Modern Magic A Practical Treatise On The Art Of Conjuring

Modern Magic: A Practical Treatise on the Art of Conjuring

In 'Modern Magic: A Practical Treatise on the Art of Conjuring,' Professor Hoffmann provides a comprehensive exploration of the techniques and principles underlying the art of magic, combining practical instruction with theoretical insights. Written in a clear, accessible style, this treatise delves into various methods of illusion, sleight of hand, and stagecraft, all enriched with detailed illustrations. Set against the backdrop of 19th-century fascination with entertainment and spectacle, the book serves as both a manual for aspiring magicians and a historical account of the evolution of conjuring in modern society. Professor Hoffmann, an accomplished magician and a seminal figure in the field, draws upon his extensive experience in performance to offer invaluable guidance to both novices and seasoned practitioners. His real name, Angelo Lewis, reflects his dual identity as a scholar and performer, effectively conveying his deep-rooted passion for magic. This blend of academic rigor and practical expertise influences his approach, making this work a pivotal contribution to the literature of magic. Thus, I highly recommend 'Modern Magic' to anyone interested in the nuances of illusion, performance art, or the cultural significance of magic. Hoffmann's blend of instructional content and historical context will not only enhance your understanding of conjuring but also inspire a greater appreciation for the artistry involved in this captivating craft.

Modern Magic

Modern Magic: A Practical Treatise on the Art of Conjuring

Among the various branches of the conjuror’s art, none will better repay the labour of the student, whether artist or amateur, than the magic of cards. It has the especial advantage of being, in a great measure, independent of time and place. The materials for half its mysteries are procurable at five minutes’ notice in every home circle; and, even in the case of those tricks for which specially prepared cards, etc., are requisite, the necessary appliances cost little, and are easily portable—two virtues not too common in magical apparatus. Further, the majority of card tricks are dependent mainly on personal address and dexterity, and, as such, will always be highly esteemed by connoisseurs in the art. Before very large audiences, indeed, the spectators being at a distance from the performer, much of the effect of a card trick is lost; which is probably the reason that, of late years, tricks of this class (with a few exceptions) have been rather neglected by professors; and that many feats which in the times of Conus and Comte were numbered among the sensations of the day, are now almost entirely forgotten. We shall endeavour in the following pages, after explaining the principles of sleight-of-hand applicable to cards, and giving instructions for some of the best of the more commonplace feats, to revive the recollection—and, we hope, the practice—of some of these brilliant performances. The Cards.—The adept in sleight-of-hand should accustom himself to the use of every description of cards, as frequently none but the ordinary full-sized playing cards may be available. Where, however, the choice is open to him, he should use in the actual performance of tricks, cards of a smaller and thinner make. The common French cards answer the purpose very well. Among cards of English make, some of the best for the purpose are the small cards of the French pattern made by De La Rue & Co. for use in France, and those known as the “Tankerville” cards, both imported by Peck & Snyder, 124 Nassau Street, New York City, which are thin, well made, and of small size, but of the English pattern. In any case, it is well to use only the piquet pack of thirty-two cards (the twos, threes, fours, fives, and sixes being removed), the complete whist pack being inconveniently bulky for sleight-of-hand purposes.