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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #61871 (https://www.gutenberg.org/ebooks/61871)
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-The Project Gutenberg EBook of Spirit Slate Writing and Kindred Phenomena, by 
-William E. Robinson
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll
-have to check the laws of the country where you are located before using
-this ebook.
-
-
-
-Title: Spirit Slate Writing and Kindred Phenomena
-
-Author: William E. Robinson
-
-Release Date: April 19, 2020 [EBook #61871]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SPIRIT SLATE WRITING ***
-
-
-
-
-Produced by deaurider, John Campbell and the Online
-Distributed Proofreading Team at https://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-
-
-  TRANSCRIBER’S NOTE
-
-  Italic text is denoted by _underscores_.
-
-  The right-pointing finger symbol is denoted by ==>.
-
-  Some minor changes to the text are noted at the end of the book.
-
-
-
-
-  [Illustration: “The Spiritualistic Séance.”]
-
-
-
-
-  SPIRIT SLATE WRITING
-
-  AND
-
-  KINDRED PHENOMENA
-
-
-  BY
-
-  WILLIAM E. ROBINSON
-
-  Assistant to the late Herrmann
-
-
-  _SIXTY-SIX ILLUSTRATIONS_
-
-
-  MUNN & COMPANY
-  SCIENTIFIC AMERICAN OFFICE
-  NEW YORK CITY
-
-  1898
-
-
-
-
-  COPYRIGHTED, 1898, BY MUNN & COMPANY.
-
-  ALL RIGHTS RESERVED.
-
-
-
-
-PREFACE.
-
-
-The author of the present volume is not an opponent of
-spiritualism--on the contrary, he was brought up from childhood
-in this belief; and though, at the present writing, he does not
-acknowledge the truth of its teachings, nevertheless he respects
-the feelings of those who are honest in their convictions. At
-the same time he confidently believes that all rational persons,
-spiritualists as well as others, will heartily indorse this
-endeavor to explain the methods of those who, under the mask of
-mediumship, and possessing all the artifices of the charlatan,
-victimize those seeking knowledge of their loved ones who have
-passed away. As a great New York lawyer once said, it was not
-spiritualism he was fighting, but fraud under the guise of
-spiritualism.
-
-Owing to the fact that the author has for many years been
-engaged in the practice of the profession of magic, both as a
-prestidigitateur and designer of stage illusions for the late
-Alexander Herrmann, and has also been associated with Prof. Kellar,
-he feels that he is fitted to treat of clever tricks used by
-mediums. He has attended hundreds of séances both at home and
-abroad, and the present volume is the fruit of his studies.
-
-Some of the means of working these slate tests may appear simple
-and impossible of deceiving, but in the hands of the medium
-they are entirely successful. It should be remembered it is not
-so much the apparatus employed as it is the shrewd, cunning,
-ever-observing sharper using it. The devices and methods employed
-by slate writing frauds seem innumerable. No sooner are they caught
-and exposed while employing one system than they immediately set
-their wits to work and evolve an entirely different idea. It is
-almost impossible at the first sitting with a slate writing medium
-to know what method he will employ, and should you, after the
-sitting, go away with the idea that you have discovered his method
-of operation and come a second time ready to expose him, you may
-be sadly disappointed, for the medium will undoubtedly lead you to
-believe he is going to use his former method, and so mislead you.
-He accomplishes his test by another method, while you are on the
-lookout for something entirely different. The great success of the
-medium is in disarming the suspicions of the skeptic, and at that
-very moment the trick is done. Slate writing is of course the great
-standby of mediums, but there are many other tricks which they
-employ which are described in the present volume.
-
-The publishers have added a chapter on “Miscellaneous Tricks”
-which may serve as a supplement to their “Magic: Stage Illusions
-and Scientific Diversions, Including Trick Photography,” which has
-already obtained an enviable position in the literature of magic,
-and has been even translated into Swedish. These tricks are by Mr.
-W. B. Caulk and the author.
-
-  NEW YORK, November, 1898.
-
-
-
-
-TABLE OF CONTENTS.
-
-
-  CHAPTER I.
-                                                   PAGE
-  The Single Slate                                    3
-
-
-  CHAPTER II.
-
-  The Double Slate                                   32
-
-
-  CHAPTER III.
-
-  Miscellaneous Slate Tests                          41
-
-
-  CHAPTER IV.
-
-  Mind Reading and Kindred Phenomena                 51
-
-
-  CHAPTER V.
-
-  Table Lifting and Spirit Rapping                   71
-
-
-  CHAPTER VI.
-
-  Spiritualistic Ties                                82
-
-
-  CHAPTER VII.
-
-  Post Tests, Handcuffs, Spirit Collars, etc.        93
-
-
-  CHAPTER VIII.
-
-  Séances and Miscellaneous Spirit Tricks           101
-
-
-  CHAPTER IX.
-
-  Miscellaneous Tricks                              115
-
-
-
-
-SPIRIT SLATE WRITING
-
-AND
-
-KINDRED PHENOMENA.
-
-
-
-
-CHAPTER I.
-
-THE SINGLE SLATE.
-
-
-There has probably been nothing that has made more converts to
-spiritualism than the much talked of “Slate Writing Test,” and
-if we are to believe some of the stories told of the writings
-mysteriously obtained on slates, under what is known as “severe
-test conditions,” that preclude, beyond any possible doubt, any
-form of deception or trickery, one would think that the day of
-miracles had certainly returned; but we must not believe half we
-hear nor all that we see, for the chances are that just as you are
-about to attribute some unaccountable spirit phenomena to an unseen
-power, something turns up to show that you have been tricked by a
-clever device which is absurd in its simplicity.
-
-There are a large number of methods of producing slate writing,
-but the writer will describe a few which will be sufficient to
-give an idea of the working of slate tests in general. First we
-have the ordinary one in which the writing is placed on the slate
-beforehand, and then hidden from view by a flap or loose piece of
-slate. (Fig. 1.) After both sides of the slate have been cleaned,
-the false flap is dropped on the table, the side which is then
-uppermost being covered with cloth similar to the table top, where
-it will remain unnoticed, or the flap is allowed to fall into a
-second slate with which the first is covered. In the latter case
-no cloth is pasted on the flap. Sometimes the flap is covered with
-a piece of newspaper and is allowed to drop into a newspaper lying
-on the table, then the newspaper containing the flap is carelessly
-removed, thus doing away with any trace of trickery.
-
-[Illustration: Fig. 1.--Ordinary Slate with Flap.]
-
-Another way of utilizing the false flap is as follows: The writing
-is not placed beforehand on the slate, but on the flap, which,
-as before, is covered with the same material as the table top.
-This is lying on the table writing downward. The slate is handed
-around for inspection, and, on being returned to the performer, he
-stands at the table and cleans the slate on one side, then turns
-it over and cleans the other. As he does so he lifts the flap
-into the slate. The flap is held in firmly by an edging of thin
-pure sheet rubber cemented on the flap between the slate and the
-cloth covering of the slate. This grips the wooden sides of the
-frame hard enough to prevent the false piece from tumbling out
-accidentally.
-
-We now come to another style, wherein a slate is cleaned on both
-sides, and, while held in the hand facing the audience, becomes
-suddenly covered with writing, and the slate is immediately given
-for inspection. The writing is on the slate previous to the
-cleaning, and is hidden from view by a flap of slate colored silk,
-held firmly in place by a pellet of wax in each of the corners of
-the silk. Attached to this silk flap or covering (at the end that
-is nearest to the performer’s sleeve) is a stout cord or string,
-which is also made fast to a strap around the wrist of the hand
-opposite to that holding the slate. If the arms are now extended
-their full length, the piece of silk covering will leave the slate
-and pass rapidly up the sleeve out of the way, and thus leave the
-writing exposed to view. (Fig. 2.) The slate is found to be still a
-little damp from the cleaning with the sponge and water it had been
-given previously. This is easily accounted for. The water from the
-sponge penetrates just enough through the cloth to dampen the slate.
-
-[Illustration: Fig. 2.--Removing the Silk from the Face of the
-Slate.]
-
-There is still another slate on which we can make the writing
-appear suddenly. It is composed of a wooden frame, such as all
-wooden-edged slates have, but the slate itself is a sham. It is a
-piece of cloth painted with a kind of paint known as liquid, or
-silicate slating, which, when dry and hard, is similar to the
-real article. This cloth is twice the length of the slate and just
-the exact width. The two ends of the cloth are united with cement,
-so as to make an endless piece or loop. There is a small rod or
-roller in both the top and bottom pieces of the frame, the ends
-being made hollow to receive them. Over these rollers runs the
-cloth, stretched firmly and tightly. Just where the cloth is joined
-or cemented is a little black button, or stud of hard rubber or
-leather. This allows the cloth to be pushed up and down, bringing
-the back to the front; and by doing so quickly, the writing which
-is written on the cloth at the rear of the frame is made to come to
-the front in plain view. (Fig. 3.)
-
-[Illustration: Fig. 3.--The Endless Band Silicate Trick Slate.]
-
-Still another idea in a single slate is as follows: An ordinary
-looking slate is given out for examination, and, on its being
-returned to the medium, he takes his handkerchief and cleans or
-brushes both sides of the slate with it; and, upon again showing
-that side of the slate first cleaned, it is found covered with
-writing apparently done with chalk. The following is the simple
-explanation of it: Take a small camel’s hair brush and dip it in
-urine or onion juice, and with it write or trace on the slate
-whatever you desire, and when it becomes dry, or nearly so, the
-slate can be given for examination without fear of detection. The
-handkerchief the performer uses to clean the slate with is lightly
-sprinkled with powdered chalk. He makes believe to clean the one
-side devoid of preparation, but the side containing the invisible
-writing is gently rubbed with the handkerchief, not too hard just
-enough to let the powdered chalk fall on the urine or onion juice,
-where it leaves a mark not unlike a chalk mark.
-
-It will not be out of place to describe a trick by which writing is
-produced upon an ordinary china plate by a somewhat similar means.
-The plate is examined and cleaned with a borrowed handkerchief,
-and then the performer requests the loan of a pinch of snuff, or
-uses a little sand or dust, which he places on the plate. He now
-commences to move the plate around in circles, and while doing so
-the snuff or sand is seen to gradually form itself into writing.
-The explanation is simple--whatever writing you desire to appear
-on the plate is placed beforehand on it. It is done with a camel’s
-hair brush dipped in the white of an egg and allowed to become
-dry before being handed around for inspection. As the performer
-cleans the plate he breathes on both sides of it, as if to give it
-moisture enough to help take off any dirt that might be thereon
-when rubbed with the handkerchief. In breathing on the front of
-the plate containing the writing done with the white of the egg,
-he moistens the writing enough to make the snuff or sand, as the
-case may be, adhere to it. Of course, in cleaning the front of the
-plate, care must be taken not to brush or disturb the invisible
-writing.
-
-It may not be amiss to also mention another method of producing
-writing, employed by mediums to obtain a message on a blank piece
-of paper which has been placed between two slates, which are held
-by the medium in his hand, high above his head, and, on afterwards
-taking the slate apart, the paper is covered with writing. This
-again calls into use the extra or false flap. (Fig. 1.) A piece
-of paper with writing on it is placed face downward on one of the
-slates and covered with the false flap. It then looks like an
-ordinary slate. On this is placed the plain piece of paper, and
-over this is laid the second slate. The slates are now held up
-in plain view of the audience, and on being lowered to the table
-they are turned over, thus bringing the blank piece of paper under
-the false flap and the one with the writing on it on the top of
-the flap, which has fallen from the slate, which is now the top,
-but originally the bottom one, on or into the under one, and, of
-course, on the removal of the present top slate, the writing is
-found on what is supposed to be the original blank paper.
-
-[Illustration: Fig. 4.--False Table for Developing Communications
-Written with Sympathetic Ink.]
-
-If the paper is to have a private mark put on it by an observer, so
-as to prove the writing really does appear on that identical piece
-of paper, the operation is varied as follows: The false flap is
-done away with, and the paper, which is furnished by the medium,
-has written on it the desired communication with ink, which is made
-visible and brought out black by means of heat. For the invisible
-ink you can use sulphuric acid, very much diluted, so as not to
-destroy the paper. The necessary heat is obtained in the following
-manner: The table (Fig. 4) on which the slates are resting is
-hollow, and has concealed in it a spirit lamp filled with alcohol.
-This lamp sits directly under a trap in the table top, which is
-covered underneath for safety with sheet iron, so it will not
-catch fire. When the slates are placed on the table they are laid
-over the little trap door, which, in conjuring parlance, is known
-as a “trap.” This is now opened, and the slates allowed to become
-well heated and the trap then closed, and the prepared paper, upon
-coming in contact with the hot slate, is thus covered with writing.
-
-[Illustration: Fig. 5.--The Development of Spirit Writing.]
-
-Another medium employed a somewhat similar method, only the paper
-in this case was placed in a glass vial (Fig. 5) which had been
-lying on the iron trap door. The medium’s hand covered the vial,
-which was corked and sealed, while the writing was making its
-appearance. You can also produce writing on the paper in the vial
-without resorting to the use of heat by using a vial that has been
-washed out with ammonia and kept well corked, and writing on the
-paper with a weak solution of copper sulphate, which is invisible
-until the paper is placed in the vial, when the two chemicals
-produce writing in blue. Still another message is produced as
-follows: The writing is done with iron sulphate on blank cards. Of
-course this is invisible. These cards are placed in envelopes and
-sealed up. Upon opening the envelopes shortly afterward the cards
-are covered with the writing which was before invisible, but is
-brought out by a solution of nut galls with which the inside of the
-envelopes had been slightly moistened.
-
-The subject of sympathetic inks is such an interesting one that
-we give thirty-seven formulas, which include all those which are
-liable to be used by the medium.
-
-The solutions used should be so nearly colorless that the writing
-cannot be seen till the agent is applied to render it visible.
-Sympathetic inks are of three general classes.
-
-
-_Inks that Appear through Heat._
-
-1. Write with a concentrated solution of caustic potash. The
-writing will appear when the paper is submitted to strong heat.
-
-2. Write with a solution of ammonium hydrochlorate, in the
-proportion of 15 parts to 100. The writing will appear when the
-paper is heated by holding it over a stove or by passing a hot
-smoothing iron over it.
-
-3. A weak solution of copper nitrate gives an invisible writing,
-which becomes red through heat.
-
-4. A very dilute solution of copper perchloride gives invisible
-characters that become yellow through heat.
-
-5. A slightly alcoholic solution of copper bromide gives perfectly
-invisible characters which are made apparent by a gentle heat, and
-which disappear again through cold.
-
-6. Write upon rose colored paper with a solution of cobalt
-chloride. The invisible writing will become blue through heat, and
-will disappear on cooling.
-
-7. Write with a solution of sulphuric acid. The characters will
-appear in black through heat. This ink has the disadvantage of
-destroying the paper. (See the caution given on page 9.)
-
-8. Write with lemon, onion, leek, cabbage or artichoke juice.
-Characters written with these juices become very visible when the
-paper is heated.
-
-9. Digest 1 oz. of zaffre, or cobalt oxide, at a gentle heat, with
-4 oz. of nitro-muriatic acid till no more is dissolved, then add 1
-oz. common salt and 16 oz. of water. If this be written with and
-the paper held to the fire, the writing becomes green, unless the
-cobalt should be quite pure, in which case it will be blue. The
-addition of a little iron nitrate will then impart the property of
-becoming green. It is used in chemical landscapes for the foliage.
-
-10. Put in a vial ½ oz. of distilled water, 1 drm. of potassium
-bromide and 1 drm. of pure copper sulphate. The solution is nearly
-colorless, but becomes brown when heated.
-
-11. Nickel nitrate and nickel chloride in weak solution form
-an invisible ink, which becomes green by heating when the salt
-contains traces of cobalt, which usually is the case; when pure, it
-becomes yellow.
-
-12. When the solution of acetate of protoxide of cobalt contains
-nickel or iron, the writing made by it will become green when
-heated; when it is pure and free from these metals, it becomes blue.
-
-13. Milk makes a good invisible ink, and buttermilk answers the
-purpose better. It will not show if written with a clean new pen,
-and ironing with a hot flat iron is the best way of showing it up.
-All invisible inks will show on glazed paper; therefore unglazed
-paper should be used.
-
-14. Burn flax so that it may be rather smoldered than burned to
-ashes, then grind it with a muller on a stone, putting a little
-alcohol to it, then mix it with a little gum water, and what you
-write, though it seem clear, may be rubbed or washed out.
-
-15. Boil cobalt oxide in acetic acid. If a little common salt be
-added, the writing becomes green when heated, but with potassium
-nitrate it becomes a pale rose color.
-
-16. A weak solution of mercury nitrate becomes black by heat.
-
-
-_Inks that Appear under the Influence of Light._
-
-17. Gold chloride serves for forming characters that appear only as
-long as the paper is exposed to daylight, say for an hour at least.
-
-18. Write with a solution made by dissolving one part of silver
-nitrate in 1,000 parts of distilled water. When submitted to
-daylight, the writing appears of a slate color or tawny brown.
-
-
-_Inks Appearing through Reagents._
-
-19. If writing be done with a solution of lead acetate in distilled
-water, the characters will appear in black upon passing a solution
-of an alkaline sulphide over the paper.
-
-20. Characters written with a very weak solution of gold chloride
-will become dark brown upon passing a solution of tin perchloride
-over them.
-
-21. Characters written with a solution of gallic acid in water will
-become black through a solution of iron sulphate and brown through
-the alkalies.
-
-22. Upon writing on paper that contains but little sizing with a
-very clear solution of starch, and submitting the dry characters
-to the vapor of iodine, or passing over them a weak solution of
-potassium iodide, the writing becomes blue, and disappears under
-the action of a solution of sodium hyposulphite in the proportions
-of 1 to 1,000.
-
-23. Characters written with a 10 per cent. solution of nitrate of
-protoxide of mercury become black when the paper is moistened with
-liquid ammonia, and gray through heat.
-
-24. Characters written with a weak solution of the soluble platinum
-or iridium chloride become black when the paper is submitted to
-mercurial vapor. This ink may be used for marking linen. It is
-indelible.
-
-25. C. Widemann communicates a new method of making an invisible
-ink to _Die Natur_. To make the writing or the drawing appear which
-has been made upon paper with the ink, it is sufficient to dip it
-into water. On drying, the traces disappear again, and reappear by
-each succeeding immersion. The ink is made by intimately mixing
-linseed oil, 1 part; water of ammonia, 20 parts; water, 100 parts.
-The mixture must be agitated each time before the pen is dipped
-into it, as a little of the oil may separate and float on top,
-which would, of course, leave an oily stain upon the paper.
-
-26. Write with a solution of potassium ferro-cyanide, develop by
-pressing over the dry, invisible characters a piece of blotting
-paper moistened with a solution of copper sulphate or of iron
-sulphate.
-
-27. Write with pure dilute tincture of iron; develop with a blotter
-moistened with strong tea.
-
-28. Writing with potassium iodide and starch becomes blue by the
-least trace of acid vapors in the atmosphere or by the presence
-of ozone. To make it, boil starch, and add a small quantity of
-potassium iodide in solution.
-
-29. Copper sulphate in very dilute solution will produce an
-invisible writing, which will turn light blue by vapors of ammonia.
-
-30. Soluble compounds of antimony will become red by hydrogen
-sulphide vapor.
-
-31. Soluble compounds of arsenic and of tin peroxide will become
-yellow by the same vapor.
-
-32. An acid solution of iron chloride is diluted till the writing
-is invisible when dry. This writing has the remarkable property of
-becoming red by sulphocyanide vapors (arising from the action of
-sulphuric acid on potassium sulphocyanide in a long necked flask),
-and it disappears by ammonia, and may alternately be made to appear
-and disappear by these two vapors.
-
-33. Writing executed with rice water is visible when dry, but the
-characters become blue by the application of iodine. This ink was
-much employed during the Indian mutiny.
-
-34. Write with a solution of paraffin in benzol. When the solvent
-has evaporated, the paraffin is invisible, but becomes visible on
-being dusted with lampblack or powdered graphite, or smoking over
-a candle flame.
-
-35. To Write Black Characters with Water.--Mix 10 parts nutgalls,
-2½ parts calcined iron sulphate. Dry thoroughly, and reduce to fine
-powder. Rub this powder over the surface of the paper, and force
-into the pores by powerful pressure, brush off the loose powder. A
-pen dipped in water will write black on paper thus treated.
-
-36. To Write Blue Characters with Water.--Mix iron sesquisulphate
-and potassium ferrocyanide. Prepare the paper in the same manner
-as for writing black characters with water. Write with water, and
-the characters will appear blue.
-
-37. To Produce Brown Writing with Water.--Mix copper sulphate and
-potassium ferrocyanide. Prepare the paper in the same manner as
-before. The characters written with water will be reddish brown.
-
-Here is another trick calling for the use of sympathetic ink. A
-medium suggests a number of questions to write on a paper, one of
-which you select and write on a slip of paper furnished by the
-medium. Writing is done with pen and ink. You are requested to dry
-it with a blotter, and not to remove the blotter for a time, the
-medium says, so as to keep the paper in the dark, thus giving the
-“spirits” better conditions under which to work. After a while the
-blotter is removed, and an answer to the question is found on the
-same paper. The questions suggested were all of such a character
-that one answer would nearly do for any one. The paper the question
-was written on had this answer written with invisible ink brought
-out by a reagent on the blotter, with which it was saturated, and
-thus another mystery is easily dispelled.
-
-We will now take up a few slate tests, in which the slates are
-brought or furnished by the spectator or investigator. The tests
-in which the slates are brought by skeptics and tied and sealed by
-them, and still writing is obtained upon them, are the ones that
-are the most convincing and most talked about, and they are offered
-to the unbeliever as proof absolute of spirit power.
-
-[Illustration: Fig. 6.--Writing on the Slate with the Pencil
-Thimble.]
-
-First we will begin with the single slate which has just been
-handed to the medium, after being thoroughly cleaned by the person
-bringing it. The skeptic holds one end of the slate in one hand and
-the medium the opposite end in one of his hands, and both persons
-clasp their disengaged hands. In a short time the slate is turned
-over and a few words written in a scrawling style are found. I
-must acknowledge that when I first witnessed this test it somewhat
-staggered me, but afterward, on seeing it the second time, I was
-enabled to fathom its mystery. It is patterned somewhat after the
-style claimed to have been used by Slade, wherein he used a piece
-of slate pencil fastened to a thimble, and with apparatus attached
-to his forefinger of the same hand holding the slate he did the
-writing. The thimble (Fig. 6) was fastened to an elastic which
-pulled the thimble out of sight up the sleeve or under the coat
-when it was done with. But it always required a little scheming
-and maneuvering both to use and conceal the device and get rid of
-it, and there was always the fear of being detected with this bit
-of machinery about the person; so someone of an ingenious turn of
-mind hit upon another method. There are some slate pencils made the
-same as lead pencils, that is, a very small piece of slate pencil,
-about the size of a match, is enclosed in the wood after the manner
-of lead pencils. A tiny piece of this pencil is placed at the tip
-of the forefinger and over it is placed a piece of flesh-colored
-court plaster well fastened to the finger (Fig. 7) and well blended
-in with aniline dye with the finger, so both are exactly the same
-color. After everything becomes dry and hard a little hole is
-made in the court plaster, so as to allow the point of the piece
-of pencil to come through enough to mark on the slate. The finger
-thus prepared is what does the writing. The message or name must
-be written backward, so that when the slate is reversed it will
-appear in its correct position. To learn to do this quickly, stand
-in front of a looking-glass with the slate in your hand and watch
-your writing in the glass as you go along. You do not need to hold
-the slate underneath the table in this test; hold it in the air
-with a handkerchief over it, so as to disguise the movement of the
-finger. The message must necessarily be short, on account of the
-radius through which the medium’s finger can travel.
-
-[Illustration: Fig. 7.--The Prepared Finger.]
-
-We now come to another method of using the single slate. The
-medium takes the slate and places it on the table and requests the
-spectator to write a question on a piece of paper. He, the medium,
-gains knowledge of the contents of the paper in various ways; one
-is by using a pad of paper which contains underneath the second
-or third layer of paper a carbon sheet made of wax and lampblack.
-Whatever is written on the first sheet of paper will be transferred
-or copied by means of the carbon paper to the sheet underneath it.
-Another way is by requesting a person to fold the paper and hold
-it against his head, and, under the pretense of showing the person
-how to hold it, exchange it for a paper of his own folded in like
-manner. This exchanged paper is then opened and read by the medium
-while his hand is below the level of the table top, and while he
-is holding a conversation with the auditor. After it is read, the
-paper is again folded and kept in the performer’s lap until needed.
-As he now knows the contents of the paper, he can frame in his
-mind a suitable answer. He remarks: “I will ask the spirits first
-to give you a decided answer, through me as an independent trance
-slate writing medium, whether they will answer your question during
-this sitting.” So the medium takes a pencil in hand and writes on
-one side of the slate, apparently under spirit control, and then on
-the other side. The message is read, and it says the conditions are
-very favorable, and no doubt, if the skeptic will place the utmost
-confidence in the medium, there will be satisfactory results. After
-the slate has been shown with both sides covered with writing, it
-is thoroughly cleaned and placed on the table. The medium now picks
-up the original paper from his lap and asks the person to give him
-the paper he is holding. This the medium apparently places under
-the slate; however, he really holds this one back and introduces
-the one he has had in his hand, which is the one originally written
-upon. He has now his own paper in his hand, and the one with the
-question is under the slate. On the slate being turned over in a
-short time, it is covered with writing, forming a sensible reply to
-the question on the paper, which is now opened and read to compare
-it with the answer. All that remains to be explained is how the
-writing on the slate appeared there. The false flap is again used,
-but in a directly opposite manner to which it has been employed
-heretofore. One side of this flap is covered with a portion of the
-writing that the medium first wrote under spirit control. Let us
-say the first half supposed to have been written on the one side
-of the slate, and which he afterward reads off in connection with
-that written on the last or second side of the slate. What he
-really wrote on the first half of the slate was a correct answer
-to the question, and after he turns the slate over to write on
-the opposite side he slips the false flap over the answer on the
-slate. Of course it is what is on this false flap and on the other
-side of the slate that the spectator really reads, and when the
-slate is cleaned it is this flap and the opposite side of the
-slate. The writing, covered by the flap, which is the answer to
-the question, is never seen or touched until after the flap is
-allowed to drop into the medium’s lap. The slate can be examined;
-and, of course, no trickery can be found in connection with it. The
-method described above, in the hands of a calm and cool person, is
-a convincing one, and never fails to satisfy the most exacting of
-skeptics.
-
-I wish to remark that, if any person tells you he took two slates
-of his own to a medium, thoroughly well tied or sealed, and that
-the slates never left his (the skeptic’s) hands, and that there
-was writing obtained upon the interior surface of the slates
-under those conditions, he was sadly mistaken, and has failed to
-keep track of everything that actually took place at the time
-of the sitting. Suppose two slates tied together are brought to
-the medium. Both he and the stranger sit at a table. The slates
-are held under the table, the medium grasping one corner and the
-skeptic the opposite corner, each with one hand, and the disengaged
-hands clasped together above the table. After a while the slates
-are laid upon the table, the string untied, the slates taken
-apart, but no writing is found. The medium states it must have
-been because there was no slate pencil between them. So a small
-piece of pencil is placed between the slates, and again they are
-tied with the cord by the medium, and he again passes them under
-the table, both persons holding the slates as before. Presently
-writing is heard, and, upon the skeptic bringing the slates from
-under the table and untying the cord himself, he finds one of the
-slates covered with writing, although but shortly before they were
-devoid of even a scratch. Here is the explanation: The medium does
-not pass the slates under the table the first time, but drops them
-in his lap, with the side on which the string is tied or knotted
-downward, and really passes a set of his own for the skeptic to
-hold; he (the medium) supporting his end by pressing against the
-table with his knee, which leaves his hand disengaged. There is a
-slate pencil, called the soapstone pencil, which is softer than
-the ordinary. This is the one used by the medium. He now covers
-the face of the slate which is uppermost in his lap with writing,
-doing so very quietly and without any noise. Now, as he brings the
-slates above the table, he leaves his own in his lap and brings up
-the skeptic’s with the writing side down. The slates are untied and
-taken apart and shown, devoid of writing upon the inside, which
-he claims was caused by not having any slate pencil inside. The
-medium now places the pencil upon the slate which was originally
-the upper one, and covers this with what was the bottom slate,
-which is covered with the writing inside on the back or bottom of
-slate. This maneuver or action brings the slate on top with the
-writing upon its inside. Nothing could be more simple and natural.
-The slates are again tied together, and in doing so the slates are
-turned over, bringing the slate containing the writing, still upon
-the inside, at the bottom instead of the top, and the string tied
-or knotted above the top slate. Of course, when again separated,
-the writing is found upon the inside of the lower slate. When the
-slates are passed under the table the second time, the spectator
-himself is allowed to do this, and the medium, with one of his
-finger nails, while holding his end of the slate, produces a
-scratching noise on the slate closely resembling the tracing of a
-pencil. It is not really necessary to pass the slates under the
-table the second time, but they can be held above it if preferred.
-
-Now, suppose two slates are brought that are riveted or screwed or
-sealed at the four corners. How can writing be obtained upon them
-without disturbing any of the above arrangements? The slates are
-held under the table in the same manner as in previous tests. To
-produce the writing upon the slates the medium is provided with a
-few simple, though effective devices, one of which is a little hard
-wood tapering wedge, and a piece of thin steel wire, to one end of
-which is fastened a tiny piece of slate pencil. An old umbrella rib
-will be found to work admirably, because there is a small clasp
-at one end and at its other end a small eye. The pencil is made
-to fit into the end with the clasp. Now take the wooden wedge and
-push it between the wooden frames of the slates at the sides. The
-frames and slates will give enough to allow the wire and pencil to
-be inserted and the writing be accomplished with it, after which
-the wire is withdrawn, and then also the wooden wedge, and all is
-done without leaving any trace or mark behind as to how it is all
-performed. (Fig. 8.)
-
-[Illustration: Fig. 8.--Wedging Apart the Slates.]
-
-A well known conjuror at one time made a remark that he could
-duplicate any slate writing test he ever witnessed, he having
-publicly declared, time and time again, the slate writing test to
-be a fraud. He gave a test in private at his own home and hit upon
-a rather unique idea. A slate would be cleaned on both sides and
-a private mark placed on it, and the slate allowed to lie flat on
-the table, and the magician and the committee sat around it and
-placed their hands upon the slate. Presently writing was heard, and
-upon lifting the slate the side underneath was found covered with
-writing. The table was a kitchen table with the ordinary hanging
-cloth cover, or table cloth. The table had a double top with room
-enough between the two to conceal a small boy. There was a neatly
-made trap in both the table cloth and the top of the table; the
-cloth being glued around the opening to keep it in place. The trap
-door opened downwards. The boy concealed in the table opened the
-trap door and did the necessary writing on the slate, and closed
-the opening. The idea of having the committee hold their hands on
-the slate was to prevent the slate from being accidentally moved
-by the boy when writing. The above idea was improved upon by doing
-away with the use of the boy and the double top of the table. The
-trap in the cloth and table top was still used. But the test was
-done with the lights turned out or down low, and the medium had a
-confederate sitting at his right hand side. This allowed the medium
-to take away his right hand, introduce it under the table, open the
-trap, do the writing, shut the trap, replace his hand, and on the
-lights being turned up the writing is found. It should be stated
-that the medium and committee sat around the table with their hands
-resting on the slate, and each person’s hand touching that of his
-neighbor; so neither could move without the other being aware of
-the fact, but the medium’s right hand neighbor, being one of his
-confederates, allows him to take his (the medium’s) hand away
-without any one being the wiser.
-
-[Illustration: Fig. 9.--The Trick Slate.]
-
-I will now describe how the writing is obtained upon the interior
-of two slates sealed together, and all hands placed on them, and
-without the assistance of a confederate. The table is the same as
-previously described, that is, it contains the trap. The slates
-are two single ones hinged together and sealed around the edges in
-any manner the committee may see fit. One of the slates is a trick
-slate made in this fashion: The slate part itself is made to work
-on a pivot or hinge along one of its sides. (Fig. 9.) The side
-opposite to where both slates are hinged together, by touching a
-portion of the hinges that hold the two slates together, a catch
-concealed in the wooden framework is released, which allows the
-slate part itself to drop down on its own hinge or pivot. So when
-the slates are placed on the table they are put directly over the
-trap in the table, and with the hinges of the two slates toward
-the medium. The medium, as he places the slates over the trap in
-the table, pushes the hinge releasing the catch, which allows the
-underneath slate to drop as far as the table. Now, when the trap
-in the table is opened, the slate opens or drops far enough for
-the medium to write on that part, also on the slate above it. He
-closes both the slate and the table, and the slates, upon being
-unsealed, are found covered with writing. The only thing that
-remains to be explained is how the medium gets his hand free to
-do the writing without being detected. The lamp or gas jet is
-close to the medium’s right hand, where he can reach it. Now, all
-the persons are seated around the table with their hands on the
-slates, and each other’s hands or fingers touching one another.
-The medium takes his right hand away to turn down the light, and
-his next door neighbor, as soon as the light goes out, feels his
-(the medium’s) hand or finger replaced. At least, so he thinks.
-What really happens is this: The thumb of the medium’s left hand
-is stretched far enough over to touch the hand or finger of the
-person sitting on the performer’s right hand side. (Fig. 10.) The
-medium immediately goes to work and produces the writing, and when
-finished, just as he goes to relight the gas or lamp, he removes
-the left thumb to create the impression that he has just taken his
-right hand away again for the light.
-
-[Illustration: Fig. 10.--The Medium Holding the Two Skeptics’
-Hands.]
-
-Here is a trick I once saw a medium do. He had a number of slates
-piled on top of the table; he would clean these, one at a time,
-showing each, and after they had been thoroughly examined, he
-placed them on the floor. He would then pick them all up together
-and replace them on the table, and select two of them, put them
-together, holding them in his hand above his head, would shortly
-separate them and show one covered with writing. The slates were
-devoid of all trickery, as was easily proved in allowing them to be
-thoroughly examined.
-
-[Illustration: Fig. 11.--The Slate under the Carpet.]
-
-The explanation is as follows: The floor was covered with carpet.
-In this there was a slit or cut just large enough to pass or draw
-a slate through. A slate with writing on one side is previously
-placed under the carpet, with that side down. (Fig. 11.) The
-slates, as they are cleaned, are laid on the carpet immediately
-over or near this concealed one, and, on lifting the slates from
-the floor, this one is also carried with them, and all placed on
-the table.
-
-Of course, it is this slate and one of the prepared ones that are
-afterward used. There is little likelihood of any one taking notice
-of there being one more slate in the pile.
-
-Some mediums use two single slates, and, after cleaning them on
-both sides, hold one in each hand. They sit a little way from the
-table and place the right hand, with the slate, under the chair, as
-if to draw the chair closer to the table. What the medium really
-accomplishes is an exchange of slates. There is a little shelf, or
-drawer, under the seat of the chair. On this lies a slate, one side
-of which is prepared with writing. The medium picks up the slate
-and leaves behind in its place the one held in his right hand as he
-moves the chair. This is a method used to a considerable extent and
-always successfully.
-
-The following is a clever ruse, ofttimes used by mediums to destroy
-all traces of the use of the false flap when it is employed. It is
-the test where the flap is used to cover the writing on one slate,
-and then that slate is covered with another. Now, if the slates
-are turned over or reversed, the writing is uncovered and the flap
-remains in the opposite or underneath slate. Now, to get rid of
-that flap, the medium deliberately presses his knee against that
-slate, breaking not only the slate, but also the flap contained in
-it. The broken flap mingles in with the broken slate, and nobody is
-any the wiser. Nobody for a moment thinks of picking up the pieces
-to see if there are one or more slates. Of course, when the slates
-are broken, it is done secretly under the table, and the medium
-remarks: “The spirit force is so strong it has smashed the slate.”
-A test with a single slate that I once saw done was rather neat in
-its way, and I think it worth describing. The slate was examined
-and cleaned on both sides, and placed on a small table covered
-with a little fancy cloth. On lifting the slate afterward, its
-underneath side was found with writing on it. The top of the table
-was no larger than the slate. When the slate was laid on the table,
-the medium remarked: “To convince you there is no trickery about
-the table, I will remove the cloth;” which he did, with the slate
-still on or in it, and then replaced the slate and cloth. Now, on
-this table top was resting another slate covered with writing on
-one side, and that side upward, and this covered with the table
-cloth. When the medium picked up the cloth and the slate, which had
-just been cleaned, he also carried along the second slate with it,
-which was under the cloth, and in replacing the cloth he simply
-reversed the sides, laying the first slate on the table, where it
-was covered by the cloth, and the second one was thus brought to
-view. It is astonishing how such barefaced and simple devices will
-deceive the spectator. It is the boldness and air of conviction of
-his assertions that carry a medium’s test successfully through.
-
-
-
-
-CHAPTER II.
-
-THE DOUBLE SLATE.
-
-
-We now come to a slate called by the mediums “The double slate.”
-It is, to all appearances, two ordinary slates hinged together at
-one side and locked with a padlock, the shackle of which passes
-through a hole in the sides of the frame of each slate. This slate
-also contains the false flap or slate, but the slate or flap is
-held firmly in each frame as follows: The inside edges of both
-ends of each frame of the slates are beveled inward a trifle. One
-of these ends of each slate frame is also made to slide or pull
-out about one-quarter of an inch. These are prevented from sliding
-until wanted by the medium by a catch in the framework, which is
-connected with a screw in one of the hinges. This screw stands a
-little higher than the rest, so as to be easily found. The hinges
-are on the outside of the frame instead of inside. By pressing
-this screw it undoes the catch, which allows the ends to be moved
-a trifle. The false flap is just large enough to fill in the space
-under the bevels of the frame, and if, in the top frame, the catch
-is released and the end moved, the flap will drop into the bottom
-slate, where it is held tight and firm by releasing the catch in
-that frame, moving the end until the flap settles into its place
-and then sending the end back into its original place again. The
-writing is placed beforehand on one side of the flap and on one
-slate, both the written sides face to face, and after the flap has
-changed slates it presents two slates with written sides.
-
-There is still another double slate used with hinges and padlock.
-(Fig. 12.)
-
-[Illustration: Fig. 12.--The Sliding Trick Slates.]
-
-One of the ends of the wooden frame of one slate is fastened
-securely to its slate, which is made to slide out completely from
-the groove in the frame. This allows the insides of both slates to
-be written upon. After that is done the slate is slid back into
-its frame. Care should be taken, in sliding the piece back, not to
-reverse it so as to bring the writing side out. The best way is not
-to pull the slate completely out, and write upon the inside of the
-stationary slate, and then reverse the slates, which will bring the
-inside of the movable slate into view. Write on that and then close
-the slate.
-
-I have seen a medium use the double or folding slate and get rid of
-the false flap in this way: He used a pair of small slates. These
-he opened out with the flat side towards the audience, and while
-in his hand, cleaned those two sides away from the table. He now
-showed the reverse sides and cleaned them likewise. He now closed
-the slates, but toward him, instead of away from him, holding them
-close to his body, and as he does so, the false flap, by this
-movement, slips easily and unperceived beneath his coat or vest.
-
-I once witnessed a test which, for a time, completely nonplussed
-me, but, after considerable study and experimenting, I solved it.
-
-This is the effect of the test: A person was allowed to bring two
-slates; he was to wash them himself and securely seal them in the
-presence of the medium, the medium placing, before the slates were
-sealed, a piece of chalk between them. The slates were sealed after
-this fashion: Around the whole length and width of the slates court
-plaster was stuck, and that was also sealed to the slates with
-sealing wax, making it an utter impossibility to insert a piece
-of wire, or like substance, between the slates. Nevertheless, the
-slates were held under the table and presently removed, unsealed,
-and writing in a very poor hand found upon the inner surface of one
-of the slates. It could hardly be called writing, being hardly more
-than a scrawl.
-
-Now, how can this be accounted for? By one of the simplest
-devices imaginable. The medium placed the piece of chalk between
-the slates. This was composed of pulverized chalk, mixed with a
-little water, glue and iron filings, and allowed to become hard.
-The medium, while under cover of the table, traced with a magnet
-below the slate the words found upon the inside, but backward, the
-same as type is set for printing; if not, the writing on the slate
-will be in reverse. The chalk, on account of the iron filings it
-contains, follows the direction of the magnet. (Fig. 13.)
-
-[Illustration: Fig. 13.--Magnetic Writing.]
-
-We now come to another idea with two slates. Have two slates made
-with fairly deep wooden frames, deep enough to hold the slate
-proper and a false flap of slate. One made of silicate book-slate
-stuff is preferable. Your apparatus consists now of two slates and
-one false flap. The false flap is made to fit very tightly, so it
-will not fall out of its own weight. The slates in the frame also
-fit snugly. The frames are mortised out a little thicker than the
-slate, say twice as thick. This allows the slate to work backward
-and forward, from front to back, and _vice versa_. If the slate
-is well pushed down and the flap placed on it, the flap will not
-fall out, but if you press the slate on the back forward, it shoves
-out the flap, and if it is covered with the other or second slate
-during this operation, it is forced into the second slate, which
-holds it firm and secure.
-
-[Illustration: Fig. 14.--The Thimble Carrying False Key and Chalks.]
-
-Another test, which was supposed to be convincing to skeptics, was
-one in which a double slate was used; it was hinged and provided
-with a lock in the wooden frame. The slates were examined, locked,
-and the key given to the skeptic. The skeptic was allowed to select
-from a number of pieces of colored chalk the color that he desired
-the message to be written in. Upon the slates being unlocked and
-opened, the writing is found in the color selected. While the
-slates are being examined, the medium seizes a duplicate key which
-fits the lock. (Fig. 14.) This key has a thimble attached to it
-which fits the performer’s right thumb; also attached lengthwise to
-the key are several small colored pencils or crayons of different
-lengths. When the slate has been examined, it is placed under the
-top of the table and held in position by the thumb of the right
-hand, which is underneath, and the fingers above the table. During
-this manipulation the thimble is placed on the thumb, and the
-performer, with the key attached to it, opens the slate, using his
-knee to assist or support the slate. One part of the slate opens
-downward and rests on the knee, which holds it in position, i. e.,
-at an incline, pressing it against the table top. On this part of
-the slate the writing is now done with the colored crayon selected,
-which are usually red, blue, green and white. When the color of
-the crayon is selected the performer turns the thimble around,
-bringing that color upward. Although not easy to execute, it is,
-nevertheless, a most surprising and effective test.
-
-The above test was used by a medium very successfully for years in
-England and France, and was found out recently.
-
-A test I once received was, I thought, quite clever. I was asked to
-write a question on a piece of paper furnished by myself and place
-it between two slates without the wooden frames. The medium said I
-would in a short time receive an answer. He then opened the slates,
-stating the answer must be there, but none was found. He remarked
-that perhaps we did not give the spirits time enough. So he
-replaced the slates together with the paper containing the question
-between. Again, on taking the slates apart, they were devoid of
-writing, but, strange to say, the answer in what looked like lead
-pencil was found on the paper containing the question. When the
-slates were removed the first time, the medium got a glimpse of
-the question on the piece of paper and then gave me one slate to
-examine, and apparently was looking at the other one himself. What
-he really was doing was this: On the side of the slate toward him
-he was writing a brief answer to my question with a pencil composed
-of mutton tallow and lampblack pressed very hard. This pencil was
-attached to his thumb. He held the slate at the ends with both
-hands, thumbs behind and fingers in front, the writing being done
-backward. When the slates were replaced the writing, being black,
-was not seen against the black slate, and was placed immediately
-over the paper and the writing transferred to it. This is the
-reason the slates were used without the wooden frame, because with
-the frame the two slates would not come close together to press
-hard enough to transfer the answer.
-
-A test, using a half dozen or so of slates, is as follows: Two
-slates are cleaned and examined and given to be held together by
-a skeptic, and the other slates cleaned on both sides and placed
-on the table. The medium now takes the two slates apart, but no
-writing is found; one slate is given to the skeptic and the other
-is placed on the table by the medium, who picks up another slate
-and places that with the one held by the unbeliever. After a short
-time the slates are again removed by the medium and no writing is
-found. As if in despair, the medium takes one slate away, placing
-it on the table, picks up another, showing both sides, places it
-with the one in the spectator’s hand, and in a little while the
-skeptic himself separates the slates and writing is found on one of
-them.
-
-This method brings in use again the slate with a false flap. This
-slate is among the others on the table. The two slates first given
-to the individual to hold are all right when the medium takes one
-slate away and places it on the table the first time and picks
-up another slate to place it with the one held by the skeptic. It
-is the flap slate, and this he places underneath the other slate
-and asks the skeptic to hold them. When the medium again separates
-the slates he turns them over, bringing the slate with the writing
-uppermost and also allowing the flap to fall into the lower slate,
-which is now taken away to be replaced by another taken from the
-table. Care is taken not to show the underneath side of the upper
-slate during this transaction. The slates the skeptic now holds are
-devoid of trickery, and when exposed with the writing on will cause
-wonderment.
-
-[Illustration: Fig. 15.--Slate with False Hinges.]
-
-There is still another style of slate made, and used to good
-advantage. It is two slates hinged together, making a double slate.
-It has also two holes in the frame opposite to the hinges, through
-which tape or cord can be run and tied and sealed to the slates.
-(Fig. 15.) The secret of getting the writing upon the inside lies
-in the fact that at least one-half of each hinge is screwed to
-the slate; the other half is made fast to a little projecting
-piece in which there is a slight notch. These projections enter
-corresponding holes in the other slate, in which is concealed a
-spring bolt which engages these catches of the hinge. This bolt is
-shoved back to release the catches by means of a pin pushed through
-a hole in the end of the frame.
-
-
-
-
-CHAPTER III.
-
-MISCELLANEOUS SLATE TESTS.
-
-
-At a public test or séance given by a medium I saw the following
-clever trick performed: A slate, clean on both sides, to all
-appearances, and, of course, devoid of writing, was given to a
-spectator to hold above his head. The medium then loaded a pistol,
-putting in, instead of a bullet, a piece of chalk, which he rammed
-well in. He then took careful aim at the slate, fired away, and the
-slate was covered with writing from the chalk that was placed in
-the pistol. The medium, beforehand, allows any one in the audience
-to choose from a plate containing different colored chalks the
-colors they desire. The chalk is all right, and is actually placed
-in the pistol and crushed to a powder by the ramrod. The slate has
-been written on one side with glycerine. This side of the slate is
-supposed to be cleaned, so as to keep clear of the glycerine, in
-order that the invisible writing may not be disturbed. It is this
-prepared side that faces the medium when he fires the pistol. The
-powdered chalk adheres to the glycerine, and thus we make clear
-another slate miracle.
-
-A clever trick employed to deceive me on one occasion was as
-follows: I was handed a slate and a damp sponge, with a request to
-cleanse the slate. I did so, and handed it back to the medium, who
-held it in plain view in one hand. In a short time the slate was
-given back to me with writing on it that could not be produced by
-any of the methods I was already acquainted with. I witnessed this
-test a second time, and it was only by accident that I discovered
-it, and all through the breaking of a string, to which the device
-employed was attached. The apparatus was a strip of narrow wood,
-nearly the length of the slate. Glued on it were raised letters of
-cork (felt would do also). These letters were in reverse, and were
-well rubbed with soft chalk. This strip of wood was attached to
-a cord running up the left sleeve, across the back, and down the
-right arm-hole, and thence under the vest and the end fastened to
-a button. The length of the string allowed the wood to hang behind
-the slate when held in the left hand. To keep the wood up in the
-sleeve until wanted, there was a loop on the string far enough
-up to suit the purpose. This loop was slipped over the button,
-where it could be easily detached with the right hand. The sponge
-was soaked in water containing alum, which makes the chalk adhere
-better to the slate. When the slate was handed to the medium, he
-held it downward in his left hand, and allowed the strip of wood
-to slip down behind it, when it was pressed firmly against the
-surface of the slate, and then pulled up into the sleeve again out
-of sight. This same idea has been utilized in using a blotter, the
-same as is used for ink, to dry the slate with. The blotter has the
-writing done on it with chalk, thus doing away with the strip of
-wood.
-
-Take a slate and cover it with writing on one side. Cover this
-writing with a piece of slate-colored silk, held in the corners
-lightly with wax. At one end of this silk have a few minute hooks.
-The slate is now cleaned on both sides, and, placing the slate on
-the floor, the piece of silk is allowed to attach itself by means
-of the hooks to the medium’s pants, or dress, as the case may be,
-thus leaving the slate devoid of trickery. It is hardly necessary
-to remark that the slate is placed on the floor written-side
-downward.
-
-[Illustration: Fig. 16.--The Caustic Trick Pencil.]
-
-A friend of mine told me of a medium he once went to see, who gave
-him a most remarkable test. He brought his own slate, and, as he
-afterward said, there could have been no trick about it. The medium
-took the slate for a moment, and with a pencil covered the slate
-with writing on both sides, just to see, so he said, if it would
-be good enough for the test. He then cleaned off the slate on both
-sides and gave it back to my friend, requesting him to hold it
-close against his breast, and then in a short time remove it, and,
-when he did so, he was thunderstruck to find writing on it on the
-side nearest to him. This struck me as being a most astounding
-proof of spirit writing. I had a meeting with the medium, who gave
-me the same test. It seemed strange to me that he should want my
-slate to write on and wash it off again, for the same reason as he
-gave my friend, and that was to see “if it was good enough for the
-spirits to work with.” I received a message on the slate, after
-it was washed, and saw that there was none on there after it was
-cleaned and handed to me. I went home puzzled, and experimented to
-no avail. I had another sitting with the medium, but he did not
-give me the same test; so I returned home again and tried to fathom
-the mystery, and was eventually successful. The trick was mainly
-in the pencil. It was pointed at both ends. (Fig. 16.) One end
-was a genuine slate pencil, the other end was a silver nitrate, or
-caustic pencil. In writing on the slate he wrote the lines quite
-a little distance apart with the slate pencil; in between these
-lines he wrote with the caustic pencil, the writing of which was
-invisible. The sponge the slate was cleaned with, was dipped in
-salt water. That part of the slate containing the writing done with
-the silver nitrate was just lightly tapped with the sponge, the
-rest of the slate was thoroughly cleaned. The salt water, when the
-slate becomes dry, brings out the silver nitrate white like a slate
-pencil mark. I consider this trick as ingenious and clever a one as
-it has been my good fortune to witness, and one that caused me much
-mental effort to solve.
-
-[Illustration: Fig. 17.--Writing with the Toes.]
-
-Here is another test. A slate just cleaned and marked is placed
-under the table on the floor. The medium and the skeptic grasp each
-other’s hands across the table. In a few seconds the slate is taken
-up from the floor and is found with writing on it. The solution of
-this, like all the rest of the slate phenomena, rests in simplicity
-and boldness. The medium wears slippers or low-cut shoes, that he
-can slip his foot out of easily. His stocking on his right foot is
-cut away so as to leave the toes bare. Now, attached to his great
-toe is a bit of pencil, and with this the writing is done. (Fig.
-17.) Sometimes the test is varied. Five or six pieces of chalk of
-different colors are on the table, and the investigator is allowed
-to select one, place it on the slate. In this case the chalk is
-held between the great and adjoining toe, and the writing is thus
-produced. It is surprising to see, with a little practice, what
-you can educate the foot to do. I myself can easily pick a pin off
-the floor and write quite well. Sometimes, by way of variation,
-instead of the medium or investigator lifting the slate from the
-floor, it is seen to mysteriously make its appearance above the
-edge of the table, being lifted there by means of the toes of
-the medium’s foot. Another method used is that of scratching the
-writing on the slate with any metal instrument and then wash the
-slate on both sides, being careful not to show the scratched side
-until it is wet from the washing. In this condition a casual glance
-will reveal nothing, but as soon as the slate becomes dry the
-writing or scratching appears. Writing has also been made to appear
-on a slate on the table while the medium and investigator sit with
-both hands clasped across the table. The medium accomplished this
-by the simple means of a pencil concealed in his mouth. At the
-proper moment he holds it between his teeth, leans his head over
-and writes on the slate. Of course this is all done in the dark,
-and the writing is not very good, but it answers the purpose, and
-that is all that is necessary.
-
-Here is still another test. A person writes a question on the slate
-and places it, written side down, on the table. All this when the
-medium is not looking. The medium takes his seat at the table,
-places one hand on the slate (so does the skeptic, the other hand
-on the medium’s forehead). With the disengaged hand the medium
-now proceeds to write on the upper surface of the slate. When he
-has finished, the communication is read, and it is found to be a
-correct answer to the question on the opposite side of the slate.
-To perform this seeming impossibility the medium has to employ a
-table containing a trap smaller than the frame of the slate. When
-the slate is placed on the table, the medium shifts it over this
-trap. The trap is then opened, and by means of mirrors, 3, 4,
-5, placed at angles of 45 degrees in the body of the table, the
-writing is reflected to the very place where the medium is sitting,
-and the image is reversed to normal by the third mirror, and it is
-easy then to give an answer to it. (Fig. 18.)
-
-[Illustration: Fig. 18.--Reading the Questions by Means of Mirrors.]
-
-The following is how writing can be made to appear on a slate on
-which a person has placed his initials in one corner of it, which
-is then placed with that side downward on the table, and shortly
-afterward, on turning it over, it is found completely covered with
-writing, and the signature of the visitor proves there has been no
-exchange of the slate. The secret of obtaining this effect is both
-a unique and quite original method.
-
-[Illustration: Fig. 19.--The Interrupted Flap.]
-
-The writing is already on the slate and is hidden from view by the
-false flap, which has a corner missing from it. This missing corner
-is where the clever idea comes in. After the medium cleans both
-sides of the slate, he says: “I will just draw a chalk mark down
-in this corner of the slate wherein the gentleman is to place his
-signature.” He really draws the chalk mark on the slate proper,
-but close to the edge of the missing corner of the flap, thus
-disguising the joint, and after the flap is dropped out of the
-slate of course this mark and signature still remains. (Fig. 19.)
-
-Here is still another. The medium cleans a slate on both sides and
-hands it to a skeptic to place his mark on it. It is then placed
-on the table, face downward, and in a short time, on being turned
-over, it is found with a spirit message on it. This is performed as
-follows: Let the message be written on the slate and then sponged
-out with alcohol, and when the slate dries, the writing will be as
-plain as ever.
-
-Here is another slate writing secret. Dissolve in hydrochloric acid
-some small pieces of pure zinc, about one-half ounce to an ounce
-of acid. With this solution write upon the slate with a quill or
-a small camel’s hair brush the desired communication. When dry
-it closely resembles writing done with a slate pencil. When the
-time arrives for the test, wash the slate, and it appears to be
-perfectly clean; allow any one to examine it and hold it until it
-becomes dry, but with the prepared side down. On the slate being
-turned over it is found to be covered with writing while in the
-spectator’s hand.
-
-Here is still another idea. The medium has a number of slates in
-his arms, say four. He hands the investigator the top one to clean.
-When he has done so, the medium receives it back and places it
-at the bottom of the pile of slates and hands him another again
-from the top to be cleaned, and repeats this operation until all
-four slates have been cleaned. He now takes two of the slates,
-places them together, and, on removing them again, writing is
-found on one of them. Here is the method of procedure: Prepare
-your communication on one of the slates, and let it be the bottom
-of the pile, with the writing side down. Have your visitor seated,
-stand by his side just a trifle behind him, hand him the top
-slate to clean; after he has done so, hand him the second one and
-receive the first one back, placing it at the bottom of all the
-slates, and repeat until the third slate. While this one is being
-cleaned, slip the fourth, now the top slate, to the bottom again.
-When the third slate is received, place it on the bottom and hand
-the fourth, really the first one over again; it is, of course, the
-top one and dry by this time, and the investigator is none the
-wiser. Of course, the two slates placed together afterward are the
-one prepared with writing and one of the blank ones. Instead of
-slipping the top slate to the bottom, sometimes another dodge is
-used. The medium simply turns the three slates over by a twist of
-the hand. This brings the prepared slate at the bottom and the last
-slate cleaned at the top, and he says he will clean this one, thus
-saving time; really, however, to disguise the fact that it is still
-wet from the last cleaning. He says, however, to the visitor, “You
-can clean it also, if you desire.”
-
-
-
-
-CHAPTER IV.
-
-MIND READING AND KINDRED PHENOMENA.
-
-
-Having now described the principal slate tricks which mediums
-use to entangle the unwary for their own ends, we come to other
-tricks which are used from time to time to impress the credulous
-with the idea that the medium is imbued with supernatural power
-and can perform what are, in effect, miracles. These tricks are
-legion, and they vary from clumsy attempts at mystification to the
-use of elaborate pieces of magical apparatus which call for rare
-mechanical genius in their design and construction. The present
-chapter will deal more particularly with what might be termed
-mind reading tricks and the reading of concealed writing. Of
-these tricks one of the most perplexing is that of reading sealed
-communications, or answering questions placed in an envelope which
-is well sealed.
-
-If I were to tell you that I could read whatever was written on
-a card inclosed in an envelope, and that envelope not only well
-sealed, but also stitched or sewn through with a thread and needle
-or machine, and the thread sealed to the envelope also, without
-removing the seal, stitches, etc., you would hardly credit the
-assertion. It is nevertheless true, and is easily and readily
-accomplished by very simple means.
-
-Prepare a sponge with alcohol. With this you rub or brush the
-envelope, which immediately becomes transparent as glass, thus
-enabling you to see through it and read what is written on the
-card. It takes but a few seconds for the alcohol to evaporate and
-leave the envelope in the same condition as before, without leaving
-a trace as to what or how it has done. This test was used most
-successfully for years by a celebrated Philadelphia medium.
-
-[Illustration: Fig. 20.--The Thumb Pencil Carrier.]
-
-We now come to a test often employed. A card is given by the medium
-to a skeptic with the request to write a question on it. The medium
-now holds the card in his hand against his forehead. Presently he
-hands the card back to the spectator, and on it, in writing, is
-found an answer to the question. The medium accomplishes the above
-feat by means of a little apparatus which is easily attached to
-the tip of the thumb. Part of it goes under the thumb nail and the
-lower part has a small needle point which embeds itself in the
-flesh. In the center of this little apparatus is a tiny piece of
-lead pencil. With this clever bit of mechanism the medium does the
-writing with the thumb of the hand holding the card. (Fig. 20.)
-
-Four or five persons are seated around a table. They are given
-paper and pencil and requested to write questions, then fold their
-papers up and place them in their pockets. The medium will give
-them replies to their questions; in fact, can tell them the full
-text of the questions they asked, and, what is more mysterious,
-he has been out of the room all the time the writing has been
-going on. To produce this effect, you are provided with a table
-containing a hollow leg. Now, spread a piece of thin white silk
-on top of table, then on the top of that a piece of carbon, or
-duplicating paper, or cloth. Now, over all, a thin table cover,
-fastened around the edges, so it cannot be raised up and looked
-under by the inquisitive.
-
-To the white piece of silk is fastened a string leading down the
-hollow leg, through a hole in the flooring, to the cellar or room
-below. Whatever writing is placed on the papers is transferred
-by the carbon paper to the silk below it. The medium pulls the
-string, down comes the silk. One corner of the silk has a mark
-corresponding with a certain corner of the table, and by this
-method not only does the medium know what is written, but who wrote
-it, as he has simply to see the position the writing occupies on
-the silk, and it will have been done by the party occupying the
-same position at the table. Another way is by using a pad of soft
-paper and hard pencils, and, after the writing, remove the pads.
-It will be found that the hard pencil has caused an imprint, or
-indenture, of the writing on the page below, not readily seen by a
-casual glance, but easily seen by the skilled eye of the medium.
-
-A test sometimes offered is as follows: A card is offered to a
-person to write a request. It is then placed in an envelope and
-sealed by the medium and placed on the table sealed side up. The
-medium now takes a pencil and slate and writes something on it. It
-is given to the skeptic who wrote the question, and it is found
-to be an answer to his query. The medium now opens the envelope
-by tearing it at one end, and takes out the card containing the
-question and hands it to the spectator. This is another humbug,
-and is accomplished by exceedingly simple but bold means. It will
-be observed that the medium places the card in the envelope, also
-takes it out. The skeptic never sees it. This is the secret: The
-envelope, on its face, has a slit cut in it a little lower down
-than the opening on the other side of the envelope. This side, the
-face of the envelope, is never shown. The card, in being placed
-in the envelope, is deliberately pushed through the slit in the
-envelope into the medium’s hand and palmed by him and read. Of
-course, it is an easy matter to write some kind of a sensible
-answer when the question is known. The card is inserted in the
-envelope in the same manner as it is taken out.
-
-Another trick is to have an answer appear written upon the
-inside of the body of the envelope in which is enclosed the
-question. The envelope is closed and sealed with sealing wax.
-This is accomplished without disturbing the seal. In the ordinary
-manufacture of an envelope, three of the flaps are stuck together
-with adhesive gum of far less strength than the fourth flap, which
-is to be moistened and closed by the user. It is generally an easy
-matter to insert the blade of a penknife behind the bottom flap,
-that is, between it and one of the end flaps, and separate them a
-trifle. Then, if you insert into this a wooden skewer, or hard,
-round-pointed stick, like a pencil, in fact, a lead pencil will do,
-but look out it does not leave marks behind; and by pushing this
-along, and giving it a rolling motion, you will separate the flaps
-up as far as the seal, and, if done carefully, without tearing or
-mutilating the envelope. Now, on a slip of paper write the answer
-or suitable message, but in reverse or backward writing, as the
-words would appear in a looking-glass, with a carbon or copying
-pencil. Pass this slip through the opening in the envelope, shake
-it into the desired position, now rub the envelope over this spot
-until you think the envelope has taken the impression. Then remove
-the slip of paper by the same way it came in, moisten and gum the
-opening, and the trick is done. In rubbing the envelope, it is a
-good plan to place a piece of paper over it to keep the envelope
-clean of marks, which would be liable to appear from damp or moist
-fingers during the rubbing.
-
-The following is from the experiments of a German scientist. He
-discovered, by the use of an embryoscope, or egg-glass, that the
-shells of eggs were of very unequal thickness.
-
-It occurred to him to make experiments in order to ascertain how
-many leaves of ordinary letter or official paper must be laid above
-and below a written leaf, in order to make it illegible to a highly
-sensitive eye in the direct sunlight. He found that after he had
-rested his eye in a dark room for ten or fifteen minutes, he could
-read a piece of writing over the mirror of the embryoscope that
-had been covered with eight layers of paper. He called in other
-observers to confirm this. The letters, however, that could be
-thus deciphered were written in dark ink on one side of the paper
-only. If four written sides were folded together, and especially
-if there had been crossing, it was hard to make out the drift
-of the writing; and there are some kinds of writing which, when
-folded thrice or twice, admit too little light for the purpose of
-decipherment.
-
-In this way, possibly, many of the performances of “clairvoyants”
-may be explained. By means of the egg-glass it is, as a rule,
-easier to make out the contents of a letter or telegram without
-the slightest tampering with the envelope than it is to detect the
-movements of the embryo in the egg.
-
-Suppose the writer of a billet, the contents of which are known
-only to himself, lets it out of his hands and loses sight of it
-for five minutes, it may be carried either in the direct sunlight,
-or into electric or magnesium light, and be read by the aid of
-the egg-glass. The placing of a piece of cartridge paper in the
-envelope, or the coloring of it black, is a means of defense at
-hand. In their present form, telegrams cannot be protected from
-perusal, unless delivered at once into the hands of the addressees.
-
-A few tests employed by mind readers and clairvoyants, so called
-from their presumed ability to read other people’s minds, will, I
-think, prove interesting. Let us suppose the performer, as a means
-of proving his ability to cause his subject to read his mind from
-a distance, or by mental telegraphy, execute the following feat.
-His subject, let us say his wife, is at home. The professor is in
-a public place, a store, or banking house, etc. He requests some
-one to write a question; he hands this person a fountain pen and
-a pad of paper. After the person has done so, he is requested to
-fold the communication up, place it in an envelope and seal it, and
-then put it in his pocket. He is now asked to write a letter or
-note to the professor’s assistant, asking her to inform him what
-it was that he had asked on the paper inclosed in the envelope in
-his pocket. This note, and the pen also, for fear the lady has no
-writing utensils, is carried by the gentleman himself to the lady.
-She reads the request, and, turning the paper over, she writes
-the answer correctly on the other side. Sometimes, instead of the
-gentleman himself going with the note, a messenger boy is sent with
-it and the answer brought back by him. In either case the paper and
-pen are sent along. The pen is an ordinary fountain pen, and it is
-by means of it that the lady receives the desired information of
-what has been written. First the professor has to know what has
-been written. He simply says to the gentleman: “You must allow
-me to read the question; for, if I do not see it, how can my
-assistant see it, for it is through me she is enabled to know? What
-I see I convey to her by mental telegraphy, and thus convey the
-communication.” After the professor sees the communication he goes
-to a desk and gets an envelope, or takes one out of his pocket,
-and gives it to the gentleman to place his question in and seal it.
-While this is being done he stealthily writes on a piece of fine,
-thin paper an exact copy of the question. This he makes into a
-little pellet and places it in the little cap or end that is made
-to cover the point of the pen for protection. Of course it is now
-easy to see the method by which the question is made known to the
-assistant. She has simply to remove the pellet of paper, unfold it
-and read it. Sometimes a pad of paper is used that has cunningly
-concealed between two of its leaves, near the top, a piece of
-carbon duplicating paper. These two sheets are pasted around the
-edges so as to appear as one, and when the person writes a question
-it is duplicated on the sheet of paper following the one wherein
-is concealed the carbon paper. The professor has simply to tear
-out this sheet and inclose it in the cap of the fountain pen. The
-name of Foster is almost invariably coupled with any test wherein
-there is reading of sealed letters, pellets, etc., just the same as
-Slade’s is connected with the slate writing tests.
-
-Foster was an inveterate smoker, anywhere and everywhere,
-especially at his séance, and it was all for a purpose. The
-visitor who desired a sitting with Foster was asked to write a few
-questions on small pieces of paper, fold them up separately, and
-press them into small balls or pellets. Foster would pick one of
-these up and hold it to his head, as if to try and penetrate it.
-Apparently failing to do so, he would place it back on the table.
-This he would repeat with others. Finally, he hands one of them to
-the visitor, after holding it against his forehead, requesting
-him to hold it himself. Foster then took a pencil and paper, and
-scribbled something on it, and then bared one of his arms, and
-showed it devoid of any preparation. He then rubbed this arm with
-his hand, and, on removing it, a name was seen. On reading what
-Foster scribbled on the paper, the visitor finds an answer to one
-of his questions, and the name in blood red on Foster’s arm is
-found to be the name of a person addressed by the visitor in the
-note. Foster had a pellet of paper of his own concealed between his
-finger tips, and, at some convenient moment, instead of placing
-back on the table one of the pellets he has just taken up, he
-substitutes one of his own, keeping the bona fide one in his hand,
-which he lowers into his lap and unfolds. Holding it in the palm of
-his hand, he strikes a match and lights his cigar, and while doing
-so he is deliberately reading the note, which he afterward crumples
-into a ball and conceals in his hand. He now takes up another
-pellet and tries to see through it by holding it to his forehead.
-He, however, fails, and gives it to the visitor to hold, really
-exchanging it for the one he has just read. He now has his own and
-the visitor has his. He now allows his hands to lie carelessly in
-his lap, and, while conversing with the visitor, he pushes one of
-his coat sleeves up a short distance, and, with a sharp-pointed
-stick, writes the desired name on his arm, pressing down hard. In a
-second or two he writes the answer to the visitor’s question, minus
-the name he has just placed on his arm. He now shows his arm bare,
-and rubs the spot where he has written, with his fingers slightly
-moistened, whereupon the name appears in bright pink writing. If
-it is desired to make it disappear, hold the hand above the head
-a few seconds. To make it appear again, rub once more with the
-fingers.
-
-Here is another trick which apparently calls for mind reading.
-The performer’s assistant is sent out of the room. Now, a sum of
-figures in addition is placed on the slate by a spectator. When he
-has concluded, the performer takes the chalk and draws a line under
-the numbers, turns the slate downward on a table, so nothing can
-be seen, places chalk on the slate, and retires into a corner of
-the room. His assistant is now called into the room, steps up to
-the table and seizes the chalk and marks down the correct answer
-to the sum of figures which is on the other side. Like all the
-tricks that appear the most incomprehensible, this is one of the
-most simple. The performer stands watching the person as he places
-down the numbers on the slate, he mentally adds them, and, with his
-hands behind his back or under his coat-tails, with a lead pencil
-in one hand, he writes on a piece of chalk held in the other hand
-the correct answer. It is needless to say that it is this piece
-of chalk he places on the slate, and not the one used. The chalk
-is scraped or filed flat a trifle lengthwise. This is to keep it
-from rolling on the slate, thus avoiding accidental exposure of the
-writing on it, and also give it a flat surface to write on.
-
-Here is an effect I produced as a stage illusion some years ago,
-somewhat resembling a spiritualistic effect. Hanging up against the
-scene, at the rear of the stage, was a large blackboard. On this
-blackboard writing appeared gradually, done in chalk, as though
-some unseen hand were actually at work. The blackboard was really
-nothing but fine wire slate-colored netting. There was a large
-hole cut in the scene immediately behind the blackboard. This hole
-was completely boxed in by curtains or woodwork, so as to make it
-as dark as night. A man was in this space, and he was dressed in
-a complete suit of black; also a black mask and gloves. He was
-provided with a pot of white paint, composed of whiting, water and
-glue, and a brush. Now, the man can see through this netting, but
-the spectators are unable to see him behind this screen of netting.
-With the brush and paint he traces on the wire netting whatever is
-desired. The paint comes through the meshes of the netting, and,
-adhering to it, makes a very good imitation of a chalk mark. It
-should be remembered the person doing the writing does so backward;
-so it will be in correct position when seen by the audience.
-
-[Illustration: Fig. 21.--The Board Facing the Audience.]
-
-The following is somewhat in the same line, and is called the
-“Educated Fly.” When the curtain rises a large mirror, in a gilt
-frame, is seen resting against an easel. (Fig. 21.) The magician
-takes the mirror in its frame from the easel and rests it on the
-floor, showing both sides to the audience. He also removes the
-glass from the frame, and rests the glass against the easel while
-he exhibits the frame to the audience. The frame has a solid wooden
-back. The mirror is about four and a half feet wide and three feet
-high, and after it has been inspected, the magician replaces it
-in the frame. He now takes a piece of soap and marks the glass
-off into twenty-eight even squares, which he numbers from one to
-twenty-six, and letters from A to Z; one of the remaining squares
-is zero, and the other is left, as the prestidigitateur says, for a
-starting point. He now takes a large fly from the table and places
-it on a little shelf which projects from the empty square. He then
-asks that a letter or number be called. As soon as this is done,
-the fly is seen to travel across the mirror and stop at the desired
-square. This is repeated time and time again, the fly every time
-returning to the starting point.
-
-[Illustration: Fig. 22.--The Mystery Explained.]
-
-The reason for having the mirror separate from its frame, and
-exhibiting it separately, is this: It will be remembered that the
-mirror is rested against the easel as the frame is shown, and that
-this frame has a wooden back. In addition to the wooden back, it
-has a cloth back, which is firmly fastened to the frame, and then
-comes the wooden back. This back is hinged to the frame at the
-bottom. Now, when the frame is placed on the easel and the mirror
-rested on the floor, the space behind the easel from the floor up
-is concealed by the mirror, and this gives an opportunity for a boy
-to get through a trap in the floor and pull down the back of the
-frame, to make a shelf on which he sits. (Fig. 22.) Of course, the
-cloth back is still in the frame; so the boy cannot be seen. The
-mirror is taken up and replaced in the frame; then it is marked off
-into squares, as already mentioned. The black cloth is previously
-marked off into squares which exactly duplicate those which have
-been made on the face of the mirror. The fly is made of cork, with
-an iron core which is set flat against the glass. The boy behind
-the mirror is provided with a strong electro-magnet attached to a
-wire running down the leg of the easel and under the stage, where
-it is connected to a powerful battery. He brings up the magnet
-and several feet of wire with him while the mirror is resting on
-the stage. When the boy hears the numbers called, he applies his
-magnet to the corner where the fly is resting on the little shelf,
-and the magnetic attraction, working through the glass, draws it
-successively over the squares until it comes to the desired spot,
-which the boy can see on his chart; and, of course, the proper
-letter or figure is indicated where the fly stops.
-
-The most sphinx-like problem ever presented to the public for
-solution was the second-sight mystery. There have been many exposés
-of “mental magic,” and some of the best of them are described in
-“Magic: Stage Illusions and Scientific Diversions, Including Trick
-Photography.”
-
-We have now to concern ourselves with “mental magic” where the
-results are obtained by clever tricks. There have appeared, from
-time to time, before the public, individuals who generally work
-in couples, termed “operators” and “subjects,” who have given
-performances which were termed mental wonders, silent second-sight,
-etc. The operator invariably tries to impose on the public with
-the idea that he possesses some mysterious power over the “subject”
-by which he is enabled to communicate information to her by his
-will power over her mind, without a word being spoken. There are,
-of course, various methods of performing this trick, as by a code
-of predetermined signals in which sentences like the following are
-used: “Say the number. Well? Speak out. Say what it is.” But these
-methods are not comparable with the mechanical means which we are
-about to describe.
-
-The “operator,” after informing the audience of the wonderful
-powers of divination which the subject possesses, introduces the
-“subject,” who is invariably a lady. She is seated on a chair near
-the front of the stage, in plain view of the audience. Her eyes
-are heavily bandaged, so she cannot see. A committee is invited to
-go upon the stage to see that the lady has had her eyes properly
-blindfolded, and also, ostensibly, to help the operator. A large
-blackboard is placed at one side of the stage, behind the lady.
-One of the committee is requested to step to this blackboard and
-write on it, with chalk, some figures, usually up to four or more
-decimal places; and after he has done so he resumes his seat. The
-lady immediately appears to add up the number mentally, calling out
-the numbers and giving the results of the addition. Each member
-of the committee is invited to step to the blackboard and touch
-a figure. No sooner has he done so than the lady calls out the
-number. Other tests of a similar nature are given, such as the
-extraction of square and cube root, etc. They all prove that the
-lady has a thorough knowledge of the numbers on the blackboard
-and the relative position which they occupy. It is, of course,
-proved beyond a doubt that the lady cannot see the blackboard.
-The question then arises, How does she obtain the information?
-There are two methods of performing this trick. In either case
-her information is obtained from a confederate, who is generally
-concealed under the stage, who has the blackboard in sight, and who
-transmits to the lady the desired information.
-
-[Illustration: Fig. 23.--The Foot Telegraph.]
-
-In one method the lady has a hole, one and a half inches in
-diameter, cut out of the sole of one of her slippers. (Fig. 23.)
-She places this foot over a hole in the stage, through which a
-small piston is worked pneumatically by the assistant. The piston
-is connected with a rubber tube, which runs to where the assistant
-is concealed. The assistant looks at the blackboard and manipulates
-the bulb, thus causing the piston rod to strike the sole of the
-foot, giving signals which can be readily understood by the
-subject. Robert Heller used a system somewhat similar, only an
-electro-magnet was used instead of the pneumatic piston.
-
-[Illustration: Fig. 24.--The Speaking Tube.]
-
-Another and bolder method of conveying information is the speaking
-tube. In this case a Vienna bent-wood chair is used. The chair is
-specially prepared for the trick. One leg of the chair is hollow,
-and the air passage is continued to the very top. The lady usually
-has a long braid of hair hanging down her back, and, if not blessed
-by nature with this hirsute adornment, she wears a wig. In either
-case, concealed in the hair is a rubber tube, one end being close
-to the ear and the other hanging down with the braid, so that when
-the lady is seated on the chair the operator can easily connect it
-with the tube in the chair. (Fig. 24.)
-
-[Illustration: Fig. 25.--The Head Telegraph.]
-
-[Illustration: Fig. 26.--The Signaling Instrument.]
-
-There is still a third method, which is so absurdly simple that
-it deceives even a very knowing committee. The committee places a
-chair on any part of the stage they may see fit, and the subject
-seats herself and is blindfolded as before. A thread runs from the
-side of the subject through a small ring attached to a chandelier
-overhead. (Fig. 25.) One end of this thread is held by an assistant
-and the other end is fastened to a hammer working on a pivot
-secured to a metal plate concealed in the hair of the lady, her
-hair being dressed high. When she walks on the stage, the assistant
-pulls in the slack of the thread, and when she is seated on the
-chair, the assistant pulls the thread taut, so that he is able to
-communicate signals to her by a very slight motion of the thread,
-which causes the hammer to work on the plate, which is resting very
-close to the skull, so that the signals are easily felt at every
-stroke of the hammer. (Fig. 26.) Predetermined signals may be used,
-or the regular Morse alphabet, as in telegraphing. There are a
-number of other ways of convey conveying information, but the three
-methods we have described are perhaps the best.
-
-
-
-
-CHAPTER V.
-
-TABLE LIFTING AND SPIRIT RAPPING.
-
-
-[Illustration: Fig. 27.--Table Lifting Trick.]
-
-So much has been heard about table tipping and floating tables, it
-will, I think, prove interesting to explain a few of the clever
-devices employed to produce the above phenomena. Small, light
-tables are lifted by the mere “laying on of hands.” The arms are
-raised in the air and the table is seen to cling to the hands and
-follow every motion. This is accomplished by a pin driven well into
-the table, and a ring with a slot in it (Fig. 27) worn on one of
-the medium’s fingers. The body of the pin easily enters the slot in
-the ring, but the head of the pin, being larger, prevents the table
-from falling away from the hand. After the table has been floated
-successfully, an extra strong upward pressure of the hand pulls the
-pin out, and the table can be examined. Another test on somewhat
-similar lines is the lifting of a bowl of water by immersing the
-hand in the basin of water. In this case a pin is fastened firmly
-into a leather or rubber sucker, and the finger ring again does
-the work. (Fig. 28.) This can also be used to lift anything that
-is not of a porous nature. A table with a well polished top can
-be easily lifted. In lifting large tables the medium is assisted
-by a confederate among the assembled guests. It is his duty to
-get as near opposite the medium as possible. The medium and the
-confederate have fastened to their wrists, by means of a leather
-cuff and straps, a bent hook. (Fig. 29.) Their hands rest on top
-and the hooks under the table. By this means it is a simple task
-to raise the table. Sometimes the above device is varied; instead
-of hooks fastened to their wrists they use hooks from under their
-vests, hanging by a loop from their necks. (Fig. 30.) I have seen a
-square table lifted without the use of either of the above devices.
-The medium and his confederate simply got the linen cuffs of their
-right hands well under the corner of the table, and with their
-hands on top they found no difficulty in raising the table by this
-improvised means.
-
-[Illustration: Fig. 28.--The Sucker.]
-
-Although spiritualists claim they have, and can, make pianos float
-in the air, I have never seen it accomplished, and I could never
-get a medium who was able to produce the effect, and I sincerely
-doubt if any one can honestly and truthfully acknowledge they have
-witnessed it.
-
-[Illustration: Fig. 29.--The Leather Cuff and Hook.]
-
-I saw a small, round table once floated in the air without the
-medium touching it. It was accomplished by means of two threads
-running across the room and worked by two confederates. The threads
-were on the floor and lifted up and allowed to catch under the
-table.
-
-I have also seen a letter raised from a table and float in the air
-into the medium’s hand. This was done also with a thread, one end
-fastened in the wall above the table the letter rested on, the
-other near the medium. The letter is not sealed. This allows the
-thread to go between the flap and letter, or envelope, and when the
-medium pulled the thread taut, it made an incline for the envelope
-to travel on, right up to the outstretched hand.
-
-[Illustration: Fig. 30.--The Loop and Hook for Table Raising.]
-
-Years ago Robert-Houdin, the celebrated French conjurer, produced,
-at his pretty little theater in Paris, an illusion which, for
-startling effects, has not since that time been excelled; and the
-means which he employed for operating the stage machinery have
-been employed in many stage tricks of more recent date. The stage
-is set to represent a drawing-room, and, in stage parlance, would
-be called a “box set.” There are side scenes, as well as a “drop”
-or back piece. In the center of the room is a large door, and a
-grand piano rests against one of the side scenes, a small table
-being placed near the door. When the illusion is to be performed,
-a lady enters carrying a bouquet, which she leaves on the table
-and advances to the piano. (See Frontispiece.) She seats herself,
-opens the cover of the piano and plays a short piece; then, closing
-down the cover, remarks that she does not feel in the humor to
-play. She extends her hand toward the bouquet on the table, which
-mysteriously rises and falls through the air into her hand; and, at
-the same time, she is seen to rise upward in the air still seated
-upon the piano stool. When she reaches a point midway between the
-ceiling and the floor she glides toward the opposite sides of the
-room, and the piano, which seems as if it will not be outdone,
-rises also and follows her through the air. This is usually
-received with great applause by the audience, and the curtain
-falls. The explanation of the phenomena is the following (Fig.
-31): In the first place, the piano case is cleverly made out of
-_papier maché_, and is really a mere shell containing no keyboard
-or action. The back of the piano is open; immediately behind it, in
-the side scene, is a trap, and at the back of this scene is a real
-piano mounted on a truck, so that it can be easily moved backward
-and forward. Our engraving shows both the piano and the trap. When
-the real piano is run into the _papier maché_ case the keyboard is
-in its normal position, so that the lady can play upon it. When the
-lady finishes playing she closes the lid of the false piano. As
-soon as this is done an assistant behind the scene moves the piano
-back, thus leaving the empty shell, and the trap in the scene is
-closed. The false piano is, of course, very light, and to it are
-fastened fine wires, which are invisible at a short distance; one
-is secured to each corner. These wires run up over pulleys on a
-truck overhead, which can be run backward and forward immediately
-over the scene. Each wire is terminated by a bag of sand or shot,
-which counter-balances the weight of the piano. It will be noticed
-that there is a fifth wire secured to the false case. It is run
-up also over the pulley in the truck, and then off to the side of
-the stage beyond the side scenes. By pulling this wire the piano
-is raised or lowered to any desired distance. Counterweights hold
-the instrument at any position. There is a rope attached to the
-overhead truck, so that it can be pulled back and forth, thus
-causing the piano to move across the stage. There are, of course,
-slits in the ceiling of the mimic stage which allow the wires to
-pass through.
-
-[Illustration: Fig. 31.--The Mystery Explained.]
-
-The lady is raised by a curious device. There is attached to the
-piano stool a clear piece of plate glass, which comes up through a
-slot in the stage technically known as a “slider.” This glass is
-made to raise or lower by means of a windlass. The glass rests on a
-cross-piece of wood and works up and down in a grooved frame, which
-is secured to a movable truck under the stage. The slot in the
-stage is continued in the direction in which the glass is to move,
-and the carpet is of a marked design which will cover the narrow
-opening.
-
-The bouquet is secured with a thread attached to the piano, and it
-then goes through the door, where an assistant holds the loose end.
-A small loop of wire is attached to the bouquet, and a thread runs
-through it. When the lady enters the room and lays the bouquet on
-the table, this thread is passed through the loop of wire. When the
-bouquet is desired to travel to the lady, the assistant has only to
-raise the end of the thread high enough and the bouquet slides down
-the incline into the lady’s hand.
-
-[Illustration: Fig. 32.--The Telegraph Set.]
-
-A medium in Detroit, Mich., has lately been hoodwinking the public
-and coining money with an idea that was quite original. He employed
-a small, shallow box, composed of wooden sides and ends and slate
-top and bottom. The box and its lid were about of even height, and
-were hinged together. (Fig. 32.) The box contained a telegraph
-key connected up to a sounder and a dry battery sitting outside
-of the box on the table. The medium allowed everything to be well
-examined. It was proved that the battery on the table was the
-only means of operating the sounder whenever the key was worked.
-If one of the wires were disconnected, or the box were closed and
-the key thus out of the way of manipulation, the sounder would
-not work. After everything was satisfactorily explained, notes
-were written on pieces of paper, which were folded and placed
-upon the table. These are taken, one at a time, and placed in the
-box and the lid closed. If conditions are favorable, the spirits
-will be enabled to read one of the inclosed notes, and will send
-a telegraphic reply over the sounder; and such is ofttimes the
-result. Of course, we know spirits do nothing of the sort; it is
-the medium who accomplishes all of this. How does he know the
-contents of the note? How does he cause the ticker to work with
-the key inclosed in the box? The visitor is placed on one side of
-the table, generally facing a window, so as to have the light shine
-into his or her eyes. The medium sits opposite with his back toward
-the window; the box containing the key is at his side of the table,
-with the hinges, or the back of the box, toward the visitor. Now,
-if the lid of this box is opened and a paper taken off the table
-and placed in the box and the lid closed, you could not tell for
-certain if the paper was actually placed in or not, for the simple
-reason that the cover of the box, when up, completely masked the
-operation. It is by the above scheme that the medium obtains the
-notes on the paper. The first one or two are actually placed in the
-box; then the next one is deliberately dropped into the medium’s
-lap instead of the box. He unfolds it, reads it, refolds it, and,
-on opening the box, apparently takes it from there and places it
-back on the table and does not lose track of it. Two or three other
-papers are placed in it by the visitor, and again taken out by him.
-Again the visitor is asked to place in it the one the medium knows
-the contents of. Now the ticker commences to work. With his left
-hand carelessly resting on the corner of the closed box, the medium
-writes with his right hand, with a pencil, on a pad of paper, the
-communication received over the ticker. The visitor removes the
-paper from the box, and the answer just written by the medium on
-the pad is found to be a reasonable one to the written request.
-
-All that remains to be explained is the working of the sounder. It
-is very simple. In the first place, the lid and box are hinged so
-as to be hinge bound; that is, they will not, of their own weight,
-quite touch each other, possibly about an eighth of an inch, or
-less, apart. But by the pressure or weight of the hand they will
-come together. Now, the telegraph key, like all such instruments,
-is provided with a tension screw, which can be screwed one way
-or the other. When the medium desires his instrument to work, he
-raises this tension screw, to which is fastened the button of the
-key, just high enough to touch the lid on the inside of the box
-when it is closed of its own weight. Now, when the hand is resting
-on the box, he proceeds to make the sounder “speak” at will, with
-no perceptible movement of his hand. A simple muscular contraction
-of the palm of the hand, which cannot be detected, is sufficient
-to control the sensitive key, by pressure of the box cover on it.
-The whole thing is so simple, and at the same time puzzling, that
-it makes one laugh to think how little it takes to make a fool of
-a man.
-
-In the case of this medium, the head of the tension screw was
-brass, and left a brassy mark on the slate top. He soon observed
-this, and changed it for a hard rubber one, which left no telltale
-marks behind. Sometimes he did not raise the tension screw, but
-laid the folded paper the question was written on on top of
-it. This made up the required height. Other mediums improved
-on the above method by working the key through the box by an
-electro-magnet concealed in the table top. The current to the
-magnets was turned on and off, or broken, as the line is used, by
-means of a small button in the body of the table, pressed by the
-medium’s leg. This method allowed him to keep his hand off the box.
-
-The raps, or noises, are produced in various manners. Press your
-boot heel gently against a table leg. The slipping of the leather
-against the wood makes perfect spirit raps, wood being a good
-conductor of sound. The raps apparently come from the table top if
-attention is directed in that direction. Some mediums, with the
-tips of their fingers pressed firmly on a table top, slip them,
-by a dexterous movement, along the varnished surface, thus making
-very fair examples of raps or thuds. Some mediums, in their own
-homes, have tables provided with electro-magnets concealed in them,
-by which the knocks are accomplished. Medical experts claim that
-a very good result can be obtained by the mere displacement of
-the tendons of the muscle called _peroneus longus_, in the sheath
-in which it slides behind the external _malleolus_. Others again
-produce it by snapping the toe or knee joints. Watch a boy some
-day as he snaps his finger joints, and if he were to rest his
-elbows on the table while doing so, the sound would be intensely
-strengthened.
-
-
-
-
-CHAPTER VI.
-
-SPIRITUALISTIC TIES.
-
-
-“Ties” have always been one of the great standbys of mediums,
-second only to slate writing.
-
-The following is a simple test with a rope or piece of string: A
-long piece of rope is given for inspection, and, on its return to
-the medium, he coils it up and lays it on the table; the two ends
-are tied together and sealed fast to the table. The coils of the
-rope are now allowed to drop on the floor. Lights are lowered, and,
-in a few minutes, when the lights are relighted, the coil of rope
-is found with numerous knots tied in it that could not naturally
-have been accomplished without the ends being untied and unsealed.
-This mystery is accomplished by simple means. When the medium
-receives the rope back he does not coil it up as a person would, in
-the ordinary fashion, but makes the coils so they really form half
-hitches, and, as he lays them on the table, he runs one of the free
-ends through all the coils, then ties the two ends together. Each
-coil will now form an overhand knot. An easy manner of manipulating
-the rope is as follows: The rope is held in the hands, with palms
-upward; now, to form the coil, or half hitch, the right hand is
-given a half twist; this brings the palm facing the person’s breast
-and back of hand outward, and leaves the rope as seen in Fig.
-33; this loop is transferred to the left hand (Fig. 34), and the
-operation repeated until the supply of the rope is exhausted. Now,
-to make the knots, one end of the rope has simply to be passed
-through all the loops.
-
-[Illustration: Fig. 33.--First Position.]
-
-[Illustration: Fig. 34.--Second Position.]
-
-I have seen the above test worked also as follows: Two skeptics
-were used. One end of the rope was fastened to one of the skeptic’s
-wrists and the other end to the wrist of the second skeptic. The
-knots were sealed. The rope in this case was quite long, about
-twenty feet. The medium now makes the rope up into a few coils; out
-go the lights, and, in a few minutes, on the lights being turned
-up, the rope is found with knots. This is what happens: When the
-lights went out, the medium went up to one of the skeptics, and,
-while talking to him and moving him two or three feet further away
-from the other skeptic, he has passed the coils over this one man’s
-head, and allowed the coils to drop to the floor. As soon as the
-skeptic steps out of these, the job is done.
-
-There is another test on somewhat similar lines. A short piece
-of rope is examined and the performer holds it in one hand and
-then tosses it into the cabinet, which is empty. On opening the
-curtain in a few seconds the rope is found with a knot on it. The
-performer himself actually ties the knot with one hand in the act
-of tossing the rope into the cabinet. The rope is held in the hand
-palm upward, very near one end, the short end in the hand being
-with the long end hanging down, the shorter part being between the
-thumb and the forefinger. The hand and arm are given a kind of half
-circular sweep in tossing the rope into the cabinet; this causes
-the long portion of the rope to swing under, then over the wrist,
-and across the fingers of the hand. This end is then seized between
-the fingers and drawn through the loop just made; at the same time
-the loop is dropped off the wrist as the rope is tossed into the
-cabinet. In reading the above description it seems like four or
-five different movements, but with practice they all blend into one.
-
-Here is another test. A single knot is tied in the center of a
-piece of string; now the ends are tied together and knots sealed.
-The lights turned down; on their again being turned up, the knot
-from the center of the cord has disappeared. The moment there was
-darkness the medium started to work, and kept slipping the knot
-along the string until it joined the rest at the top of the string,
-where there is not much fear of its being seen. To further protect
-himself he uses the following plan: He chews gum colored the same
-as the sealing wax used. Now in the dark, when he has the single
-knot up against the others at the end of the string, he covers this
-knot with part of the chewing gum and blends it in with the sealing
-wax.
-
-I will now explain a few ties, rope and otherwise, by which the
-mediums allow themselves to be tied. It is almost invariably the
-rule for the medium to suggest to the investigator the general way
-he wishes to be tied. They must have certain conditions, so they
-say, or the spirits will not work. It is safe to say the conditions
-are very strict and always in favor of the medium. The female
-medium has a preference for ties in which tape or muslin, or cotton
-cloth torn into strips, is utilized. The male performer, as a rule,
-uses rope and wire. I will first describe what is known as the
-braid or tape test. Take a piece of tape about three-quarters of
-an inch wide. Have one end of this securely tied around the wrist;
-now the person who is conducting the test seats himself in a chair
-with his hands behind the back of the chair; now have the loose end
-of the tape passed between the uprights forming the back of the
-chair; have the other end fastened around the remaining hand. The
-moment you are in the dark, or hidden from view, you can produce
-any manifestation that requires the use of one or both hands, by
-following these instructions. The first hand can be tied as the
-investigator pleases. Now, when the second hand is to be tied,
-keep a strain on the tape enough to keep it taut. By so doing a
-square knot cannot be tied on the tape, but simply a running knot,
-or a knot around the strand of the tape--a knot that can be slid
-backward and forward.
-
-Here is what is known as the cotton bandage test. A ring staple
-or ring screw eye, the ring being about two inches in diameter,
-is wound around with unbleached muslin of the same color as used
-to tie the medium’s wrists with. This ring is fastened securely
-into the door jamb or any stationary wooden support by one of the
-investigators. Two strips of muslin about three feet long are
-given to the investigator; one of each is tied around one of the
-medium’s wrists and the knots sewed and sealed. Her (for the medium
-is supposed, in this case, to be a lady) hands are now placed
-behind her, and the ends of the strips from each wrist are now
-tied together and the knots tied and also sewed; and what ends are
-left are evenly cut off near the knots. Another strip of muslin,
-about the same width and length as the others, is now produced,
-and one of the committee ties this strip around the knots between
-her wrists, leaving the ends of equal length. The medium now takes
-her seat on a small stool, with her back toward the ring in the
-door jamb. One end of the last muslin strip is passed through the
-ring and several knots are tied. After tying several knots, the
-ends of the strips are tacked securely to the woodwork of the door.
-Another strip is procured and tied around the medium’s neck, and
-then tacked also to the door jamb. Two more strips are now used,
-one passed around each arm, not tied, and the ends of each tacked
-to the door. The committee, having done all the work themselves, of
-course, are thoroughly satisfied as to its genuineness. They now
-retire from the cabinet, which has been simply made by a curtain
-across one corner of the room, forming a triangular space. No
-sooner is the curtain closed than the usual manifestations occur,
-such as ringing of bells, tooting of horns, banging of tambourine,
-etc. Immediately the curtain is opened and the medium found
-securely bound and not a bandage disturbed. Finally a pocket knife
-is placed upon her lap, the curtain is closed, and in a few seconds
-the medium comes forward with her bonds cut, but only the wrists
-separated; this has been done, she claims, by the spirits, with the
-use of the knife which was placed in her lap. Now to explain away
-the mystery. In a convenient pocket in her belt she has concealed
-a small, sharp, open knife, with which she cuts through the bands
-between the wrists. She cuts this band between the knot on her
-right wrist and the knot in the middle made by tying the ends of
-the wrist bands together. She now slips the loop which was tied
-around off, leaving it whole and still tied around the ring. She
-is now free to use both hands, and, as the last strips around
-her arm were not tied, they are easily managed. She makes what
-manifestations she chooses, and by placing her wrists one each side
-of the ring, and clasping her hands together, pressing all tightly
-together, she is ready for examination. The ring being wound with
-muslin, one cannot see that anything has been changed; and this
-is the reason it is wound. Another thing to notice is that the
-spirit cutting is the last test. The reason of this is, if the
-investigators were to release her, they would discover the secret.
-Male performers use the same idea for rope ties from which they
-find it impossible to release themselves. They have a knife blade
-soldered firmly on to a brass plate, which is riveted or sewed on
-the back of the performer’s trousers, the edge of the knife blade
-being outward. He has simply to run the rope up and down over this
-contrivance, and he soon gains his liberty.
-
-[Illustration: Fig. 35.--The Davenport Tie.]
-
-I will next illustrate a tie made famous by the Davenport Brothers.
-(Fig. 35.) The rope used is what is known in trade as a sash
-rope. Silver Lake or Sampson brand is the best. This is a stiff,
-polished or smooth, hard finished rope. With this style of rope
-it is an almost utter impossibility to be tied but what you can
-free yourself. The Davenports, on first being secured, would try
-and induce or lead the committee who did the tying to do so in
-a way which would be advantageous to the medium. See Barnum’s
-“Humbugs of the World,” page 136: “The brothers saw they could not
-wriggle out of the knots. They therefore refused to let the tying
-be finished.” Of course, they did not make the request pointed, or
-apparent, but, in the coolest natural way, and not suggestive of
-any conceived plan. Their method was as follows:
-
-One of the committee, holding a piece of rope, about twelve feet
-long, as near the center as possible, would be requested to tie
-first one of the medium’s left hands, tying two or three good,
-hard, square knots about the wrist, the knots coming to the inside
-of the wrist or palm side of the hand. The medium, during this
-part of the tie, faces the audience. He now explains to the person
-who does the tying that when he, the medium, places his left hand
-behind his back, he will place his right hand close against it,
-and requests the skeptic to tie a few or as many knots on top of
-that hand as he may see fit. The medium, after this explanation,
-places his hands behind his back, and then turns around, with his
-back toward the audience. The committeeman now secures the right
-hand against the left. The medium now enters the cabinet, is seated
-in a chair, or on a bench, in which two holes are bored. The ends
-of the ropes are now passed through these holes, and knots tied in
-the rope close to the seat of the chair, and thence carried to the
-front legs of the chair, where it is fastened. Two other smaller
-ropes are used to tie the medium’s legs to the chair. The usual
-manifestations, such as ringing of bells, tooting of a horn, hands
-at cabinet window, etc., take place. After this is repeated a few
-times, the medium comes forth entirely free from the ropes, which
-he now holds in his hands devoid of knots. Of course, the medium
-is really the cause of all the demonstrations, and to accomplish
-the results he must free himself. Now, let us see how it is done.
-The first hand is tied fair and square, but when he places his
-two hands behind his back, that’s the time the trick is done. In
-placing his hands behind his back, and before turning around, with
-back toward the audience, he catches up a little slack of the rope,
-and, pressing the two hands together, manages not to lose that
-slack as the two hands are tied together. Another plan is employed
-so as to be certain not to allow this slack to get away from the
-medium. In the act of placing the hands behind the back, one part
-of the rope is allowed to go around the middle finger. The ends are
-then crossed, A going behind B, before the right hand is placed
-against left. Of course, the right hand covers the rope, or false
-tie, completely. When the hand is to be released, the finger has
-simply to bend down, and off drops the slack part of the rope, and
-gives plenty of room to draw the hand from the loop. With one hand
-free, it is easy to produce the desired manifestations, also to
-release the other hand, and then completely untie the rope. Now,
-whenever the committee cannot be influenced to tie in the above
-manner, they are allowed to proceed as they wish. Very few persons
-can tie a medium securely with the stiff rope furnished. The medium
-will manage, by slight contortion of his body, to secure a little
-slack rope, by which agency square knots can be easily upset into
-a slip or running knot, and, when he fails in this, the rope is
-deliberately cut with the little knife blade on belt, as described
-previously. This destroyed rope is now concealed on the medium, and
-he takes also from his clothes a similar rope and walks out of the
-cabinet with it, stating the spirits had released him. He again
-retires to the cabinet, and, in a short time, he is found retied,
-with his hands behind his back, securely fastened. Here is the
-explanation:
-
-[Illustration: Fig. 36.--The First Knot.]
-
-When he enters the cabinet, he allows both ends of the rope to hang
-down, holding the rope in center; the rope now, in its doubled
-condition, has a knot tied near its double end, leaving a knot
-and loop. (Fig. 36.) Then a single knot, tied in each portion of
-the rope, each side of this loop knot, far enough away so as to
-give length enough for the ropes to encircle the wrists, and these
-single knots come up hard against the loop knot. The ends of the
-rope are now run through the loop knot, and two loops are thus
-formed, which can be made larger, as desired, to slip the hands
-out. (Fig. 37.) The ends of the rope are now run down through
-holes in the chair seat, and ends fastened, and the medium inserts
-his wrists in the loop and pulls up taut, and he is ready for an
-investigation. It will readily be seen the medium can now do as he
-pleases, remove his coat, place on a borrowed one, etc.
-
-[Illustration: Fig. 37.--The Double Loop.]
-
-Another tie frequently used is that in which the medium seats
-himself in a chair, takes the rope, and ties it around his legs at
-the knees, with the single knot on top. On this he places his two
-hands, close together, and has the committee tie his hands with
-as many knots as they please, from which he nevertheless frees
-himself. The whole scheme lies in the fact that the medium tied but
-one knot around the legs, but did not pull it deep into the flesh.
-When the knots are tied over his hands, he keeps the legs a trifle
-apart. Now, to release himself, he simply has to draw his legs
-together, and strain on the ropes, so they sink into the legs a
-trifle, and let all the slack go above the single knot, thus giving
-room for the hands to be withdrawn. By forcing the hands apart, the
-desired slack is easily taken up.
-
-
-
-
-CHAPTER VII.
-
-POST TESTS, HANDCUFFS, COLLARS, ETC.
-
-
-The “Spiritualistic Post Test” is one of the latest and most
-successful of mechanical fastenings used by mediums. The most
-common form is made of what appears to be a piece of joist. This is
-given to the committee, one of whose members bores a hole through
-it, near its upper end, and then passes an ordinary rope through
-the hole, a knot being tied in the rope on each side of the post.
-The knots are pressed against the post, so that the rope cannot be
-drawn through the post. The ends of the rope are now unraveled, and
-the post is fastened to the floor with spikes. The medium is tied
-to the post by the unraveled ends of the rope. A nail is driven in
-the top of the post, and a rope is secured to it. This second rope
-is held by the committee; after the curtains are drawn, bells are
-rung, etc., showing that the medium has the use of his hands. The
-trick consists in boring a hole in the center of the end of the
-joist; a chisel is then inserted in the hole, and the opening is
-closed with glue and saw-dust tinted with water color. The medium
-starts the bit, so that there is no danger of the committee boring
-the hole too low, or so high that it will strike the chisel. When
-the nail is driven in, it forces the chisel down and cuts the rope.
-The medium may now ring bells, etc. After he is through ringing the
-bells, he puts back the ends of the rope in the post.
-
-[Illustration: Fig. 38.--The Trick Post.
-
-  1. Lead weight with notch.
-
-  2. Spring catch.
-
-  3. Hole in catch by which cord is secured.
-
-  4. Roller over which cord, 5, runs; cord is attached at one end,
-  3, to spring catch, and at other end at 6 to bolt in angle piece.]
-
-There is another very good rope and mechanical post test sometimes
-used by mediums. A post in an upright position is securely fastened
-to the floor. In the upper part of the post a hole is bored clear
-through, to allow of two small ropes being passed through the
-opening from side to side. The medium passes the ropes through
-the post, then invites the committee to tie his hands fast against
-the post, and then to tie or nail the ends of the rope down on the
-floor. All the usual manifestations take place. The medium is also
-instantaneously released, and rope and knots are found undisturbed.
-By glancing at Fig. 38 the mystery will be cleared up. The post
-is hollow, and carries a leaden or iron weight. This weight has
-a horizontally extending passage to correspond with the channel
-in the post. This weight is held in the top part of the post by a
-catch, which is released by a projecting bolt-head at the bottom of
-the post. It will be remembered that the post is made fast to the
-floor by screws passing through angle irons fastened by bolts to
-the post. It is one of these bolt-heads that releases the catch. At
-the bottom of the post is another catch, which will also hold the
-weight at the bottom. The one bolt will release both catches. The
-medium runs the ropes through the post, releases the catch, which
-allows weight to drop, carrying ropes with it; and the catch locks
-the weight at the bottom of the post. They can now tie the medium.
-All he has to do is to release the weight; he can then pull the
-rope up and get as large a slack as he desires, allowing the weight
-to drop back again. There is a chair--an ordinary-looking wooden
-kitchen chair--worked on somewhat the same style. There is a hole
-bored through each rear leg or upright of the back. The medium sits
-on the chair, facing the back of it, and has a hand tied to each
-upright. The slack is obtained the same as in the post, with the
-exception that a spring instead of a weight is used, and it is
-locked or released by the backward or forward sliding of a portion
-of the chair-seat.
-
-A convincing trick often employed is the iron ring test. The medium
-and investigator sit opposite each other, clasping their hands. An
-iron ring is now placed on the medium’s lap, and the cabinet door
-is closed; in a few moments the door is opened again, and the ring
-is found on the investigator’s arm, although he has never released
-his hold of the medium’s hand. The medium has concealed in his
-coat sleeve a duplicate of the ring used. When the cabinet door is
-closed, the medium spreads his legs apart, allowing the ring to
-drop on the seat of his chair, the bottom of which should be of
-cane or of cloth, in order to avoid the noise due to the dropping
-of the ring. He now replaces his legs, and, of course, this ring
-is hidden merely by his sitting on it. The ring in his sleeve he
-tosses on to the skeptic’s arm, and, of course, without the hands
-being unclasped.
-
-The handcuff trick is always a great favorite with the medium. He
-has no objection to placing his hands in any pair of handcuffs
-furnished by the audience. A few moments after he has entered the
-cabinet, he begins throwing out various articles of clothing; but,
-on examination, the handcuffs are found to be still on his wrists.
-It is impossible to see how he could have taken off his coat.
-As a final test the medium comes out of the cabinet holding the
-handcuffs in his hand still locked. There are only a few styles
-of handcuffs made, and all the medium has to do is to secure the
-proper key for each style. He conceals these keys on his person,
-and by the aid of his fingers and teeth the proper key can be
-fitted to the handcuffs. It is impossible, with some types of
-handcuffs, to get the fingers to the keyhole. If such a pair are
-placed on the performer, and he cannot use his teeth to hold the
-key, he slips the key into a convenient crack in the cabinet or in
-the chair. The lock of the handcuffs being forced on to the key,
-the handcuffs can then be readily unlocked.
-
-The spirit collar is also a favorite instrument of the medium. It
-consists of a brass collar which fits closely about the performer’s
-neck. Through the openings in the end of the collar, is placed a
-chain. After the collar is on the performer’s neck, the chain is
-placed around a post and carried back and through the padlock used
-to lock the collar. By this arrangement the performer is securely
-fastened to a post; but after he is concealed by the use of any
-convenient means, he suddenly appears before the audience minus
-the collar, while the collar will be found locked, as before. The
-trick depends for its success on the series of bolts with which the
-collar is studded. The bolts, with one exception, are all false,
-being pieces of metal simply screwed into the top and bottom of the
-collar, and not penetrating through them. One bolt, however, passes
-through the collar and engages the two parts thereof; the parts
-terminate in a tongue which fits in the socket in the other half
-of the collar. The bolt passes through this tongue so accurately
-that there is no danger of its being removed with the fingers. The
-performer uses a small wrench to remove the bolt.
-
-There are numerous other devices, such as trick bolts, which are
-inserted by a spectator through a post and screwed up tight, the
-medium being fastened to the bolt. He has simply to give the bolt a
-half twist, usually toward the right, and the bolt comes apart. The
-joint is invisible to the eye, and, in fact, is made more so just
-before it is used each time by being rubbed with sandpaper, which
-slightly roughens the bolt, making the joint imperceptible to the
-naked eye. There are staples, ordinary looking staple-plates, which
-are apparently screwed fast into the bench on which the medium is
-seated. The hands of the medium are fastened to the staples by
-wire. The staples are not fastened to the plates by riveting them,
-as is ordinarily done, but are held by a spring catch, concealed
-under the plate, and working in a notch in the staple. This is
-released by the medium’s pushing the catch back by the insertion
-of a piece of clock spring between the staple plate and the bench.
-After releasing himself he performs the stereotyped manifestations,
-and at the finish has simply to jam the staples back into their
-plate, whereupon they are locked or held fast by the spring catch
-or bolt. This was a device used by a Boston medium.
-
-There are also trick bags in which the medium is bound up or tied.
-In one style of bag there is a string running in the selvage, or
-turned-over portion of the bag at the top. As the string is about
-to be drawn taut the medium inserts one of his fingers into a
-portion of this selvage not sewn, and pulls down enough slack of
-the cord to allow him, after the tying, either to place his arm
-through or to get out entirely. Another style is this: The medium
-has a round wooden plug, covered with cloth like the bag. This
-he has concealed about him. As the mouth of the bag is gathered
-together to tie the string, the medium inserts this plug, and bag
-and plug are both tied. After the tying he has simply to remove the
-plug and he can then place his hand through and release the cord,
-or shove it off the bag completely. Still another way is to have
-a duplicate bag concealed down one trousers leg and coming up at
-the back of the neck under the coat, the mouth of the bag being
-upward. When the medium gets in, his manager or the director of
-the séance gathers the mouth of the bag together, and, at the same
-time, pulls the duplicate bag out from under the medium’s coat. He
-pulls this up four or five inches higher than the original bag and
-ties his handkerchief around where the two bags are joined, so the
-trick will not be detected. He then allows a committee to tie, and
-even sew, the bag together--of course, the duplicate, not the first
-one. The medium has simply to pull the first bag down around him,
-get out of it and conceal it on his body. A “dodge” used sometimes
-is to borrow one of the investigators’ handkerchiefs and drop it
-into the duplicate bag; and, after the medium has escaped and the
-bag is given for inspection, the bag is opened and the handkerchief
-found inside. This strengthens the effect of the trick, inasmuch
-as it convinces the onlookers that the medium certainly must have
-been got out by the aid of spirits, as the handkerchief--a very
-small article, in comparison to the body of the medium--could not
-be removed until the string had been released from the bag.
-
-Mediums are great judges of human nature; they know full well the
-usual action of the human mind, the direction the thoughts are
-liable to travel in. This is part of their stock-in-trade--to try
-to do just such things as the handkerchief “dodge,” in order to
-convince the skeptic of the truth of the wonders witnessed.
-
-
-
-
-CHAPTER VIII.
-
-SÉANCES AND MISCELLANEOUS SPIRIT TRICKS.
-
-
-A test which made the Eddy Brothers famous was their “light” and
-“dark” séances. Horatio Eddy gave what he termed a “light séance,”
-and William was famous for the “dark séance.” Instead of using a
-cabinet of wood, Horatio formed one simply by stretching a couple
-of shawls or curtains across a corner of the room, thus making
-a triangular inclosure. A table containing the usual musical
-instruments, bells, tambourine, guitar, etc., is placed in this
-space. The medium sits on a chair in front of this curtain, to
-the left hand side. Next to him, on his right, sits a gentleman
-selected from the audience, and to the right of this gentleman, a
-lady similarly chosen. William Eddy now pins across the breasts of
-the two gentlemen a third shawl, attaching the ends to the curtain.
-(Fig. 39.) Previously to this, however, Horatio has grasped with
-both his hands the gentleman’s left arm; the lady is requested
-to grasp the gentleman’s right arm. In this position neither can
-make a movement but what one of the others would be immediately
-cognizant of it. Presently there is a commotion among the articles
-on the table behind the screen; they appear floating in the air
-above the top of the curtains, some coming through and tapping the
-trio on the head. A hand comes through the curtain and writes a
-message on the slate held by William Eddy. Numerous other tests
-are performed--all in subdued light, not darkness. Now, to raise
-the veil from this mystery: In grasping the left arm of the person
-in the center, the medium first grasps the gentleman’s left arm
-with his, the medium’s, left hand, fingers being spread apart as
-far as possible. With this hand he presses quite hard, and takes a
-light hold of the same arm, but above the left hand. If the medium
-gently and carefully removes the right hand, the action cannot, by
-sense of touch, be detected. Sometimes, so as to enable him to use
-both hands, another ruse is also employed. A piece of heavy sheet
-lead is cut in the shape of the medium’s hand. This is placed in
-his left hand. With this hand he grasps the skeptic’s arm. Being
-made of lead, the hand easily conforms or bends to the shape of the
-arm, and, what is more, if the real hand of the medium be quietly
-removed, the leaden hand remains behind, giving the same sense
-of touch as if the actual hand were there. (Fig. 40.) Of course,
-with the hands free, the medium can stealthily glide between the
-curtains, grasp and manipulate the instruments, and throw them to
-the floor, immediately replacing his hands gently.
-
-[Illustration: Fig. 39.--The Light Séance.]
-
-[Illustration: Fig. 40.--The Mystery Explained.]
-
-A rather clever test used in a dark séance, given by Miss Annie
-Eva Fay, is one in which the hands are not bound. Miss Fay made
-cotton, bandage and tape-ties a success, and sometimes varied her
-séance by not using a tie, but by continually clapping her hands
-together during the darkness. She also had her mouth filled with
-water. Nevertheless, the usual manifestations occurred. The horn
-“tooted,” the tambourine and guitar floated, bells rang, etc.
-The dodge she employed was this: Instead of clapping her hands
-together, she slapped one against her forehead, which gave the same
-sound, and gave her one hand at liberty. She also swallowed the
-water. She was now at liberty to blow the horn, ring bells or the
-like. When she was finished, she refilled her mouth with water from
-a bottle concealed on her person, and again resumed, clapping her
-hands together instead of striking one hand against her forehead.
-An investigator suspected the idea of the water and once came
-prepared with a glass of milk, which he requested the medium to
-use instead. She consented. The horn tooted just the same, and the
-medium’s mouth still contained the milk. She had simply inserted
-the end of the horn in one of her nostrils. Another time she merely
-emptied the liquid into one of the hand bells on the table and held
-it upside down in her lap. Still another “wrinkle” is the use of a
-rubber ball with a hole in it. This can readily be attached to the
-horn, and squeezing the ball does the tooting.
-
-Dr. Henry Slade was, of course, identified and recognized as the
-principal slate-writing medium, but at various times he presented
-other phenomena, one of which was the playing of an accordion
-while held in one hand under the table. The accordion was taken
-by him from the table with his right hand, at the end containing
-the strap, the keys or notes at the other end being away from him.
-He thus held the accordion beneath the table, and his left hand
-was laid on top of the table, where it was always in plain view.
-Nevertheless, the accordion was heard to give forth melodious
-tunes, and at the conclusion was brought up on top of the table
-as held originally; the whole dodge consisting in turning the
-accordion end for end as it went under the table. The strap end
-being now downward, and held between the legs, the medium’s hand
-grasped the keyboard end, and worked the bellows and keys, holding
-the accordion firmly with the legs and working the hand, not with
-an arm movement, but mostly by a simple wrist movement. Of course,
-at the conclusion, the hand grasped the accordion at the strap
-end, and brought it up in this condition. Sometimes an accordion
-is tied with strings and sealed so the bellows cannot be worked.
-This is for the dark séance. Even in this condition the accordion
-is played by inserting a tube in the air-hole or valve and by the
-medium’s using his lungs as bellows.
-
-In regard to dark séances and materializations, I would state that
-they are so barefaced and bold it is hardly worth while to worry
-about them. What cannot be done in the dark? Spirit costumes,
-to be donned later by the medium to impersonate people from the
-other world, are concealed in strange places under the very eyes
-of the investigators--in the body of the guitar, in a drum, about
-the person of one of the circle of skeptics, who is really a
-confederate, or behind the surface of a wall. Time and place make
-all the difference in the method of work used by mediums. In their
-homes mediums have any number of accomplices, who enter the room
-under cover of darkness by various means--one way, by means of a
-trap in the floor. This opens upwardly; the carpet does not have
-to be cut, and can also be well tacked down. The trap is not cut
-square, but triangularly, across the two sides of the room in one
-corner. Through this trap the confederates, disguised as spirits,
-enter from the cellar below and vanish. Another method is to gain
-admittance from an adjoining room. Between the two rooms are
-sliding doors, misnamed “folding” doors. The space in one of the
-walls is not only large enough to receive its own single door, but
-also a portion of the other. Before commencing the séance, the
-doors are locked and the key kept by a committee. The doors are
-also sealed with court plaster across their joints, and said court
-plaster sealed with sealing-wax. The confederates are not obliged
-to push the doors apart; they simply slide both at the same time
-toward the side previously mentioned. This side receives one door
-and a portion of the other, thus leaving an opening for a person
-slyly to creep through.
-
-Sometimes, in the circle of investigators, there are five or six
-confederates. Three of these are placed or seated together. Now,
-if all in the circle join hands, it seems no one could assist the
-medium without the fact being discovered; but in the center, one
-of three confederates, sitting together, releases the hands of his
-companions, and, in the dark, “cuts up” all the tricks he wishes
-and returns to the circle again, no one being any the wiser. Of
-course, if one confederate were seated between two of the skeptics,
-he would not dare let go his hands; but when a friend is placed
-each side of him, it makes no difference. A test often used, when
-everybody, medium included, is sitting at a table, is the wire
-test. A copper wire is threaded through the shirt sleeve of every
-male member present, and through the sleeve of the ladies’ dresses,
-the wire being fastened to the table by staples. When the lights
-are put out, the spirits “raise Cain” again. It is the medium
-again. The wire did not go through his shirt sleeves, but through
-two short extra shirt sleeves, or cuffs, which he wears over the
-real sleeves. All he has to do is to slip out of these, produce the
-manifestations, and slip back into the cuffs again.
-
-[Illustration: Fig. 41.--Ground Plan of Cabinet.]
-
-A test that caused more talk and wonderment than all the rest of
-the cabinet tricks combined is the chair and net test. The medium
-enters a very small cabinet, just large enough to contain him when
-sitting down in a chair. The cabinet is closed by a single door,
-locked with a padlock, the keyhole of which is sealed; the door is
-also sealed all around the edges. A fish-net so finely meshed that
-even the finger of the medium could not be pushed through, is now
-placed over this cabinet and tacked to it all around the bottom.
-This miniature cabinet is set in the cabinet proper, and a chair,
-with the usual bell, tambourine, etc., placed beside it. Doors are
-closed, and immediately the fun begins. Bells, tambourine, and
-horns all play together. A sudden fall of the chair and instruments
-is heard, and the cabinet doors being opened, everything is found
-strewn about; the smaller cabinet is, however, still found as it
-was left, with the netting over it and seals undisturbed. Again
-the large cabinet is closed, and almost immediately it is opened
-from the inside, and out walks the medium; and the netting on the
-smaller cabinet is examined once more, and likewise the padlock
-and seals, everything is found intact. The whole trick depends
-upon the construction of the smaller cabinet. Fig. 41 represents a
-ground plan of the apparatus. The floor is not nailed or fastened
-to the sides. There are four battens or strengthening pieces, one
-in each corner of the cabinet, running from top to bottom; these
-are securely fastened to the floor, but not to the sides of the
-cabinet. Over these battens is laid a strip of wood that is really
-made fast to the cabinet. This leaves in each corner a socket or
-pocket the height of the cabinet, and in these work, telescopic
-fashion, the four battens which are made fast to the bottom. The
-bottom is set inside of the cabinet, not on the outside. It is
-only tacked to the sides of the bottom of cabinet. It will now be
-readily observed that the medium has only to stand up in order
-to raise the main part of the cabinet quite a height above the
-bottom, as seen at Fig. 42. It is held in the above position by a
-concealed catch. The medium can now produce manifestations, and,
-as he is about to drop the cabinet back into the bottom, he gives
-the leg of the chair a jerk and over it goes, and down drops the
-cabinet. There is also a catch that automatically locks the bottom
-firm to the cabinet, so as to allow inspection of the same.
-
-[Illustration: Fig. 42.--The Trick Cabinet.]
-
-The above manifestation was in use long before the wire cage test,
-and is considered by some mediums more convincing than the latter.
-While speaking about the wire cage test, I may as well describe
-one form of it. There are numerous makes, but the one explained
-will serve as a sample of the rest. A cage composed of uprights
-and cross-bars of iron is made fast to an iron frame containing a
-small door through which the medium enters. Sometimes the door is
-done away with and the bottom of the cage is separated from it. The
-medium sits on this bottom, and the cage is lifted and placed over
-him. The bottom and cage are padlocked together or bound with wires
-and sealed.
-
-[Illustration: Fig. 43.--The Wire Cage.]
-
-No matter what method is used, the results are the same; the medium
-can play the instruments or escape, as he may see fit. The wire
-cage is, we shall say, of a design similar to that shown in Fig.
-43. There is no door to it, and the cage being secured by a wire
-bottom padlocked on or nailed fast to the floor. A close inspection
-of Fig. 44 will help to expose the fraud. The lower cross-bar is
-not riveted through the frame at its end, but ends square against
-it, and a false rivet head, having no connection with it, is
-riveted on the frame where this cross-bar is supposed to emerge.
-All of the upright rods are made fast only to this cross-bar. In
-the other cross-bars they simply go through holes, not closely,
-but loosely, to ensure then to be slid up and down. The tops of
-these rods are riveted, but not made fast to the frame at the top.
-The center rod is not made permanent in the lower cross-bar, but
-is fastened so it can be turned around one way or the other. Now,
-where all these rods are supposed to come through the lower part
-of the iron frame are rivet-heads representing the heads of the
-rods, should they have come through. The bottom frame is drilled
-half way through for the end of each rod to enter a little, the
-middle rod is tapped with a thread like a screw on its end, and its
-corresponding hole is also tapped. It will now be seen why this
-rod was left to turn. By pulling cross-bar down and then screwing
-this middle rod tight, everything is solid; but unscrew the rod and
-raise the cross-bar, and all the upright rods will travel with it
-and the medium is at liberty. And we have another spirit mystery
-laid bare. I could describe numerous other tricks and devices of a
-like nature, but a few are as good as a quantity; sufficient, in
-fact, to place the investigator on his guard against being duped by
-like contrivances.
-
-[Illustration: Fig. 44.--The Cage Opened.]
-
-I believe a few words in regard to spirit photography will not be
-amiss. These are made or produced in various ways: First, a glass
-with an image on it of the desired spirit form could be placed in
-the plate holder, in front of the sensitive plate, so that the
-image on the glass would act on the sensitive plate. The size and
-distinctness of the resulting spirit form would vary according to
-the distance between the two plates. Second, a figure clothed in
-white can be introduced for a moment behind the sitter and then be
-withdrawn before the sitting is over, leaving a shadowy image on
-the plate. Third, a microscopic picture of the spirit form can be
-inserted in the camera box alongside of the lens, and by a small
-magnifying lens its image can be thrown on the sensitive plate with
-that of the sitter. This is the trick used when the skeptic brings
-his own plate for the negative. Fourth, a glass with the spirit
-image can be placed behind the sensitive plate after the sitting
-is completed, and afterward, by a feeble light, the image can be
-impressed upon the plate with that of the sitter. Fifth, the silver
-nitrate bath could have a glass side, and the image impressed by a
-secret light while the glass plate apparently was being coated with
-the sensitive film. Sixth, the spirit form can be printed first on
-the negative and then the living sitter by a second printing, or
-the spirit can be printed on the paper and the sitter’s portrait
-printed over it. Seventh, a sensitive plate can be prepared by
-what is known as the dry process, the spirit form being impressed
-on it; and then, at a subsequent time, the portrait of the living
-sitter can be taken on this same plate, so that the two will
-develop together. Eighth, take a solution of sulphate of quinine
-and paint on the background screen a picture of any one; when it
-dries it is invisible to the naked eye. Still, when the picture
-is taken, the painted picture is very plainly seen on the glass
-negative. Ninth, small pictures are taken on thin, transparent
-celluloid and fastened against the front lens of the camera, and
-when the photograph is taken the picture appears. Of course, the
-above are by no means all the methods, but enough to illustrate the
-possibilities of obtaining two pictures on the same plate or at one
-sitting.
-
-
-
-
-CHAPTER IX.
-
-MISCELLANEOUS TRICKS.
-
-
-The “Magician’s Omelette.”
-
-The magician has never proved himself an adept at the art of
-cooking, from an epicure’s standpoint; yet the ease with which he
-can bake cakes in borrowed hats and cook omelettes in empty pans
-has long been a source of wonder to the economical housewife, as
-well as to the professional cook.
-
-To see the magician hold a small, shallow, empty pan over the
-blaze of a spirit lamp for a few moments, when an omelette, done
-to a turn, appears in the pan and is cut up and distributed to the
-audience, one is almost convinced that at least one person has
-solved that most perplexing of all problems--how to live without
-work.
-
-But has he solved it? No! my friend, no more than you or I. He has
-merely deceived you; but most cleverly, you must admit.
-
-The pan is without any preparation whatever; but as much cannot be
-said of the wand, which he is continually stirring around in the
-pan. This wand is hollow, with an opening at one end only; and in
-the wand, previous to the trick, of course, are placed the properly
-seasoned ingredients of an omelette, after which the end is closed
-with a metal plug that is turned and enameled to correspond with
-the opposite end of the wand.
-
-When the pan is being examined the performer is holding the wand
-in his hand, and such an innocent-appearing black stick is never
-suspected of being in any way connected with the trick.
-
-Just before holding the pan over the lamp the performer finds it a
-most easy matter to remove the plug from the end of the wand, when,
-by holding the wand by the closed end, he can empty the contents
-into the pan in the mere act of passing the open end of the wand
-around the inside of the pan. (Fig. 45.)
-
-[Illustration: Fig. 45.--The “Magician’s Omelette.”]
-
-The metal of which the pan is made being thin, and there not being
-a great quantity of the omelette, assisted by a large flame from
-the lamp, it only requires a few moments to cook the omelette, when
-it is turned out on a plate and carried down to the audience.
-
-It is hardly necessary to say that when the cooked omelette is
-carried down, the wand is left on the stand, which prevents any
-inquisitive person asking to see it.
-
-
-Spinning and Balancing Tricks.
-
-The spinning handkerchief is a great favorite with jugglers. A
-handkerchief is borrowed, thrown in the air and caught on the end
-of a whirling stick held by the juggler, when the handkerchief
-spreads out to its full size and commences to spin around rapidly.
-The secret is that in the end of the stick a needle is inserted
-about one-quarter of an inch, leaving the sharp end out. When the
-handkerchief is caught on the end of the whirling stick the needle
-point passes through it, thus preventing its falling off the stick,
-which is rapidly whirled around, and the handkerchief will spread
-out and spin about on the end of the stick.
-
-[Illustration: Fig. 46.--The Spinning Handkerchief.]
-
-Jugglers are very partial to tricks performed with eggs, and
-spinning an egg on its smaller end is a trick they are almost sure
-to perform. It is impossible to spin a raw egg; so our juggler
-uses a hard-boiled one, and spins it on its small end in a shallow
-japanned tray. If the tray is kept gently moving in a small circle
-in the opposite direction to that in which the egg is spinning, the
-latter will continue to spin as long as desired. (Fig. 47.)
-
-[Illustration: Fig. 47.--Spinning an Egg.]
-
-The egg spinning trick is usually followed by a balancing trick in
-which a playing card is balanced upon a small wand, and an egg is
-then balanced on a corner of the card. This trick usually calls
-forth a great pretension of skill on the part of the performer,
-when, in reality, no skill whatever is required.
-
-[Illustration: Fig. 48.--Balancing Card and Egg on Wand.]
-
-The wand is of ebony, or some dark wood, and about three inches
-from one end is a small hole. The egg is made of wood, painted
-white, and with a small hole in one end. The card is composed of
-two cards glued together, with a fine steel wire between them,
-running diagonally from corner to corner of the card, with the ends
-of the wire projecting about a quarter of an inch. The prepared egg
-is on a plate with several ordinary eggs, and the card is placed
-on a pack of common cards. The wand is held in one hand, the card
-taken in the other and apparently balanced on one corner on the
-wand; but in reality the wire point is placed in the hole in the
-wand. Now the assistant passes the prepared egg to the juggler, who
-carefully balances it upon the corner of the card; that is, slips
-the hole in the end of the egg over the wire point projecting from
-the card.
-
-A fitting finale to such a juggling act is that in which a potato
-is placed on the hand of the assistant and cut in two with a sharp
-sword, without leaving any mark upon the skin. As a general thing,
-a second potato is then cut upon the throat of the assistant. This
-apparently marvelous mastery of the sword always brings forth great
-applause.
-
-[Illustration: Fig. 49.--Cutting a Potato on the Hand.]
-
-Among the several medium-sized sound potatoes on a tray are placed
-two potatoes prepared as follows: Insert a needle crosswise of
-the potato near the bottom. After showing the sword to be really
-sharp, by cutting paper and slicing one or two of the potatoes, the
-performer picks up one of the prepared potatoes and places it on
-the assistant’s hand; but apparently it does not lie to suit him,
-so he slices off one side of it, using care to cut away the side
-just under the needle and as close to it as possible, then places
-the potato once again on the assistant’s hand. After making a few
-flourishes with the sword, he cuts through the potato, dividing it
-in half. (Fig. 49.)
-
-In striking the potato with the sword he makes sure that the sword
-will come exactly crosswise on the needle; consequently, when the
-sword reaches the needle it can go no farther, and the brittle
-nature of the potato will cause it to fall apart, the very thin
-portion below the needle offering no resistance to the separation.
-The second potato is then cut in the same manner on the assistant’s
-neck. There are many other false juggling tricks, but the above
-will suffice to show that “there are tricks in all trades but
-yours.”
-
-
-The Blindfolded Juggler.
-
-While watching the clever manner in which a good juggler passes
-various articles from hand to hand, how many people ever give a
-thought to the many hours of practice devoted to even the simplest
-trick that he performs? To become even a passable juggler, many
-weary months of constant practice are necessary. There are tricks
-in all trades, and some of the most successful entertainers in
-this line can scarcely do a half dozen genuine feats of juggling,
-yet they are great favorites with the public. It has been truly
-said that “the tricks that require the most practice are the least
-appreciated by the average spectator.” It is our intention merely
-to show how a simple trick has won fame for several well-known
-jugglers.
-
-This is the trick of juggling blindfolded. An assistant tightly
-binds a heavy handkerchief over the juggler’s eyes, and then,
-to make sure that he cannot see, there is placed over his head
-and shoulders a sort of bag, made of heavy goods, which should
-exclude all light, even if his eyes were not tightly bound with the
-handkerchief. Regardless of this, the juggler performs the usual
-passes with balls and knives. Yet, when the bag is removed, the
-bandage over his eyes is found undisturbed. (Fig. 50.)
-
-[Illustration: Fig. 50.--The Blindfolded Juggler.]
-
-[Illustration: Fig. 51.--The Illusion Explained.]
-
-The explanation is simple. The bag is made of the usual coarse
-bagging, and a few threads are pulled out of the part that will
-come in front of the juggler’s face when the bag is over his head,
-thus allowing him to see between the remaining threads as though
-looking through a coarse screen. (Fig. 51.)
-
-When the bag is being placed over his head, and during the seeming
-effort of passing the arms through the armholes in the bag, the
-performer or assistant has no trouble in pushing the handkerchief
-up from the eyes to the forehead, thus allowing him to see through
-the open work of the bag. In removing the bag after the act, there
-is no trouble in pulling the handkerchief down over the eyes.
-
-
-The Chinese Rods and Cords.
-
-Nothing excites curiosity in the public mind more than a simple and
-clever puzzle, and the “Fifteen Puzzle” and “Pigs in Clover” have
-given enjoyment to hundreds of thousands. The Chinese rods and
-cords, which forms the subject of our engravings, is in the line of
-ingenious inventions, and is really more in the nature of a trick
-than a toy. (Fig. 52.)
-
-[Illustration: Fig. 52.--Chinese Rods and Cords.]
-
-[Illustration: Fig. 53.--The Illusion Explained.]
-
-It is of Chinese origin, and the example shown in our engraving was
-purchased in Chinatown, San Francisco, Cal. The puzzle consists
-of eight pieces of bamboo or hollow ivory tubes, each containing
-seven holes spaced equidistantly. Through these holes are seen to
-pass seven silken cords, each with a bead at the top and a tassel
-at the bottom. The toy is held by the loop at the top, which serves
-to hold the upper rod. When it is first picked up, its condition is
-shown in our first engraving at the left. There are seven of the
-rods at the top and one at the bottom. Now the lower bar of the
-upper set is moved down to the bar at the bottom; the two lower
-bars will appear to be supported by three cords at the center,
-as shown in our engraving, four of the cords having vanished. If
-the next bar is brought down, another change is observed, only
-the two outer cords being seen. This is shown to the right of our
-engraving. If the next bar is brought down, the end cords have
-approached the center, and five of the seven cords have vanished.
-The next rod brought down brings five cords into view, the two end
-ones and the center one being visible. When the next bar is pulled
-down, the center and the outer cords only remain; so that, if all
-the bars between the top and bottom bars are brought together, the
-seven cords appear to pass entirely through them. Fig. 53 gives a
-clew to the mystery. The rods are all hollow, and each contains
-seven holes; and our engraving shows the course of the silk cords.
-It will be noticed that where a number of cords pass through a
-single hole, the strand which is formed is much thicker than are
-the single cords; as they are of different colors, the effect
-is most pleasing. It will be observed that the strings go clear
-through the top bar; but in the next bar, although they enter the
-seven holes at the top, they emerge from three holes at the bottom,
-three of the strands going through the center hole and two through
-each of the end holes, and so on throughout the entire number of
-bars, the strings changing their course, as is clearly shown in our
-engraving, thus causing the increase and decrease in their number.
-
-
-The “Surprise” Pen.
-
-Our engraving shows a very clever trick pen which would tend to
-create great surprise among the uninitiated. Let us suppose that
-a gentleman is seated at his desk and is busily writing when a
-neighbor comes in, and he jokingly challenges the latter to try
-and forge his signature. He hands the pen to his friend, who
-attempts to write. Immediately there is an explosion, and the paper
-receives a big ink blot. The writer is apt to be surprised by the
-report, which is like a pistol shot, and, if a timid person, is
-apt to be frightened. The noise comes from the pen itself, as it
-is so constructed that it can be loaded and shot off at will. The
-person in the secret can handle the pen with safety, but the poor
-unfortunate will experience a rather unexpected shock to his nerves
-when he attempts to write with it.
-
-[Illustration: Fig. 54.--The “Surprise” Pen.]
-
-The upper part of the penholder, into which an ordinary writing pen
-is thrust, works on a pivot about half way down its length. This
-separate part is provided with only one-half a bottom, in order
-that it may engage the conical head of a piston rod, which ends
-in a plunger, which sets off the cap secured in the bottom of the
-penholder. The normal position of the plunger is against the cap
-of the holder; but it can be raised by means of a projecting pin
-riveted to the rod and passing through a slot cut in the side of
-the lower part of the holder. Now, the closed half of the bottom of
-the pivoted end enters a notch caused by the conical head of the
-plunger; and the plunger, with its spring, is cocked, as it were,
-by means of the projecting pin, and is held in place by the bottom
-of the pivoted section. When the pen is pressed to the paper the
-pivoted section swings on the pivot, releasing the plunger, which
-is forced down on the explosive cap by the spring.
-
-The lower end of the penholder is threaded, so that it can secure
-the end cap firmly in place. The explosive cap is put in the end
-cap, and it is screwed on the bottom of the holder. Ordinary paper
-caps for children’s pistols are used. As long as the plunger simply
-rests on the cap there is no danger of an explosion; but, just
-before the joker wishes to give his friend a scare, he cocks it by
-pushing the plunger up with the pin, until the pivoted top engages
-it.
-
-
-The “Miraculous Wineglasses.”
-
-As a rule, magicians are very generous fellows, always ready to
-give their audiences something, such as coins and handkerchiefs,
-but, just when one thinks they have the gift safely in their grasp,
-it mysteriously vanishes. However, there are a few exceptions to
-this rule, one of whom is a very popular English performer.
-
-[Illustration: Fig. 55.--The “Miraculous Wineglass.”]
-
-[Illustration: Fig. 56.--The Glass Covered with Rubber.]
-
-This magician goes among the audience and borrows a gentleman’s
-handkerchief, and immediately produces from it a glass filled
-with sherry. This he offers to the ladies, then, shaking the
-handkerchief, he produces a second glass full of port for the
-gentlemen, next one of ginger beer for the younger members, and
-one of milk for the very young, but there being present one or two
-teetotalers, he next produces a glass of water, and lastly a glass
-of stout for himself. All of these are pronounced by the audience
-to be excellent.
-
-The glasses are of the small stem wineglass pattern. On both sides
-of the magician’s coat, inside, of course, are large pockets,
-and in each pocket is placed in a prearranged form three of the
-glasses. To prevent a possible spilling of their contents (and, as
-each glass is filled to the brim, this would be very difficult),
-there is fastened over the mouth of each glass a thin soft rubber
-cap or cover, as shown in the small engraving.
-
-To produce the glass, the performer spreads the borrowed
-handkerchief, which should be a large one, over his breast in
-such a manner that one hand is concealed under it; and with this
-hand he reaches in the pocket and brings forth the proper glass,
-removing the rubber cover and leaving it in the pocket. This move
-is repeated until all the glasses have been brought out. After
-producing three of the glasses with, say, the left hand, he must
-spread the handkerchief so as to cover the right hand, leaving the
-left one free to manipulate the handkerchief, as it would be most
-awkward to try and produce the glasses from both sides of the coat
-with the same hand.
-
-[Illustration: Fig. 57.--The Miraculous Wine Bottle.]
-
-This trick is a most effective one, as the spectators cannot
-understand how it would be possible for the performer to conceal a
-glass filled to the brim, as these are, about his person.
-
-After distributing the glasses, and offering an apology for his
-inability to treat all present, he pretends to overhear a remark
-that his audience is not satisfied, and that many think they have
-been slighted. He states that he will endeavor to comply with the
-demands of his thirsty audience, and retires to fetch a bottle.
-Off the stage he removes his coat and places under his right arm a
-rubber bag filled with wine. To the bag is attached a rubber pipe
-with a small metal point, which pipe he holds next to his right arm
-and replaces his coat, leaving the metal end just within the cuff.
-
-[Illustration: Fig. 58.--The Miraculous Wine Bottle.]
-
-The bottle has a small hole in the side, near the bottom, of such
-a size as to fit the metal point on the rubber pipe. In rinsing
-the bottle the performer keeps one finger over the hole, thus
-preventing the audience discovering that the bottle differs from an
-ordinary one. In rinsing the bottle the outside has become wet, and
-in drying it with a cloth the performer places the metal point on
-the rubber pipe in the hole in the side of the bottle, thus making
-connections with the bag of wine. By holding the bottle well down
-toward the neck, and close to his wrist, he can venture among the
-audience without fear of detection.
-
-By pressing the right arm against his side the bag is compressed,
-forcing the wine through the pipe into the bottle.
-
-The glasses are of special make and of very thick glass, making
-quite a bulky appearance, but of very limited capacity. An
-assistant carries a tray containing one hundred of the glasses.
-
-
-The “Mysterious Vase.”
-
-Tricks performed with ink and water have always been favorites with
-magicians, and they have devised means of keeping this trick fully
-abreast of the times, thus retaining its popularity. The manner
-of performing the latest ink trick involves such novel principles
-as to puzzle even those who are well posted on modern magic. The
-“Mysterious Vase” has been presented by but few prestidigitateurs,
-and the secret so well guarded that comparatively few people know
-how it is done. (Fig. 59.)
-
-[Illustration: Fig. 59.--The “Mysterious Vase.”]
-
-The attention of the audience is called to a glass vase that is
-filled with water which is resting on a light stand. This vase
-resembles a large octagon celery glass. In the vase there are a
-few cut flowers, which the performer removes as he calls attention
-to the vase and the clear water it contains. The flowers are given
-to the ladies in the audience, as they have no further connection
-with the trick.
-
-A lady’s handkerchief is borrowed and the vase covered with it
-for a moment. On removing the handkerchief, the water that was
-seen in the vase appears to have changed to ink. While this rapid
-transformation is very startling, yet the most marvelous part of
-the trick is to come. The magician bares his forearm, that the
-audience may see that his sleeves have no connection with the
-trick, and then proceeds to remove from the ink in the vase six
-silk handkerchiefs and two lighted candles, each article being
-perfectly dry.
-
-[Illustration: Fig. 60.--The Illusion Explained.]
-
-The means by which this seeming impossibility is performed are as
-simple as the trick is mysterious, as the following will show. In
-the center of the vase, reaching from side to side and from the
-bottom to within a half inch of the top, is a piece of polished
-mirror. The side edges of the mirror rest in the angles of the
-vase, and as the vase is only seen from the front, the edges are
-not seen. The front half of the vase being reflected in the mirror
-leaves the impression that one is looking directly through the
-vase, when in reality you only see one-half of the inside. (Fig.
-60.)
-
-To the back of this mirror is attached a watertight tin box, in
-which are placed six small silk handkerchiefs and two candles. The
-exterior of the box and back of the mirror are painted a dead black
-color. Enough water is poured into the vase to reach the top edge
-of the mirror. In the water is dissolved a small portion of iron
-protosulphate. A few cut flowers are placed in the vase, which is
-then placed on the stand with the mirror side to the audience, and
-the candles lighted.
-
-After the flowers are removed and a handkerchief borrowed, the
-magician secures possession of and palms between his fingers a
-small lozenge made of pyrogallic acid, which he drops in the water
-in front of the mirror in the act of covering the vase with the
-handkerchief. In a very few moments the lozenge dissolves, and the
-pyrogallic acid of which it is composed causes the water, which
-holds in solution the iron protosulphate, to change to a good black
-ink.
-
-On removing the handkerchief with which the vase was covered, ink
-is seen to have taken the place of the water, and from the center
-of the vase the performer removes the silk handkerchiefs and
-candles.
-
-Our first engraving shows the vase of water on the stand; the
-second shows the vase after the water has changed to ink, with
-the magician removing one of the silk handkerchiefs. The third
-illustration represents the vase with one side broken away, showing
-attached to the back of the mirror the tin receptacle that contains
-the handkerchiefs and candles.
-
-
-The “Mermaid’s Head.”
-
-M. Alber, the prestidigitateur, describes in _La Nature_ a variant
-of a trick which, although old in principle, has recently been
-brought out in a new and attractive form.
-
-Upon a light tripod placed in an alcove or recess hung with some
-sort of a red fabric, such as cotton velvet, stands an aquarium in
-which gold fish are observed swimming about, and in the center of
-which is seen a living female head that moves, smiles, and seems to
-be absolutely at its ease, although deprived of a body and immersed
-in water. A reference to the figure will show how the apparatus is
-arranged.
-
-The tripod consists of three gilded copper rods fixed at the
-bottom to a triangular platform and supporting at the top another
-platform of nickel-plated metal. At their point of union the three
-rods, which are firmly brazed to each other, seem to be united by
-a simple ribbon tied with a bow knot.
-
-[Illustration: Fig. 61.--The “Mermaid’s Head.”]
-
-From the base to the ribbon there is an empty space, but above
-the latter there are fixed between the rods three triangular
-glass mirrors backed with thin and resistant steel plate. The
-nickel-plated top is movable. Previous to the entrance of the
-spectators, the woman whose head is to appear, places herself
-between the mirrors, crosses her legs and rests upon her heels.
-It is impossible for the apparatus to topple over, since it is
-firmly screwed to the floor. The nickel-plated top, which is in two
-pieces, embraces the neck so closely, when put in place, that the
-joint can scarcely be seen at a short distance. Since the mirrors
-reflect the floor, which is covered like the walls, it seems as if
-it were the back of the alcove that is visible between the rods at
-the upper part; and the entire apparatus appears to be absolutely
-open.
-
-As for the aquarium trick, that is simple. The aquarium is an
-adaptation of one that has long been found in the market, and in
-which are perceived birds that seem to be flying about in the water
-amid fishes.
-
-The crystal glass aquarium, which is manufactured especially for
-the purpose, consists of two receptacles. The central one of these
-is open at the bottom to receive the head, while the outer one is
-open at the top and contains the water and fishes. As the glass
-is exceedingly transparent, it is almost impossible to detect the
-empty space in the center.
-
-The aquarium is placed upon four small nickel-plated supports that
-permit of the introduction of air into the internal receptacle. The
-position of the decapitated woman is an exceedingly cramped one,
-and it is therefore necessary for her to make her exit from the
-tripod between each exhibition in order to take a well-earned rest.
-
-
-“Card Cricket.”
-
-One of the most effective and pretty tricks performed by the
-celebrated English magician Mr. Devant is known as “Card Cricket.”
-In this trick the performer shows his hands empty, and takes a
-pack of cards and requests three ladies to take one card each, and
-to remember what the cards are. The cards are then replaced in
-the pack, which is well shuffled and cut by one of the audience.
-The performer then passes for inspection an ordinary cricket bat,
-which, on its return, he places on a table in full sight of all.
-He then asks if any one in the audience can bowl, and requests the
-gentleman who can, to come and have a game of cricket.
-
-The performer now asks the gentleman to take the pack of cards and
-bowl at him, and he will be the player or one at the wicket. The
-performer picks up the bat and says “Play.” The cards are bowled at
-him, and he hits the pack with the bat as the cards are in the air,
-and, to the astonishment of the audience, the chosen cards are seen
-sticking to the bat. This very pretty card trick is quite simple to
-work.
-
-[Illustration: Fig. 62.--“Card Cricket.”]
-
-In selecting the cards the ladies were under the impression that
-they exercised their own free will, but such was not the case. The
-pack of cards was what is known to magicians as a forcing pack,
-that is, consisting of only three cards, which, for convenience
-sake, we will say are the ace of clubs, five of hearts, and nine
-of spades, one-third of the pack being composed of only one of
-these cards. The pack being thus made up, it is very easy for a
-skillful performer to present to the first lady the portion of the
-pack containing only ace of clubs, to the second lady the part
-consisting solely of five of hearts, and to the third lady the part
-that contains only nine of spades. By using such a forcing pack
-the performer is sure to have the proper cards selected. While the
-ladies are examining their cards the performer steps to his table
-on some pretense and slyly changes the forcing pack for an ordinary
-one consisting of the usual cards, with the exception of the five
-of hearts, ace of clubs, and nine of spades. This pack he hands to
-some member of the audience and requests them to have replaced the
-selected cards and shuffled.
-
-[Illustration: Fig. 63.--“Card Cricket.”]
-
-The cricket bat is an ordinary one, which, after being examined
-by the audience, is laid on a table until the performer finds a
-gentleman who will bowl the pack at him.
-
-In this simple act of laying the bat on the table we find the
-principal secret of the trick.
-
-Previous to beginning the performance the magician has placed face
-down on the table, in a line with each other, an ace of clubs, five
-of hearts, and nine of spades. The back of each of these cards
-is lined with cloth similar to the covering of the table, thus
-preventing any one noticing the cards when placed face down on the
-table. On the cloth covering of each of the cards is smeared a dab
-of soft adhesive wax. In placing the bat on the table, care is
-taken to lay it directly over the three cards, the wax on the backs
-adhering tightly to the bat.
-
-After the gentleman who has consented to bowl the pack of cards at
-the performer is in place, the performer picks up the bat, steps
-back a few feet, and says “Play.” The instant the flying cards
-touch the bat the performer turns it over, bringing into view the
-side of the bat to which the three cards are sticking, which appear
-to have been caught on the bat from the flying cards.
-
-Until the pack of cards are thrown against the bat, the magician
-exercises the greatest care not to turn the side of the bat to
-which the cards are sticking toward the spectators. Properly
-presented, this trick has proved most illusive.
-
-
-“Cupid Lighter than a Butterfly.”
-
-The pleasing trick which forms the subject of our engravings owes
-its success to the ingenious application of mechanical principles.
-The magician presents for inspection to the audience a large pair
-of balance scales. The audience is allowed to examine the various
-parts of the balance before it is erected on the stage. It consists
-of a central column and a beam resting on a knife-edge, and two
-pans suspended by cords or chains. After the column has been put
-in position, the beam is put on and a pin inserted, thus making a
-center for the beam to work on. A gentleman is asked to stand in
-one of the scale pans, and then weights are gradually placed in the
-other pan until his exact weight is ascertained. The weights are
-removed, and the gentleman steps down off the stage. The audience
-is now convinced that the scale is to all intents and purposes
-like the ordinary balance which is so much used in groceries for
-weighing tea, coffee, etc., although, of course, in the present
-instance, it is built on a mammoth scale.
-
-[Illustration: Fig. 64.--“Cupid Lighter than a Butterfly.”]
-
-The magician now goes on to say that he will prove the old
-assertion that “love is lighter than a butterfly” to be absolutely
-true. He introduces a little boy dressed as Cupid, with wings and a
-bow and a quiver of arrows. When the child steps on the scale pan,
-it immediately sinks to the floor by his weight. The conjurer now
-takes a butterfly, and, asking all to direct their attention to the
-scale, drops it on the opposite pan, which immediately descends to
-the floor, at the same time raising the pan with the Cupid high in
-the air. If he takes the butterfly off, the Cupid descends, and
-every time the prestidigitateur replaces the butterfly, Cupid is
-raised off the floor.
-
-[Illustration: Fig. 65.--The Illusion Explained.]
-
-The trick depends for success upon a carefully devised and
-concealed mechanism. The balance beam is devoid of any preparation,
-but the mechanism is cleverly concealed in the column, and motion
-is imparted to the beam by means of a shaft and bevel gears. The
-hole in the beam is not perfectly round; it is slightly oval, but
-not enough so to be easily seen by a casual glance. The pin is
-also oval, instead of round, and it is made to fit tightly. It
-will be seen that, when this pin is rocked or tilted, the beam
-is moved, carrying one scale pan up and the other down. The top
-of the column is of considerable size, and one side of it is cut
-away to admit of a bevel gear, which also has an oval hole the
-same as the beam. When the balance is put together and the beam is
-placed in position, the oval pin passes through the bevel gear and
-the beam, forming a horizontal shaft. This vertical wheel meshes
-with a horizontal gear wheel, which is also secured in the head
-of the pedestal. A shaft runs through it to the space below the
-floor, where it terminates in a lever secured at right angles.
-The magician’s assistant, under the stage, grasps the lever, and,
-pulling it back and forth, transmits a seesaw motion to the beam
-through the medium of the shaft, the two bevel gears, and the oval
-pin.
-
-The trick depends very largely for success upon the apparent
-willingness of the prestidigitateur to allow all parts of the
-apparatus to be examined, and, as the gear wheels are very cleverly
-concealed, there is almost no chance of the trick being discovered.
-
-
-
-
-INDEX.
-
-
-                                              PAGE
-
-  Bags, trick,                                  98
-
-  Balance illusion,                            143
-
-  Balancing tricks,                            117
-
-  Bandage test,                                 86
-
-  Blindfolded juggler,                         121
-
-  Blotter trick,                                17
-
-  Bottle, miraculous,                          130
-
-
-  Cabinet test,                                108
-
-  Cabinet, the trick,                          109
-
-  Card balancing,                              119
-
-  Carpet, slitted,                              29
-
-  Chair and net test,                          108
-
-  Chalk, writing on,                            60
-
-  Chalks, writing with colored,                 36
-
-  Confederates,                                107
-
-  Cricket, card,                               139
-
-  Cuff, leather,                                73
-
-  Cupid lighter than a butterfly,              143
-
-
-  Davenport tie,                                88
-
-  Double slate,                              32-41
-
-
-  Eddy Brothers, séances,                      101
-
-  Egg glass, use of,                            55
-
-  Eggs, spinning,                              118
-
-
-  Fay’s séances,                               103
-
-  Finger, prepared,                             19
-
-  Flap, false,                               21-38
-
-  Flap, interrupted,                            48
-
-  Fly, educated,                                62
-
-  Folding slate,                                33
-
-
-  Hands, holding,                               28
-
-  Handcuff test,                                96
-
-  Head, mermaid’s,                             136
-
-  Hinges, false,                                39
-
-  Hook for table raising,                       74
-
-
-  Inks, sympathetic,                         11-17
-
-  Interrupted flap,                             48
-
-
-  Juggler, blindfolded,                        121
-
-
-  Light séances,                               101
-
-  Loop, double,                                 92
-
-
-  Magician’s omelette,                         115
-
-  Magnetic writing,                             34
-
-  Mind reading and kindred phenomena,        51-71
-
-  Mirrors, reading writing by,                  47
-
-  Miscellaneous slate tests,                 41-51
-
-  Miscellaneous tricks,                    115-146
-
-
-  Omelette, magician’s,                        115
-
-
-  Pad, transferring to,                         20
-
-  Pen, surprise,                               125
-
-  Pencil carrier, thumb,                        52
-
-  Pencil, silver nitrate,                       44
-
-  Pencil thimble,                               18
-
-  Photography, spirit,                         113
-
-  Pistol loaded with chalk,                     41
-
-  Post tests, etc,                          93-100
-
-  Post test, mechanical,                        94
-
-  Post test, ordinary,                          93
-
-  Potato cutting,                              120
-
-
-  Raps, spirit,                                 81
-
-  Ring test,                                    96
-
-  Rods and cords, Chinese,                     123
-
-  Rope test,                                    82
-
-
-  Séance, spiritualistic,                       76
-
-  Séances,                                 101-114
-
-  Silica slate,                                  6
-
-  Silk flap,                                     5
-
-  Silver nitrate pencil,                        44
-
-  Single slate,                               3-32
-
-  Slade, Dr.,                                  105
-
-  Slate, double,                             32-41
-
-  Slates exchanged,                             30
-
-  Slate, folding,                               33
-
-  Slate writing on china,                        8
-
-  Slates, locked,                               36
-
-  Slate tests, multiple,                        38
-
-  Slates, padlocked,                            32
-
-  Slates, pivot,                                26
-
-  Slates, riveted,                              24
-
-  Slates, screwed,                              24
-
-  Slates, scaled,                               34
-
-  Slates, sliding,                              33
-
-  Slates, tied,                                 22
-
-  Slates, transferring,                         37
-
-  Slates, wedging,                              24
-
-  Slates with false hinges,                     39
-
-  Sliding slates,                               33
-
-  Spinning tricks,                             117
-
-  Spirit collar,                                97
-
-  Stencil, wood,                                42
-
-  Sucker for table lifting,                     72
-
-  Sympathetic ink writing,                       9
-
-
-  Table, false,                                 10
-
-  Table lifting and spirit rapping,          71-82
-
-  Table, traps in,                          25, 26
-
-  Table trick,                                  47
-
-  Telegraph,                                    77
-
-  Telegraph, foot,                              66
-
-  Telegraph head,                               68
-
-  Thimble key,                                  36
-
-  Thimble pencil,                               18
-
-  Thumb pencil carrier,                         52
-
-  Tie, Davenport,                               88
-
-  Ties, rope,                                   85
-
-  Ties, spiritualistic,                      82-92
-
-  Toes, writing with the,                       45
-
-  Traps,                                       106
-
-  Tube, speaking,                               67
-
-
-  Vase, miraculous,                            132
-
-
-  Wine glass, miraculous,                      128
-
-  Wire cage test,                              110
-
-  Wire, cloth,                                  61
-
-  Writing, reading concealed,                51-58
-
-
-
-
-       *       *       *       *       *
-
-
-
-
-MAGIC
-
-Stage Illusions and Scientific Diversions, Including Trick
-Photography.
-
-BY A. A. HOPKINS.
-
-With an Introduction by H. R. EVANS.
-
-568 pages. 420 illustrations. Price, $2.50 postpaid.
-
-[Illustration: (the book cover)]
-
-This work appeals to old and young alike, and it is one of the most
-attractive holiday books of the year. The illusions are illustrated
-by the highest class of engravings, and the exposés of the tricks
-and spiritualistic phenomena are, in many cases, furnished by the
-prestidigitateurs themselves. Conjuring, large stage illusions,
-fire-eating, sword-swallowing, ventriloquism, mental magic, ancient
-magic, automata, curious toys, stage effects, photographic tricks,
-and the projection of moving photographs are all well described and
-illustrated, making a handsome volume. It is tastefully printed and
-bound.
-
-Acknowledged by the profession to be the
-
-  Standard Work on Magic
-
-==> Circular of Contents and sample illustrations with testimonials
-from W. E. Robinson, M. Trewey, W. B. Caulk, Harry Rouclere,
-Jewett, Clivette, etc., free upon request.
-
-  MUNN & CO., Publishers,
-
-  SCIENTIFIC AMERICAN OFFICE
-
-  361 BROADWAY,       NEW YORK CITY.
-
-
-
-
-The Scientific American
-
-
-This unrivaled publication is now in its fifty-fourth year, and
-is acknowledged to be the foremost and most popular scientific
-journal published. The excellence and variety of the reading matter
-render it one of the most interesting and widely read journals in
-the world. Each issue is fully illustrated and no topic of popular
-interest germane to science or industry is neglected. The latest
-tricks of the greatest modern conjurers are published from time to
-time. Those who are not familiar with the
-
-  Scientific American
-
-may send for a free sample copy. Subscription price, $3.00 per
-annum.
-
-
-  MUNN & CO., Publishers,
-
-  Scientific American Office,
-
-  361 Broadway,       New York City.
-
-
-[Illustration: (the magazine cover)
-
-THE EDISON MAGNETIC CONCENTRATING WORKS. THE GIANT ROLLS.]
-
-  MUNN & CO., Publishers,
-
-  361 BROADWAY,       NEW YORK.
-
-
-
-
-1898 EDITION
-
---OF--
-
-Experimental Science
-
-BY GEO. M. HOPKINS.
-
-20th Edition Revised and Enlarged.
-
-914 Pages, 820 Illustrations.
-
-Price $4.00 in cloth; $5.00 in half morocco, postpaid
-
-THE MOST POPULAR SCIENTIFIC BOOK OF THE DAY
-
-[Illustration: (the book cover)]
-
-This is a book full of interest and value for Teachers, Students,
-and others who desire to impart or obtain a practical knowledge of
-Physics. This splendid work gives young and old something worthy
-of thought. It has influenced thousands of men in the choice of a
-career. It will give anyone, young or old, information that will
-enable him to comprehend the great improvements of the day. It
-furnishes suggestions for hours of instructive recreation. This new
-edition is now ready. It contains a large amount of new matter,
-bringing it up to date. Such subjects as the X-rays and liquefied
-air being fully treated.
-
-Send for large Illustrated Circular and complete Table of Contents.
-
-  MUNN & CO., Publishers,
-
-  OFFICE OF THE
-
-  SCIENTIFIC AMERICAN,
-
-  361 BROADWAY,       NEW YORK.
-
-
-
-
-  TRANSCRIBER’S NOTE
-
-  Obvious typographical errors and punctuation errors have been
-  corrected after careful comparison with other occurrences within
-  the text and consultation of external sources.
-
-  Except for those changes noted below, all misspellings in the text,
-  and inconsistent or archaic usage, have been retained.
-
-  Pg 61: ‘are nable to see’ replaced by ‘are unable to see’.
-  Pg 82: ‘great standbies’ replaced by ‘great standbys’.
-  Pg 129: ‘handerchief, and’ replaced by ‘handkerchief, and’.
-  Pg 147; Index entry ‘Post tests’: ‘93-1 0’ replaced by ‘93-100’.
-  Pg 147; Index entry ‘Slates, padlocked’: ‘3’ replaced by ‘32’.
-
-
-
-
-
-End of the Project Gutenberg EBook of Spirit Slate Writing and Kindred
-Phenomena, by William E. Robinson
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-<pre>
-
-The Project Gutenberg EBook of Spirit Slate Writing and Kindred Phenomena, by 
-William E. Robinson
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll
-have to check the laws of the country where you are located before using
-this ebook.
-
-
-
-Title: Spirit Slate Writing and Kindred Phenomena
-
-Author: William E. Robinson
-
-Release Date: April 19, 2020 [EBook #61871]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SPIRIT SLATE WRITING ***
-
-
-
-
-Produced by deaurider, John Campbell and the Online
-Distributed Proofreading Team at https://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-</pre>
-
-
-
-<div class="transnote">
-<p><strong>TRANSCRIBER’S NOTE</strong></p>
-
-<p>Some minor changes to the text are noted at the <a href="#TN">end of the book.</a></p>
-</div>
-
-
-<hr class="chap pg-brk" />
-
-<div class="figcenter">
-<img src="images/cover.jpg" width="510" alt="Original cover" /></div>
-
-
-<hr class="chap" />
-
-<div class="figcenter">
-<a id="FP"></a>
-<img src="images/i_f000.jpg" width="650" alt="" />
-<div class="caption">
-“The Spiritualistic Séance.”</div>
-</div>
-
-
-<hr class="chap pg-brk" />
-
-<h1>
-SPIRIT SLATE WRITING<br />
-<br />
-<span class="fs70">AND</span><br />
-<br />
-KINDRED PHENOMENA</h1>
-
-<p class="p4 pfs80">BY</p>
-
-<p class="p1 pfs90">WILLIAM E. ROBINSON</p>
-
-<p class="p1 pfs60">Assistant to the late Herrmann</p>
-
-<p class="p6 pfs90 lsp2"><em>SIXTY-SIX ILLUSTRATIONS</em></p>
-
-<p class="p6 pfs80">MUNN &amp; COMPANY<br />
-SCIENTIFIC AMERICAN OFFICE<br />
-<span class="smcap">New York City</span></p>
-
-<hr class="r5a" />
-
-<p class="pfs90">1898</p>
-
-
-<hr class="chap pg-brk" />
-
-<p class="p6" />
-<p class="pfs60 smcap">Copyrighted, 1898, by Munn &amp; Company.<br />
-<br />All rights reserved.</p>
-<p class="p6" />
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_iii">[Pg iii]</a></span></p>
-
-<p class="p4" />
-<h2 class="no-brk fs135 lsp">PREFACE.</h2>
-<hr class="r10" />
-<p class="p2" />
-
-<p>The author of the present volume is not an
-opponent of spiritualism&mdash;on the contrary, he was
-brought up from childhood in this belief; and
-though, at the present writing, he does not acknowledge
-the truth of its teachings, nevertheless he
-respects the feelings of those who are honest in their
-convictions. At the same time he confidently believes
-that all rational persons, spiritualists as well
-as others, will heartily indorse this endeavor to
-explain the methods of those who, under the mask
-of mediumship, and possessing all the artifices of the
-charlatan, victimize those seeking knowledge of
-their loved ones who have passed away. As a great
-New York lawyer once said, it was not spiritualism
-he was fighting, but fraud under the guise of spiritualism.</p>
-
-<p>Owing to the fact that the author has for many
-years been engaged in the practice of the profession
-of magic, both as a prestidigitateur and designer of
-stage illusions for the late Alexander Herrmann, and
-has also been associated with Prof. Kellar, he feels<span class="pagenum"><a id="Page_iv">[iv]</a></span>
-that he is fitted to treat of clever tricks used by
-mediums. He has attended hundreds of séances
-both at home and abroad, and the present volume
-is the fruit of his studies.</p>
-
-<p>Some of the means of working these slate tests
-may appear simple and impossible of deceiving, but
-in the hands of the medium they are entirely successful.
-It should be remembered it is not so much
-the apparatus employed as it is the shrewd, cunning,
-ever-observing sharper using it. The devices
-and methods employed by slate writing frauds seem
-innumerable. No sooner are they caught and exposed
-while employing one system than they immediately
-set their wits to work and evolve an
-entirely different idea. It is almost impossible at
-the first sitting with a slate writing medium to know
-what method he will employ, and should you, after
-the sitting, go away with the idea that you have
-discovered his method of operation and come a
-second time ready to expose him, you may be sadly
-disappointed, for the medium will undoubtedly lead
-you to believe he is going to use his former method,
-and so mislead you. He accomplishes his test by
-another method, while you are on the lookout for
-something entirely different. The great success of
-the medium is in disarming the suspicions of the
-skeptic, and at that very moment the trick is done.
-Slate writing is of course the great standby of<span class="pagenum"><a id="Page_v">[v]</a></span>
-mediums, but there are many other tricks which
-they employ which are described in the present
-volume.</p>
-
-<p>The publishers have added a chapter on “Miscellaneous
-Tricks” which may serve as a supplement to
-their “Magic: Stage Illusions and Scientific Diversions,
-Including Trick Photography,” which has
-already obtained an enviable position in the literature
-of magic, and has been even translated into
-Swedish. These tricks are by Mr. W. B. Caulk and
-the author.</p>
-
-<p class="p1" />
-<p><span class="smcap">New York</span>, November, 1898.</p>
-
-
-<hr class="chap pg-brk" />
-
-<h2 class="no-brk fs135 lsp"><a id="CONTENTS"></a>TABLE OF CONTENTS.</h2>
-<hr class="r15" />
-
-<div class="pad10pc">
-<table border="0" cellpadding="4" cellspacing="0" width="80%" summary="">
-<tr><td class="tdc smcap">Chapter I.</td></tr>
-<tr><td class="tdl"></td><td class="tdr fs60">PAGE</td></tr>
-<tr><td class="tdl">The Single Slate</td><td class="tdr"><a href="#Page_3">3</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter II.</td></tr>
-<tr><td class="tdl">The Double Slate</td><td class="tdr"><a href="#Page_32">32</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter III.</td></tr>
-<tr><td class="tdl">Miscellaneous Slate Tests</td><td class="tdr"><a href="#Page_41">41</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter IV.</td></tr>
-<tr><td class="tdl">Mind Reading and Kindred Phenomena</td><td class="tdr"><a href="#Page_51">51</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter V.</td></tr>
-<tr><td class="tdl">Table Lifting and Spirit Rapping</td><td class="tdr"><a href="#Page_71">71</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter VI.</td></tr>
-<tr><td class="tdl">Spiritualistic Ties</td><td class="tdr"><a href="#Page_82">82</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter VII.</td></tr>
-<tr><td class="tdl">Post Tests, Handcuffs, Spirit Collars, etc.</td><td class="tdr"><a href="#Page_93">93</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter VIII.</td></tr>
-<tr><td class="tdl">Séances and Miscellaneous Spirit Tricks</td><td class="tdr"><a href="#Page_101">101</a></td></tr>
-<tr><td>&nbsp;</td></tr>
-<tr><td class="tdc smcap">Chapter IX.</td></tr>
-<tr><td class="tdl">Miscellaneous Tricks</td><td class="tdr"><a href="#Page_115">115</a></td></tr>
-</table></div>
-
-
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_3">[Pg 3]</a></span></p>
-<p class="p4" />
-
-<p class="p4 pfs180">SPIRIT SLATE WRITING</p>
-
-<p class="p2 pfs90">AND</p>
-
-<p class="p1 pfs135">KINDRED PHENOMENA.</p>
-
-<hr class="r20" />
-
-<h2 class="no-brk"><a id="CHAPTER_I"></a><a href="#CONTENTS">CHAPTER I.</a><br />
-
-<span class="smcap">The Single Slate.</span></h2>
-
-
-<p>There has probably been nothing that has made
-more converts to spiritualism than the much talked
-of “Slate Writing Test,” and if we are to believe
-some of the stories told of the writings mysteriously
-obtained on slates, under what is known as “severe
-test conditions,” that preclude, beyond any possible
-doubt, any form of deception or trickery, one would
-think that the day of miracles had certainly returned;
-but we must not believe half we hear nor all that we
-see, for the chances are that just as you are about to
-attribute some unaccountable spirit phenomena to
-an unseen power, something turns up to show that
-you have been tricked by a clever device which is
-absurd in its simplicity.</p>
-
-<p>There are a large number of methods of producing
-slate writing, but the writer will describe a few
-which will be sufficient to give an idea of the working
-of slate tests in general. First we have the
-ordinary one in which the writing is placed on the
-slate beforehand, and then hidden from view by a<span class="pagenum"><a id="Page_4">[4]</a></span>
-flap or loose piece of slate. (Fig. 1.) After both
-sides of the slate have been cleaned, the false flap is
-dropped on the table, the side which is then uppermost
-being covered with cloth similar to the table
-top, where it will remain unnoticed, or the flap is
-allowed to fall into a second slate with which the
-first is covered. In the latter case no cloth is pasted
-on the flap. Sometimes the flap is covered with
-a piece of newspaper and is allowed to drop into a
-newspaper lying on the table, then the newspaper
-containing the flap is carelessly removed, thus doing
-away with any trace of trickery.</p>
-
-<div class="figcenter">
-<img src="images/i_p004.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 1.&mdash;Ordinary Slate with Flap.</div>
-</div>
-
-<p>Another way of utilizing the false flap is as follows:
-The writing is not placed beforehand on the
-slate, but on the flap, which, as before, is covered
-with the same material as the table top. This is<span class="pagenum"><a id="Page_5">[5]</a></span>
-lying on the table writing downward. The slate is
-handed around for inspection, and, on being returned
-to the performer, he stands at the table and
-cleans the slate on one side, then turns it over and
-cleans the other. As he does so he lifts the flap into
-the slate. The flap is held in firmly by an edging of
-thin pure sheet rubber cemented on the flap between
-the slate and the cloth covering of the slate. This
-grips the wooden sides of the frame hard enough
-to prevent the false piece from tumbling out accidentally.</p>
-
-<p>We now come to another style, wherein a slate is
-cleaned on both sides, and, while held in the hand
-facing the audience, becomes suddenly covered with
-writing, and the slate is immediately given for inspection.
-The writing is on the slate previous to
-the cleaning, and is hidden from view by a flap of
-slate colored silk, held firmly in place by a pellet of
-wax in each of the corners of the silk. Attached to
-this silk flap or covering (at the end that is nearest
-to the performer’s sleeve) is a stout cord or string,
-which is also made fast to a strap around the wrist
-of the hand opposite to that holding the slate. If
-the arms are now extended their full length, the
-piece of silk covering will leave the slate and pass
-rapidly up the sleeve out of the way, and thus leave
-the writing exposed to view. (Fig. 2.) The slate is
-found to be still a little damp from the cleaning with
-the sponge and water it had been given previously.
-This is easily accounted for. The water from the
-sponge penetrates just enough through the cloth to
-dampen the slate.</p>
-
-<div class="figcenter">
-<img src="images/i_p006.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 2.&mdash;Removing the Silk from the Face of the Slate.</div>
-</div>
-
-<p>There is still another slate on which we can make<span class="pagenum"><a id="Page_6">[6]</a></span>
-the writing appear suddenly. It is composed of a
-wooden frame, such as all wooden-edged slates have,
-but the slate itself is a sham. It is a piece of cloth
-painted with a kind of paint known as liquid, or silicate
-slating, which, when dry and hard, is similar to<span class="pagenum"><a id="Page_7">[7]</a></span>
-the real article. This cloth is twice the length of
-the slate and just the exact width. The two ends of
-the cloth are united with cement, so as to make an
-endless piece or loop. There is a small rod or roller
-in both the top and bottom pieces of the frame, the
-ends being made hollow to receive them. Over
-these rollers runs the cloth, stretched firmly and
-tightly. Just where the cloth is joined or cemented
-is a little black button, or stud of hard rubber or
-leather. This allows the cloth to be pushed up and
-down, bringing the back to the front; and by doing
-so quickly, the writing which is written on the cloth
-at the rear of the frame is made to come to the front
-in plain view. (Fig. 3.)</p>
-
-<div class="figright">
-<img src="images/i_p007.jpg" width="200" alt="" />
-<div class="caption">
-Fig. 3.&mdash;The Endless Band<br />
-Silicate Trick Slate.</div>
-</div>
-
-<p>Still another idea in a
-single slate is as follows:
-An ordinary looking slate
-is given out for examination,
-and, on its being returned
-to the medium, he
-takes his handkerchief and
-cleans or brushes both sides
-of the slate with it; and,
-upon again showing that
-side of the slate first cleaned,
-it is found covered with
-writing apparently done
-with chalk. The following
-is the simple explanation
-of it: Take a small camel’s
-hair brush and dip it in
-urine or onion juice, and with it write or trace on
-the slate whatever you desire, and when it becomes<span class="pagenum"><a id="Page_8">[8]</a></span>
-dry, or nearly so, the slate can be given for examination
-without fear of detection. The handkerchief
-the performer uses to clean the slate with is lightly
-sprinkled with powdered chalk. He makes believe to
-clean the one side devoid of preparation, but the side
-containing the invisible writing is gently rubbed
-with the handkerchief, not too hard just enough to
-let the powdered chalk fall on the urine or onion
-juice, where it leaves a mark not unlike a chalk mark.</p>
-
-<p>It will not be out of place to describe a trick by
-which writing is produced upon an ordinary china
-plate by a somewhat similar means. The plate is
-examined and cleaned with a borrowed handkerchief,
-and then the performer requests the loan of a
-pinch of snuff, or uses a little sand or dust, which he
-places on the plate. He now commences to move
-the plate around in circles, and while doing so the
-snuff or sand is seen to gradually form itself into
-writing. The explanation is simple&mdash;whatever writing
-you desire to appear on the plate is placed beforehand
-on it. It is done with a camel’s hair brush
-dipped in the white of an egg and allowed to become
-dry before being handed around for inspection. As
-the performer cleans the plate he breathes on both
-sides of it, as if to give it moisture enough to help
-take off any dirt that might be thereon when rubbed
-with the handkerchief. In breathing on the front of
-the plate containing the writing done with the white
-of the egg, he moistens the writing enough to make
-the snuff or sand, as the case may be, adhere to it.
-Of course, in cleaning the front of the plate, care
-must be taken not to brush or disturb the invisible
-writing.</p>
-
-<p><span class="pagenum"><a id="Page_9">[9]</a></span></p>
-
-<p>It may not be amiss to also mention another method
-of producing writing, employed by mediums to obtain
-a message on a blank piece of paper which has
-been placed between two slates, which are held by
-the medium in his hand, high above his head, and, on
-afterwards taking the slate apart, the paper is covered
-with writing. This again calls into use the
-extra or false flap. (Fig. 1.) A piece of paper
-with writing on it is placed face downward on one
-of the slates and covered with the false flap. It
-then looks like an ordinary slate. On this is placed
-the plain piece of paper, and over this is laid the
-second slate. The slates are now held up in plain
-view of the audience, and on being lowered to the
-table they are turned over, thus bringing the blank
-piece of paper under the false flap and the one with
-the writing on it on the top of the flap, which has
-fallen from the slate, which is now the top, but originally
-the bottom one, on or into the under one, and,
-of course, on the removal of the present top slate,
-the writing is found on what is supposed to be the
-original blank paper.</p>
-
-<div class="figcenter">
-<img src="images/i_p010.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 4.&mdash;False Table for Developing Communications
-Written with Sympathetic Ink.</div>
-</div>
-
-<p>If the paper is to have a private mark put on it by
-an observer, so as to prove the writing really does
-appear on that identical piece of paper, the operation
-is varied as follows: The false flap is done away
-with, and the paper, which is furnished by the
-medium, has written on it the desired communication
-with ink, which is made visible and brought out
-black by means of heat. For the invisible ink you
-can use sulphuric acid, very much diluted, so as not
-to destroy the paper. The necessary heat is obtained
-in the following manner: The table (Fig. 4) on which<span class="pagenum"><a id="Page_10">[10]</a></span>
-the slates are resting is hollow, and has concealed in
-it a spirit lamp filled with alcohol. This lamp sits
-directly under a trap in the table top, which is covered
-underneath for safety with sheet iron, so it will
-not catch fire. When the slates are placed on the
-table they are laid over the little trap door, which,
-in conjuring parlance, is known as a “trap.” This is
-now opened, and the slates allowed to become well
-heated and the trap then closed, and the prepared
-paper, upon coming in contact with the hot slate, is
-thus covered with writing.</p>
-
-<div class="figright">
-<img src="images/i_p011.jpg" width="150" alt="" />
-<div class="caption">
-Fig. 5.&mdash;The Development<br />
-of Spirit Writing.</div>
-</div>
-
-<p>Another medium employed a somewhat similar<span class="pagenum"><a id="Page_11">[11]</a></span>
-method, only the paper in this case was placed in a
-glass vial (Fig. 5) which had been lying on the iron
-trap door. The medium’s hand covered the vial,
-which was corked and sealed, while the writing was
-making its appearance. You can also produce writing
-on the paper in the vial without resorting to the
-use of heat by using a vial that has
-been washed out with ammonia
-and kept well corked, and writing
-on the paper with a weak solution
-of copper sulphate, which is invisible
-until the paper is placed
-in the vial, when the two chemicals
-produce writing in blue. Still
-another message is produced as
-follows: The writing is done with
-iron sulphate on blank cards. Of
-course this is invisible. These
-cards are placed in envelopes and
-sealed up. Upon opening the
-envelopes shortly afterward the cards are covered
-with the writing which was before invisible,
-but is brought out by a solution of nut galls with
-which the inside of the envelopes had been slightly
-moistened.</p>
-
-<p>The subject of sympathetic inks is such an interesting
-one that we give thirty-seven formulas,
-which include all those which are liable to be used
-by the medium.</p>
-
-<p>The solutions used should be so nearly colorless
-that the writing cannot be seen till the agent is applied
-to render it visible. Sympathetic inks are of
-three general classes.</p>
-
-<p><span class="pagenum"><a id="Page_12">[12]</a></span></p>
-
-
-<h3><em>Inks that Appear through Heat.</em></h3>
-
-<p>1. Write with a concentrated solution of caustic
-potash. The writing will appear when the paper
-is submitted to strong heat.</p>
-
-<p>2. Write with a solution of ammonium hydrochlorate,
-in the proportion of 15 parts to 100. The
-writing will appear when the paper is heated by
-holding it over a stove or by passing a hot smoothing
-iron over it.</p>
-
-<p>3. A weak solution of copper nitrate gives an invisible
-writing, which becomes red through heat.</p>
-
-<p>4. A very dilute solution of copper perchloride
-gives invisible characters that become yellow
-through heat.</p>
-
-<p>5. A slightly alcoholic solution of copper bromide
-gives perfectly invisible characters which are made
-apparent by a gentle heat, and which disappear
-again through cold.</p>
-
-<p>6. Write upon rose colored paper with a solution
-of cobalt chloride. The invisible writing will become
-blue through heat, and will disappear on cooling.</p>
-
-<p>7. Write with a solution of sulphuric acid. The
-characters will appear in black through heat. This
-ink has the disadvantage of destroying the paper.
-(See the caution given on <a href="#Page_9">page 9</a>.)</p>
-
-<p>8. Write with lemon, onion, leek, cabbage or artichoke
-juice. Characters written with these juices
-become very visible when the paper is heated.</p>
-
-<p>9. Digest 1 oz. of zaffre, or cobalt oxide, at a
-gentle heat, with 4 oz. of nitro-muriatic acid till no
-more is dissolved, then add 1 oz. common salt and<span class="pagenum"><a id="Page_13">[13]</a></span>
-16 oz. of water. If this be written with and the
-paper held to the fire, the writing becomes green,
-unless the cobalt should be quite pure, in which
-case it will be blue. The addition of a little iron
-nitrate will then impart the property of becoming
-green. It is used in chemical landscapes for the
-foliage.</p>
-
-<p>10. Put in a vial ½ oz. of distilled water, 1 drm.
-of potassium bromide and 1 drm. of pure copper
-sulphate. The solution is nearly colorless, but becomes
-brown when heated.</p>
-
-<p>11. Nickel nitrate and nickel chloride in weak
-solution form an invisible ink, which becomes green
-by heating when the salt contains traces of cobalt,
-which usually is the case; when pure, it becomes
-yellow.</p>
-
-<p>12. When the solution of acetate of protoxide of
-cobalt contains nickel or iron, the writing made by
-it will become green when heated; when it is pure
-and free from these metals, it becomes blue.</p>
-
-<p>13. Milk makes a good invisible ink, and buttermilk
-answers the purpose better. It will not show if
-written with a clean new pen, and ironing with a hot
-flat iron is the best way of showing it up. All invisible
-inks will show on glazed paper; therefore
-unglazed paper should be used.</p>
-
-<p>14. Burn flax so that it may be rather smoldered
-than burned to ashes, then grind it with a muller on
-a stone, putting a little alcohol to it, then mix it with
-a little gum water, and what you write, though it
-seem clear, may be rubbed or washed out.</p>
-
-<p>15. Boil cobalt oxide in acetic acid. If a little
-common salt be added, the writing becomes green<span class="pagenum"><a id="Page_14">[14]</a></span>
-when heated, but with potassium nitrate it becomes
-a pale rose color.</p>
-
-<p>16. A weak solution of mercury nitrate becomes
-black by heat.</p>
-
-
-<h3><em>Inks that Appear under the Influence of Light.</em></h3>
-
-<p>17. Gold chloride serves for forming characters
-that appear only as long as the paper is exposed to
-daylight, say for an hour at least.</p>
-
-<p>18. Write with a solution made by dissolving one
-part of silver nitrate in 1,000 parts of distilled
-water. When submitted to daylight, the writing
-appears of a slate color or tawny brown.</p>
-
-
-<h3><em>Inks Appearing through Reagents.</em></h3>
-
-<p>19. If writing be done with a solution of lead
-acetate in distilled water, the characters will appear
-in black upon passing a solution of an alkaline sulphide
-over the paper.</p>
-
-<p>20. Characters written with a very weak solution
-of gold chloride will become dark brown upon passing
-a solution of tin perchloride over them.</p>
-
-<p>21. Characters written with a solution of gallic
-acid in water will become black through a solution
-of iron sulphate and brown through the alkalies.</p>
-
-<p>22. Upon writing on paper that contains but little
-sizing with a very clear solution of starch, and submitting
-the dry characters to the vapor of iodine,
-or passing over them a weak solution of potassium
-iodide, the writing becomes blue, and disappears
-under the action of a solution of sodium hyposulphite
-in the proportions of 1 to 1,000.</p>
-
-<p><span class="pagenum"><a id="Page_15">[15]</a></span></p>
-
-<p>23. Characters written with a 10 per cent. solution
-of nitrate of protoxide of mercury become black
-when the paper is moistened with liquid ammonia,
-and gray through heat.</p>
-
-<p>24. Characters written with a weak solution of the
-soluble platinum or iridium chloride become black
-when the paper is submitted to mercurial vapor.
-This ink may be used for marking linen. It is indelible.</p>
-
-<p>25. C. Widemann communicates a new method of
-making an invisible ink to <cite lang="de" xml:lang="de">Die Natur</cite>. To make the
-writing or the drawing appear which has been made
-upon paper with the ink, it is sufficient to dip it
-into water. On drying, the traces disappear again,
-and reappear by each succeeding immersion. The
-ink is made by intimately mixing linseed oil, 1 part;
-water of ammonia, 20 parts; water, 100 parts. The
-mixture must be agitated each time before the pen is
-dipped into it, as a little of the oil may separate and
-float on top, which would, of course, leave an oily
-stain upon the paper.</p>
-
-<p>26. Write with a solution of potassium ferro-cyanide,
-develop by pressing over the dry, invisible
-characters a piece of blotting paper moistened
-with a solution of copper sulphate or of iron
-sulphate.</p>
-
-<p>27. Write with pure dilute tincture of iron; develop
-with a blotter moistened with strong tea.</p>
-
-<p>28. Writing with potassium iodide and starch becomes
-blue by the least trace of acid vapors in the
-atmosphere or by the presence of ozone. To make
-it, boil starch, and add a small quantity of potassium
-iodide in solution.</p>
-
-<p><span class="pagenum"><a id="Page_16">[16]</a></span></p>
-
-<p>29. Copper sulphate in very dilute solution will
-produce an invisible writing, which will turn light
-blue by vapors of ammonia.</p>
-
-<p>30. Soluble compounds of antimony will become
-red by hydrogen sulphide vapor.</p>
-
-<p>31. Soluble compounds of arsenic and of tin peroxide
-will become yellow by the same vapor.</p>
-
-<p>32. An acid solution of iron chloride is diluted
-till the writing is invisible when dry. This writing
-has the remarkable property of becoming red by
-sulphocyanide vapors (arising from the action of
-sulphuric acid on potassium sulphocyanide in a long
-necked flask), and it disappears by ammonia, and
-may alternately be made to appear and disappear by
-these two vapors.</p>
-
-<p>33. Writing executed with rice water is visible
-when dry, but the characters become blue by the
-application of iodine. This ink was much employed
-during the Indian mutiny.</p>
-
-<p>34. Write with a solution of paraffin in benzol.
-When the solvent has evaporated, the paraffin is invisible,
-but becomes visible on being dusted with
-lampblack or powdered graphite, or smoking over a
-candle flame.</p>
-
-<p>35. To Write Black Characters with Water.&mdash;Mix
-10 parts nutgalls, 2½ parts calcined iron sulphate.
-Dry thoroughly, and reduce to fine powder.
-Rub this powder over the surface of the paper,
-and force into the pores by powerful pressure, brush
-off the loose powder. A pen dipped in water will
-write black on paper thus treated.</p>
-
-<p>36. To Write Blue Characters with Water.&mdash;Mix
-iron sesquisulphate and potassium ferrocyanide.<span class="pagenum"><a id="Page_17">[17]</a></span>
-Prepare the paper in the same manner as for writing
-black characters with water. Write with water,
-and the characters will appear blue.</p>
-
-<p>37. To Produce Brown Writing with Water.&mdash;Mix
-copper sulphate and potassium ferrocyanide.
-Prepare the paper in the same manner as before.
-The characters written with water will be reddish
-brown.</p>
-
-<p>Here is another trick calling for the use of sympathetic
-ink. A medium suggests a number of questions
-to write on a paper, one of which you select and
-write on a slip of paper furnished by the medium.
-Writing is done with pen and ink. You are requested
-to dry it with a blotter, and not to remove the
-blotter for a time, the medium says, so as to keep the
-paper in the dark, thus giving the “spirits” better
-conditions under which to work. After a while the
-blotter is removed, and an answer to the question is
-found on the same paper. The questions suggested
-were all of such a character that one answer would
-nearly do for any one. The paper the question was
-written on had this answer written with invisible
-ink brought out by a reagent on the blotter, with
-which it was saturated, and thus another mystery is
-easily dispelled.</p>
-
-<p>We will now take up a few slate tests, in which
-the slates are brought or furnished by the spectator
-or investigator. The tests in which the slates are
-brought by skeptics and tied and sealed by them,
-and still writing is obtained upon them, are the ones
-that are the most convincing and most talked about,
-and they are offered to the unbeliever as proof absolute
-of spirit power.</p>
-
-<p><span class="pagenum"><a id="Page_18">[18]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_p018.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 6.&mdash;Writing on the Slate with the Pencil
-Thimble.</div>
-</div>
-
-<p>First we will begin with the single slate which
-has just been handed to the medium, after being
-thoroughly cleaned by the person bringing it. The
-skeptic holds one end of the slate in one hand and
-the medium the opposite end in one of his hands, and
-both persons clasp their disengaged hands. In a
-short time the slate is turned over and a few words
-written in a scrawling style are found. I must
-acknowledge that when I first witnessed this test it
-somewhat staggered me, but afterward, on seeing it
-the second time, I was enabled to fathom its mystery.
-It is patterned somewhat after the style claimed
-to have been used by Slade, wherein he used a piece
-of slate pencil fastened to a thimble, and with apparatus
-attached to his forefinger of the same hand
-holding the slate he did the writing. The thimble
-(Fig. 6) was fastened to an elastic which pulled
-the thimble out of sight up the sleeve or under the
-coat when it was done with. But it always required
-a little scheming and maneuvering both to use and
-conceal the device and get rid of it, and there was<span class="pagenum"><a id="Page_19">[19]</a></span>
-always the fear of being detected with this bit of
-machinery about the person; so someone of an ingenious
-turn of mind hit upon another method.
-There are some slate pencils made the same as lead
-pencils, that is, a very small piece of slate pencil,
-about the size of a match, is enclosed in the wood
-after the manner of lead pencils. A tiny piece of
-this pencil is placed at the tip of the forefinger and
-over it is placed a piece of flesh-colored court plaster
-well fastened to the finger (Fig. 7) and well
-blended in with aniline dye with the finger, so both are
-exactly the same color. After everything becomes
-dry and hard a little hole is made in the court plaster,
-so as to allow the point of the piece of pencil to
-come through enough to mark on the slate. The
-finger thus prepared is what does the writing. The
-message or name must be written backward, so that
-when the slate is reversed it will appear in its correct
-position. To learn to do this quickly, stand in
-front of a looking-glass with the slate in your hand
-and watch your writing in the glass as you go along.
-You do not need to hold the slate underneath the
-table in this test; hold it in the air with a handkerchief
-over it, so as to disguise the movement of the<span class="pagenum"><a id="Page_20">[20]</a></span>
-finger. The message must necessarily be short, on
-account of the radius through which the medium’s
-finger can travel.</p>
-
-<div class="figcenter">
-<img src="images/i_p019.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 7.&mdash;The Prepared Finger.</div>
-</div>
-
-<p>We now come to another method of using the
-single slate. The medium takes the slate and places
-it on the table and requests the spectator to write a
-question on a piece of paper. He, the medium,
-gains knowledge of the contents of the paper in
-various ways; one is by using a pad of paper which
-contains underneath the second or third layer of
-paper a carbon sheet made of wax and lampblack.
-Whatever is written on the first sheet of paper will
-be transferred or copied by means of the carbon
-paper to the sheet underneath it. Another way is
-by requesting a person to fold the paper and hold
-it against his head, and, under the pretense of showing
-the person how to hold it, exchange it for a
-paper of his own folded in like manner. This exchanged
-paper is then opened and read by the
-medium while his hand is below the level of the
-table top, and while he is holding a conversation
-with the auditor. After it is read, the paper is again
-folded and kept in the performer’s lap until needed.
-As he now knows the contents of the paper, he
-can frame in his mind a suitable answer. He remarks:
-“I will ask the spirits first to give you
-a decided answer, through me as an independent
-trance slate writing medium, whether they will
-answer your question during this sitting.” So
-the medium takes a pencil in hand and writes on
-one side of the slate, apparently under spirit control,
-and then on the other side. The message
-is read, and it says the conditions are very favorable,<span class="pagenum"><a id="Page_21">[21]</a></span>
-and no doubt, if the skeptic will place the
-utmost confidence in the medium, there will be satisfactory
-results. After the slate has been shown
-with both sides covered with writing, it is thoroughly
-cleaned and placed on the table. The medium
-now picks up the original paper from his lap and
-asks the person to give him the paper he is holding.
-This the medium apparently places under the slate;
-however, he really holds this one back and introduces
-the one he has had in his hand, which is the
-one originally written upon. He has now his own
-paper in his hand, and the one with the question is
-under the slate. On the slate being turned over in
-a short time, it is covered with writing, forming a
-sensible reply to the question on the paper, which is
-now opened and read to compare it with the answer.
-All that remains to be explained is how the writing
-on the slate appeared there. The false flap is again
-used, but in a directly opposite manner to which it
-has been employed heretofore. One side of this flap
-is covered with a portion of the writing that the
-medium first wrote under spirit control. Let us say
-the first half supposed to have been written on the
-one side of the slate, and which he afterward reads
-off in connection with that written on the last or
-second side of the slate. What he really wrote on
-the first half of the slate was a correct answer to the
-question, and after he turns the slate over to write
-on the opposite side he slips the false flap over the
-answer on the slate. Of course it is what is on this
-false flap and on the other side of the slate that the
-spectator really reads, and when the slate is cleaned
-it is this flap and the opposite side of the slate. The<span class="pagenum"><a id="Page_22">[22]</a></span>
-writing, covered by the flap, which is the answer to
-the question, is never seen or touched until after
-the flap is allowed to drop into the medium’s lap. The
-slate can be examined; and, of course, no trickery
-can be found in connection with it. The method
-described above, in the hands of a calm and cool person,
-is a convincing one, and never fails to satisfy the
-most exacting of skeptics.</p>
-
-<p>I wish to remark that, if any person tells you
-he took two slates of his own to a medium, thoroughly
-well tied or sealed, and that the slates never
-left his (the skeptic’s) hands, and that there was writing
-obtained upon the interior surface of the slates
-under those conditions, he was sadly mistaken,
-and has failed to keep track of everything that
-actually took place at the time of the sitting. Suppose
-two slates tied together are brought to the
-medium. Both he and the stranger sit at a table.
-The slates are held under the table, the medium
-grasping one corner and the skeptic the opposite
-corner, each with one hand, and the disengaged
-hands clasped together above the table. After a
-while the slates are laid upon the table, the string
-untied, the slates taken apart, but no writing is found.
-The medium states it must have been because there
-was no slate pencil between them. So a small piece
-of pencil is placed between the slates, and again they
-are tied with the cord by the medium, and he again
-passes them under the table, both persons holding
-the slates as before. Presently writing is heard, and,
-upon the skeptic bringing the slates from under the
-table and untying the cord himself, he finds one of
-the slates covered with writing, although but shortly<span class="pagenum"><a id="Page_23">[23]</a></span>
-before they were devoid of even a scratch. Here is
-the explanation: The medium does not pass the slates
-under the table the first time, but drops them in his lap,
-with the side on which the string is tied or knotted
-downward, and really passes a set of his own for the
-skeptic to hold; he (the medium) supporting his end by
-pressing against the table with his knee, which leaves
-his hand disengaged. There is a slate pencil, called the
-soapstone pencil, which is softer than the ordinary.
-This is the one used by the medium. He now covers
-the face of the slate which is uppermost in his lap
-with writing, doing so very quietly and without any
-noise. Now, as he brings the slates above the table,
-he leaves his own in his lap and brings up the skeptic’s
-with the writing side down. The slates are
-untied and taken apart and shown, devoid of writing
-upon the inside, which he claims was caused by not
-having any slate pencil inside. The medium now
-places the pencil upon the slate which was originally
-the upper one, and covers this with what was the
-bottom slate, which is covered with the writing inside
-on the back or bottom of slate. This maneuver
-or action brings the slate on top with the writing
-upon its inside. Nothing could be more simple
-and natural. The slates are again tied together, and
-in doing so the slates are turned over, bringing the
-slate containing the writing, still upon the inside, at
-the bottom instead of the top, and the string tied or
-knotted above the top slate. Of course, when again
-separated, the writing is found upon the inside of the
-lower slate. When the slates are passed under the
-table the second time, the spectator himself is allowed
-to do this, and the medium, with one of his finger<span class="pagenum"><a id="Page_24">[24]</a></span>
-nails, while holding his end of the slate, produces a
-scratching noise on the slate closely resembling the
-tracing of a pencil. It is not really necessary to
-pass the slates under the table the second time, but
-they can be held above it if preferred.</p>
-
-<p>Now, suppose two slates are brought that are riveted
-or screwed or sealed at the four corners. How
-can writing be obtained upon them without disturbing
-any of the above arrangements? The slates are held
-under the table in the same manner as in previous
-tests. To produce the writing upon the slates the
-medium is provided with a few simple, though effective
-devices, one of which is a little hard wood tapering
-wedge, and a piece of thin steel wire, to one
-end of which is fastened a tiny piece of slate pencil.
-An old umbrella rib will be found to work admirably,
-because there is a small clasp at one end and
-at its other end a small eye. The pencil is made to
-fit into the end with the clasp. Now take the
-wooden wedge and push it between the wooden
-frames of the slates at the sides. The frames and
-slates will give enough to allow the wire and pencil
-to be inserted and the writing be accomplished with
-it, after which the wire is withdrawn, and then also
-the wooden wedge, and all is done without leaving
-any trace or mark behind as to how it is all performed.
-(Fig. 8.)</p>
-
-<div class="figcenter">
-<img src="images/i_p025.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 8.&mdash;Wedging Apart the Slates.</div>
-</div>
-
-<p>A well known conjuror at one time made a remark
-that he could duplicate any slate writing test he
-ever witnessed, he having publicly declared, time
-and time again, the slate writing test to be a fraud.
-He gave a test in private at his own home and hit
-upon a rather unique idea. A slate would be cleaned<span class="pagenum"><a id="Page_25">[25]</a></span>
-on both sides and a private mark placed on it, and
-the slate allowed to lie flat on the table, and the magician
-and the committee sat around it and placed
-their hands upon the slate. Presently writing was
-heard, and upon lifting the slate the side underneath
-was found covered with writing. The table was a
-kitchen table with the ordinary hanging cloth cover,
-or table cloth. The table had a double top with
-room enough between the two to conceal a small
-boy. There was a neatly made trap in both the
-table cloth and the top of the table; the cloth being
-glued around the opening to keep it in place. The
-trap door opened downwards. The boy concealed<span class="pagenum"><a id="Page_26">[26]</a></span>
-in the table opened the trap door and did the necessary
-writing on the slate, and closed the opening.
-The idea of having the committee hold their hands
-on the slate was to prevent the slate from being accidentally
-moved by the boy when writing. The above
-idea was improved upon by doing away with the
-use of the boy and the double top of the table. The
-trap in the cloth and table top was still used. But
-the test was done with the lights turned out or
-down low, and the medium had a confederate sitting
-at his right hand side. This allowed the medium to
-take away his right hand, introduce it under the
-table, open the trap, do the writing, shut the trap,
-replace his hand, and on the lights being turned up
-the writing is found. It should be stated that the
-medium and committee sat around the table with
-their hands resting on the slate, and each person’s
-hand touching that of his neighbor; so neither could
-move without the other being aware of the fact, but
-the medium’s right hand neighbor, being one of his
-confederates, allows him to take his (the medium’s)
-hand away without any one being the wiser.</p>
-
-<div class="figcenter">
-<img src="images/i_p027.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 9.&mdash;The Trick Slate.</div>
-</div>
-
-<p>I will now describe how the writing is obtained
-upon the interior of two slates sealed together, and
-all hands placed on them, and without the assistance
-of a confederate. The table is the same as previously
-described, that is, it contains the trap. The
-slates are two single ones hinged together and sealed
-around the edges in any manner the committee may
-see fit. One of the slates is a trick slate made in this
-fashion: The slate part itself is made to work on
-a pivot or hinge along one of its sides. (Fig. 9.)
-The side opposite to where both slates are hinged<span class="pagenum"><a id="Page_27">[27]</a></span>
-together, by touching a portion of the hinges that
-hold the two slates together, a catch concealed in
-the wooden framework is released, which allows the
-slate part itself to drop down on its own hinge or
-pivot. So when the slates are placed on the table
-they are put directly over the trap in the table, and
-with the hinges of the two slates toward the medium.
-The medium, as he places the slates over the trap in
-the table, pushes the hinge releasing the catch, which
-allows the underneath slate to drop as far as the
-table. Now, when the trap in the table is opened,
-the slate opens or drops far enough for the medium
-to write on that part, also on the slate above it. He
-closes both the slate and the table, and the slates,
-upon being unsealed, are found covered with writing.
-The only thing that remains to be explained is
-how the medium gets his hand free to do the writing<span class="pagenum"><a id="Page_28">[28]</a></span>
-without being detected. The lamp or gas jet is
-close to the medium’s right hand, where he can
-reach it. Now, all the persons are seated around
-the table with their hands on the slates, and each
-other’s hands or fingers touching one another. The
-medium takes his right hand away to turn down the
-light, and his next door neighbor, as soon as the
-light goes out, feels his (the medium’s) hand or
-finger replaced. At least, so he thinks. What
-really happens is this: The thumb of the medium’s
-left hand is stretched far enough over to
-touch the hand or finger of the person sitting on
-the performer’s right hand side. (Fig. 10.) The
-medium immediately goes to work and produces
-the writing, and when finished, just as he goes to relight
-the gas or lamp, he removes the left thumb to
-create the impression that he has just taken his right
-hand away again for the light.</p>
-
-<div class="figcenter">
-<img src="images/i_p028.jpg" width="600" alt="" />
-<div class="caption">
-Fig. 10.&mdash;The Medium Holding the Two Skeptics’ Hands.</div>
-</div>
-
-<p>Here is a trick I once saw a medium do. He<span class="pagenum"><a id="Page_29">[29]</a></span>
-had a number of slates piled on top of the table;
-he would clean these, one at a time, showing each,
-and after they had been thoroughly examined, he
-placed them on the floor. He would then pick them
-all up together and replace them on the table, and
-select two of them, put them together, holding them
-in his hand above his head, would shortly separate
-them and show one covered with writing. The
-slates were devoid of all trickery, as was easily proved
-in allowing them to be thoroughly examined.</p>
-
-<div class="figcenter">
-<img src="images/i_p029.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 11.&mdash;The Slate under the Carpet.</div>
-</div>
-
-<p>The explanation is as follows: The floor was covered
-with carpet. In this there was a slit or cut just
-large enough to pass or draw a slate through. A
-slate with writing on one side is previously placed
-under the carpet, with that side down. (Fig. 11.)
-The slates, as they are cleaned, are laid on the carpet<span class="pagenum"><a id="Page_30">[30]</a></span>
-immediately over or near this concealed one,
-and, on lifting the slates from the floor, this one is
-also carried with them, and all placed on the table.</p>
-
-<p>Of course, it is this slate and one of the prepared
-ones that are afterward used. There is little likelihood
-of any one taking notice of there being one
-more slate in the pile.</p>
-
-<p>Some mediums use two single slates, and, after
-cleaning them on both sides, hold one in each hand.
-They sit a little way from the table and place the
-right hand, with the slate, under the chair, as if to
-draw the chair closer to the table. What the medium
-really accomplishes is an exchange of slates.
-There is a little shelf, or drawer, under the seat of
-the chair. On this lies a slate, one side of which is
-prepared with writing. The medium picks up the
-slate and leaves behind in its place the one held in
-his right hand as he moves the chair. This is
-a method used to a considerable extent and always
-successfully.</p>
-
-<p>The following is a clever ruse, ofttimes used by
-mediums to destroy all traces of the use of the false
-flap when it is employed. It is the test where the
-flap is used to cover the writing on one slate, and
-then that slate is covered with another. Now, if
-the slates are turned over or reversed, the writing
-is uncovered and the flap remains in the opposite or
-underneath slate. Now, to get rid of that flap, the
-medium deliberately presses his knee against that
-slate, breaking not only the slate, but also the flap
-contained in it. The broken flap mingles in with
-the broken slate, and nobody is any the wiser. Nobody
-for a moment thinks of picking up the pieces<span class="pagenum"><a id="Page_31">[31]</a></span>
-to see if there are one or more slates. Of course,
-when the slates are broken, it is done secretly under
-the table, and the medium remarks: “The spirit
-force is so strong it has smashed the slate.” A
-test with a single slate that I once saw done was
-rather neat in its way, and I think it worth describing.
-The slate was examined and cleaned on both
-sides, and placed on a small table covered with a
-little fancy cloth. On lifting the slate afterward,
-its underneath side was found with writing on it.
-The top of the table was no larger than the slate.
-When the slate was laid on the table, the medium
-remarked: “To convince you there is no trickery
-about the table, I will remove the cloth;” which he
-did, with the slate still on or in it, and then replaced
-the slate and cloth. Now, on this table top was
-resting another slate covered with writing on one
-side, and that side upward, and this covered with
-the table cloth. When the medium picked up the
-cloth and the slate, which had just been cleaned,
-he also carried along the second slate with it, which
-was under the cloth, and in replacing the cloth he
-simply reversed the sides, laying the first slate on
-the table, where it was covered by the cloth, and
-the second one was thus brought to view. It is
-astonishing how such barefaced and simple devices
-will deceive the spectator. It is the boldness and
-air of conviction of his assertions that carry a medium’s
-test successfully through.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_32">[32]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_II"></a><a href="#CONTENTS">CHAPTER  II.</a><br />
-
-<span class="smcap">The Double Slate.</span></h2>
-
-
-<p>We now come to a slate called by the mediums
-“The double slate.” It is, to all appearances, two
-ordinary slates hinged together at one side and
-locked with a padlock, the shackle of which passes
-through a hole in the sides of the frame of each
-slate. This slate also contains the false flap or slate,
-but the slate or flap is held firmly in each frame as
-follows: The inside edges of both ends of each frame
-of the slates are beveled inward a trifle. One of
-these ends of each slate frame is also made to slide
-or pull out about one-quarter of an inch. These are
-prevented from sliding until wanted by the medium
-by a catch in the framework, which is connected
-with a screw in one of the hinges. This screw
-stands a little higher than the rest, so as to be easily
-found. The hinges are on the outside of the frame
-instead of inside. By pressing this screw it undoes
-the catch, which allows the ends to be moved a trifle.
-The false flap is just large enough to fill in the space
-under the bevels of the frame, and if, in the top frame,
-the catch is released and the end moved, the flap
-will drop into the bottom slate, where it is held tight
-and firm by releasing the catch in that frame, moving
-the end until the flap settles into its place and
-then sending the end back into its original place
-again. The writing is placed beforehand on one
-side of the flap and on one slate, both the written
-sides face to face, and after the flap has changed
-slates it presents two slates with written sides.</p>
-
-<p><span class="pagenum"><a id="Page_33">[33]</a></span></p>
-
-<p>There is still another double slate used with hinges
-and padlock. (Fig. 12.)</p>
-
-<div class="figcenter">
-<img src="images/i_p033.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 12.&mdash;The Sliding Trick Slates.</div>
-</div>
-
-<p>One of the ends of the wooden frame of one slate
-is fastened securely to its slate, which is made to
-slide out completely from the groove in the frame.
-This allows the insides of both slates to be written
-upon. After that is done the slate is slid back into
-its frame. Care should be taken, in sliding the piece
-back, not to reverse it so as to bring the writing side
-out. The best way is not to pull the slate completely
-out, and write upon the inside of the stationary slate,
-and then reverse the slates, which will bring the
-inside of the movable slate into view. Write on that
-and then close the slate.</p>
-
-<p>I have seen a medium use the double or folding
-slate and get rid of the false flap in this way: He
-used a pair of small slates. These he opened out
-with the flat side towards the audience, and while in
-his hand, cleaned those two sides away from the table.
-He now showed the reverse sides and cleaned them<span class="pagenum"><a id="Page_34">[34]</a></span>
-likewise. He now closed the slates, but toward him,
-instead of away from him, holding them close to his
-body, and as he does so, the false flap, by this movement,
-slips easily and unperceived beneath his coat
-or vest.</p>
-
-<p>I once witnessed a test which, for a time, completely
-nonplussed me, but, after considerable study
-and experimenting, I solved it.</p>
-
-<p>This is the effect of the test: A person was allowed
-to bring two slates; he was to wash them himself
-and securely seal them in the presence of the medium,
-the medium placing, before the slates were
-sealed, a piece of chalk between them. The slates
-were sealed after this fashion: Around the whole
-length and width of the slates court plaster was
-stuck, and that was also sealed to the slates with
-sealing wax, making it an utter impossibility to
-insert a piece of wire, or like substance, between
-the slates. Nevertheless, the slates were held under
-the table and presently removed, unsealed, and writing
-in a very poor hand found upon the inner surface
-of one of the slates. It could hardly be called
-writing, being hardly more than a scrawl.</p>
-
-<p>Now, how can this be accounted for? By one of
-the simplest devices imaginable. The medium placed
-the piece of chalk between the slates. This was
-composed of pulverized chalk, mixed with a little
-water, glue and iron filings, and allowed to become
-hard. The medium, while under cover of the table,
-traced with a magnet below the slate the words
-found upon the inside, but backward, the same as
-type is set for printing; if not, the writing on the
-slate will be in reverse. The chalk, on account of<span class="pagenum"><a id="Page_35">[35]</a></span>
-the iron filings it contains, follows the direction of
-the magnet. (Fig. 13.)</p>
-
-<div class="figcenter">
-<img src="images/i_p035.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 13.&mdash;Magnetic Writing.</div>
-</div>
-
-<p>We now come to another idea with two slates.
-Have two slates made with fairly deep wooden
-frames, deep enough to hold the slate proper and a
-false flap of slate. One made of silicate book-slate
-stuff is preferable. Your apparatus consists now of
-two slates and one false flap. The false flap is made
-to fit very tightly, so it will not fall out of its own
-weight. The slates in the frame also fit snugly.
-The frames are mortised out a little thicker than the
-slate, say twice as thick. This allows the slate to
-work backward and forward, from front to back, and<span class="pagenum"><a id="Page_36">[36]</a></span>
-<em>vice versa</em>. If the slate is well pushed down and the
-flap placed on it, the flap will not fall out, but if you
-press the slate on the back forward, it shoves out the
-flap, and if it is covered with the other or second
-slate during this operation, it is forced into the
-second slate, which holds it firm and secure.</p>
-
-<div class="figleft">
-<img src="images/i_p036.jpg" width="150" alt="" />
-<div class="caption">
-Fig. 14.&mdash;The Thimble<br />
-Carrying False<br />
-Key and Chalks.</div>
-</div>
-
-<p>Another test, which was supposed to be convincing
-to skeptics, was one in which a
-double slate was used; it was
-hinged and provided with a lock
-in the wooden frame. The slates
-were examined, locked, and the
-key given to the skeptic. The
-skeptic was allowed to select
-from a number of pieces of
-colored chalk the color that he
-desired the message to be written
-in. Upon the slates being
-unlocked and opened, the writing
-is found in the color
-selected. While the slates are
-being examined, the medium
-seizes a duplicate key which
-fits the lock. (Fig. 14.) This
-key has a thimble attached to
-it which fits the performer’s
-right thumb; also attached lengthwise to the key are
-several small colored pencils or crayons of different
-lengths. When the slate has been examined, it is
-placed under the top of the table and held in position
-by the thumb of the right hand, which is underneath,
-and the fingers above the table. During this
-manipulation the thimble is placed on the thumb, and<span class="pagenum"><a id="Page_37">[37]</a></span>
-the performer, with the key attached to it, opens the
-slate, using his knee to assist or support the slate.
-One part of the slate opens downward and rests on
-the knee, which holds it in position, i. e., at an incline,
-pressing it against the table top. On this part
-of the slate the writing is now done with the colored
-crayon selected, which are usually red, blue, green
-and white. When the color of the crayon is selected
-the performer turns the thimble around, bringing
-that color upward. Although not easy to execute,
-it is, nevertheless, a most surprising and effective
-test.</p>
-
-<p>The above test was used by a medium very successfully
-for years in England and France, and was
-found out recently.</p>
-
-<p>A test I once received was, I thought, quite clever.
-I was asked to write a question on a piece of paper
-furnished by myself and place it between two slates
-without the wooden frames. The medium said I
-would in a short time receive an answer. He then
-opened the slates, stating the answer must be there,
-but none was found. He remarked that perhaps we
-did not give the spirits time enough. So he replaced
-the slates together with the paper containing the
-question between. Again, on taking the slates apart,
-they were devoid of writing, but, strange to say, the
-answer in what looked like lead pencil was found on
-the paper containing the question. When the slates
-were removed the first time, the medium got a
-glimpse of the question on the piece of paper and
-then gave me one slate to examine, and apparently
-was looking at the other one himself. What he
-really was doing was this: On the side of the slate<span class="pagenum"><a id="Page_38">[38]</a></span>
-toward him he was writing a brief answer to my
-question with a pencil composed of mutton tallow
-and lampblack pressed very hard. This pencil was
-attached to his thumb. He held the slate at the
-ends with both hands, thumbs behind and fingers in
-front, the writing being done backward. When
-the slates were replaced the writing, being black, was
-not seen against the black slate, and was placed immediately
-over the paper and the writing transferred
-to it. This is the reason the slates were used without
-the wooden frame, because with the frame the
-two slates would not come close together to press
-hard enough to transfer the answer.</p>
-
-<p>A test, using a half dozen or so of slates, is as follows:
-Two slates are cleaned and examined and
-given to be held together by a skeptic, and the other
-slates cleaned on both sides and placed on the table.
-The medium now takes the two slates apart, but no
-writing is found; one slate is given to the skeptic
-and the other is placed on the table by the medium,
-who picks up another slate and places that with the
-one held by the unbeliever. After a short time the
-slates are again removed by the medium and no
-writing is found. As if in despair, the medium takes
-one slate away, placing it on the table, picks up
-another, showing both sides, places it with the one
-in the spectator’s hand, and in a little while the skeptic
-himself separates the slates and writing is found
-on one of them.</p>
-
-<p>This method brings in use again the slate with a
-false flap. This slate is among the others on the
-table. The two slates first given to the individual to
-hold are all right when the medium takes one slate<span class="pagenum"><a id="Page_39">[39]</a></span>
-away and places it on the table the first time and
-picks up another slate to place it with the one held
-by the skeptic. It is the flap slate, and this he places
-underneath the other slate and asks the skeptic to
-hold them. When the medium again separates the
-slates he turns them over, bringing the slate with the
-writing uppermost and also allowing the flap to fall
-into the lower slate, which is now taken away to be
-replaced by another taken from the table. Care is
-taken not to show the underneath side of the upper
-slate during this transaction. The slates the skeptic
-now holds are devoid of trickery, and when exposed
-with the writing on will cause wonderment.</p>
-
-<div class="figcenter">
-<img src="images/i_p039.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 15.&mdash;Slate with False Hinges.</div>
-</div>
-
-<p>There is still another style of slate made, and used
-to good advantage. It is two slates hinged together,
-making a double slate. It has also two holes in
-the frame opposite to the hinges, through which
-tape or cord can be run and tied and sealed to the
-slates. (Fig. 15.) The secret of getting the writing
-upon the inside lies in the fact that at least one-half<span class="pagenum"><a id="Page_40">[40]</a></span>
-of each hinge is screwed to the slate; the other half
-is made fast to a little projecting piece in which
-there is a slight notch. These projections enter corresponding
-holes in the other slate, in which is concealed
-a spring bolt which engages these catches of
-the hinge. This bolt is shoved back to release the
-catches by means of a pin pushed through a hole in
-the end of the frame.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_41">[41]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_III"></a><a href="#CONTENTS">CHAPTER  III.</a><br />
-
-<span class="smcap">Miscellaneous Slate Tests.</span></h2>
-
-
-<p>At a public test or séance given by a medium I
-saw the following clever trick performed: A slate,
-clean on both sides, to all appearances, and, of course,
-devoid of writing, was given to a spectator to hold
-above his head. The medium then loaded a pistol,
-putting in, instead of a bullet, a piece of chalk, which
-he rammed well in. He then took careful aim at
-the slate, fired away, and the slate was covered with
-writing from the chalk that was placed in the pistol.
-The medium, beforehand, allows any one in the
-audience to choose from a plate containing different
-colored chalks the colors they desire. The chalk is
-all right, and is actually placed in the pistol and
-crushed to a powder by the ramrod. The slate has
-been written on one side with glycerine. This
-side of the slate is supposed to be cleaned, so as to
-keep clear of the glycerine, in order that the invisible
-writing may not be disturbed. It is this prepared
-side that faces the medium when he fires the
-pistol. The powdered chalk adheres to the glycerine,
-and thus we make clear another slate miracle.</p>
-
-<p>A clever trick employed to deceive me on one
-occasion was as follows: I was handed a slate and a
-damp sponge, with a request to cleanse the slate. I
-did so, and handed it back to the medium, who held
-it in plain view in one hand. In a short time the slate
-was given back to me with writing on it that could
-not be produced by any of the methods I was already
-acquainted with. I witnessed this test a<span class="pagenum"><a id="Page_42">[42]</a></span>
-second time, and it was only by accident that I discovered
-it, and all through the breaking of a string,
-to which the device employed was attached. The
-apparatus was a strip of narrow wood, nearly the
-length of the slate. Glued on it were raised letters of
-cork (felt would do also). These letters were in reverse,
-and were well rubbed with soft chalk. This
-strip of wood was attached to a cord running up the
-left sleeve, across the back, and down the right arm-hole,
-and thence under the vest and the end fastened
-to a button. The length of the string allowed the
-wood to hang behind the slate when held in the left
-hand. To keep the wood up in the sleeve until
-wanted, there was a loop on the string far enough
-up to suit the purpose. This loop was slipped over
-the button, where it could be easily detached with
-the right hand. The sponge was soaked in water
-containing alum, which makes the chalk adhere
-better to the slate. When the slate was handed to
-the medium, he held it downward in his left hand,
-and allowed the strip of wood to slip down behind it,
-when it was pressed firmly against the surface of the
-slate, and then pulled up into the sleeve again out
-of sight. This same idea has been utilized in using
-a blotter, the same as is used for ink, to dry the
-slate with. The blotter has the writing done on it
-with chalk, thus doing away with the strip of
-wood.</p>
-
-<p>Take a slate and cover it with writing on one side.
-Cover this writing with a piece of slate-colored silk,
-held in the corners lightly with wax. At one end
-of this silk have a few minute hooks. The slate is
-now cleaned on both sides, and, placing the slate<span class="pagenum"><a id="Page_43">[43]</a></span>
-on the floor, the piece of silk is allowed to attach
-itself by means of the hooks to the medium’s pants,
-or dress, as the case may be, thus leaving the
-slate devoid of trickery. It is hardly necessary to
-remark that the slate is placed on the floor written-side
-downward.</p>
-
-<div class="figcenter">
-<img src="images/i_p044.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 16.&mdash;The Caustic Trick Pencil.</div>
-</div>
-
-<p>A friend of mine told me of a medium he once
-went to see, who gave him a most remarkable test.
-He brought his own slate, and, as he afterward said,
-there could have been no trick about it. The medium
-took the slate for a moment, and with a pencil
-covered the slate with writing on both sides, just to
-see, so he said, if it would be good enough for the
-test. He then cleaned off the slate on both sides
-and gave it back to my friend, requesting him to
-hold it close against his breast, and then in a short
-time remove it, and, when he did so, he was thunderstruck
-to find writing on it on the side nearest to
-him. This struck me as being a most astounding
-proof of spirit writing. I had a meeting with the
-medium, who gave me the same test. It seemed
-strange to me that he should want my slate to write
-on and wash it off again, for the same reason as he
-gave my friend, and that was to see “if it was good
-enough for the spirits to work with.” I received a
-message on the slate, after it was washed, and saw
-that there was none on there after it was cleaned
-and handed to me. I went home puzzled, and experimented
-to no avail. I had another sitting with
-the medium, but he did not give me the same test;
-so I returned home again and tried to fathom the
-mystery, and was eventually successful. The trick
-was mainly in the pencil. It was pointed at both<span class="pagenum"><a id="Page_44">[44]</a></span>
-ends. (Fig. 16.) One end was a genuine slate pencil,
-the other end was a silver nitrate, or caustic
-pencil. In writing on the slate he wrote the lines
-quite a little distance apart with the slate pencil; in
-between these lines he wrote with the caustic pencil,
-the writing of which was invisible. The sponge
-the slate was cleaned with, was dipped in salt water.
-That part of the slate containing the writing done
-with the silver nitrate was just lightly tapped with
-the sponge, the rest of the slate was thoroughly
-cleaned. The salt water, when the slate becomes
-dry, brings out the silver nitrate white like a slate
-pencil mark. I consider this trick as ingenious and
-clever a one as it has been my good fortune to witness,
-and one that caused me much mental effort to solve.</p>
-
-<div class="figcenter">
-<img src="images/i_p045.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 17.&mdash;Writing with the Toes.</div>
-</div>
-
-<p>Here is another test. A slate just cleaned and
-marked is placed under the table on the floor. The
-medium and the skeptic grasp each other’s hands
-across the table. In a few seconds the slate is taken
-up from the floor and is found with writing on it.
-The solution of this, like all the rest of the slate
-phenomena, rests in simplicity and boldness. The
-medium wears slippers or low-cut shoes, that he can
-slip his foot out of easily. His stocking on his right
-foot is cut away so as to leave the toes bare. Now,
-attached to his great toe is a bit of pencil, and with<span class="pagenum"><a id="Page_45">[45]</a></span>
-this the writing is done. (Fig. 17.) Sometimes the
-test is varied. Five or six pieces of chalk of different
-colors are on the table, and the investigator is
-allowed to select one, place it on the slate. In this
-case the chalk is held between the great and adjoining
-toe, and the writing is thus produced. It is surprising
-to see, with a little practice, what you can
-educate the foot to do. I myself can easily pick a
-pin off the floor and write quite well. Sometimes,<span class="pagenum"><a id="Page_46">[46]</a></span>
-by way of variation, instead of the medium or investigator
-lifting the slate from the floor, it is seen to
-mysteriously make its appearance above the edge of
-the table, being lifted there by means of the toes of
-the medium’s foot. Another method used is that of
-scratching the writing on the slate with any metal
-instrument and then wash the slate on both sides,
-being careful not to show the scratched side until it
-is wet from the washing. In this condition a casual
-glance will reveal nothing, but as soon as the slate
-becomes dry the writing or scratching appears.
-Writing has also been made to appear on a slate on
-the table while the medium and investigator sit with
-both hands clasped across the table. The medium
-accomplished this by the simple means of a pencil
-concealed in his mouth. At the proper moment he
-holds it between his teeth, leans his head over and
-writes on the slate. Of course this is all done in the
-dark, and the writing is not very good, but it answers
-the purpose, and that is all that is necessary.</p>
-
-<p>Here is still another test. A person writes a question
-on the slate and places it, written side down, on
-the table. All this when the medium is not looking.
-The medium takes his seat at the table, places one
-hand on the slate (so does the skeptic, the other
-hand on the medium’s forehead). With the disengaged
-hand the medium now proceeds to write on
-the upper surface of the slate. When he has finished,
-the communication is read, and it is found to be a
-correct answer to the question on the opposite side
-of the slate. To perform this seeming impossibility
-the medium has to employ a table containing a trap
-smaller than the frame of the slate. When the slate<span class="pagenum"><a id="Page_47">[47]</a></span>
-is placed on the table, the medium shifts it over this
-trap. The trap is then opened, and by means of
-mirrors, 3, 4, 5, placed at angles of 45 degrees in the
-body of the table, the writing is reflected to the
-very place where the medium is sitting, and the
-image is reversed to normal by the third mirror,
-and it is easy then to give an answer to it. (Fig. 18.)</p>
-
-<div class="figcenter">
-<img src="images/i_p047.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 18.&mdash;Reading the Questions by Means of Mirrors.</div>
-</div>
-
-<p>The following is how writing can be made to
-appear on a slate on which a person has placed his
-initials in one corner of it, which is then placed
-with that side downward on the table, and shortly
-afterward, on turning it over, it is found completely<span class="pagenum"><a id="Page_48">[48]</a></span>
-covered with writing, and the signature
-of the visitor proves there has been no exchange of
-the slate. The secret of obtaining this effect is both
-a unique and quite original method.</p>
-
-<div class="figleft">
-<img src="images/i_p048.jpg" width="200" alt="" />
-<div class="caption">
-Fig. 19.&mdash;The Interrupted<br />
-Flap.</div>
-</div>
-
-<p>The writing is already on the slate and is hidden
-from view by the false flap, which has a corner missing
-from it. This missing corner is where the clever
-idea comes in. After the medium cleans both sides
-of the slate, he says: “I will just draw a chalk
-mark down in this corner
-of the slate wherein
-the gentleman is to
-place his signature.”
-He really draws the
-chalk mark on the
-slate proper, but close
-to the edge of the
-missing corner of the
-flap, thus disguising
-the joint, and after the
-flap is dropped out of
-the slate of course this
-mark and signature
-still remains. (Fig.
-19.)</p>
-
-<p>Here is still another.
-The medium cleans a
-slate on both sides and
-hands it to a skeptic to place his mark on it. It is then
-placed on the table, face downward, and in a short
-time, on being turned over, it is found with a spirit
-message on it. This is performed as follows: Let
-the message be written on the slate and then sponged<span class="pagenum"><a id="Page_49">[49]</a></span>
-out with alcohol, and when the slate dries, the writing
-will be as plain as ever.</p>
-
-<p>Here is another slate writing secret. Dissolve
-in hydrochloric acid some small pieces of pure zinc,
-about one-half ounce to an ounce of acid. With
-this solution write upon the slate with a quill or a
-small camel’s hair brush the desired communication.
-When dry it closely resembles writing done with a
-slate pencil. When the time arrives for the test,
-wash the slate, and it appears to be perfectly clean;
-allow any one to examine it and hold it until it becomes
-dry, but with the prepared side down. On
-the slate being turned over it is found to be covered
-with writing while in the spectator’s hand.</p>
-
-<p>Here is still another idea. The medium has a
-number of slates in his arms, say four. He hands
-the investigator the top one to clean. When he has
-done so, the medium receives it back and places it at
-the bottom of the pile of slates and hands him another
-again from the top to be cleaned, and repeats
-this operation until all four slates have been cleaned.
-He now takes two of the slates, places them together,
-and, on removing them again, writing is found on one
-of them. Here is the method of procedure: Prepare
-your communication on one of the slates, and let
-it be the bottom of the pile, with the writing side down.
-Have your visitor seated, stand by his side just a
-trifle behind him, hand him the top slate to clean;
-after he has done so, hand him the second one and
-receive the first one back, placing it at the bottom
-of all the slates, and repeat until the third slate.
-While this one is being cleaned, slip the fourth, now
-the top slate, to the bottom again. When the third<span class="pagenum"><a id="Page_50">[50]</a></span>
-slate is received, place it on the bottom and hand the
-fourth, really the first one over again; it is, of course,
-the top one and dry by this time, and the investigator
-is none the wiser. Of course, the two slates
-placed together afterward are the one prepared with
-writing and one of the blank ones. Instead of slipping
-the top slate to the bottom, sometimes another
-dodge is used. The medium simply turns the three
-slates over by a twist of the hand. This brings the
-prepared slate at the bottom and the last slate
-cleaned at the top, and he says he will clean this one,
-thus saving time; really, however, to disguise the
-fact that it is still wet from the last cleaning. He
-says, however, to the visitor, “You can clean it also,
-if you desire.”</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_51">[51]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_IV"></a><a href="#CONTENTS">CHAPTER  IV.</a><br />
-
-<span class="smcap">Mind Reading and Kindred Phenomena.</span></h2>
-
-
-<p>Having now described the principal slate tricks
-which mediums use to entangle the unwary for their
-own ends, we come to other tricks which are used
-from time to time to impress the credulous with the
-idea that the medium is imbued with supernatural
-power and can perform what are, in effect, miracles.
-These tricks are legion, and they vary from clumsy
-attempts at mystification to the use of elaborate
-pieces of magical apparatus which call for rare
-mechanical genius in their design and construction.
-The present chapter will deal more particularly with
-what might be termed mind reading tricks and the
-reading of concealed writing. Of these tricks one
-of the most perplexing is that of reading sealed communications,
-or answering questions placed in an
-envelope which is well sealed.</p>
-
-<p>If I were to tell you that I could read whatever
-was written on a card inclosed in an envelope, and
-that envelope not only well sealed, but also stitched
-or sewn through with a thread and needle or
-machine, and the thread sealed to the envelope also,
-without removing the seal, stitches, etc., you would
-hardly credit the assertion. It is nevertheless true,
-and is easily and readily accomplished by very simple
-means.</p>
-
-<p>Prepare a sponge with alcohol. With this you
-rub or brush the envelope, which immediately becomes
-transparent as glass, thus enabling you to see
-through it and read what is written on the card. It<span class="pagenum"><a id="Page_52">[52]</a></span>
-takes but a few seconds for the alcohol to evaporate
-and leave the envelope in the same condition as
-before, without leaving a trace as to what or how it
-has done. This test was used most successfully for
-years by a celebrated Philadelphia medium.</p>
-
-<div class="figcenter">
-<img src="images/i_p052.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 20.&mdash;The Thumb Pencil Carrier.</div>
-</div>
-
-<p>We now come to a test often employed. A card
-is given by the medium to a skeptic with the request
-to write a question on it. The medium now holds
-the card in his hand against his forehead. Presently
-he hands the card back to the spectator, and on it, in
-writing, is found an answer to the question. The
-medium accomplishes the above feat by means of a
-little apparatus which is easily attached to the tip
-of the thumb. Part of it goes under the thumb nail
-and the lower part has a small needle point which
-embeds itself in the flesh. In the center of this
-little apparatus is a tiny piece of lead pencil. With<span class="pagenum"><a id="Page_53">[53]</a></span>
-this clever bit of mechanism the medium does the
-writing with the thumb of the hand holding the
-card. (Fig. 20.)</p>
-
-<p>Four or five persons are seated around a table.
-They are given paper and pencil and requested to
-write questions, then fold their papers up and place
-them in their pockets. The medium will give them
-replies to their questions; in fact, can tell them the
-full text of the questions they asked, and, what is
-more mysterious, he has been out of the room all
-the time the writing has been going on. To produce
-this effect, you are provided with a table containing
-a hollow leg. Now, spread a piece of thin
-white silk on top of table, then on the top of that a
-piece of carbon, or duplicating paper, or cloth.
-Now, over all, a thin table cover, fastened around
-the edges, so it cannot be raised up and looked under
-by the inquisitive.</p>
-
-<p>To the white piece of silk is fastened a string leading
-down the hollow leg, through a hole in the flooring,
-to the cellar or room below. Whatever writing is
-placed on the papers is transferred by the carbon
-paper to the silk below it. The medium pulls the
-string, down comes the silk. One corner of the silk
-has a mark corresponding with a certain corner of
-the table, and by this method not only does the medium
-know what is written, but who wrote it, as he
-has simply to see the position the writing occupies
-on the silk, and it will have been done by the party
-occupying the same position at the table. Another
-way is by using a pad of soft paper and hard pencils,
-and, after the writing, remove the pads. It will
-be found that the hard pencil has caused an imprint,<span class="pagenum"><a id="Page_54">[54]</a></span>
-or indenture, of the writing on the page below, not
-readily seen by a casual glance, but easily seen by
-the skilled eye of the medium.</p>
-
-<p>A test sometimes offered is as follows: A card is
-offered to a person to write a request. It is then
-placed in an envelope and sealed by the medium and
-placed on the table sealed side up. The medium
-now takes a pencil and slate and writes something
-on it. It is given to the skeptic who wrote the
-question, and it is found to be an answer to his query.
-The medium now opens the envelope by tearing it
-at one end, and takes out the card containing the
-question and hands it to the spectator. This is another
-humbug, and is accomplished by exceedingly
-simple but bold means. It will be observed that the
-medium places the card in the envelope, also takes
-it out. The skeptic never sees it. This is the secret:
-The envelope, on its face, has a slit cut in it a little
-lower down than the opening on the other side of
-the envelope. This side, the face of the envelope, is
-never shown. The card, in being placed in the envelope,
-is deliberately pushed through the slit in the
-envelope into the medium’s hand and palmed by
-him and read. Of course, it is an easy matter to
-write some kind of a sensible answer when the question
-is known. The card is inserted in the envelope
-in the same manner as it is taken out.</p>
-
-<p>Another trick is to have an answer appear written
-upon the inside of the body of the envelope in which
-is enclosed the question. The envelope is closed
-and sealed with sealing wax. This is accomplished
-without disturbing the seal. In the ordinary manufacture
-of an envelope, three of the flaps are stuck<span class="pagenum"><a id="Page_55">[55]</a></span>
-together with adhesive gum of far less strength
-than the fourth flap, which is to be moistened and
-closed by the user. It is generally an easy matter
-to insert the blade of a penknife behind the bottom
-flap, that is, between it and one of the end flaps, and
-separate them a trifle. Then, if you insert into this a
-wooden skewer, or hard, round-pointed stick, like a
-pencil, in fact, a lead pencil will do, but look out
-it does not leave marks behind; and by pushing
-this along, and giving it a rolling motion, you will
-separate the flaps up as far as the seal, and, if done
-carefully, without tearing or mutilating the envelope.
-Now, on a slip of paper write the answer or
-suitable message, but in reverse or backward writing,
-as the words would appear in a looking-glass, with a
-carbon or copying pencil. Pass this slip through
-the opening in the envelope, shake it into the desired
-position, now rub the envelope over this spot until
-you think the envelope has taken the impression.
-Then remove the slip of paper by the same way it
-came in, moisten and gum the opening, and the trick
-is done. In rubbing the envelope, it is a good plan
-to place a piece of paper over it to keep the envelope
-clean of marks, which would be liable to appear
-from damp or moist fingers during the rubbing.</p>
-
-<p>The following is from the experiments of a German
-scientist. He discovered, by the use of an embryoscope,
-or egg-glass, that the shells of eggs were
-of very unequal thickness.</p>
-
-<p>It occurred to him to make experiments in order
-to ascertain how many leaves of ordinary letter or
-official paper must be laid above and below a written
-leaf, in order to make it illegible to a highly sensitive<span class="pagenum"><a id="Page_56">[56]</a></span>
-eye in the direct sunlight. He found that after
-he had rested his eye in a dark room for ten or fifteen
-minutes, he could read a piece of writing
-over the mirror of the embryoscope that had
-been covered with eight layers of paper. He
-called in other observers to confirm this. The letters,
-however, that could be thus deciphered were
-written in dark ink on one side of the paper only.
-If four written sides were folded together, and especially
-if there had been crossing, it was hard to
-make out the drift of the writing; and there are
-some kinds of writing which, when folded thrice or
-twice, admit too little light for the purpose of decipherment.</p>
-
-<p>In this way, possibly, many of the performances of
-“clairvoyants” may be explained. By means of the
-egg-glass it is, as a rule, easier to make out the contents
-of a letter or telegram without the slightest
-tampering with the envelope than it is to detect the
-movements of the embryo in the egg.</p>
-
-<p>Suppose the writer of a billet, the contents of
-which are known only to himself, lets it out of his
-hands and loses sight of it for five minutes, it may
-be carried either in the direct sunlight, or into electric
-or magnesium light, and be read by the aid of
-the egg-glass. The placing of a piece of cartridge
-paper in the envelope, or the coloring of it black,
-is a means of defense at hand. In their present
-form, telegrams cannot be protected from perusal,
-unless delivered at once into the hands of the
-addressees.</p>
-
-<p>A few tests employed by mind readers and clairvoyants,
-so called from their presumed ability to read<span class="pagenum"><a id="Page_57">[57]</a></span>
-other people’s minds, will, I think, prove interesting.
-Let us suppose the performer, as a means of proving
-his ability to cause his subject to read his mind from
-a distance, or by mental telegraphy, execute the following
-feat. His subject, let us say his wife, is at
-home. The professor is in a public place, a store, or
-banking house, etc. He requests some one to write
-a question; he hands this person a fountain pen and
-a pad of paper. After the person has done so, he is
-requested to fold the communication up, place it in
-an envelope and seal it, and then put it in his pocket.
-He is now asked to write a letter or note to the professor’s
-assistant, asking her to inform him what it
-was that he had asked on the paper inclosed in the
-envelope in his pocket. This note, and the pen also,
-for fear the lady has no writing utensils, is carried
-by the gentleman himself to the lady. She reads the
-request, and, turning the paper over, she writes the
-answer correctly on the other side. Sometimes,
-instead of the gentleman himself going with the note,
-a messenger boy is sent with it and the answer
-brought back by him. In either case the paper and
-pen are sent along. The pen is an ordinary fountain
-pen, and it is by means of it that the lady receives
-the desired information of what has been written.
-First the professor has to know what has been written.
-He simply says to the gentleman: “You must
-allow me to read the question; for, if I do not see it,
-how can my assistant see it, for it is through me she
-is enabled to know? What I see I convey to her by
-mental telegraphy, and thus convey the communication.”
-After the professor sees the communication
-he goes to a desk and gets an envelope, or takes one<span class="pagenum"><a id="Page_58">[58]</a></span>
-out of his pocket, and gives it to the gentleman to
-place his question in and seal it. While this is being
-done he stealthily writes on a piece of fine, thin
-paper an exact copy of the question. This he makes
-into a little pellet and places it in the little cap or
-end that is made to cover the point of the pen for
-protection. Of course it is now easy to see the
-method by which the question is made known to the
-assistant. She has simply to remove the pellet of
-paper, unfold it and read it. Sometimes a pad of
-paper is used that has cunningly concealed between
-two of its leaves, near the top, a piece of carbon
-duplicating paper. These two sheets are pasted
-around the edges so as to appear as one, and when
-the person writes a question it is duplicated on the
-sheet of paper following the one wherein is concealed
-the carbon paper. The professor has simply to tear
-out this sheet and inclose it in the cap of the fountain
-pen. The name of Foster is almost invariably
-coupled with any test wherein there is reading of
-sealed letters, pellets, etc., just the same as Slade’s
-is connected with the slate writing tests.</p>
-
-<p>Foster was an inveterate smoker, anywhere and
-everywhere, especially at his séance, and it was all
-for a purpose. The visitor who desired a sitting
-with Foster was asked to write a few questions on
-small pieces of paper, fold them up separately, and
-press them into small balls or pellets. Foster would
-pick one of these up and hold it to his head, as if to
-try and penetrate it. Apparently failing to do so,
-he would place it back on the table. This he would
-repeat with others. Finally, he hands one of them
-to the visitor, after holding it against his forehead,<span class="pagenum"><a id="Page_59">[59]</a></span>
-requesting him to hold it himself. Foster then took
-a pencil and paper, and scribbled something on it,
-and then bared one of his arms, and showed it devoid
-of any preparation. He then rubbed this arm
-with his hand, and, on removing it, a name was seen.
-On reading what Foster scribbled on the paper, the
-visitor finds an answer to one of his questions, and
-the name in blood red on Foster’s arm is found to
-be the name of a person addressed by the visitor in
-the note. Foster had a pellet of paper of his own
-concealed between his finger tips, and, at some convenient
-moment, instead of placing back on the
-table one of the pellets he has just taken up, he substitutes
-one of his own, keeping the bona fide one in
-his hand, which he lowers into his lap and unfolds.
-Holding it in the palm of his hand, he strikes a match
-and lights his cigar, and while doing so he is deliberately
-reading the note, which he afterward crumples
-into a ball and conceals in his hand. He now
-takes up another pellet and tries to see through it
-by holding it to his forehead. He, however, fails,
-and gives it to the visitor to hold, really exchanging
-it for the one he has just read. He now has his
-own and the visitor has his. He now allows his
-hands to lie carelessly in his lap, and, while conversing
-with the visitor, he pushes one of his coat sleeves
-up a short distance, and, with a sharp-pointed stick,
-writes the desired name on his arm, pressing down
-hard. In a second or two he writes the answer to
-the visitor’s question, minus the name he has just
-placed on his arm. He now shows his arm bare,
-and rubs the spot where he has written, with his
-fingers slightly moistened, whereupon the name appears<span class="pagenum"><a id="Page_60">[60]</a></span>
-in bright pink writing. If it is desired to
-make it disappear, hold the hand above the head a
-few seconds. To make it appear again, rub once
-more with the fingers.</p>
-
-<p>Here is another trick which apparently calls for
-mind reading. The performer’s assistant is sent out of
-the room. Now, a sum of figures in addition is placed
-on the slate by a spectator. When he has concluded,
-the performer takes the chalk and draws a line under
-the numbers, turns the slate downward on a table,
-so nothing can be seen, places chalk on the slate, and
-retires into a corner of the room. His assistant is
-now called into the room, steps up to the table and
-seizes the chalk and marks down the correct answer
-to the sum of figures which is on the other side.
-Like all the tricks that appear the most incomprehensible,
-this is one of the most simple. The performer
-stands watching the person as he places
-down the numbers on the slate, he mentally adds
-them, and, with his hands behind his back or under
-his coat-tails, with a lead pencil in one hand, he
-writes on a piece of chalk held in the other hand the
-correct answer. It is needless to say that it is this
-piece of chalk he places on the slate, and not the one
-used. The chalk is scraped or filed flat a trifle
-lengthwise. This is to keep it from rolling on the
-slate, thus avoiding accidental exposure of the writing
-on it, and also give it a flat surface to write on.</p>
-
-<p>Here is an effect I produced as a stage illusion
-some years ago, somewhat resembling a spiritualistic
-effect. Hanging up against the scene, at the rear
-of the stage, was a large blackboard. On this blackboard
-writing appeared gradually, done in chalk, as<span class="pagenum"><a id="Page_61">[61]</a></span>
-though some unseen hand were actually at work.
-The blackboard was really nothing but fine wire
-slate-colored netting. There was a large hole cut in
-the scene immediately behind the blackboard. This
-hole was completely boxed in by curtains or woodwork,
-so as to make it as dark as night. A man was
-in this space, and he was dressed in a complete suit
-of black; also a black mask and gloves. He was
-provided with a pot of white paint, composed of
-whiting, water and glue, and a brush. Now, the
-man can see through this netting, but the spectators
-<ins class="corr" title="Transcriber's Note&mdash;Original text: 'are nable to see'">are unable to see</ins> him behind this screen of netting.
-With the brush and paint he traces on the<span class="pagenum"><a id="Page_62">[62]</a></span>
-wire netting whatever is desired. The paint comes
-through the meshes of the netting, and, adhering to
-it, makes a very good imitation of a chalk mark. It
-should be remembered the person doing the writing
-does so backward; so it will be in correct position
-when seen by the audience.</p>
-
-<div class="figcenter">
-<img src="images/i_p061.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 21.&mdash;The Board Facing the Audience.</div>
-</div>
-
-<p>The following is somewhat in the same line, and is
-called the “Educated Fly.” When the curtain rises
-a large mirror, in a gilt frame, is seen resting against
-an easel. (Fig. 21.) The magician takes the mirror
-in its frame from the easel and rests it on the floor,
-showing both sides to the audience. He also removes
-the glass from the frame, and rests the glass
-against the easel while he exhibits the frame to the
-audience. The frame has a solid wooden back. The
-mirror is about four and a half feet wide and three
-feet high, and after it has been inspected, the magician
-replaces it in the frame. He now takes a
-piece of soap and marks the glass off into twenty-eight
-even squares, which he numbers from one to
-twenty-six, and letters from A to Z; one of the
-remaining squares is zero, and the other is left, as
-the prestidigitateur says, for a starting point. He
-now takes a large fly from the table and places it on
-a little shelf which projects from the empty square.
-He then asks that a letter or number be called. As
-soon as this is done, the fly is seen to travel across
-the mirror and stop at the desired square. This is
-repeated time and time again, the fly every time
-returning to the starting point.</p>
-
-<div class="figcenter">
-<img src="images/i_p063.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 22.&mdash;The Mystery Explained.</div>
-</div>
-
-<p>The reason for having the mirror separate from its
-frame, and exhibiting it separately, is this: It will be
-remembered that the mirror is rested against the<span class="pagenum"><a id="Page_63">[63]</a></span>
-easel as the frame is shown, and that this frame has a
-wooden back. In addition to the wooden back, it
-has a cloth back, which is firmly fastened to the
-frame, and then comes the wooden back. This back
-is hinged to the frame at the bottom. Now, when
-the frame is placed on the easel and the mirror
-rested on the floor, the space behind the easel from
-the floor up is concealed by the mirror, and this
-gives an opportunity for a boy to get through a trap
-in the floor and pull down the back of the frame, to
-make a shelf on which he sits. (Fig. 22.) Of course, the<span class="pagenum"><a id="Page_64">[64]</a></span>
-cloth back is still in the frame; so the boy cannot be
-seen. The mirror is taken up and replaced in the
-frame; then it is marked off into squares, as already
-mentioned. The black cloth is previously marked off
-into squares which exactly duplicate those which
-have been made on the face of the mirror. The fly
-is made of cork, with an iron core which is set flat
-against the glass. The boy behind the mirror is provided
-with a strong electro-magnet attached to a wire
-running down the leg of the easel and under the
-stage, where it is connected to a powerful battery.
-He brings up the magnet and several feet of wire
-with him while the mirror is resting on the stage.
-When the boy hears the numbers called, he applies
-his magnet to the corner where the fly is resting on
-the little shelf, and the magnetic attraction, working
-through the glass, draws it successively over the
-squares until it comes to the desired spot, which the
-boy can see on his chart; and, of course, the proper
-letter or figure is indicated where the fly stops.</p>
-
-<p>The most sphinx-like problem ever presented to
-the public for solution was the second-sight mystery.
-There have been many exposés of “mental magic,”
-and some of the best of them are described in
-“Magic: Stage Illusions and Scientific Diversions,
-Including Trick Photography.”</p>
-
-<p>We have now to concern ourselves with “mental
-magic” where the results are obtained by clever
-tricks. There have appeared, from time to time,
-before the public, individuals who generally work in
-couples, termed “operators” and “subjects,” who
-have given performances which were termed mental
-wonders, silent second-sight, etc. The operator invariably<span class="pagenum"><a id="Page_65">[65]</a></span>
-tries to impose on the public with the idea
-that he possesses some mysterious power over the
-“subject” by which he is enabled to communicate
-information to her by his will power over her mind,
-without a word being spoken. There are, of course,
-various methods of performing this trick, as by a
-code of predetermined signals in which sentences
-like the following are used: “Say the number.
-Well? Speak out. Say what it is.” But these
-methods are not comparable with the mechanical
-means which we are about to describe.</p>
-
-<p>The “operator,” after informing the audience of
-the wonderful powers of divination which the subject
-possesses, introduces the “subject,” who is invariably
-a lady. She is seated on a chair near the
-front of the stage, in plain view of the audience.
-Her eyes are heavily bandaged, so she cannot see.
-A committee is invited to go upon the stage to see
-that the lady has had her eyes properly blindfolded,
-and also, ostensibly, to help the operator. A large
-blackboard is placed at one side of the stage, behind
-the lady. One of the committee is requested to step
-to this blackboard and write on it, with chalk, some
-figures, usually up to four or more decimal places;
-and after he has done so he resumes his seat. The
-lady immediately appears to add up the number
-mentally, calling out the numbers and giving the results
-of the addition. Each member of the committee
-is invited to step to the blackboard and touch a
-figure. No sooner has he done so than the lady calls
-out the number. Other tests of a similar nature are
-given, such as the extraction of square and cube root,
-etc. They all prove that the lady has a thorough<span class="pagenum"><a id="Page_66">[66]</a></span>
-knowledge of the numbers on the blackboard and the
-relative position which they occupy. It is, of course,
-proved beyond a doubt that the lady cannot see the
-blackboard. The question then arises, How does
-she obtain the information? There are two methods
-of performing this trick. In either case her information
-is obtained from a confederate, who is generally
-concealed under the stage, who has the blackboard
-in sight, and who transmits to the lady the desired
-information.</p>
-
-<div class="figcenter">
-<img src="images/i_p066.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 23.&mdash;The Foot Telegraph.</div>
-</div>
-
-<p>In one method the lady has a hole, one and a half
-inches in diameter, cut out of the sole of one of her
-slippers. (Fig. 23.) She places this foot over a hole
-in the stage, through which a small piston is worked
-pneumatically by the assistant. The piston is connected
-with a rubber tube, which runs to where
-the assistant is concealed. The assistant looks at the
-blackboard and manipulates the bulb, thus causing
-the piston rod to strike the sole of the foot, giving
-signals which can be readily understood by the subject.
-Robert Heller used a system somewhat similar,<span class="pagenum"><a id="Page_67">[67]</a></span>
-only an electro-magnet was used instead of the
-pneumatic piston.</p>
-
-<div class="figcenter">
-<img src="images/i_p067.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 24.&mdash;The Speaking Tube.</div>
-</div>
-
-<p>Another and bolder method of conveying information
-is the speaking tube. In this case a Vienna
-bent-wood chair is used. The chair is specially prepared
-for the trick. One leg of the chair is hollow,<span class="pagenum"><a id="Page_68">[68]</a></span>
-and the air passage is continued to the very top.
-The lady usually has a long braid of hair hanging
-down her back, and, if not blessed by nature with
-this hirsute adornment, she wears a wig. In either
-case, concealed in the hair is a rubber tube, one end<span class="pagenum"><a id="Page_69">[69]</a></span>
-being close to the ear and the other hanging down
-with the braid, so that when the lady is seated on the
-chair the operator can easily connect it with the tube
-in the chair. (Fig. 24.)</p>
-
-<div class="figcenter">
-<img src="images/i_p068.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 25.&mdash;The Head Telegraph.</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_p069.jpg" width="250" alt="" />
-<div class="caption">
-Fig. 26.&mdash;The Signaling Instrument.</div>
-</div>
-
-<p>There is still a third method, which is so absurdly
-simple that it deceives even a very knowing committee.
-The committee places a chair on any part
-of the stage they may see fit, and the subject seats
-herself and is blindfolded as before. A thread runs
-from the side of the subject through a small ring
-attached to a chandelier overhead. (Fig. 25.) One
-end of this thread is held by an assistant and the<span class="pagenum"><a id="Page_70">[70]</a></span>
-other end is fastened to a hammer working on a
-pivot secured to a metal plate concealed in the hair
-of the lady, her hair being dressed high. When she
-walks on the stage, the assistant pulls in the slack of
-the thread, and when she is seated on the chair, the
-assistant pulls the thread taut, so that he is able to
-communicate signals to her by a very slight motion
-of the thread, which causes the hammer to work on
-the plate, which is resting very close to the skull, so
-that the signals are easily felt at every stroke of the
-hammer. (Fig. 26.) Predetermined signals may be
-used, or the regular Morse alphabet, as in telegraphing.
-There are a number of other ways of convey conveying
-information, but the three methods we have
-described are perhaps the best.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_71">[71]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_V"></a><a href="#CONTENTS">CHAPTER  V.</a><br />
-
-<span class="smcap">Table Lifting and Spirit Rapping.</span></h2>
-
-
-<div class="figcenter">
-<img src="images/i_p071.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 27.&mdash;Table Lifting Trick.</div>
-</div>
-
-<p>So much has been heard about table tipping and
-floating tables, it will, I think, prove interesting to
-explain a few of the clever devices employed to produce
-the above phenomena. Small, light tables are
-lifted by the mere “laying on of hands.” The arms
-are raised in the air and the table is seen to cling to
-the hands and follow every motion. This is accomplished
-by a pin driven well into the table, and a
-ring with a slot in it (Fig. 27) worn on one of the
-medium’s fingers. The body of the pin easily enters
-the slot in the ring, but the head of the pin, being
-larger, prevents the table from falling away from the
-hand. After the table has been floated successfully,
-an extra strong upward pressure of the hand pulls
-the pin out, and the table can be examined. Another<span class="pagenum"><a id="Page_72">[72]</a></span>
-test on somewhat similar lines is the lifting of a bowl
-of water by immersing the hand in the basin of
-water. In this case a pin is fastened firmly into a
-leather or rubber sucker, and the finger ring again
-does the work. (Fig. 28.) This can also be used to
-lift anything that is not of a porous nature. A table
-with a well polished top can be easily lifted. In
-lifting large tables the medium is assisted by a confederate
-among the assembled guests. It is his
-duty to get as near opposite the medium as possible.
-The medium and the confederate have fastened to
-their wrists, by means of a leather cuff and straps, a
-bent hook. (Fig. 29.) Their hands rest on top
-and the hooks under the table. By this means it is
-a simple task to raise the table. Sometimes the
-above device is varied; instead of hooks fastened to
-their wrists they use hooks from under their vests,
-hanging by a loop from their necks. (Fig. 30.)
-I have seen a square table lifted without the use of
-either of the above devices. The medium and his
-confederate simply got the linen cuffs of their right
-hands well under the corner of the table, and with
-their hands on top they found no difficulty in raising
-the table by this improvised means.</p>
-
-<div class="figcenter">
-<img src="images/i_p072.jpg" width="250" alt="" />
-<div class="caption">
-Fig. 28.&mdash;The Sucker.</div>
-</div>
-
-<p>Although spiritualists claim they have, and can,
-make pianos float in the air, I have never seen it
-accomplished, and I could never get a medium who<span class="pagenum"><a id="Page_73">[73]</a></span>
-was able to produce the effect, and I sincerely doubt
-if any one can honestly and truthfully acknowledge
-they have witnessed it.</p>
-
-<div class="figcenter">
-<img src="images/i_p073.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 29.&mdash;The Leather Cuff and Hook.</div>
-</div>
-
-<p>I saw a small, round table once floated in the air
-without the medium touching it. It was accomplished
-by means of two threads running across the
-room and worked by two confederates. The threads
-were on the floor and lifted up and allowed to catch
-under the table.</p>
-
-<p>I have also seen a letter raised from a table and
-float in the air into the medium’s hand. This was
-done also with a thread, one end fastened in the
-wall above the table the letter rested on, the other
-near the medium. The letter is not sealed. This
-allows the thread to go between the flap and letter,
-or envelope, and when the medium pulled the thread
-taut, it made an incline for the envelope to travel on,
-right up to the outstretched hand.</p>
-
-<div class="figcenter">
-<img src="images/i_p074.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 30.&mdash;The Loop and Hook for Table Raising.</div>
-</div>
-
-<p><span class="pagenum"><a id="Page_74">[74]</a></span></p>
-
-<p>Years ago Robert-Houdin, the celebrated French
-conjurer, produced, at his pretty little theater in
-Paris, an illusion which, for startling effects, has not
-since that time been excelled; and the means which
-he employed for operating the stage machinery have
-been employed in many stage tricks of more recent
-date. The stage is set to represent a drawing-room,
-and, in stage parlance, would be called a “box set.”
-There are side scenes, as well as a “drop” or back
-piece. In the center of the room is a large door, and
-a grand piano rests against one of the side scenes, a
-small table being placed near the door. When the
-illusion is to be performed, a lady enters carrying a
-bouquet, which she leaves on the table and advances
-to the piano. (See <a href="#FP">Frontispiece</a>.) She seats herself,
-opens the cover of the piano and plays a short piece;
-then, closing down the cover, remarks that she does
-not feel in the humor to play. She extends her hand
-toward the bouquet on the table, which mysteriously
-rises and falls through the air into her hand; and, at
-the same time, she is seen to rise upward in the air
-still seated upon the piano stool. When she reaches
-a point midway between the ceiling and the floor she<span class="pagenum"><a id="Page_75">[75]</a></span>
-glides toward the opposite sides of the room, and the
-piano, which seems as if it will not be outdone, rises
-also and follows her through the air. This is usually
-received with great applause by the audience, and
-the curtain falls. The explanation of the phenomena
-is the following (Fig. 31): In the first place, the
-piano case is cleverly made out of <i lang="fr" xml:lang="fr">papier maché</i>,
-and is really a mere shell containing no keyboard or
-action. The back of the piano is open; immediately
-behind it, in the side scene, is a trap, and at the back
-of this scene is a real piano mounted on a truck, so
-that it can be easily moved backward and forward.
-Our engraving shows both the piano and the trap.
-When the real piano is run into the <i lang="fr" xml:lang="fr">papier maché</i>
-case the keyboard is in its normal position, so that
-the lady can play upon it. When the lady finishes
-playing she closes the lid of the false piano. As soon
-as this is done an assistant behind the scene moves
-the piano back, thus leaving the empty shell, and the
-trap in the scene is closed. The false piano is, of
-course, very light, and to it are fastened fine wires,
-which are invisible at a short distance; one is secured
-to each corner. These wires run up over pulleys on
-a truck overhead, which can be run backward and
-forward immediately over the scene. Each wire is
-terminated by a bag of sand or shot, which counter-balances
-the weight of the piano. It will be noticed
-that there is a fifth wire secured to the false case. It
-is run up also over the pulley in the truck, and then
-off to the side of the stage beyond the side scenes.
-By pulling this wire the piano is raised or lowered to
-any desired distance. Counterweights hold the instrument
-at any position. There is a rope attached<span class="pagenum"><a id="Page_76">[76]</a></span>
-to the overhead truck, so that it can be pulled back
-and forth, thus causing the piano to move across the
-stage. There are, of course, slits in the ceiling of the
-mimic stage which allow the wires to pass through.</p>
-
-<p><span class="pagenum"><a id="Page_77">[77]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_p076.jpg" width="650" alt="" />
-<div class="caption">
-Fig. 31.&mdash;The Mystery Explained.</div>
-</div>
-
-<p>The lady is raised by a curious device. There is
-attached to the piano stool a clear piece of plate glass,
-which comes up through a slot in the stage technically
-known as a “slider.” This glass is made to
-raise or lower by means of a windlass. The glass
-rests on a cross-piece of wood and works up and
-down in a grooved frame, which is secured to a movable
-truck under the stage. The slot in the stage is
-continued in the direction in which the glass is to
-move, and the carpet is of a marked design which
-will cover the narrow opening.</p>
-
-<p>The bouquet is secured with a thread attached to
-the piano, and it then goes through the door, where
-an assistant holds the loose end. A small loop of
-wire is attached to the bouquet, and a thread runs
-through it. When the lady enters the room and lays
-the bouquet on the table, this thread is passed
-through the loop of wire. When the bouquet is desired
-to travel to the lady, the assistant has only to
-raise the end of the thread high enough and the
-bouquet slides down the incline into the lady’s hand.</p>
-
-<div class="figcenter">
-<img src="images/i_p078.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 32.&mdash;The Telegraph Set.</div>
-</div>
-
-<p>A medium in Detroit, Mich., has lately been hoodwinking
-the public and coining money with an idea
-that was quite original. He employed a small, shallow
-box, composed of wooden sides and ends and
-slate top and bottom. The box and its lid were
-about of even height, and were hinged together.
-(Fig. 32.) The box contained a telegraph key connected
-up to a sounder and a dry battery sitting<span class="pagenum"><a id="Page_78">[78]</a></span>
-outside of the box on the table. The medium
-allowed everything to be well examined. It was
-proved that the battery on the table was the only
-means of operating the sounder whenever the key
-was worked. If one of the wires were disconnected,
-or the box were closed and the key thus out of the
-way of manipulation, the sounder would not work.
-After everything was satisfactorily explained, notes
-were written on pieces of paper, which were
-folded and placed upon the table. These are
-taken, one at a time, and placed in the box and
-the lid closed. If conditions are favorable, the
-spirits will be enabled to read one of the inclosed
-notes, and will send a telegraphic reply over
-the sounder; and such is ofttimes the result. Of
-course, we know spirits do nothing of the sort;
-it is the medium who accomplishes all of this. How
-does he know the contents of the note? How does<span class="pagenum"><a id="Page_79">[79]</a></span>
-he cause the ticker to work with the key inclosed in
-the box? The visitor is placed on one side of the
-table, generally facing a window, so as to have the
-light shine into his or her eyes. The medium sits
-opposite with his back toward the window; the box
-containing the key is at his side of the table, with
-the hinges, or the back of the box, toward the visitor.
-Now, if the lid of this box is opened and a
-paper taken off the table and placed in the box and
-the lid closed, you could not tell for certain if the
-paper was actually placed in or not, for the simple
-reason that the cover of the box, when up, completely
-masked the operation. It is by the above scheme
-that the medium obtains the notes on the paper.
-The first one or two are actually placed in the box;
-then the next one is deliberately dropped into the
-medium’s lap instead of the box. He unfolds it, reads
-it, refolds it, and, on opening the box, apparently
-takes it from there and places it back on the table
-and does not lose track of it. Two or three other
-papers are placed in it by the visitor, and again taken
-out by him. Again the visitor is asked to place in it
-the one the medium knows the contents of. Now
-the ticker commences to work. With his left hand
-carelessly resting on the corner of the closed box, the
-medium writes with his right hand, with a pencil, on a
-pad of paper, the communication received over the
-ticker. The visitor removes the paper from the box,
-and the answer just written by the medium on the
-pad is found to be a reasonable one to the written
-request.</p>
-
-<p>All that remains to be explained is the working of
-the sounder. It is very simple. In the first place, the<span class="pagenum"><a id="Page_80">[80]</a></span>
-lid and box are hinged so as to be hinge bound;
-that is, they will not, of their own weight, quite
-touch each other, possibly about an eighth of an
-inch, or less, apart. But by the pressure or weight
-of the hand they will come together. Now, the
-telegraph key, like all such instruments, is provided
-with a tension screw, which can be screwed one
-way or the other. When the medium desires his
-instrument to work, he raises this tension screw,
-to which is fastened the button of the key, just high
-enough to touch the lid on the inside of the box
-when it is closed of its own weight. Now, when the
-hand is resting on the box, he proceeds to make
-the sounder “speak” at will, with no perceptible
-movement of his hand. A simple muscular contraction
-of the palm of the hand, which cannot be
-detected, is sufficient to control the sensitive key,
-by pressure of the box cover on it. The whole thing
-is so simple, and at the same time puzzling, that it
-makes one laugh to think how little it takes to make
-a fool of a man.</p>
-
-<p>In the case of this medium, the head of the tension
-screw was brass, and left a brassy mark on the slate
-top. He soon observed this, and changed it for a
-hard rubber one, which left no telltale marks behind.
-Sometimes he did not raise the tension screw, but
-laid the folded paper the question was written on
-on top of it. This made up the required height.
-Other mediums improved on the above method by
-working the key through the box by an electro-magnet
-concealed in the table top. The current to
-the magnets was turned on and off, or broken, as the
-line is used, by means of a small button in the body<span class="pagenum"><a id="Page_81">[81]</a></span>
-of the table, pressed by the medium’s leg. This
-method allowed him to keep his hand off the box.</p>
-
-<p>The raps, or noises, are produced in various manners.
-Press your boot heel gently against a table
-leg. The slipping of the leather against the wood
-makes perfect spirit raps, wood being a good conductor
-of sound. The raps apparently come from
-the table top if attention is directed in that direction.
-Some mediums, with the tips of their fingers pressed
-firmly on a table top, slip them, by a dexterous
-movement, along the varnished surface, thus making
-very fair examples of raps or thuds. Some mediums,
-in their own homes, have tables provided with
-electro-magnets concealed in them, by which the
-knocks are accomplished. Medical experts claim
-that a very good result can be obtained by the mere
-displacement of the tendons of the muscle called
-<i lang="la" xml:lang="la">peroneus longus</i>, in the sheath in which it slides
-behind the external <i lang="la" xml:lang="la">malleolus</i>. Others again produce
-it by snapping the toe or knee joints. Watch a
-boy some day as he snaps his finger joints, and if
-he were to rest his elbows on the table while doing
-so, the sound would be intensely strengthened.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_82">[82]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_VI"></a><a href="#CONTENTS">CHAPTER  VI.</a><br />
-
-<span class="smcap">Spiritualistic Ties.</span></h2>
-
-
-<p>“Ties” have always been one of the <ins class="corr" title="Transcriber's Note&mdash;Original text: 'great standbies'">great standbys</ins>
-of mediums, second only to slate writing.</p>
-
-<p>The following is a simple test with a rope or piece
-of string: A long piece of rope is given for inspection,
-and, on its return to the medium, he coils it up
-and lays it on the table; the two ends are tied
-together and sealed fast to the table. The coils of
-the rope are now allowed to drop on the floor.
-Lights are lowered, and, in a few minutes, when
-the lights are relighted, the coil of rope is found
-with numerous knots tied in it that could not naturally
-have been accomplished without the ends
-being untied and unsealed. This mystery is accomplished
-by simple means. When the medium receives
-the rope back he does not coil it up as a person
-would, in the ordinary fashion, but makes the coils
-so they really form half hitches, and, as he lays them
-on the table, he runs one of the free ends through
-all the coils, then ties the two ends together. Each
-coil will now form an overhand knot. An easy manner
-of manipulating the rope is as follows: The rope
-is held in the hands, with palms upward; now, to
-form the coil, or half hitch, the right hand is given a
-half twist; this brings the palm facing the person’s
-breast and back of hand outward, and leaves
-the rope as seen in Fig. 33; this loop is transferred
-to the left hand (Fig. 34), and the operation repeated
-until the supply of the rope is exhausted. Now, to<span class="pagenum"><a id="Page_83">[83]</a></span>
-make the knots, one end of the rope has simply to be
-passed through all the loops.</p>
-
-<div class="figcenter">
-<img src="images/i_p084a.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 33.&mdash;First Position.</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_p084b.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 34.&mdash;Second Position.</div>
-</div>
-
-<p>I have seen the above test worked also as follows:
-Two skeptics were used. One end of the rope was
-fastened to one of the skeptic’s wrists and the other
-end to the wrist of the second skeptic. The knots
-were sealed. The rope in this case was quite long,
-about twenty feet. The medium now makes the
-rope up into a few coils; out go the lights, and, in a
-few minutes, on the lights being turned up, the rope
-is found with knots. This is what happens: When the
-lights went out, the medium went up to one of the
-skeptics, and, while talking to him and moving him
-two or three feet further away from the other skeptic,
-he has passed the coils over this one man’s head, and
-allowed the coils to drop to the floor. As soon as
-the skeptic steps out of these, the job is done.</p>
-
-<p>There is another test on somewhat similar lines.
-A short piece of rope is examined and the performer
-holds it in one hand and then tosses it into the
-cabinet, which is empty. On opening the curtain in
-a few seconds the rope is found with a knot on it.
-The performer himself actually ties the knot with
-one hand in the act of tossing the rope into the cabinet.
-The rope is held in the hand palm upward,
-very near one end, the short end in the hand being
-with the long end hanging down, the shorter part
-being between the thumb and the forefinger. The
-hand and arm are given a kind of half circular sweep
-in tossing the rope into the cabinet; this causes the
-long portion of the rope to swing under, then over
-the wrist, and across the fingers of the hand. This
-end is then seized between the fingers and drawn<span class="pagenum"><a id="Page_84">[84]</a></span>
-through the loop just made; at the same time the
-loop is dropped off the wrist as the rope is tossed
-into the cabinet. In reading the above description
-it seems like four or five different movements, but
-with practice they all blend into one.</p>
-
-<p>Here is another test. A single knot is tied in the
-center of a piece of string; now the ends are tied
-together and knots sealed. The lights turned down;
-on their again being turned up, the knot from the
-center of the cord has disappeared. The moment<span class="pagenum"><a id="Page_85">[85]</a></span>
-there was darkness the medium started to work, and
-kept slipping the knot along the string until it joined
-the rest at the top of the string, where there is not
-much fear of its being seen. To further protect himself
-he uses the following plan: He chews gum colored
-the same as the sealing wax used. Now in the
-dark, when he has the single knot up against the
-others at the end of the string, he covers this knot
-with part of the chewing gum and blends it in with
-the sealing wax.</p>
-
-<p>I will now explain a few ties, rope and otherwise,
-by which the mediums allow themselves to be tied.
-It is almost invariably the rule for the medium to
-suggest to the investigator the general way he wishes
-to be tied. They must have certain conditions, so
-they say, or the spirits will not work. It is safe to
-say the conditions are very strict and always in favor
-of the medium. The female medium has a preference
-for ties in which tape or muslin, or cotton
-cloth torn into strips, is utilized. The male performer,
-as a rule, uses rope and wire. I will first
-describe what is known as the braid or tape test.
-Take a piece of tape about three-quarters of an inch
-wide. Have one end of this securely tied around
-the wrist; now the person who is conducting the
-test seats himself in a chair with his hands behind
-the back of the chair; now have the loose end of the
-tape passed between the uprights forming the back
-of the chair; have the other end fastened around
-the remaining hand. The moment you are in the
-dark, or hidden from view, you can produce any
-manifestation that requires the use of one or both
-hands, by following these instructions. The first<span class="pagenum"><a id="Page_86">[86]</a></span>
-hand can be tied as the investigator pleases. Now,
-when the second hand is to be tied, keep a strain on
-the tape enough to keep it taut. By so doing a
-square knot cannot be tied on the tape, but simply a
-running knot, or a knot around the strand of the
-tape&mdash;a knot that can be slid backward and forward.</p>
-
-<p>Here is what is known as the cotton bandage test.
-A ring staple or ring screw eye, the ring being about
-two inches in diameter, is wound around with unbleached
-muslin of the same color as used to tie the
-medium’s wrists with. This ring is fastened securely
-into the door jamb or any stationary wooden support
-by one of the investigators. Two strips of muslin about
-three feet long are given to the investigator; one of
-each is tied around one of the medium’s wrists and
-the knots sewed and sealed. Her (for the medium is
-supposed, in this case, to be a lady) hands are now
-placed behind her, and the ends of the strips from
-each wrist are now tied together and the knots tied
-and also sewed; and what ends are left are evenly
-cut off near the knots. Another strip of muslin,
-about the same width and length as the others, is now
-produced, and one of the committee ties this strip
-around the knots between her wrists, leaving the
-ends of equal length. The medium now takes her
-seat on a small stool, with her back toward the ring
-in the door jamb. One end of the last muslin strip is
-passed through the ring and several knots are tied.
-After tying several knots, the ends of the strips are
-tacked securely to the woodwork of the door.
-Another strip is procured and tied around the medium’s
-neck, and then tacked also to the door jamb.
-Two more strips are now used, one passed around<span class="pagenum"><a id="Page_87">[87]</a></span>
-each arm, not tied, and the ends of each tacked to
-the door. The committee, having done all the work
-themselves, of course, are thoroughly satisfied as to
-its genuineness. They now retire from the cabinet,
-which has been simply made by a curtain across one
-corner of the room, forming a triangular space. No
-sooner is the curtain closed than the usual manifestations
-occur, such as ringing of bells, tooting of
-horns, banging of tambourine, etc. Immediately the
-curtain is opened and the medium found securely
-bound and not a bandage disturbed. Finally a
-pocket knife is placed upon her lap, the curtain is
-closed, and in a few seconds the medium comes forward
-with her bonds cut, but only the wrists separated;
-this has been done, she claims, by the spirits,
-with the use of the knife which was placed in her lap.
-Now to explain away the mystery. In a convenient
-pocket in her belt she has concealed a small, sharp,
-open knife, with which she cuts through the bands
-between the wrists. She cuts this band between the
-knot on her right wrist and the knot in the middle
-made by tying the ends of the wrist bands together.
-She now slips the loop which was tied around off,
-leaving it whole and still tied around the ring. She
-is now free to use both hands, and, as the last strips
-around her arm were not tied, they are easily managed.
-She makes what manifestations she chooses,
-and by placing her wrists one each side of the ring,
-and clasping her hands together, pressing all tightly
-together, she is ready for examination. The ring
-being wound with muslin, one cannot see that anything
-has been changed; and this is the reason it is
-wound. Another thing to notice is that the spirit<span class="pagenum"><a id="Page_88">[88]</a></span>
-cutting is the last test. The reason of this is, if the
-investigators were to release her, they would discover
-the secret. Male performers use the same idea
-for rope ties from which they find it impossible to
-release themselves. They have a knife blade soldered
-firmly on to a brass plate, which is riveted or
-sewed on the back of the performer’s trousers, the
-edge of the knife blade being outward. He has simply
-to run the rope up and down over this contrivance,
-and he soon gains his liberty.</p>
-
-<div class="figcenter">
-<img src="images/i_p088.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 35.&mdash;The Davenport Tie.</div>
-</div>
-
-<p>I will next illustrate a tie made famous by the
-Davenport Brothers. (Fig. 35.) The rope used is
-what is known in trade as a sash rope. Silver Lake
-or Sampson brand is the best. This is a stiff, polished
-or smooth, hard finished rope. With this
-style of rope it is an almost utter impossibility to
-be tied but what you can free yourself. The Davenports,
-on first being secured, would try and induce
-or lead the committee who did the tying to do so in
-a way which would be advantageous to the medium.<span class="pagenum"><a id="Page_89">[89]</a></span>
-See Barnum’s “Humbugs of the World,” page
-136: “The brothers saw they could not wriggle out
-of the knots. They therefore refused to let the tying
-be finished.” Of course, they did not make the request
-pointed, or apparent, but, in the coolest natural
-way, and not suggestive of any conceived plan.
-Their method was as follows:</p>
-
-<p>One of the committee, holding a piece of rope,
-about twelve feet long, as near the center as possible,
-would be requested to tie first one of the medium’s
-left hands, tying two or three good, hard, square
-knots about the wrist, the knots coming to the inside
-of the wrist or palm side of the hand. The
-medium, during this part of the tie, faces the audience.
-He now explains to the person who does the
-tying that when he, the medium, places his left hand
-behind his back, he will place his right hand close
-against it, and requests the skeptic to tie a few or
-as many knots on top of that hand as he may see fit.
-The medium, after this explanation, places his hands
-behind his back, and then turns around, with his
-back toward the audience. The committeeman
-now secures the right hand against the left. The
-medium now enters the cabinet, is seated in a chair,
-or on a bench, in which two holes are bored. The
-ends of the ropes are now passed through these
-holes, and knots tied in the rope close to the seat of the
-chair, and thence carried to the front legs of the chair,
-where it is fastened. Two other smaller ropes are
-used to tie the medium’s legs to the chair. The
-usual manifestations, such as ringing of bells, tooting
-of a horn, hands at cabinet window, etc., take place.
-After this is repeated a few times, the medium comes<span class="pagenum"><a id="Page_90">[90]</a></span>
-forth entirely free from the ropes, which he now
-holds in his hands devoid of knots. Of course, the
-medium is really the cause of all the demonstrations,
-and to accomplish the results he must free himself.
-Now, let us see how it is done. The first hand is
-tied fair and square, but when he places his two
-hands behind his back, that’s the time the trick
-is done. In placing his hands behind his back, and
-before turning around, with back toward the audience,
-he catches up a little slack of the rope, and,
-pressing the two hands together, manages not to
-lose that slack as the two hands are tied together.
-Another plan is employed so as to be certain not to
-allow this slack to get away from the medium. In
-the act of placing the hands behind the back, one part
-of the rope is allowed to go around the middle finger.
-The ends are then crossed, A going behind B,
-before the right hand is placed against left. Of course,
-the right hand covers the rope, or false tie, completely.
-When the hand is to be released, the finger
-has simply to bend down, and off drops the slack
-part of the rope, and gives plenty of room to draw
-the hand from the loop. With one hand free, it is
-easy to produce the desired manifestations, also to
-release the other hand, and then completely untie
-the rope. Now, whenever the committee cannot be
-influenced to tie in the above manner, they are
-allowed to proceed as they wish. Very few persons
-can tie a medium securely with the stiff rope
-furnished. The medium will manage, by slight contortion
-of his body, to secure a little slack rope,
-by which agency square knots can be easily upset
-into a slip or running knot, and, when he fails in this,<span class="pagenum"><a id="Page_91">[91]</a></span>
-the rope is deliberately cut with the little knife blade
-on belt, as described previously. This destroyed
-rope is now concealed on the medium, and he takes
-also from his clothes a similar rope and walks out of
-the cabinet with it, stating the spirits had released
-him. He again retires to the cabinet, and, in a short
-time, he is found retied, with his hands behind his
-back, securely fastened. Here is the explanation:</p>
-
-<div class="figright">
-<img src="images/i_p091.jpg" width="75" alt="" />
-<div class="caption">
-Fig. 36.&mdash;The<br />
-First Knot.</div>
-</div>
-
-<p>When he enters the cabinet, he allows both ends of
-the rope to hang down, holding the rope
-in center; the rope now, in its doubled
-condition, has a knot tied near its double
-end, leaving a knot and loop. (Fig. 36.)
-Then a single knot, tied in each portion
-of the rope, each side of this loop knot, far
-enough away so as to give length enough
-for the ropes to encircle the wrists, and
-these single knots come up hard against
-the loop knot. The ends of the rope are
-now run through the loop knot, and two
-loops are thus formed, which can be made
-larger, as desired, to slip the hands out.
-(Fig. 37.) The ends of the rope are now
-run down through holes in the chair seat,
-and ends fastened, and the medium inserts his wrists
-in the loop and pulls up taut, and he is ready
-for an investigation. It will readily be seen the medium
-can now do as he pleases, remove his coat,
-place on a borrowed one, etc.</p>
-
-<div class="figcenter">
-<img src="images/i_p092.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 37.&mdash;The Double Loop.</div>
-</div>
-
-<p>Another tie frequently used is that in which the
-medium seats himself in a chair, takes the rope, and
-ties it around his legs at the knees, with the single
-knot on top. On this he places his two hands, close<span class="pagenum"><a id="Page_92">[92]</a></span>
-together, and has the committee tie his hands with
-as many knots as they please, from which he nevertheless
-frees himself. The whole scheme lies in the
-fact that the medium tied but one knot around the
-legs, but did not pull it deep into the flesh. When
-the knots are tied over his hands, he keeps the legs
-a trifle apart. Now, to release himself, he simply
-has to draw his legs together, and strain on the ropes,
-so they sink into the legs a trifle, and let all the
-slack go above the single knot, thus giving room for
-the hands to be withdrawn. By forcing the hands
-apart, the desired slack is easily taken up.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_93">[93]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_VII"></a><a href="#CONTENTS">CHAPTER  VII.</a><br />
-
-<span class="smcap">Post Tests, Handcuffs, Collars, etc.</span></h2>
-
-
-<p>The “Spiritualistic Post Test” is one of the latest
-and most successful of mechanical fastenings used by
-mediums. The most common form is made of what
-appears to be a piece of joist. This is given to the
-committee, one of whose members bores a hole
-through it, near its upper end, and then passes an
-ordinary rope through the hole, a knot being tied
-in the rope on each side of the post. The knots are
-pressed against the post, so that the rope cannot be
-drawn through the post. The ends of the rope
-are now unraveled, and the post is fastened to the
-floor with spikes. The medium is tied to the post
-by the unraveled ends of the rope. A nail is driven
-in the top of the post, and a rope is secured to it.
-This second rope is held by the committee; after
-the curtains are drawn, bells are rung, etc., showing
-that the medium has the use of his hands. The
-trick consists in boring a hole in the center of the
-end of the joist; a chisel is then inserted in the
-hole, and the opening is closed with glue and saw-dust
-tinted with water color. The medium starts
-the bit, so that there is no danger of the committee
-boring the hole too low, or so high that it will
-strike the chisel. When the nail is driven in, it
-forces the chisel down and cuts the rope. The medium
-may now ring bells, etc. After he is through
-ringing the bells, he puts back the ends of the rope
-in the post.</p>
-
-<p><span class="pagenum"><a id="Page_94">[94]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_p094.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 38.&mdash;The Trick Post.<br />
-<div class="fs90">
-<p>1. Lead weight with notch.</p>
-
-<p>2. Spring catch.</p>
-
-<p>3. Hole in catch by which cord is secured.</p>
-
-<p class="pad3 negin2">4. Roller over which cord, 5, runs; cord is attached at one end, 3,
-to spring catch, and at other end at 6 to bolt in angle piece.</p></div>
-</div></div>
-
-<p>There is another very good rope and mechanical
-post test sometimes used by mediums. A post in an
-upright position is securely fastened to the floor. In
-the upper part of the post a hole is bored clear
-through, to allow of two small ropes being passed
-through the opening from side to side. The medium<span class="pagenum"><a id="Page_95">[95]</a></span>
-passes the ropes through the post, then invites the
-committee to tie his hands fast against the post, and
-then to tie or nail the ends of the rope down on the
-floor. All the usual manifestations take place. The
-medium is also instantaneously released, and rope
-and knots are found undisturbed. By glancing at
-Fig. 38 the mystery will be cleared up. The
-post is hollow, and carries a leaden or iron weight.
-This weight has a horizontally extending passage to
-correspond with the channel in the post. This weight
-is held in the top part of the post by a catch, which
-is released by a projecting bolt-head at the bottom
-of the post. It will be remembered that the post is
-made fast to the floor by screws passing through
-angle irons fastened by bolts to the post. It is one
-of these bolt-heads that releases the catch. At the
-bottom of the post is another catch, which will also
-hold the weight at the bottom. The one bolt will
-release both catches. The medium runs the ropes
-through the post, releases the catch, which allows
-weight to drop, carrying ropes with it; and the
-catch locks the weight at the bottom of the post.
-They can now tie the medium. All he has to do is
-to release the weight; he can then pull the rope up
-and get as large a slack as he desires, allowing the
-weight to drop back again. There is a chair&mdash;an
-ordinary-looking wooden kitchen chair&mdash;worked on
-somewhat the same style. There is a hole bored
-through each rear leg or upright of the back. The
-medium sits on the chair, facing the back of it, and
-has a hand tied to each upright. The slack is obtained
-the same as in the post, with the exception
-that a spring instead of a weight is used, and it is<span class="pagenum"><a id="Page_96">[96]</a></span>
-locked or released by the backward or forward
-sliding of a portion of the chair-seat.</p>
-
-<p>A convincing trick often employed is the iron
-ring test. The medium and investigator sit opposite
-each other, clasping their hands. An iron
-ring is now placed on the medium’s lap, and the
-cabinet door is closed; in a few moments the door
-is opened again, and the ring is found on the investigator’s
-arm, although he has never released his
-hold of the medium’s hand. The medium has concealed
-in his coat sleeve a duplicate of the ring
-used. When the cabinet door is closed, the medium
-spreads his legs apart, allowing the ring to drop on
-the seat of his chair, the bottom of which should be
-of cane or of cloth, in order to avoid the noise due
-to the dropping of the ring. He now replaces his
-legs, and, of course, this ring is hidden merely by
-his sitting on it. The ring in his sleeve he tosses
-on to the skeptic’s arm, and, of course, without the
-hands being unclasped.</p>
-
-<p>The handcuff trick is always a great favorite with
-the medium. He has no objection to placing his
-hands in any pair of handcuffs furnished by the audience.
-A few moments after he has entered the
-cabinet, he begins throwing out various articles of
-clothing; but, on examination, the handcuffs are
-found to be still on his wrists. It is impossible to
-see how he could have taken off his coat. As a
-final test the medium comes out of the cabinet holding
-the handcuffs in his hand still locked. There
-are only a few styles of handcuffs made, and all the
-medium has to do is to secure the proper key for
-each style. He conceals these keys on his person,<span class="pagenum"><a id="Page_97">[97]</a></span>
-and by the aid of his fingers and teeth the proper
-key can be fitted to the handcuffs. It is impossible,
-with some types of handcuffs, to get the fingers to
-the keyhole. If such a pair are placed on the performer,
-and he cannot use his teeth to hold the key,
-he slips the key into a convenient crack in the cabinet
-or in the chair. The lock of the handcuffs being
-forced on to the key, the handcuffs can then be
-readily unlocked.</p>
-
-<p>The spirit collar is also a favorite instrument of
-the medium. It consists of a brass collar which fits
-closely about the performer’s neck. Through the
-openings in the end of the collar, is placed a chain.
-After the collar is on the performer’s neck, the chain
-is placed around a post and carried back and
-through the padlock used to lock the collar. By
-this arrangement the performer is securely fastened
-to a post; but after he is concealed by the use of any
-convenient means, he suddenly appears before the
-audience minus the collar, while the collar will be
-found locked, as before. The trick depends for its
-success on the series of bolts with which the collar
-is studded. The bolts, with one exception, are all
-false, being pieces of metal simply screwed into the
-top and bottom of the collar, and not penetrating
-through them. One bolt, however, passes through
-the collar and engages the two parts thereof; the
-parts terminate in a tongue which fits in the socket
-in the other half of the collar. The bolt passes
-through this tongue so accurately that there is no
-danger of its being removed with the fingers. The
-performer uses a small wrench to remove the bolt.</p>
-
-<p>There are numerous other devices, such as trick<span class="pagenum"><a id="Page_98">[98]</a></span>
-bolts, which are inserted by a spectator through a
-post and screwed up tight, the medium being fastened
-to the bolt. He has simply to give the bolt
-a half twist, usually toward the right, and the bolt
-comes apart. The joint is invisible to the eye, and,
-in fact, is made more so just before it is used each
-time by being rubbed with sandpaper, which slightly
-roughens the bolt, making the joint imperceptible
-to the naked eye. There are staples, ordinary looking
-staple-plates, which are apparently screwed fast
-into the bench on which the medium is seated. The
-hands of the medium are fastened to the staples by
-wire. The staples are not fastened to the plates by
-riveting them, as is ordinarily done, but are held by
-a spring catch, concealed under the plate, and working
-in a notch in the staple. This is released by the
-medium’s pushing the catch back by the insertion of
-a piece of clock spring between the staple plate
-and the bench. After releasing himself he performs
-the stereotyped manifestations, and at the finish has
-simply to jam the staples back into their plate, whereupon
-they are locked or held fast by the spring catch
-or bolt. This was a device used by a Boston medium.</p>
-
-<p>There are also trick bags in which the medium is
-bound up or tied. In one style of bag there is a
-string running in the selvage, or turned-over portion
-of the bag at the top. As the string is about to be
-drawn taut the medium inserts one of his fingers
-into a portion of this selvage not sewn, and pulls
-down enough slack of the cord to allow him, after the
-tying, either to place his arm through or to get out
-entirely. Another style is this: The medium has a<span class="pagenum"><a id="Page_99">[99]</a></span>
-round wooden plug, covered with cloth like the bag.
-This he has concealed about him. As the mouth of
-the bag is gathered together to tie the string, the
-medium inserts this plug, and bag and plug are both
-tied. After the tying he has simply to remove the
-plug and he can then place his hand through and release
-the cord, or shove it off the bag completely.
-Still another way is to have a duplicate bag concealed
-down one trousers leg and coming up at the
-back of the neck under the coat, the mouth of the
-bag being upward. When the medium gets in, his
-manager or the director of the séance gathers the
-mouth of the bag together, and, at the same time,
-pulls the duplicate bag out from under the medium’s
-coat. He pulls this up four or five inches higher than
-the original bag and ties his handkerchief around
-where the two bags are joined, so the trick will not
-be detected. He then allows a committee to tie, and
-even sew, the bag together&mdash;of course, the duplicate,
-not the first one. The medium has simply to pull
-the first bag down around him, get out of it and
-conceal it on his body. A “dodge” used sometimes
-is to borrow one of the investigators’ handkerchiefs
-and drop it into the duplicate bag; and, after the
-medium has escaped and the bag is given for inspection,
-the bag is opened and the handkerchief found
-inside. This strengthens the effect of the trick, inasmuch
-as it convinces the onlookers that the medium
-certainly must have been got out by the aid of
-spirits, as the handkerchief&mdash;a very small article, in
-comparison to the body of the medium&mdash;could not
-be removed until the string had been released from
-the bag.</p>
-
-<p><span class="pagenum"><a id="Page_100">[100]</a></span></p>
-
-<p>Mediums are great judges of human nature; they
-know full well the usual action of the human mind,
-the direction the thoughts are liable to travel in.
-This is part of their stock-in-trade&mdash;to try to do
-just such things as the handkerchief “dodge,” in
-order to convince the skeptic of the truth of the
-wonders witnessed.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_101">[101]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_VIII"></a><a href="#CONTENTS">CHAPTER  VIII.</a><br />
-
-<span class="smcap">Séances and Miscellaneous Spirit Tricks.</span></h2>
-
-
-<p>A test which made the Eddy Brothers famous
-was their “light” and “dark” séances. Horatio
-Eddy gave what he termed a “light séance,” and
-William was famous for the “dark séance.” Instead
-of using a cabinet of wood, Horatio formed
-one simply by stretching a couple of shawls or
-curtains across a corner of the room, thus making a
-triangular inclosure. A table containing the usual
-musical instruments, bells, tambourine, guitar, etc.,
-is placed in this space. The medium sits on a chair
-in front of this curtain, to the left hand side. Next
-to him, on his right, sits a gentleman selected from
-the audience, and to the right of this gentleman, a
-lady similarly chosen. William Eddy now pins
-across the breasts of the two gentlemen a third shawl,
-attaching the ends to the curtain. (Fig. 39.) Previously
-to this, however, Horatio has grasped with both
-his hands the gentleman’s left arm; the lady is requested
-to grasp the gentleman’s right arm. In this
-position neither can make a movement but what one
-of the others would be immediately cognizant of it.
-Presently there is a commotion among the articles on
-the table behind the screen; they appear floating
-in the air above the top of the curtains, some coming
-through and tapping the trio on the head. A hand
-comes through the curtain and writes a message on
-the slate held by William Eddy. Numerous other
-tests are performed&mdash;all in subdued light, not darkness.<span class="pagenum"><a id="Page_102">[102]</a></span>
-Now, to raise the veil from this mystery: In
-grasping the left arm of the person in the center, the
-medium first grasps the gentleman’s left arm with his,<span class="pagenum"><a id="Page_103">[103]</a></span>
-the medium’s, left hand, fingers being spread apart as
-far as possible. With this hand he presses quite
-hard, and takes a light hold of the same arm, but
-above the left hand. If the medium gently and carefully
-removes the right hand, the action cannot, by
-sense of touch, be detected. Sometimes, so as to enable
-him to use both hands, another ruse is also employed.
-A piece of heavy sheet lead is cut in the
-shape of the medium’s hand. This is placed in his
-left hand. With this hand he grasps the skeptic’s
-arm. Being made of lead, the hand easily conforms
-or bends to the shape of the arm, and, what is more,
-if the real hand of the medium be quietly removed,
-the leaden hand remains behind, giving the same sense
-of touch as if the actual hand were there. (Fig. 40.)
-Of course, with the hands free, the medium can
-stealthily glide between the curtains, grasp and manipulate
-the instruments, and throw them to the floor,
-immediately replacing his hands gently.</p>
-
-<div class="figcenter">
-<img src="images/i_p102.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 39.&mdash;The Light Séance.</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_p104.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 40.&mdash;The Mystery Explained.</div>
-</div>
-
-<p>A rather clever test used in a dark séance, given by
-Miss Annie Eva Fay, is one in which the hands are
-not bound. Miss Fay made cotton, bandage and tape-ties
-a success, and sometimes varied her séance
-by not using a tie, but by continually clapping her
-hands together during the darkness. She also had
-her mouth filled with water. Nevertheless, the usual
-manifestations occurred. The horn “tooted,” the
-tambourine and guitar floated, bells rang, etc. The
-dodge she employed was this: Instead of clapping
-her hands together, she slapped one against her forehead,
-which gave the same sound, and gave her one
-hand at liberty. She also swallowed the water. She
-was now at liberty to blow the horn, ring bells or<span class="pagenum"><a id="Page_104">[104]</a></span>
-the like. When she was finished, she refilled her
-mouth with water from a bottle concealed on her
-person, and again resumed, clapping her hands together
-instead of striking one hand against her forehead.
-An investigator suspected the idea of the<span class="pagenum"><a id="Page_105">[105]</a></span>
-water and once came prepared with a glass of milk,
-which he requested the medium to use instead. She
-consented. The horn tooted just the same, and
-the medium’s mouth still contained the milk. She
-had simply inserted the end of the horn in one of
-her nostrils. Another time she merely emptied
-the liquid into one of the hand bells on the table
-and held it upside down in her lap. Still another
-“wrinkle” is the use of a rubber ball with a hole in
-it. This can readily be attached to the horn, and
-squeezing the ball does the tooting.</p>
-
-<p>Dr. Henry Slade was, of course, identified and
-recognized as the principal slate-writing medium,
-but at various times he presented other phenomena,
-one of which was the playing of an accordion
-while held in one hand under the table. The accordion
-was taken by him from the table with his
-right hand, at the end containing the strap, the keys
-or notes at the other end being away from him. He
-thus held the accordion beneath the table, and his
-left hand was laid on top of the table, where it was
-always in plain view. Nevertheless, the accordion
-was heard to give forth melodious tunes, and at the
-conclusion was brought up on top of the table as
-held originally; the whole dodge consisting in turning
-the accordion end for end as it went under the
-table. The strap end being now downward, and held
-between the legs, the medium’s hand grasped the
-keyboard end, and worked the bellows and keys, holding
-the accordion firmly with the legs and working
-the hand, not with an arm movement, but mostly by
-a simple wrist movement. Of course, at the conclusion,
-the hand grasped the accordion at the strap end,<span class="pagenum"><a id="Page_106">[106]</a></span>
-and brought it up in this condition. Sometimes an
-accordion is tied with strings and sealed so the bellows
-cannot be worked. This is for the dark séance.
-Even in this condition the accordion is played by
-inserting a tube in the air-hole or valve and by the
-medium’s using his lungs as bellows.</p>
-
-<p>In regard to dark séances and materializations, I
-would state that they are so barefaced and bold it is
-hardly worth while to worry about them. What
-cannot be done in the dark? Spirit costumes, to be
-donned later by the medium to impersonate people
-from the other world, are concealed in strange places
-under the very eyes of the investigators&mdash;in the
-body of the guitar, in a drum, about the person of
-one of the circle of skeptics, who is really a confederate,
-or behind the surface of a wall. Time and place
-make all the difference in the method of work used
-by mediums. In their homes mediums have any
-number of accomplices, who enter the room under
-cover of darkness by various means&mdash;one way, by
-means of a trap in the floor. This opens upwardly;
-the carpet does not have to be cut, and can also
-be well tacked down. The trap is not cut square,
-but triangularly, across the two sides of the room in
-one corner. Through this trap the confederates, disguised
-as spirits, enter from the cellar below and
-vanish. Another method is to gain admittance from
-an adjoining room. Between the two rooms are
-sliding doors, misnamed “folding” doors. The space
-in one of the walls is not only large enough to receive
-its own single door, but also a portion of the
-other. Before commencing the séance, the doors
-are locked and the key kept by a committee. The<span class="pagenum"><a id="Page_107">[107]</a></span>
-doors are also sealed with court plaster across their
-joints, and said court plaster sealed with sealing-wax.
-The confederates are not obliged to push the
-doors apart; they simply slide both at the same time
-toward the side previously mentioned. This side
-receives one door and a portion of the other, thus
-leaving an opening for a person slyly to creep
-through.</p>
-
-<p>Sometimes, in the circle of investigators, there
-are five or six confederates. Three of these are
-placed or seated together. Now, if all in the circle
-join hands, it seems no one could assist the medium
-without the fact being discovered; but in the center,
-one of three confederates, sitting together, releases
-the hands of his companions, and, in the dark, “cuts
-up” all the tricks he wishes and returns to the circle
-again, no one being any the wiser. Of course, if one
-confederate were seated between two of the skeptics,
-he would not dare let go his hands; but when a
-friend is placed each side of him, it makes no difference.
-A test often used, when everybody, medium
-included, is sitting at a table, is the wire test. A
-copper wire is threaded through the shirt sleeve of
-every male member present, and through the sleeve
-of the ladies’ dresses, the wire being fastened to the
-table by staples. When the lights are put out, the
-spirits “raise Cain” again. It is the medium again.
-The wire did not go through his shirt sleeves, but
-through two short extra shirt sleeves, or cuffs, which
-he wears over the real sleeves. All he has to do is
-to slip out of these, produce the manifestations, and
-slip back into the cuffs again.</p>
-
-<div class="figleft">
-<img src="images/i_p108.jpg" width="250" alt="" />
-<div class="caption">
-Fig. 41.&mdash;Ground Plan<br />
-of Cabinet.</div>
-</div>
-
-<p>A test that caused more talk and wonderment than<span class="pagenum"><a id="Page_108">[108]</a></span>
-all the rest of the cabinet tricks combined is the chair
-and net test. The medium enters a very small cabinet,
-just large enough to contain him when sitting down
-in a chair. The cabinet is closed by a single door,
-locked with a padlock, the keyhole of which is
-sealed; the door is also sealed all around the
-edges. A fish-net so finely meshed that even
-the finger of the medium could not be pushed
-through, is now placed over this cabinet and tacked
-to it all around the bottom. This miniature cabinet
-is set in the cabinet proper, and a chair, with
-the usual bell, tambourine, etc., placed beside it.
-Doors are closed, and immediately the fun begins.
-Bells, tambourine, and
-horns all play together.
-A sudden fall of the chair
-and instruments is heard,
-and the cabinet doors
-being opened, everything
-is found strewn
-about; the smaller cabinet is, however, still found
-as it was left, with the netting over it and seals
-undisturbed. Again the large cabinet is closed,
-and almost immediately it is opened from the inside,
-and out walks the medium; and the netting
-on the smaller cabinet is examined once more, and
-likewise the padlock and seals, everything is found
-intact. The whole trick depends upon the construction
-of the smaller cabinet. Fig. 41 represents a
-ground plan of the apparatus. The floor is not nailed
-or fastened to the sides. There are four battens or
-strengthening pieces, one in each corner of the cabinet,
-running from top to bottom; these are securely<span class="pagenum"><a id="Page_109">[109]</a></span>
-fastened to the floor, but not to the sides of the cabinet.
-Over these battens is laid a strip of wood
-that is really made fast to the cabinet. This leaves
-in each corner a socket or pocket the height of the
-cabinet, and in these work, telescopic fashion, the
-four battens which are made fast to the bottom.
-The bottom is set inside of the cabinet, not on the
-outside. It is only tacked to the sides of the
-bottom of cabinet. It will now be readily observed
-that the medium has only to stand up in order
-to raise the main part of the cabinet quite a height
-above the bottom, as seen at Fig. 42. It is held in the<span class="pagenum"><a id="Page_110">[110]</a></span>
-above position by a concealed catch. The medium
-can now produce manifestations, and, as he is about
-to drop the cabinet back into the bottom, he gives
-the leg of the chair a jerk and over it goes, and down
-drops the cabinet. There is also a catch that automatically
-locks the bottom firm to the cabinet, so as
-to allow inspection of the same.</p>
-
-<div class="figcenter">
-<img src="images/i_p109.jpg" width="250" alt="" />
-<div class="caption">
-Fig. 42.&mdash;The Trick Cabinet.</div>
-</div>
-
-<p>The above manifestation was in use long before the
-wire cage test, and is considered by some mediums
-more convincing than the latter. While speaking
-about the wire cage test, I may as well describe one
-form of it. There are numerous makes, but the one
-explained will serve as a sample of the rest. A cage
-composed of uprights and cross-bars of iron is made
-fast to an iron frame containing a small door through
-which the medium enters. Sometimes the door is
-done away with and the bottom of the cage is separated
-from it. The medium sits on this bottom, and
-the cage is lifted and placed over him. The bottom
-and cage are padlocked together or bound with wires
-and sealed.</p>
-
-<div class="figcenter">
-<img src="images/i_p111.jpg" width="300" alt="" />
-<div class="caption">
-Fig. 43.&mdash;The Wire Cage.</div>
-</div>
-
-<p>No matter what method is used, the results are the
-same; the medium can play the instruments or escape,
-as he may see fit. The wire cage is, we shall
-say, of a design similar to that shown in Fig. 43.
-There is no door to it, and the cage being
-secured by a wire bottom padlocked on or nailed
-fast to the floor. A close inspection of Fig. 44
-will help to expose the fraud. The lower cross-bar
-is not riveted through the frame at its end, but
-ends square against it, and a false rivet head, having
-no connection with it, is riveted on the frame
-where this cross-bar is supposed to emerge. All of<span class="pagenum"><a id="Page_111">[111]</a></span>
-the upright rods are made fast only to this cross-bar.
-In the other cross-bars they simply go through holes,
-not closely, but loosely, to ensure then to be
-slid up and down. The tops of these rods are riveted,
-but not made fast to the frame at the top. The
-center rod is not made permanent in the lower cross-bar,
-but is fastened so it can be turned around one way
-or the other. Now, where all these rods are supposed
-to come through the lower part of the iron frame are
-rivet-heads representing the heads of the rods, should
-they have come through. The bottom frame is drilled
-half way through for the end of each rod to enter a<span class="pagenum"><a id="Page_112">[112]</a></span>
-little, the middle rod is tapped with a thread like a
-screw on its end, and its corresponding hole is also tapped.
-It will now be seen why this rod was left to turn.
-By pulling cross-bar down and then screwing this
-middle rod tight, everything is solid; but unscrew the
-rod and raise the cross-bar, and all the upright rods
-will travel with it and the medium is at liberty. And
-we have another spirit mystery laid bare. I could
-describe numerous other tricks and devices of a like
-nature, but a few are as good as a quantity; sufficient,
-in fact, to place the investigator on his guard against
-being duped by like contrivances.</p>
-
-<p><span class="pagenum"><a id="Page_113">[113]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_p112.jpg" width="300" alt="" />
-<div class="caption">
-Fig. 44.&mdash;The Cage Opened.</div>
-</div>
-
-<p>I believe a few words in regard to spirit photography
-will not be amiss. These are made or produced
-in various ways: First, a glass with an image
-on it of the desired spirit form could be placed in the
-plate holder, in front of the sensitive plate, so that
-the image on the glass would act on the sensitive
-plate. The size and distinctness of the resulting
-spirit form would vary according to the distance
-between the two plates. Second, a figure
-clothed in white can be introduced for a moment behind
-the sitter and then be withdrawn before the sitting
-is over, leaving a shadowy image on the plate.
-Third, a microscopic picture of the spirit form can be
-inserted in the camera box alongside of the lens, and
-by a small magnifying lens its image can be thrown
-on the sensitive plate with that of the sitter. This is
-the trick used when the skeptic brings his own plate
-for the negative. Fourth, a glass with the spirit
-image can be placed behind the sensitive plate after
-the sitting is completed, and afterward, by a feeble
-light, the image can be impressed upon the plate
-with that of the sitter. Fifth, the silver nitrate
-bath could have a glass side, and the image impressed
-by a secret light while the glass plate
-apparently was being coated with the sensitive film.
-Sixth, the spirit form can be printed first on the negative
-and then the living sitter by a second printing,
-or the spirit can be printed on the paper
-and the sitter’s portrait printed over it. Seventh,
-a sensitive plate can be prepared by what is known
-as the dry process, the spirit form being impressed
-on it; and then, at a subsequent time, the portrait of
-the living sitter can be taken on this same plate, so<span class="pagenum"><a id="Page_114">[114]</a></span>
-that the two will develop together. Eighth, take a
-solution of sulphate of quinine and paint on the background
-screen a picture of any one; when it dries it
-is invisible to the naked eye. Still, when the picture
-is taken, the painted picture is very plainly seen on
-the glass negative. Ninth, small pictures are taken
-on thin, transparent celluloid and fastened against the
-front lens of the camera, and when the photograph is
-taken the picture appears. Of course, the above are
-by no means all the methods, but enough to illustrate
-the possibilities of obtaining two pictures on the
-same plate or at one sitting.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_115">[115]</a></span></p>
-<p class="p4" />
-
-<h2 class="no-brk"><a id="CHAPTER_IX"></a><a href="#CONTENTS">CHAPTER  IX.</a><br />
-
-<span class="smcap">Miscellaneous Tricks.</span></h2>
-
-
-<h3>The “Magician’s Omelette.”</h3>
-
-<p>The magician has never proved himself an adept
-at the art of cooking, from an epicure’s standpoint;
-yet the ease with which he can bake cakes in borrowed
-hats and cook omelettes in empty pans has
-long been a source of wonder to the economical
-housewife, as well as to the professional cook.</p>
-
-<p>To see the magician hold a small, shallow, empty
-pan over the blaze of a spirit lamp for a few moments,
-when an omelette, done to a turn, appears in
-the pan and is cut up and distributed to the audience,
-one is almost convinced that at least one person
-has solved that most perplexing of all problems&mdash;how
-to live without work.</p>
-
-<p>But has he solved it? No! my friend, no more
-than you or I. He has merely deceived you; but
-most cleverly, you must admit.</p>
-
-<p>The pan is without any preparation whatever; but
-as much cannot be said of the wand, which he is continually
-stirring around in the pan. This wand is
-hollow, with an opening at one end only; and in the
-wand, previous to the trick, of course, are placed the
-properly seasoned ingredients of an omelette, after
-which the end is closed with a metal plug that is
-turned and enameled to correspond with the opposite
-end of the wand.</p>
-
-<p>When the pan is being examined the performer is
-holding the wand in his hand, and such an innocent-appearing<span class="pagenum"><a id="Page_116">[116]</a></span>
-black stick is never suspected of being in
-any way connected with the trick.</p>
-
-<p>Just before holding the pan over the lamp the performer
-finds it a most easy matter to remove the
-plug from the end of the wand, when, by holding the
-wand by the closed end, he can empty the contents
-into the pan in the mere act of passing the open end
-of the wand around the inside of the pan. (Fig. 45.)</p>
-
-<div class="figcenter">
-<img src="images/i_p116.jpg" width="600" alt="" />
-<div class="caption">
-Fig. 45.&mdash;The “Magician’s Omelette.”</div>
-</div>
-
-<p>The metal of which the pan is made being thin,
-and there not being a great quantity of the omelette,
-assisted by a large flame from the lamp, it only requires
-a few moments to cook the omelette, when it
-is turned out on a plate and carried down to the
-audience.</p>
-
-<p>It is hardly necessary to say that when the cooked
-omelette is carried down, the wand is left on the<span class="pagenum"><a id="Page_117">[117]</a></span>
-stand, which prevents any inquisitive person asking
-to see it.</p>
-
-
-<h3>Spinning and Balancing Tricks.</h3>
-
-<p>The spinning handkerchief is a great favorite with
-jugglers. A handkerchief is borrowed, thrown in
-the air and caught on the end of a whirling stick held
-by the juggler, when the handkerchief spreads out
-to its full size and commences to spin around rapidly.
-The secret is that in the end of the stick a needle is
-inserted about one-quarter of an inch, leaving the<span class="pagenum"><a id="Page_118">[118]</a></span>
-sharp end out. When the handkerchief is caught on
-the end of the whirling stick the needle point passes
-through it, thus preventing its falling off the stick,
-which is rapidly whirled around, and the handkerchief
-will spread out and spin about on the end of
-the stick.</p>
-
-<div class="figcenter">
-<img src="images/i_p117.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 46.&mdash;The Spinning Handkerchief.</div>
-</div>
-
-<p>Jugglers are very partial to tricks performed with
-eggs, and spinning an egg on its smaller end is a
-trick they are almost sure to perform. It is impossible
-to spin a raw egg; so our juggler uses a hard-boiled
-one, and spins it on its small end in a shallow
-japanned tray. If the tray is kept gently moving in
-a small circle in the opposite direction to that in
-which the egg is spinning, the latter will continue to
-spin as long as desired. (Fig. 47.)</p>
-
-<div class="figcenter">
-<img src="images/i_p118.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 47.&mdash;Spinning an Egg.</div>
-</div>
-
-<p>The egg spinning trick is usually followed by a
-balancing trick in which a playing card is balanced
-upon a small wand, and an egg is then balanced on
-a corner of the card. This trick usually calls forth<span class="pagenum"><a id="Page_119">[119]</a></span>
-a great pretension of skill on the part of the performer,
-when, in reality, no skill whatever is required.</p>
-
-<div class="figcenter">
-<img src="images/i_p119.jpg" width="600" alt="" />
-<div class="caption">
-Fig. 48.&mdash;Balancing Card and Egg on Wand.</div>
-</div>
-
-<p>The wand is of ebony, or some dark wood, and
-about three inches from one end is a small hole.
-The egg is made of wood, painted white, and with a
-small hole in one end. The card is composed of two
-cards glued together, with a fine steel wire between
-them, running diagonally from corner to corner of
-the card, with the ends of the wire projecting about
-a quarter of an inch. The prepared egg is on a plate
-with several ordinary eggs, and the card is placed on
-a pack of common cards. The wand is held in one
-hand, the card taken in the other and apparently balanced
-on one corner on the wand; but in reality the
-wire point is placed in the hole in the wand. Now
-the assistant passes the prepared egg to the juggler,
-who carefully balances it upon the corner of the
-card; that is, slips the hole in the end of the egg
-over the wire point projecting from the card.</p>
-
-<p>A fitting finale to such a juggling act is that in
-which a potato is placed on the hand of the assistant<span class="pagenum"><a id="Page_120">[120]</a></span>
-and cut in two with a sharp sword, without leaving
-any mark upon the skin. As a general thing, a second
-potato is then cut upon the throat of the assistant.
-This apparently marvelous mastery of the
-sword always brings forth great applause.</p>
-
-<div class="figcenter">
-<img src="images/i_p120.jpg" width="600" alt="" />
-<div class="caption">
-Fig. 49.&mdash;Cutting a Potato on the Hand.</div>
-</div>
-
-<p>Among the several medium-sized sound potatoes
-on a tray are placed two potatoes prepared as follows:
-Insert a needle crosswise of the potato near
-the bottom. After showing the sword to be really
-sharp, by cutting paper and slicing one or two of
-the potatoes, the performer picks up one of the prepared
-potatoes and places it on the assistant’s hand;
-but apparently it does not lie to suit him, so he slices
-off one side of it, using care to cut away the side just
-under the needle and as close to it as possible, then
-places the potato once again on the assistant’s hand.
-After making a few flourishes with the sword, he
-cuts through the potato, dividing it in half. (Fig. 49.)</p>
-
-<p>In striking the potato with the sword he makes
-sure that the sword will come exactly crosswise on
-the needle; consequently, when the sword reaches<span class="pagenum"><a id="Page_121">[121]</a></span>
-the needle it can go no farther, and the brittle nature
-of the potato will cause it to fall apart, the very thin
-portion below the needle offering no resistance to the
-separation. The second potato is then cut in the
-same manner on the assistant’s neck. There are
-many other false juggling tricks, but the above will
-suffice to show that “there are tricks in all trades
-but yours.”</p>
-
-
-<h3>The Blindfolded Juggler.</h3>
-
-<p>While watching the clever manner in which a
-good juggler passes various articles from hand to
-hand, how many people ever give a thought to the
-many hours of practice devoted to even the simplest
-trick that he performs? To become even a
-passable juggler, many weary months of constant
-practice are necessary. There are tricks in all
-trades, and some of the most successful entertainers
-in this line can scarcely do a half dozen genuine feats
-of juggling, yet they are great favorites with the public.
-It has been truly said that “the tricks that require
-the most practice are the least appreciated by
-the average spectator.” It is our intention merely to
-show how a simple trick has won fame for several
-well-known jugglers.</p>
-
-<p>This is the trick of juggling blindfolded. An assistant
-tightly binds a heavy handkerchief over the
-juggler’s eyes, and then, to make sure that he cannot
-see, there is placed over his head and shoulders a sort
-of bag, made of heavy goods, which should exclude
-all light, even if his eyes were not tightly bound with
-the handkerchief. Regardless of this, the juggler
-performs the usual passes with balls and knives. Yet,<span class="pagenum"><a id="Page_122">[122]</a></span>
-when the bag is removed, the bandage over his eyes
-is found undisturbed. (Fig. 50.)</p>
-
-<div class="figcenter">
-<img src="images/i_p122.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 50.&mdash;The Blindfolded Juggler.</div>
-</div>
-
-<div class="figright">
-<img src="images/i_p123a.jpg" width="200" alt="" />
-<div class="caption">
-Fig. 51.&mdash;The Illusion
-Explained.</div>
-</div>
-
-<p>The explanation is simple. The bag is made of the
-usual coarse bagging, and a few threads are pulled
-out of the part that will come in front of the juggler’s
-face when the bag is over his head, thus allowing<span class="pagenum"><a id="Page_123">[123]</a></span>
-him to see between the remaining threads as though
-looking through a coarse screen. (Fig. 51.)</p>
-
-<p>When the bag is being placed over his head, and
-during the seeming effort of
-passing the arms through the
-armholes in the bag, the performer
-or assistant has no
-trouble in pushing the handkerchief
-up from the eyes to
-the forehead, thus allowing
-him to see through the open
-work of the bag. In removing
-the bag after the act,
-there is no trouble in pulling the handkerchief down
-over the eyes.</p>
-
-
-<h3>The Chinese Rods and Cords.</h3>
-
-<p>Nothing excites curiosity in the public mind more
-than a simple and clever puzzle, and the “Fifteen
-Puzzle” and “Pigs in Clover” have given enjoyment
-to hundreds of thousands. The Chinese rods<span class="pagenum"><a id="Page_124">[124]</a></span>
-and cords, which forms the subject of our engravings,
-is in the line of ingenious inventions, and is
-really more in the nature of a trick than a toy. (Fig.
-52.)</p>
-
-<div class="figcenter">
-<img src="images/i_p123b.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 52.&mdash;Chinese Rods and Cords.</div>
-</div>
-
-<div class="figright">
-<img src="images/i_p125.jpg" width="200" alt="" />
-<div class="caption">
-Fig. 53.&mdash;The Illusion<br />
-Explained.</div>
-</div>
-
-<p>It is of Chinese origin, and the example shown in
-our engraving was purchased in Chinatown, San
-Francisco, Cal. The puzzle consists of eight pieces
-of bamboo or hollow ivory tubes, each containing
-seven holes spaced equidistantly. Through these
-holes are seen to pass seven silken cords, each with a
-bead at the top and a tassel at the bottom. The toy
-is held by the loop at the top, which serves to hold
-the upper rod. When it is first picked up, its condition
-is shown in our first engraving at the left.
-There are seven of the rods at the top and one at
-the bottom. Now the lower bar of the upper set is
-moved down to the bar at the bottom; the two lower
-bars will appear to be supported by three cords at
-the center, as shown in our engraving, four of the
-cords having vanished. If the next bar is brought
-down, another change is observed, only the two
-outer cords being seen. This is shown to the right
-of our engraving. If the next bar is brought down,
-the end cords have approached the center, and five
-of the seven cords have vanished. The next rod
-brought down brings five cords into view, the two
-end ones and the center one being visible. When
-the next bar is pulled down, the center and the outer
-cords only remain; so that, if all the bars between
-the top and bottom bars are brought together,
-the seven cords appear to pass entirely through
-them. Fig. 53 gives a clew to the mystery. The
-rods are all hollow, and each contains seven holes;<span class="pagenum"><a id="Page_125">[125]</a></span>
-and our engraving shows the course of the silk
-cords. It will be noticed that where a number of
-cords pass through a single
-hole, the strand which
-is formed is much thicker
-than are the single cords;
-as they are of different
-colors, the effect is most
-pleasing. It will be observed
-that the strings go
-clear through the top bar;
-but in the next bar, although
-they enter the seven holes
-at the top, they emerge
-from three holes at the bottom,
-three of the strands
-going through the center
-hole and two through each
-of the end holes, and so on
-throughout the entire number
-of bars, the strings
-changing their course, as
-is clearly shown in our engraving,
-thus causing the
-increase and decrease in
-their number.</p>
-
-
-<h3>The “Surprise” Pen.</h3>
-
-<p>Our engraving shows a very clever trick pen
-which would tend to create great surprise among the
-uninitiated. Let us suppose that a gentleman is
-seated at his desk and is busily writing when a neighbor<span class="pagenum"><a id="Page_126">[126]</a></span>
-comes in, and he jokingly challenges the latter
-to try and forge his signature. He hands the
-pen to his friend, who attempts to write. Immediately
-there is an explosion, and the paper receives a<span class="pagenum"><a id="Page_127">[127]</a></span>
-big ink blot. The writer is apt to be surprised by
-the report, which is like a pistol shot, and, if a timid
-person, is apt to be frightened. The noise comes
-from the pen itself, as it is so constructed that it can
-be loaded and shot off at will. The person in the
-secret can handle the pen with safety, but the poor
-unfortunate will experience a rather unexpected
-shock to his nerves when he attempts to write with it.</p>
-
-<div class="figcenter">
-<img src="images/i_p126.jpg" width="600" alt="" />
-<div class="caption">
-Fig. 54.&mdash;The “Surprise” Pen.</div>
-</div>
-
-<p>The upper part of the penholder, into which an
-ordinary writing pen is thrust, works on a pivot
-about half way down its length. This separate part
-is provided with only one-half a bottom, in order that
-it may engage the conical head of a piston rod, which
-ends in a plunger, which sets off the cap secured in
-the bottom of the penholder. The normal position
-of the plunger is against the cap of the holder; but
-it can be raised by means of a projecting pin riveted
-to the rod and passing through a slot cut in the side
-of the lower part of the holder. Now, the closed
-half of the bottom of the pivoted end enters a notch
-caused by the conical head of the plunger; and the
-plunger, with its spring, is cocked, as it were, by
-means of the projecting pin, and is held in place by
-the bottom of the pivoted section. When the pen is
-pressed to the paper the pivoted section swings on
-the pivot, releasing the plunger, which is forced down
-on the explosive cap by the spring.</p>
-
-<p>The lower end of the penholder is threaded, so that
-it can secure the end cap firmly in place. The explosive
-cap is put in the end cap, and it is screwed on
-the bottom of the holder. Ordinary paper caps for
-children’s pistols are used. As long as the plunger
-simply rests on the cap there is no danger of an explosion;<span class="pagenum"><a id="Page_128">[128]</a></span>
-but, just before the joker wishes to give his
-friend a scare, he cocks it by pushing the plunger up
-with the pin, until the pivoted top engages it.</p>
-
-
-<h3>The “Miraculous Wineglasses.”</h3>
-
-<p>As a rule, magicians are very generous fellows,
-always ready to give their audiences something,
-such as coins and handkerchiefs, but, just when one
-thinks they have the gift safely in their grasp, it
-mysteriously vanishes. However, there are a few<span class="pagenum"><a id="Page_129">[129]</a></span>
-exceptions to this rule, one of whom is a very popular
-English performer.</p>
-
-<div class="figcenter">
-<img src="images/i_p128.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 55.&mdash;The “Miraculous Wineglass.”</div>
-</div>
-
-<div class="figright">
-<img src="images/i_p129.jpg" width="200" alt="" />
-<div class="caption">
-Fig. 56.&mdash;The Glass<br />
-Covered with Rubber.</div>
-</div>
-
-<p>This magician goes among the audience and borrows
-a gentleman’s <ins class="corr" title="Transcriber's Note&mdash;Original text: 'handerchief, and'">handkerchief, and</ins> immediately
-produces from it a glass filled with sherry. This he
-offers to the ladies, then,
-shaking the handkerchief,
-he produces a second glass
-full of port for the gentlemen,
-next one of ginger
-beer for the younger members,
-and one of milk for
-the very young, but there
-being present one or two
-teetotalers, he next produces
-a glass of water, and
-lastly a glass of stout for himself. All of these are
-pronounced by the audience to be excellent.</p>
-
-<p>The glasses are of the small stem wineglass pattern.
-On both sides of the magician’s coat, inside,
-of course, are large pockets, and in each pocket is
-placed in a prearranged form three of the glasses.
-To prevent a possible spilling of their contents (and,
-as each glass is filled to the brim, this would be very
-difficult), there is fastened over the mouth of each
-glass a thin soft rubber cap or cover, as shown in the
-small engraving.</p>
-
-<p>To produce the glass, the performer spreads the
-borrowed handkerchief, which should be a large one,
-over his breast in such a manner that one hand is
-concealed under it; and with this hand he reaches in
-the pocket and brings forth the proper glass, removing
-the rubber cover and leaving it in the pocket.<span class="pagenum"><a id="Page_130">[130]</a></span>
-This move is repeated until all the glasses have been
-brought out. After producing three of the glasses
-with, say, the left hand, he must spread the handkerchief
-so as to cover the right hand, leaving the
-left one free to manipulate the handkerchief, as it
-would be most awkward to try and produce the
-glasses from both sides of the coat with the same
-hand.</p>
-
-<div class="figcenter">
-<img src="images/i_p130.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 57.&mdash;The Miraculous Wine Bottle.</div>
-</div>
-
-<p>This trick is a most effective one, as the spectators
-cannot understand how it would be possible for the
-performer to conceal a glass filled to the brim, as
-these are, about his person.</p>
-
-<p>After distributing the glasses, and offering an<span class="pagenum"><a id="Page_131">[131]</a></span>
-apology for his inability to treat all present, he pretends
-to overhear a remark that his audience is not
-satisfied, and that many think they have been slighted.
-He states that he will endeavor to comply with the
-demands of his thirsty audience, and retires to fetch
-a bottle. Off the stage he removes his coat and
-places under his right arm a rubber bag filled with
-wine. To the bag is attached a rubber pipe with a
-small metal point, which pipe he holds next to his
-right arm and replaces his coat, leaving the metal
-end just within the cuff.</p>
-
-<div class="figcenter">
-<img src="images/i_p131.jpg" width="450" alt="" />
-<div class="caption">
-Fig. 58.&mdash;The Miraculous Wine Bottle.</div>
-</div>
-
-<p>The bottle has a small hole in the side, near the
-bottom, of such a size as to fit the metal point on the<span class="pagenum"><a id="Page_132">[132]</a></span>
-rubber pipe. In rinsing the bottle the performer
-keeps one finger over the hole, thus preventing the
-audience discovering that the bottle differs from an
-ordinary one. In rinsing the bottle the outside has
-become wet, and in drying it with a cloth the performer
-places the metal point on the rubber pipe in
-the hole in the side of the bottle, thus making connections
-with the bag of wine. By holding the bottle
-well down toward the neck, and close to his
-wrist, he can venture among the audience without
-fear of detection.</p>
-
-<p>By pressing the right arm against his side the bag
-is compressed, forcing the wine through the pipe
-into the bottle.</p>
-
-<p>The glasses are of special make and of very thick
-glass, making quite a bulky appearance, but of very
-limited capacity. An assistant carries a tray containing
-one hundred of the glasses.</p>
-
-
-<h3>The “Mysterious Vase.”</h3>
-
-<p>Tricks performed with ink and water have always
-been favorites with magicians, and they have devised
-means of keeping this trick fully abreast of the times,
-thus retaining its popularity. The manner of performing
-the latest ink trick involves such novel
-principles as to puzzle even those who are well posted
-on modern magic. The “Mysterious Vase” has been
-presented by but few prestidigitateurs, and the secret
-so well guarded that comparatively few people know
-how it is done. (Fig. 59.)</p>
-
-<div class="figcenter">
-<img src="images/i_p133.jpg" width="300" alt="" />
-<div class="caption">
-Fig. 59.&mdash;The “Mysterious Vase.”</div>
-</div>
-
-<p>The attention of the audience is called to a glass
-vase that is filled with water which is resting on a
-light stand. This vase resembles a large octagon<span class="pagenum"><a id="Page_133">[133]</a></span>
-celery glass. In the vase there are a few cut
-flowers, which the performer removes as he calls
-attention to the vase and the clear water it contains.
-The flowers are given to the ladies in the audience,
-as they have no further connection with the trick.</p>
-
-<p>A lady’s handkerchief is borrowed and the vase<span class="pagenum"><a id="Page_134">[134]</a></span>
-covered with it for a moment. On removing the
-handkerchief, the water that was seen in the vase
-appears to have changed to ink. While this rapid
-transformation is very startling, yet the most marvelous
-part of the trick is to come. The magician
-bares his forearm, that the audience may see that his<span class="pagenum"><a id="Page_135">[135]</a></span>
-sleeves have no connection with the trick, and then
-proceeds to remove from the ink in the vase six silk
-handkerchiefs and two lighted candles, each article
-being perfectly dry.</p>
-
-<div class="figcenter">
-<img src="images/i_p134.jpg" width="350" alt="" />
-<div class="caption">
-Fig. 60.&mdash;The Illusion Explained.</div>
-</div>
-
-<p>The means by which this seeming impossibility is
-performed are as simple as the trick is mysterious,
-as the following will show. In the center of the
-vase, reaching from side to side and from the bottom
-to within a half inch of the top, is a piece of polished
-mirror. The side edges of the mirror rest in
-the angles of the vase, and as the vase is only seen
-from the front, the edges are not seen. The front
-half of the vase being reflected in the mirror leaves
-the impression that one is looking directly through
-the vase, when in reality you only see one-half of the
-inside. (Fig. 60.)</p>
-
-<p>To the back of this mirror is attached a watertight
-tin box, in which are placed six small silk handkerchiefs
-and two candles. The exterior of the box and
-back of the mirror are painted a dead black color.
-Enough water is poured into the vase to reach the
-top edge of the mirror. In the water is dissolved a
-small portion of iron protosulphate. A few cut
-flowers are placed in the vase, which is then placed
-on the stand with the mirror side to the audience,
-and the candles lighted.</p>
-
-<p>After the flowers are removed and a handkerchief
-borrowed, the magician secures possession of and
-palms between his fingers a small lozenge made of
-pyrogallic acid, which he drops in the water in front
-of the mirror in the act of covering the vase with
-the handkerchief. In a very few moments the lozenge
-dissolves, and the pyrogallic acid of which it is<span class="pagenum"><a id="Page_136">[136]</a></span>
-composed causes the water, which holds in solution
-the iron protosulphate, to change to a good black
-ink.</p>
-
-<p>On removing the handkerchief with which the
-vase was covered, ink is seen to have taken the
-place of the water, and from the center of the vase
-the performer removes the silk handkerchiefs and
-candles.</p>
-
-<p>Our first engraving shows the vase of water on
-the stand; the second shows the vase after the water
-has changed to ink, with the magician removing one
-of the silk handkerchiefs. The third illustration
-represents the vase with one side broken away,
-showing attached to the back of the mirror the tin
-receptacle that contains the handkerchiefs and candles.</p>
-
-
-<h3>The “Mermaid’s Head.”</h3>
-
-<p>M. Alber, the prestidigitateur, describes in <cite lang="fr" xml:lang="fr">La
-Nature</cite> a variant of a trick which, although old in
-principle, has recently been brought out in a new and
-attractive form.</p>
-
-<p>Upon a light tripod placed in an alcove or recess
-hung with some sort of a red fabric, such as cotton
-velvet, stands an aquarium in which gold fish are
-observed swimming about, and in the center of which
-is seen a living female head that moves, smiles, and
-seems to be absolutely at its ease, although deprived
-of a body and immersed in water. A reference to the
-figure will show how the apparatus is arranged.</p>
-
-<p>The tripod consists of three gilded copper rods
-fixed at the bottom to a triangular platform and supporting<span class="pagenum"><a id="Page_137">[137]</a></span>
-at the top another platform of nickel-plated
-metal. At their point of union the three rods, which
-are firmly brazed to each other, seem to be united by
-a simple ribbon tied with a bow knot.</p>
-
-<p><span class="pagenum"><a id="Page_138">[138]</a></span></p><div class="figcenter">
-<img src="images/i_p137.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 61.&mdash;The “Mermaid’s Head.”</div>
-</div>
-
-<p>From the base to the ribbon there is an empty
-space, but above the latter there are fixed between
-the rods three triangular glass mirrors backed with
-thin and resistant steel plate. The nickel-plated top
-is movable. Previous to the entrance of the spectators,
-the woman whose head is to appear, places herself
-between the mirrors, crosses her legs and rests
-upon her heels. It is impossible for the apparatus to
-topple over, since it is firmly screwed to the floor.
-The nickel-plated top, which is in two pieces, embraces
-the neck so closely, when put in place, that
-the joint can scarcely be seen at a short distance.
-Since the mirrors reflect the floor, which is covered
-like the walls, it seems as if it were the back of the
-alcove that is visible between the rods at the upper
-part; and the entire apparatus appears to be absolutely
-open.</p>
-
-<p>As for the aquarium trick, that is simple. The
-aquarium is an adaptation of one that has long been
-found in the market, and in which are perceived
-birds that seem to be flying about in the water amid
-fishes.</p>
-
-<p>The crystal glass aquarium, which is manufactured
-especially for the purpose, consists of two receptacles.
-The central one of these is open at the bottom
-to receive the head, while the outer one is open
-at the top and contains the water and fishes. As the
-glass is exceedingly transparent, it is almost impossible
-to detect the empty space in the center.</p>
-
-<p>The aquarium is placed upon four small nickel-plated
-supports that permit of the introduction of
-air into the internal receptacle. The position of the
-decapitated woman is an exceedingly cramped one,<span class="pagenum"><a id="Page_139">[139]</a></span>
-and it is therefore necessary for her to make her exit
-from the tripod between each exhibition in order to
-take a well-earned rest.</p>
-
-
-<h3>“Card Cricket.”</h3>
-
-<p>One of the most effective and pretty tricks performed
-by the celebrated English magician Mr.
-Devant is known as “Card Cricket.” In this trick
-the performer shows his hands empty, and takes a
-pack of cards and requests three ladies to take one
-card each, and to remember what the cards are.
-The cards are then replaced in the pack, which is
-well shuffled and cut by one of the audience. The
-performer then passes for inspection an ordinary
-cricket bat, which, on its return, he places on a table
-in full sight of all. He then asks if any one in the
-audience can bowl, and requests the gentleman who
-can, to come and have a game of cricket.</p>
-
-<p>The performer now asks the gentleman to take
-the pack of cards and bowl at him, and he will be
-the player or one at the wicket. The performer
-picks up the bat and says “Play.” The cards are
-bowled at him, and he hits the pack with the bat as
-the cards are in the air, and, to the astonishment of
-the audience, the chosen cards are seen sticking to
-the bat. This very pretty card trick is quite simple
-to work.</p>
-
-<div class="figcenter">
-<img src="images/i_p140.jpg" width="350" alt="" />
-<div class="caption">
-Fig. 62.&mdash;“Card Cricket.”</div>
-</div>
-
-<p>In selecting the cards the ladies were under the
-impression that they exercised their own free will,
-but such was not the case. The pack of cards was
-what is known to magicians as a forcing pack, that
-is, consisting of only three cards, which, for convenience<span class="pagenum"><a id="Page_140">[140]</a></span>
-sake, we will say are the ace of clubs, five
-of hearts, and nine of spades, one-third of the pack
-being composed of only one of these cards. The
-pack being thus made up, it is very easy for a skillful
-performer to present to the first lady the portion
-of the pack containing only ace of clubs, to the second<span class="pagenum"><a id="Page_141">[141]</a></span>
-lady the part consisting solely of five of hearts,
-and to the third lady the part that contains only nine
-of spades. By using such a forcing pack the performer
-is sure to have the proper cards selected.
-While the ladies are examining their cards the performer
-steps to his table on some pretense and slyly
-changes the forcing pack for an ordinary one consisting<span class="pagenum"><a id="Page_142">[142]</a></span>
-of the usual cards, with the exception of the
-five of hearts, ace of clubs, and nine of spades. This
-pack he hands to some member of the audience and
-requests them to have replaced the selected cards
-and shuffled.</p>
-
-<div class="figcenter">
-<img src="images/i_p141.jpg" width="350" alt="" />
-<div class="caption">
-Fig. 63.&mdash;“Card Cricket.”</div>
-</div>
-
-<p>The cricket bat is an ordinary one, which, after
-being examined by the audience, is laid on a table
-until the performer finds a gentleman who will bowl
-the pack at him.</p>
-
-<p>In this simple act of laying the bat on the table we
-find the principal secret of the trick.</p>
-
-<p>Previous to beginning the performance the magician
-has placed face down on the table, in a line with
-each other, an ace of clubs, five of hearts, and nine
-of spades. The back of each of these cards is lined
-with cloth similar to the covering of the table, thus
-preventing any one noticing the cards when placed
-face down on the table. On the cloth covering of
-each of the cards is smeared a dab of soft adhesive
-wax. In placing the bat on the table, care is taken
-to lay it directly over the three cards, the wax on the
-backs adhering tightly to the bat.</p>
-
-<p>After the gentleman who has consented to bowl
-the pack of cards at the performer is in place, the
-performer picks up the bat, steps back a few feet,
-and says “Play.” The instant the flying cards touch
-the bat the performer turns it over, bringing into
-view the side of the bat to which the three cards are
-sticking, which appear to have been caught on the
-bat from the flying cards.</p>
-
-<p>Until the pack of cards are thrown against the
-bat, the magician exercises the greatest care not to
-turn the side of the bat to which the cards are sticking<span class="pagenum"><a id="Page_143">[143]</a></span>
-toward the spectators. Properly presented, this
-trick has proved most illusive.</p>
-
-
-<h3>“Cupid Lighter than a Butterfly.”</h3>
-
-<p>The pleasing trick which forms the subject of our
-engravings owes its success to the ingenious application
-of mechanical principles. The magician presents
-for inspection to the audience a large pair of
-balance scales. The audience is allowed to examine
-the various parts of the balance before it is erected
-on the stage. It consists of a central column and a
-beam resting on a knife-edge, and two pans suspended
-by cords or chains. After the column has been put
-in position, the beam is put on and a pin inserted,
-thus making a center for the beam to work on. A
-gentleman is asked to stand in one of the scale pans,
-and then weights are gradually placed in the other
-pan until his exact weight is ascertained. The
-weights are removed, and the gentleman steps down
-off the stage. The audience is now convinced that
-the scale is to all intents and purposes like the ordinary
-balance which is so much used in groceries
-for weighing tea, coffee, etc., although, of course,
-in the present instance, it is built on a mammoth
-scale.</p>
-
-<div class="figcenter">
-<img src="images/i_p144.jpg" width="500" alt="" />
-<div class="caption">
-Fig. 64.&mdash;“Cupid Lighter than a Butterfly.”</div>
-</div>
-
-<p>The magician now goes on to say that he will prove
-the old assertion that “love is lighter than a butterfly”
-to be absolutely true. He introduces a little
-boy dressed as Cupid, with wings and a bow and
-a quiver of arrows. When the child steps on the
-scale pan, it immediately sinks to the floor by his<span class="pagenum"><a id="Page_144">[144]</a></span>
-weight. The conjurer now takes a butterfly, and,
-asking all to direct their attention to the scale, drops
-it on the opposite pan, which immediately descends
-to the floor, at the same time raising the pan with
-the Cupid high in the air. If he takes the butterfly<span class="pagenum"><a id="Page_145">[145]</a></span>
-off, the Cupid descends, and every time the prestidigitateur
-replaces the butterfly, Cupid is raised off
-the floor.</p>
-
-<div class="figcenter">
-<img src="images/i_p145.jpg" width="400" alt="" />
-<div class="caption">
-Fig. 65.&mdash;The Illusion Explained.</div>
-</div>
-
-<p>The trick depends for success upon a carefully
-devised and concealed mechanism. The balance
-beam is devoid of any preparation, but the mechanism<span class="pagenum"><a id="Page_146">[146]</a></span>
-is cleverly concealed in the column, and motion
-is imparted to the beam by means of a shaft and
-bevel gears. The hole in the beam is not perfectly
-round; it is slightly oval, but not enough so to be
-easily seen by a casual glance. The pin is also oval,
-instead of round, and it is made to fit tightly. It
-will be seen that, when this pin is rocked or tilted,
-the beam is moved, carrying one scale pan up and
-the other down. The top of the column is of considerable
-size, and one side of it is cut away to admit
-of a bevel gear, which also has an oval hole the
-same as the beam. When the balance is put together
-and the beam is placed in position, the oval pin passes
-through the bevel gear and the beam, forming a horizontal
-shaft. This vertical wheel meshes with a
-horizontal gear wheel, which is also secured in the
-head of the pedestal. A shaft runs through it to the
-space below the floor, where it terminates in a lever
-secured at right angles. The magician’s assistant,
-under the stage, grasps the lever, and, pulling it back
-and forth, transmits a seesaw motion to the beam
-through the medium of the shaft, the two bevel gears,
-and the oval pin.</p>
-
-<p>The trick depends very largely for success upon
-the apparent willingness of the prestidigitateur to
-allow all parts of the apparatus to be examined,
-and, as the gear wheels are very cleverly concealed,
-there is almost no chance of the trick being discovered.</p>
-
-
-    <div class="chapter"></div>
-<hr class="chap" />
-<p><span class="pagenum"><a id="Page_147">[147]</a></span></p>
-<p class="p2" />
-
-<h2 class="no-brk fs150"><a id="INDEX">INDEX.</a></h2>
-<hr class="r10" />
-
-
-<div class="fs90">
-<table border="0" cellpadding="4" cellspacing="0" width="70%" summary="">
-<tr><td class="tdl"></td><td class="tdr fs70">PAGE</td></tr>
-<tr><td class="tdl">Bags, trick,</td><td class="tdr"><a href="#Page_98">98</a></td></tr>
-<tr><td class="tdl">Balance illusion,</td><td class="tdr"><a href="#Page_143">143</a></td></tr>
-<tr><td class="tdl">Balancing tricks,</td><td class="tdr"><a href="#Page_117">117</a></td></tr>
-<tr><td class="tdl">Bandage test,</td><td class="tdr"><a href="#Page_86">86</a></td></tr>
-<tr><td class="tdl">Blindfolded juggler,</td><td class="tdr"><a href="#Page_121">121</a></td></tr>
-<tr><td class="tdl">Blotter trick,</td><td class="tdr"><a href="#Page_17">17</a></td></tr>
-<tr><td class="tdl">Bottle, miraculous,</td><td class="tdr"><a href="#Page_130">130</a></td></tr>
-<tr><td class="tdl">Cabinet test,</td><td class="tdr"><a href="#Page_108">108</a></td></tr>
-<tr><td class="tdl">Cabinet, the trick,</td><td class="tdr"><a href="#Page_109">109</a></td></tr>
-<tr><td class="tdl">Card balancing,</td><td class="tdr"><a href="#Page_119">119</a></td></tr>
-<tr><td class="tdl">Carpet, slitted,</td><td class="tdr"><a href="#Page_29">29</a></td></tr>
-<tr><td class="tdl">Chair and net test,</td><td class="tdr"><a href="#Page_108">108</a></td></tr>
-<tr><td class="tdl">Chalk, writing on,</td><td class="tdr"><a href="#Page_60">60</a></td></tr>
-<tr><td class="tdl">Chalks, writing with colored,</td><td class="tdr"><a href="#Page_36">36</a></td></tr>
-<tr><td class="tdl">Confederates,</td><td class="tdr"><a href="#Page_107">107</a></td></tr>
-<tr><td class="tdl">Cricket, card,</td><td class="tdr"><a href="#Page_139">139</a></td></tr>
-<tr><td class="tdl">Cuff, leather,</td><td class="tdr"><a href="#Page_73">73</a></td></tr>
-<tr><td class="tdl">Cupid lighter than a butterfly,</td><td class="tdr"><a href="#Page_143">143</a></td></tr>
-<tr><td class="tdl">Davenport tie,</td><td class="tdr"><a href="#Page_88">88</a></td></tr>
-<tr><td class="tdl">Double slate,</td><td class="tdr"><a href="#Page_32">32-41</a></td></tr>
-<tr><td class="tdl">Eddy Brothers, séances,</td><td class="tdr"><a href="#Page_101">101</a></td></tr>
-<tr><td class="tdl">Egg glass, use of,</td><td class="tdr"><a href="#Page_55">55</a></td></tr>
-<tr><td class="tdl">Eggs, spinning,</td><td class="tdr"><a href="#Page_118">118</a></td></tr>
-<tr><td class="tdl">Fay’s séances,</td><td class="tdr"><a href="#Page_103">103</a></td></tr>
-<tr><td class="tdl">Finger, prepared,</td><td class="tdr"><a href="#Page_19">19</a></td></tr>
-<tr><td class="tdl">Flap, false,</td><td class="tdr"><a href="#Page_21">21-38</a></td></tr>
-<tr><td class="tdl">Flap, interrupted,</td><td class="tdr"><a href="#Page_48">48</a></td></tr>
-<tr><td class="tdl">Fly, educated,</td><td class="tdr"><a href="#Page_62">62</a></td></tr>
-<tr><td class="tdl">Folding slate,</td><td class="tdr"><a href="#Page_33">33</a></td></tr>
-<tr><td class="tdl">Hands, holding,</td><td class="tdr"><a href="#Page_28">28</a></td></tr>
-<tr><td class="tdl">Handcuff test,</td><td class="tdr"><a href="#Page_96">96</a></td></tr>
-<tr><td class="tdl">Head, mermaid’s,</td><td class="tdr"><a href="#Page_136">136</a></td></tr>
-<tr><td class="tdl">Hinges, false,</td><td class="tdr"><a href="#Page_39">39</a></td></tr>
-<tr><td class="tdl">Hook for table raising,</td><td class="tdr"><a href="#Page_74">74</a></td></tr>
-<tr><td class="tdl">Inks, sympathetic,</td><td class="tdr"><a href="#Page_11">11-17</a></td></tr>
-<tr><td class="tdl">Interrupted flap,</td><td class="tdr"><a href="#Page_48">48</a></td></tr>
-<tr><td class="tdl">Juggler, blindfolded,</td><td class="tdr"><a href="#Page_121">121</a></td></tr>
-<tr><td class="tdl">Light séances,</td><td class="tdr"><a href="#Page_101">101</a></td></tr>
-<tr><td class="tdl">Loop, double,</td><td class="tdr"><a href="#Page_92">92</a></td></tr>
-<tr><td class="tdl">Magician’s omelette,</td><td class="tdr"><a href="#Page_115">115</a></td></tr>
-<tr><td class="tdl">Magnetic writing,</td><td class="tdr"><a href="#Page_34">34</a></td></tr>
-<tr><td class="tdl">Mind reading and kindred phenomena,</td><td class="tdr"><a href="#Page_51">51-71</a></td></tr>
-<tr><td class="tdl">Mirrors, reading writing by,</td><td class="tdr"><a href="#Page_47">47</a></td></tr>
-<tr><td class="tdl">Miscellaneous slate tests,</td><td class="tdr"><a href="#Page_41">41-51</a></td></tr>
-<tr><td class="tdl">Miscellaneous tricks,</td><td class="tdr"><a href="#Page_115">115-146</a></td></tr>
-<tr><td class="tdl">Omelette, magician’s,</td><td class="tdr"><a href="#Page_115">115</a></td></tr>
-<tr><td class="tdl">Pad, transferring to,</td><td class="tdr"><a href="#Page_20">20</a></td></tr>
-<tr><td class="tdl">Pen, surprise,</td><td class="tdr"><a href="#Page_125">125</a></td></tr>
-<tr><td class="tdl">Pencil carrier, thumb,</td><td class="tdr"><a href="#Page_52">52</a></td></tr>
-<tr><td class="tdl">Pencil, silver nitrate,</td><td class="tdr"><a href="#Page_44">44</a></td></tr>
-<tr><td class="tdl">Pencil thimble,</td><td class="tdr"><a href="#Page_18">18</a></td></tr>
-<tr><td class="tdl">Photography, spirit,</td><td class="tdr"><a href="#Page_113">113</a></td></tr>
-<tr><td class="tdl">Pistol loaded with chalk,</td><td class="tdr"><a href="#Page_41">41</a></td></tr>
-<tr><td class="tdl">Post tests, etc,</td><td class="tdr"><a href="#Page_93"><ins class="corr" title="Transcriber's Note&mdash;Original text: '93-1 0'">93-100</ins></a></td></tr>
-<tr><td class="tdl">Post test, mechanical,</td><td class="tdr"><a href="#Page_94">94</a></td></tr>
-<tr><td class="tdl">Post test, ordinary,</td><td class="tdr"><a href="#Page_93">93</a></td></tr>
-<tr><td class="tdl">Potato cutting,</td><td class="tdr"><a href="#Page_120">120</a></td></tr>
-<tr><td class="tdl">Raps, spirit,</td><td class="tdr"><a href="#Page_81">81</a></td></tr>
-<tr><td class="tdl">Ring test,</td><td class="tdr"><a href="#Page_96">96</a></td></tr>
-<tr><td class="tdl">Rods and cords, Chinese,</td><td class="tdr"><a href="#Page_123">123</a></td></tr>
-<tr><td class="tdl">Rope test,</td><td class="tdr"><a href="#Page_82">82</a></td></tr>
-<tr><td class="tdl">Séance, spiritualistic,</td><td class="tdr"><a href="#Page_76">76</a></td></tr>
-<tr><td class="tdl">Séances,</td><td class="tdr"><a href="#Page_101">101-114</a></td></tr>
-<tr><td class="tdl">Silica slate,</td><td class="tdr"><a href="#Page_6">6</a></td></tr>
-<tr><td class="tdl">Silk flap,</td><td class="tdr"><a href="#Page_5">5</a></td></tr>
-<tr><td class="tdl">Silver nitrate pencil,</td><td class="tdr"><a href="#Page_44">44</a></td></tr>
-<tr><td class="tdl">Single slate,</td><td class="tdr"><a href="#Page_3">3-32</a></td></tr>
-<tr><td class="tdl">Slade, Dr.,</td><td class="tdr"><a href="#Page_105">105</a></td></tr>
-<tr><td class="tdl">Slate, double,</td><td class="tdr"><a href="#Page_32">32-41</a></td></tr>
-<tr><td class="tdl">Slates exchanged,</td><td class="tdr"><a href="#Page_30">30</a></td></tr>
-<tr><td class="tdl">Slate, folding,</td><td class="tdr"><a href="#Page_33">33</a></td></tr>
-<tr><td class="tdl">Slate writing on china,</td><td class="tdr"><a href="#Page_8">8</a></td></tr>
-<tr><td class="tdl">Slates, locked,</td><td class="tdr"><a href="#Page_36">36</a></td></tr>
-<tr><td class="tdl">Slate tests, multiple,</td><td class="tdr"><a href="#Page_38">38</a></td></tr>
-<tr><td class="tdl">Slates, padlocked,</td><td class="tdr"><a href="#Page_32"><ins class="corr" title="Transcriber's Note&mdash;Original text: '3'">32</ins></a></td></tr>
-<tr><td class="tdl">Slates, pivot,</td><td class="tdr"><a href="#Page_26">26</a></td></tr>
-<tr><td class="tdl">Slates, riveted,</td><td class="tdr"><a href="#Page_24">24</a></td></tr>
-<tr><td class="tdl">Slates, screwed,</td><td class="tdr"><a href="#Page_24">24</a></td></tr>
-<tr><td class="tdl">Slates, scaled,</td><td class="tdr"><a href="#Page_34">34</a></td></tr>
-<tr><td class="tdl">Slates, sliding,</td><td class="tdr"><a href="#Page_33">33</a></td></tr>
-<tr><td class="tdl">Slates, tied,</td><td class="tdr"><a href="#Page_22">22</a></td></tr>
-<tr><td class="tdl"><span class="pagenum"><a id="Page_148">[148]</a></span>
-                    Slates, transferring,</td><td class="tdr"><a href="#Page_37">37</a></td></tr>
-<tr><td class="tdl">Slates, wedging,</td><td class="tdr"><a href="#Page_24">24</a></td></tr>
-<tr><td class="tdl">Slates with false hinges,</td><td class="tdr"><a href="#Page_39">39</a></td></tr>
-<tr><td class="tdl">Sliding slates,</td><td class="tdr"><a href="#Page_33">33</a></td></tr>
-<tr><td class="tdl">Spinning tricks,</td><td class="tdr"><a href="#Page_117">117</a></td></tr>
-<tr><td class="tdl">Spirit collar,</td><td class="tdr"><a href="#Page_97">97</a></td></tr>
-<tr><td class="tdl">Stencil, wood,</td><td class="tdr"><a href="#Page_42">42</a></td></tr>
-<tr><td class="tdl">Sucker for table lifting,</td><td class="tdr"><a href="#Page_72">72</a></td></tr>
-<tr><td class="tdl">Sympathetic ink writing,</td><td class="tdr"><a href="#Page_9">9</a></td></tr>
-<tr><td class="tdl">Table, false,</td><td class="tdr"><a href="#Page_10">10</a></td></tr>
-<tr><td class="tdl">Table lifting and spirit rapping,</td><td class="tdr"><a href="#Page_71">71-82</a></td></tr>
-<tr><td class="tdl">Table, traps in,</td><td class="tdr"><a href="#Page_25">25</a>, <a href="#Page_26">26</a></td></tr>
-<tr><td class="tdl">Table trick,</td><td class="tdr"><a href="#Page_47">47</a></td></tr>
-<tr><td class="tdl">Telegraph,</td><td class="tdr"><a href="#Page_77">77</a></td></tr>
-<tr><td class="tdl">Telegraph, foot,</td><td class="tdr"><a href="#Page_66">66</a></td></tr>
-<tr><td class="tdl">Telegraph head,</td><td class="tdr"><a href="#Page_68">68</a></td></tr>
-<tr><td class="tdl">Thimble key,</td><td class="tdr"><a href="#Page_36">36</a></td></tr>
-<tr><td class="tdl">Thimble pencil,</td><td class="tdr"><a href="#Page_18">18</a></td></tr>
-<tr><td class="tdl">Thumb pencil carrier,</td><td class="tdr"><a href="#Page_52">52</a></td></tr>
-<tr><td class="tdl">Tie, Davenport,</td><td class="tdr"><a href="#Page_88">88</a></td></tr>
-<tr><td class="tdl">Ties, rope,</td><td class="tdr"><a href="#Page_85">85</a></td></tr>
-<tr><td class="tdl">Ties, spiritualistic,</td><td class="tdr"><a href="#Page_82">82-92</a></td></tr>
-<tr><td class="tdl">Toes, writing with the,</td><td class="tdr"><a href="#Page_45">45</a></td></tr>
-<tr><td class="tdl">Traps,</td><td class="tdr"><a href="#Page_106">106</a></td></tr>
-<tr><td class="tdl">Tube, speaking,</td><td class="tdr"><a href="#Page_67">67</a></td></tr>
-<tr><td class="tdl">Vase, miraculous,</td><td class="tdr"><a href="#Page_132">132</a></td></tr>
-<tr><td class="tdl">Wine glass, miraculous,</td><td class="tdr"><a href="#Page_128">128</a></td></tr>
-<tr><td class="tdl">Wire cage test,</td><td class="tdr"><a href="#Page_110">110</a></td></tr>
-<tr><td class="tdl">Wire, cloth,</td><td class="tdr"><a href="#Page_61">61</a></td></tr>
-<tr><td class="tdl">Writing, reading concealed,</td><td class="tdr"><a href="#Page_51">51-58</a></td></tr>
-</table></div>
-
-
-    <div class="chapter"></div>
-<hr class="fulla" />
-
-
-<p class="pfs240">MAGIC</p>
-
-<p class="pfs135">Stage Illusions and Scientific Diversions,
-Including Trick Photography.</p>
-
-<p class="p1 pfs100 bold">BY A. A. HOPKINS.</p>
-
-<p class="p1 pfs70">With an Introduction by H. R. EVANS.</p>
-
-<p class="pfs120 wsp">568 pages. 420 illustrations. Price, $2.50 postpaid.</p>
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-<p class="fs90">This work appeals to old and young
-alike, and it is one of the most attractive
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-are illustrated by the highest class of
-engravings, and the exposés of the tricks
-and spiritualistic phenomena are, in
-many cases, furnished by the prestidigitateurs
-themselves. Conjuring, large
-stage illusions, fire-eating, sword-swallowing,
-ventriloquism, mental magic,
-ancient magic, automata, curious toys,
-stage effects, photographic tricks, and
-the projection of moving photographs
-are all well described and illustrated,
-making a handsome volume. It is tastefully
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-<p class="fs90">Acknowledged by the profession to be
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-and complete Table of Contents.</p>
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-<p class="p1 pfs135 bold wsp lsp1">MUNN &amp; CO., Publishers,</p>
-
-<p class="pfs70 wsp">OFFICE OF THE</p>
-
-<p class="p1 pfs80 bold wsp">SCIENTIFIC AMERICAN,</p>
-
-<p class="pfs120 bold smcap">361 Broadway, <span class="pad20pc">New York.</span></p>
-
-
-<div class="transnote pg-brk">
-<a id="TN"></a>
-<p><strong>TRANSCRIBER’S NOTE</strong></p>
-
-<p>Obvious typographical errors and punctuation errors have been
-corrected after careful comparison with other occurrences within
-the text and consultation of external sources.</p>
-
-<p>Except for those changes noted below, all misspellings in the text,
-and inconsistent or archaic usage, have been retained.</p>
-
-<p>
-<a href="#Page_61">Pg 61</a>: ‘are nable to see’ replaced by ‘are unable to see’.<br />
-<a href="#Page_82">Pg 82</a>: ‘great standbies’ replaced by ‘great standbys’.<br />
-<a href="#Page_129">Pg 129</a>: ‘handerchief, and’ replaced by ‘handkerchief, and’.<br />
-<a href="#Page_147">Pg 147</a>; Index entry ‘Post tests’: ‘93-1 0’ replaced by ‘93-100’.<br />
-<a href="#Page_147">Pg 147</a>; Index entry ‘Slates, padlocked’: ‘3’ replaced by ‘32’.<br />
-</p>
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
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