"THE DISCOVERIE OF WITCHCRAFT"

A Modern English Rendering Of Those Portions Of The 16th Century English Text Dealing With Legerdemain

Modern English Text and Commentary Copyright 1994-98 by Neil Alexander

Published in 1584 in London. Authored by Reginald Scot, a justice of the peace in Kent, England.

INTRODUCTION
In the 1500s witch hunts were sweeping continental Europe and Scotland, and would soon engulf England with the coronation of the anti-witch activist, King James I, in 1603. Scot's work was intended as an argument against the existence of witches, and a protest to the rising tide of persecution. A very small portion, 22 pages out of 283 in the Dover Publications reprint, was devoted to performance magic, and became the basis for many of the books on magic tricks that appeared over the centuries following the printing of Discoverie. The Discoverie of Witchcraft was written in 16th century Elizabethan English, and is filled with archaic spelling and phrasing along with obsolete expressions common to those times. Shakespeare's first plays appeared six years after the publication of Scot's work and the English is similar, although the student of poetry will search Scot's writing in vain for any examples of iambic pentameter. It is a meticulously well researched study on the practice of witchcraft; and also touches on astrology, alchemy, divination, and more. The text presents logical evidences of the witches self-delusions or outright fraud. The complete work covering charms; the names of demons, angels and other words of power; spells; rituals; Sabbaths; biblical and Egyptian magic; and much more, was researched with such academic integrity that the Discoverie remains a much-quoted primary source for those interested in the occult sciences and magic history, whether believers or not. Scot was guided in writing the sections of the book dealing with legerdemain by John Cautares, a 16th century French sleight-of-hand artist who made his living as a labourer and resided in London. The sections devoted to magic tricks contain valid explanations of many effects still performed today, but include very little instruction on the handling of the sleights. The chapters were written with tremendous respect for the art of legerdemain, which it discusses using that very term. Scot emphasizes that he considers such entertainments to be to the betterment of society and its citizens, and not the work of the devil or his allies. The text holds little back in exposing the use of misdirection, manipulation, confederacy, and many other tools of the magician in surprising detail considering the relatively small space allotted to the subject. Not only does he reveal much sleight of hand, but also larger effects that can be compared to what we have come to regard as full sized stage illusions. Among the many techniques and gimmicks "discovered" are: magicians' wax, doublesided coins, various finger palms, classic palming, coin shells, the classic force, lapping, loading for cups and balls, threads, false shuffling, second dealing, confederacy, "bar bets" (as they would be called today), mentalism including a simple second sight-style code, false bottomed boxes, paddle tricks, the double-tape (grandmother's necklace) principle, a four hundred year old sophisticated version of the "magic colouring book", and much more. The sections on legerdemain begin in Book 8, Chapter 22, following several chapters discussing the similarities between the claims of Pharaoh's magicians, false prophets, and "our witches", and how all use "juggling knacks" to convince others of their powers 1 .

The following is presented solely on the basis of its historical interest to students of contemporary stage conjuring. It is NOT intended as an instruction in magic; the explanations of effects contained herein are vague and frequently misleading, and there are virtually no details or guidance on the necessary sleight of hand. In the interest of remaining faithful to the original content no effort has been made to correct or revise the material, it has merely been rewritten to reflect current English speech. 1

BOOK XIII
CHAPTER XXII
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 impious deceivers may be exposed. The true art of sleight of hand consists of legerdemain, 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 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 ring finger and middle finger, and then you practice it between the other fingers, then between forefinger and thumb, and with the forefinger and middle finger 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 ring fingers), 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 2 . 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 middle finger 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.

A testor was a common type of coin. It may have referred to an English coin in circulation at that time with the head of Henry VIII on one side, originally worth a shilling. 4

TO CONVERT OR TRANSUBSTANTIATE MONIE INTO COUNTERS, OR COUNTERS INTO MONIE.

Use the sleight just described; only have a counter 3 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 ring finger 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.

A counter is a substitute for money, such as a poker chip.

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 4 .

WITH WORDS TO MAKE A GROAT 5 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 its 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.

In this chapter the use of confederacy is introduced. Also interesting is that he stresses two themes repeated throughout the history and practice of stage magic: first, that you should practice constantly; and second, that when people know how a trick is done they are no longer interested in it. 5 A "groat" is an old English silver coin of large size. 6
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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 discolour 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 astonishment 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 6 .

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 think he still feels the coin in his fist, like when you press a coin upon someone's 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

Note the 400 year old admonition not to confuse your trick coins with your real money.

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 7 .

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 marvellous.

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 centre 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

The principle of confederacy to accomplish an effect is fairly well outlined, and it is interesting to note he gives credit to a magician named Feats as being the master in the use of confederacy. Apparently Feats had already passed away at the time of Scot's writing in 1584. 8

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 bystanders, 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 yourself 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. Still 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 fore 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 again lies on the bottom of the 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.

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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 pretence 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 successfully 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".

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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 laid, take the handkerchief 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 centre, holding them so that the two ends of each doubled cord appear to be the ends of separate cords. Take three great bead stones, the hole of one of them being bigger than the rest. Put one bead stone over the bow of one cord, and one over the other cord. Take the remaining bead stone 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 bead stone, the other two on either side of it. Done right you may toss them as you like and make it appear the bead stones are on the cord without any fraud. Take one end from each side 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 him hold two ends in each hand. Begin to remove the bead stones, and finish by having him pull on the cords so that they end outstretched between his hands and the bead stones 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.

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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 obstinately 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 means, 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 8 .

TO MAKE ONE DANSE NAKED.

Use a young boy as a confederate and, after charms 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.

I am not certain to whom the name Eleazer refers; Josephus probably refers to Flavius Josephus A.D. c.37-93, a Pharisee who fought against Rome in A.D. 66. His "Jewish Antiquities" purported to cover Hebrew history from creation on. Eleazer may be Elija, or Isaiah, or some such biblical figure of which Josephus wrote. 13

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 seem 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 9 .

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 right side 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,

Actually, Pope and his partner Taylor were confidence artists and horse thieves. Versions of this con "To find something lost or stolen" are still played today amongst dishonest fortune tellers. 14

turning it upside down as you do so the empty side 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 transfer 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 10 .

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 sneaked 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.

The Law Of The Twelve Tables was the highest and most ancient law of the Romans, which stated in part: "Qui fruges incantasset paenas dato, Neve alienam segetem pellexeris excantando, neq; incantando, Ne agrum defruganto." The English meaning is: "Let him be executed that bewitches corn, Transfer not another man's corn into your field by enchantment, Take heed to engage in no witchcraft at all or to make your neighbor's field barren, he that does these things shall die". 15
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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 forefingers, 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

16

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 colour 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 colour 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 colour 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 11 in Powle's churchyard, where such books may be gotten, for your further instruction.

Scot suggests you can buy such a book "at the shop of W. Brome in Powles churchyard... where such bookes may be gotten". The contemporary reader is dissuaded from searching for the shop, despite Scot's recommendation that through this merchant you can "see or buie for a small value the like booke". William Brome was the name of the printer of the first edition of Discoverie in 1584. 17
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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 12 , Albert 13 , Joh. Bap. Port. Neap. 14 and Thomas Lupton 15 , some of which are true, and some false. These tricks being known to Jannes and Jambres 16 , 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 17 . 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.

Plinie probably refers to Pliny the Elder, Gaius Plinius Secundus, A.D. c.23-79. He wrote the monumental Historia Naturalis, an impressive collection of work on natural sciences covering a great many topics. It is said his scientific curiousity got the better of him, and he died trying to observe the eruption of Mt. Vesuvius in 79 A.D. 13 The Blessed St. Albertus Magnus (1193-1280), the "Universal Doctor" of encyclopaedic knowledge. He was a Dominican theologian and a natural scientist to whom many magical writings and deeds have been credited. Albert was the teacher of St. Thomas Aquinas (1225-1274). 14 Scot mentions him earlier in Book XIII, Chapter XVII. I suppose it could be John the Baptist, but I do not recognize the quotes which deal directly with points of witchcraft. 15 "Thomas Lupton is typical of the vulgarizers of the wonder tradition. His often reprinted A Thousand Notable Things (1579) was a catalogue of a thousand natural marvels taken from Lemnius and others. Unillustrated, of smaller format, and much cheaper than the large and expensive wonder classics, it avoided complex explanations and explicitly courted a lower class of reader." (Park and Daston 1981:37) 16 Jannes and Jambres were the names of the biblical Egyptian magicians of Pharaoh's court in the time of Moses (according to Arabic versions of the tale). 17 DO NOT ATTEMPT THE FOLLOWING TRICK. It is included only in the interest of remaining faithful to the content of the original document. 18
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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

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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 centre 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 within 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.

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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 laying on the table in such a way that his body is visible but his head is placed through 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 18 . 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 19 .

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 20 . The device is this: You must prepare a feke made of paste board, the shape and colour of your belly and chest, painted by an expert to include not only colour 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 wilfully omitted), over which you place the false belly.

An interesting effect, especially in the use of brimstone to achieve a cosmetic result. Historically this is a notable chapter, being one of the few instructional descriptions of a fairly large illusion since Hero of Alexander detailed some religious gimmickry in his treatise "Pneumatics" during the first century A.D. Although Scot credits performance of the illusion to a magician named Kingsfield, still the publication of "Discoverie" introduced the effect to performing magicians far and wide who have used this trick table and variations on it ever since. One wonders how Kingsfield might have felt about being the first illusionist in history to have his principal effect busted in print internationally. It should also be noted that The Amazing (James) Randi believes that the illusion as described and diagrammed by Scott would have been "a difficult trick to get away with". He also raises some good questions on the practicality of Hero's reported hydraulically-powered temple miracles. (Ref: Conjuring by James Randi, ESQ.). The head table is still frequently seen in both simple and sophisticated forms, and may well have influenced the creation of the Sphinx illusion built by Prof. Tobin, and first performed in 1865 by Col. Stodare (Alfred Inglis) at Egyptian Hall in London. The sphinx illusion was a disembodied head effect using the now familiar two-mirror principle designed by Prof. Tobin and introduced in a series of lectures by Prof. Pepper in the mid-1800's. 20 This is interesting for two reasons: First, the reported death of a performer attempting the trick, which answers the question - What recklessly suicidal trick was claiming the lives of magicians before the invention of the Bullet Catch? Second, the use of a complex mid-section feke similar to that employed in some dramatic illusions of the current century. It also mentions Powles churchyard again, which was referred to earlier as being the location of the shop of W. Brome. Apparently a very busy churchyard at all hours. 21
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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 ox 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 21 and also Simon Magus 22 . If any man doubts these things, or agrees with Bodin 23 that these are accomplished through familiars or devils, let him go to S. Martins and talk to John Cautares 24 (a French man by birth, and an honest man in conversation), and he will show these tricks and many more.

Jannes and Jambres were Pharaoh's magicians. Simon Magus is spoken of in The New Testament in Acts 8:9, he was believed by the people to be a great magician. He tried to pay the apostles to teach him the "laying of the hands"( Acts 8 and Exodus 22 are commented on by Scot in Discoverie, Book VI Chapter I). 23 Jean Bodin (1520-1596) was a campaigner against witches and a judge in France's witch trials. In 1580 he published "De la Demonomanie des Sorciers", one of the inflammatory works of the period. 24 John Cautares was Scot's consultant for the parts of Discoverie dealing with sleight of hand. Of Cautares, Scot said he "getteth not his living hereby, but laboureth for the same with the sweat of his browes, and neverthelesse hath the best hand and conveiance (I thinke) of anie man that liveth this daie." 22
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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 25 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 26 . 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 pretence of being "learning", and has flourished uncontrolled among all ages, nations, and peoples.

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Spinaeus and Vairus: I am not certain to whom he is referring with the name Spinaeus. Vairus is first mentioned by Scot in Book XII, Chapter XXI, in which some of Vairus' accusations against witches are quoted. 26 The following few pages in Discoverie contain several not terribly accurate illustrations of some of the apparatus mentioned. The first plate contains a misdrawn "three bead stones off a cord" from Chapter XXIX; and the gimmick for drawing a cord through your nose in Chapter XXXIV. The second plate shows three daggers, one gimmicked "To thrust a bodkin through your tong..." as in Chapter XXXIV, one gimmicked "To thrust a bodkin into your head without hurt", also in Chapter XXXIV, and one ungimmicked just for show or switching. The third plate contains two gaffed knives rather than daggers (bodkins), and shows a knife to penetrate your arm, and one "To cut halfe your nose asunder...", both from Chapter XXXIV. Also displayed is an ungimmicked knife for show. The final plate gives an illustration of The Decollation of John the Baptist, also in Chapter XXXIV. 23

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The next section in Discoverie deals with Alchemy, through which men sought to transmute base metals into gold and to find the philosopher's stone. Book XIV Chapter I begins with the words: "Of the art of Alcumystrie, of their woords of art and devises to bleare mens eies, and to procure credit to their profession".

R EFERENCES
Lupton, Thomas. 1579. A Thousand Notable Things, of Sundry Sortes. Imprinted at London: By John Charlewood, for Hugh Spooner, dwelling in Lumbardstreete at the signe of the Cradle, STC 16955. Park, Katharine; Daston, Lorraine J. 1981. "Unnatural Conceptions: The Study of Monsters in Sixteenth- and Seventeenth-Century France and England", Past and Present, 92, (Aug., 1981), 20-54. Oxford: Oxford University Press.

Copyright 1994-2008 by Neil Alexander & Magic Happens Productions http://www.conjuror.com/ discoverie@conjuror.com

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