Here audacity plays a very important part indeed, as the performer goes in amongst the spectators and finds such oranges, eggs, lemons, &c., as he may want, in their hair and apparel. In the Gant de Paris (page 228), I have seen a performer use an orange, a lemon, an egg, and a walnut, all of which he has found upon the company within a very few seconds of time. A description of how this is done will suffice as a guide to the learner how to proceed in all similar cases. The walnut should be palmed, and the lemon held in the same hand, the other hand holding the orange, both hands of course seizing the coat. The egg is vested. Coming on to the stage from behind, the performer proceeds rapidly into the very midst of the company, and says, "Can any one lend me a kid glove for a few minutes?" then, turning suddenly towards a male spectator—with long hair, if such a one be handy—"I beg your pardon, sir, but I see a something in your hair; what is it?" Whilst this is being said, a rapid dash is made at the addressee's hair, the orange being slid to the ends of the fingers, and produced with all slowness. It is given a second spectator to examine, who is discovered to have a lemon in his hair, or inside his coat. Whilst the lemon is being produced, and all eyes are intent upon it, the empty hand gets down the egg. This is found in the hair of a third person, whilst the walnut is discovered on the tip of the nose of a fourth. When the performer afterwards collects all four articles into his hands, it will never occur to the company that so much bulk could have been deliberately palmed by him in their very midst. As a matter of fact, it is easier to do these sort of things in the midst of a numerous and rather closely-packed company, than in the presence of a meagre and widespread one, and the performer should always go where the spectators are thickest.