Had that book which Celsus wrote against the Magi been preserved, we should have been much better acquainted with the art of the ancient conjurors or jugglers. This Celsus, without doubt, is the same author whose virulent attack against the Christians was refuted by Origen; and we have, therefore, greater cause to regret that a work on the above subject, by so learned and acute a philosopher, should have been lost. He is mentioned with respect by Lucian, and even by Origen; and the former derived from him the account which he gives of Alexander the impostor[284]. More ancient authors also wrote upon the same subject. Some of them are mentioned by Diogenes Laërtius in his preface; and Suidas quotes the Magicon of Antisthenes, though neither of these speaks of Celsus; but of all those writings none are now extant.
The deception of breathing out flames, which at present excites in a particular manner the astonishment of the ignorant, is very ancient. When the slaves in Sicily, about a century and a half before our æra, made a formidable insurrection, and avenged themselves in a cruel manner for the severities which they had suffered, there was amongst them a Syrian named Eunus[285], a man of great craft and courage, who, having passed through many scenes of life, had become acquainted with a variety of arts. He pretended to have immediate communication with the gods; was the oracle and leader of his fellow-slaves; and, as is usual on such occasions, confirmed his divine mission by miracles. When, heated by enthusiasm and desirous of inspiring his followers with courage, he breathed flames or sparks among them from his mouth while he was addressing them. We are told by historians, that for this purpose he pierced a nut-shell at both ends, and, having filled it with some burning substance, put it into his mouth and breathed through it. This deception, at present, is performed much better. The juggler rolls together some flax or hemp, so as to form a ball about the size of a walnut; sets it on fire; and suffers it to burn till it is nearly consumed; he then rolls round it, while burning, some more flax; and by these means the fire may be retained in it for a long time. When he wishes to exhibit, he slips the ball unperceived into his mouth and breathes through it; which again revives the fire, so that a number of weak sparks proceed from it; and the performer sustains no hurt, provided he inspire the air not through the mouth, but the nostrils[286].