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Phosphor handbook Luminescent and applied materials
Third Edition Xiaojun Wang Digital Instant Download
Author(s): Xiaojun Wang, Ru-Shi Liu, (eds.)
ISBN(s): 9780367555122, 0367555123
Edition: Third
File Details: PDF, 36.77 MB
Year: 2022
Language: english
Phosphor Handbook
 Phosphor Handbook
Fundamentals of Luminescence

Edited by
Ru-Shi Liu
Xiao-Jun Wang

Third Edition
Third edition published 2022
by CRC Press
6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742

and by CRC Press

2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

© 2022 Taylor & Francis Group, LLC

First edition published by CRC Press 1998

CRC Press is an imprint of Taylor & Francis Group, LLC

Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot assume
responsibility for the validity of all materials or the consequences of their use. The authors and publishers have attempted
to trace the copyright holders of all material reproduced in this publication and apologize to copyright holders if permission
to publish in this form has not been obtained. If any copyright material has not been acknowledged please write and let us
know so we may rectify in any future reprint.

Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced, transmitted, or uti-
lized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopy-
ing, microfilming, and recording, or in any information storage or retrieval system, without written permission from the
publishers.

For permission to photocopy or use material electronically from this work, access www.copyright.com or contact the
Copyright Clearance Center, Inc. (CCC), 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400. For works that are not
available on CCC please contact [email protected]

Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for identi-
fication and explanation without intent to infringe.

ISBN: 978-0-367-55512-2 (hbk)

ISBN: 978-1-032-15962-1 (pbk)
ISBN: 978-1-003-09869-0 (ebk)

DOI: 10.1201/9781003098690

Typeset in Times LT Std

by KnowledgeWorks Global Ltd.
 In Memoriam the Early Editors of the Handbook.

Shigeo Shionoya Hajime Yamamoto William M. Yen

Formerly of The Formerly of Tokyo Formerly of The University
University of Tokyo University of Technology of Georgia
Tokyo, Japan Tokyo, Japan Athens, GA, USA
Contents
Foreword to the Third Edition of the Phosphor Handbook..............................................................ix
Preface to the Third Edition..............................................................................................................xi
Preface to the Second Edition......................................................................................................... xiii
Preface to the First Edition............................................................................................................... xv
About the Author............................................................................................................................xvii
List of Contributors..........................................................................................................................xix

Chapter 1 General Introduction and Physics Background............................................................. 1

Feng Liu and Xiao-Jun Wang

Chapter 2 Fundamentals of Luminescence.................................................................................. 17

Eiichiro Nakazawa, Shigetoshi Nara, Sumiaki Ibuki,
Hajime Yamamoto, and Pieter Dorenbos

Chapter 3 Principal Phosphor Materials and Their Optical Properties....................................... 89

Youming Lu, Weizhen Liu, Cen Zhang, Haiyang Xu, Yichun Liu,
Dan Lu, Song Liang, Ming Li, Lingjuan Zhao, Yugang Zeng,
Yongqiang Ning, Lijun Wang, Zhijue Quan, Jianli Zhang,
Fengyi Jiang, Hao Long, Baoping Zhang, Xinqiang Wang,
Yan Peng, Xiangang Xu, Wenna Du, and Xinfeng Liu

Chapter 4 Energy Transfer Processes in Phosphors.................................................................. 299

Jiahua Zhang and Hao Wu

Chapter 5 Upconversion Luminescence of Nanophosphors: Mechanisms

and Properties............................................................................................................ 319
Langping Tu and Hong Zhang

Chapter 6 Organic/Polymer Luminescent Materials and Devices............................................ 337

Junbiao Peng
Index............................................................................................................................................... 355

vii
Foreword to the Third Edition
of the Phosphor Handbook
The field of luminescence and phosphors has a long history, starting from early observations of light
in the dark from afterglow materials. Centuries of extensive research followed aimed at providing
insight into optical phenomena, now resulting in an increasing role of phosphors in our daily lives.
Applications of luminescence grow more diverse and include, for example, phosphors in the color
displays that our eyes seem to be glued to, energy-efficient LED lighting, data communication,
luminescent probes in medical imaging and sensing, gadgets relying on afterglow phosphors and
even luminescent lanthanides in our banknotes. It is interesting to note the central role that Asia has
played in the discovery and development of new luminescent materials. Early applications involved
afterglow paints in China, creating alternative images in the dark. While fundamental lumines-
cence research was carried out in the 20th century at all continents, there has been a remarkably
strong role of Japan and China in research, development and discovery of new luminescence pro-
cesses and phosphors. It is, therefore, not surprising that the first edition of the Phosphor Handbook
(Keikotai Handobukku) was initiated by the Phosphor Research Society in Japan in the 1980s.
The first Phosphor Handbook was a great book but with an impact limited to those speaking
Japanese. Fortunately, about ten years later, the book was translated into English and edited by
two giants in the field of luminescence: Shigeo Shionoya and William Yen. It is this version of the
book that I acquired soon after it was released, and it has been a source of information ever since.
All aspects of luminescent materials were covered: phosphor synthesis, optical measuring tech-
niques, fundamentals of luminescence processes, operation principles of light emitting devices,
light and color perception and of course an almost complete overview of all luminescent materials
known, indexed by host material and activator ion. I cannot count how often I consulted this book,
to quickly look up the optical properties of an ion-host combination, find a suitable material with
specific luminescence characteristics, understand the operation principles of phosphors in vari-
ous applications and learn about careful measurements and analysis of phosphor properties. The
authors, except for one, were Japanese, underpinning the central role of Japan in phosphor research.
As the field of luminescence continued to evolve and expand, it became clear that a second edi-
tion of the Phosphor Handbook was needed. Sadly Shigeo Shionoya has passed away, and in 2006,
William Yen together with Hajime Yamamoto edited the second edition of the Phosphor Handbook.
The new edition was updated mostly by asking the original authors to adapt the various chapters
to include recent developments. The Phosphor Handbook continued to play a prominent role in
the luminescence community as a source of information on any topic related to phosphors. Almost
15 years later, it was again time to adapt the Handbook to cover important new developments in the
rapidly changing phosphor field where new applications and new materials emerge, and also mea-
suring techniques have changed with the introduction of, for example, cheap (pulsed) diode lasers,
fiber optics and compact CCD-based spectrometers. Our great colleagues William Yen and Hajime
Yamamoto are unfortunately no longer with us and also many of the authors of the various chapters
of the first and second edition of the Phosphor Handbook have passed away. This made it far from
trivial to realize a third edition. We can be extremely grateful that Ru-Shi Liu and Xiao-Jun Wang
have taken the initiative to edit and write this third edition of the Phosphor Handbook. It is very
appropriate that the book is dedicated to the three founders, Shigeo Shionoya, William Yen and
Hajime Yamamoto. At the same time, it is appropriate to sincerely thank Ru-Shi Liu and Xiao-Jun
Wang for their strong commitment and time invested to organize, write and edit this third edition.
The third edition of the Phosphor Handbook is in some aspects different from the two previous
editions. The authors are not the same, and it is wonderful to see that so many highly respected

ix
x Foreword to the Third Edition of the Phosphor Handbook

colleagues in the field have taken the time to contribute their expertise and knowledge to this third
edition. Interestingly, again almost all of the authors of this third edition are Asian (with well over
100 contributing authors, you can count the non-Asian authors on the fingers of one hand). This
illustrates the continued strong position of Asia in phosphor research. Just as in the previous edi-
tions, all aspects and the broad scope of phosphor research are covered, which makes this Handbook
a worthy successor of the previous editions. It will serve as a comprehensive resource describing
a wide variety of topics that were also included in the previous editions. It will educate newcom-
ers and help everyone in the field to quickly access all relevant knowledge in the exciting field of
phosphor research. In addition to the “classic” topics that continue to be relevant (but sometimes for-
gotten), many new topics are included, in Theory (e.g., first principle calculations), Materials (e.g.,
recent developments in quantum dots and upconversion nanocrystals) and Applications (e.g., LED
phosphors for NIR sensing and agriculture). All this information no longer fits in a single volume,
and this third edition is, therefore, divided into three volumes.
At the time of writing this foreword, I have not read the new edition of the Handbook but did
receive an overview of all the chapters and contributing authors. Based on this information, it is
clear that the full phosphor community, from students to professors, can benefit from this new com-
prehensive source of everything you always wanted to know about phosphors – and more. The third
edition of the Phosphor Handbook will be a classic and continue to promote progress and develop-
ment of phosphors, in the spirit of the first edition. I look forward to reading it and hope that you as
a reader will enjoy exploring this great book and be inspired by it in your research on luminescent
materials.

Andries Meijerink
Utrecht, June 2021
Preface to the Third Edition
The last version of the Phosphor Handbook was well received by the phosphor research community
since its publication in 2007. However, in last 14 years, many notable advances have occurred. The
success of the blue LED (Nobel Prize in Physics, 2014) and its phosphor-converted solid illumination
greatly advanced the traditional phosphor research. New phosphorescent materials such as quantum
dots, nanoparticles and efficient upconversion, quantum cutting phosphors and infrared broadband
emission phosphors have been quickly developed to find themselves in ever-broader applications,
from phototherapy to bioimaging, optics in agriculture to solar cell coating. These applications have
all expanded beyond the traditional use in lighting and display. All of these developments should
be included in the popular Handbook, making it necessary to publish a new version that reflects the
most recent developments in phosphor research. Unfortunately, all the three well-respected editors
of the previous version have passed away. As their former students and colleagues, we, the editors,
feel a strong sense of responsibility to carry on the legacy of the Handbook and to update accord-
ingly to continue serving the phosphor community. The aim of the third edition of the Handbook is
to continue to provide an initial and comprehensive source of knowledge for researchers interested
in synthesis, characterization, properties and applications of phosphor materials.
The third edition of the Handbook consists of three separate volumes. Volume 1 covers the theoreti-
cal background and fundamental properties of luminescence as applied to solid-state phosphor materi-
als. New sections include the rapid developments in principal phosphors in nitrides, perovskite and
silicon carbide. Volume 2 provides the descriptions of synthesis and optical properties of phosphors
used in different applications, including the novel phosphors for some newly developed applications.
New sections include Chapters 5 – Smart Phosphors, 6 – Quantum Dots for Display Applications,
7 – Colloidal Quantum Dots and Their Applications, 8 – Lanthanide-Doped Upconversion
Nanoparticles for Super-Resolution Imaging, 9 – Upconversion Nanophosphors for Photonic
Application, 16 – Single-Crystal Phosphors, 19 – Phosphors-Converting LED for Agriculture,
20 – AC-Driven LED Phosphors and 21 – Phosphors for Solar Cells. Volume 3 addresses the experi-
mental methods for phosphor evaluation and characterization and the contents are widely expanded
from the Second Edition, including the theoretical and experimental designs for new phosphors as well
as the phosphor analysis through high pressure and synchrotron studies. Almost all the chapters in
the third edition, except for some sections in the Fundamentals of Luminescence, have been prepared
by the new faces who are actively and productively working in phosphor research and applications.
We commemorate the memory of the three mentors and editors of the previous editions –
Professors Shigeo Shionoya, Hajime Yamamoto and William M. Yen. It was their efforts that com-
pleted the original Handbook that guided and inspired numerous graduate students and researchers
in phosphor studies and applications. We wish to dedicate this new edition to them.
As the editors, we sincerely appreciate all the contributors from across the world who overcame
various difficulties through such an unprecedented pandemic year to finish their chapters on time.
We are grateful to Professor Andries Meijerink of Utrecht University for writing the foreword to
the Handbook. We also highly appreciate the help from Nora Konopka, Prachi Mishra, and Jennifer
Stair of CRC Press/Taylor & Francis Group and perfect editing work done by Garima Poddar of
KGL. Finally, we hope that this third edition continues the legacy of the Handbook to serve as a
robust reference for current and future researchers in this field.
Co-editors:
Ru-Shi Liu
Taipei, Taiwan
Xiao-Jun Wang
Statesboro, GA, USA
May, 2021
xi
Preface to the Second Edition
We, the editors as well as the contributors, have been gratefully pleased by the reception accorded
to the Phosphor Handbook by the technical community since its publication in 1998. This has
resulted in the decision to reissue an updated version of the Handbook. As we had predicted, the
development and the deployment of phosphor materials in an ever increasing range of applications
in lighting and display have continued its explosive growth in the past decade. It is our hope that an
updated version of the Handbook will continue to serve as the initial and preferred reference source
for all those interested in the properties and applications of phosphor materials.
For this new edition, we have asked all the authors we could contact to provide corrections and
updates to their original contributions. The majority of them responded, and their revisions have
been properly incorporated in the present volume. It is fortunate that the great majority of the mate-
rial appearing in the first edition, particularly those sections summarizing the fundamentals of
luminescence and describing the principal classes of light­emitting solids, maintains its currency
and, hence, its utility as a reference source.
Several notable advances have occurred in the past decade, which necessitated their inclusion
in the second edition. For example, the wide dissemination of nitride-based LEDs opens the pos-
sibility of white light solid-state lighting sources that have economic advantages. New phosphors
showing the property of “quantum cutting” have been intensively investigated in the past decade
and the properties of nanophosphors have also attracted considerable attention. We have made an
effort, in this new edition, to incorporate tutorial reviews in all of these emerging areas of phosphor
development.
As noted in the preface of the first edition, the Handbook traces its origin to one first compiled by
the Phosphor Research Society (Japan). The society membership supported the idea of translating
the contents and provided considerable assistance in bringing the first edition to fruition. We con-
tinue to enjoy the cooperation of the Phosphor Research Society and value the advice and counsel
of the membership in seeking improvements in this second edition.
We have been, however, permanently saddened by the demise of one of the principals of the
society and the driving force behind the Handbook itself. Professor Shigeo Shionoya was a teacher,
a mentor and a valued colleague who will be sorely missed. We wish to dedicate this edition to his
memory as a small and inadequate expression of our joint appreciation.
We also wish to express our thanks and appreciation of the editorial work carried out flawlessly
by Helena Redshaw of Taylor & Francis.

William M. Yen
Athens, GA, USA

Hajime Yamamoto
Tokyo, Japan
December, 2006

xiii
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 These two covers are beforehand prepared for the trick by filling
the two compartments of each, one with wine, and the other with
water. The air-holes are stopped with pellets of wax, but for the sake
of distinction the “wine” compartment of each is plugged with red
wax, and the “water” compartment with white wax. Any other
distinguishing mark is, of course, equally good. So long as the air-
holes are thus stopped, there is no fear of the liquid running out.
The performer, having filled the glasses as already described, mixes
the contents in the decanter, and in placing the latter on the stand,
removes the wax plug from the bottom, thus allowing the wine to
run out, and to percolate through the above-mentioned holes into
the stand, where it remains. He next places the empty glasses on
their respective stands, and places the covers over them. He then
asks the audience into which of the glasses they desire that the wine
shall travel, and into which the water. When they have made their
decision, he has only to remove the red pellet from the cover which
is over the glass into which the wine is to pass, and the white pellet
from the opposite cover. The tying of the tape from cover to cover is
merely designed to give time for the liquids to reach their respective
destinations, and is, indeed, altogether dispensed with by many
performers. The air-holes may be stopped by means of tinfoil pasted
over them, instead of the wax, if preferred. The foil is instantly
removeable by scraping with the nail.

The Mysterious Funnel.—This is a little appliance on the same

principle, which may be incidentally introduced with good effect in
the course of a wine trick. It is a tin funnel, made double
throughout, with a space of half-an-inch or so between its inner and
outer sides. It is, in fact, a funnel within a funnel, joined at the
upper edges. (See Fig. 210.) It has an air-hole, a, generally on the
under side of the handle. When required for use, the hidden space is
filled with wine. The simplest way of doing this is to stop the spout
of the funnel with the finger, and then to fill it with wine, which,
seeking its own level, will gradually rise to the same height in the
outer space as it stands at inside the funnel. This must, of course,
be done with the air-hole open. When the space is
filled, the air-hole is stopped, and the wine
remaining inside the funnel allowed to run out.
The funnel will now appear perfectly empty, and
may be used as a funnel in the ordinary way.
The mode of using the funnel is somewhat
after the following manner, subject, of course, to
variation, according to the taste and invention of
the performer:—
Fig. 210.
A juvenile is invited to take a glass of wine, the
produce of either of the preceding tricks. When he has imbibed it,
the performer asks a second juvenile whether he would like a glass
also. The reply is pretty sure to be in the affirmative, but the
performer pretends to find, when about to oblige him, that his store
is exhausted. He begins to apologize for the supposed
disappointment, but as if suddenly bethinking himself, says,
“However, you shan’t be disappointed. If I can’t supply you in the
natural way, I must do so in a supernatural way. Suppose we take
back the wine this young gentleman has just drunk. I don’t suppose
it will be any the worse. Let me see, where is my magic funnel. Oh,
here it is. Let us make sure first that it is quite clean.” He pours
water through it, and then holds it up to the light in such a manner
that the audience can see right through, thus indirectly showing
them that it is empty. “Now, sir” (addressing the youngster who has
drunk the glass of wine), “I am going to take back that glass of
wine. Be kind enough to bend your elbow, and hold it over the
mouth of the funnel, so. And you, sir” (addressing the expectant),
“perhaps you will be kind enough to take this young gentleman’s
other arm, and work it gently up and down. In fact, we are going to
transform him into a pump. Now, sir.” The performer holds the glass
under the funnel, and as soon as the pretended pumping begins,
opens the air-hole, when the wine runs into the glass, and is handed
to the second young gentleman as a reward for his exertions.
 Acted with spirit, this little interlude is sure of an uproarious
reception from the juvenile portion of the audience, particularly if
the operator possesses the magic bradawl described at page 332,
and makes use of it to bore a small hole in the victim’s elbow before
beginning to pump the wine from it.

The Box of Bran transformed to a Bottle of Wine.—While upon the

subject of wine tricks we may mention this, which is by no means
the least surprising of the illusions to
which “the bottle” gives birth. The
necessary apparatus consists of four
pieces. First, a plain cylindrical tin box A
(see Fig. 211), japanned to taste, and
about six inches high by three in
diameter. Secondly, B, a similar box, so
far as external appearance is concerned,
but materially different in its internal
construction. This latter is bottomless, but
has a horizontal tin partition at about Fig. 211.
three-quarters of an inch from the top.
These two boxes have but one lid, which fits either indifferently. The
third article is a cylindrical pasteboard cover (Fig. 212), closed at the
top, and of such a size as to fit loosely over B, but an inch or two
taller. The fourth item is a bottle, made of tin, japanned black, and
of somewhat peculiar construction. (See Fig. 213.) As a measure of
capacity, it terminates just below the shoulder, the remainder, or
body of the bottle, being, in fact, merely a tube closed at the
bottom, in which this upper portion works. A spiral spring within the
body presses the neck portion upward into its proper position; but if
pressure be applied, the neck portion will sink downward into the
body, as shown in Fig. 214, in which condition it just fits into B. A
small point projects from the lower part of the bottle, and
corresponds with a bayonet catch at the bottom of B, which is in fact
designed as a case or cover for the bottle.
 For the performance of the trick the operator
will require, in addition to the apparatus above
mentioned, an oblong deal box, half full of bran.
(Rice is sometimes used, but is not
so good.) Any box will answer the
purpose, so long as it is not less
than fifteen inches or so in length,
and nine in breadth and depth. In
preparing for the trick, the first step
is to fill the bottle, or the “fillable”
portion thereof, with wine or some
Fig. 212. other liquid. The bottle is then
corked; B is placed over it and pressed
down, and the bayonet-catch fastened. In Fig. 213.
this condition, but without a lid, B is placed in the deal
box, and buried in the bran. The box of bran being now
brought forward and placed on the table, the performer
is ready to begin the trick. He first draws attention to A,
which he hands round for inspection, as also the
Fig. 214. pasteboard cover. When they are returned, he brings
forward the box of bran, moving his hand backwards
and forwards in it, and distributing a few handfuls to show its
genuineness. Replacing the box on the table, he proceeds to fill A
with bran. This he does by dipping A completely in the box, and
scooping up the necessary quantity. As if to show all fair, he pours
the bran out again into the box, and then makes a second dip to
refill it. This time, however, he makes an exchange, and instead of
bringing up A, brings up B, filling as he does so the shallow space at
the top of the latter, which thus appears to be full to the brim.
Placing it on the table, and putting the lid on, he places the
pasteboard cover over it, and, addressing the company, volunteers
to teach them how to extract wine from bran, and wine bottles from
tin boxes. After a moment’s pause, and the orthodox touch with the
wand, he removes the cover, giving it at the same time a slight twist,
thus releasing the catch, and removing B within the cover. The
spring within the bottle now meeting no resistance, presses the neck
portion upwards into its proper position, with all the appearance of a
genuine bottle; and as it, in its present condition, is considerably
taller than B, it can hardly be suspected that it was a moment ago
concealed in the latter, particularly as the performer immediately
proceeds to give a further proof of its genuineness by pouring a
glass of wine from it.
In connection with the above trick we may describe another
useful piece of apparatus, known as

The Bran Bottle.—This is a bottle, which, being covered over for

an instant, vanishes, leaving in its place a heap of bran. The bottle
is, like that last described, of tin, with a false bottom or partition,
about an inch below the shoulder, so that it holds about a glassful of
wine. The place of the ordinary bottom is supplied by a disc of tin,
with a raised shoulder round it, fitting loosely within the bottle, so as
to drop out by its own weight, unless kept in place by some external
pressure. The cover is a mere cylinder of pasteboard, closed at the
top. The bottle is prepared for use by filling the lower portion with
bran, and putting the bottom in place (where it is retained by the
pressure of the fingers), then filling the upper part with wine. The
performer first pours wine from the bottle, and then places it on a
plate, ostensibly to show that it does not pass through any opening
in the table, but really for a reason which will presently appear. He
now places the cover over the bottle, and on again lifting it presses
the sides slightly, and so lifts the bottle with it. The loose bottom,
having no longer anything to hold it, remains on the plate, concealed
by the bran which pours from the bottle, and into which the bottle is
apparently transformed. Meanwhile, all eyes being drawn to the
heap of bran, the performer lowers his hand, containing the cover,
for an instant behind the table, and relaxing the pressure of his
fingers, lets the bottle slip out on the servante, immediately coming
forward with the cover, and carelessly showing that it is empty.
In combination with the Bran Bottle, the trick last above
described is greatly heightened in effect, the bottle appearing under
the cover which has just been placed over the tin box—the bran
from the latter being found under the cover which a moment
previously concealed the bottle, and the tin box being found to have
passed into the large box of bran. The Bran Bottle may also be
worked with great effect in combination with the trick of the “Bran
and Orange,” described at page 335.

The Bran Glass.—This is an ingenious and very useful piece of

apparatus. It is made in all sizes, from that of an ordinary wine-glass
to a goblet large enough to hold a
rabbit. Its effect is as follows:—The
glass is brought forward apparently
filled with bran to the brim. The
performer proves its genuineness by
taking up a handful of it, and scattering
it over the stage. A brass cover is now
placed over the glass, and instantly
removed, when every particle of bran is
Fig. 215. found to have disappeared, and in
place of it is found
some article which had been conjured away at some
earlier period of the trick. The explanation is very
simple. The glass is shaped as shown in Fig. 215,
with straight sides, tapering outwards. The supposed
bran is really a hollow shape of tin, a, closed at the
top, but open at the bottom, with bran gummed all
over it, and a handful of loose bran spread on the Fig. 216.
top. At each side of its upper edge is a little wire
point, just overpassing the edge of the glass. The cover (see Fig.
216), which is of such a size as to cover the glass as far as the
upper part of its stem, has no speciality about it, save a shallow
groove running round its upper edge on the inside, as shown by the
dotted line. When the cover is placed on the glass, and pressed
smartly down, the two points already mentioned are forced into this
groove, which thus grips the tin shape, and when again removed,
lifts it out of the glass, leaving behind whatever article may have
been beforehand placed within.
Where the bran glass is of large size, the metal cover is
indispensable; but for glasses not exceeding the ordinary tumbler
size, it is preferable to cover the glass with a borrowed handkerchief
only, the hollow shape being in this case made, not of tin, but of thin
cardboard. The two points are dispensed with, but in place of them
there should be a piece of thread, in length about double the
diameter of the glass, fastened from side to side of the shape. This,
hanging down on the side of the glass which is toward the
performer, is caught hold of through the handkerchief, and thus
handkerchief and shape are lifted together.
The Bran Glass may be made available in a variety of ways; the
trick next following will afford a good practical illustration of its use.

To Fire Borrowed Rings from a Pistol, and make them Pass into a
Goblet filled with Bran and covered with a Handkerchief, the Bran
Disappearing, and being found
elsewhere.—The glass used in
this instance is of ordinary
tumbler size. It is not brought
forward as above, with the
bran shape already in place, Fig. 217.
but empty, and may therefore
be freely offered for inspection. With it is brought forward a wooden
box, of any size and shape, filled with bran, and in this, ready to
hand, is concealed the bran shape. We have already had occasion to
describe the magic pistol, or rather pistol tube; but the tube used in
this instance (see Fig. 217) has an additional peculiarity. It is of
comparatively small size, being about two inches wide at the mouth.
Within this mouth fits easily a tin cup, a, about an inch and three-
quarters in depth, and having its edge turned over outwards all
round, so as to afford a ready grip to the palm when it may be
necessary to remove it. The pistol is beforehand loaded with powder,
and the cup above described is placed in the mouth of the tube.
The performer begins by asking the loan of three rings, to be
fired from his magic pistol. To preclude the possibility of their being
exchanged, he requests the owners to drop them into the pistol
themselves. First, however, by way of wad, he takes a small piece of
white paper, and presses its centre portion into the mouth of the
pistol tube, its edges projecting all round, and forming a sort of cup
to receive the rings. Three rings having been offered, and dropped
into the pistol, the performer closes over the edges of the paper, and
presses them down with his wand, the effect being as if the rings
were fairly rammed down into the pistol, though they really remain
in the cup, just within the mouth. He now hands the pistol to one of
the spectators, requesting him to hold it muzzle upwards above his
head. In handing it to him, he places for a moment his own right
hand over the mouth of the tube, his palm being flat upon it, and in
again removing the hand lifts out and palms the cup (which the
projecting edge enables him to do with perfect ease). He has thus
obtained possession of the rings. (As the holder of the pistol has
been instructed to hold it above his head, he is not very likely to look
into it; but lest he should do so, and discover that the rings are
already removed, it is well to place in the tube beforehand a piece of
crumpled white paper, to represent that which contained the rings.)
The performer now hands round the glass for examination, and
subsequently draws attention to the box of bran. While doing this he
has little difficulty in getting the rings out of the cup and paper into
his right hand. He then, holding the glass in his left hand, dips it into
the box, and fills it with bran, which he forthwith pours slowly back
again to prove its genuineness. Meanwhile, his right hand is
engaged in fishing up the bran shape among the bran, placing it
mouth upwards in the box, and dropping the rings into it. When he
again dips the glass into the box, he slips it mouth downwards over
the shape, immediately turning it into the natural position, and
bringing it up, to all appearance, full of bran. As the rings were in
the shape, they are, of course, now in the glass. He brushes the
loose bran off the top, and then covers the glass with a borrowed
handkerchief, taking particular notice on which side hangs the loop
of thread. The person holding the pistol is now requested to take
good aim, and fire at the glass. He does so, and the performer,
lifting the handkerchief with the shape within it, lets the latter drop
on the servante, and advancing with the glass, requests the owners
to identify their rings.
The trick may either end here, upon the supposition that the
bran has been blown away altogether by the explosion, or the bran
may be shown to have passed to some other place. There are
numerous methods of effecting this latter transposition. For instance,
the pea vase (see page 351), first shown empty, may be used, or
the bran may be made to fall out of a second borrowed
handkerchief, by means of the bag shown at page 248, or may be
found in the apparatus next described.

The “Domino-Box” (sometimes called the

“Glove-Box”).—This is a little oblong box
of walnut or rosewood, measuring about
four inches in length by two inches in
width, and an inch and a quarter in
Fig. 218.
d
epth. It has a sliding lid,
drawing out in the ordinary
manner, but the whole box
has a tightly-fitting inner
lining, which may be pulled
Fig. 219. out, drawer fashion, with the
lid. (See Fig. 218.) It is used
as follows:—Any small article, say a glove or a lady’s handkerchief, is
secretly placed inside this inner lining. The performer exhibits the
box to the company, and to show that it is empty, turns it over
towards them, and draws the lid nearly out, drawing out with it at
the same time the inner lining or drawer also. (See Fig. 219.) From
the position of the box, the drawer is, at a very short distance,
completely hidden by the lid. The box is, of course, seen to be
perfectly empty. The performer now closes it, and turning its right
side upwards, places it on the table. He then proceeds with the next
stage of the trick, and at the right moment again opens the box, or
invites some one else to do so. This time the lid alone is drawn out,
and the hidden article is found in the box.
There is another speciality about the Domino-box, which renders
it available to cause the disappearance of a coin placed in it; though,
as in the case of the “Rattle-box,” described in the chapter devoted
to coin tricks, the coin is heard to rattle within it
till the very moment of its disappearance. This is
effected as follows:—Between the bottom of the
drawer and that of the box proper is a very small
space, just large enough to allow a shilling to lie
between the true and false bottom. On the under Fig. 220.
side of the drawer, however (see Fig. 220, showing the under side of
the drawer portion), are glued two thin slips of wood, gradually
approaching each other, and thereby narrowing this space to a width
of about half an inch. If when the lid is withdrawn with the drawer,
as already explained, a shilling or sovereign is dropped into the box,
and the box again closed, the coin will have plenty of room to rattle
about as long as it remains at the end a, but if shaken down with a
sharp jerk in the direction of the end b, it will become caught in the
narrower portion of the opening, and will thenceforth be silent,
unless it may suit the purpose of the performer to release it again,
which he can do by a sharp downward jerk in the direction of a. Of
course, as the coin is below the false bottom, it will appear to have
vanished when the box is opened in the ordinary way.
The Domino-box is sometimes used to change a sovereign to its
equivalent in silver, the “change” being beforehand wrapped in
paper, and concealed in the drawer. It is sometimes also caused to
fill itself with bonbons, in place of a coin deposited in it.
These boxes are usually made in pairs, alike in appearance, but
the one is a simple box without any speciality, and may therefore be
handed round for examination, the mechanical box being adroitly
substituted at the right moment. The fact that two boxes are used
is, of course, carefully concealed.

The Coffee Trick. (Coffee Berries changed to Hot Coffee, White Beans
to Sugar, and Bran to Hot Milk).—The pieces of apparatus used in this
trick are of brass or japanned tin, and
are three in number, two being tall
cylindrical vases, standing eighteen to
twenty inches in height, the third a
goblet-shaped vase, of about half that
height. The latter is made upon the
principle of the “bran glass,” above
described, consisting of three portions
Fig. 221. (see Fig. 221), the goblet a, the cover
c, and a shallow tray b, which fits into
the goblet, and which, if the cover is pressed down smartly, and
again removed, is lifted off with it. It differs, however, from the
“bran shape” in the fact that b is open at top instead of at bottom,
and is only about one-fifth the depth of the goblet, leaving therefore
considerable space below it. This portion of the apparatus is
prepared for use by placing in the goblet a quantity of hot milk,
putting b in position above it, and finally filling b with loose bran.
The construction of the other two vases will be quickly
understood upon an inspection of Figs. 222, 223. a is the vase, and
c the cover fitting loosely over it, but between these two is a well, b,
made double, so as to fit at once into and outside of a, after a mode
of construction which we have more than once had occasion to
notice. There is a bayonet-catch at the lower edge of c,
corresponding with a pin or stud at the lower edge of b, so that c
may be lifted off either with or without b. There is a similar catch at
the lower edge of b, corresponding with a stud at the bottom of a,
but cut in the opposite direction to the other catch, so that the
action of unlocking a from b locks b to c, and vice versâ.
 The vase a requires a
special description. A shallow
saucer of tin, d, just fits the
interior of the vase, working
up and down therein piston-
fashion, but prevented from
coming out altogether by the
fact that the upper edge of a
is slightly turned inwards all
round. Below d is a spiral
spring, whose action tends
to force d to the top of the
vase, as shown in Fig. 222.
Fig. 222.
From the centre of d, however,
there extends downwards
through the spiral spring a
piece of stiff wire e, with a
crook, f, at the end. The foot
of the vase is hollow
throughout. If the saucer d is
forced down by pressure from
within, this wire, as soon as it
reaches the position shown in
Fig. 223, will hook itself within
the foot of the vase, and so
keep down d, until the crook is
Fig. 223. again released, when the
whole will instantly return to the condition shown in Fig. 222. The
bottom of the foot is open, so that the fingers can without difficulty
find and release the crook when necessary.
The vases are prepared by pressing down d in each as shown by
the dotted lines in Fig. 223, and filling the well of the one with hot
coffee, and that of the other with loaf-sugar. Their respective covers
are then placed over them. The attention of the audience is first
directed to a couple of wooden boxes, each about half as long again
as the vases, and ten or twelve inches in depth, one of which is filled
with coffee-berries, and the other with white haricot beans. The
performer now uncovers the vase which contains the coffee, first
turning the bayonet-catch so as to lift off the well b with the cover,
and shows, by holding the vase upside down and rattling his wand
within it, that it is perfectly empty. He now fills it with coffee-berries,
laying it down in the box to do so, and holding it by the foot with
one hand while he shovels the berries into it with the other. Having
completely filled it with the berries, he holds it aloft, and, to show
that there is “no deception,” tilts it, and lets them run back again
into the box. Again he dips it into the box, but, as he does so,
releases the crook (which the fingers of the hand holding the vase
are just in position to do), and thus lets d fly up to the top of the
vase. Again he brings up the vase, apparently full as before, but
really having only a mere layer of berries, of the depth of d, at the
top. He now puts on the cover, the well in which again forces d and
the superposed layer of coffee-berries down to make way for it, and
causes the crook again to catch beneath the hollow of the foot. The
same operation is now gone through with the vase whose well
contains the sugar, and the box of white beans. The performer lastly
takes from the third vase a handful of bran, which he scatters to
show its genuineness, and then places the cover over it. The trick is
now really completed. On removing the respective covers (taking
care of course, first to turn the bayonet-catches in the right
direction), the wells are released from the covers and locked to the
vases, which are thus found full respectively of hot coffee and sugar,
and, on removing the cover of the third vase, the bran is lifted off
with it, and the milk is revealed.
Some coffee vases, and more particularly those of French make,
dispense with the bayonet-catch, replacing it by a peculiar
arrangement inside the top of the cover. The upper edge of the well
is slightly turned in all round, and the turning of the knob at the top
of the cover causes three flat bolts or catches to shoot out circularly
from the edges of a hollow disc, soldered to the top of the cover
inside, and insert themselves
under this projecting edge. (See
Figs. 224, 225.) The mechanical
arrangement by which this is
effected is almost impossible to
explain in writing, though it
becomes readily intelligible upon
an actual inspection of the Fig. 224. Fig. 225.
apparatus, and will be understood
without much difficulty after a slight study of the above diagrams,
the arrow in each case indicating the direction in which the knob
must be turned, in order to bring the bolts into the condition shown
in the opposite diagram.

The Inexhaustible Box.—The inexhaustible box is, to all outward

appearance, a plain wooden box, of walnut, mahogany, or
rosewood, in length from twelve to twenty inches, and in depth and
width from nine to fifteen inches. Whatever its dimensions, its width
and depth, exclusive of the lid, must be alike. To prove that it is
without preparation within, the performer turns it over on the table
towards the spectators, and, lifting the lid, shows that it is perfectly
empty. Again he closes it, and, turning it right side upwards, opens it
once more, and instantly proceeds to take from it a variety of
different articles. At any moment the box is again turned over
towards the audience, and shown to be empty; but it is no sooner
replaced, than the performer recommences taking from it toys,
bonbons, etc., the supply being many times larger than could
possibly be contained at one time in the box.
The bottom a b of the box (see Fig. 226) is moveable, working
on a hinge b extending along its front. When the box is turned over
to the front, this bottom piece does not turn over with it, but
remains flat upon the table as before. A piece of wood b c, of exactly
similar size and shape, is glued to a b at right angles. When the box
stands right side upwards, this piece lies flat against the front of the
box, whose upper edge is made with a slight “return,” so as to
 conceal it. When the box is
turned over to the front, this
piece, like the bottom, retains its
position, while any object which
had previously been placed in
the box remains undisturbed,
but hidden by this latter piece.
(See Figs. 226, 227.) It is, of
course, necessary that such
object should be of such a size
as not to overpass the arc which
the edge of the box describes in
its change of position, and the
Fig. 226. length from b to c must be
exactly the same as that from a
to b.
The mode of using the box will require little explanation. Any
number of objects, not overpassing the limits we have mentioned,
may be placed in the box, which, being then turned over, can be
shown apparently empty. The box being replaced in its normal
position, the articles are again within it, and can be produced at
pleasure. The effect of “inexhaustibility” is produced as follows:—
Each time that the performer turns over the box to show that it is
empty, he takes from the servante, or from his pockets, and places
upon a b, a fresh supply of articles, to be produced as soon as the
box is again right side upwards.
It should be mentioned that the hinge at b is made to act freely,
so that the bottom may by its own weight retain its position when
the box is turned over, and not turn over with the box. Some boxes
are made with a catch or pin at some part of a, so as to prevent a b
falling prematurely while the box is being placed on the table, or
while the performer carries round the box, and shows that, inside
and out, it is without preparation. This, however, the performer may
safely do, even without the use of any catch or fastening, by taking
care to grasp the box, when carrying it, by its front edge, with his
fingers inside it. The fingers will
thus press b c closely against the
front of the box, and will thereby
effectually prevent a b from
shifting its position. The box is,
of course, in the case supposed,
really empty. The performer has
therefore to make an opportunity
for introducing what may be
needful into it; this he may do by
remarking as he replaces it on
his table, “You are by this time,
ladies and gentlemen, tolerably
well satisfied that there is
nothing in this box; but for the Fig. 227.
greater satisfaction of those who may not have been able to see the
interior as I carried it round, I will once more show you that it is
absolutely empty.” So saying, he turns it over, and once more shows
the interior, at the same time placing on a b whatever article he
designs to produce.

The Japanese Inexhaustible Boxes.—This is a form of the same

apparatus, in which an additional element of mystery is produced by
the use of a box within a box. The inner box is an ordinary
inexhaustible box, as last described, but made with a flat wooden
lid, instead of the hollow or “box” lid used in the older form of the
trick. The outer box just fits over the inner, and is, in fact, a mere
cover for it, being an ordinary wooden box, save that it has no front.
The two are brought on one within the other. The performer begins
by taking the smaller box (which is ready filled with the objects to be
produced) completely out of the larger, and shows that the latter is
absolutely empty. He then places the two boxes together, as shown
in Fig. 228, turning over the smaller box to show its interior, as
already described. After this has been done, the smaller box is tilted
back to its normal position within the larger, the lid of the latter
being slightly lifted to allow it
to pass, and then both lids
being opened together, the
production of the contents
commences. The function of
the larger box is, in fact,
merely to act as a screen to
the hinder part of the smaller,
when turned over towards
the audience. The only
advantage of the Japanese
over the ordinary box is that
it may be worked on any
table, and with spectators on Fig. 228.
all sides, but this advantage is counterbalanced by the drawback
that nothing can be produced save what was originally in the box,
neither can the smaller box be carried round, and shown empty.
This, however, may be met by beginning the trick with the two boxes
together, and then, after having brought to light the whole of the
original contents, offering (for the pretended purpose of heightening
the effect) to continue the trick without the aid of the outer box. The
inner box may thenceforth be replenished from behind in the same
way as the ordinary Inexhaustible Box.
The Inexhaustible Box is frequently made the vehicle for those
distributions of bonbons, toys, etc., which to the juvenile mind form
by no means the least attractive feature of a magical performance. It
is also available for the production of flowers, multiplying balls (see
page 307), goblets, bird-cages, and the miscellaneous assortment of
articles generally associated with “hat” tricks. One of the most
effective modes of using it is in connection with the very pretty trick
next following.

The Feast of Lanterns.—The performer, having exhibited the box

empty, as already described, turns it over again, and instantly
produces from it a paper lantern of many colours, with a lighted
candle in it. This he hands to his assistant or one of the company to
hang up at some convenient part of the stage or room, and
returning to the box produces another, and yet another, till ten or
twelve, or even a larger number, have been produced, the box being
every now and then turned over to prove it empty. The effect of a
number of lanterns thus mysteriously produced from an empty box,
and hung about the stage in all directions, is most brilliant. As the
candles do not burn very long, and there may be some risk of the
lanterns catching fire, it is well to make this trick the finale of the
entertainment, and to allow the curtain to fall before the illumination
has had time to lose its effect.
A great part of the effect of the trick lies in the very considerable
bulk of the lanterns, three or four of which would apparently be
more than sufficient to fill a box from which a dozen or so are
produced. This arises from the construction of the
lanterns themselves, which are of the kind used for
Christmas-trees and illuminations, and when open offer
a considerable cylindrical surface (see Fig.
229), though when closed they are little
more than flat discs (see Fig. 230). They
are placed in the box in the condition
shown in the last-mentioned figure; but
Fig. 230.
when lifted out by the wire at top, at once
Fig. 229.
expand, concertina-fashion, and assume the shape
shown in Fig. 229. They are lighted in sundry ways, one
method being as follows:—Each lantern contains about three-
quarters of an inch of candle, from which the wick has been
removed, and a wax match inserted in its stead. Against the front of
the box, or rather against the wooden flap b c (see Fig. 227), is
glued a tablet d of sandpaper upon which to strike the match, and a
gentle rub against this instantly lights the candle, when the lantern
is immediately lifted out, as already explained. There is, however, an
improvement whereby the lanterns are not only made to occupy
much less space, but may be lighted simultaneously. In this case the
little cylinder which forms the socket for the candle, and which
should be about half an inch in diameter, instead of occupying the
middle of the space at the bottom of the lantern, is placed at one
side of such space. One of the lanterns, viz., that which is to be
undermost when they are grouped together, has no further
preparation; but the second, by the side of its own socket, has a
round hole in the bottom, just large enough to give room for the
socket of the first. The next, or third lantern, has two holes, allowing
the passage of the sockets of the first and second. The fourth has
three holes, the fifth four, the sixth five, the seventh six, and the
eighth seven, so that when the lanterns are placed one upon
another in proper order, the sockets of the lower lanterns come up in
a circle through the holes in the bottom of the uppermost one. The
tops and bottoms are made of tin, which is not only safe from
catching fire, but occupies very little space. In this case the original
wicks of the candles are retained, but are slightly moistened with
turpentine to render them instantly inflammable, and are lighted by
a lucifer or wax match struck in the ordinary way, the merest touch
sufficing to ignite them. They may then be lifted out in rapid
succession with great effect. A group of six or eight lanterns thus
prepared may be produced from a borrowed hat, being previously
concealed in the breast or tail-pocket of the performer, and “loaded”
into the hat at any convenient opportunity. It is desirable in this case
to have a friction tablet glued upon the top of the uppermost lantern
to strike the match upon, as the hat lining is hardly adapted for that
purpose.
The lanterns above
described are the most
generally used, and are by
much the easiest to
manipulate. There is,
however, a spherical lantern
also obtainable at the toy-
shops, which has a decidedly
prettier effect. This form of
Fig. 231. Fig. 232.
lantern is, when shut up, as
shown in Fig. 231. To develop it, the wires a and b are each made to
describe a semi-circle, as shown by the dotted line, bringing the
whole into the condition shown in Fig. 232, in which condition it is
maintained by slipping the loop of a under b. The best plan for
lighting in this case is to have a separate small piece of candle,
prepared with a match wick, as above-mentioned, placed in
readiness on the servante, and a small pin or sharp nail projecting
upwards from the bottom of the box to act as a candlestick. The
candles in the lantern will in this case need no special preparation.
The performer first lights the prepared candle by rubbing it against
the tablet, and then presses it down upon the upright pin we have
mentioned. The other candles are in turn lighted from this, each
lantern being put into shape before being lifted out of the box,
which must in this case be of tolerable size, in order to admit of their
ready development.

The Butterfly Trick.—This is a trick of Japanese origin, which

became very popular two or three years since. In effect it is as
follows:—The performer brings forward an ordinary fan, and a couple
of bits of tissue-paper, each torn into a fanciful likeness of a
butterfly. Taking these upon his hand, he gently fans them, the
motion of the air speedily causing them to rise above his head. Still
gently fanning them, he causes them to hover, now high, now low,
now fluttering along the wall, now descending into a gentleman’s
hat, whence they presently emerge to again flutter hither and thither
at his pleasure.
The point that most strikes an attentive observer is the fact that,
whether they fly high or low, the butterflies always keep together.
Sometimes they may be a couple of feet apart, sometimes only a
few inches, but they never exceed the above limit; and the spectator
naturally concludes that an extraordinary degree of dexterity must
be necessary to enable the performer to keep them from diverging
more widely. Here, however, in truth lies the secret of the trick,
which is, that the so-called butterflies are connected by a piece of
very fine silk a couple of feet in length, which, when the butterflies
are in motion, is absolutely invisible to the spectators. The
remainder of the trick is a matter of practice, though it is less
difficult than would be imagined by any one who had never
attempted it.
Some performers have the silk thread attached to one of the
buttons of the coat. This arrangement will be found greatly to
facilitate the working of the trick.
The paper for the butterflies is better torn than cut, and should
be as nearly as possible of the shape of a St. George’s cross, and
about two inches square.

The Wizard’s Omelet. (Borrowed Rings and Live Doves produced from
an Omelet.)—This is a trick which always produces a great sensation,
whether performed upon the stage or in the drawing-room. Its effect
is as follows: The performer produces either naturally or magically
(e.g., from the egg-bag, or from the mouth of his assistant, as
described at page 329) three eggs, which he hands round for
examination. His assistant next borrows from the audience three
ladies’ rings, receiving them, in order to prove that he does not
tamper with them in any way, on the performer’s wand instead of in
his hands. The wand, with the rings still upon it, is laid upon the
table. The assistant next brings in an omelet pan, and places it, with
its lid beside it, on the table. The performer breaks the eggs into it,
dropping in shells and all—then pours some spirits over it, to which
he sets fire, and while it is still blazing drops the rings from the wand
into it. He brings it forward to show that the rings are really in the
flames; and on returning to his table, claps the cover on the pan,
and fires a pistol (any ordinary pistol) over it. Without a moment’s
interval, he again removes the cover. All traces of the omelet and
egg-shells have vanished, but in their place are found three live
doves, each with a ribbon round its neck, to which is attached one of
the borrowed rings.
The explanation of this surprising result is simplicity itself. The
reader, with his present knowledge, will readily conjecture that, as to
the rings, a substitution is effected; but he may not so easily guess
the manner of such substitution. It will be remembered that the
rings were collected by the assistant on the performer’s wand. This
arrangement, which is ostensibly adopted to prevent, in reality
facilitates an exchange. The assistant makes his collection with three
dummy rings placed beforehand on the lower end of the wand, and
concealed by the hand in which he holds it; which, we will suppose,
is the right hand. In returning to the stage, he takes hold with the
left hand of the opposite end of the wand, and allows the borrowed
rings to run down into that hand, at the same moment releasing the
dummy rings from the right hand, and allowing them to run upon
the middle of the wand in place of the others. He now has the
borrowed rings in his left hand, and (laying the wand with the
substitutes on the table) carries them off with him to prepare for the
dénouement of the trick.
The only other matter
which will require explanation
is the construction of the
omelet pan. This is a shallow
pan of brass or tin, about ten
inches in diameter, by two and
a half in depth. Within this is
an inner pan, also of brass or
tin, fitting tightly within it, but
about half an inch less in
depth. The lid is made with a
very deep rim or shoulder all
round, and just fits within the
lining, though less tightly than
the latter fits within the pan. Fig. 233.
(See Fig. 233, in which a represents the pan, b the lining, and c the
lid.) The assistant, as soon as he gets behind the scenes, loops the
borrowed rings to the ribbons, which are already tied round the
necks of the three doves, and places the latter in b, immediately
putting on c (the two together having the appearance of a simple
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