Evening star. [volume] (Washington, D.C.) 1854-1972, 1890-08-02

ond is fastened few inches lower down and so
! ON until ali arc tied together in a row. The
other end OF the hair is then attached to the
juggier's chin or forehead by q bit of flesh-col-
ored wax. When he begins to wave his fan
and send the breeze wherever he may choose
the butterflies cannot soar beyond the length
OF their tether. That seems simple enough.
does it noR But if you want to see how hard
Il Is just try. II is true that the butterflies can
not fly away from yoa, but that fact does not
lessen the difficulty you will have in max
ing things fly at all. 1t requires weeks
of practice to be able to start them in a patu-
raj way and to keep them suspended in the air
for any length of time takes MANY weeks
longer. Now comes the difficult part of the
trick. To make them alight on a vase of
nowers and hover over bouquet ut your will
takes months of time. When il is once learned.
however. it makes one of the prettiest feats in
the Jiggiers repertory. When the trick is
ended usually give to it a dramatic finish.
] crush the butterflies in my hand and by
sleight of hand substitute for them quantity
OF little bits OF white paper Then opening
my hand l fan vigorously and, to the surprise
OF the audience, the crumpled butterflies are
transformed into n shower OF snowfakes that
descend to the stage, covering mo completely
in their fall.
BE CAREFUL WITH This TRICK.
The most difficult feat that accomplish, and
indeed the most daring trick have ever seen,
is by far harder to learn than any that have
described Before you attempt it caution you
to be more certain Of your nerves, more sure
OF your skill, than you have ever been before
The slightest mistake, the fraction too much Of
an ounce of power, an1 you are a murderer.
These are your properties sword with an
edge keen as that OF a razor, q potato fresh
from market, An assistant who docs not know
what nervousness means and has the most alb
soiute confidence in your skill, and q command
over your own nerves that Is perfect. First you
show your audience that the potato is real by
throwing il down on the floor or by letting
them examine it. Next you satisfy them that
the sword is sharp by cutting playing card
into pieces before their eyes az though Il were
a slice OF cheese. Your assistant then kneels
place the potato upon the warm flesh, shield
your eyes from the light, balance Jour sword in
your hand, measure the distance of the stroke
and It's strength. Then Zip, a fash, your as
sis'ant losses her head and the potato falls on
.he moor, divided in the middle-cut through
10 tne very edge of its thin skin.
stili more difficult is the front cut Your a.
sistant lies outssretched on her back, her head
hanging over the edge of q stool The potato |
Il placed on the throat and the thrust il made.
lou must not look into her open eyes. You
must not look at your sword. Watch the DO
tato and strike quickly and surely. frequently
Tried TINS trick In England, but Omene never
allowed me 10 make the throat cut until We
came to New York Does IL make her nervous? |
II 10 did would surely kill her, for the slight |
est shiver on her part the least movement of 1
her head, would cause fatal Accident She
was nervous before began the trick, bat When |