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Modern Magic: A Practical Treatise On The Art Of Conjuring
Modern A Practical Treatise On The Art Of Conjuring is a comprehensive guide to the world of magic and illusion, written by Professor Hoffman. This book covers all aspects of the art of conjuring, from basic principles and techniques to advanced tricks and routines. The author provides detailed instructions on how to perform a wide variety of illusions, including card tricks, coin tricks, rope tricks, and many others. The book also includes tips on how to create your own magic tricks, as well as advice on how to develop your stage presence and performance skills. With over 400 illustrations and diagrams, this book is an invaluable resource for anyone interested in the fascinating world of magic and illusion. Whether you are a beginner or an experienced magician, Modern Magic is sure to provide you with new insights and inspiration.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
- GenresMagicNonfiction
Paperback
First published June 3, 1876
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65 people want to read
About the author
Professor Hoffmann
67 books2 followersProfessor Louis Hoffmann was born as Angelo John Lewis in London, England on 23 July 1839. He studied law at Oxford University and became a barrister in London.
During the early 1860s he learned magic from a book and became an amateur magician.
In 1876, under the pen name Professor Hoffman, he published Modern Magic to educate the public in how to become a magician, including how to perform sleight of hand tricks, as well as how to dress.
Although Lewis is primarily known for his non-fiction works, especially those on magic, he also wrote a significant amount of fiction.
During the early 1860s he learned magic from a book and became an amateur magician.
In 1876, under the pen name Professor Hoffman, he published Modern Magic to educate the public in how to become a magician, including how to perform sleight of hand tricks, as well as how to dress.
Although Lewis is primarily known for his non-fiction works, especially those on magic, he also wrote a significant amount of fiction.
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Displaying 1 of 1 review
May 15, 2025
A thorough presentation of the state of the conjurer's art at the time of its publication (1876), detailing a number of tricks and variations on them. This includes tricks with cards, coins, handkerchiefs, watches, rings, dominoes, dice and the like, and the still widely popular cups and balls. The instructions are comprehensive and clear, and accompanied with diagrams of special apparatus and of the methods of manipulation. Many of the tricks don't require any special apparatus or preparation, but rely purely on manipulation of everyday objects.
I'm sure the magician's art has come a long way in the subsequent century and a half, but the foundation is still sleight of hand and cleverly constructed apparatus. I'm sure a modern aspiring magician could probably still find inspiration here, and many of the tricks have likely remained unchanged in their essentials.
This would also be a great book to read if you were thinking of writing a magician character in the late 19th century, or even some other-world equivalent. I'm not currently thinking of doing that, at least not seriously, but if I ever do, I'll return to this book for material.
One of the key points I took from it, which applies to clever mystery stories too: if a magician ever wants you to believe that an object is somewhere, it is inevitably somewhere else, and if they want you to believe that it's a particular object (say, the one they borrowed from an audience member), you can rely upon the fact that it is not that object but a substitute. If they want you to believe that something is happening at a particular time - like an object moving from one place to another - that thing has definitely already happened. Anything the magician says or does openly is intended to mislead or distract, and nothing is as it seems.
All of this reminds me very much of the kind of mysteries you get in, say, the TV show Death in Paradise, which my wife and I are currently watching in sequence from the beginning. If anyone has a rock-solid alibi for the time of the crime, you should suspect that the crime did not, in fact, take place at that time, or if it did, that the alibi has been faked. If someone claims that the victim was dead when they found them, suspect them of killing the victim after their apparent discovery (probably having previously rendered them unconscious or duped them into pretending to be dead). If a room appears to have been locked with just the victim inside, either it wasn't really locked, or it was locked in some clever way that only made it look as if it had been locked from the inside, or the victim died after locking it themselves, or... You get the point.
Another interesting point he makes is that you should never do the same trick twice in the same way, but if you create the same effect twice in two different ways, you can use the opportunity to show something with each method that would make the other method impossible. The audience will assume that both tricks were done the same way, since the effect is the same, and so won't guess either method.
The author has one verbal peculiarity: he sometimes says "either" when he means "any," for example referring to "either of the four categories". It's pretty clear from context what he means, though.
I didn't read the whole of the book, because it does get repetitious after a while, and I was there for an overview rather than for every detail. But it's good.
I'm sure the magician's art has come a long way in the subsequent century and a half, but the foundation is still sleight of hand and cleverly constructed apparatus. I'm sure a modern aspiring magician could probably still find inspiration here, and many of the tricks have likely remained unchanged in their essentials.
This would also be a great book to read if you were thinking of writing a magician character in the late 19th century, or even some other-world equivalent. I'm not currently thinking of doing that, at least not seriously, but if I ever do, I'll return to this book for material.
One of the key points I took from it, which applies to clever mystery stories too: if a magician ever wants you to believe that an object is somewhere, it is inevitably somewhere else, and if they want you to believe that it's a particular object (say, the one they borrowed from an audience member), you can rely upon the fact that it is not that object but a substitute. If they want you to believe that something is happening at a particular time - like an object moving from one place to another - that thing has definitely already happened. Anything the magician says or does openly is intended to mislead or distract, and nothing is as it seems.
All of this reminds me very much of the kind of mysteries you get in, say, the TV show Death in Paradise, which my wife and I are currently watching in sequence from the beginning. If anyone has a rock-solid alibi for the time of the crime, you should suspect that the crime did not, in fact, take place at that time, or if it did, that the alibi has been faked. If someone claims that the victim was dead when they found them, suspect them of killing the victim after their apparent discovery (probably having previously rendered them unconscious or duped them into pretending to be dead). If a room appears to have been locked with just the victim inside, either it wasn't really locked, or it was locked in some clever way that only made it look as if it had been locked from the inside, or the victim died after locking it themselves, or... You get the point.
Another interesting point he makes is that you should never do the same trick twice in the same way, but if you create the same effect twice in two different ways, you can use the opportunity to show something with each method that would make the other method impossible. The audience will assume that both tricks were done the same way, since the effect is the same, and so won't guess either method.
The author has one verbal peculiarity: he sometimes says "either" when he means "any," for example referring to "either of the four categories". It's pretty clear from context what he means, though.
I didn't read the whole of the book, because it does get repetitious after a while, and I was there for an overview rather than for every detail. But it's good.
Displaying 1 of 1 review