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Opinions vary among magicians on how to categorize a given effect, but a number of categories have been developed. Magicians may pull a rabbit from an empty hat, make something seem to disappear, or transform a red silk handkerchief into a green silk handkerchief. Magicians may also destroy something, like cutting a head off, and then “restore” it, make something appear to move from one place to another, or they may escape from a restraining device. Other illusions include making something appear to defy gravity, making a solid object appear to pass through another object, or appearing to predict the choice of a spectator. Many magical routines use combinations of effects.
One of the earliest books on the subject is Gantziony’s work of 1489, Natural and Unnatural Magic, which describes and explains old-time tricks.In 1584 Englishman Reginald Scot, published The Discoverie of Witchcraft, part of which was devoted to debunking the claims that magicians used supernatural methods, and showing how their ‘magic tricks’ were in reality accomplished. Among the tricks discussed were ‘sleight-of-hand’ manipulations with rope, paper and coins. At the time, fear and belief in witchcraft was widespread and the book tried to demonstrate that these fears were misplaced.All obtainable copies were burned on the accession of James I in 1603 and those remaining are now rare. It began to reappear in print in 1651.
During the 17th century, many similar books were published that described in detail the methods of a number of magic tricks, including The Art of Conjuring (1614) and The Anatomy of Legerdemain: The Art of Juggling (c.1675)
Until the 18th century, magic shows were a common source of entertainment at fairs, where itinerant performers would entertain the public with magic tricks, as well as the more traditional spectacles of sword swallowing, juggling and fire breathing. In the early 18th century, as belief in witchcraft was waning, the art became increasingly respectable and shows would be put on for rich private patrons. A notable figure in this transition was the English showman, Isaac Fawkes, who began to promote his act in advertisements from the 1720s – he even claimed to have performed for King George II.
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