to be nothing.

WITH WORDS TO MAKE A GROAT OR A TESTOR TO LEAPE OUT OF A POT, OR TO
RUN ALONGST UPON A TABLE.
You may have seen a magician take a groat or a testor and throw it
into a pot, or lay it down in the middle of a table, and with magic words
cause the coin to leap out of the pot, or run toward or away from him along
the table top. Which seems miraculous, until you know that it is done by
fastening a long black hair from a woman's head to the rim of a groat by
drilling a hole through it's rim. If you want to make the coin run away from
you, you must have a confederate, through which all magic is improved.
This feat is stranger if it is done at night, with a candle between the performer and his audience, which serves to keep them from seeing the hair.

TO MAKE A GROAT OR A TESTOR TO SINKE THROUGH A TABLE, AND TO VANISH
OUT OF A HANDKERCHER VERIE STRANGELIE.
A magician will also sometimes borrow a coin and mark it in front
of you, and seem to place it in the middle of a handkerchief, and wind the
handkerchief tightly around the coin, so you can see it. Then he will give
you the handkerchief, and ask you to feel if the coin is still there, and ask you to place the handkerchief under a candlestick, or some such thing. Then he takes a shallow pan, or basin, and holds it against the underside of the table holding the candlestick and, with words of enchantment, in a short time you hear the coin fall into the basin. This done, he takes off the
candlestick and, grabbing the handkerchief by one corner, he shakes it, but
the money is gone! This seems as miraculous as any feat until you know how
it's done.

Sew a coin into the corner of a handkerchief. Place the corner with the coin sewn in it into the middle of the handkerchief while palming or lapping the borrowed coin. Keep the borrowed coin hidden in your hand when you place the basin under the table. Then, let the borrowed coin fall into the basin at the right moment.

A NOTABLE TRICKE TO TRANSFORME A COUNTER TO A GROAT.
Take a groat, or some other coin, and grind it very thin on one
side. Then take two counters (poker chips, etc.) and grind one very thin on
one side, and the other very thin on the other side. Glue the smooth side of
the groat to the smooth side of one of the counters, joining them as close as possible, especially at the edges. The edges can now be filed so they seem to be one piece, one side a groat, and the other side a counter.

Then take a very little green wax, the green wax being the softest
and therefore best, and smear it on the smooth side of the remaining ground-
down counter, as it does not discolor the coin it will be attached to. Press
the waxed side over the coin face, to which it will stick as if glued, and
file the edges, so that it seems like a perfect entire counter, and even if
a spectator handles it he will not detect it.

Have a little wax on the forefinger and thumb of your right hand.
Lay the counter on your left palm with your right hand's back up and the
thumb down and, as you do, press hard with the thumb, separating the waxed
shell from the glued two-sided coin. Press your thumb against the waxed shell and carry it away to hide at your pleasure. Show the glued gimmick, being certain it is counter side up, on your left palm. Close your hand and turn the trick coin over, so instead of a counter, which everyone supposes to be in your hand, you seem to have a groat, to the astonishmnet of everyone, if it is well-handled.

A magician must have a full assortment of trick coins and the like, but he must be careful lest he forget which are which and spend the wrong coins.

CHAPTER XXV

AN EXCELLENT FEAT, TO MAKE A TWO PENIE PEECE LIE PLAINE IN THE PALME OF
YOUR HAND, AND TO BE PASSED FROM THENCE WHEN YOU LIST.
Place a little red wax, not too thin, on the nail of your middle
finger. Have someone lay a coin in your palm and close your fist suddenly,
pressing the waxed nail against the coin in your palm. Use words, such as:
Ailif, casyl, zaze, hit mel meltat; Saturnus, Jupiter, Mars, Sol, Venus,
Mercurie, Luna: or such like, then suddenly open your hand with the fingers
held lower than the palm so the coin is concealed, and the beholders will
wonder where it has gone. Close your hand again, with a sudden movement, and
ask if it is there or not. You can leave the coin there or take it away at
your pleasure. This, if well handled, creates more admiration than any other
feat of the hand. The trick works best if the wax is put directly on the
coin, but then you have to lay it on your palm yourself.

TO CONVEIE A TESTOR OUT OF ONES HAND THAT HOLDETH IT FAST.
Put some wax on the tip of your thumb, and place a coin in a
spectator's hand, pressing hard with the thumb so the coin is pressed into
his palm and the coin sticks to the wax on your thumb. Look the spectator in
the face and when he looks back at you carry away the coin while quickly
closing his hand. If you pressed hard enough he will thiaw he still feels the coin in his fist, like when you press a coin upon someones forehead, he will feel it seem to stick, especially if it is wet, even when the coin is taken away. Place two coins handled as one in your own or someone else's hand, use words of course, whereby you can make not only the beholders, but also the holders, believe that by enchantment you have brought the two coins together.

TO THROWE A PEECE OF MONIE INTO A DEEPE POND, AND TO FETCH IT AGAINE
FROM WHENCE YOU LIST.
There are a many feats to be done with money, but if you use a
confederate in the audience to mark a coin, or any other thing, you can have
them throw it into a river or deep pond, having previously hidden a coin with similar marks in some other secret place. Have some actual audience members fetch the hidden coin, and have the coin identified as the one you tossed into the river. There are many feats that can be accomplished through
confederacy, such as telling another how much money he has in his pockets,
and a hundred like effects. For accomplishing feats through confederacy Feats was the master, while he lived.

TO CONVEIE ONE SHILLING BEING IN ONE HAND INTO ANOTHER, HOLDING YOUR
ARMS ABROAD LIKE A ROOD.
It's always a good idea to mingle some gags in with your more
serious miracles, such as this: Hold one coin in each hand with your arms
outstretched and wide apart. Wager that you can make them come together
without bringing your arms any closer to each other. After betting, keeping
your arms held abroad like a rod, turn your body to one side and lay one coin on the table, then turn the other way and pick it up with the other hand, and so win your wager. This is a trick more merry than marvelous.

HOW TO RAP A WAG ON THE KNUCKLES.
Give a coin to one person, then another, then turn to a third who
may have been troublesome. He will reach out to take the money, having seen
the others do it, and when he does you may rap him on the fingers with a
knife, or somewhat else held in the right hand, saying that you knew by your
familiar, that he meant to have kept it from you.

CHAPTER XXVI

TO TRANSFORM ANIE ONE SMALL THING INTO ANIE OTHER FORME BY FOLDING OF PAPER.
Take a sheet of paper, or a handkerchief, and fold it in half with
one half very slightly longer than the other. Place a coin in the center
between the two sides right up against the fold. When you pick it up grasp it by the concealed coin, with the longer side on top. Place a different coin or a counter on the outside of the longer side against the hidden coin, and fold down with the long side inside and the short side outside. Turn the package over, maintaining your grip on both coins. When you unfold it, unfold the short edge and the hidden coin will be revealed while the other coin will now be concealed. With this many feats may be done.

A second method is to take two papers, each three inches square.
Fold each paper in thirds one way, making it one inch by three inches, and
then the other way, so both packages are one inch square. Leaving the papers
folded, glue the papers back to back. This way the two papers appear to be
one, and whichever side you open it will appear to be the same side. Unfold
both sides, then place a coin or counter in the middle of one side and refold that side. Display the paper, keeping the folded side concealed, as you may well do with your middle finger. Place a coin, of a different value than the concealed one, in the middle of the paper and fold around it. Turn the package over and unfold revealing the concealed coin. The turning of the
paper is best concealed if you put it under a candlestick, or in a hat, and
with magic words seem to accomplish the feat.

CHAPTER XXVII

OF CARDS, WITH GOOD CAUTIONS HOW TO AVOID COUSENAGE THEREIN: SPECIALL RULES TO CONVEIE AND HANDLE THE CARDS, AND THE MANNER AND ORDER HOW TO ACCOMPLISH ALL DIFFICULT AND STRANGE THINGS WROUGHT WITH CARDS.
Having now dealt with money, I will consider cards, by whose
witchcraft a great number of people have juggled away not only their money,
but also their lands, their health, their time, and their honesty. I must
not, as I could, describe the methods employed by cheaters lest they be
misused. But I would caution all gamblers to beware, not only with what cards and dice they play, but also with whom they play and where. And, to let dice pass (which is good advice to anyone), a person who is skilful in making marked cards may undo a hundred wealthy men that are given to gambling, but if he has a confederate present, either in the players or the standers-by, nothing can be done to stop him. If you play among strangers beware of anyone who seems simpleminded, or drunk, for when you think to take advantage of them, perhaps encouraged by their confederates who you take for your friends, you your self will be the one taken. Beware also of bettors standing by, and lookers-on, and especially of those who bet on your side, for while they are looking into your hand without raising your suspicions, they are really signalling your hand to your opponent, against whom they appear to be betting but with whom they are actually confederates.

In card control the main thing is to know how to shuffle them nimbly,
and always keep one certain card either on the bottom, or in some known place in the stock, four or five cards from it. With this you can work wonders, for it will be easy for you to spy a card without suspicion since you immediately appear to shuffle it into the deck. In shuffling you should always keep the bottom card jogged a little before or behind all the cards laying underneath it. The card can lie a little over the forefinger, or over the little finger, which is the easier and better way. When you begin shuffling shuffle as thick as you can, and in the end throw on the stock the nether (bottom) card, with as many more as suits your purpose, always keeping your forefinger or little finger against the nether card and hold it until you have shuffled the cards again, retaining the card on the bottom. By practicing until you are perfect you can do what you want with the cards. You can keep any size stock, whether eight, twelve, or twenty cards, together and intact next to the nether card, and still shuffle them often to satisfy the curious spectators. For example, and to be brief, a few diverse feats using the one method:

HOW TO DELIVER OUT FOURE ACES, AND TO CONVERT THEM INTO FOURE KNAVES.
Take the four aces and four jacks and alternate them, finishing
with an ace on the face of the stack, then place the stack at the bottom of
the deck. Shuffle the cards two or more times, retaining the bottom stack in
its order and position. Hold the deck with both hands and, while keeping the
audience's attention on your face as you speak, bring the deck to the edge of the table to cover the motion as you slide the second card from the bottom, one of the jacks, a little out of the deck in readiness to do a bottom second deal. Sill holding the deck with both hands display the ace on the bottom of the pack to the audience, covering the edge of the jack with your four fingers. Deal the jack as though it were the ace face down onto the table.

Shuffle again, retaining the bottom stock. You now have two aces on the face of the deck. Take the top card of the deck, which is an indifferent card, and bury it in the middle of the deck, then do the same with the ace on the face of the deck, without revealing the identity of either card. You will now again have an ace and a jack first and second from the bottom of the deck. Repeat the moves to second deal the jack onto the table, false shuffle again, bury the top and bottom cards in the middle of the deck, and continue on until all four jacks have been dealt onto the table. The audience thinks you have dealt out the four aces, and you can now reveal the cards to have changed into jacks.

You must be well practiced in the shuffling of the bunch, lest you
overshoot your self.

HOW TO TELL ONE WHAT CARD HE SEETH IN THE BOTTOME, WHEN THE SAME CARD IS SHUFFLED INTO THE STOCKE.
Sight the bottom card of the deck and false shuffle as you've been
taught, till your card agains lies on the bottom of thre deck. Show the
bottom card to the spectators, have them memorize it, and then shuffle the
cards legitimately yourself, or have one of them do it. Since you already
know the card you can now reveal its identity, playing it up with great
circumstance and show of difficulty.

AN OTHER WAIE TO DOO THE SAME, HAVING YOUR SELFE INDEED NEVER SEENE
THE CARD.
If it would be too suspicious to overtly glimpse the bottom card,
let a spectator shuffle the pack, then take back the deck and show the bottom card without seeing it yourself. Shuffle, retaining the bottom card in its position, and glimpse it when their suspicion is past by one of two possible methods. You can let some cards fall and spy the bottom card that way.

Alternately, you can place all the cards into several piles, remembering which pile contains the bottom card. As you lay out the piles try to remember how many cards are in one of the indifferent piles, then place the pile with the bottom card on top of that pile, and all the other piles on top of them.

If there were five cards in the indifferent pile, the chosen card will now be sixth from the bottom. You may now pull that card out of the deck, or look at it as you look through the pack and tell them its identity, without raising any suspicion.

TO TELL ONE WITHOUT CONFEDERACIE WHAT CARD HE THINKETH.
Place three cards on a table, leaving a little distance between
each card. Have a spectator think of one of the cards, and by watching his
eyes you can discern which card he chose.

You can also throw down a pair of cards, faces up, too close
together to tell which one he is looking at, but as you pick them up watch
his eyes to give away which card he chose.
The eye betrays the thought.

CHAPTER XXVIII

HOW TO TELL WHAT CARD ANIE MAN THINKETH, HOW TO CONVEIE THE SAME INTO A KERNELL OF A NUT OR CHERISTONE, &C: AND THE SAME AGAINE INTO ONES
POCKET: HOW TO MAKE ONE DRAWE THE SAME OR ANIE CARD YOU LIST, AND ALL UNDER ONE DEVISE.
Burn or bore a hole through the shell of a nut or cherrystone, and
also through the kernel. With the eye of a needle pull out some of the kernel so it is as wide as the hole in the shell. Take a piece of paper 1/2 or 1 inch long and write the name or number of a card on it. Fold it in half and roll it up tightly, then place it in the nut, or cherrystone, and close the hole with a little red wax, and rub it with a little dust, and it will not be noticed, especially if the nut or cherrystone is brown or old.

Have a confederate think of the card whose identity you planted in
the nut or cherrystone, and force the same card on an innocent spectator.
During this action slip the nut or cherrystone into somebody's pocket, or
some other strange place. Do not say you will make a person take a specific
card, but rather make it appear as if doesn't matter which card they choose.
If you are not already an expert at the force, able to make him take the
right card even if he snatches at an other, and have trouble keeping your eye on the force card, you may mark the card so that as he reaches for the cards you may push the force card a little closer to him, holding it more loosely that the rest. If he still picks the wrong card you can drop several cards and create a pretense of having to do it over again.

The trick is improved if a confederate has the prediction billet
enclosed in a button and sewn unto a coat. The usual way to end is, after
succesfully showing the prediction, spectator's card, and confederate's
thought of card are all the same: Repeat the trick with a boy or troublesome
patron, tell him to think of a card, and give him a nut full of ink to crack
open, "which he will not refuse to doo, if he have seene the other feate
plaied before".

CHAPTER XXIX

OF FAST OR LOOSE, HOW TO KNIT A HARD KNOT UPON A HANDKERCHER, AND TO UNDO THE SAME WITH WORDS.
The Egyptian's juggling witchcraft is one I have already written of somewhat generally earlier, but now I will show some of their particular
feats, not their common tricks which are so tedious, or their fortune telling which is impious, and both mere cousenages.

Take a handkerchief and grasp two adjacent (not opposite) corners.
Use the two corners to loosely tie a simple overhand knot. Pretend to tighten the knot by pulling on one end with your left hand, but use your right hand to hold onto the body of the handkerchief along with the other end and the knot will not be tightened. Then give the ends a couple of tugs, tightening the knot's appearance while still leaving it a little loose, and pull with the right hand as the left hand holds its end and the body of the
handkerchief close to the knot; so it appears you have tightened it from both sides.

To reinforce the impression that the knot is tight, have a
spectator pull the end in your left hand while the right hand grips the other end and the body of the handkerchief.

Then hold the knot with your right forefinger and thumb, and the
handkerchief close to the knot on its right side with your other three
fingers. Use your grip with these three fingers to hold the part of the
handkerchief directly under the knot steady as your thumb and forefinger
manipulate the still-loose knot in the following manner: With your left hand
throw the rest of the handkerchief over the knot, and as you do so use your
right thumb and forefinger to disrupt the knot by pulling out one corner.
Wrap the handkerchief around the remains of the knot, hand it to a spectator, and after some words used, and wagers layed, take the handkercheif and shake it, and it will be loose.

A NOTABLE FEATE OF FAST OR LOOSE; NAMELIE, TO PULL THREE BEADSTONES
FROM OFF A CORD, WHILE YOU HOLD FAST THE ENDS THEREOF, WITHOUT REMOVING OF YOUR HAND.
Take two cords, each two feet long, and double them in the center,
holding them so that the two ends of each doubled cord appear to be the ends
of separate cords. Take three great beadstones, the hole of one of them being bigger than the rest. Put one beadstone over the bow of one cord, and one over the other cord. Take the remaining beadstone with the bigger hole and use it to hide the middle where the two cords come together. Keep the two bows of the cords together by placing one bow a little through the other like threading a needle, and cover the joint with the beadstone, the other two on either side of it. Done right you may toss them as you like and make it appear the beadstones are on the cord without any fraud.

          Take one end from each side and and tie an overhand knot with them.
          Once the overhand knot is made, which should not be a double knot, hand the cords to a spectator and have hime hold two ends in each hand. Begin to remove the beadstones, and finish by having him pull on the cords so that they end outstretched between his hands and the beadstones appear to have passed through them. But these things are so hard to explain that I will leave them, although I could show great variety.
          This must be closely done, therefore it must be no bungler's work.

CHAPTER XXX

JUGGLING KNACKS BY CONFEDERACIE, AND HOW TO KNOW WHETHER ONE CAST
CROSSE OR PILE BY THE RINGING.
Using a confederate, who must seem simple, or obstinatly set
against you, bet with him that if he flips a coin while standing behind a
door you will be able to tell from the sound or ringing of the money whether
it comes up heads or tails. He must say "What is it?" if it comes up heads,
or "What ist?" if it came up tails; or any other code you both agree upon.
When he flips the coin in front of witnesses, who are coaxed into joining in
on the bet, he gives you the right clue so that you can always call the side
correctly. By this meanes, if you have any imagination, you may seem to do a
hundred miracles, and to discover the secrets of a man's thoughts, or words
spoken a far off.

TO MAKE A SHOALE OF GOSLINGS DRAWE A TIMBER LOG.
To make a shoal of goslings (a gaggle of geese) seem to pull a
timber log is done by that very means used when a cat seems to pull a fool
through a pond or river, but handled somewhat further off from the beholders.

TO MAKE A POT OR ANIE SUCH THING STANDING FAST ON THE CUPBOARD, TO
FALL DOWNE THENSE BY VERTUE OF WORDS.
Have a black thread wound around a pot in a cupboard near a window, so that a confederate standing out in the courtyard and holding the other end of the thread can, upon hearing you loudly issue the cue, pull on the thread.
This was Eleazer's feat of confederacy, which Josephus reported to be such a miracle.

TO MAKE ONE DANSE NAKED.
Use a young boy as a confederate and, after charmes and the like
spoken by you, have him undress himself while shaking, stamping, and crying,
till completely naked. Or, if you can't persuade a confederate to completely
disrobe, as he begins to stamp, shake, and unclothe you can release him from
the spell, citing "respect for the modesty of the audience" as the reason for not allowing him to go on.

TO TRANSFORM OR ALTER THE COLOUR OF ONES CAP OR HAT.
Have a confederate lend you his hat, and use certain words over it, such as: "Droch myroch, & senaroth betu baroch assmaaroth, rousee farounsee, hey passe passe, etc. Then, when you return it to him, have him appear angry and refuse to accept it, claiming he had given you a new black hat, and this was an old blue hat. Then you may seeme to remove the spell, and return it to him again, this time to his satisfaction.

HOW TO TELL WHERE A STOLLEN HORSSE IS BECOME.
By means of confederacy, Steven Taylor (Steeven Tailor) and a man
named Pope defrauded many country people. Steven Taylor would steal some
horses, and then send the victims to Pope, who already knew where Taylor had
hidden the horses, and knew how to recognize the victims from Taylor's
descriptions. Pope would recognize them as soon as they came through the
door. He would tell them their horses had been stolen, and then assure them
that the thief would be forced to bring the horses back and leave them in
whatever place he knew Taylor had already secretly deposited them. Some
people said Pope was a witch, others said he was a conjuror, but commonly he
was called a wise man, which is the same as soothsayer or witch.

CHAPTER XXXI

BOXES TO ALTER ONE GRAINE INTO ANOTHER, OR TO CONSUME THE GRAINE OR
CORNE TO NOTHING.
There are many types of trick boxes with false bottoms, whereby
many feats may be accomplished. One has identical covers that go over the top and bottom. The bottom is slightly recessed, just enough to contain a single layer of pepper or corn glued to it. Put a cover over the bottom and turn the box rightside up.

In performance, fill the box with some noticeably different type of grain, then cover the box and put it under a hat or candlestick. In putting it under, or taking it out, turn the box over and uncover the glued end, revealing the grain has changed from one type to another. Another
presentation is to show the glued end first, then thrust the glued end into
a bagful of a similar grain, and finally show the empty box.

HOW TO CONVEIE (WITH WORDS OR CHARMS) THE CORNE CONTEINED IN ONE BOX INTO AN OTHER.
There is another box, shaped like a bell, which should be filled
with as much corn or spice as the previously described box can hold. Take a
piece of leather as broad as a large coin and jam it up the bell, holding the corn in place. It helps if the edge of the leather is wet. Show the false bottom of the other box as if it were full of corn, then cover and place it on the table, turning it upside down as you do so the emptyside is now facing up. Place the bell on the table very sharply, which will dislodge the piece of leather and release the grain in the bell, dropping over the leather piece. You must make sure that when the corn comes out it covers & hides the leather. When the bell is lifted from the table the grain is revealed, and when the first box is uncovered the grain has vanished. Eventually you must get rid of the corn by sweeping it from one hand into the other, or into your lap or hat.

Another of many effects possible is to place a toad in the first
box beforehand, and have it appear to have been transformed from corn, which
many will suppose to be the juggler's familiar, by which his feats and
miracles are accomplished. But in fact, there is more cleverness in using
these boxes to transfer corn from one to the other, than there is in claiming to be able to tranfer one man's corn into another man's field, which the law of the twelve tables does so forcibly condemn, for the one is an actual trick, while the other is an outright lie.

OF AN OTHER BOXE TO CONVERT WHEAT INTO FLOWER WITH WORDS, &C.
Another box of this type is constructed with a false bottom in the
middle, and used in a similar manner. One other, like a large cup or bowl, in which is shown a great variety of stuff, as well as liquors and spices, works through an inner chamber which is used to hold the load. But this would take too long to describe.

OF DIVERSE PETIE JUGGLING KNACKS.
There are many other feats to confuse the simple, such as causing
an oat to stir by spitting on it, but appearing to have caused it to happen
through having spoken magic words. You can produce meal, pepper, ginger, or
any other dry powder from your mouth after eating bread, etc.; which is done
by retaining any of those things in a little paper or bladder which is snuck
into your mouth, and grinding the bladder with your teeth.

Item: A piece of wood in which are drilled three holes. On one side a peg sticks out of the second hole, on the other side it sticks out of the third hole. The sleight consists in turning the piece of wood. These are such easy sleights that even a bungler can do them, and appear to have great
skill.

CHAPTER XXXII

TO BURNE A THRED, AND TO MAKE IT WHOLE AGAINE WITH THE ASHES THEREOF.
It is not a bad trick to burn a thread to ashes, and then restore
it, the method for which is this: Take two threads, or two small laces, each
of them one foot long, and roll one of them into a ball about the size of a
pea, then conceal it between your left forefinger and thumb. Hold the other
piece of thread outstretched between your hands with your thumbs and
forefawgers, other fingers spread daintily. Have someone cut the thread in
the middle. When it is cut bring your two thumbs together and transfer the
end from your right hand to your left, then pick up the two hanging ends with your right hand. Have them cut and repeat the above moves until all the
pieces are very short.

Roll the cut pieces into a ball, keeping this ball separate from
the other one concealed in the left hand. Put the ball of cut threads onto
the point of a knife and burn them in a candle until they are burnt to ashes.

Remove the knife from the flame and with your left forefinger and thumb pretend to take some of the ashes from the knife, keeping the concealed ball between the same fingers. With the two thumbs and forefingers together carefully rub the ashes to and fro, eventually drawing out the thread full length and showing it to be restored.

This is a powerful effect if handled well, and if you have the
skill to move the ball of thread from place to place between your other
fingers, as can easily be done, it will be even more remarkable.

TO CUT A LACE ASUNDER IN THE MIDDEST, AND TO MAKE IT WHOLE AGAINE.
By constructing a gimmick similar to this you may seem to cut any
lace that hangs around one's neck, or any needlepoint lace, or girdle, or
garter, and by conjuring make it whole again. Have a piece, similar to the
one you are going to cut, one and one half inches long, and keep it doubled
over and concealed in your left hand between several of your fingers and
close to their tips. With the left hand grasp the lace you intend to cut,
still hanging about one's neck, by the middle, and in drawing the loop
through your left hand into position for cutting substitute the concealed
piece of lace for the actual middle. Keep the genuine middle concealed in
your left hand between your forefinger and thumb. Have a spectator cut the
lace, actually cutting the short piece instead, and then with magic words and rubbing show the lace to be restored. This, if well handled, will seem
miraculous.

HOW TO PULL LACES INNUMERABLE OUT OF YOUR MOUTH, OF WHAT COLOUR OR
LENGTH YOU LIST, AND NEVER ANIE THING SEENE TO BE THEREIN.
As for pulling lace coils out of your mouth, it is a stale jest,
used by jugglers to get money from maidens when selling lace by the yard,
putting into their mouth one coil as fast as they pull out another, and tying a knot at the end of each yard. The knot is left against the teeth, the lace cut, and then they continue pulling out lace on request until there is as much lace as a hat can hold. The juggler can produce any color called for drawn by equal yards from out of his mouth, while somehow managing to carry on his pitch as though there were nothing at all in his mouth.

CHAPTER XXXIII:

HOW TO MAKE A BOOKE, WHEREIN YOU SHALL SHEW EVERIE LEAFE THEREIN TO BE WHITE, BLACKE, BLEW, RED. YELLOW, GREENE, &C.
There are a thousand tricks which I am loathe to spend time
describing, some of which are common, and some rare, and yet all of them
nothing more than deceit or confederacy which only appear to be a kind of
witchcraft. I will end therefore with one devise which is not common, but was used by Clarvis, and though I never had the opportunity to see him perform, still I think I am right in crediting him with that invention. He had a book, or so they say, in which he would make the spectators think of each page as blank, and then show the pages all to be clean white paper. He would then show the pages to be painted with birds, then with beasts, then with serpents, then with angels, etc.

The book is made seven inches long and five inches wide, or by
those proportions, with 98 pages, which would be 49 individual leaves
containing one page on each side. Cut six notches on each of the leaves 1/8"
deep and 1" from each other. On the first leaf cut off every notch except the last one on top, creating a one inch tab at the top of the page.

On the second leaf cut off all but the second notch from the top,
leaving a one inch tab one inch down from the top of the page. On the third
leaf cut off all but the third tab, and so on till you finish the seventh
leaf with a tab at the very bottom. On the eighth leaf begin again as you did with the first leaf.

When you have finished placing the tabs on each page of the book
repeating the order over and over you will have a book comprised of seven
sets of seven leaves, each leaf seven leaves apart, that can automatically be made to open to any set of seven.

The first seven pages should remain blank, as should the first set
of seven leaves (pp.14, 15, 28, 29, 42, 43, 56, 57, 70, 71, 84, 85, 98). The
remaining pages should be painted with each set of like-notched pages given
the same color or kind of picture.

This way you can put your thumb on the top notch and casually leaf
through the book showing all the pages blank. Place your thumb on the next
notch down and when you casually leaf through the book all but the first one
or two pages will appear to suddenly have the same color or type of picture,
and so on.

But, because this may be hard to picture from the description, you
can buy for a small price such a book at the shop of W. Brome in Powle's
churchyard, where such books may be gotten, for your further instruction.

There are many feats which beautify this art exceedingly, however
even of these some are done by practice, and some by confederacy.

There are also many mathematical tricks, for them read "Gemma
Phrysius", and "Record", etc., which when added into a magicians act do
credit to his art.

There are also, besides those I have set down under the title
"Hartumim", a variety of strange experiments reported by Plinie, Albert, Joh. Bap. Port. Neap. and Thomas Lupton, some of which are true, and some false. These tricks being known to Jannes and Jambres, or else to our magicians and jugglers, makes them seem more skilled and all the more respected.

Here I should also mention the particular deceptions used in the
casting of lots, and drawing of cuts. I dare not teach the methods used, lest the ungodly make a practice of it in the commonwealth, where many things are decided by such means, which can be done honestly and lawfully. But I have made some general comments here about them, without getting too much into the details of what are basically just tricks, of which I could describe a great deal.

CHAPTER XXXIV

DESPERATE OR DANGEROUS JUGGLING KNACKS, WHEREIN THE SIMPLE ARE MADE TO THINKE, THAT A SEELIE JUGGLER WITH WORDS CAN HURT AND HELPE, KILL AND
REVIVE ANIE CREATURE AT HIS PLEASURE: AND FIRST TOO KILL ANIE KIND OF PULLEN, AND TO GIVE IT LIFE AGAINE.

Take a hen, chicken, or capon and drive a knife or nail through the middle of the head, the edge towards the bill, in such a way that it seems certain to kill the bird. Then use magic words and, after withdrawing the blade, the fowl can be seen to still live, and even to eat grain put in front of it, without being at all in pain. This can be accomplished because the brain is so far back in the head that it is not touched by the blade,
although you thrust the blade between it and the comb. This can be an opening effect, after which you can turn your attentions to apparently mutilating and then restoring your own self.

TO EATE A KNIFE, AND TO FETCH IT OUT OF ANIE OTHER PLACE.
Hold a knife between your hands so that only the point shows, and
bite down on that with your teeth in such a way that it makes noise. Act as
though putting the knife into the mouth, sliding your hand down the knife in such a way as to increase the illusion of your mouth containing almost the whole knife. Bring your hands with the knife in them to the edge of the table while calling for a drink, during which time you can easily let the knife slide into your lap. After lapping the knife bring your hands to your mouth again and nibble on your nail instead of the blade tip, then appear to thrust the blade into your mouth, using one hand to push the other, and finishing with your hands open. You can recover the knife from your lap and seem to bring it out from behind you, or from wherever you want. If you have a duplicate knife and a confederate you can do twenty notable wonders that way, such as to send a real audience member into some garden or orchard,
describing to him some tree or herb, under which the knife can be found
sticking in, or it can be planted on the person of an innocent audience
member.

TO THRUST A BODKIN INTO YOUR HEAD WITHOUT HURT.
Have a knife made so that the handle is hollow and allows the blade to slip into it when held upside down. Hold it to your forehead and appear to thrust it in. With a little sponge concealed in your hand you can wring out blood or wine. If wine is running out of your forehead you can excuse it by explaining you have had a lot of wine to drink. Then, after an appropriate show of pain and grief, appear to pull the knife out of your head suddenly, so quickly that the blade falls back into place without being noticed.
Immediately place the trick knife in your lap or pocket and switch it for an unprepared one.

TO THRUST A BODKIN THROUGH YOUR TOONG, AND A KNIFE THROUGH YOUR ARME: A PITTIFULL SIGHT, WITHOUT HURT OR DANGER.
Make a dagger with the blade separated in the middle, the gap three quarters of an inch wide, and the pieces supported by a bow or crooked piece of iron holding the two blade parts in place, and fashioned to fit over your tongue. Then thrust your tongue between the space, that is, into the bow in the middle of the dagger's blade, so it seems to be sticking through your tongue.

The same may also be done with a dagger made to fit on your arm,
and the wound will seem all the more terrible if dressed up with a little
blood.

TO THRUST A PEECE OF LEAD INTO ONE EIE, AND TO DRIVE IT ABOUT [WITH A STICKE] BETWEENE THE SKIN AND FLESH OF THE FOREHEAD, UNTILL IT BE
BROUGHT TO THE OTHER EIE, AND THERE THRUST OUT.
          Conceal a small piece of lead under one of your eyelids and, with
a stick that is hollow at one end, appear to place an identical piece of lead into the other eye, using the stick to push it in but really receiving it in the hollow at the end of the stick. Appear to use the stick to push the piece of lead across the eye, along your forehead to the other eye, and then produce the lead previously concealed under the eyelid. Some eat the lead, and then pull it out of the eye, and some put it into both, but the first method is the best.

TO CUT HALFE YOUR NOSE ASUNDER, AND TO HEALE IT AGAINE PRESENTLIE
WITHOUT ANIE SALVE.
          Take a knife having a round hollow gap in the middle, and place it
on your nose in a way that makes it appear your nose has been half-severed
from your face. You should always have a duplicate ungimmicked knife to
switch for the trick blade, words of enchantment to speak, blood to make the
wound more realistic, and quick hands.
          This is easily done, and if cleanly handled will deceive all
spectators.

TO PUT A RING THROUGH YOUR CHEEKE.
There is another old trick which seems dangerous to the cheeks. To
accomplish this you must have two identical rings, one must be filed so that
there is a gap in the ring enabling it to be thrust over the cheek, the other ring is whole and on the middle of a stick which is left out of sight. After appearing to thrust the gimmicked ring through your cheek, pick up the stick by its middle with your hand concealing the unfiled ring. Keeping your hand over the ring on the stick have one spectator grasp each of the stick's ends.

Pluck the ring from your cheek and palm it or, if necessary, lap it or drop it into a pocket. Pull away your hand from the stick, and in pulling it away spin the ring, so it will be thought this is the ring which was in your cheek.

TO CUT OFF ONES HEAD, AND TO LAIE IT IN A PLATTER, &C: WHICH THE
JUGGLERS CALL THE DECOLLATION OF JOHN BAPTIST.
In order to present this effect you need a board, a cloth, and a
serving platter made with a hole in the center of each large enough to fit a
boy's neck. The board is actually made of two planks, as long and broad as
feasible, and wthin a half yard of one end of each plank must be half a hole
so that when the two planks are fit together you have a complete hole, as in
a pair of stocks. There must also be a hole in the tablecloth. The platter is set directly over the hole in the tablecloth, which is over the hole in the planks. Your assistant takes position with his body concealed under the
board, and his head on the platter.

To make the sight a little more dreadful, put some brimstone into
a dish of burning coals and set it before the boy's head. After he has
inhaled the smoke a few times (which is not unhealthy) the head will appear
as if dead, especially if the boy sets his face accordingly; and if a little
blood is sprinkled on the face it will enhance the effect.

This is usually done with a boy who is in on the trick and was
chosen for that particular occasion, being known and easily recognizable to
the audience both by his face and his style of dress.

On the other side of the table a similar arrangement of holes is
made, without the platter. A boy of similar size and wearing the same
clothing as the other boy is known to wear is lying on the table in such a
way that his body is visible but his head is placed througn the hole in the
tablecloth and board.

In this way it is made to seem that the boy has his headless body
outstretched at one end of the table and his head laying on a platter at the
other end.

Necessary observations to astonish the beholders: There are other
ways of adding to the overall effect which are too complicated to fully
explain; such as placing around his neck some dough kneaded with a young
bull's blood, which when cold will look like dead flesh, and when pricked
with a sharp hollow feather's quill will bleed and seem very strange, etc.

Many rules should be observed, such as having a table cloth that
almost touches the ground all the way round; and not leaving the audience in
place for too long, etc.

This was done by a magician named Kingsfield, from London, at
Bartholowmew's Fair in 1582 before a diverse audience that came to view the
spectacle.

TO THRUST A DAGGER OR BODKIN INTO YOUR GUTS VERIE STRANGELIE, AND TO RECOVER IMMEDIATLIE.
Another miracle using false moves, namely that with a dagger you
seem to kill yourself, or make a fatal wound in your belly.

Not long ago a juggler died in the performance of this trick at a
tavern in Cheapside, stumbling into Powles churchyard where he expired. It
was his own fault, as he was drunk when he attempted the trick, and forgot
the plate which he needed for his protection.

The device is this: You must prepare a feke made of paste board,
the shape and color of your belly and chest, painted by an expert to include
not only color but also hair, navel, blemishes, etc; so it may be worn in
such a way that it can be shown to be your natural belly. Then, between the
feke and your real belly you place a linen cloth and a double plate (which
the juggler that killed himself forgot or willfully omitted), over which you
place the false belly.

Be certain that you always place between the plate and false belly
a bladder of blood, which must be of a calf or a sheep, but not of an oxe or
a cow, as that will be too thick.

Thrust or have thrust into your breast a dagger, so far that it
pierces the bladder, so that when pulled out blood will spurt a good distance from you, especially if you expand your body against the plate.

You must always remember to use (with words, expression, and
gesture) a gracefulness of action that will inspire admiration in your
audience.

TO DRAWE A CORD THROUGH YOUR NOSE, MOUTH OR HAND, SO SENSIBLE AS IS
WOONDERFUL TO SEE.
There is another trick, which is called "The Bridle". It is made of two elderwood sticks, which are hollow and through this hollowness is
threaded a cord.

The ends of the sticks must be joined together, and a half an inch
from the other end of each stick is drilled a hole. The cord's ends are
brought out through the holes with knots tied a few inches from the ends of
the cords to prevent them from being drawn back through the holes.

Place the sticks over your nose like a pair of scissors and when
the cord is pulled back and forth it will appear to be running straight
through your nose. You may take a knife, and after appearing to cut the cord
you can pull the bridle from your nose.

THE CONCLUSION, WHEREIN THE READER IS REFERRED TO CERTEINE PATTERNS OF INSTRUMENTS WHEREWITH DIVERSE FEATS HERE SPECIFIED ARE TO BE EXECUTED.
I could go on indefinitely, but hopefully I have described to you
the principles and practices belonging to this art of juggling, so that
anyone interested in studying these words may not only do all these things,
but using these principles may invent other such effects to the best of his
ability.

And, so long as these are presented as amusements and not the
result of supernatural actions, let other less generous and more melancholy
men say what they like. Their actions have no value, but actually advance the power and glory of God by revealing the pride and falsehood which merely
seems to create miracles through the power of God, as did Jannes and Jambres
and also Simon Magus.

If any man doubts these things, or agrees with Bodin that these are accomplished through familiars or devils, let him go to S. Martins and talk to John Cautares (a French man by birth, and an honest man in conversation), and he will show these tricks and many more. Although he does not make his living as a magician, but works as a labourer, still I think he has the best hands and sleight-of-hand skills of any man that lives today.

Neither do I speak without knowledge. If I had space I could
describe so much that Bodin, Spinaeus, and Vairus would swear I was a witch,
with a familiar spirit at my command.But my studies are only meant to reveal
that they are fools, and expose the fraud that makes them fools, so they may
become wiser, and separate their delusions from that which belongs to God.

And, because some juggling devices are not easily described in
words, I have included illustrations for some of the instruments described,
so that they may be used as patterns for those who wish to thoroughly
understand their secrets, or make them for themselves, and use them. Each
illustration contains a reference to the page where its working is described.

Next I will describe another fraudulent point of witchcraft,
necessary to be revealed, or at least exposed as one of the deceitful arts.
And because many are victimized by it, and sometimes utterly destroyed, for
it has been sanctioned under the pretense of being "learning", and has
flourished uncontrolled among all ages, nations, and peoples.