diff options
Diffstat (limited to 'old/61871-0.txt')
| -rw-r--r-- | old/61871-0.txt | 4088 |
1 files changed, 0 insertions, 4088 deletions
diff --git a/old/61871-0.txt b/old/61871-0.txt deleted file mode 100644 index ed8aea6..0000000 --- a/old/61871-0.txt +++ /dev/null @@ -1,4088 +0,0 @@ -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 - -*** END OF THIS PROJECT GUTENBERG EBOOK SPIRIT SLATE WRITING *** - -***** This file should be named 61871-0.txt or 61871-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/1/8/7/61871/ - -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) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org Section 3. Information about the Project Gutenberg -Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |