Peerless Prestidigitation / Being a collection of entirely new ideas and effects in the fascinating art of modern magic
Date: 2010-05-14T00:00:00+00:00
Keywords: Magic tricks -- Handbooks; manuals; etc.

The Project Gutenberg eBook of Peerless Prestidigitation

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Peerless Prestidigitation

Author: Herbert De Caston

Release date: May 14, 2010 [eBook #32368]

Language: English

Credits: Produced by Diane Monico and The Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK PEERLESS PRESTIDIGITATION ***

PEERLESS
PRESTIDIGITATION

BY

HERBERT DE CASTON.

HERBERT DE CASTON.

Peerless
Prestidigitation.

BEING A COLLECTION OF
ENTIRELY NEW IDEAS AND
EFFECTS IN THE FASCINATING
ART OF MODERN MAGIC.

BY
HERBERT DE CASTON

ASSISTED BY
The Leading South African Magicians.

COPYRIGHT 1910.
(Entered at Stationers' Hall.)
HAMLEY BROTHERS, LIMITED,
LONDON.

BRADBURY, AGNEW, & CO. LD., PRINTERS,
LONDON AND TONBRIDGE.

INTRODUCTORY SPEECH.

Ladies and Gentlemen,

In calling your attention to a deceptive entertainment, Legerdemain, more generally known as Conjuring, a few introductory remarks may not be out of place. The superstition that existed in the early ages, when wizards and magicians were supposed to exist, time has not worn out; the mystery that hangs over all professors of magic is still in part retained. Many there are who class them amongst supernatural beings, their seeming impossibilities are converted into positive realities, their power supposed to be supreme. Now, were I, in this the twentieth century, to stand before you professing to be a wizard or a magician—or, in fact, to be that which I am not—endowed with supernatural power, it would be looked upon as a gross insult to your good sense; for in truth the only peculiarity of my profession is to deceive—yours to detect. If my hands are quicker than your eyes, I shall have the pleasure of deceiving you; but, on the contrary, if your eyes are quicker than my hands, the reverse will be the result.

CONTENTS.

| PAGE
Introductory Speech | 3
The Latest Card Force | 5
The Phantom Card | 6
The "De Caston" Method of "Rising Cards" from Hand | 7
De Caston's Discovery | 9
A Spectacular Handkerchief Combination | 10
An Original Conception with Eggs and Flags | 19
A New Handkerchief Combination | 22
The "Phantom" Coin Trick | 24
An Original "Eggstra" Special Combination | 26

All Tricks described in this book can be purchased at Hamley Bros., Ltd.

Peerless Prestidigitation.

THE LATEST CARD FORCE.

Effect.—A pack of unprepared cards is shuffled by any member of the audience and handed to the performer, who requests one of the spectators to secretly note a card by simply raising a portion of the pack whilst held in the hand of the performer, who turns his head away whilst this is being done. The cards are again shuffled, and the performer instantly names the selected card.

Modus Operandi.—After the cards have been thoroughly examined and shuffled by the spectators the performer takes the pack (face downwards) and quietly bends them over his hand, the bend being so slight that it is hardly noticeable. He then grasps the pack at one end between the first finger and thumb of either hand, and requests a spectator to select a card in the manner described above. It will be found that the action of raising the cards causes a slight break at the spectator's card, and enables the performer to insert his little finger beneath the same and make the pass which brings the selected card to the bottom. After getting a glimpse of the card the pack can be again shuffled and the trick brought to a conclusion in any manner desired.

THE PHANTOM CARD.

Effect.—A pack of cards is spread face downwards upon the table, and one of the audience is requested to choose five cards and hand the same to the performer, who arranges the cards fan-shape in his hand. The spectator is now asked to name any one of the five cards, after which the performer drops the cards face upwards upon the table, and, to the astonishment of the audience, the named card has entirely vanished, four cards only being visible. These cards are now turned face downwards and mixed with the remainder of the pack, which it will be remembered is still lying scattered upon the table. The performer, showing his hands quite empty, now proceeds to select another five cards, which he places face down upon the floor at the feet of his temporary assistant and asks him to touch with a stick any one of the five cards. The assistant does so, and, to his astonishment, the touched card is turned over and seen to be the missing card.

Modus Operandi.—When the pack has been spread face down upon the table and the five cards handed to the performer, he asks for one of the five cards to be named. This having been done, he gives the cards a shuffle, and contrives to get the named card to the top, and secretly reverses it. It will thus be seen that when the cards are dropped faces up upon the other cards scattered about the table, the selected card has apparently vanished. The four remaining cards are now turned over and mixed with the others, the performer being careful not to lose sight of the named card. Five cards are now taken seemingly at random off the table, one of them of course being the selected card. The faces of these five cards are not shown, but are immediately placed upon the floor, care being taken to get THE card in the centre of the row. It will be found that in nine cases out of ten the spectator invariably touches the middle card, which, on being turned over, is found to be the one he originally selected. Should the spectator, however, touch any other card you simply revert to the well-known (to conjurers) dodge of "Very well, we don't require this card," etc., etc.

THE "DE CASTON" METHOD OF
"RISING CARDS" FROM HAND.

Effect.—Several cards having been selected and marked by the audience are returned to the pack, which is thoroughly shuffled. The cards rise from the pack whilst held in the performer's hand, and when two-thirds of the card is visible. The performer requests the spectator to remove his card himself, which he does, the card being drawn out from about the centre of the pack. The remaining cards are produced in a like manner, the effect being quite weird.

Modus Operandi.—For the purpose of this most mystifying card effect it is necessary to prepare a few cards by cutting an oblong slit in each card wide enough to admit the first finger. These cards are then placed in a side pocket, or pochette, and the remainder of the pack handed to several spectators for the purpose of having cards selected and marked. This having been done the performer proceeds to collect the cards, each card when placed in the pack being brought to the top by means of the pass, and after the last card has been returned, the conjurer palms off all the selected cards and hands the pack out to be shuffled. On again receiving the pack in his hands he immediately replaces the palmed cards on top of the pack, and whilst calling attention to what has been done as regards freedom of choice, marking, shuffling, etc., he secretly secures the prepared cards and places them upon the chosen ones. By keeping a couple of fingers across the back of the pack it is an easy matter to casually show the front and back of the cards, and a great deal should be made of the fact that no threads, etc., are employed. When the first card (i.e., the last one returned by the audience) is well out of the pack, the finger again covers the slit and the pack is presented to the chooser for him to remove his card and verify the mark. The other cards are similarly dealt with, and the prepared ones are finally palmed off, disposed of, and the pack again passed for inspection.

DE CASTON'S DISCOVERY.

AN ENTIRELY NEW CARD EFFECT.

A pack of cards having been shuffled, the performer deals about fifteen cards one by one face upwards upon the table, remarking, "You will observe that the cards are thoroughly mixed." During this action (which is the whole secret of this experiment) the performer secretly notes the fifth card from the top of the pack, and when gathering up the cards takes care that the noted card is left in its original position. He now makes four heaps of cards (faces down and about eight or ten cards in each heap), taking the cards from the bottom of the pack, and when this has been done the conjurer quickly deals from the top of the pack one card on to the top of each heap, immediately throwing the next card (i.e., the noted one) face downwards to one of the spectators, who is requested to remember the card (which has seemingly been thrown out at random), and while he is doing so the performer is busy dealing the remainder of the cards in his hands on to the top of the four heaps. The spectator is now requested to place his card in any heap he prefers, and put all the heaps together, and again thoroughly shuffle, during which time the performer turns his back so as not to see which heap the card is placed in. It is now an easy matter to tell the name of the card, which should be done with hesitation and plenty of dramatic gesture. Try this trick, and remember to work it at rather a high rate of speed, and watch the effect on your audience.

A SPECTACULAR HANDKERCHIEF COMBINATION.

Effect.—Three white handkerchiefs are borrowed, a coloured one being added to them (this being performer's own), and placed in a box; an umbrella is shown, replaced in its case, and a change is commanded to take place. The box is opened, and in place of the four handkerchiefs is the umbrella cover, and upon opening the umbrella case the umbrella is found minus the cover and the four handkerchiefs attached to its ribs. The handkerchiefs are removed and laid on a table, the umbrella being returned to the case, which is then placed aside.

One of the white handkerchiefs and a pair of sharp scissors are taken to a spectator who is asked to mark the same, which he does, the result being (to the consternation of the performer) a large piece cut out of the centre. The performer apologises for the accident, and mentions that by a similar misunderstanding one of his own handkerchiefs was similarly treated the previous evening, in proof of which he shows a coloured handkerchief with a piece cut out of the centre. He says he will endeavour to restore the white handkerchief, and at the same time he will restore the coloured one. He places the two handkerchiefs with their respective loose centres in another piece of apparatus, and upon removing them discovers to his horror that the white handkerchief has the coloured centre and vice versâ. He makes a frantic endeavour to unpick the stitches, finally giving it up in despair. Another piece of apparatus is now introduced into which he places the two handkerchiefs, and thinking that it would be more interesting if he used all the borrowed handkerchiefs, he picks up the remaining handkerchiefs from the table and places them along with the two unfortunates. The performer announces that he is about to cut them all up, but before commencing to do so bethinks himself of his own good handkerchief which he removes and places in his pocket. After some by-play the handkerchiefs are shown in dozens of strips, which are offered to the respective owners to sort out, but this not meeting with the approbation of the lenders, the performer introduces a dove-pan into which he places the torn strips, and whilst descanting upon his trials and troubles he holds a lighted candle near the dove-pan and the pieces of cambric catch light. In order to extinguish the fire the performer claps the lid on the pan, and on removing the cover, out fly two doves, and the conjurer immediately removes the three borrowed handkerchiefs and his own coloured one quite restored.

Modus Operandi.—This combination will enable magicians to bring into play some apparatus which they have probably put aside as obviously too mechanical. Properly presented, no better effect can be wished for.

I shall not take up space by describing in detail the various pieces of apparatus, the working, I take it, being well known to magicians of the present day.

You will require:—

- A Changing Drawer Box, with umbrella cover in one compartment.

- Umbrella Changing Tube: in one side is the skeleton umbrella with three duplicate white handkerchiefs and one coloured handkerchief attached to the bare ribs. The other division contains the unprepared umbrella.

- Burning Globe, containing a white handkerchief with coloured centre and a coloured handkerchief with white centre.

- Handkerchief Mill.—One of the compartments contains white and coloured strips, which will be shown to the audience later, as the borrowed handkerchiefs cut to pieces by the knives contained in the mill are produced.

- Dove-Pan.—The pan only is placed on centre table, the lid and inner lining being left behind the scenes to be brought on during the experiment.

- Three White Handkerchiefs (disposed of as mentioned above) to match those you intend to borrow.

- Three Coloured Handkerchiefs—one has already been disposed of, the second one is placed in your pocket and the third one is prepared by cutting a piece out of the centre; this latter mutilated handkerchief is laid on your table, both pieces being required.

- A White Handkerchief with Coloured Centre, disposed of as above.

- A Coloured Handkerchief with White Centre, disposed of as above.

- A Small Bottle of Spirits of Wine, supposed by the audience to be water.

- A Pair of Sharp Scissors.

- Candle and Candlestick.

- Box of Matches.

- Revolver, loaded with blank cartridge.

- Two Doves, and

- One Intelligent Assistant, if procurable.

To perform:—The conjurer requests the loan of several white handkerchiefs. A number being offered, he accepts three, which he throws over a chair back while he calls attention to the empty condition of the drawer box. The performer now takes the borrowed handkerchiefs one by one and places them in the box. After placing the third handkerchief in the drawer box, he looks round as if for another handkerchief, and remarks, "I should have borrowed four handkerchiefs, but I will not trouble you again, I will use my own." Drawing this (the coloured one) from his pocket and placing it in the box with the three white ones, he closes the drawer. The drawer box is now placed on a table or chair near the footlights. The performer next introduces the umbrella tube, being careful to remove the lid from the end containing the unprepared parasol, which he withdraws, opens, and passes for inspection to prove its unpreparedness. The parasol being returned is placed back into the tube, the lid put on, and in turning to place the tube on the table, it (the tube) is reversed, which brings the lid covering the division containing the skeleton umbrella towards audience when laid on the table. The performer now commands a change to take place, and picking up the box he pulls out the drawer containing the parasol cover, which he removes and shows to audience. On opening the umbrella tube, he withdraws the skeleton parasol with the four duplicate handkerchiefs attached to the ribs; the four handkerchiefs are unfastened and laid on the table, the audience believing them to be those originally borrowed. The performer now selects one of the white handkerchiefs, takes up the pair of scissors and asks one of the spectators to mark the handkerchief so that he will know it again—the conjurer holding the handkerchief in such a manner that the spectator is compelled to cut a circular piece out of the centre. While the gentleman is cutting the handkerchief, the assistant enters and removes the drawer box and umbrella tube, as having been finished with, and when behind the scenes he opens the box and removes the three borrowed handkerchiefs and the performer's coloured one, all of which he folds neatly and places in the inner lining of the dove-pan, finally putting in the two doves and locking lid to lining by the usual bayonet catch. During this time the performer has been apologising for the damage done to the white handkerchief, and the owner not caring to accept his property in its present condition, the performer calls attention to the burning globe, and states that by placing the mutilated handkerchief in the globe he can immediately restore it; at the same time he mentions that "the previous evening I had the misfortune to have my own handkerchief marked in a similar manner" (picks up coloured handkerchief and loose centre from table and shows to audience), "and will take the opportunity of restoring my own coloured handkerchief whilst I am restoring the borrowed white one." After showing the globe to be empty, the performer places the two damaged handkerchiefs, with their respective loose centres, into same and gives the body of globe a quarter-turn, which brings the compartment containing the white handkerchief with coloured centre, and the coloured handkerchief with white centre uppermost. After allowing the "spirits" due time to repair the damaged mouchoirs the performer requests one of the spectators to remove the handkerchiefs, and on his doing so, it is found that the centres have been sewn into the wrong handkerchiefs. The conjurer now makes an attempt to undo the stitches, but finds it impossible, so states that "I shall have to cut the handkerchiefs up in order to restore them to their original condition." During this little bit of by-play, the assistant enters, bringing with him, unostentatiously, the lid of the dove-pan, which he places on the centre table, retiring immediately with the brass globe, now finished with. The performer now introduces the handkerchief mill and removes the knives in order to show their sharpness, and the two handkerchiefs are placed in the empty compartment (the other division, it will be remembered, contains the strips of handkerchiefs); but on second thoughts the performer considers that it is unfair not to treat all the handkerchiefs alike, so he picks up the remaining two white handkerchiefs and the coloured one from the table and places them also in the mill.

Before commencing to cut the handkerchiefs up, the performer removes his own coloured one and places it in his pocket, remarking that "to damage my own handkerchief would be ridiculous." The performer now makes the knives revolve, and shortly afterwards pulls the strips of handkerchiefs out of the second compartment and drops them into the dove-pan, saying, "The damage to the handkerchiefs is irreparable, but I will endeavour to iron the pieces and the lenders can sort them out at their leisure. I believe it is necessary when doing any ironing to sprinkle a little water over the objects to be ironed" (sprinkle strips with spirits of wine from bottle) "and also to wax the iron, but as I have no wax and no iron, I will light the candle and drop a little of the melted wax on the pieces of handkerchiefs." Whilst lighting the candle the conjurer carelessly drops the lighted match in the dove-pan, the spirits of wine become ignited and there is a great blaze. The performer gets excited and endeavours to blow out the flames, and not being successful, he frantically grasps the lid of the pan and claps it on to same, immediately afterwards picking up his revolver and firing over the pan, finally removing the lid (which leaves the inner lining inside pan) and allowing the doves to escape.

The handkerchiefs are now removed and handed back to their respective owners, the performer's coloured handkerchief being returned to his pocket.

If the above description has been carefully followed it will be seen that although an enormous amount of destruction has apparently been going on, in reality only one white handkerchief is destroyed at each performance of the experiment.

AN ORIGINAL CONCEPTION WITH EGGS AND FLAGS.

Effect.—An egg is produced and wrapped in a handkerchief, which is then placed over a chair back. A glass casket is next shown to be empty and a piece of tape tied round same by a member of the audience. The casket is suspended from a stand and covered with a borrowed handkerchief. A Union Jack flag is produced and changes into an egg. The casket is uncovered, and flag seen within. Handkerchief removed from chair back, opened out, and egg has disappeared.

You will require:—A glass casket for handkerchief, double handkerchief with slit in centre of one side, two small flags, one ordinary and one hollow egg (with opening at side), a piece of red tape long enough to go twice round the casket, candle in candlestick, box of matches and a folding brass music stand carrying a frame in which is suspended the casket. The casket has the front lid and two sides of glass, the back and bottom being of wood. A wooden flap is hinged to lower portion of back, and a small silk flag is roughly rolled up and placed behind the flap, which is held up by a small catch operating from back of casket. Casket can now be shown empty amongst the audience without fear of flag or flap being seen. The hollow egg is vested, and the second flag rolled up and placed in matchbox ready for production from flame of candle. The ordinary egg can either be brought on openly or magically produced. I prefer using one of the eggs I have previously produced in the "four eggs at finger tips" trick.

Modus Operandi.—Show the egg and wrap same in the double handkerchief, taking care that the egg is placed in the slit; twist the handkerchief round so as to show shape of the egg, and call attention to the fact that the egg can be seen throughout the performance, and lay same over chair back, egg towards audience. Show casket empty and hand the tape to spectator, asking him to tie same round the casket, the performer holding casket whilst it is being tied. It is now suspended in the frame on stand (two small brass chains with hooks at end being used for this purpose), and covered with borrowed handkerchief. In the act of covering the casket, performer releases the flap which drops down inside the casket, thus releasing the duplicate flag previously placed therein. The candle is now lighted and the flag produced from flame. While calling attention once more to the egg in the handkerchief and to the empty (?) casket, the performer secures the hollow egg from vest and proceeds to vanish the flag by working it into the opening at the side of egg. When the flag is well tucked in, the conjurer, without showing egg, explains what he is about to do—to cause the egg to leave the handkerchief and appear in his hand, and the flag to pass from his hand into the empty casket. Presto! the hands are opened, the egg is shown, and placed in a conspicuous position on the table; the casket is uncovered and handed to spectator to untie the tapes and remove the flag.

The performer now commences to introduce his next trick, seemingly forgetting about the handkerchief which is still hanging over chair back, and of course the usual "smart" gentleman asks, "What about the egg in the handkerchief?" Performer seems flurried, but otherwise takes no notice of the remark, and pretends to be anxious to get on with his next item. The audience insists that the egg is still in the handkerchief, and performer then calls attention to the egg on the table, which he asserts is the one he wrapped up in the handkerchief, and "eggstracted" by magic. The audience do not believe it, so the magician, with seeming reluctance, very gingerly picks up the handkerchief from the chair and shakes same out (the handkerchief, not the chair), and the egg is "found" to have disappeared, proving (?) that the egg seen on table is the identical one which was wrapped up at commencement of trick.

I am indebted to my esteemed brother magicians, Messrs. T. Hayes, W. G. Malvern, and J. Hempstead, for the description of the following original and novel experiments:—

A NEW HANDKERCHIEF COMBINATION.

By W. G. Malvern, Coin and Card Manipulator.

The requirements for this excellent trick are as follows:—A glass gas chimney, four silk handkerchiefs—one red, one blue, and two white. A small fêke—consisting of a brass tube about two inches long and just large enough to slip over the forefinger of the right hand. There must be soldered at the top of the fêke on the outside, a piece of wire forming a small hook. The fêke should, for obvious reasons, be covered with flesh-coloured silk.

A sheet of cartridge paper rolled up to form a tube and of such a size as to fit over the glass cylinder is also required.

The presentation of the trick is as follows:—The performer commences by showing an ordinary glass cylinder to be unprepared and free from deception. The three handkerchiefs are next shown, and in placing them on the table the blue handkerchief is casually dropped over the fêke which is lying there loaded with a duplicate white handkerchief. The red handkerchief is then picked up along with the cylinder and placed in one end; then the blue handkerchief (and with it the fêke) is inserted in the other end of the cylinder. The hook on the fêke engages the rim of the cylinder, which prevents it from slipping down. The performer now covers the cylinder with the tube of paper, and in doing so the forefinger is pushed through the fêke, which action causes the concealed handkerchief to appear between the blue and red handkerchiefs, and when withdrawing the finger, the fêke is brought away on it, which, of course, cannot be seen owing to the flesh-coloured silk.

The trick is now practically finished; all the performer has to do is to vanish the white handkerchief into the fêke, which is removed from the finger, and command the white handkerchief to appear between the red and blue handkerchiefs in the cylinder. On removing the paper tube this is seen to have been done.

THE "PHANTOM" COIN TRICK.

By J. Hempstead, Magician.

The coin trick I am about to describe is most suitable for performing in a room, and has the advantage of being easily mastered by anybody after five minutes' practice. This sleight has perplexed many of the world's leading magicians, amongst whom may be mentioned Mr. Horace Goldin.

The effect of the trick is as follows:—The performer rolls up his right sleeve to the elbow, and then sits down at a table. One of the spectators is requested to sit down opposite him, and having obtained the loan of a sixpence, he places the coin in his palm in full view of everybody. The performer then closes his hand on the table, knuckles upwards, and asks the spectator sitting opposite him to place his hand on his (performer's), which he does, and then the performer, saying "One! two! three! Pass!!" asks the spectator if he felt the coin leave the hand and pass through his (spectator's), to which, of course, the answer is "No"; but, nevertheless, on the spectator removing his hand, and the performer opening his, the coin is found to have completely vanished. The hands are shown absolutely empty, fingers wide apart, no palming being employed.

The effect of this little trick cannot be sufficiently judged by a description in print, but must be put into actual practice to be thoroughly appreciated.

To perform.—When the performer (with right arm bared to elbow) asks the spectator to place his hand on his (performer's), he brings his left elbow on to the table and rests his head on his left hand—quite a natural position—and when the spectator puts his hand on the performer's (which in nine cases out of ten will be in the form of a fist like performer's), the conjurer exclaims, "No, no! not that way; put your hand flat on mine," on saying which the spectator will naturally remove his hand for an instant—and now comes the conjuring part of the experiment. As the spectator removes his hand performer raises his fist with a quick up-and-down motion, and as his hand descends the coin is thrown through the bottom of fist into left sleeve. This motion must be done very smartly and at the right moment, but with a little practice will be found quite easy of accomplishment.

It will now be clear that when the spectator again puts his hand on top of the performer's, the trick is done, and it does not take much of a magician to cause the disappearance of the coin. Of course, should the spectator at first place his hand flat on your fist, the same formula is gone through as before, only vice versâ.

AN ORIGINAL "EGGSTRA" SPECIAL COMBINATION.

By T. Hayes, Conjurer and Illusionist.

Effect.—Appear with wand in hand, and after usual introductory patter lay wand on table and pick up a piece of white tissue paper—size, say, 6 by 4 inches. Roll this up into a ball and place on the palm of the left hand; then, shaking it to and fro, it gradually assumes the form of an egg. Lay this on the table while you light a candle (ready in candlestick); pick up the egg again and hold it over the candle to harden it. In a minute show the egg and have the same examined. Make a few passes—limited only by the skill of the performer—eventually placing it in the left hand (back to audience) and command it to pass; show empty hand, at the same time point to candle on table, when the audience see the egg balanced on top of same. Take it off and bring forward with candle and show. Replace the candle and pick up a handkerchief. Cover egg with handkerchief and taking hold of egg through same, gather up the four loose ends and give to someone to hold. Take up your pistol and fire at same, and laying down pistol, pick up plate and ask assistant to place the handkerchief on it; then open out handkerchief, and in centre in place of the egg he finds original piece of paper (initialed previously if desired).

Now take piece of paper, and laying down plate and handkerchief, make a fist of left hand and push paper in at top, draw it out at bottom of hand, when it is seen to have changed to a white silk handkerchief. Show this both sides, holding it at two top corners; then roll it up rope fashion, and pulling hands apart, a handkerchief is seen in both hands—one white and one yellow (here you may remark "The white and yolk; simply a question of colour"). Now roll these two together in the hands, and hold in right hand over candle, saying, "I will hard-boil it," and show the egg again. Pass for examination, asking if it is a good one; on reply of "Yes," say "Well, I have my doubts, but we will test it." Throw it in the air two or three times and the egg disappears, you remarking, "I was afraid there might be a chicken in it."

Explanation.—When you pick up piece of paper at first, you take up with it a "skin" egg, neatly folded, with a thin strip of paper round it to prevent it prematurely expanding. It is this that is placed in palm of left hand, and paper strip torn loose. Lay gently on table and light candle, and as you lay down matchbox with right hand (right side to audience), palm egg in left hand from hip pocket or vest. Pick up "skin" egg and hold over candle, presently remarking "It's getting hot"; suddenly place it apparently in the left hand (really crushing it up and finger palming), and show palmed egg in left hand. After sundry "passes" "vanish" to candle. This is worked on same principle as "Card in Candle," or "Card on Ale Bottle," using a half shell (cut lengthwise). When you go to take egg, remove with left hand and place in right, in which is original egg still palmed. The shell fits on this, so only one egg appears. Pick up the candlestick in left hand, and bring it forward to show it quite unprepared, allowing the fêke to fall forward flat on table.

Replace the candle and pick up the handkerchief. This has an oval wire shape in centre covered by a piece of the same material as the handkerchief—this fits over egg, which presses out handkerchief into proper shape. When you pretend to take hold of the egg through handkerchief, you really seize this—allowing egg to drop into right palm out of sight. Gather up the four ends of the handkerchief with this hand, which adds cover for egg. Let go top (egg?) with left hand and ask assistant to hold handkerchief for you. In handing it to him first take it in your left hand and let your right fall naturally to side, and either "vest" or "profonde" egg. Now take up pistol and fire at egg (?) in handkerchief, and picking up the plate or tray, lay down pistol and ask assistant to lay handkerchief with the egg gently on it. With your other hand open out handkerchief—when he sees roll of paper on same. (This is original piece, palmed in when pretending to place egg in. The wire frame holds it in position.) Let your assistant open out the paper and verify mark (if one was made). Meanwhile, lay down the plate and handkerchief on the table, at the same time palming small fêke containing white silk handkerchief in left hand. Now take back piece of paper from assistant and thank him; then make left hand into a fist and push the paper in at top till all is in. This pushes out handkerchief from the fêke into the palm; then secretly remove fêke on finger, continuing the pushing with another finger (old idea). Now draw out silk handkerchief from bottom of left hand—show it by holding it at the top corners, in front of you—gradually raise right hand and lower left; as you do so, seize the corner of the yellow handkerchief which protrudes through one of waistcoat buttonholes. (I have a small black bead sewn to the corner to make this easy.) As soon as yellow handkerchief is clear, the left hand should have reached buttonhole and now seizes last corner; then a quick turn (ropewise) rolls up the yellow in the white. Pull hands apart gently, retaining end of yellow handkerchief in one hand and the end of white in the other, and let the audience see both, one in each hand. Now roll these up in the hands, "balling" them well, and hold over candle (or a Stodare egg can be used, making all safe). After a minute, show egg, saying, "It's getting hot!"—change from hand to hand, thus changing for real original egg, which you had just before palmed from vest or pocket, and hand for examination. The final vanish is, of course, into the profonde and needs no explanation.

HAMLEYS' MAGICAL PALACE.

Boxes of Conjuring Tricks, 1/3, 2/9, 5/10, 11/-, 15/8, post free. Larger sizes, 21/-, 30/-, 42/-, 63/- to 10 guineas.

Cabinets of Card Tricks, 2/9, 5/10, 10/11, 21/9, post free. Larger sizes, 42/- and 63/-, carriage on receipt.

Boxes of Puzzles, 2/9, 5/10, 10/11, 21/9, post free. Superb Cabinet, 63/-, carriage on receipt.

Boxes of Assorted Wire Puzzles, price 6d., post free 8d. Large size, 1/-, post free 1/3.

Cabinet of Coin Tricks, containing eight tricks, 6/3, post free.

Cabinet of Amusing Jokes. Latest Novelty, very funny and laughable, containing thirteen surprises, price 10/10, post free.

SHADOWGRAPHY.

Cabinet of Hand Shadows, complete with book by David Devant. Price 1/-, post free 1/3. Without book 9d., post free 1/-.

A Complete Set of "Shadowgraphy." Containing every piece of apparatus named in the book. There are about twenty different pieces, exactly the same as used by Trewey. Price only 3/6, post free 3/9.

Sets of Figures as described in the book "Shadow Entertainments," by A. Patterson, at prices as follows, post free:—Broken Bridge, 5/3; Ally Sloper's Menagerie, 2/9; Barnaby's Bull, 3/-; Mrs. Bugg's Chimney, 2/9; Old Tagg's Day School, 2/9; Down our Alley, 4/3; The Haunted House, 6/9; Marine piece, 4/6; Set of Characters, 2/9; Book only, describing above sets, 1/-, post free 1/2.

Ventriloquial Heads at 5/-, 6/6, 10/6, 15/-, 17/6, 24/-, post free 5/4, 6/10, 11/-, 16-, 18/6, 25/-.

Ventriloquial Figures, 15/-, 21/-, 30/-, 40/-, 63/-, 84/-, and 105/- each; carriage on receipt.

Any Special Figure made to order. A large assortment of Ventriloquial Books. List post free.

Original Dialogues written from 3/6 to 42/-.

Sets of Punch and Judy Figures from 5/6. List post free.

A Large Variety of Marionette Figures. List post free.

Hat Coils, six bright colours in each, cut and made by machinery, rolled very tight, price 2-1/2d. each, post free 4d.; by the dozen (not less) 2/3, post free 2/9.

7-in. Tambourine Coils, white, 3d. each, post free 6d. each; by the dozen (not less) 2/9, post free 3/5.

Flowers of Enchantment, best double flowers, silk leaves, shaded, unequalled, price 1/1 per dozen, post free; or 7/6 per 100, post free 7/9. Cheaper quality Paper Flowers, very effective, bright colours, price 6d. per dozen, post free 7d.; or 2/6 per 100, post free 2/7.

Multiplying Flags, best quality, bright colours, very effective. First size, 8d. per gross; second size (7 ins. by 5 ins.), 6d. per dozen; third size (14 ins. by 10 ins.), 1/- per dozen; fourth size (19 ins. by 15 ins.), 1/4 per dozen; fifth size (29 ins. by 20 ins.), 1/7 per dozen; postage 3d. extra. Any size made to order.

Flash Paper 4d. per sheet, 8d. per packet, 4/3 per quire, post free.

Grand Complete Illustrated Catalogue, price 6d., post free.

CHAPEAUGRAPHY, or Twenty-five Heads under one Hat.—A complete Set of Apparatus, Book, etc., for Chapeaugraphy. An immense success for Public Entertainments, Private Parties, Bazaars, Penny Readings, etc. Price 10/- complete, post free 10/6. Book only, price 6d., post free 7d.

| { 35, NEW OXFORD STREET, W. C.
HAMLEY | { 29, LUDGATE HILL, E.C.
BROS., LTD., | { 510A & 512, OXFORD STREET, W.
Branches, | { 200 & 202, REGENT STREET, W.
London. | { 59, KNIGHTSBRIDGE, S.W.
| { 86 & 87, HIGH HOLBORN, W.C. (HEAD WAREHOUSE.)

HAMLEY BROS., Ltd.,

In which is merged BLAND'S MAGICAL PALACE.

Conjuring Tricks
Of all Kinds.
At all Prices.

We have actually IN STOCK thousands of splendid tricks which can be easily, but deceptively, shown immediately on purchasing, after merely having read the clear and explicit instructions which are included with each trick.

Prices from 4d. to £25.

All tricks described in this book can be obtained at Hamley Bros., Ltd.

Ventriloquial Dolls and Heads of every description.

Punch and Judy Shows and Figures from 5/6 to 6 guineas.

"Make-Up" of every description at lowest professional prices.

Shadowgraphy and Chapeaugraphy Outfits for Professionals and Amateurs.

Puzzles, Practical Jokes, and all kinds of funny Novelties, always in stock in immense varieties, etc., etc.

N.B.—We have Agents all over the world to keep us posted in "the very latest," which is always to be obtained first at our Grand Magical Palace.

Lessons given in Sleight of Hand, Ventriloquism, &c.

NEW BOOKS.

"Some Modern Conjuring." By Donald Holmes. Price 4/-, post free 4/2

"Entertaining." By "Albertus." Price 1/-, post free 1/2.

"The Art of Modern Juggling." By "Anglo." Usual Price 4/6, reduced to 2/6, post free 2/8.

"Problems in Mystery." By Max Stirling. Price 2/6, post free 2/8.

"Aids to Wizardry." By E. D'Egerdon. Price 2/-, post free 2/2.

"Patter Books," in 2 volumes. By "Selbit." Price 6d. each vol., post free 7d.

Ideas for Illusions, etc., worked out.

JUGGLING, VENTRILOQUIAL, BOOK, and JOKE LISTS sent post free on application.

GRAND ILLUSTRATED CATALOGUE (nearly 1,000 Illustrations) post free on receipt of 6d., stamps or P.O.

| { 35, New Oxford Street, W.C.
HAMLEY | { 29, Ludgate Hill, E.C.
BROS., Ltd., | { 510a & 512, Oxford Street, W.
Branches, | { 200 & 202, Regent Street, W.
London, | { 59, Knightsbridge, S.W.
| { 86 & 87, High Holborn, W.C. (Head Warehouse.)

*** END OF THE PROJECT GUTENBERG EBOOK PEERLESS PRESTIDIGITATION ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- PEERLESS PRESTIDIGITATION

- Peerless Prestidigitation.

- INTRODUCTORY SPEECH.

- CONTENTS.

- Peerless Prestidigitation. THE LATEST CARD FORCE.

- THE PHANTOM CARD.

- THE "DE CASTON" METHOD OF "RISING CARDS" FROM HAND.

- DE CASTON'S DISCOVERY.

- A SPECTACULAR HANDKERCHIEF COMBINATION.

- AN ORIGINAL CONCEPTION WITH EGGS AND FLAGS.

- A NEW HANDKERCHIEF COMBINATION.

- THE "PHANTOM" COIN TRICK.

- AN ORIGINAL "EGGSTRA" SPECIAL COMBINATION.

- HAMLEYS' MAGICAL PALACE.

- SHADOWGRAPHY.

- HAMLEY BROS., Ltd.,

- Conjuring Tricks Of all Kinds. At all Prices.

- NEW BOOKS.

- THE FULL PROJECT GUTENBERG LICENSE