
Mathematical Games
and five tetrahedral cells. (In this projection
we see four small cells
and one large one.
On
the pentatope itself,
if
it is regular, all
five cells are congruent.) Any five points
in four-dimensional space that are not on
the
same three-space hyperplane mark the
corners of
a
pentatope, and each set of four
points establishes the corners of a tetrahe-
dral cell. If the five
points are so placed in
four-space that each pair is the same dis-
tance apart, the figure is
a
regular pentatope,
one of tlie six regular convex solids of the
fourtli dimension.
Just as
a
tetrahedron's four faces call be
unfolded to make
a
plane figure consisting
of
a
central triarlgle with
a
triangle attached
to each edge, so tlie five tetrahedral cells
of
a
pentatope that fom~ its hypersurface
can be "unfolded" into three-space to
rrlake a stellated tetrahedron:
a
central
tetrahedron with
a
tetrahedron on each
face
[see
Figtire
13-31.
If
we
only knew
how to fold such
a
solid tlirougll the fourth
dimension, we could fold it into
a
pentiatopal
container for hypercream.
A
strange, little-kno\vn property of tlie
regular tetrahedron-
a
property it does not
share
\slit11
any
other platonic solid
-
is
involved in
a
perplexing magic trick that
car1 be presented as
a
demonstration of
one's ability to sense color vibrations with
the fingers. First construct
a
s~nall model
of
a
regular tetrahedron, its faces congruent
with the triangles in Figure
133.
(A
quick
\i7a!7 to make such
a
rnodel has been pro-
posed
11y Charles
\I:.
Trigg. Cut the pattern
showrl in Figure
134
from stiff paper or
light cardboard. Crease all lines the same
way, fold tlie white triangles
into a tetra-
hedron, then tuck the shaded triangles into
open edges to form
a
stable, no-paste-re-
quirecS model.) Place the model on the l~lack
triangle at the top of the pattern (or on a
board
rnade by copying the pattern with
differ(-nt colors for each of the numbered
shades).
\Vl~ile your back is turned, some-
one "rolls" the model at
random over the
pattein t~y tipping it o17e1- an edge from tri-
angle to triangle. He stops whenever he
131easc-s, notes the color on which it rests
and lets it remain there while he
courlts
slowl:): to
10.
Then he
slides
the tetrahedron
back ;to the black triangle.
You
turn arouncl,
pick
up
the tetrahedron, feel its u~iderside
and name the color on \ilhich it last rested.
The secret combines geometry
with a
card hustler's dodge.
A
coinrrlon method
of marking
a
deck of cards while a game is
in progress is to obtain a smear of what is
callecl "daulj" on the tip of a finger, then
press it to the margin of a card at
a
spot
that codes the card's value. The daub leaves
only
;I
dim smudge, indistinguishable from
the kind of dirt
rrlarks that normally dull
the margins of cards that have
been much
used. hlake some
daub by rubbing
a
pencil
point
heavily over the sarne spot on a piece
of paper. Slide a fingertip over the graphite,
then press the tip
liglitly against the corner
of
onle face of the tetrahedron. The idea is
to leave
such a faint snludge that no one
but
ymou will ever notice it.
Place
the secretly marked tetrahedron
on
the black triangle with tlie mark at the
top corner and facing the pattern. At the
elid of the trick the location of the smudge