Chapter 6

in advance, and, with my wife, had a sitting with the medium; this time, although I paid him, he failed utterly. He tried in every way and had me write additional names. This time I guarded the points in the above explanation, yet no matter how he tried, he made an utter failure. All tricks require certain conditions, and this is why it is not safe to repeat the same trick for the same person. There is too much danger that the subject may notice the sameness of the modus operandi.

Referring to the second test which was given by the medium to my father, I will state that when the subjects are writing the cities and diseases, they will naturally pause after writing the city, to think of a disease to go with it. Of course, when writing the correct ones, which are already in mind, no pause will be necessary. Also advantage may be taken of the fact that a small per cent of persons die of smallpox or measles. If in giving the directions one says, "Write like this: 'Philadelphia smallpox, New York measles,'" and the subject writes smallpox or measles in the list, it is safe to eliminate that from the case. This is especially true if written in connection with some large city, the name of which occurs readily to the mind. It is safe also to eliminate Philadelphia or New York if these should be written, providing you mentioned these names in the directions, and that the test is not being given in their section of the country. A small per cent of the people of a country die in any two places of prominence. Yet these places will be written readily by most subjects if they are suggested, or at least other places of equal prominence will be written. If an unusual place or disease should be written, it is almost certain these are the ones.

It can readily be seen how expert one can become at this by continuous practice, such as a medium has many times a day; how one can learn to take advantage of every little point, and use it with telling effect on unsuspecting strangers, who do not know what is going to happen, or what to look for.

I have been told that Dr. Schlossenger had a very sharp eye, although wearing glasses; and that the glasses were probably to make the subject think it impossible for him to read writing when they were moved out of position and placed on the forehead, as they were during the tests. It has also been suggested that his poor hearing was feigned, to enable him to hear remarks made about himself in his presence. I have suspected that his memory had become trained to a high degree of accuracy, enabling him to give his tests with such marvelous success, as he did with nearly all wherever he went. That he does not use one set of principles only in his tricks, I am certain, but has many more at his command which he uses continually. However, I can only vaguely guess at them from having seen his tests but once.

Now, I do not say that this was the method employed by the lady with Rev. Savage, given in the account at the beginning of this chapter. But as the experiments are practically the same, it is safe to conclude that the methods used are the same, or nearly so. If the test were genuine in the case of the lady mentioned, it was probably genuine in the case of Dr. Schlossenger. On the other hand, if it were trickery in one case, it probably was in both.

MIND READING IN PUBLIC

Not long ago I received a letter from an old-time friend, in which he urgently requested me to make a journey to his city. In bygone days he and I had spent many hours together, discussing the mysteries of existence, the hidden powers which nature manifests to us, and the origin and destiny of the human soul. My friend is a physician, and what is more, an earnest student; and he is also an investigator of that strange phenomenon in nature which manifests itself in organized beings subjectively, as thought, feeling and things spiritual.

Many times had we discussed the possibility and also the probability of an existence of the spiritual part of man after death. Many times had he reported to me cases of strange phenomena that tended to prove the indestructibility of spirit.

When I received this missive, it stated to me that the writer most earnestly desired my presence in his city, that I might assist in investigating a very strange and marvelous case of psychic phenomena. The case was that of a certain traveling spirit medium, who claimed the power to summon from the realms of the invisible the shades of our departed friends and loved ones. He gave most marvelous exhibitions to prove his strange and miraculous power. My friend stated that he thought he had at last found a person with at least some queer psychical gift, if not even possessing the power that he claimed. He had watched the exhibition most carefully, and had even served on a committee on the psychic's stage; and he could find no evidence of trickery of any kind. He was inclined to believe that this strange being really possessed the power of vision without the use of human eyes as he certainly read sealed missives, of which he could in no secret manner have obtained knowledge.

Accordingly, on Saturday evening, I journeyed to a city one hundred miles away to witness the work of this modern sorcerer. On my arrival I suggested to my friend a number of ways by which such things could be performed by trickery, but he informed me that none of my explanations seemed to elucidate this strange work. The secret did not consist in the use of odorless alcohol, for the reason that the medium never touched the sealed envelopes at all. In fact he was never nearer to them than ten feet. This also made it impossible for him to use the principle on which the trick is based, which is known to the profession as "Washington Irving Bishop's Sealed Letter Reading."

He informed me that sheets of paper or cards were passed to the spectators in the audience, and at the same time envelopes in which to seal their questions were furnished for them; that the spectators wrote questions as directed, many times signing their own names to them. He was certain that many persons folded their written questions before sealing them, and that the operator himself did not even collect the envelopes on many occasions. He informed me that the best evidence of the genuineness of the performance lay in the fact that the medium seemed to have no fixed conditions for his experiments; but seemed to perform them in a different manner on each occasion. The conditions were different in every case, yet he always read the questions with the most marvelous certainty.

I thought the matter over after this, but could in no way think of any plausible means of accomplishing his work by trickery. I finally decided to wait and see the performance first, and to figure afterwards on the method employed.

Accordingly, at eight o'clock that evening I was seated in the hall with my friend, and shortly afterwards the "Seer" made his appearance, taking his seat on the stage. He was a very slender personage, with long hair and a particularly ghostly look. He took his seat quietly on the stage. In a short time his manager appeared and made an opening address, which I will not repeat, and then asked some boy in the audience to pass cards around to the spectators on which they were to write questions. Envelopes were also distributed, in which to seal the cards. When the writing was finished, the manager asked any boy to take a hat which he held in his hand, and collect the sealed envelopes. After the boy, whom everyone knew to be a local resident, kindly volunteered for this service and executed it, a committee was invited to the stage to properly blindfold the medium. This was done in a satisfactory manner, and the committee then returned to the audience. The manager now led the blindfolded medium to the rear of the stage, where he was seated somewhat behind a table, on which were some flowers, a music box, etc. However, the medium was in view plainly; and he never removed the bandage from his eyes or in any manner molested it.

When the boy came on the stage directly from the front with the hat full of sealed envelopes, the manager placed a handkerchief over the hat and asked the boy to take a seat near the front of the stage facing the audience. He was also directed to hold the hat in his lap, and to deliver the envelopes to the manager, one at a time, as he should call for them.

The operator now delivered a lecture, lasting some ten or fifteen minutes, explaining the strange powers of the blindfolded medium, who sat at the rear of the stage in full view; while the boy still maintained the seat at the front of the stage, and held the hat of envelopes in sight of all.

After the lecture, the manager requested the boy to give him one of the envelopes, which the boy did. The manager did not look toward it in any manner; but took it in the tips of his right fingers, held it in the air, and asked the medium to give the writer of this question a test. The medium shivered a few times, allowed his frame to convulse slightly, and thus began:

"I feel the influence of one who was a brother. I get the name of Clarence. Will the one who wrote this question identify it as his?" There was no response from the spectators, and the medium asked again that the writer speak out. Still silence greeted his request; when suddenly he pointed his bony finger into the crowd, while his blinded face confronted them, and exclaimed: "Mr. John H----, why do you not respond to your test?" A gentleman in the audience then acknowledged the test as his. The medium then continued: "Clarence was drowned. I sense the cold chilly water as it envelopes his form." At this the lady sitting with the gentleman began to cry. The medium continued: "The drowning was wholly an accident. There was no foul play. Now, Mr. H----, have I answered your question, and are you satisfied with your test?" The gentleman, a well-known citizen, acknowledged that he was perfectly satisfied.

The manager then laid the envelope on a small table and asked the boy for another one. The boy gave him another from the hat when the blindfolded medium, ten feet or more distant, gave the second test.

He shivered again and began: "I feel the influence of a young lady who died suddenly. She says, 'Sister Mary, I am very happy, and death was not so hard to endure. I want you to consult a good honorable attorney, and take his advice in the lawsuit you ask me about.'" The medium then continued, " Miss L----, your sister regards you with a look of great tenderness and love. Are you satisfied with your test?" A lady then replied that she certainly was entirely convinced.

The manager now laid this sealed envelope beside the other one and again called for another. This was continued until all of the envelopes in the hat were removed and the questions answered. None of the envelopes were opened. In some instances the medium first read the questions, word for word, before answering them; and when he did so, he described the writing minutely, even the formation of the strokes of the letters.

After all of these tests were given, the medium removed the blindfold and seemed much exhausted. Then the tables were removed to one side of the stage, and a cabinet erected; after which some cabinet manifestations that were very interesting were given. When these were over, the manager collected the sealed envelopes from the table, and placed them on the front of the stage, inviting the writers to call, should they so desire, and get their questions. Some availed themselves of this opportunity and tore open a number of the envelopes until they found their own questions. The audience seemed greatly impressed with this exhibition, and the next day it was the talk of the town.

. . . . .

On the next evening I again repaired to the public hall to witness and, if possible, fathom this performance. This time, however, I found that an entirely different method was employed. Envelopes and slips of paper were distributed; and after the questions were written and sealed the manager went about the room, gathering them up in a small black bag with a drawstring around its top. As he gathered up each one, and while the writer still held it, he gave to that person a number which was to serve as that particular person's number during the tests. At the same time the manager marked the number on the subject's envelope, while the subject held it, drawing a circle around the figure, after which the subject dropped the envelope into the sack.

When all were collected, the operator took the sack in the tips of his fingers, and holding it aloft, walked up the runway to the stage where a cord hung from a screw-eye fastened in the ceiling above. The other end of the cord was attached to a piece of furniture on the stage. The manager now attached the black bag containing the envelopes to the end of this string, and then taking the other end, drew the bag up to the ceiling near the screw-eye, where it remained in full view during the tests.

While the manager was doing all this, the ghost-like medium had been walking about the stage, reading in a large Bible. He now laid the Bible on a table and advanced to the front of the stage, while the manager delivered a lecture on spiritual philosophy and also on the strange power of the medium. After this the manager announced that the medium would hold a Bible service, during which time he would give the tests.

The medium now took his Bible, and seating himself in a chair facing the audience, began by reading a verse. After this he closed his eyes for a time, and then gave the first test. He began: "I will give these tests in the order in which the manager gave you your numbers, commencing with number one. Now, Mrs. Clara S----, I see standing near you an elderly lady, somewhat stooped; but I cannot see her face plainly. She seems to be your mother. She says to tell you that your son is doing well where he is, and for you not to worry, for he will return to you in time. Are you satisfied?" A lady in the audience was visibly affected, and acknowledged that the medium had answered her question correctly. The medium read another verse in the Bible, after which he gave the second test in a manner similar to the way in which he had given the first one. After this he read another verse, and so continued until all the questions in the sack were answered. The manager now lowered the sack, and emptying the envelopes into a small basket distributed them unopened to their writers.

The effect of this exhibition was fully as great as was that of the former one, and the medium continued to be the wonder of the town.

. . . . .

On the next evening I again attended the meeting. On this occasion questions were written and sealed as on the former occasions. This time the medium was dressed as a "Mahatma," wearing a large turban. As soon as the questions were written, the manager collected them in a small wicker basket, and emptied them on a table on the stage. He only talked for a moment, describing what the medium would do. During all this time the medium was seated near the front of the stage. The medium now tapped a little bell he held in his hand, as if summoning the spirits, and began giving the tests in the most marvelous manner. He seemed somewhat nervous, and finally arose and walked across the stage, stopped a moment and then continued his walk. Meanwhile he kept giving the tests. Occasionally he would walk about nervously, and sometimes he would seat himself in the chair for a time; but he kept right on giving test after test, with perfect accuracy, while the sealed envelopes remained in full view on the table. During this time, and in fact during the time the audience was writing the questions, neither the medium nor the manager had ever left the sight of the spectators for even an instant.

After all the tests were given, the medium, very much exhausted, fell on a couch on the stage; while the manager scooped the envelopes back into the basket, and then distributed them to their writers in an unopened condition.

I will now explain how this "occultist" gave these various billet tests.

We will first refer to the tests given the first evening. A boy from the audience gathered up the sealed envelopes in a hat, and brought them to the stage, sitting with them in his lap; while he delivered one at a time to the manager, who held it aloft, during which time the blindfolded medium in the rear gave the test.

There was a simple little move that escaped the eyes of the spectators in this instance. The spectators did not know what was to happen, neither did the boy. The move was executed as follows: Just as the boy came on the stage with the hat the manager received the hat in his right hand and in a natural manner. Nothing was thought of this, as there was nothing suspicious in the act. Meanwhile the manager directed the boy to take a chair that sat to the left of the front of the stage, and to place it to the right side in front, facing the audience, and to take his seat thereon. Now, this conversation with the boy naturally occupied the attention of the spectators; and while the boy was executing the directions the manager turned to the table, which was somewhat back on the stage, and apparently took a large handkerchief from it, and with the hat still apparently in his hand, he stepped to the boy, giving him the hat of envelopes and the handkerchief, at the same time instructing him how to cover the hat, and how to deliver the envelopes one at a time. All of this maneuvering seemed so natural that the audience thought nothing whatever of it.

Now, as the manager turned to the table to get the handkerchief, and while most eyes were on the boy as he placed his chair and took his seat, the manager deftly exchanged the hat in his right hand for another hat just like it, that was filled with "dummy" envelopes and which was behind the flowers, music box, etc., on the table. As he immediately turned with the hat apparently still in his hand, but with a large handkerchief in his other hand, everything seemed natural and the audience thought nothing of the incident.

The manager now, after giving the boy the hat and handkerchief, invited a committee to come forward and blindfold the medium who had been seated at the left of the stage. The committee first placed a lady's glove on the eyes of the medium as an additional precaution, and then placed a handkerchief over this and tied it behind his head. This method of blindfolding is the one usually employed by most mediums. If the face of the medium be properly formed, he can easily shift such a bandage with his eyebrows, sufficiently to see directly under his eyes, by looking down alongside his nose. The committee now retired to the audience, and the performer led the medium to a seat behind the table.

Now, while the manager delivered the lengthy lecture, the medium quietly tilted over the hat of envelopes behind the objects on the table; and then taking one at a time, opened the envelopes and removed the cards, arranging the cards on top of each other like a pack of playing cards. The lecture lasted long enough for the medium to complete this task; and as he held the cards in his left hand, he could now move slightly to the right so that he was pretty well in view of the spectators. However, his left hand did not come into view.

By the time the lecture was completed, the spectators had entirely forgotten the fact that the manager ever received the hat from the boy at all. In fact, next day I noticed from the talk of the spectators, that they invariably asserted that the hat never left the boy's hands or their sight.

Now, while the manager held each envelope aloft, the medium had but to read the top card in his left hand and give the tests in a dramatic manner. After the tests, when the tables were set to one side and a cabinet erected, an assistant out of view received the cards from the medium's left hand; and then while behind the scenes, replaced them in envelopes, sealed them, and then exchanged these for the "dummy" envelopes on the small table. After the entertainment the manager placed the originals (now again sealed) near the front of the stage for the writers to take and keep as souvenirs if they should so desire.

It is evident that this method could be varied a little. For instance, when the manager holds the envelope aloft, the medium could first read it and carefully describe the writing. He could then ask for the envelope, so as to become en rapport with the writer, in order that he may give the correct answer. In this case he could leave the surplus cards on the back of the table behind the music box, and have in his left palm only the single card he is reading. When he receives the envelope he should place it in his left hand directly over the card and tear off the end of the envelope. He should then apparently take out the card from the envelope, but in reality take the original card from the rear of the envelope with his right hand. He should then with his right hand press this card on top of his head and give the answer, while his left hand lays the opened envelope on the table or music box. In this case, as soon as he answers the question, he should return the card to the manager with his right hand and ask the manager to have some boy run with it to its writer. After it is returned to its writer, the manager can hold aloft another envelope and the medium continue with the tests. After the tests, the manager should remove the torn envelopes, as they contain "dummy" cards.

I will now explain the method pursued on the second evening. After the questions were written and sealed, the manager went among the spectators collecting the envelopes in a cloth bag. He first numbered the envelopes, at the same time instructing each spectator to remember his number, after which the envelopes were dropped into the bag. When all the envelopes were collected, the manager lifted the bag in the tips of his fingers and ascended to the stage with it in plain view. He quickly attached it to the cord and drew it up to the ceiling. So far all was fair; but just at this moment a person in the rear of the hall made the statement that he desired to place his envelope in the bag also. The performer asked a gentleman on the floor to take the bag, which he now lowered and detached, and to kindly go to the gentleman and get his envelope. While he was doing this the manager held the audience by his discourse. The two gentlemen were, of course, paid confederates; and when they met behind the spectators, they merely exchanged the first bag for a duplicate under the coat of the rear confederate, who then slipped around behind the stage with the original.

When the other confederate returned to the stage with the duplicate bag and handed it to the manager he ran this one up to the ceiling. This method can be varied by the manager making the exchange under his own coat in the first place when in the rear of the hall after collecting the envelopes.

Meanwhile an assistant behind the scenes opened and copied the questions neatly on a sheet of paper, and NUMBERED EACH ONE. As he did this he slipped each one into a duplicate envelope, which was also numbered by the manager with a ring drawn around the figure. This he sealed. As soon as all were copied this assistant carefully drew the medium's Bible just out of sight from the table near the flies where it rested, inserted the sheet containing the copied questions, and pushed it back into view again.

During this time the medium was walking slowly about at the front of the stage while the manager delivered his lecture. At the close of the lecture the medium stepped back to the table where he had laid his Bible a short time before, picked it up and came forward taking a seat facing the audience. He next opened the Bible and turned the leaves over slowly, passing the sheet of paper and reading and memorizing the first question quickly. He then turned the leaves beyond this sheet of paper and finally selected a verse and began reading it impressively. As he read this verse he allowed the Bible to tilt forward sufficiently for the spectators to see that there was nothing like a loose sheet in it, should such an idea occur to anyone.

As he had turned over other pages after secretly reading the question, the sheet was hidden from view. After reading the verse he allowed the Bible to close, and then closing his eyes gave the test for number one. After this he again opened the Bible and turned the leaves through it slowly, read the second question secretly, and finally found a second verse, which he proceeded to read in a solemn tone, he then gave a second test, and so continued until all the tests were given. He then lay down very much exhausted, and the manager lowered the cloth bag containing the dummy envelopes, and emptied them upon a small table near the front of the stage. He then stepped to the rear of the stage and picked up a little wicker basket, into which he scooped the dummy envelopes from the small table where they lay in full view. He now descended and rapidly returned the unopened envelopes to their respective writers.

The basket is what is known as a "Billet changing basket." It is lined with red satin and is a small affair with straight sloping sides. It has a handle which, when down, locks two flaps up against the sides of the basket. This is done by two little projections on the base ends of the handle. They are of wire and are bent into such shape that they project downward when the handle is down, and hold the two side flaps up against the sides. These flaps are of pasteboard, and are covered with red satin the same as the basket lining. There is a spring in each flap which closes it upon the bottom of the basket when it is released by raising the handle. Envelopes in the bottom of the basket are thus hidden and retained, when the flaps are released, and the duplicates drop into the basket, from the sides where they were concealed by the flaps.

This basket can be supplied by the conjuring depots, or it can easily be made. The handle can be made of wire and wrapped with raffia grass which is on sale at the department stores. A pasteboard lining covered with red satin must first be sewed into the basket, and then two flaps of pasteboard should be hinged to a pasteboard bottom by pasting on a hinge of cloth. A suitable spring can be made of spring wire and sewed into position, after which this is all covered with red satin and placed in the basket. The basket should have sides about four inches high, and the bottom should measure about seven and one-half by ten inches. The sides and ends slope outward, and the basket is open wicker work. Suitable bows of ribbon on the ends of the handle and corners of the basket conceal the mechanism.

In the present instance, the assistant behind the scenes, after reading and placing the questions in duplicate envelopes which the manager had previously numbered, sealed them and placed them in the sides of the basket, bent up the flaps into position, and lowered the handle locking them in place. He now pushed this basket into view on a table at the rear of the stage; and when the manager was ready to return the envelopes, he scooped the dummy envelopes from the table (where they lay after the bag was emptied) into this basket. He then lifted the handle which released the flaps, covered up the dummy envelopes and dropped the originals into view. These he took down and quickly distributed to the writers. Being numbered, this could be quickly done.

. . . . .

I will now describe the method employed on the third evening. This time dummy envelopes were placed in the sides of the basket, and the handle left in a lowered position while the operator gathered up the envelopes. As the manager returned to the stage he took the basket by the handle. This released the dummy envelopes, and covered up the originals retaining them. He emptied the dummy envelopes upon the small table and then laid the basket on a table near the flies in the rear, and rather out of view. An assistant behind the scenes took out the original envelopes, opened them, and as he read the questions repeated them into a small telephone. The wires from this telephone ran under the stage carpet to a pair of metal plates with a tack in the center of each plate which pointed upward. These plates were located under certain spots in the carpet and directly in front of the medium's chair. There were also two other pairs of wires leading to two other positions on the stage. The medium was dressed as a "Mahatma" on this evening, wearing a large turban. A large tassel dangled by his left ear, completely concealing a small "watch-case receiver" which was attached to this ear. Two tiny wires led from this receiver, inside his collar, down his person, and were connected inside his shoes to other wires which penetrated the soles of his shoes. These latter wires were soldered to copper plates which were tacked into position on his shoe soles. He now took his position in the chair and placed his feet over the hidden tacks, which now contacted his shoe plates, completing the circuit, so that anything whispered into the telephone on the stage was repeated in his ear. He then gave a few tests, tapping his spirit bell, which was a signal for more information from the assistant.

He soon grew nervous and walked away giving a test as he walked. He now paused in a certain position for a moment, placing his hand to his head as if somewhat dazed and tapping his bell. In this position his feet were again over two concealed tacks, and he again secured information for another test, which he gave as he walked about. He now paused in a third position and gave another test, after which he returned to the chair, continuing his work. This maneuvering he kept up until all the tests were given; after which he fell upon a couch exhausted, but with his feet from the spectators.

The manager now stepped to the rear of the stage and took the basket, which was now in place containing the original (?) envelopes behind the flaps; and stepping to the small table he scooped in the dummy envelopes; then taking the basket by the handles, he stepped down the runway and rapidly returned the unopened (?) envelopes to their writers. The assistant had, of course, sealed the questions in duplicate envelopes previously numbered by the manager. He had placed these behind the flaps, and shoved the basket into view on a table at the rear of the stage.

I use a variation of these tricks in my double parlors. I have made a "billet changing basket" as above described, and have also made a similar basket except that it contains no mechanism.

I pass cards and envelopes to the spectators in the front parlor. When the questions are written and sealed in the envelopes, I gather them up in the mechanical basket; I step to a table in the rear parlor and apparently empty them upon it. In reality, I have just raised the handle so that the originals are retained, and the dummy envelopes are emptied on the table instead.

I now step to an adjoining room for an instant, to get a small decorated screen. I secretly leave the basket containing the original envelopes in this room and return with the other basket in my hand in its place. I place the small ornamental screen on the table back of the envelopes, but leave the envelopes in view and request the spectators to notice that I do not go near them until I get ready to give the tests. I now carelessly lay the non- mechanical basket on a table in the room where the spectators are and proceed with some other tricks.

Usually I give the series of experiments described in the chapter entitled "Mediumistic Reading of Sealed Writings." I state to the spectators that I will not give the tests for the sealed envelopes until later in the evening.

Meanwhile, should anyone think of such a thing, he can easily examine the little basket, which he thinks I have just used; as it still lies on the table in the front parlor with other discarded paraphernalia, including slates, etc. I use no assistant; so after a time has elapsed, and when by the performance of other sealed readings, suspicion has been diverted from the tests with the billets, my wife retires on some trifling errand. While out, she opens the envelopes in the basket, prepares the sheet of questions, and places it in the Bible; then she re-seals the questions in envelopes previously marked by me, places them in the sides of the basket, raises the flaps and lowers the handle. She then usually enters with some light refreshments for the spectators, which explains her absence with a word.

I continue with other experiments for ten or fifteen minutes after her return; then I gather up my surplus paraphernalia, including the dummy basket, and carry all to the room adjoining the back parlor, where I leave it. I return instantly with the mechanical basket which I place near my own table; and then I give another experiment of some kind.

I now pick up the basket and announce that I have decided to return to their writers the envelopes on the table in front of the screen before attempting to give the tests. I do this as if it were a later notion. I now scoop in the dummy envelopes, and raise the handle, which action covers them up and releases the originals (now sealed). I now distribute to the writers their envelopes, which I can do, as they are numbered as described earlier in this chapter. I request each sitter to hold his envelope until I shall give his test. Then I usually perform some other little experiment before giving the tests.

I now take up my Bible, which I will stake I brought into the room, unnoticed, when I returned with the last basket. I then seat myself and leisurely turn the leaves through the Bible, reading verses, and giving the tests as before described.

I always first read a question secretly, and then turn by the sheet of paper and begin reading a verse of Scripture. As I do this I permit the front of the Bible to lower enough for the spectators to see the printed pages. This prevents suspicion. Meanwhile, the spectators have forgotten that I ever stepped from the room at all with the basket, and even that my wife retired for some refreshments. Neither did they notice the Bible when I brought it in.

The effect on each person, as I call him by name and describe the "influence" of his "dear one," giving names and most marvelous information, is far superior to what it would be were I merely to read the questions literally, and give the answers.

SOME FAMOUS EXPOSURES

Probably the greatest swindle ever perpetrated in the name of spiritualism was recently brought to light in Stockton, California. The medium and his confederates materialized everything from frogs and small fish to a huge bowlder of gold quartz weighing several hundred pounds. This latter had to be brought from the mountains with a mule team.

The materializing was done through sliding panels in the walls, while the believers sat holding hands about the opposite side of a table, and loudly singing sacred hymns. They had the only door to the room locked and sealed, and never dreamed that the spirits who brought the quartz from the mine were mules.

Thousands of dollars were invested in this "spirit mine," the believers stacking their money on the quartz as it lay on the table at a dark seance, and receiving deeds in return for their money, which the spirits dematerialized.

The medium established, or had his spirits establish, a "Treasury of Heaven," for the faithful to deposit their money in, and on which they were to receive fifty per cent interest. This interest the believers continued to receive at dark seances from the spirits for a time. Each sitter's interest was found on the table stacked in front of him when the lights were lighted. When the spirit bank became insolvent and the chief medium disappeared, the believers were out about thirty-five thousand dollars.

No less a personage than a millionaire of Tacoma, Washington, is said to have contributed largely to this spirit fund. I had known of this case for some time before the exposure (conducted by a performer engaged for the purpose), and knew that certain interested persons were contemplating bringing it about, in order to rescue certain estimable persons from the clutches of these mediums. This was successful; and the confederates of the medium signed written confessions in the presence of one of the most devout of the believers, and a gentleman who is otherwise very intelligent. Upon this the gentleman was greatly crestfallen, but he still insists that there are certain mediums who are not impostors; and that certain mediums in Chicago who produce spirit portraits are genuine.

A full and very interesting account of this exposure is given in the San Francisco Examiner of March 3 and 4, 1907.

. . . . .

I could report enough cases of materialization to fill a volume. These I know of, from various sources, and in every case they were invariably fraudulent. I will give a short account of a materialization which a very expert medium, who is on friendly terms with me, witnessed. The gentleman was originally a minister, and afterwards began investigating spiritualism, as he was a believer in it. He hoped to become a medium; and at one time paid two lady mediums of some renown, who reside in Chicago, three dollars a sitting for three sittings a week. These sittings were conducted for the purpose of developing this gentleman in mediumship. He continued this for a long time, but he was no nearer to being a medium than he was in the beginning.

At one time he detected one of the sisters passing a slate to the other, and substituting another in its place. He saw the edge of one of the slates protruding from behind the dress of one of the sisters. They never knew they were discovered as he said nothing, but this "opened his eyes." After this he investigated everywhere, and at every opportunity, and grew to be a very expert medium himself.

Recently, when in Los Angeles, he visited a seance conducted by a medium who claimed to be a Buddhist priest. This medium was known under the name of "The Reverend Swami Mazzininanda." He had an altar in his home, constructed something like those in Roman Catholic churches. He had various candles and images on this altar, including an image of Buddha, and also a number of mystical figures. It was a great mixture of "fake" Buddhism, Roman Catholicism, and modern spiritualism. The medium also wore the costume of a Buddhist priest at his seances.

This "priest" held services here for the faithful. He conducted all in Hindoostani (?), his native tongue. He chanted, prayed to Buddha, etc., all in a queer-sounding "gibberish." Certain evenings of the week were devoted to "soul-travel," and certain evenings after the religious services a "Black Chapter" was held.

The gentleman whom I have mentioned attended one of these dark seances. He sat with other spectators around the room in perfect darkness. The spectators were not required to hold hands, so great was their faith. Finally, in the darkness, a queer-looking, vapory, luminous form floated around in the air and paused in front of the spectators. My friend slipped down quietly on his knees, and gradually worked closer and closer to the luminous form, until he could detect that the vapor was a kind of luminous "cheese cloth." He did not desire to expose this "priest," but he desired to have the "priest" know that some one had discovered him. My friend accordingly took hold of the gauze and gave it a very slight downward jerk. He then immediately returned quietly to his seat.

There was an immediate pause in the discourse of the "priest," who had really been floating this form on the end of a stick. Everyone knew that something had happened, but no one but my friend knew what it was. The "priest" then said in his slow, peculiar, eccentric and measured tones, "I have received a very great shock; and I will be unable to continue further this evening." The next day, when in conversation with some of the "faithful," this "priest" stated in his peculiar manner of speaking, and with intense earnestness, that which follows: "Last night I received a very great shock. I was just in the middle of the 'Dark Chapter' and the spirit of the Master, Krishna, was out. Having spent the greater portion of my life on the Himalayas, my right eye has become injured by the snows." Then pointing to his right eye, he added, "My right eye has a defect in it which you cannot see; but on account of that, I can only see in the dark with it. I immediately turned my right eye downward and I looked! I distinctly saw a lady's hand reached out toward my robe in the darkness, and this hand took hold of it and jerked it lightly just like this." The "Reverend Swami" here illustrated, by slightly jerking his coat downward. It was very amusing to hear him, in great seriousness, relate this in his low and measured accents to his faithful followers.

Shortly after this, when the Los Angeles Herald was conducting a crusade against the numerous mediums of that city, and when it had an exhibit in its windows of the confiscated material of some of them, this "Buddhist priest" was arrested and imprisoned for some of his practices.

Hereward Carrington

More Tricks of "Spiritualists"

"MATTER THROUGH MATTER"

There is one very clever "test" that is sometimes performed which would seem to show that something of this sort IS accomplished. It is, however, nothing more than an ingenious trick, and this might be a good time to explain its modus operandi. The general effect of the illusion is this: The medium requests some one to assist him in an experiment in which he is going to attempt to pass "matter through matter." As the test is one in which a confederate might easily be employed, he is very careful to choose some person who is well known, or whose character is above all suspicion. If this were not so, the entire effect of the test would be lost upon the investigators. Having secured his assistant, he hands him, for examination, a solid steel ring, just large enough to slip on and off the hand and arm easily. The ring is perfectly solid, and may be examined by anyone desirous of doing so. When this part of the performance is finished, the medium and his sitter then join or clasp their right hands (as in handshaking), and the sitter is instructed not to release the hand for a single instant. To "make assurance doubly sure," however, the hands are fastened together in any way the sitters may desire; the hands being tied together with tape, e. g., and the ends of this tape tied and the knots sealed. The tape connects the wrists and the hands of the medium and his sitter, and this tying may be made as secure as possible. A piece of thick cloth is now thrown over the two hands and the lower part of the arms, concealing them from view. With his disengaged hand the medium now takes the iron ring and passes it up under the cloth, so as to bring it in contact with his own arm. He holds it there for some time, but ultimately snatches off the covering cloth, and reveals to the eyes of the astonished audience the ring- -now encircling his own arm--in spite of the fact that the ties are still in statu quo, and the sitter never let go his hold for an instant. The ties and the ring may again be examined, if desired, before the hands are separated.

This is an exceedingly effective test, and has every appearance of being genuine--indeed, it is hard to see where trickery can come in. The trick is one of the simplest imaginable, however, and is performed in the following manner:

The medium has provided himself with TWO rings exactly alike; one of these the audience is free to examine, the other the medium is wearing on his right arm, under his coat. When the two hands are clasped together, therefore, it is a simple thing for the medium, under cover of the enveloping cloth, to slip the duplicate ring down his sleeve, and on to his own hand, and that part of the "miracle" is accomplished! It remains only to explain what becomes of the first ring. The cloth thrown over the arms is very thick and stiff, as stated, and the inner side of this contains a double partition, or sort of bag, into which the medium slips the duplicate ring. The cloth may now be shown on both sides, without disclosing the ring, and the medium makes away with it as soon as possible, in order to avoid detection.

DECEPTION EXPLAINED BY THE SCIENCE OF PSYCHOLOGY

The object [of this passage] is to enable the reader to see, more easily, how it is that the watchful observer is deceived into believing that a thing is so, when in reality it is not, and vice versa; and also to give an idea of the various methods employed by the medium in order to accomplish his results.

I must first of all call the reader's attention to one or two rules which every conjurer learns at the commencement of his study, and which he learns to apply so constantly that it becomes second nature to him. The first is: Never let the eyes rest on the hand that is performing the "sleight," but always on the other hand, or on some object on the table or elsewhere, as this will have a tendency to draw the eyes of the audience to that point also. The sitters or audience will always look at the point closely watched by the magician--their eyes have a tendency to follow his, and wherever he looks, there will the onlooker look also. Needless to say, the magician makes use of this fact, and many tricks and illusions are dependent upon it for their successful ac- complishment. Whenever the magician or medium looks intently at one hand, therefore, the OTHER hand should be watched, as it is a sure sign that THAT is the hand which is performing the trick.

Another fundamental rule that is observed by all sleight-of-hand performers is: Never to let an audience know beforehand what is to be done; i. e., the nature of the trick that it is intended to perform. If the spectator knew what was forthcoming, he would be on the lookout for movements of the performer at certain critical times--just at the periods when close observation is least wanted-- and would quite possibly detect the performer in the act of executing certain movements which would show how the trick was performed. But not knowing what is coming, the spectator is unable to watch closely at the critical moment--not knowing what that moment is--and so is unable to detect the trick, his attention being diverted by the performer, just before this movement is made, to some other object or movement.

The methods of diverting the spectator's attention are various. There is the use of the eyes, as before shown. Then there is the spoken word, the performer telling the onlookers to observe some certain object or action, and the effect is to cause them to watch it, as they are told. They follow the line of least resistance. The combined effect upon the spectator of the spoken word and the eyes together is generally irresistible.

Another important factor is this: A performer should always let any suggestion, right or wrong, soak well into the spectator's mind before attempting to change it. This is for two reasons. In the first place, if the suggestion is correct, if, e. g., the performer really DOES place an object in his left hand, and it is shortly found to have vanished from that hand, he is annoyed by hearing some one say that he was not really sure it was there in the first place, as "it was covered up so quickly." If, on the other hand, the suggestion given was a false one, if, e. g., the performer says he has placed an object in his left hand, when, in reality, he has not done so but has palmed it in the right, then it is still necessary to allow a certain time-interval to elapse between the performing of the action which apparently placed the object in the hand, and the showing of the hand empty, for this reason. If the hand into which the object is supposedly placed is IMMEDIATELY shown empty, the natural conclusion of the sitter is that the object was not in reality placed there at all, but was retained in the other hand, which would be the fact. If, however, the performer allowed some time to elapse, between the action of placing the object in that hand (supposedly) and the showing of the hand empty, he, meanwhile, keeping his eyes fixed on the hand, suggesting to the sitters that the object IS there, and in every way acting as if it WERE there, the idea will gradually gain a firm hold on the minds of the spectators that the object is there, in reality, and they are correspondingly surprised to find it ultimately vanished. It is just such a knowledge of "the way people's minds work," as a friend once said to me, which enables the conjurer to deceive the public; and it is precisely the same cast of mind that the medium possesses. He is, in fact, a good judge of human nature.

Another fact that must be borne in mind is that, when once a spectator has seen a movement made two or three times in the same manner, he frequently "sees" the performer make that movement on another occasion, when the performer had, in reality, only STARTED to make the movement, and suggested the rest. Thus, if the performer throws a ball up into the air two or three times in succession, and on the fourth occasion merely pretends to throw it up, really retaining it in the other hand, the great majority of the spectators will really "see" the ball ascend into the air on the fourth occasion, and will so state, on being asked. We here depend upon association and habit.[1]

[1] A very similar illusion is mentioned by Professor Hyslop, v. Borderland of Psychical Research, Pp. 228-9, in which pellets were apparently placed in a box, really being palmed in the medium's hand.

Professor Jastrow summed up this portion of the psychology of deception very well when he said:[1]

[1] Fact and Fable in Psychology, pp. 124-5.

"He (the conjurer) must dissociate the natural factors of his habits, actually attending to one thing while seemingly attending to another; at the same time his eyes and his gestures and his 'patter' misdirect the attention to what is apparently the essential field of operation, but really only a blind to distract attention away from the true scene of action. The conjurer directs your attention to what he does not do; he does not do what he pretends to do; and to what he actually does, he is careful neither to appear to direct his own attention nor to arouse yours."

Prof. Max Dessoir, in a very fine article on "The Psychology of Conjuring," writes as follows: "By awakening interest in some unimportant detail, the conjurer concentrates that attention on some false point, or negatively, diverts it from the main object, and we all know the senses of an inattentive person are pretty dull. . . . When causing the disappearance of some object, the conjurer counts one, two, three; the object must really disappear before three, not at three, because, the attention of the public being diverted to three, they do not notice what happens at one and two. . . . A specially successful method of diversion is founded on the human craze for imitation. . . . The conjurer counts on this in many cases. He always looks in the direction where he wants the attention of the public, and does everything himself which he wants the public to do. . . . If the trick is in the left hand, the conjurer turns sharply to the person to his right, presuming correctly that the spectators will make the same movement, and will not notice what is going on in the left hand. . . . Every sharp, short remark will, for a moment, at least, divert the eyes from the hands and direct them to the mouth, according to the above-mentioned law of imitation."

The successful conjurer has carefully studied beforehand every movement that is made--every word that is spoken--during a conjuring performance, and has seen that these all fit naturally into place, and help conceal the real workings of the trick. The right and left hands must be trained to operate independently, and without the need of looking at either. Many conjurers practice doing two separate things at the same time, one with either hand; and the ability to do this is essential. Above all, the performer must be full of conscious self-possession, and feel himself to be master of the situation, no less than to feel the ability to cope with any emergencies that may arise.

Turning, now, to a consideration of the seance, we find that many of these psychological rules still hold good, and their operation enables the medium to perform many actions which would otherwise be impossible. A certain suggestion is given to the sitters, and imagination and inference do the rest. "Our conclusions as to what we see or hear are always founded on a combination of observation and inference; but in daily life it is seldom necessary to distinguish between the two elements, since, when the object and its mode of presentation are familiar, our inferences are generally correct. But it is different when, owing to circumstances, such as a bad light, we have to infer more in proportion to what we perceive than usual; or when some one, e. g., a conjurer or a ventriloquist, is trying to deceive us by presenting one object under the familiar aspect of another, and suggesting false inferences. It is not uncommon to find people at seances encouraging each other in the belief that they see, say, a living human figure, when all that they actually SEE is something moving which is about the size of a human being; the rest is inference." How true these last remarks are is demonstrated by the statement, made in The Revelations of a Spirit Medium, that an old wire mask frequently used at materializing seances had been recognized "by dozens of persons as fathers, mothers, sisters, brothers, cousins, sweethearts, wives, husbands, and various other relatives and friends. None but the medium knew that it was only a fifty-cent wire mask, hence none but the medium could enjoy the humor of the occasion."

One of the most instructive incidents I know, in relation to this question of the psychology of deception, is the one given by Doctor Hodgson[1]--the case of the officer and the Hindu juggler. In this case, a trick was performed before an English officer and his wife, and Doctor Hodgson happened to overhear this officer telling some travelers of the experience at dinner that evening. "Referring to the movements of the coins, he said that he had taken a coin from his own pocket and placed it on the ground himself, yet that this coin had indulged in the same freaks as the other coins. His wife ventured to suggest that the juggler had taken the coin and placed it on the ground, but the officer was emphatic in repeating his statement, and appealed to me for confirmation. He was, however, mistaken. I had watched the transaction with special curiosity, as I knew what was necessary for the performance of the trick. The officer had apparently intended to place the coin upon the ground himself, but as he was doing so, the juggler leaned slightly forward, dexterously and in a most unobtrusive manner received the coin from the fingers of the officer, as the latter was stooping down, and laid it close to the others. If the juggler had not thus taken the coin, but had allowed the officer himself to place it on the ground, the trick, as actually performed, would have been frustrated.

[1] Proceedings Society for Psychical Research, Vol. IV., pp. 385-6.

"Now I think it highly improbable that the movement of the juggler entirely escaped the perception of the officer; highly improbable, that is to say, that the officer was absolutely unaware of the juggler's action at the moment of its happening; but I suppose that, although an impression was made on his consciousness, it was so slight as to be speedily effaced by the officer's IMAGINATION of himself as stooping and placing the coin upon the ground. The officer, I may say, had obtained no insight into the modus operandi of the trick, and his fundamental misrepresentation of the only patent occurrence that might have given him a clew to its performance debarred him completely from afterwards, on reflection, arriving at any explanation. Just similarly, many an honest witness may have described himself as having placed one slate upon another at a sitting with a medium, whereas it was the medium who did so, and who possibly effected at the same time one or two other operations altogether unnoticed by the witness."

In reading through descriptions of slate-writing seances, we very seldom find the statement made as to WHO placed the slates on the table, or under the table, etc., generally the account reading "the slates were then placed on the table," without any qualifying statement as to WHO placed them there. Accounts of this kind are absolutely worthless, from an evidential standpoint. We must at once ask ourselves: who placed the slates in that position? and if it was the medium--as it probably was in the vast majority of instances--then that test, in all probability, ceases to have any evidential weight. Anyone can read over a number of accounts of slate-writing performances, and verify these statements, if he chooses to do so. Frequently, the statement is made that the sitter did actually place the slate on the table, when in reality the medium did so. This error is quite unconscious on the sitter's part, of course, but the account is falsified, nevertheless. Mistakes of this kind are very common, the sitter thinking afterwards that he (the sitter) MUST have placed the slates on the table himself!

It will be seen from the above that there is a great difference between what ACTUALLY transpired, at any given seance, and what the accounts SAY transpired. The general public cannot get that all- important fact too strongly rooted in its mind: that the events which transpired at a seance may not be reported accurately, so that the report of the seance may be altogether wrong and erroneous, though the sitters, and those who drew up the report, may have been thoroughly honest in their belief that the report is accurate in every respect. The effect of all this is very great indeed. Many spiritualistic seances are quite inexplicable AS DE- SCRIBED, but the description is not a true report of what took place at the seance in question. The facts are distorted. Consequently, the person taking it upon himself to explain what took place at the seance is called upon to explain a number of things which, in reality, never took place at all. We must remember, in this connection, that a number of conjuring tricks, AS DESCRIBED, would be quite impossible to explain by any process of trickery. The description of the trick was not correct.

Let me make this still clearer, and at the same time illustrate the difference between what apparently occurs, and what actually happens, by the following example: A conjurer places a coin (say a quarter) in each hand, and closes his hands. Another quarter is now placed upon the fingers of each hand, so that there is now one quarter in each hand and one-quarter on the fingers of each. The magician announces that, by simply opening and closing his hands-- which are held at some distance from each other--he will thereby transfer one of the coins from one hand to the other, so that there will be three coins in one of the hands, and only one left in the other.

Now, if the sitter were writing out an account of what happened, it would most certainly read as follows:

"The magician then tried the experiment--of opening and closing his hands rapidly, and causing the coin to be transferred, as promised-- but failed in the attempt, the coins from the back of each hand falling on to the table in rather a clumsy manner. They were, however, again placed upon the backs of the magician's hands; the movement was repeated, and this time successfully. The coins disappeared from the backs of both hands, in one of which was now found three of the coins, while the other hand contained only one."

Such is precisely the description of the trick, as it would be given by the average person, on seeing it, and it would represent his honest opinion of what occurred; as it stands, it is quite inexplicable by trickery. Needless to say, the account is NOT a true statement of what actually occurred, as the following explanation will make clear:

The first time the coins were dropped on to the table, the movement was not so "clumsy" as might have been supposed. It was, in fact, intentional, being the principal factor in the accomplishment of the trick. What ACTUALLY transpired at that time was this: The magician, by a quick movement, dropped both coins from ONE hand on to the table, at the same time dexterously opening the other hand a trifle, and allowing the second coin, on that hand, to fall into the interior of the hand itself. Thus, while both hands are still seen to be closed, one is empty, and the other contains two coins. It is obvious, therefore, that, when a coin is placed upon each of the hands again, the magician has only to repeat the opening and closing movement, and there will be three coins in one of the hands, and only one in the other.

This trick illustrates, in a very simple and striking manner, the possibility of reporting a fact in an entirely erroneous manner, quite unconscious of the fact that this error in reporting has been committed. Just in this same manner, are many slate-writing and other phenomena misreported, and hence an explanation of the seance, AS REPORTED, is rendered impossible. The trouble is that the "report" does not REALLY report what actually occurred.

. . . . .

Many of my readers may feel somewhat insulted at this accusation that they cannot detect such obvious trickery when it exists, and that they are liable to make such mistakes in recording a seance as those here mentioned. They may comfort themselves with the thought, however, that it is no disgrace to make mistakes and errors of this kind; for, as Professor Jastrow pointed out:[1]

[1] Fact and Fable in Psychology, p. 148.

"The matter is in some aspects as much a technical acquisition as in the diagnosticating of a disease. It is not at all to the discredit of anyone's powers of observation or intellectual acumen to be deceived by the performances of a conjurer; and the same holds true of the professional part of mediumistic phenomena. Until this homely but salutary truth is impressed with all its importance upon all intending investigators, there is little hope of bringing about a proper attitude toward these and kindred phenomena."

These remarks will make it clear to us why many men of science have been deceived by very simple tricks and fraudulent devices, while investigating spiritualistic phenomena--their scientific culture is no guaranty that they are any more capable of detecting fraud than is the man-in-the-street--in fact their training has made them very much LESS capable of detecting fraud than the average person, who comes more in contact with the world, and is an acuter judge of character and human nature.

Anonymous

How Spirits Materialize

From "The Revelations of a Spirit Medium"--a book out of existence now, since the plates and all copies were bought up by "spiritualists" and destroyed. The following is given by courtesy of Mr. Hereward Carrington:

Reader, have you ever attended a "seance" for "full-form materialization?" Have you ever thought you had met your dead relative's spirit at these "seances"?

If you have never had the pleasure of attending a seance of this "phase" you have missed a rare treat. The writer has assisted at many a one and will relate to you some of the wonderful phenomena occurring at them and the means used to produce them. . . . There are hundreds of "materializing mediums" doing business in this country, who are swelling a good-sized bank account. Their business sometimes runs into the hundreds of dollars in a single week. This "phase" of mediumship is considered by the spiritual- ists as the highest possible attainable, and if you are a clever "full-form medium" your financial welfare is assured. . . . Many and various are the methods employed by the different "mediums" in producing this phase. It is in Boston, New York, and San Francisco that it is worked the finest. The full-form seances most often met with are very simply worked, and easy of performance by the medium. You are usually given a seat in a circle of chairs about the front of a "cabinet" made by hanging heavy curtains across the corner of the room. If you are a stranger or one who looks or acts as though he would "grab" the "spirits," you are seated at the farthest point from the cabinet; or, if there are two rows of seats, you will be given a seat in the back row. . . .

I made my way to the "materializing seance," at which my friends hoped to materialize. I was admitted to the seance room and found about twenty persons already assembled. I was seated in the front row of chairs. The cabinet used was a closet about six feet long and four feet wide. The ceiling of both the room and the cabinet was of wood. After a thorough examination had been made of the cabinet by all those who cared to do so, the sitters were rearranged to suit the medium. There were present now thirty-five persons. The seance room was very large. The door had been taken off the closet that served as a cabinet, and in its stead were hung heavy curtains. The floor of the room was carpeted with a dark carpet, as was the cabinet. The light was furnished by a lamp placed in a box that was fastened to the wall some eight feet from the floor. This box had a sliding lid in front, controlled by a cord passing into the cabinet. By this means the "spirits" could regulate the light to suit themselves, without any movement on the part of any of those in the seance room being necessary. When everything was in readiness the medium entered the cabinet, seated himself and was tied, and so secured to his chair that it was impossible that he could have any use of himself. He was most thoroughly secured to his chair, and his chair nailed fast to the floor by passing leather straps over the rounds in the side and nailing the ends to the floor. After it was shown to the sitters that he was utterly helpless, the curtain was drawn. The manager now placed an ordinary kitchen table in front of the door of the cabinet, so that it stood away from it about two feet. The table contained no drawer. On the table was laid writing materials, a guitar, and small bell. The manager seated himself close to one side of the cabinet entrance, and started a large Swiss music box. Before it had finished the first air the lamp was shut entirely off, making the room inky dark.

An illuminated hand and arm was now seen to come from behind the curtain, and played an accompaniment to the music box on the guitar. We could see plainly the movements of the hand, arm, and fingers, as it manipulated the strings of the instrument. It did not appear necessary to finger the strings on the keyboard, although the air was in a key that made it impossible to tune the guitar so that an accompaniment could be performed WITHOUT fingering. However, but one hand was visible, and it was picking the strings. After the tune was finished, the hand left the in- strument, and moved out into the room to the front of the table, and from the sound we knew it was writing on the tablet that had been placed there. The arm was of bluish light and appeared to end just above the elbow, and to have no connection with the body. It finished writing and seemed to float into the cabinet near the top.

The light was opened and the manager requested those who had tied the medium to examine his condition and see if the ropes had been tampered with. The examination was made and it was evident that the fastenings were undisturbed. The communication was read aloud to those present, and contained the following:

"We are pleased to meet so many seekers after light and truth here this evening, and, from the conditions, as we sense them, we will have a satisfactory and pleasant seance. The way to obtain the best results is for each person to maintain a passive condition and take what we have to give. You may rest assured that our best efforts will be put forth to give you entire satisfaction. The Control."

The writing was exactly on the ruled lines although written in absolute darkness. The hand and arm, although luminous, did not give out a particle of light. The arm had been at least five feet from the cabinet opening and seven feet from the medium. Surely, it was not he. The message read, the light was again shut down and the music again started.

Once more a hand appeared, and floating out to the table, again began writing. Of a sudden the hand disappeared, and, after a few seconds, I was astonished to feel a hand thrusting a paper into my top coat pocket. Now appeared two hands and they played an air on the guitar. Now came three, then four hands were visible, bright as the day. Two of them began writing again, and, when they had finished, two more sitters were the recipients of sheets of paper. Soon the light was opened for an inspection of the cabinet, which was made, with the conclusion that the medium had not moved. Those of us receiving communications were afforded an opportunity to read them. We found them nicely written, as before, and all contained "tests." . . .

After the light went out again, more hands were seen; the table was floated about over the heads of the circle, as was the music box, which weighed at least fifty pounds. Another examination of the cabinet was made and everything found satisfactory. This time the light was not put entirely out, but a very dim light was allowed.

The music box was again set playing, and, while yet it was playing the first tune, a tall figure, robed in creamy white, with gleaming sparks in her hair, and on her head a sort of crown, issued from the cabinet. She was recognized by a gentleman present, a spiritualist, whose spirit guide she was, and who addressed her as "my queen." She stood a few seconds behind the table and then stepped out in the open space between the sitters and the table. The gentleman now arose from his seat and, standing beside her, holding her hand, conversed in a whisper with her for some seconds.

This was most assuredly a lady, if appearances go for anything. Her hands were quite small, and were warm and lifelike, as several, including myself, can testify, having been permitted to shake hands with her. At last she started to the cabinet, and, as she went, appeared to grow shorter, until, as she disappeared between the curtains, she was not much taller than the table. The manager now explained that the spirit had remained out rather too long and came near dematerializing before she reached the cabinet. Now came the spirit of a young man, dressed in a light suit of clothes, who gave his name and said his mother was present. She was, and had a few words of conversation with him when he disappeared into the cabinet. The lady said that it was unmistakably her son; but there was SOMETHING that was not as he had been, but what it was she was unable to describe.

The next spirit to present itself was my son Eddie. He came out from the cabinet calling "Papa, papa." The manager asked "Who is your papa?" and he replied, "Mr. (Smith)." All this time he stood between the table and the cabinet, and only his head and shoulders could be seen. The manager told him to step out where he could be seen, when he came around to the front of the table.

It was rather dark, but I could swear it was my son. He was just the right size, with long flaxen hair and a very pale face. He wore a light-colored waist and darker knee-breeches and stockings, with a large black bow at his throat, Just as I remember seeing him last in health.

While Eddie was still standing in front of the table a large man came out and took him by the hand. Eddie spoke, saying:

"Must I go back, grandpa?" The form turned toward me, saying:

"My son, this is a great pleasure to us, but we must not long remain, as it is our first attempt at materializing." He turned to go when the manager said to him:

"If the gentleman is your son you ought to give him your name."

"The name of the child is Eddie, and my own is J. A. Smith," replied the form, as they vanished into the cabinet.

The manager suggested that it would be well to examine and see whether the medium had been out or not. The cabinet was examined and everything found satisfactory.

Spirit after spirit came from the cabinet, one or two at a time for an hour; some of them came to friends, and others were "controls" of the medium. Many of them were recognized by different ones of the sitters in the room. I, for one, could swear to the identity of my own son Eddie, while my father was plainly recognizable. . . .

The room was again made dark. Suddenly there appeared on the floor, in front of the table, a light about as large as a baseball. It moved about in a circle of perhaps a foot in diameter and grew larger. It soon lost the shape of a ball and appeared to be a luminous cloud. Seemingly we could see into and through it. In the course of thirty seconds it had become as large as a six-year- old child; still there was no definite shape, only a fleecy cloudlike mass, turning, twisting, and rolling. At the end of perhaps a minute it was the size and shape of an adult person. The face could not be seen, but light, luminous spots were visible as though the hair and ears were decorated with gems. The shape spoke and requested light. As the light was turned on the luminousness disappeared, and we beheld a beautiful young lady clothed in a dazzling white costume. Her arms and shoulders were bare, and about her neck there was a necklace of what appeared to be very brilliant diamonds. Her feet were encased in white slippers, with straps across the instep. In her ears and hair glistened and shimmered beautiful diamonds. Her face and arms were as alabaster, and altogether she was one of the most beautiful women I had ever beheld. She was recognized by a lady and gentleman present as their daughter. They had met her here before. They were from the East, and were wealthy. The spirit requested that they come to her, which they did, and were each kissed and embraced by it. They held a moment's conversation with her and resumed their seats, when the lamp was slowly turned down. As the light became dim the spirit became luminous. The face and arms disappeared and the body became as a cloud again, turning and twisting and growing smaller until it was nothing but a small light spot on the carpet, which of a sudden disappeared entirely.

Immediately after this manifestation an examination of the medium and cabinet was made, and it was certain the medium had not been away from his chair. The light was again turned out and the music box started, when TWO bright spots appeared on the carpet, one at either end of the table. These went through the same process of development until, when the light was turned on, there was another beautiful female spirit at one end of the table, and a child of perhaps eight years of age at the other. The child was recognized by a lady present as her daughter, while the adult spirit was recognized and rapturously greeted by a gentleman who sat near me on my left, as his "darling angel guardian." They had quite a long conversation, in which they made use of very endearing language, each to the other. I supposed it was the gentleman's wife. . . .

The spirits did not disappear as the first one had, but, when the light had been turned off, the luminous shape revolved a few times, and on two occasions assumed the garb and shape of men, and when the light was turned on again, there stood the men with beards and men's forms. After some eight or ten of these materializations and dematerializations, before our eyes, the last couple completely disappeared.

The light was again turned down and a luminous shape came from the cabinet, followed by others, until seven of them stood on the floor. The light was turned up until we could see the seven spirits. Five were females and two males. They were of different sizes. The curtain at the door of the cabinet was pulled aside and we could see the medium sitting in the chair in which he was bound. The forms now filed into the cabinet again, while the music box played. After they had disappeared the light was turned up, an investigation made of the cabinet, and the seance was over.

There, reader, is a truthful description of what can be witnessed at the seances of mediums who are artists. None of your bungling, amateur work here. The work of such a medium is always satisfactory for the reason that if a man feels SURE that the medium is a fraud, he has been so well entertained that he does not regret the money paid for the opportunity to witness it. This is the class of medium also who frequently succeed in getting large sums of money from wealthy persons they have converted to spiritualism.

Did the writer not give you the true explanation of the manner in which these things were produced, you would probably say it was conceived by a very fertile imagination. If you believed that he saw these things you would perhaps offer the preacher's explanation, by saying, "it is the work of the devil"; or that of the scientist, by asserting that "it is the mesmerist's power over your mind"; or "the operator has discovered an odd force in nature"; or go off on a long dissertation on hypnotism and fourth dimension of space problems. However, it is not the work of the devil, neither are there any but NATURAL laws necessary to its production.

The seance described actually occurred and was described in writing by Mr. Smith in the language used, although it was not printed, and the writer was one of those who assisted in its production. He will now proceed to explain this particular seance. . . .

It will be remembered that the room and cabinet were carpeted with a dark carpet, and that the ceilings were of wood. The ceilings were decorated by being put on in panels. The ceiling of the cabinet would not have been like that of the room had the closet been a part of the architect's plans of the house. It was not, but was made by the medium. He simply built a lath and plaster partition from the corner of a wide chimney to the wall, thus inclosing a space of six by four feet. The panel in the ceiling of the closet was twenty inches square. This panel was "doctored" and could be displaced, leaving an aperture large enough for the "spooks" to get through with perfect ease. A light ladder which reached within three feet of the floor of the cabinet was hooked fast above and furnished the means of getting down and up again. There were eight persons connected with the seance described by Mr. Smith, seven upstairs and the medium in the cabinet. Of course it was not necessary that the medium get out of his fastenings, and the facts are that he did NOT. The table was placed across the cabinet door, not to lay the instruments on, but to be very much in the way should anyone make a rush and "grab" for the materialized forms. In case this occurred, the "spooks" above would close the light, making the room perfectly dark, and the manager would do his utmost to turn the table on end, or side, with the legs out in the room. Before the "grabber" could get the lay of things and get past it, the spooks would have gone through the trap, closed it, pulled up the ladder, and the "grabber" would have found the medium writhing and groaning and bleeding from the mouth. The bleeding was for effect, and was caused by sucking very hard on his teeth or gums.

The table also served a convenient purpose in the materialization and dematerialization through the floor. You now know where the spooks came from, in this particular house, and how they got in and out. Now let us see how they managed the materializations, and the properties used to produce them. The trap and ladder were practically noiseless in their operations, but the music box made assurance doubly sure that the least sound from the cabinet should not he heard in the seance room.

When the box began its first air the trapdoor was opened and down the ladder came a young man clad in a suit of black tights. He was entirely covered with black with the exception of his right arm, which was bare to a point a little more than halfway from the elbow to his shoulder. The bare arm glowed with a luminous bluish light.

This condition of things was brought about by powdering his arm with pulverized luminous paint. If you are not told the method of transforming the sticky paint to powder, you will not be able to do it, and will conclude the writer was romancing in this case. The most essential thing to you will be to know where you can procure this paint. The writer has been unable to procure it anywhere, except of Devoe & Co., of New York City. It is put up in a package resembling six-ounce jelly glasses, and you will get six of them for five dollars. In order to reduce it to powder, thin the contents of one of the glasses with one pint of turpentine. When it is thoroughly cut and incorporated into the turpentine, soak strips of muslin in it and hang them out to dry. When thoroughly dry you can shake the powder from the cloth. In order to powder one of your arms, gather one of the cloths in your hands, and use it as a powder puff on your arm. You will not be able to get all the paint out, but the pieces will make luminous crowns, slippers, stars, and luminous decorations for your robes. You will be under the necessity of perfuming your robes each time they are used, for the odor of the turpentine will always remain to a greater or less degree. To illuminate a robe or costume (the mediums always say "robe") you proceed the same as in the powdering process, except that to the pint of paint you will add a wineglass full of Demar varnish, which will prevent its falling or being shaken off as powder. You are not to make the robe of muslin, but of white netting. Every lady will know what netting is. It is the lightest, thinnest material the writer ever saw sold in a dry goods store. Ten yards of it can be put into the vest pocket. Do not scrimp the material, but get as much of it into your robe as possible.

When he of the luminous arm steps from the cabinet into the dark room no part of him is visible save the arm. He picks the strings of the instrument with the illuminated hand and fingers the keyboard with the other. He makes a sound of writing on the tablet and tears off a leaf which he conceals, and, drawing a long black stocking over the luminous arm, places in the pocket of the sitter a communication that has been written upstairs in a good light. This accounts for the even, beautiful writing, supposed to have been done in the dark. He covers the luminous arm so that anyone so inclined could not locate it in order to "grab" when he is near enough. By mounting the table, that luminous hand and arm can be made to show as though it was floating about near the ceiling.

When four hands were visible there were two spooks at work with both arms illuminated. . . . You can readily understand the forces that floated the music box and table above the heads of the sitters, and an explanation is useless.

When the first female spirit appeared it was, in reality, a young woman, dressed in a gorgeous white costume without paint, hence the light was turned up instead of down, in order that she be visible. Rhinestones and Sumatra gems being cheap, she was plentifully supplied with "diamonds," although many of those who are the queens or spirit guides or "controls" of wealthy spiritualistic fanatics wear real diamonds, the gift of their wealthy charge, or "king" as they usually call him.

When she started for the cabinet she used her hands to keep her robe from under her feet, and as she went stooped lower and lower, until, as she disappeared in the cabinet, she went on her hands and knees. This is what caused the appearance of "dematerialization."

When Mr. Smith's son, Eddie, came from the cabinet, he was represented by a boy of about eight years of age, the son of one of the female "spooks" upstairs. He receives two dollars a night for his services, the same as the larger spooks. He was powdered until he was very white, a blond wig put over his own hair, and dressed as most boys are at the age Mr. Smith's son died. Mr. Smith recognized him by his size, his light complexion, and flaxen hair, and the fact that he called him "papa" and gave his correct name. His father was "made up" from the description given by the medium, and acknowledged by Mr. Smith as correct. Of course he knew his own name, for it was given him by the slate-writer. . . .

We now come to a part of the phenomena that all spiritualists who have witnessed it will swear by. What is referred to is the materializing and dematerializing of the spirit from the floor and before your eyes. In this you see first a small light, which grows larger and larger, until there stands before you a fully formed female or male spirit, as was described in Mr. Smith's experience.

In order to accomplish what he witnessed, the same spook who had before been recognized by a gentleman as "his queen," prepared herself in the following way: Divesting herself of all clothing she donned simply a long chemise that reached her shoe tops. She drew on a pair of white stockings, and over them a pair of white slippers. Into her hair and ears she put rhinestone diamonds, and around her neck a necklace of the same beautiful but valueless stones. On each ear lobe and around her neck were put small spots of the luminous powder to represent the diamonds while it was dark. Her face was powdered and her eyebrows and eyelashes darkened, while a dark line was drawn under each eye. She now took a black mask that covered her head, and her "robe" in her hands, and went down to the cabinet. Arriving there, she put the black mask over her head, to prevent the luminous diamonds being seen until the proper time. She carried her robe in a black bag. Crawling from between the curtains and under the table, she exposed on the floor a small part of her robe. This she shook and moved about, allowing it to escape from the bag until it was all out. She was now from under the table and on her knees, and it was time the head show on the form, so, getting close to the robe, she threw off and under the table the black mask. The shape was now the size of an adult; she adjusted the robe to her person, and rapped for light. As a matter of course, when any light was made the luminousness of the robe was drowned, and she appeared in simply a white costume. The necklace and eardrops could now be seen, but when the light was such as to reveal them, the luminous spots had disappeared, leaving the spectator to think the ones he now saw were the ones he had seen in the dark. The process of dematerialization will now be apparent, and a description will only tire the reader. One small spook was all that was required, as he could be made to represent boy or girl as was desired, by clothing him in the garments of either sex.

At the close of the seance, the full force of "spooks" came into the room. After disappearing, they shinned up the ladder, drew it after them, closed the panel and the trap in the floor above it, replaced the carpet and pushed over the place a heavy bedstead from which they took the castors. They now carried the ladder downstairs and concealed it in the coal house as they went through it on their way home. They will get their pay next day.

Should ever so close an examination of the cabinet be made, you would not find anything wrong. This particular medium has taken investigators into the cellar beneath the cabinet, and the room above it, scores of times, yet nothing was discovered.

You are not always to search for the trap in the ceiling, nor yet in the floor. A trap is not possible in the ceiling except a closet is used as "cabinet," and the ceiling is of wood. Where this condition of things does not exist, you must search elsewhere. The floor is a very likely place when it cannot be made in the ceiling. If you do not find it there, examine the base or mopboard. If it is in the mopboard you will find, upon examination, that there is a joint in it near the corner of the cabinet, but you will find it solidly nailed with about four nails each side of the joint. This appearance of extraordinary solidity will be absolute proof that it is NOT solid.

The nails are not what they appear, but are only pieces about one half inch in length, and do not even go through the board. The piece is fastened on the other side with a couple of bolts that hold it very firmly in place. There is a corresponding opening in the mopboard in the next room, although no attempt is made to so carefully conceal it, as no one is ever admitted to it. Through this trap the "spooks" enter the cabinet by crawling and wiggling. It is not a very desirable trap, for the mopboard is scarcely ever wide enough to permit of a trap that the spook could get through in a hurry; besides, they must assume their costumes after they get into the cabinet or tear them to pieces. You can see how this would make it very inconvenient.

If the room is wainscoted the spook will have all the sea room necessary in his trap, for it will extend from just below the molding on the top of the wainscoting to the floor behind the strip of quarter-round. . . .

It is next to an impossibility to detect these traps by examining in the cabinet. They were constructed to avoid discovery, and no pains spared to make them so absolutely perfect that not one chance in a million is taken. The proper place to seek for traps is in the adjoining room, upstairs, or in the cellar. One is foolish to undertake to find a trap by thumping the walls or floor; for, if you happen to thump one, the medium who is smart enough to make use of a trap is also sharp enough to make provision for its being thumped, and your sounding method goes for naught.[1] Bear in mind that when you are examining the cabinet, you are seeking at the very place that is prepared most effectually to withstand your investigations. . . . Do not forget the MANAGER in your search. He or she is never searched, or never has been up to date, which has been the cause of many a failure to find the "properties" of the medium when the seance was given in a room and cabinet furnished by a stranger and skeptic. Do not be deceived into a belief that all of the sitters are strangers to the medium. There may be from one to five persons present who pay their money the same as yourself, and who may appear to be the most skeptical of anyone in the room. They will generally be the recipients of some very elegant "tests," and weep copiously great grief-laden tears when they recognize the beloved features of some relative.

[1] It must be remembered that it is occasionally possible for the medium to do away with traps altogether, either by having a con- federate in the audience who produces all the phenomena--the medium sitting bound meanwhile--or by some such simple device as the following: Suppose the seance room is closed at one end by a pair of folding-doors; these doors are locked, the key kept by a member of the audience, while the keyhole is sealed, and strips of gummed paper are also stretched across the crack between the doors, sealing them firmly together. Confederates enter the room, in this case, by merely pushing BOTH doors to one side, they being so constructed that this is possible. A small space is now left around the end of ONE door, through which the medium's confederate creeps!

They are the most careful of investigators, and, when the medium's trap is located in the door-jamb, will pound the walls, and insist on the carpet being taken up, when they will get upon their hands and knees and make a most searching examination of the floor. They are the closest and most critical of investigators, but they are very careful to examine everywhere EXCEPT WHERE THE DEFECT IS LOCATED. Because one or two men seem to be making such a critical investigation, do not allow that fact to prevent you making one on your own responsibility. Wait until they have finished and then examine not only where they did, but more particularly where they did NOT. Their examination is only for the purpose of misleading others. Their "tests" are received in a way to cause those about them to think they admit them very unwillingly, or because they were so undeniable that they could do nothing else.

A great many will probably deny that confederates are ever employed. They are not, by mediums who are not smooth enough to produce that which appears so wonderful as to make a good business for them. The writer would advise those mediums who give such rank seances to employ a few floor workers (they are easily obtained), and see what a difference it would make in the amount of business they will do. Get good ones, those who know human nature, and know when they have said all that is necessary. Most of them are inclined to say too much, thus causing the ordinary man to suspect that they are confederates.