CHEMICAL MAGIC
Courtesy Fisher Scientific Co.
"THE ALCHYMIST�
By David Teniers The Younger
Chemical Magic BY
JOHN D. LIPPY, JR. W ith I ntroduction B y
HOWARD THURSTON
A. L. BURT COMPANY Publishers New York Chicago
Copyright, 1930, By
GEORGE SULLY & COMPANY, Inc.
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P R I N T E D
I N
T H E
U N I T E D
S T A T E S
O F
A M E R I C A
Affectionately dedicated to my daughter SARA KATHRYN LIPPY
who was always interested in my experiments
FOREWORD From the earliest times the science of chemistry has not failed to exercise powerful attraction and in足 fluence on the minds of men. It has never ceased to be a veritable store-house of wonder, surprise and mystery. The interest in it has increased with the passing of time, and goes on increasing, as more and more of its mysteries are explored and laid bare. Much has been discovered that for long remained un足 known, much is now clear that was once obscure. Still, a great deal remains hidden for coming generations to uncover. Probably, no science lends itself so readily to the production of so-called magical effects as chemistry, yet its use for such purpose is of a quite recent date. In searching through the ancient records of magic and alchemy, we find that the early magicians, as they have been termed, possessed a knowledge of powerful drugs and chemicals. We, also, learn that they were held in awe and reverence by their fellowmen. There are many curious descriptions of magical rites, as well as descriptions of apparatus and materials used in connection with these rites. Magic, in its modern conception, may be briefly defined as effects produced for the purpose of star-
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tling and amusing those who witness them, and seemingly caused by supernatural means, or occult agency, or secret force beyond the apprehension of ordinary intelligence. In the following treatise, I shall deal with chem istry as a pastime or amusement, and not as a science, an amusement which, if properly used, cannot fail to be one of a profitable character. It is not my aim to produce a work of wonders, or of marvels and mys teries, not to launch on an already over-crowded market a description of all the tricks and sleight-ofhand performances of a host of professional or semi professional entertainers, but rather to explain to those who find real pleasure in amusing others, a working knowledge as to how desired effects are ac complished and results achieved and, in addition, to give the already “professional magicians” something which may increase public interest in their programs and prove of much advantage to them in their stage exhibitions and demonstrations. A word of caution in the presentation of chemical magic would seem in order. Never present a new ex periment to your friends, or in public, until you have thoroughly mastered it in private in every detail, how ever good an experiment may appear to you to be. Always try to improve it. Present the experiment in your own way. Do not begin by using large quantities of chemicals. Commence with very small amounts, such as half-filled wine glasses; you can always in
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crease the amounts for a large production. The exact amount of ingredients to be used in an experiment is not always stated. This varies with the nature and manufacture of the chemicals, with the purity, and with the care with which they have been kept. Again, let me advise, that you always try experiments in private, otherwise you may have a surprise, as well as your audience. Cordial thanks are due Howard Thurston, the World’s most famous magician for the introduction to this volume; to Dr. Henry Ridgley Evans, author of “History of Conjuring and Magic,” from which I quote in my sketch on magic; to Thos. C. Worthing ton, 3rd. of Baltimore, Md. to whom I am indebted for many of the illustrations, and to my friend, Clinton Burgess, of New York, for assistance and valuable information. John D. Lippy, Jr.
INTRODUCTION Far back in the shadowy past, long before the build ing of the Pyramids, magic was a practiced art in Egypt, and therefore, the Land of the Nile has been called the “Cradle of Magic.” The art of magic, then, dates back to the earliest periods of recorded history. It was used by the Egyp tian, Chaldean, Jewish, Roman and Grecian priest hood, to deceive the ignorant masses. Bleeding and weeping statues, temple doors that flew open with a thundering sound and apparently by magical means, and the ever-burning lamps that flamed forever in the tombs of the so-called holy men, were some of the thaumaturgic or magical feats of the Pagan priests. In the middle ages magic was very popular. One reads strange stories of goblins, ghosts and elves in the literature of that period. Wrinkled old women were burned at the stake for the crime of witchcraft. The same fate befell even beautiful maidens, such as Joan of Arc, who was also accused of witchcraft and cruelly burned. Monks, in their dark cells, fought with Satan and the Powers of Darkness, and grimy alche mists toiled day and night over the red fires of their furnaces, seeking in vain for the charmed philoso pher’s stone and the wondrous elixir of life. In making a study of modern magic and chemistry, we find the alchemist in the background. Alchemy was
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the pretended science which sought to change the baser metals, such as lead, into gold and silver. It is believed, that alchemy had its origin among the Greeks of Alexandria, during the early period of the Christian era. It was adopted by the Arabs, and, in turn, was handed on to the Europeans, where it be came a developed science. It has been said that alchemy was never at any time different from chemistry. Although it failed to ac complish any of the purposes it sought, it was never theless the beginning of the science of chemistry. Its contribution to chemical science is found in some of the apparatus, much improved by modern methods, but the principles of which are still the same. Chemistry of today might well be called modern magic. The tricks of the ancient magicians and al chemists were crude attempts at deception, compared to the work of the chemist of the present genera tion, when one stops to think that the chemists have learned to make artificial silk, rubber, dyes, etc., and have created any number of things never known be fore. In many cases they have not only succeeded in duplicating the products of nature’s laboratory— they have actually made stronger, purer and more lasting things than nature. Just a few of the many miracles of chemistry are the making of buttons from corncobs, radio dials and panels from oat hulls, um brella handles and toilet articles from milk, poker chips from cheese, and furniture and jewelry from
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carbolic acid. Little wonder that chemistry is called modern magic. Men of all nations under the sun have contributed to the progress and development of this study. The most successful of them have been those who have made it their life work. The boy who becomes inter ested in chemistry from a desire to learn the secrets of nature and pursues it with earnestness is certain to be a contributor to the fund of human knowledge and a factor in the march of civilization. The world is full of wonders yet unexplored, for it is said, to experiment is to explore. The boy of a scientific turn of mind may become a successful inventor or a skilled entertainer in magic through the application of an acquired understanding of the science of chemistry. Because of the unconscious love of the mystic and supernatural, which lies deep down in the fibres of every human being, it is hoped that the present work, which occupies a unique field in the extensive litera ture of magic, will be found interesting, instructive and entertaining to those interested in both chemistry and the age-old art of magic, and, that all of these will be ample reasons why all good parents, as well as the public, should be interested in the progress of chemi cal science—and in the boys and girls who will some day become the men and women of chemical science.