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-} - -.transnote p {text-indent: 0em;} - - - </style> - </head> - -<body> - - -<pre> - -The Project Gutenberg EBook of Spirit Slate Writing and Kindred Phenomena, by -William E. Robinson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: Spirit Slate Writing and Kindred Phenomena - -Author: William E. Robinson - -Release Date: April 19, 2020 [EBook #61871] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SPIRIT SLATE WRITING *** - - - - -Produced by deaurider, John Campbell and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - - -<div class="transnote"> -<p><strong>TRANSCRIBER’S NOTE</strong></p> - -<p>Some minor changes to the text are noted at the <a href="#TN">end of the book.</a></p> -</div> - - -<hr class="chap pg-brk" /> - -<div class="figcenter"> -<img src="images/cover.jpg" width="510" alt="Original cover" /></div> - - -<hr class="chap" /> - -<div class="figcenter"> -<a id="FP"></a> -<img src="images/i_f000.jpg" width="650" alt="" /> -<div class="caption"> -“The Spiritualistic Séance.”</div> -</div> - - -<hr class="chap pg-brk" /> - -<h1> -SPIRIT SLATE WRITING<br /> -<br /> -<span class="fs70">AND</span><br /> -<br /> -KINDRED PHENOMENA</h1> - -<p class="p4 pfs80">BY</p> - -<p class="p1 pfs90">WILLIAM E. ROBINSON</p> - -<p class="p1 pfs60">Assistant to the late Herrmann</p> - -<p class="p6 pfs90 lsp2"><em>SIXTY-SIX ILLUSTRATIONS</em></p> - -<p class="p6 pfs80">MUNN & COMPANY<br /> -SCIENTIFIC AMERICAN OFFICE<br /> -<span class="smcap">New York City</span></p> - -<hr class="r5a" /> - -<p class="pfs90">1898</p> - - -<hr class="chap pg-brk" /> - -<p class="p6" /> -<p class="pfs60 smcap">Copyrighted, 1898, by Munn & Company.<br /> -<br />All rights reserved.</p> -<p class="p6" /> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_iii">[Pg iii]</a></span></p> - -<p class="p4" /> -<h2 class="no-brk fs135 lsp">PREFACE.</h2> -<hr class="r10" /> -<p class="p2" /> - -<p>The author of the present volume is not an -opponent of spiritualism—on the contrary, he was -brought up from childhood in this belief; and -though, at the present writing, he does not acknowledge -the truth of its teachings, nevertheless he -respects the feelings of those who are honest in their -convictions. At the same time he confidently believes -that all rational persons, spiritualists as well -as others, will heartily indorse this endeavor to -explain the methods of those who, under the mask -of mediumship, and possessing all the artifices of the -charlatan, victimize those seeking knowledge of -their loved ones who have passed away. As a great -New York lawyer once said, it was not spiritualism -he was fighting, but fraud under the guise of spiritualism.</p> - -<p>Owing to the fact that the author has for many -years been engaged in the practice of the profession -of magic, both as a prestidigitateur and designer of -stage illusions for the late Alexander Herrmann, and -has also been associated with Prof. Kellar, he feels<span class="pagenum"><a id="Page_iv">[iv]</a></span> -that he is fitted to treat of clever tricks used by -mediums. He has attended hundreds of séances -both at home and abroad, and the present volume -is the fruit of his studies.</p> - -<p>Some of the means of working these slate tests -may appear simple and impossible of deceiving, but -in the hands of the medium they are entirely successful. -It should be remembered it is not so much -the apparatus employed as it is the shrewd, cunning, -ever-observing sharper using it. The devices -and methods employed by slate writing frauds seem -innumerable. No sooner are they caught and exposed -while employing one system than they immediately -set their wits to work and evolve an -entirely different idea. It is almost impossible at -the first sitting with a slate writing medium to know -what method he will employ, and should you, after -the sitting, go away with the idea that you have -discovered his method of operation and come a -second time ready to expose him, you may be sadly -disappointed, for the medium will undoubtedly lead -you to believe he is going to use his former method, -and so mislead you. He accomplishes his test by -another method, while you are on the lookout for -something entirely different. The great success of -the medium is in disarming the suspicions of the -skeptic, and at that very moment the trick is done. -Slate writing is of course the great standby of<span class="pagenum"><a id="Page_v">[v]</a></span> -mediums, but there are many other tricks which -they employ which are described in the present -volume.</p> - -<p>The publishers have added a chapter on “Miscellaneous -Tricks” which may serve as a supplement to -their “Magic: Stage Illusions and Scientific Diversions, -Including Trick Photography,” which has -already obtained an enviable position in the literature -of magic, and has been even translated into -Swedish. These tricks are by Mr. W. B. Caulk and -the author.</p> - -<p class="p1" /> -<p><span class="smcap">New York</span>, November, 1898.</p> - - -<hr class="chap pg-brk" /> - -<h2 class="no-brk fs135 lsp"><a id="CONTENTS"></a>TABLE OF CONTENTS.</h2> -<hr class="r15" /> - -<div class="pad10pc"> -<table border="0" cellpadding="4" cellspacing="0" width="80%" summary=""> -<tr><td class="tdc smcap">Chapter I.</td></tr> -<tr><td class="tdl"></td><td class="tdr fs60">PAGE</td></tr> -<tr><td class="tdl">The Single Slate</td><td class="tdr"><a href="#Page_3">3</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter II.</td></tr> -<tr><td class="tdl">The Double Slate</td><td class="tdr"><a href="#Page_32">32</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter III.</td></tr> -<tr><td class="tdl">Miscellaneous Slate Tests</td><td class="tdr"><a href="#Page_41">41</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter IV.</td></tr> -<tr><td class="tdl">Mind Reading and Kindred Phenomena</td><td class="tdr"><a href="#Page_51">51</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter V.</td></tr> -<tr><td class="tdl">Table Lifting and Spirit Rapping</td><td class="tdr"><a href="#Page_71">71</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter VI.</td></tr> -<tr><td class="tdl">Spiritualistic Ties</td><td class="tdr"><a href="#Page_82">82</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter VII.</td></tr> -<tr><td class="tdl">Post Tests, Handcuffs, Spirit Collars, etc.</td><td class="tdr"><a href="#Page_93">93</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter VIII.</td></tr> -<tr><td class="tdl">Séances and Miscellaneous Spirit Tricks</td><td class="tdr"><a href="#Page_101">101</a></td></tr> -<tr><td> </td></tr> -<tr><td class="tdc smcap">Chapter IX.</td></tr> -<tr><td class="tdl">Miscellaneous Tricks</td><td class="tdr"><a href="#Page_115">115</a></td></tr> -</table></div> - - - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_3">[Pg 3]</a></span></p> -<p class="p4" /> - -<p class="p4 pfs180">SPIRIT SLATE WRITING</p> - -<p class="p2 pfs90">AND</p> - -<p class="p1 pfs135">KINDRED PHENOMENA.</p> - -<hr class="r20" /> - -<h2 class="no-brk"><a id="CHAPTER_I"></a><a href="#CONTENTS">CHAPTER I.</a><br /> - -<span class="smcap">The Single Slate.</span></h2> - - -<p>There has probably been nothing that has made -more converts to spiritualism than the much talked -of “Slate Writing Test,” and if we are to believe -some of the stories told of the writings mysteriously -obtained on slates, under what is known as “severe -test conditions,” that preclude, beyond any possible -doubt, any form of deception or trickery, one would -think that the day of miracles had certainly returned; -but we must not believe half we hear nor all that we -see, for the chances are that just as you are about to -attribute some unaccountable spirit phenomena to -an unseen power, something turns up to show that -you have been tricked by a clever device which is -absurd in its simplicity.</p> - -<p>There are a large number of methods of producing -slate writing, but the writer will describe a few -which will be sufficient to give an idea of the working -of slate tests in general. First we have the -ordinary one in which the writing is placed on the -slate beforehand, and then hidden from view by a<span class="pagenum"><a id="Page_4">[4]</a></span> -flap or loose piece of slate. (Fig. 1.) After both -sides of the slate have been cleaned, the false flap is -dropped on the table, the side which is then uppermost -being covered with cloth similar to the table -top, where it will remain unnoticed, or the flap is -allowed to fall into a second slate with which the -first is covered. In the latter case no cloth is pasted -on the flap. Sometimes the flap is covered with -a piece of newspaper and is allowed to drop into a -newspaper lying on the table, then the newspaper -containing the flap is carelessly removed, thus doing -away with any trace of trickery.</p> - -<div class="figcenter"> -<img src="images/i_p004.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 1.—Ordinary Slate with Flap.</div> -</div> - -<p>Another way of utilizing the false flap is as follows: -The writing is not placed beforehand on the -slate, but on the flap, which, as before, is covered -with the same material as the table top. This is<span class="pagenum"><a id="Page_5">[5]</a></span> -lying on the table writing downward. The slate is -handed around for inspection, and, on being returned -to the performer, he stands at the table and -cleans the slate on one side, then turns it over and -cleans the other. As he does so he lifts the flap into -the slate. The flap is held in firmly by an edging of -thin pure sheet rubber cemented on the flap between -the slate and the cloth covering of the slate. This -grips the wooden sides of the frame hard enough -to prevent the false piece from tumbling out accidentally.</p> - -<p>We now come to another style, wherein a slate is -cleaned on both sides, and, while held in the hand -facing the audience, becomes suddenly covered with -writing, and the slate is immediately given for inspection. -The writing is on the slate previous to -the cleaning, and is hidden from view by a flap of -slate colored silk, held firmly in place by a pellet of -wax in each of the corners of the silk. Attached to -this silk flap or covering (at the end that is nearest -to the performer’s sleeve) is a stout cord or string, -which is also made fast to a strap around the wrist -of the hand opposite to that holding the slate. If -the arms are now extended their full length, the -piece of silk covering will leave the slate and pass -rapidly up the sleeve out of the way, and thus leave -the writing exposed to view. (Fig. 2.) The slate is -found to be still a little damp from the cleaning with -the sponge and water it had been given previously. -This is easily accounted for. The water from the -sponge penetrates just enough through the cloth to -dampen the slate.</p> - -<div class="figcenter"> -<img src="images/i_p006.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 2.—Removing the Silk from the Face of the Slate.</div> -</div> - -<p>There is still another slate on which we can make<span class="pagenum"><a id="Page_6">[6]</a></span> -the writing appear suddenly. It is composed of a -wooden frame, such as all wooden-edged slates have, -but the slate itself is a sham. It is a piece of cloth -painted with a kind of paint known as liquid, or silicate -slating, which, when dry and hard, is similar to<span class="pagenum"><a id="Page_7">[7]</a></span> -the real article. This cloth is twice the length of -the slate and just the exact width. The two ends of -the cloth are united with cement, so as to make an -endless piece or loop. There is a small rod or roller -in both the top and bottom pieces of the frame, the -ends being made hollow to receive them. Over -these rollers runs the cloth, stretched firmly and -tightly. Just where the cloth is joined or cemented -is a little black button, or stud of hard rubber or -leather. This allows the cloth to be pushed up and -down, bringing the back to the front; and by doing -so quickly, the writing which is written on the cloth -at the rear of the frame is made to come to the front -in plain view. (Fig. 3.)</p> - -<div class="figright"> -<img src="images/i_p007.jpg" width="200" alt="" /> -<div class="caption"> -Fig. 3.—The Endless Band<br /> -Silicate Trick Slate.</div> -</div> - -<p>Still another idea in a -single slate is as follows: -An ordinary looking slate -is given out for examination, -and, on its being returned -to the medium, he -takes his handkerchief and -cleans or brushes both sides -of the slate with it; and, -upon again showing that -side of the slate first cleaned, -it is found covered with -writing apparently done -with chalk. The following -is the simple explanation -of it: Take a small camel’s -hair brush and dip it in -urine or onion juice, and with it write or trace on -the slate whatever you desire, and when it becomes<span class="pagenum"><a id="Page_8">[8]</a></span> -dry, or nearly so, the slate can be given for examination -without fear of detection. The handkerchief -the performer uses to clean the slate with is lightly -sprinkled with powdered chalk. He makes believe to -clean the one side devoid of preparation, but the side -containing the invisible writing is gently rubbed -with the handkerchief, not too hard just enough to -let the powdered chalk fall on the urine or onion -juice, where it leaves a mark not unlike a chalk mark.</p> - -<p>It will not be out of place to describe a trick by -which writing is produced upon an ordinary china -plate by a somewhat similar means. The plate is -examined and cleaned with a borrowed handkerchief, -and then the performer requests the loan of a -pinch of snuff, or uses a little sand or dust, which he -places on the plate. He now commences to move -the plate around in circles, and while doing so the -snuff or sand is seen to gradually form itself into -writing. The explanation is simple—whatever writing -you desire to appear on the plate is placed beforehand -on it. It is done with a camel’s hair brush -dipped in the white of an egg and allowed to become -dry before being handed around for inspection. As -the performer cleans the plate he breathes on both -sides of it, as if to give it moisture enough to help -take off any dirt that might be thereon when rubbed -with the handkerchief. In breathing on the front of -the plate containing the writing done with the white -of the egg, he moistens the writing enough to make -the snuff or sand, as the case may be, adhere to it. -Of course, in cleaning the front of the plate, care -must be taken not to brush or disturb the invisible -writing.</p> - -<p><span class="pagenum"><a id="Page_9">[9]</a></span></p> - -<p>It may not be amiss to also mention another method -of producing writing, employed by mediums to obtain -a message on a blank piece of paper which has -been placed between two slates, which are held by -the medium in his hand, high above his head, and, on -afterwards taking the slate apart, the paper is covered -with writing. This again calls into use the -extra or false flap. (Fig. 1.) A piece of paper -with writing on it is placed face downward on one -of the slates and covered with the false flap. It -then looks like an ordinary slate. On this is placed -the plain piece of paper, and over this is laid the -second slate. The slates are now held up in plain -view of the audience, and on being lowered to the -table they are turned over, thus bringing the blank -piece of paper under the false flap and the one with -the writing on it on the top of the flap, which has -fallen from the slate, which is now the top, but originally -the bottom one, on or into the under one, and, -of course, on the removal of the present top slate, -the writing is found on what is supposed to be the -original blank paper.</p> - -<div class="figcenter"> -<img src="images/i_p010.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 4.—False Table for Developing Communications -Written with Sympathetic Ink.</div> -</div> - -<p>If the paper is to have a private mark put on it by -an observer, so as to prove the writing really does -appear on that identical piece of paper, the operation -is varied as follows: The false flap is done away -with, and the paper, which is furnished by the -medium, has written on it the desired communication -with ink, which is made visible and brought out -black by means of heat. For the invisible ink you -can use sulphuric acid, very much diluted, so as not -to destroy the paper. The necessary heat is obtained -in the following manner: The table (Fig. 4) on which<span class="pagenum"><a id="Page_10">[10]</a></span> -the slates are resting is hollow, and has concealed in -it a spirit lamp filled with alcohol. This lamp sits -directly under a trap in the table top, which is covered -underneath for safety with sheet iron, so it will -not catch fire. When the slates are placed on the -table they are laid over the little trap door, which, -in conjuring parlance, is known as a “trap.” This is -now opened, and the slates allowed to become well -heated and the trap then closed, and the prepared -paper, upon coming in contact with the hot slate, is -thus covered with writing.</p> - -<div class="figright"> -<img src="images/i_p011.jpg" width="150" alt="" /> -<div class="caption"> -Fig. 5.—The Development<br /> -of Spirit Writing.</div> -</div> - -<p>Another medium employed a somewhat similar<span class="pagenum"><a id="Page_11">[11]</a></span> -method, only the paper in this case was placed in a -glass vial (Fig. 5) which had been lying on the iron -trap door. The medium’s hand covered the vial, -which was corked and sealed, while the writing was -making its appearance. You can also produce writing -on the paper in the vial without resorting to the -use of heat by using a vial that has -been washed out with ammonia -and kept well corked, and writing -on the paper with a weak solution -of copper sulphate, which is invisible -until the paper is placed -in the vial, when the two chemicals -produce writing in blue. Still -another message is produced as -follows: The writing is done with -iron sulphate on blank cards. Of -course this is invisible. These -cards are placed in envelopes and -sealed up. Upon opening the -envelopes shortly afterward the cards are covered -with the writing which was before invisible, -but is brought out by a solution of nut galls with -which the inside of the envelopes had been slightly -moistened.</p> - -<p>The subject of sympathetic inks is such an interesting -one that we give thirty-seven formulas, -which include all those which are liable to be used -by the medium.</p> - -<p>The solutions used should be so nearly colorless -that the writing cannot be seen till the agent is applied -to render it visible. Sympathetic inks are of -three general classes.</p> - -<p><span class="pagenum"><a id="Page_12">[12]</a></span></p> - - -<h3><em>Inks that Appear through Heat.</em></h3> - -<p>1. Write with a concentrated solution of caustic -potash. The writing will appear when the paper -is submitted to strong heat.</p> - -<p>2. Write with a solution of ammonium hydrochlorate, -in the proportion of 15 parts to 100. The -writing will appear when the paper is heated by -holding it over a stove or by passing a hot smoothing -iron over it.</p> - -<p>3. A weak solution of copper nitrate gives an invisible -writing, which becomes red through heat.</p> - -<p>4. A very dilute solution of copper perchloride -gives invisible characters that become yellow -through heat.</p> - -<p>5. A slightly alcoholic solution of copper bromide -gives perfectly invisible characters which are made -apparent by a gentle heat, and which disappear -again through cold.</p> - -<p>6. Write upon rose colored paper with a solution -of cobalt chloride. The invisible writing will become -blue through heat, and will disappear on cooling.</p> - -<p>7. Write with a solution of sulphuric acid. The -characters will appear in black through heat. This -ink has the disadvantage of destroying the paper. -(See the caution given on <a href="#Page_9">page 9</a>.)</p> - -<p>8. Write with lemon, onion, leek, cabbage or artichoke -juice. Characters written with these juices -become very visible when the paper is heated.</p> - -<p>9. Digest 1 oz. of zaffre, or cobalt oxide, at a -gentle heat, with 4 oz. of nitro-muriatic acid till no -more is dissolved, then add 1 oz. common salt and<span class="pagenum"><a id="Page_13">[13]</a></span> -16 oz. of water. If this be written with and the -paper held to the fire, the writing becomes green, -unless the cobalt should be quite pure, in which -case it will be blue. The addition of a little iron -nitrate will then impart the property of becoming -green. It is used in chemical landscapes for the -foliage.</p> - -<p>10. Put in a vial ½ oz. of distilled water, 1 drm. -of potassium bromide and 1 drm. of pure copper -sulphate. The solution is nearly colorless, but becomes -brown when heated.</p> - -<p>11. Nickel nitrate and nickel chloride in weak -solution form an invisible ink, which becomes green -by heating when the salt contains traces of cobalt, -which usually is the case; when pure, it becomes -yellow.</p> - -<p>12. When the solution of acetate of protoxide of -cobalt contains nickel or iron, the writing made by -it will become green when heated; when it is pure -and free from these metals, it becomes blue.</p> - -<p>13. Milk makes a good invisible ink, and buttermilk -answers the purpose better. It will not show if -written with a clean new pen, and ironing with a hot -flat iron is the best way of showing it up. All invisible -inks will show on glazed paper; therefore -unglazed paper should be used.</p> - -<p>14. Burn flax so that it may be rather smoldered -than burned to ashes, then grind it with a muller on -a stone, putting a little alcohol to it, then mix it with -a little gum water, and what you write, though it -seem clear, may be rubbed or washed out.</p> - -<p>15. Boil cobalt oxide in acetic acid. If a little -common salt be added, the writing becomes green<span class="pagenum"><a id="Page_14">[14]</a></span> -when heated, but with potassium nitrate it becomes -a pale rose color.</p> - -<p>16. A weak solution of mercury nitrate becomes -black by heat.</p> - - -<h3><em>Inks that Appear under the Influence of Light.</em></h3> - -<p>17. Gold chloride serves for forming characters -that appear only as long as the paper is exposed to -daylight, say for an hour at least.</p> - -<p>18. Write with a solution made by dissolving one -part of silver nitrate in 1,000 parts of distilled -water. When submitted to daylight, the writing -appears of a slate color or tawny brown.</p> - - -<h3><em>Inks Appearing through Reagents.</em></h3> - -<p>19. If writing be done with a solution of lead -acetate in distilled water, the characters will appear -in black upon passing a solution of an alkaline sulphide -over the paper.</p> - -<p>20. Characters written with a very weak solution -of gold chloride will become dark brown upon passing -a solution of tin perchloride over them.</p> - -<p>21. Characters written with a solution of gallic -acid in water will become black through a solution -of iron sulphate and brown through the alkalies.</p> - -<p>22. Upon writing on paper that contains but little -sizing with a very clear solution of starch, and submitting -the dry characters to the vapor of iodine, -or passing over them a weak solution of potassium -iodide, the writing becomes blue, and disappears -under the action of a solution of sodium hyposulphite -in the proportions of 1 to 1,000.</p> - -<p><span class="pagenum"><a id="Page_15">[15]</a></span></p> - -<p>23. Characters written with a 10 per cent. solution -of nitrate of protoxide of mercury become black -when the paper is moistened with liquid ammonia, -and gray through heat.</p> - -<p>24. Characters written with a weak solution of the -soluble platinum or iridium chloride become black -when the paper is submitted to mercurial vapor. -This ink may be used for marking linen. It is indelible.</p> - -<p>25. C. Widemann communicates a new method of -making an invisible ink to <cite lang="de" xml:lang="de">Die Natur</cite>. To make the -writing or the drawing appear which has been made -upon paper with the ink, it is sufficient to dip it -into water. On drying, the traces disappear again, -and reappear by each succeeding immersion. The -ink is made by intimately mixing linseed oil, 1 part; -water of ammonia, 20 parts; water, 100 parts. The -mixture must be agitated each time before the pen is -dipped into it, as a little of the oil may separate and -float on top, which would, of course, leave an oily -stain upon the paper.</p> - -<p>26. Write with a solution of potassium ferro-cyanide, -develop by pressing over the dry, invisible -characters a piece of blotting paper moistened -with a solution of copper sulphate or of iron -sulphate.</p> - -<p>27. Write with pure dilute tincture of iron; develop -with a blotter moistened with strong tea.</p> - -<p>28. Writing with potassium iodide and starch becomes -blue by the least trace of acid vapors in the -atmosphere or by the presence of ozone. To make -it, boil starch, and add a small quantity of potassium -iodide in solution.</p> - -<p><span class="pagenum"><a id="Page_16">[16]</a></span></p> - -<p>29. Copper sulphate in very dilute solution will -produce an invisible writing, which will turn light -blue by vapors of ammonia.</p> - -<p>30. Soluble compounds of antimony will become -red by hydrogen sulphide vapor.</p> - -<p>31. Soluble compounds of arsenic and of tin peroxide -will become yellow by the same vapor.</p> - -<p>32. An acid solution of iron chloride is diluted -till the writing is invisible when dry. This writing -has the remarkable property of becoming red by -sulphocyanide vapors (arising from the action of -sulphuric acid on potassium sulphocyanide in a long -necked flask), and it disappears by ammonia, and -may alternately be made to appear and disappear by -these two vapors.</p> - -<p>33. Writing executed with rice water is visible -when dry, but the characters become blue by the -application of iodine. This ink was much employed -during the Indian mutiny.</p> - -<p>34. Write with a solution of paraffin in benzol. -When the solvent has evaporated, the paraffin is invisible, -but becomes visible on being dusted with -lampblack or powdered graphite, or smoking over a -candle flame.</p> - -<p>35. To Write Black Characters with Water.—Mix -10 parts nutgalls, 2½ parts calcined iron sulphate. -Dry thoroughly, and reduce to fine powder. -Rub this powder over the surface of the paper, -and force into the pores by powerful pressure, brush -off the loose powder. A pen dipped in water will -write black on paper thus treated.</p> - -<p>36. To Write Blue Characters with Water.—Mix -iron sesquisulphate and potassium ferrocyanide.<span class="pagenum"><a id="Page_17">[17]</a></span> -Prepare the paper in the same manner as for writing -black characters with water. Write with water, -and the characters will appear blue.</p> - -<p>37. To Produce Brown Writing with Water.—Mix -copper sulphate and potassium ferrocyanide. -Prepare the paper in the same manner as before. -The characters written with water will be reddish -brown.</p> - -<p>Here is another trick calling for the use of sympathetic -ink. A medium suggests a number of questions -to write on a paper, one of which you select and -write on a slip of paper furnished by the medium. -Writing is done with pen and ink. You are requested -to dry it with a blotter, and not to remove the -blotter for a time, the medium says, so as to keep the -paper in the dark, thus giving the “spirits” better -conditions under which to work. After a while the -blotter is removed, and an answer to the question is -found on the same paper. The questions suggested -were all of such a character that one answer would -nearly do for any one. The paper the question was -written on had this answer written with invisible -ink brought out by a reagent on the blotter, with -which it was saturated, and thus another mystery is -easily dispelled.</p> - -<p>We will now take up a few slate tests, in which -the slates are brought or furnished by the spectator -or investigator. The tests in which the slates are -brought by skeptics and tied and sealed by them, -and still writing is obtained upon them, are the ones -that are the most convincing and most talked about, -and they are offered to the unbeliever as proof absolute -of spirit power.</p> - -<p><span class="pagenum"><a id="Page_18">[18]</a></span></p> - -<div class="figcenter"> -<img src="images/i_p018.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 6.—Writing on the Slate with the Pencil -Thimble.</div> -</div> - -<p>First we will begin with the single slate which -has just been handed to the medium, after being -thoroughly cleaned by the person bringing it. The -skeptic holds one end of the slate in one hand and -the medium the opposite end in one of his hands, and -both persons clasp their disengaged hands. In a -short time the slate is turned over and a few words -written in a scrawling style are found. I must -acknowledge that when I first witnessed this test it -somewhat staggered me, but afterward, on seeing it -the second time, I was enabled to fathom its mystery. -It is patterned somewhat after the style claimed -to have been used by Slade, wherein he used a piece -of slate pencil fastened to a thimble, and with apparatus -attached to his forefinger of the same hand -holding the slate he did the writing. The thimble -(Fig. 6) was fastened to an elastic which pulled -the thimble out of sight up the sleeve or under the -coat when it was done with. But it always required -a little scheming and maneuvering both to use and -conceal the device and get rid of it, and there was<span class="pagenum"><a id="Page_19">[19]</a></span> -always the fear of being detected with this bit of -machinery about the person; so someone of an ingenious -turn of mind hit upon another method. -There are some slate pencils made the same as lead -pencils, that is, a very small piece of slate pencil, -about the size of a match, is enclosed in the wood -after the manner of lead pencils. A tiny piece of -this pencil is placed at the tip of the forefinger and -over it is placed a piece of flesh-colored court plaster -well fastened to the finger (Fig. 7) and well -blended in with aniline dye with the finger, so both are -exactly the same color. After everything becomes -dry and hard a little hole is made in the court plaster, -so as to allow the point of the piece of pencil to -come through enough to mark on the slate. The -finger thus prepared is what does the writing. The -message or name must be written backward, so that -when the slate is reversed it will appear in its correct -position. To learn to do this quickly, stand in -front of a looking-glass with the slate in your hand -and watch your writing in the glass as you go along. -You do not need to hold the slate underneath the -table in this test; hold it in the air with a handkerchief -over it, so as to disguise the movement of the<span class="pagenum"><a id="Page_20">[20]</a></span> -finger. The message must necessarily be short, on -account of the radius through which the medium’s -finger can travel.</p> - -<div class="figcenter"> -<img src="images/i_p019.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 7.—The Prepared Finger.</div> -</div> - -<p>We now come to another method of using the -single slate. The medium takes the slate and places -it on the table and requests the spectator to write a -question on a piece of paper. He, the medium, -gains knowledge of the contents of the paper in -various ways; one is by using a pad of paper which -contains underneath the second or third layer of -paper a carbon sheet made of wax and lampblack. -Whatever is written on the first sheet of paper will -be transferred or copied by means of the carbon -paper to the sheet underneath it. Another way is -by requesting a person to fold the paper and hold -it against his head, and, under the pretense of showing -the person how to hold it, exchange it for a -paper of his own folded in like manner. This exchanged -paper is then opened and read by the -medium while his hand is below the level of the -table top, and while he is holding a conversation -with the auditor. After it is read, the paper is again -folded and kept in the performer’s lap until needed. -As he now knows the contents of the paper, he -can frame in his mind a suitable answer. He remarks: -“I will ask the spirits first to give you -a decided answer, through me as an independent -trance slate writing medium, whether they will -answer your question during this sitting.” So -the medium takes a pencil in hand and writes on -one side of the slate, apparently under spirit control, -and then on the other side. The message -is read, and it says the conditions are very favorable,<span class="pagenum"><a id="Page_21">[21]</a></span> -and no doubt, if the skeptic will place the -utmost confidence in the medium, there will be satisfactory -results. After the slate has been shown -with both sides covered with writing, it is thoroughly -cleaned and placed on the table. The medium -now picks up the original paper from his lap and -asks the person to give him the paper he is holding. -This the medium apparently places under the slate; -however, he really holds this one back and introduces -the one he has had in his hand, which is the -one originally written upon. He has now his own -paper in his hand, and the one with the question is -under the slate. On the slate being turned over in -a short time, it is covered with writing, forming a -sensible reply to the question on the paper, which is -now opened and read to compare it with the answer. -All that remains to be explained is how the writing -on the slate appeared there. The false flap is again -used, but in a directly opposite manner to which it -has been employed heretofore. One side of this flap -is covered with a portion of the writing that the -medium first wrote under spirit control. Let us say -the first half supposed to have been written on the -one side of the slate, and which he afterward reads -off in connection with that written on the last or -second side of the slate. What he really wrote on -the first half of the slate was a correct answer to the -question, and after he turns the slate over to write -on the opposite side he slips the false flap over the -answer on the slate. Of course it is what is on this -false flap and on the other side of the slate that the -spectator really reads, and when the slate is cleaned -it is this flap and the opposite side of the slate. The<span class="pagenum"><a id="Page_22">[22]</a></span> -writing, covered by the flap, which is the answer to -the question, is never seen or touched until after -the flap is allowed to drop into the medium’s lap. The -slate can be examined; and, of course, no trickery -can be found in connection with it. The method -described above, in the hands of a calm and cool person, -is a convincing one, and never fails to satisfy the -most exacting of skeptics.</p> - -<p>I wish to remark that, if any person tells you -he took two slates of his own to a medium, thoroughly -well tied or sealed, and that the slates never -left his (the skeptic’s) hands, and that there was writing -obtained upon the interior surface of the slates -under those conditions, he was sadly mistaken, -and has failed to keep track of everything that -actually took place at the time of the sitting. Suppose -two slates tied together are brought to the -medium. Both he and the stranger sit at a table. -The slates are held under the table, the medium -grasping one corner and the skeptic the opposite -corner, each with one hand, and the disengaged -hands clasped together above the table. After a -while the slates are laid upon the table, the string -untied, the slates taken apart, but no writing is found. -The medium states it must have been because there -was no slate pencil between them. So a small piece -of pencil is placed between the slates, and again they -are tied with the cord by the medium, and he again -passes them under the table, both persons holding -the slates as before. Presently writing is heard, and, -upon the skeptic bringing the slates from under the -table and untying the cord himself, he finds one of -the slates covered with writing, although but shortly<span class="pagenum"><a id="Page_23">[23]</a></span> -before they were devoid of even a scratch. Here is -the explanation: The medium does not pass the slates -under the table the first time, but drops them in his lap, -with the side on which the string is tied or knotted -downward, and really passes a set of his own for the -skeptic to hold; he (the medium) supporting his end by -pressing against the table with his knee, which leaves -his hand disengaged. There is a slate pencil, called the -soapstone pencil, which is softer than the ordinary. -This is the one used by the medium. He now covers -the face of the slate which is uppermost in his lap -with writing, doing so very quietly and without any -noise. Now, as he brings the slates above the table, -he leaves his own in his lap and brings up the skeptic’s -with the writing side down. The slates are -untied and taken apart and shown, devoid of writing -upon the inside, which he claims was caused by not -having any slate pencil inside. The medium now -places the pencil upon the slate which was originally -the upper one, and covers this with what was the -bottom slate, which is covered with the writing inside -on the back or bottom of slate. This maneuver -or action brings the slate on top with the writing -upon its inside. Nothing could be more simple -and natural. The slates are again tied together, and -in doing so the slates are turned over, bringing the -slate containing the writing, still upon the inside, at -the bottom instead of the top, and the string tied or -knotted above the top slate. Of course, when again -separated, the writing is found upon the inside of the -lower slate. When the slates are passed under the -table the second time, the spectator himself is allowed -to do this, and the medium, with one of his finger<span class="pagenum"><a id="Page_24">[24]</a></span> -nails, while holding his end of the slate, produces a -scratching noise on the slate closely resembling the -tracing of a pencil. It is not really necessary to -pass the slates under the table the second time, but -they can be held above it if preferred.</p> - -<p>Now, suppose two slates are brought that are riveted -or screwed or sealed at the four corners. How -can writing be obtained upon them without disturbing -any of the above arrangements? The slates are held -under the table in the same manner as in previous -tests. To produce the writing upon the slates the -medium is provided with a few simple, though effective -devices, one of which is a little hard wood tapering -wedge, and a piece of thin steel wire, to one -end of which is fastened a tiny piece of slate pencil. -An old umbrella rib will be found to work admirably, -because there is a small clasp at one end and -at its other end a small eye. The pencil is made to -fit into the end with the clasp. Now take the -wooden wedge and push it between the wooden -frames of the slates at the sides. The frames and -slates will give enough to allow the wire and pencil -to be inserted and the writing be accomplished with -it, after which the wire is withdrawn, and then also -the wooden wedge, and all is done without leaving -any trace or mark behind as to how it is all performed. -(Fig. 8.)</p> - -<div class="figcenter"> -<img src="images/i_p025.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 8.—Wedging Apart the Slates.</div> -</div> - -<p>A well known conjuror at one time made a remark -that he could duplicate any slate writing test he -ever witnessed, he having publicly declared, time -and time again, the slate writing test to be a fraud. -He gave a test in private at his own home and hit -upon a rather unique idea. A slate would be cleaned<span class="pagenum"><a id="Page_25">[25]</a></span> -on both sides and a private mark placed on it, and -the slate allowed to lie flat on the table, and the magician -and the committee sat around it and placed -their hands upon the slate. Presently writing was -heard, and upon lifting the slate the side underneath -was found covered with writing. The table was a -kitchen table with the ordinary hanging cloth cover, -or table cloth. The table had a double top with -room enough between the two to conceal a small -boy. There was a neatly made trap in both the -table cloth and the top of the table; the cloth being -glued around the opening to keep it in place. The -trap door opened downwards. The boy concealed<span class="pagenum"><a id="Page_26">[26]</a></span> -in the table opened the trap door and did the necessary -writing on the slate, and closed the opening. -The idea of having the committee hold their hands -on the slate was to prevent the slate from being accidentally -moved by the boy when writing. The above -idea was improved upon by doing away with the -use of the boy and the double top of the table. The -trap in the cloth and table top was still used. But -the test was done with the lights turned out or -down low, and the medium had a confederate sitting -at his right hand side. This allowed the medium to -take away his right hand, introduce it under the -table, open the trap, do the writing, shut the trap, -replace his hand, and on the lights being turned up -the writing is found. It should be stated that the -medium and committee sat around the table with -their hands resting on the slate, and each person’s -hand touching that of his neighbor; so neither could -move without the other being aware of the fact, but -the medium’s right hand neighbor, being one of his -confederates, allows him to take his (the medium’s) -hand away without any one being the wiser.</p> - -<div class="figcenter"> -<img src="images/i_p027.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 9.—The Trick Slate.</div> -</div> - -<p>I will now describe how the writing is obtained -upon the interior of two slates sealed together, and -all hands placed on them, and without the assistance -of a confederate. The table is the same as previously -described, that is, it contains the trap. The -slates are two single ones hinged together and sealed -around the edges in any manner the committee may -see fit. One of the slates is a trick slate made in this -fashion: The slate part itself is made to work on -a pivot or hinge along one of its sides. (Fig. 9.) -The side opposite to where both slates are hinged<span class="pagenum"><a id="Page_27">[27]</a></span> -together, by touching a portion of the hinges that -hold the two slates together, a catch concealed in -the wooden framework is released, which allows the -slate part itself to drop down on its own hinge or -pivot. So when the slates are placed on the table -they are put directly over the trap in the table, and -with the hinges of the two slates toward the medium. -The medium, as he places the slates over the trap in -the table, pushes the hinge releasing the catch, which -allows the underneath slate to drop as far as the -table. Now, when the trap in the table is opened, -the slate opens or drops far enough for the medium -to write on that part, also on the slate above it. He -closes both the slate and the table, and the slates, -upon being unsealed, are found covered with writing. -The only thing that remains to be explained is -how the medium gets his hand free to do the writing<span class="pagenum"><a id="Page_28">[28]</a></span> -without being detected. The lamp or gas jet is -close to the medium’s right hand, where he can -reach it. Now, all the persons are seated around -the table with their hands on the slates, and each -other’s hands or fingers touching one another. The -medium takes his right hand away to turn down the -light, and his next door neighbor, as soon as the -light goes out, feels his (the medium’s) hand or -finger replaced. At least, so he thinks. What -really happens is this: The thumb of the medium’s -left hand is stretched far enough over to -touch the hand or finger of the person sitting on -the performer’s right hand side. (Fig. 10.) The -medium immediately goes to work and produces -the writing, and when finished, just as he goes to relight -the gas or lamp, he removes the left thumb to -create the impression that he has just taken his right -hand away again for the light.</p> - -<div class="figcenter"> -<img src="images/i_p028.jpg" width="600" alt="" /> -<div class="caption"> -Fig. 10.—The Medium Holding the Two Skeptics’ Hands.</div> -</div> - -<p>Here is a trick I once saw a medium do. He<span class="pagenum"><a id="Page_29">[29]</a></span> -had a number of slates piled on top of the table; -he would clean these, one at a time, showing each, -and after they had been thoroughly examined, he -placed them on the floor. He would then pick them -all up together and replace them on the table, and -select two of them, put them together, holding them -in his hand above his head, would shortly separate -them and show one covered with writing. The -slates were devoid of all trickery, as was easily proved -in allowing them to be thoroughly examined.</p> - -<div class="figcenter"> -<img src="images/i_p029.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 11.—The Slate under the Carpet.</div> -</div> - -<p>The explanation is as follows: The floor was covered -with carpet. In this there was a slit or cut just -large enough to pass or draw a slate through. A -slate with writing on one side is previously placed -under the carpet, with that side down. (Fig. 11.) -The slates, as they are cleaned, are laid on the carpet<span class="pagenum"><a id="Page_30">[30]</a></span> -immediately over or near this concealed one, -and, on lifting the slates from the floor, this one is -also carried with them, and all placed on the table.</p> - -<p>Of course, it is this slate and one of the prepared -ones that are afterward used. There is little likelihood -of any one taking notice of there being one -more slate in the pile.</p> - -<p>Some mediums use two single slates, and, after -cleaning them on both sides, hold one in each hand. -They sit a little way from the table and place the -right hand, with the slate, under the chair, as if to -draw the chair closer to the table. What the medium -really accomplishes is an exchange of slates. -There is a little shelf, or drawer, under the seat of -the chair. On this lies a slate, one side of which is -prepared with writing. The medium picks up the -slate and leaves behind in its place the one held in -his right hand as he moves the chair. This is -a method used to a considerable extent and always -successfully.</p> - -<p>The following is a clever ruse, ofttimes used by -mediums to destroy all traces of the use of the false -flap when it is employed. It is the test where the -flap is used to cover the writing on one slate, and -then that slate is covered with another. Now, if -the slates are turned over or reversed, the writing -is uncovered and the flap remains in the opposite or -underneath slate. Now, to get rid of that flap, the -medium deliberately presses his knee against that -slate, breaking not only the slate, but also the flap -contained in it. The broken flap mingles in with -the broken slate, and nobody is any the wiser. Nobody -for a moment thinks of picking up the pieces<span class="pagenum"><a id="Page_31">[31]</a></span> -to see if there are one or more slates. Of course, -when the slates are broken, it is done secretly under -the table, and the medium remarks: “The spirit -force is so strong it has smashed the slate.” A -test with a single slate that I once saw done was -rather neat in its way, and I think it worth describing. -The slate was examined and cleaned on both -sides, and placed on a small table covered with a -little fancy cloth. On lifting the slate afterward, -its underneath side was found with writing on it. -The top of the table was no larger than the slate. -When the slate was laid on the table, the medium -remarked: “To convince you there is no trickery -about the table, I will remove the cloth;” which he -did, with the slate still on or in it, and then replaced -the slate and cloth. Now, on this table top was -resting another slate covered with writing on one -side, and that side upward, and this covered with -the table cloth. When the medium picked up the -cloth and the slate, which had just been cleaned, -he also carried along the second slate with it, which -was under the cloth, and in replacing the cloth he -simply reversed the sides, laying the first slate on -the table, where it was covered by the cloth, and -the second one was thus brought to view. It is -astonishing how such barefaced and simple devices -will deceive the spectator. It is the boldness and -air of conviction of his assertions that carry a medium’s -test successfully through.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_32">[32]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_II"></a><a href="#CONTENTS">CHAPTER II.</a><br /> - -<span class="smcap">The Double Slate.</span></h2> - - -<p>We now come to a slate called by the mediums -“The double slate.” It is, to all appearances, two -ordinary slates hinged together at one side and -locked with a padlock, the shackle of which passes -through a hole in the sides of the frame of each -slate. This slate also contains the false flap or slate, -but the slate or flap is held firmly in each frame as -follows: The inside edges of both ends of each frame -of the slates are beveled inward a trifle. One of -these ends of each slate frame is also made to slide -or pull out about one-quarter of an inch. These are -prevented from sliding until wanted by the medium -by a catch in the framework, which is connected -with a screw in one of the hinges. This screw -stands a little higher than the rest, so as to be easily -found. The hinges are on the outside of the frame -instead of inside. By pressing this screw it undoes -the catch, which allows the ends to be moved a trifle. -The false flap is just large enough to fill in the space -under the bevels of the frame, and if, in the top frame, -the catch is released and the end moved, the flap -will drop into the bottom slate, where it is held tight -and firm by releasing the catch in that frame, moving -the end until the flap settles into its place and -then sending the end back into its original place -again. The writing is placed beforehand on one -side of the flap and on one slate, both the written -sides face to face, and after the flap has changed -slates it presents two slates with written sides.</p> - -<p><span class="pagenum"><a id="Page_33">[33]</a></span></p> - -<p>There is still another double slate used with hinges -and padlock. (Fig. 12.)</p> - -<div class="figcenter"> -<img src="images/i_p033.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 12.—The Sliding Trick Slates.</div> -</div> - -<p>One of the ends of the wooden frame of one slate -is fastened securely to its slate, which is made to -slide out completely from the groove in the frame. -This allows the insides of both slates to be written -upon. After that is done the slate is slid back into -its frame. Care should be taken, in sliding the piece -back, not to reverse it so as to bring the writing side -out. The best way is not to pull the slate completely -out, and write upon the inside of the stationary slate, -and then reverse the slates, which will bring the -inside of the movable slate into view. Write on that -and then close the slate.</p> - -<p>I have seen a medium use the double or folding -slate and get rid of the false flap in this way: He -used a pair of small slates. These he opened out -with the flat side towards the audience, and while in -his hand, cleaned those two sides away from the table. -He now showed the reverse sides and cleaned them<span class="pagenum"><a id="Page_34">[34]</a></span> -likewise. He now closed the slates, but toward him, -instead of away from him, holding them close to his -body, and as he does so, the false flap, by this movement, -slips easily and unperceived beneath his coat -or vest.</p> - -<p>I once witnessed a test which, for a time, completely -nonplussed me, but, after considerable study -and experimenting, I solved it.</p> - -<p>This is the effect of the test: A person was allowed -to bring two slates; he was to wash them himself -and securely seal them in the presence of the medium, -the medium placing, before the slates were -sealed, a piece of chalk between them. The slates -were sealed after this fashion: Around the whole -length and width of the slates court plaster was -stuck, and that was also sealed to the slates with -sealing wax, making it an utter impossibility to -insert a piece of wire, or like substance, between -the slates. Nevertheless, the slates were held under -the table and presently removed, unsealed, and writing -in a very poor hand found upon the inner surface -of one of the slates. It could hardly be called -writing, being hardly more than a scrawl.</p> - -<p>Now, how can this be accounted for? By one of -the simplest devices imaginable. The medium placed -the piece of chalk between the slates. This was -composed of pulverized chalk, mixed with a little -water, glue and iron filings, and allowed to become -hard. The medium, while under cover of the table, -traced with a magnet below the slate the words -found upon the inside, but backward, the same as -type is set for printing; if not, the writing on the -slate will be in reverse. The chalk, on account of<span class="pagenum"><a id="Page_35">[35]</a></span> -the iron filings it contains, follows the direction of -the magnet. (Fig. 13.)</p> - -<div class="figcenter"> -<img src="images/i_p035.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 13.—Magnetic Writing.</div> -</div> - -<p>We now come to another idea with two slates. -Have two slates made with fairly deep wooden -frames, deep enough to hold the slate proper and a -false flap of slate. One made of silicate book-slate -stuff is preferable. Your apparatus consists now of -two slates and one false flap. The false flap is made -to fit very tightly, so it will not fall out of its own -weight. The slates in the frame also fit snugly. -The frames are mortised out a little thicker than the -slate, say twice as thick. This allows the slate to -work backward and forward, from front to back, and<span class="pagenum"><a id="Page_36">[36]</a></span> -<em>vice versa</em>. If the slate is well pushed down and the -flap placed on it, the flap will not fall out, but if you -press the slate on the back forward, it shoves out the -flap, and if it is covered with the other or second -slate during this operation, it is forced into the -second slate, which holds it firm and secure.</p> - -<div class="figleft"> -<img src="images/i_p036.jpg" width="150" alt="" /> -<div class="caption"> -Fig. 14.—The Thimble<br /> -Carrying False<br /> -Key and Chalks.</div> -</div> - -<p>Another test, which was supposed to be convincing -to skeptics, was one in which a -double slate was used; it was -hinged and provided with a lock -in the wooden frame. The slates -were examined, locked, and the -key given to the skeptic. The -skeptic was allowed to select -from a number of pieces of -colored chalk the color that he -desired the message to be written -in. Upon the slates being -unlocked and opened, the writing -is found in the color -selected. While the slates are -being examined, the medium -seizes a duplicate key which -fits the lock. (Fig. 14.) This -key has a thimble attached to -it which fits the performer’s -right thumb; also attached lengthwise to the key are -several small colored pencils or crayons of different -lengths. When the slate has been examined, it is -placed under the top of the table and held in position -by the thumb of the right hand, which is underneath, -and the fingers above the table. During this -manipulation the thimble is placed on the thumb, and<span class="pagenum"><a id="Page_37">[37]</a></span> -the performer, with the key attached to it, opens the -slate, using his knee to assist or support the slate. -One part of the slate opens downward and rests on -the knee, which holds it in position, i. e., at an incline, -pressing it against the table top. On this part -of the slate the writing is now done with the colored -crayon selected, which are usually red, blue, green -and white. When the color of the crayon is selected -the performer turns the thimble around, bringing -that color upward. Although not easy to execute, -it is, nevertheless, a most surprising and effective -test.</p> - -<p>The above test was used by a medium very successfully -for years in England and France, and was -found out recently.</p> - -<p>A test I once received was, I thought, quite clever. -I was asked to write a question on a piece of paper -furnished by myself and place it between two slates -without the wooden frames. The medium said I -would in a short time receive an answer. He then -opened the slates, stating the answer must be there, -but none was found. He remarked that perhaps we -did not give the spirits time enough. So he replaced -the slates together with the paper containing the -question between. Again, on taking the slates apart, -they were devoid of writing, but, strange to say, the -answer in what looked like lead pencil was found on -the paper containing the question. When the slates -were removed the first time, the medium got a -glimpse of the question on the piece of paper and -then gave me one slate to examine, and apparently -was looking at the other one himself. What he -really was doing was this: On the side of the slate<span class="pagenum"><a id="Page_38">[38]</a></span> -toward him he was writing a brief answer to my -question with a pencil composed of mutton tallow -and lampblack pressed very hard. This pencil was -attached to his thumb. He held the slate at the -ends with both hands, thumbs behind and fingers in -front, the writing being done backward. When -the slates were replaced the writing, being black, was -not seen against the black slate, and was placed immediately -over the paper and the writing transferred -to it. This is the reason the slates were used without -the wooden frame, because with the frame the -two slates would not come close together to press -hard enough to transfer the answer.</p> - -<p>A test, using a half dozen or so of slates, is as follows: -Two slates are cleaned and examined and -given to be held together by a skeptic, and the other -slates cleaned on both sides and placed on the table. -The medium now takes the two slates apart, but no -writing is found; one slate is given to the skeptic -and the other is placed on the table by the medium, -who picks up another slate and places that with the -one held by the unbeliever. After a short time the -slates are again removed by the medium and no -writing is found. As if in despair, the medium takes -one slate away, placing it on the table, picks up -another, showing both sides, places it with the one -in the spectator’s hand, and in a little while the skeptic -himself separates the slates and writing is found -on one of them.</p> - -<p>This method brings in use again the slate with a -false flap. This slate is among the others on the -table. The two slates first given to the individual to -hold are all right when the medium takes one slate<span class="pagenum"><a id="Page_39">[39]</a></span> -away and places it on the table the first time and -picks up another slate to place it with the one held -by the skeptic. It is the flap slate, and this he places -underneath the other slate and asks the skeptic to -hold them. When the medium again separates the -slates he turns them over, bringing the slate with the -writing uppermost and also allowing the flap to fall -into the lower slate, which is now taken away to be -replaced by another taken from the table. Care is -taken not to show the underneath side of the upper -slate during this transaction. The slates the skeptic -now holds are devoid of trickery, and when exposed -with the writing on will cause wonderment.</p> - -<div class="figcenter"> -<img src="images/i_p039.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 15.—Slate with False Hinges.</div> -</div> - -<p>There is still another style of slate made, and used -to good advantage. It is two slates hinged together, -making a double slate. It has also two holes in -the frame opposite to the hinges, through which -tape or cord can be run and tied and sealed to the -slates. (Fig. 15.) The secret of getting the writing -upon the inside lies in the fact that at least one-half<span class="pagenum"><a id="Page_40">[40]</a></span> -of each hinge is screwed to the slate; the other half -is made fast to a little projecting piece in which -there is a slight notch. These projections enter corresponding -holes in the other slate, in which is concealed -a spring bolt which engages these catches of -the hinge. This bolt is shoved back to release the -catches by means of a pin pushed through a hole in -the end of the frame.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_41">[41]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_III"></a><a href="#CONTENTS">CHAPTER III.</a><br /> - -<span class="smcap">Miscellaneous Slate Tests.</span></h2> - - -<p>At a public test or séance given by a medium I -saw the following clever trick performed: A slate, -clean on both sides, to all appearances, and, of course, -devoid of writing, was given to a spectator to hold -above his head. The medium then loaded a pistol, -putting in, instead of a bullet, a piece of chalk, which -he rammed well in. He then took careful aim at -the slate, fired away, and the slate was covered with -writing from the chalk that was placed in the pistol. -The medium, beforehand, allows any one in the -audience to choose from a plate containing different -colored chalks the colors they desire. The chalk is -all right, and is actually placed in the pistol and -crushed to a powder by the ramrod. The slate has -been written on one side with glycerine. This -side of the slate is supposed to be cleaned, so as to -keep clear of the glycerine, in order that the invisible -writing may not be disturbed. It is this prepared -side that faces the medium when he fires the -pistol. The powdered chalk adheres to the glycerine, -and thus we make clear another slate miracle.</p> - -<p>A clever trick employed to deceive me on one -occasion was as follows: I was handed a slate and a -damp sponge, with a request to cleanse the slate. I -did so, and handed it back to the medium, who held -it in plain view in one hand. In a short time the slate -was given back to me with writing on it that could -not be produced by any of the methods I was already -acquainted with. I witnessed this test a<span class="pagenum"><a id="Page_42">[42]</a></span> -second time, and it was only by accident that I discovered -it, and all through the breaking of a string, -to which the device employed was attached. The -apparatus was a strip of narrow wood, nearly the -length of the slate. Glued on it were raised letters of -cork (felt would do also). These letters were in reverse, -and were well rubbed with soft chalk. This -strip of wood was attached to a cord running up the -left sleeve, across the back, and down the right arm-hole, -and thence under the vest and the end fastened -to a button. The length of the string allowed the -wood to hang behind the slate when held in the left -hand. To keep the wood up in the sleeve until -wanted, there was a loop on the string far enough -up to suit the purpose. This loop was slipped over -the button, where it could be easily detached with -the right hand. The sponge was soaked in water -containing alum, which makes the chalk adhere -better to the slate. When the slate was handed to -the medium, he held it downward in his left hand, -and allowed the strip of wood to slip down behind it, -when it was pressed firmly against the surface of the -slate, and then pulled up into the sleeve again out -of sight. This same idea has been utilized in using -a blotter, the same as is used for ink, to dry the -slate with. The blotter has the writing done on it -with chalk, thus doing away with the strip of -wood.</p> - -<p>Take a slate and cover it with writing on one side. -Cover this writing with a piece of slate-colored silk, -held in the corners lightly with wax. At one end -of this silk have a few minute hooks. The slate is -now cleaned on both sides, and, placing the slate<span class="pagenum"><a id="Page_43">[43]</a></span> -on the floor, the piece of silk is allowed to attach -itself by means of the hooks to the medium’s pants, -or dress, as the case may be, thus leaving the -slate devoid of trickery. It is hardly necessary to -remark that the slate is placed on the floor written-side -downward.</p> - -<div class="figcenter"> -<img src="images/i_p044.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 16.—The Caustic Trick Pencil.</div> -</div> - -<p>A friend of mine told me of a medium he once -went to see, who gave him a most remarkable test. -He brought his own slate, and, as he afterward said, -there could have been no trick about it. The medium -took the slate for a moment, and with a pencil -covered the slate with writing on both sides, just to -see, so he said, if it would be good enough for the -test. He then cleaned off the slate on both sides -and gave it back to my friend, requesting him to -hold it close against his breast, and then in a short -time remove it, and, when he did so, he was thunderstruck -to find writing on it on the side nearest to -him. This struck me as being a most astounding -proof of spirit writing. I had a meeting with the -medium, who gave me the same test. It seemed -strange to me that he should want my slate to write -on and wash it off again, for the same reason as he -gave my friend, and that was to see “if it was good -enough for the spirits to work with.” I received a -message on the slate, after it was washed, and saw -that there was none on there after it was cleaned -and handed to me. I went home puzzled, and experimented -to no avail. I had another sitting with -the medium, but he did not give me the same test; -so I returned home again and tried to fathom the -mystery, and was eventually successful. The trick -was mainly in the pencil. It was pointed at both<span class="pagenum"><a id="Page_44">[44]</a></span> -ends. (Fig. 16.) One end was a genuine slate pencil, -the other end was a silver nitrate, or caustic -pencil. In writing on the slate he wrote the lines -quite a little distance apart with the slate pencil; in -between these lines he wrote with the caustic pencil, -the writing of which was invisible. The sponge -the slate was cleaned with, was dipped in salt water. -That part of the slate containing the writing done -with the silver nitrate was just lightly tapped with -the sponge, the rest of the slate was thoroughly -cleaned. The salt water, when the slate becomes -dry, brings out the silver nitrate white like a slate -pencil mark. I consider this trick as ingenious and -clever a one as it has been my good fortune to witness, -and one that caused me much mental effort to solve.</p> - -<div class="figcenter"> -<img src="images/i_p045.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 17.—Writing with the Toes.</div> -</div> - -<p>Here is another test. A slate just cleaned and -marked is placed under the table on the floor. The -medium and the skeptic grasp each other’s hands -across the table. In a few seconds the slate is taken -up from the floor and is found with writing on it. -The solution of this, like all the rest of the slate -phenomena, rests in simplicity and boldness. The -medium wears slippers or low-cut shoes, that he can -slip his foot out of easily. His stocking on his right -foot is cut away so as to leave the toes bare. Now, -attached to his great toe is a bit of pencil, and with<span class="pagenum"><a id="Page_45">[45]</a></span> -this the writing is done. (Fig. 17.) Sometimes the -test is varied. Five or six pieces of chalk of different -colors are on the table, and the investigator is -allowed to select one, place it on the slate. In this -case the chalk is held between the great and adjoining -toe, and the writing is thus produced. It is surprising -to see, with a little practice, what you can -educate the foot to do. I myself can easily pick a -pin off the floor and write quite well. Sometimes,<span class="pagenum"><a id="Page_46">[46]</a></span> -by way of variation, instead of the medium or investigator -lifting the slate from the floor, it is seen to -mysteriously make its appearance above the edge of -the table, being lifted there by means of the toes of -the medium’s foot. Another method used is that of -scratching the writing on the slate with any metal -instrument and then wash the slate on both sides, -being careful not to show the scratched side until it -is wet from the washing. In this condition a casual -glance will reveal nothing, but as soon as the slate -becomes dry the writing or scratching appears. -Writing has also been made to appear on a slate on -the table while the medium and investigator sit with -both hands clasped across the table. The medium -accomplished this by the simple means of a pencil -concealed in his mouth. At the proper moment he -holds it between his teeth, leans his head over and -writes on the slate. Of course this is all done in the -dark, and the writing is not very good, but it answers -the purpose, and that is all that is necessary.</p> - -<p>Here is still another test. A person writes a question -on the slate and places it, written side down, on -the table. All this when the medium is not looking. -The medium takes his seat at the table, places one -hand on the slate (so does the skeptic, the other -hand on the medium’s forehead). With the disengaged -hand the medium now proceeds to write on -the upper surface of the slate. When he has finished, -the communication is read, and it is found to be a -correct answer to the question on the opposite side -of the slate. To perform this seeming impossibility -the medium has to employ a table containing a trap -smaller than the frame of the slate. When the slate<span class="pagenum"><a id="Page_47">[47]</a></span> -is placed on the table, the medium shifts it over this -trap. The trap is then opened, and by means of -mirrors, 3, 4, 5, placed at angles of 45 degrees in the -body of the table, the writing is reflected to the -very place where the medium is sitting, and the -image is reversed to normal by the third mirror, -and it is easy then to give an answer to it. (Fig. 18.)</p> - -<div class="figcenter"> -<img src="images/i_p047.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 18.—Reading the Questions by Means of Mirrors.</div> -</div> - -<p>The following is how writing can be made to -appear on a slate on which a person has placed his -initials in one corner of it, which is then placed -with that side downward on the table, and shortly -afterward, on turning it over, it is found completely<span class="pagenum"><a id="Page_48">[48]</a></span> -covered with writing, and the signature -of the visitor proves there has been no exchange of -the slate. The secret of obtaining this effect is both -a unique and quite original method.</p> - -<div class="figleft"> -<img src="images/i_p048.jpg" width="200" alt="" /> -<div class="caption"> -Fig. 19.—The Interrupted<br /> -Flap.</div> -</div> - -<p>The writing is already on the slate and is hidden -from view by the false flap, which has a corner missing -from it. This missing corner is where the clever -idea comes in. After the medium cleans both sides -of the slate, he says: “I will just draw a chalk -mark down in this corner -of the slate wherein -the gentleman is to -place his signature.” -He really draws the -chalk mark on the -slate proper, but close -to the edge of the -missing corner of the -flap, thus disguising -the joint, and after the -flap is dropped out of -the slate of course this -mark and signature -still remains. (Fig. -19.)</p> - -<p>Here is still another. -The medium cleans a -slate on both sides and -hands it to a skeptic to place his mark on it. It is then -placed on the table, face downward, and in a short -time, on being turned over, it is found with a spirit -message on it. This is performed as follows: Let -the message be written on the slate and then sponged<span class="pagenum"><a id="Page_49">[49]</a></span> -out with alcohol, and when the slate dries, the writing -will be as plain as ever.</p> - -<p>Here is another slate writing secret. Dissolve -in hydrochloric acid some small pieces of pure zinc, -about one-half ounce to an ounce of acid. With -this solution write upon the slate with a quill or a -small camel’s hair brush the desired communication. -When dry it closely resembles writing done with a -slate pencil. When the time arrives for the test, -wash the slate, and it appears to be perfectly clean; -allow any one to examine it and hold it until it becomes -dry, but with the prepared side down. On -the slate being turned over it is found to be covered -with writing while in the spectator’s hand.</p> - -<p>Here is still another idea. The medium has a -number of slates in his arms, say four. He hands -the investigator the top one to clean. When he has -done so, the medium receives it back and places it at -the bottom of the pile of slates and hands him another -again from the top to be cleaned, and repeats -this operation until all four slates have been cleaned. -He now takes two of the slates, places them together, -and, on removing them again, writing is found on one -of them. Here is the method of procedure: Prepare -your communication on one of the slates, and let -it be the bottom of the pile, with the writing side down. -Have your visitor seated, stand by his side just a -trifle behind him, hand him the top slate to clean; -after he has done so, hand him the second one and -receive the first one back, placing it at the bottom -of all the slates, and repeat until the third slate. -While this one is being cleaned, slip the fourth, now -the top slate, to the bottom again. When the third<span class="pagenum"><a id="Page_50">[50]</a></span> -slate is received, place it on the bottom and hand the -fourth, really the first one over again; it is, of course, -the top one and dry by this time, and the investigator -is none the wiser. Of course, the two slates -placed together afterward are the one prepared with -writing and one of the blank ones. Instead of slipping -the top slate to the bottom, sometimes another -dodge is used. The medium simply turns the three -slates over by a twist of the hand. This brings the -prepared slate at the bottom and the last slate -cleaned at the top, and he says he will clean this one, -thus saving time; really, however, to disguise the -fact that it is still wet from the last cleaning. He -says, however, to the visitor, “You can clean it also, -if you desire.”</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_51">[51]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_IV"></a><a href="#CONTENTS">CHAPTER IV.</a><br /> - -<span class="smcap">Mind Reading and Kindred Phenomena.</span></h2> - - -<p>Having now described the principal slate tricks -which mediums use to entangle the unwary for their -own ends, we come to other tricks which are used -from time to time to impress the credulous with the -idea that the medium is imbued with supernatural -power and can perform what are, in effect, miracles. -These tricks are legion, and they vary from clumsy -attempts at mystification to the use of elaborate -pieces of magical apparatus which call for rare -mechanical genius in their design and construction. -The present chapter will deal more particularly with -what might be termed mind reading tricks and the -reading of concealed writing. Of these tricks one -of the most perplexing is that of reading sealed communications, -or answering questions placed in an -envelope which is well sealed.</p> - -<p>If I were to tell you that I could read whatever -was written on a card inclosed in an envelope, and -that envelope not only well sealed, but also stitched -or sewn through with a thread and needle or -machine, and the thread sealed to the envelope also, -without removing the seal, stitches, etc., you would -hardly credit the assertion. It is nevertheless true, -and is easily and readily accomplished by very simple -means.</p> - -<p>Prepare a sponge with alcohol. With this you -rub or brush the envelope, which immediately becomes -transparent as glass, thus enabling you to see -through it and read what is written on the card. It<span class="pagenum"><a id="Page_52">[52]</a></span> -takes but a few seconds for the alcohol to evaporate -and leave the envelope in the same condition as -before, without leaving a trace as to what or how it -has done. This test was used most successfully for -years by a celebrated Philadelphia medium.</p> - -<div class="figcenter"> -<img src="images/i_p052.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 20.—The Thumb Pencil Carrier.</div> -</div> - -<p>We now come to a test often employed. A card -is given by the medium to a skeptic with the request -to write a question on it. The medium now holds -the card in his hand against his forehead. Presently -he hands the card back to the spectator, and on it, in -writing, is found an answer to the question. The -medium accomplishes the above feat by means of a -little apparatus which is easily attached to the tip -of the thumb. Part of it goes under the thumb nail -and the lower part has a small needle point which -embeds itself in the flesh. In the center of this -little apparatus is a tiny piece of lead pencil. With<span class="pagenum"><a id="Page_53">[53]</a></span> -this clever bit of mechanism the medium does the -writing with the thumb of the hand holding the -card. (Fig. 20.)</p> - -<p>Four or five persons are seated around a table. -They are given paper and pencil and requested to -write questions, then fold their papers up and place -them in their pockets. The medium will give them -replies to their questions; in fact, can tell them the -full text of the questions they asked, and, what is -more mysterious, he has been out of the room all -the time the writing has been going on. To produce -this effect, you are provided with a table containing -a hollow leg. Now, spread a piece of thin -white silk on top of table, then on the top of that a -piece of carbon, or duplicating paper, or cloth. -Now, over all, a thin table cover, fastened around -the edges, so it cannot be raised up and looked under -by the inquisitive.</p> - -<p>To the white piece of silk is fastened a string leading -down the hollow leg, through a hole in the flooring, -to the cellar or room below. Whatever writing is -placed on the papers is transferred by the carbon -paper to the silk below it. The medium pulls the -string, down comes the silk. One corner of the silk -has a mark corresponding with a certain corner of -the table, and by this method not only does the medium -know what is written, but who wrote it, as he -has simply to see the position the writing occupies -on the silk, and it will have been done by the party -occupying the same position at the table. Another -way is by using a pad of soft paper and hard pencils, -and, after the writing, remove the pads. It will -be found that the hard pencil has caused an imprint,<span class="pagenum"><a id="Page_54">[54]</a></span> -or indenture, of the writing on the page below, not -readily seen by a casual glance, but easily seen by -the skilled eye of the medium.</p> - -<p>A test sometimes offered is as follows: A card is -offered to a person to write a request. It is then -placed in an envelope and sealed by the medium and -placed on the table sealed side up. The medium -now takes a pencil and slate and writes something -on it. It is given to the skeptic who wrote the -question, and it is found to be an answer to his query. -The medium now opens the envelope by tearing it -at one end, and takes out the card containing the -question and hands it to the spectator. This is another -humbug, and is accomplished by exceedingly -simple but bold means. It will be observed that the -medium places the card in the envelope, also takes -it out. The skeptic never sees it. This is the secret: -The envelope, on its face, has a slit cut in it a little -lower down than the opening on the other side of -the envelope. This side, the face of the envelope, is -never shown. The card, in being placed in the envelope, -is deliberately pushed through the slit in the -envelope into the medium’s hand and palmed by -him and read. Of course, it is an easy matter to -write some kind of a sensible answer when the question -is known. The card is inserted in the envelope -in the same manner as it is taken out.</p> - -<p>Another trick is to have an answer appear written -upon the inside of the body of the envelope in which -is enclosed the question. The envelope is closed -and sealed with sealing wax. This is accomplished -without disturbing the seal. In the ordinary manufacture -of an envelope, three of the flaps are stuck<span class="pagenum"><a id="Page_55">[55]</a></span> -together with adhesive gum of far less strength -than the fourth flap, which is to be moistened and -closed by the user. It is generally an easy matter -to insert the blade of a penknife behind the bottom -flap, that is, between it and one of the end flaps, and -separate them a trifle. Then, if you insert into this a -wooden skewer, or hard, round-pointed stick, like a -pencil, in fact, a lead pencil will do, but look out -it does not leave marks behind; and by pushing -this along, and giving it a rolling motion, you will -separate the flaps up as far as the seal, and, if done -carefully, without tearing or mutilating the envelope. -Now, on a slip of paper write the answer or -suitable message, but in reverse or backward writing, -as the words would appear in a looking-glass, with a -carbon or copying pencil. Pass this slip through -the opening in the envelope, shake it into the desired -position, now rub the envelope over this spot until -you think the envelope has taken the impression. -Then remove the slip of paper by the same way it -came in, moisten and gum the opening, and the trick -is done. In rubbing the envelope, it is a good plan -to place a piece of paper over it to keep the envelope -clean of marks, which would be liable to appear -from damp or moist fingers during the rubbing.</p> - -<p>The following is from the experiments of a German -scientist. He discovered, by the use of an embryoscope, -or egg-glass, that the shells of eggs were -of very unequal thickness.</p> - -<p>It occurred to him to make experiments in order -to ascertain how many leaves of ordinary letter or -official paper must be laid above and below a written -leaf, in order to make it illegible to a highly sensitive<span class="pagenum"><a id="Page_56">[56]</a></span> -eye in the direct sunlight. He found that after -he had rested his eye in a dark room for ten or fifteen -minutes, he could read a piece of writing -over the mirror of the embryoscope that had -been covered with eight layers of paper. He -called in other observers to confirm this. The letters, -however, that could be thus deciphered were -written in dark ink on one side of the paper only. -If four written sides were folded together, and especially -if there had been crossing, it was hard to -make out the drift of the writing; and there are -some kinds of writing which, when folded thrice or -twice, admit too little light for the purpose of decipherment.</p> - -<p>In this way, possibly, many of the performances of -“clairvoyants” may be explained. By means of the -egg-glass it is, as a rule, easier to make out the contents -of a letter or telegram without the slightest -tampering with the envelope than it is to detect the -movements of the embryo in the egg.</p> - -<p>Suppose the writer of a billet, the contents of -which are known only to himself, lets it out of his -hands and loses sight of it for five minutes, it may -be carried either in the direct sunlight, or into electric -or magnesium light, and be read by the aid of -the egg-glass. The placing of a piece of cartridge -paper in the envelope, or the coloring of it black, -is a means of defense at hand. In their present -form, telegrams cannot be protected from perusal, -unless delivered at once into the hands of the -addressees.</p> - -<p>A few tests employed by mind readers and clairvoyants, -so called from their presumed ability to read<span class="pagenum"><a id="Page_57">[57]</a></span> -other people’s minds, will, I think, prove interesting. -Let us suppose the performer, as a means of proving -his ability to cause his subject to read his mind from -a distance, or by mental telegraphy, execute the following -feat. His subject, let us say his wife, is at -home. The professor is in a public place, a store, or -banking house, etc. He requests some one to write -a question; he hands this person a fountain pen and -a pad of paper. After the person has done so, he is -requested to fold the communication up, place it in -an envelope and seal it, and then put it in his pocket. -He is now asked to write a letter or note to the professor’s -assistant, asking her to inform him what it -was that he had asked on the paper inclosed in the -envelope in his pocket. This note, and the pen also, -for fear the lady has no writing utensils, is carried -by the gentleman himself to the lady. She reads the -request, and, turning the paper over, she writes the -answer correctly on the other side. Sometimes, -instead of the gentleman himself going with the note, -a messenger boy is sent with it and the answer -brought back by him. In either case the paper and -pen are sent along. The pen is an ordinary fountain -pen, and it is by means of it that the lady receives -the desired information of what has been written. -First the professor has to know what has been written. -He simply says to the gentleman: “You must -allow me to read the question; for, if I do not see it, -how can my assistant see it, for it is through me she -is enabled to know? What I see I convey to her by -mental telegraphy, and thus convey the communication.” -After the professor sees the communication -he goes to a desk and gets an envelope, or takes one<span class="pagenum"><a id="Page_58">[58]</a></span> -out of his pocket, and gives it to the gentleman to -place his question in and seal it. While this is being -done he stealthily writes on a piece of fine, thin -paper an exact copy of the question. This he makes -into a little pellet and places it in the little cap or -end that is made to cover the point of the pen for -protection. Of course it is now easy to see the -method by which the question is made known to the -assistant. She has simply to remove the pellet of -paper, unfold it and read it. Sometimes a pad of -paper is used that has cunningly concealed between -two of its leaves, near the top, a piece of carbon -duplicating paper. These two sheets are pasted -around the edges so as to appear as one, and when -the person writes a question it is duplicated on the -sheet of paper following the one wherein is concealed -the carbon paper. The professor has simply to tear -out this sheet and inclose it in the cap of the fountain -pen. The name of Foster is almost invariably -coupled with any test wherein there is reading of -sealed letters, pellets, etc., just the same as Slade’s -is connected with the slate writing tests.</p> - -<p>Foster was an inveterate smoker, anywhere and -everywhere, especially at his séance, and it was all -for a purpose. The visitor who desired a sitting -with Foster was asked to write a few questions on -small pieces of paper, fold them up separately, and -press them into small balls or pellets. Foster would -pick one of these up and hold it to his head, as if to -try and penetrate it. Apparently failing to do so, -he would place it back on the table. This he would -repeat with others. Finally, he hands one of them -to the visitor, after holding it against his forehead,<span class="pagenum"><a id="Page_59">[59]</a></span> -requesting him to hold it himself. Foster then took -a pencil and paper, and scribbled something on it, -and then bared one of his arms, and showed it devoid -of any preparation. He then rubbed this arm -with his hand, and, on removing it, a name was seen. -On reading what Foster scribbled on the paper, the -visitor finds an answer to one of his questions, and -the name in blood red on Foster’s arm is found to -be the name of a person addressed by the visitor in -the note. Foster had a pellet of paper of his own -concealed between his finger tips, and, at some convenient -moment, instead of placing back on the -table one of the pellets he has just taken up, he substitutes -one of his own, keeping the bona fide one in -his hand, which he lowers into his lap and unfolds. -Holding it in the palm of his hand, he strikes a match -and lights his cigar, and while doing so he is deliberately -reading the note, which he afterward crumples -into a ball and conceals in his hand. He now -takes up another pellet and tries to see through it -by holding it to his forehead. He, however, fails, -and gives it to the visitor to hold, really exchanging -it for the one he has just read. He now has his -own and the visitor has his. He now allows his -hands to lie carelessly in his lap, and, while conversing -with the visitor, he pushes one of his coat sleeves -up a short distance, and, with a sharp-pointed stick, -writes the desired name on his arm, pressing down -hard. In a second or two he writes the answer to -the visitor’s question, minus the name he has just -placed on his arm. He now shows his arm bare, -and rubs the spot where he has written, with his -fingers slightly moistened, whereupon the name appears<span class="pagenum"><a id="Page_60">[60]</a></span> -in bright pink writing. If it is desired to -make it disappear, hold the hand above the head a -few seconds. To make it appear again, rub once -more with the fingers.</p> - -<p>Here is another trick which apparently calls for -mind reading. The performer’s assistant is sent out of -the room. Now, a sum of figures in addition is placed -on the slate by a spectator. When he has concluded, -the performer takes the chalk and draws a line under -the numbers, turns the slate downward on a table, -so nothing can be seen, places chalk on the slate, and -retires into a corner of the room. His assistant is -now called into the room, steps up to the table and -seizes the chalk and marks down the correct answer -to the sum of figures which is on the other side. -Like all the tricks that appear the most incomprehensible, -this is one of the most simple. The performer -stands watching the person as he places -down the numbers on the slate, he mentally adds -them, and, with his hands behind his back or under -his coat-tails, with a lead pencil in one hand, he -writes on a piece of chalk held in the other hand the -correct answer. It is needless to say that it is this -piece of chalk he places on the slate, and not the one -used. The chalk is scraped or filed flat a trifle -lengthwise. This is to keep it from rolling on the -slate, thus avoiding accidental exposure of the writing -on it, and also give it a flat surface to write on.</p> - -<p>Here is an effect I produced as a stage illusion -some years ago, somewhat resembling a spiritualistic -effect. Hanging up against the scene, at the rear -of the stage, was a large blackboard. On this blackboard -writing appeared gradually, done in chalk, as<span class="pagenum"><a id="Page_61">[61]</a></span> -though some unseen hand were actually at work. -The blackboard was really nothing but fine wire -slate-colored netting. There was a large hole cut in -the scene immediately behind the blackboard. This -hole was completely boxed in by curtains or woodwork, -so as to make it as dark as night. A man was -in this space, and he was dressed in a complete suit -of black; also a black mask and gloves. He was -provided with a pot of white paint, composed of -whiting, water and glue, and a brush. Now, the -man can see through this netting, but the spectators -<ins class="corr" title="Transcriber's Note—Original text: 'are nable to see'">are unable to see</ins> him behind this screen of netting. -With the brush and paint he traces on the<span class="pagenum"><a id="Page_62">[62]</a></span> -wire netting whatever is desired. The paint comes -through the meshes of the netting, and, adhering to -it, makes a very good imitation of a chalk mark. It -should be remembered the person doing the writing -does so backward; so it will be in correct position -when seen by the audience.</p> - -<div class="figcenter"> -<img src="images/i_p061.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 21.—The Board Facing the Audience.</div> -</div> - -<p>The following is somewhat in the same line, and is -called the “Educated Fly.” When the curtain rises -a large mirror, in a gilt frame, is seen resting against -an easel. (Fig. 21.) The magician takes the mirror -in its frame from the easel and rests it on the floor, -showing both sides to the audience. He also removes -the glass from the frame, and rests the glass -against the easel while he exhibits the frame to the -audience. The frame has a solid wooden back. The -mirror is about four and a half feet wide and three -feet high, and after it has been inspected, the magician -replaces it in the frame. He now takes a -piece of soap and marks the glass off into twenty-eight -even squares, which he numbers from one to -twenty-six, and letters from A to Z; one of the -remaining squares is zero, and the other is left, as -the prestidigitateur says, for a starting point. He -now takes a large fly from the table and places it on -a little shelf which projects from the empty square. -He then asks that a letter or number be called. As -soon as this is done, the fly is seen to travel across -the mirror and stop at the desired square. This is -repeated time and time again, the fly every time -returning to the starting point.</p> - -<div class="figcenter"> -<img src="images/i_p063.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 22.—The Mystery Explained.</div> -</div> - -<p>The reason for having the mirror separate from its -frame, and exhibiting it separately, is this: It will be -remembered that the mirror is rested against the<span class="pagenum"><a id="Page_63">[63]</a></span> -easel as the frame is shown, and that this frame has a -wooden back. In addition to the wooden back, it -has a cloth back, which is firmly fastened to the -frame, and then comes the wooden back. This back -is hinged to the frame at the bottom. Now, when -the frame is placed on the easel and the mirror -rested on the floor, the space behind the easel from -the floor up is concealed by the mirror, and this -gives an opportunity for a boy to get through a trap -in the floor and pull down the back of the frame, to -make a shelf on which he sits. (Fig. 22.) Of course, the<span class="pagenum"><a id="Page_64">[64]</a></span> -cloth back is still in the frame; so the boy cannot be -seen. The mirror is taken up and replaced in the -frame; then it is marked off into squares, as already -mentioned. The black cloth is previously marked off -into squares which exactly duplicate those which -have been made on the face of the mirror. The fly -is made of cork, with an iron core which is set flat -against the glass. The boy behind the mirror is provided -with a strong electro-magnet attached to a wire -running down the leg of the easel and under the -stage, where it is connected to a powerful battery. -He brings up the magnet and several feet of wire -with him while the mirror is resting on the stage. -When the boy hears the numbers called, he applies -his magnet to the corner where the fly is resting on -the little shelf, and the magnetic attraction, working -through the glass, draws it successively over the -squares until it comes to the desired spot, which the -boy can see on his chart; and, of course, the proper -letter or figure is indicated where the fly stops.</p> - -<p>The most sphinx-like problem ever presented to -the public for solution was the second-sight mystery. -There have been many exposés of “mental magic,” -and some of the best of them are described in -“Magic: Stage Illusions and Scientific Diversions, -Including Trick Photography.”</p> - -<p>We have now to concern ourselves with “mental -magic” where the results are obtained by clever -tricks. There have appeared, from time to time, -before the public, individuals who generally work in -couples, termed “operators” and “subjects,” who -have given performances which were termed mental -wonders, silent second-sight, etc. The operator invariably<span class="pagenum"><a id="Page_65">[65]</a></span> -tries to impose on the public with the idea -that he possesses some mysterious power over the -“subject” by which he is enabled to communicate -information to her by his will power over her mind, -without a word being spoken. There are, of course, -various methods of performing this trick, as by a -code of predetermined signals in which sentences -like the following are used: “Say the number. -Well? Speak out. Say what it is.” But these -methods are not comparable with the mechanical -means which we are about to describe.</p> - -<p>The “operator,” after informing the audience of -the wonderful powers of divination which the subject -possesses, introduces the “subject,” who is invariably -a lady. She is seated on a chair near the -front of the stage, in plain view of the audience. -Her eyes are heavily bandaged, so she cannot see. -A committee is invited to go upon the stage to see -that the lady has had her eyes properly blindfolded, -and also, ostensibly, to help the operator. A large -blackboard is placed at one side of the stage, behind -the lady. One of the committee is requested to step -to this blackboard and write on it, with chalk, some -figures, usually up to four or more decimal places; -and after he has done so he resumes his seat. The -lady immediately appears to add up the number -mentally, calling out the numbers and giving the results -of the addition. Each member of the committee -is invited to step to the blackboard and touch a -figure. No sooner has he done so than the lady calls -out the number. Other tests of a similar nature are -given, such as the extraction of square and cube root, -etc. They all prove that the lady has a thorough<span class="pagenum"><a id="Page_66">[66]</a></span> -knowledge of the numbers on the blackboard and the -relative position which they occupy. It is, of course, -proved beyond a doubt that the lady cannot see the -blackboard. The question then arises, How does -she obtain the information? There are two methods -of performing this trick. In either case her information -is obtained from a confederate, who is generally -concealed under the stage, who has the blackboard -in sight, and who transmits to the lady the desired -information.</p> - -<div class="figcenter"> -<img src="images/i_p066.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 23.—The Foot Telegraph.</div> -</div> - -<p>In one method the lady has a hole, one and a half -inches in diameter, cut out of the sole of one of her -slippers. (Fig. 23.) She places this foot over a hole -in the stage, through which a small piston is worked -pneumatically by the assistant. The piston is connected -with a rubber tube, which runs to where -the assistant is concealed. The assistant looks at the -blackboard and manipulates the bulb, thus causing -the piston rod to strike the sole of the foot, giving -signals which can be readily understood by the subject. -Robert Heller used a system somewhat similar,<span class="pagenum"><a id="Page_67">[67]</a></span> -only an electro-magnet was used instead of the -pneumatic piston.</p> - -<div class="figcenter"> -<img src="images/i_p067.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 24.—The Speaking Tube.</div> -</div> - -<p>Another and bolder method of conveying information -is the speaking tube. In this case a Vienna -bent-wood chair is used. The chair is specially prepared -for the trick. One leg of the chair is hollow,<span class="pagenum"><a id="Page_68">[68]</a></span> -and the air passage is continued to the very top. -The lady usually has a long braid of hair hanging -down her back, and, if not blessed by nature with -this hirsute adornment, she wears a wig. In either -case, concealed in the hair is a rubber tube, one end<span class="pagenum"><a id="Page_69">[69]</a></span> -being close to the ear and the other hanging down -with the braid, so that when the lady is seated on the -chair the operator can easily connect it with the tube -in the chair. (Fig. 24.)</p> - -<div class="figcenter"> -<img src="images/i_p068.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 25.—The Head Telegraph.</div> -</div> - -<div class="figcenter"> -<img src="images/i_p069.jpg" width="250" alt="" /> -<div class="caption"> -Fig. 26.—The Signaling Instrument.</div> -</div> - -<p>There is still a third method, which is so absurdly -simple that it deceives even a very knowing committee. -The committee places a chair on any part -of the stage they may see fit, and the subject seats -herself and is blindfolded as before. A thread runs -from the side of the subject through a small ring -attached to a chandelier overhead. (Fig. 25.) One -end of this thread is held by an assistant and the<span class="pagenum"><a id="Page_70">[70]</a></span> -other end is fastened to a hammer working on a -pivot secured to a metal plate concealed in the hair -of the lady, her hair being dressed high. When she -walks on the stage, the assistant pulls in the slack of -the thread, and when she is seated on the chair, the -assistant pulls the thread taut, so that he is able to -communicate signals to her by a very slight motion -of the thread, which causes the hammer to work on -the plate, which is resting very close to the skull, so -that the signals are easily felt at every stroke of the -hammer. (Fig. 26.) Predetermined signals may be -used, or the regular Morse alphabet, as in telegraphing. -There are a number of other ways of convey conveying -information, but the three methods we have -described are perhaps the best.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_71">[71]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_V"></a><a href="#CONTENTS">CHAPTER V.</a><br /> - -<span class="smcap">Table Lifting and Spirit Rapping.</span></h2> - - -<div class="figcenter"> -<img src="images/i_p071.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 27.—Table Lifting Trick.</div> -</div> - -<p>So much has been heard about table tipping and -floating tables, it will, I think, prove interesting to -explain a few of the clever devices employed to produce -the above phenomena. Small, light tables are -lifted by the mere “laying on of hands.” The arms -are raised in the air and the table is seen to cling to -the hands and follow every motion. This is accomplished -by a pin driven well into the table, and a -ring with a slot in it (Fig. 27) worn on one of the -medium’s fingers. The body of the pin easily enters -the slot in the ring, but the head of the pin, being -larger, prevents the table from falling away from the -hand. After the table has been floated successfully, -an extra strong upward pressure of the hand pulls -the pin out, and the table can be examined. Another<span class="pagenum"><a id="Page_72">[72]</a></span> -test on somewhat similar lines is the lifting of a bowl -of water by immersing the hand in the basin of -water. In this case a pin is fastened firmly into a -leather or rubber sucker, and the finger ring again -does the work. (Fig. 28.) This can also be used to -lift anything that is not of a porous nature. A table -with a well polished top can be easily lifted. In -lifting large tables the medium is assisted by a confederate -among the assembled guests. It is his -duty to get as near opposite the medium as possible. -The medium and the confederate have fastened to -their wrists, by means of a leather cuff and straps, a -bent hook. (Fig. 29.) Their hands rest on top -and the hooks under the table. By this means it is -a simple task to raise the table. Sometimes the -above device is varied; instead of hooks fastened to -their wrists they use hooks from under their vests, -hanging by a loop from their necks. (Fig. 30.) -I have seen a square table lifted without the use of -either of the above devices. The medium and his -confederate simply got the linen cuffs of their right -hands well under the corner of the table, and with -their hands on top they found no difficulty in raising -the table by this improvised means.</p> - -<div class="figcenter"> -<img src="images/i_p072.jpg" width="250" alt="" /> -<div class="caption"> -Fig. 28.—The Sucker.</div> -</div> - -<p>Although spiritualists claim they have, and can, -make pianos float in the air, I have never seen it -accomplished, and I could never get a medium who<span class="pagenum"><a id="Page_73">[73]</a></span> -was able to produce the effect, and I sincerely doubt -if any one can honestly and truthfully acknowledge -they have witnessed it.</p> - -<div class="figcenter"> -<img src="images/i_p073.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 29.—The Leather Cuff and Hook.</div> -</div> - -<p>I saw a small, round table once floated in the air -without the medium touching it. It was accomplished -by means of two threads running across the -room and worked by two confederates. The threads -were on the floor and lifted up and allowed to catch -under the table.</p> - -<p>I have also seen a letter raised from a table and -float in the air into the medium’s hand. This was -done also with a thread, one end fastened in the -wall above the table the letter rested on, the other -near the medium. The letter is not sealed. This -allows the thread to go between the flap and letter, -or envelope, and when the medium pulled the thread -taut, it made an incline for the envelope to travel on, -right up to the outstretched hand.</p> - -<div class="figcenter"> -<img src="images/i_p074.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 30.—The Loop and Hook for Table Raising.</div> -</div> - -<p><span class="pagenum"><a id="Page_74">[74]</a></span></p> - -<p>Years ago Robert-Houdin, the celebrated French -conjurer, produced, at his pretty little theater in -Paris, an illusion which, for startling effects, has not -since that time been excelled; and the means which -he employed for operating the stage machinery have -been employed in many stage tricks of more recent -date. The stage is set to represent a drawing-room, -and, in stage parlance, would be called a “box set.” -There are side scenes, as well as a “drop” or back -piece. In the center of the room is a large door, and -a grand piano rests against one of the side scenes, a -small table being placed near the door. When the -illusion is to be performed, a lady enters carrying a -bouquet, which she leaves on the table and advances -to the piano. (See <a href="#FP">Frontispiece</a>.) She seats herself, -opens the cover of the piano and plays a short piece; -then, closing down the cover, remarks that she does -not feel in the humor to play. She extends her hand -toward the bouquet on the table, which mysteriously -rises and falls through the air into her hand; and, at -the same time, she is seen to rise upward in the air -still seated upon the piano stool. When she reaches -a point midway between the ceiling and the floor she<span class="pagenum"><a id="Page_75">[75]</a></span> -glides toward the opposite sides of the room, and the -piano, which seems as if it will not be outdone, rises -also and follows her through the air. This is usually -received with great applause by the audience, and -the curtain falls. The explanation of the phenomena -is the following (Fig. 31): In the first place, the -piano case is cleverly made out of <i lang="fr" xml:lang="fr">papier maché</i>, -and is really a mere shell containing no keyboard or -action. The back of the piano is open; immediately -behind it, in the side scene, is a trap, and at the back -of this scene is a real piano mounted on a truck, so -that it can be easily moved backward and forward. -Our engraving shows both the piano and the trap. -When the real piano is run into the <i lang="fr" xml:lang="fr">papier maché</i> -case the keyboard is in its normal position, so that -the lady can play upon it. When the lady finishes -playing she closes the lid of the false piano. As soon -as this is done an assistant behind the scene moves -the piano back, thus leaving the empty shell, and the -trap in the scene is closed. The false piano is, of -course, very light, and to it are fastened fine wires, -which are invisible at a short distance; one is secured -to each corner. These wires run up over pulleys on -a truck overhead, which can be run backward and -forward immediately over the scene. Each wire is -terminated by a bag of sand or shot, which counter-balances -the weight of the piano. It will be noticed -that there is a fifth wire secured to the false case. It -is run up also over the pulley in the truck, and then -off to the side of the stage beyond the side scenes. -By pulling this wire the piano is raised or lowered to -any desired distance. Counterweights hold the instrument -at any position. There is a rope attached<span class="pagenum"><a id="Page_76">[76]</a></span> -to the overhead truck, so that it can be pulled back -and forth, thus causing the piano to move across the -stage. There are, of course, slits in the ceiling of the -mimic stage which allow the wires to pass through.</p> - -<p><span class="pagenum"><a id="Page_77">[77]</a></span></p> - -<div class="figcenter"> -<img src="images/i_p076.jpg" width="650" alt="" /> -<div class="caption"> -Fig. 31.—The Mystery Explained.</div> -</div> - -<p>The lady is raised by a curious device. There is -attached to the piano stool a clear piece of plate glass, -which comes up through a slot in the stage technically -known as a “slider.” This glass is made to -raise or lower by means of a windlass. The glass -rests on a cross-piece of wood and works up and -down in a grooved frame, which is secured to a movable -truck under the stage. The slot in the stage is -continued in the direction in which the glass is to -move, and the carpet is of a marked design which -will cover the narrow opening.</p> - -<p>The bouquet is secured with a thread attached to -the piano, and it then goes through the door, where -an assistant holds the loose end. A small loop of -wire is attached to the bouquet, and a thread runs -through it. When the lady enters the room and lays -the bouquet on the table, this thread is passed -through the loop of wire. When the bouquet is desired -to travel to the lady, the assistant has only to -raise the end of the thread high enough and the -bouquet slides down the incline into the lady’s hand.</p> - -<div class="figcenter"> -<img src="images/i_p078.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 32.—The Telegraph Set.</div> -</div> - -<p>A medium in Detroit, Mich., has lately been hoodwinking -the public and coining money with an idea -that was quite original. He employed a small, shallow -box, composed of wooden sides and ends and -slate top and bottom. The box and its lid were -about of even height, and were hinged together. -(Fig. 32.) The box contained a telegraph key connected -up to a sounder and a dry battery sitting<span class="pagenum"><a id="Page_78">[78]</a></span> -outside of the box on the table. The medium -allowed everything to be well examined. It was -proved that the battery on the table was the only -means of operating the sounder whenever the key -was worked. If one of the wires were disconnected, -or the box were closed and the key thus out of the -way of manipulation, the sounder would not work. -After everything was satisfactorily explained, notes -were written on pieces of paper, which were -folded and placed upon the table. These are -taken, one at a time, and placed in the box and -the lid closed. If conditions are favorable, the -spirits will be enabled to read one of the inclosed -notes, and will send a telegraphic reply over -the sounder; and such is ofttimes the result. Of -course, we know spirits do nothing of the sort; -it is the medium who accomplishes all of this. How -does he know the contents of the note? How does<span class="pagenum"><a id="Page_79">[79]</a></span> -he cause the ticker to work with the key inclosed in -the box? The visitor is placed on one side of the -table, generally facing a window, so as to have the -light shine into his or her eyes. The medium sits -opposite with his back toward the window; the box -containing the key is at his side of the table, with -the hinges, or the back of the box, toward the visitor. -Now, if the lid of this box is opened and a -paper taken off the table and placed in the box and -the lid closed, you could not tell for certain if the -paper was actually placed in or not, for the simple -reason that the cover of the box, when up, completely -masked the operation. It is by the above scheme -that the medium obtains the notes on the paper. -The first one or two are actually placed in the box; -then the next one is deliberately dropped into the -medium’s lap instead of the box. He unfolds it, reads -it, refolds it, and, on opening the box, apparently -takes it from there and places it back on the table -and does not lose track of it. Two or three other -papers are placed in it by the visitor, and again taken -out by him. Again the visitor is asked to place in it -the one the medium knows the contents of. Now -the ticker commences to work. With his left hand -carelessly resting on the corner of the closed box, the -medium writes with his right hand, with a pencil, on a -pad of paper, the communication received over the -ticker. The visitor removes the paper from the box, -and the answer just written by the medium on the -pad is found to be a reasonable one to the written -request.</p> - -<p>All that remains to be explained is the working of -the sounder. It is very simple. In the first place, the<span class="pagenum"><a id="Page_80">[80]</a></span> -lid and box are hinged so as to be hinge bound; -that is, they will not, of their own weight, quite -touch each other, possibly about an eighth of an -inch, or less, apart. But by the pressure or weight -of the hand they will come together. Now, the -telegraph key, like all such instruments, is provided -with a tension screw, which can be screwed one -way or the other. When the medium desires his -instrument to work, he raises this tension screw, -to which is fastened the button of the key, just high -enough to touch the lid on the inside of the box -when it is closed of its own weight. Now, when the -hand is resting on the box, he proceeds to make -the sounder “speak” at will, with no perceptible -movement of his hand. A simple muscular contraction -of the palm of the hand, which cannot be -detected, is sufficient to control the sensitive key, -by pressure of the box cover on it. The whole thing -is so simple, and at the same time puzzling, that it -makes one laugh to think how little it takes to make -a fool of a man.</p> - -<p>In the case of this medium, the head of the tension -screw was brass, and left a brassy mark on the slate -top. He soon observed this, and changed it for a -hard rubber one, which left no telltale marks behind. -Sometimes he did not raise the tension screw, but -laid the folded paper the question was written on -on top of it. This made up the required height. -Other mediums improved on the above method by -working the key through the box by an electro-magnet -concealed in the table top. The current to -the magnets was turned on and off, or broken, as the -line is used, by means of a small button in the body<span class="pagenum"><a id="Page_81">[81]</a></span> -of the table, pressed by the medium’s leg. This -method allowed him to keep his hand off the box.</p> - -<p>The raps, or noises, are produced in various manners. -Press your boot heel gently against a table -leg. The slipping of the leather against the wood -makes perfect spirit raps, wood being a good conductor -of sound. The raps apparently come from -the table top if attention is directed in that direction. -Some mediums, with the tips of their fingers pressed -firmly on a table top, slip them, by a dexterous -movement, along the varnished surface, thus making -very fair examples of raps or thuds. Some mediums, -in their own homes, have tables provided with -electro-magnets concealed in them, by which the -knocks are accomplished. Medical experts claim -that a very good result can be obtained by the mere -displacement of the tendons of the muscle called -<i lang="la" xml:lang="la">peroneus longus</i>, in the sheath in which it slides -behind the external <i lang="la" xml:lang="la">malleolus</i>. Others again produce -it by snapping the toe or knee joints. Watch a -boy some day as he snaps his finger joints, and if -he were to rest his elbows on the table while doing -so, the sound would be intensely strengthened.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_82">[82]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_VI"></a><a href="#CONTENTS">CHAPTER VI.</a><br /> - -<span class="smcap">Spiritualistic Ties.</span></h2> - - -<p>“Ties” have always been one of the <ins class="corr" title="Transcriber's Note—Original text: 'great standbies'">great standbys</ins> -of mediums, second only to slate writing.</p> - -<p>The following is a simple test with a rope or piece -of string: A long piece of rope is given for inspection, -and, on its return to the medium, he coils it up -and lays it on the table; the two ends are tied -together and sealed fast to the table. The coils of -the rope are now allowed to drop on the floor. -Lights are lowered, and, in a few minutes, when -the lights are relighted, the coil of rope is found -with numerous knots tied in it that could not naturally -have been accomplished without the ends -being untied and unsealed. This mystery is accomplished -by simple means. When the medium receives -the rope back he does not coil it up as a person -would, in the ordinary fashion, but makes the coils -so they really form half hitches, and, as he lays them -on the table, he runs one of the free ends through -all the coils, then ties the two ends together. Each -coil will now form an overhand knot. An easy manner -of manipulating the rope is as follows: The rope -is held in the hands, with palms upward; now, to -form the coil, or half hitch, the right hand is given a -half twist; this brings the palm facing the person’s -breast and back of hand outward, and leaves -the rope as seen in Fig. 33; this loop is transferred -to the left hand (Fig. 34), and the operation repeated -until the supply of the rope is exhausted. Now, to<span class="pagenum"><a id="Page_83">[83]</a></span> -make the knots, one end of the rope has simply to be -passed through all the loops.</p> - -<div class="figcenter"> -<img src="images/i_p084a.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 33.—First Position.</div> -</div> - -<div class="figcenter"> -<img src="images/i_p084b.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 34.—Second Position.</div> -</div> - -<p>I have seen the above test worked also as follows: -Two skeptics were used. One end of the rope was -fastened to one of the skeptic’s wrists and the other -end to the wrist of the second skeptic. The knots -were sealed. The rope in this case was quite long, -about twenty feet. The medium now makes the -rope up into a few coils; out go the lights, and, in a -few minutes, on the lights being turned up, the rope -is found with knots. This is what happens: When the -lights went out, the medium went up to one of the -skeptics, and, while talking to him and moving him -two or three feet further away from the other skeptic, -he has passed the coils over this one man’s head, and -allowed the coils to drop to the floor. As soon as -the skeptic steps out of these, the job is done.</p> - -<p>There is another test on somewhat similar lines. -A short piece of rope is examined and the performer -holds it in one hand and then tosses it into the -cabinet, which is empty. On opening the curtain in -a few seconds the rope is found with a knot on it. -The performer himself actually ties the knot with -one hand in the act of tossing the rope into the cabinet. -The rope is held in the hand palm upward, -very near one end, the short end in the hand being -with the long end hanging down, the shorter part -being between the thumb and the forefinger. The -hand and arm are given a kind of half circular sweep -in tossing the rope into the cabinet; this causes the -long portion of the rope to swing under, then over -the wrist, and across the fingers of the hand. This -end is then seized between the fingers and drawn<span class="pagenum"><a id="Page_84">[84]</a></span> -through the loop just made; at the same time the -loop is dropped off the wrist as the rope is tossed -into the cabinet. In reading the above description -it seems like four or five different movements, but -with practice they all blend into one.</p> - -<p>Here is another test. A single knot is tied in the -center of a piece of string; now the ends are tied -together and knots sealed. The lights turned down; -on their again being turned up, the knot from the -center of the cord has disappeared. The moment<span class="pagenum"><a id="Page_85">[85]</a></span> -there was darkness the medium started to work, and -kept slipping the knot along the string until it joined -the rest at the top of the string, where there is not -much fear of its being seen. To further protect himself -he uses the following plan: He chews gum colored -the same as the sealing wax used. Now in the -dark, when he has the single knot up against the -others at the end of the string, he covers this knot -with part of the chewing gum and blends it in with -the sealing wax.</p> - -<p>I will now explain a few ties, rope and otherwise, -by which the mediums allow themselves to be tied. -It is almost invariably the rule for the medium to -suggest to the investigator the general way he wishes -to be tied. They must have certain conditions, so -they say, or the spirits will not work. It is safe to -say the conditions are very strict and always in favor -of the medium. The female medium has a preference -for ties in which tape or muslin, or cotton -cloth torn into strips, is utilized. The male performer, -as a rule, uses rope and wire. I will first -describe what is known as the braid or tape test. -Take a piece of tape about three-quarters of an inch -wide. Have one end of this securely tied around -the wrist; now the person who is conducting the -test seats himself in a chair with his hands behind -the back of the chair; now have the loose end of the -tape passed between the uprights forming the back -of the chair; have the other end fastened around -the remaining hand. The moment you are in the -dark, or hidden from view, you can produce any -manifestation that requires the use of one or both -hands, by following these instructions. The first<span class="pagenum"><a id="Page_86">[86]</a></span> -hand can be tied as the investigator pleases. Now, -when the second hand is to be tied, keep a strain on -the tape enough to keep it taut. By so doing a -square knot cannot be tied on the tape, but simply a -running knot, or a knot around the strand of the -tape—a knot that can be slid backward and forward.</p> - -<p>Here is what is known as the cotton bandage test. -A ring staple or ring screw eye, the ring being about -two inches in diameter, is wound around with unbleached -muslin of the same color as used to tie the -medium’s wrists with. This ring is fastened securely -into the door jamb or any stationary wooden support -by one of the investigators. Two strips of muslin about -three feet long are given to the investigator; one of -each is tied around one of the medium’s wrists and -the knots sewed and sealed. Her (for the medium is -supposed, in this case, to be a lady) hands are now -placed behind her, and the ends of the strips from -each wrist are now tied together and the knots tied -and also sewed; and what ends are left are evenly -cut off near the knots. Another strip of muslin, -about the same width and length as the others, is now -produced, and one of the committee ties this strip -around the knots between her wrists, leaving the -ends of equal length. The medium now takes her -seat on a small stool, with her back toward the ring -in the door jamb. One end of the last muslin strip is -passed through the ring and several knots are tied. -After tying several knots, the ends of the strips are -tacked securely to the woodwork of the door. -Another strip is procured and tied around the medium’s -neck, and then tacked also to the door jamb. -Two more strips are now used, one passed around<span class="pagenum"><a id="Page_87">[87]</a></span> -each arm, not tied, and the ends of each tacked to -the door. The committee, having done all the work -themselves, of course, are thoroughly satisfied as to -its genuineness. They now retire from the cabinet, -which has been simply made by a curtain across one -corner of the room, forming a triangular space. No -sooner is the curtain closed than the usual manifestations -occur, such as ringing of bells, tooting of -horns, banging of tambourine, etc. Immediately the -curtain is opened and the medium found securely -bound and not a bandage disturbed. Finally a -pocket knife is placed upon her lap, the curtain is -closed, and in a few seconds the medium comes forward -with her bonds cut, but only the wrists separated; -this has been done, she claims, by the spirits, -with the use of the knife which was placed in her lap. -Now to explain away the mystery. In a convenient -pocket in her belt she has concealed a small, sharp, -open knife, with which she cuts through the bands -between the wrists. She cuts this band between the -knot on her right wrist and the knot in the middle -made by tying the ends of the wrist bands together. -She now slips the loop which was tied around off, -leaving it whole and still tied around the ring. She -is now free to use both hands, and, as the last strips -around her arm were not tied, they are easily managed. -She makes what manifestations she chooses, -and by placing her wrists one each side of the ring, -and clasping her hands together, pressing all tightly -together, she is ready for examination. The ring -being wound with muslin, one cannot see that anything -has been changed; and this is the reason it is -wound. Another thing to notice is that the spirit<span class="pagenum"><a id="Page_88">[88]</a></span> -cutting is the last test. The reason of this is, if the -investigators were to release her, they would discover -the secret. Male performers use the same idea -for rope ties from which they find it impossible to -release themselves. They have a knife blade soldered -firmly on to a brass plate, which is riveted or -sewed on the back of the performer’s trousers, the -edge of the knife blade being outward. He has simply -to run the rope up and down over this contrivance, -and he soon gains his liberty.</p> - -<div class="figcenter"> -<img src="images/i_p088.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 35.—The Davenport Tie.</div> -</div> - -<p>I will next illustrate a tie made famous by the -Davenport Brothers. (Fig. 35.) The rope used is -what is known in trade as a sash rope. Silver Lake -or Sampson brand is the best. This is a stiff, polished -or smooth, hard finished rope. With this -style of rope it is an almost utter impossibility to -be tied but what you can free yourself. The Davenports, -on first being secured, would try and induce -or lead the committee who did the tying to do so in -a way which would be advantageous to the medium.<span class="pagenum"><a id="Page_89">[89]</a></span> -See Barnum’s “Humbugs of the World,” page -136: “The brothers saw they could not wriggle out -of the knots. They therefore refused to let the tying -be finished.” Of course, they did not make the request -pointed, or apparent, but, in the coolest natural -way, and not suggestive of any conceived plan. -Their method was as follows:</p> - -<p>One of the committee, holding a piece of rope, -about twelve feet long, as near the center as possible, -would be requested to tie first one of the medium’s -left hands, tying two or three good, hard, square -knots about the wrist, the knots coming to the inside -of the wrist or palm side of the hand. The -medium, during this part of the tie, faces the audience. -He now explains to the person who does the -tying that when he, the medium, places his left hand -behind his back, he will place his right hand close -against it, and requests the skeptic to tie a few or -as many knots on top of that hand as he may see fit. -The medium, after this explanation, places his hands -behind his back, and then turns around, with his -back toward the audience. The committeeman -now secures the right hand against the left. The -medium now enters the cabinet, is seated in a chair, -or on a bench, in which two holes are bored. The -ends of the ropes are now passed through these -holes, and knots tied in the rope close to the seat of the -chair, and thence carried to the front legs of the chair, -where it is fastened. Two other smaller ropes are -used to tie the medium’s legs to the chair. The -usual manifestations, such as ringing of bells, tooting -of a horn, hands at cabinet window, etc., take place. -After this is repeated a few times, the medium comes<span class="pagenum"><a id="Page_90">[90]</a></span> -forth entirely free from the ropes, which he now -holds in his hands devoid of knots. Of course, the -medium is really the cause of all the demonstrations, -and to accomplish the results he must free himself. -Now, let us see how it is done. The first hand is -tied fair and square, but when he places his two -hands behind his back, that’s the time the trick -is done. In placing his hands behind his back, and -before turning around, with back toward the audience, -he catches up a little slack of the rope, and, -pressing the two hands together, manages not to -lose that slack as the two hands are tied together. -Another plan is employed so as to be certain not to -allow this slack to get away from the medium. In -the act of placing the hands behind the back, one part -of the rope is allowed to go around the middle finger. -The ends are then crossed, A going behind B, -before the right hand is placed against left. Of course, -the right hand covers the rope, or false tie, completely. -When the hand is to be released, the finger -has simply to bend down, and off drops the slack -part of the rope, and gives plenty of room to draw -the hand from the loop. With one hand free, it is -easy to produce the desired manifestations, also to -release the other hand, and then completely untie -the rope. Now, whenever the committee cannot be -influenced to tie in the above manner, they are -allowed to proceed as they wish. Very few persons -can tie a medium securely with the stiff rope -furnished. The medium will manage, by slight contortion -of his body, to secure a little slack rope, -by which agency square knots can be easily upset -into a slip or running knot, and, when he fails in this,<span class="pagenum"><a id="Page_91">[91]</a></span> -the rope is deliberately cut with the little knife blade -on belt, as described previously. This destroyed -rope is now concealed on the medium, and he takes -also from his clothes a similar rope and walks out of -the cabinet with it, stating the spirits had released -him. He again retires to the cabinet, and, in a short -time, he is found retied, with his hands behind his -back, securely fastened. Here is the explanation:</p> - -<div class="figright"> -<img src="images/i_p091.jpg" width="75" alt="" /> -<div class="caption"> -Fig. 36.—The<br /> -First Knot.</div> -</div> - -<p>When he enters the cabinet, he allows both ends of -the rope to hang down, holding the rope -in center; the rope now, in its doubled -condition, has a knot tied near its double -end, leaving a knot and loop. (Fig. 36.) -Then a single knot, tied in each portion -of the rope, each side of this loop knot, far -enough away so as to give length enough -for the ropes to encircle the wrists, and -these single knots come up hard against -the loop knot. The ends of the rope are -now run through the loop knot, and two -loops are thus formed, which can be made -larger, as desired, to slip the hands out. -(Fig. 37.) The ends of the rope are now -run down through holes in the chair seat, -and ends fastened, and the medium inserts his wrists -in the loop and pulls up taut, and he is ready -for an investigation. It will readily be seen the medium -can now do as he pleases, remove his coat, -place on a borrowed one, etc.</p> - -<div class="figcenter"> -<img src="images/i_p092.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 37.—The Double Loop.</div> -</div> - -<p>Another tie frequently used is that in which the -medium seats himself in a chair, takes the rope, and -ties it around his legs at the knees, with the single -knot on top. On this he places his two hands, close<span class="pagenum"><a id="Page_92">[92]</a></span> -together, and has the committee tie his hands with -as many knots as they please, from which he nevertheless -frees himself. The whole scheme lies in the -fact that the medium tied but one knot around the -legs, but did not pull it deep into the flesh. When -the knots are tied over his hands, he keeps the legs -a trifle apart. Now, to release himself, he simply -has to draw his legs together, and strain on the ropes, -so they sink into the legs a trifle, and let all the -slack go above the single knot, thus giving room for -the hands to be withdrawn. By forcing the hands -apart, the desired slack is easily taken up.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_93">[93]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_VII"></a><a href="#CONTENTS">CHAPTER VII.</a><br /> - -<span class="smcap">Post Tests, Handcuffs, Collars, etc.</span></h2> - - -<p>The “Spiritualistic Post Test” is one of the latest -and most successful of mechanical fastenings used by -mediums. The most common form is made of what -appears to be a piece of joist. This is given to the -committee, one of whose members bores a hole -through it, near its upper end, and then passes an -ordinary rope through the hole, a knot being tied -in the rope on each side of the post. The knots are -pressed against the post, so that the rope cannot be -drawn through the post. The ends of the rope -are now unraveled, and the post is fastened to the -floor with spikes. The medium is tied to the post -by the unraveled ends of the rope. A nail is driven -in the top of the post, and a rope is secured to it. -This second rope is held by the committee; after -the curtains are drawn, bells are rung, etc., showing -that the medium has the use of his hands. The -trick consists in boring a hole in the center of the -end of the joist; a chisel is then inserted in the -hole, and the opening is closed with glue and saw-dust -tinted with water color. The medium starts -the bit, so that there is no danger of the committee -boring the hole too low, or so high that it will -strike the chisel. When the nail is driven in, it -forces the chisel down and cuts the rope. The medium -may now ring bells, etc. After he is through -ringing the bells, he puts back the ends of the rope -in the post.</p> - -<p><span class="pagenum"><a id="Page_94">[94]</a></span></p> - -<div class="figcenter"> -<img src="images/i_p094.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 38.—The Trick Post.<br /> -<div class="fs90"> -<p>1. Lead weight with notch.</p> - -<p>2. Spring catch.</p> - -<p>3. Hole in catch by which cord is secured.</p> - -<p class="pad3 negin2">4. Roller over which cord, 5, runs; cord is attached at one end, 3, -to spring catch, and at other end at 6 to bolt in angle piece.</p></div> -</div></div> - -<p>There is another very good rope and mechanical -post test sometimes used by mediums. A post in an -upright position is securely fastened to the floor. In -the upper part of the post a hole is bored clear -through, to allow of two small ropes being passed -through the opening from side to side. The medium<span class="pagenum"><a id="Page_95">[95]</a></span> -passes the ropes through the post, then invites the -committee to tie his hands fast against the post, and -then to tie or nail the ends of the rope down on the -floor. All the usual manifestations take place. The -medium is also instantaneously released, and rope -and knots are found undisturbed. By glancing at -Fig. 38 the mystery will be cleared up. The -post is hollow, and carries a leaden or iron weight. -This weight has a horizontally extending passage to -correspond with the channel in the post. This weight -is held in the top part of the post by a catch, which -is released by a projecting bolt-head at the bottom -of the post. It will be remembered that the post is -made fast to the floor by screws passing through -angle irons fastened by bolts to the post. It is one -of these bolt-heads that releases the catch. At the -bottom of the post is another catch, which will also -hold the weight at the bottom. The one bolt will -release both catches. The medium runs the ropes -through the post, releases the catch, which allows -weight to drop, carrying ropes with it; and the -catch locks the weight at the bottom of the post. -They can now tie the medium. All he has to do is -to release the weight; he can then pull the rope up -and get as large a slack as he desires, allowing the -weight to drop back again. There is a chair—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<span class="pagenum"><a id="Page_96">[96]</a></span> -locked or released by the backward or forward -sliding of a portion of the chair-seat.</p> - -<p>A convincing trick often employed is the iron -ring test. The medium and investigator sit opposite -each other, clasping their hands. An iron -ring is now placed on the medium’s lap, and the -cabinet door is closed; in a few moments the door -is opened again, and the ring is found on the investigator’s -arm, although he has never released his -hold of the medium’s hand. The medium has concealed -in his coat sleeve a duplicate of the ring -used. When the cabinet door is closed, the medium -spreads his legs apart, allowing the ring to drop on -the seat of his chair, the bottom of which should be -of cane or of cloth, in order to avoid the noise due -to the dropping of the ring. He now replaces his -legs, and, of course, this ring is hidden merely by -his sitting on it. The ring in his sleeve he tosses -on to the skeptic’s arm, and, of course, without the -hands being unclasped.</p> - -<p>The handcuff trick is always a great favorite with -the medium. He has no objection to placing his -hands in any pair of handcuffs furnished by the audience. -A few moments after he has entered the -cabinet, he begins throwing out various articles of -clothing; but, on examination, the handcuffs are -found to be still on his wrists. It is impossible to -see how he could have taken off his coat. As a -final test the medium comes out of the cabinet holding -the handcuffs in his hand still locked. There -are only a few styles of handcuffs made, and all the -medium has to do is to secure the proper key for -each style. He conceals these keys on his person,<span class="pagenum"><a id="Page_97">[97]</a></span> -and by the aid of his fingers and teeth the proper -key can be fitted to the handcuffs. It is impossible, -with some types of handcuffs, to get the fingers to -the keyhole. If such a pair are placed on the performer, -and he cannot use his teeth to hold the key, -he slips the key into a convenient crack in the cabinet -or in the chair. The lock of the handcuffs being -forced on to the key, the handcuffs can then be -readily unlocked.</p> - -<p>The spirit collar is also a favorite instrument of -the medium. It consists of a brass collar which fits -closely about the performer’s neck. Through the -openings in the end of the collar, is placed a chain. -After the collar is on the performer’s neck, the chain -is placed around a post and carried back and -through the padlock used to lock the collar. By -this arrangement the performer is securely fastened -to a post; but after he is concealed by the use of any -convenient means, he suddenly appears before the -audience minus the collar, while the collar will be -found locked, as before. The trick depends for its -success on the series of bolts with which the collar -is studded. The bolts, with one exception, are all -false, being pieces of metal simply screwed into the -top and bottom of the collar, and not penetrating -through them. One bolt, however, passes through -the collar and engages the two parts thereof; the -parts terminate in a tongue which fits in the socket -in the other half of the collar. The bolt passes -through this tongue so accurately that there is no -danger of its being removed with the fingers. The -performer uses a small wrench to remove the bolt.</p> - -<p>There are numerous other devices, such as trick<span class="pagenum"><a id="Page_98">[98]</a></span> -bolts, which are inserted by a spectator through a -post and screwed up tight, the medium being fastened -to the bolt. He has simply to give the bolt -a half twist, usually toward the right, and the bolt -comes apart. The joint is invisible to the eye, and, -in fact, is made more so just before it is used each -time by being rubbed with sandpaper, which slightly -roughens the bolt, making the joint imperceptible -to the naked eye. There are staples, ordinary looking -staple-plates, which are apparently screwed fast -into the bench on which the medium is seated. The -hands of the medium are fastened to the staples by -wire. The staples are not fastened to the plates by -riveting them, as is ordinarily done, but are held by -a spring catch, concealed under the plate, and working -in a notch in the staple. This is released by the -medium’s pushing the catch back by the insertion of -a piece of clock spring between the staple plate -and the bench. After releasing himself he performs -the stereotyped manifestations, and at the finish has -simply to jam the staples back into their plate, whereupon -they are locked or held fast by the spring catch -or bolt. This was a device used by a Boston medium.</p> - -<p>There are also trick bags in which the medium is -bound up or tied. In one style of bag there is a -string running in the selvage, or turned-over portion -of the bag at the top. As the string is about to be -drawn taut the medium inserts one of his fingers -into a portion of this selvage not sewn, and pulls -down enough slack of the cord to allow him, after the -tying, either to place his arm through or to get out -entirely. Another style is this: The medium has a<span class="pagenum"><a id="Page_99">[99]</a></span> -round wooden plug, covered with cloth like the bag. -This he has concealed about him. As the mouth of -the bag is gathered together to tie the string, the -medium inserts this plug, and bag and plug are both -tied. After the tying he has simply to remove the -plug and he can then place his hand through and release -the cord, or shove it off the bag completely. -Still another way is to have a duplicate bag concealed -down one trousers leg and coming up at the -back of the neck under the coat, the mouth of the -bag being upward. When the medium gets in, his -manager or the director of the séance gathers the -mouth of the bag together, and, at the same time, -pulls the duplicate bag out from under the medium’s -coat. He pulls this up four or five inches higher than -the original bag and ties his handkerchief around -where the two bags are joined, so the trick will not -be detected. He then allows a committee to tie, and -even sew, the bag together—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.</p> - -<p><span class="pagenum"><a id="Page_100">[100]</a></span></p> - -<p>Mediums are great judges of human nature; they -know full well the usual action of the human mind, -the direction the thoughts are liable to travel in. -This is part of their stock-in-trade—to try to do -just such things as the handkerchief “dodge,” in -order to convince the skeptic of the truth of the -wonders witnessed.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_101">[101]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_VIII"></a><a href="#CONTENTS">CHAPTER VIII.</a><br /> - -<span class="smcap">Séances and Miscellaneous Spirit Tricks.</span></h2> - - -<p>A test which made the Eddy Brothers famous -was their “light” and “dark” séances. Horatio -Eddy gave what he termed a “light séance,” and -William was famous for the “dark séance.” Instead -of using a cabinet of wood, Horatio formed -one simply by stretching a couple of shawls or -curtains across a corner of the room, thus making a -triangular inclosure. A table containing the usual -musical instruments, bells, tambourine, guitar, etc., -is placed in this space. The medium sits on a chair -in front of this curtain, to the left hand side. Next -to him, on his right, sits a gentleman selected from -the audience, and to the right of this gentleman, a -lady similarly chosen. William Eddy now pins -across the breasts of the two gentlemen a third shawl, -attaching the ends to the curtain. (Fig. 39.) Previously -to this, however, Horatio has grasped with both -his hands the gentleman’s left arm; the lady is requested -to grasp the gentleman’s right arm. In this -position neither can make a movement but what one -of the others would be immediately cognizant of it. -Presently there is a commotion among the articles on -the table behind the screen; they appear floating -in the air above the top of the curtains, some coming -through and tapping the trio on the head. A hand -comes through the curtain and writes a message on -the slate held by William Eddy. Numerous other -tests are performed—all in subdued light, not darkness.<span class="pagenum"><a id="Page_102">[102]</a></span> -Now, to raise the veil from this mystery: In -grasping the left arm of the person in the center, the -medium first grasps the gentleman’s left arm with his,<span class="pagenum"><a id="Page_103">[103]</a></span> -the medium’s, left hand, fingers being spread apart as -far as possible. With this hand he presses quite -hard, and takes a light hold of the same arm, but -above the left hand. If the medium gently and carefully -removes the right hand, the action cannot, by -sense of touch, be detected. Sometimes, so as to enable -him to use both hands, another ruse is also employed. -A piece of heavy sheet lead is cut in the -shape of the medium’s hand. This is placed in his -left hand. With this hand he grasps the skeptic’s -arm. Being made of lead, the hand easily conforms -or bends to the shape of the arm, and, what is more, -if the real hand of the medium be quietly removed, -the leaden hand remains behind, giving the same sense -of touch as if the actual hand were there. (Fig. 40.) -Of course, with the hands free, the medium can -stealthily glide between the curtains, grasp and manipulate -the instruments, and throw them to the floor, -immediately replacing his hands gently.</p> - -<div class="figcenter"> -<img src="images/i_p102.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 39.—The Light Séance.</div> -</div> - -<div class="figcenter"> -<img src="images/i_p104.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 40.—The Mystery Explained.</div> -</div> - -<p>A rather clever test used in a dark séance, given by -Miss Annie Eva Fay, is one in which the hands are -not bound. Miss Fay made cotton, bandage and tape-ties -a success, and sometimes varied her séance -by not using a tie, but by continually clapping her -hands together during the darkness. She also had -her mouth filled with water. Nevertheless, the usual -manifestations occurred. The horn “tooted,” the -tambourine and guitar floated, bells rang, etc. The -dodge she employed was this: Instead of clapping -her hands together, she slapped one against her forehead, -which gave the same sound, and gave her one -hand at liberty. She also swallowed the water. She -was now at liberty to blow the horn, ring bells or<span class="pagenum"><a id="Page_104">[104]</a></span> -the like. When she was finished, she refilled her -mouth with water from a bottle concealed on her -person, and again resumed, clapping her hands together -instead of striking one hand against her forehead. -An investigator suspected the idea of the<span class="pagenum"><a id="Page_105">[105]</a></span> -water and once came prepared with a glass of milk, -which he requested the medium to use instead. She -consented. The horn tooted just the same, and -the medium’s mouth still contained the milk. She -had simply inserted the end of the horn in one of -her nostrils. Another time she merely emptied -the liquid into one of the hand bells on the table -and held it upside down in her lap. Still another -“wrinkle” is the use of a rubber ball with a hole in -it. This can readily be attached to the horn, and -squeezing the ball does the tooting.</p> - -<p>Dr. Henry Slade was, of course, identified and -recognized as the principal slate-writing medium, -but at various times he presented other phenomena, -one of which was the playing of an accordion -while held in one hand under the table. The accordion -was taken by him from the table with his -right hand, at the end containing the strap, the keys -or notes at the other end being away from him. He -thus held the accordion beneath the table, and his -left hand was laid on top of the table, where it was -always in plain view. Nevertheless, the accordion -was heard to give forth melodious tunes, and at the -conclusion was brought up on top of the table as -held originally; the whole dodge consisting in turning -the accordion end for end as it went under the -table. The strap end being now downward, and held -between the legs, the medium’s hand grasped the -keyboard end, and worked the bellows and keys, holding -the accordion firmly with the legs and working -the hand, not with an arm movement, but mostly by -a simple wrist movement. Of course, at the conclusion, -the hand grasped the accordion at the strap end,<span class="pagenum"><a id="Page_106">[106]</a></span> -and brought it up in this condition. Sometimes an -accordion is tied with strings and sealed so the bellows -cannot be worked. This is for the dark séance. -Even in this condition the accordion is played by -inserting a tube in the air-hole or valve and by the -medium’s using his lungs as bellows.</p> - -<p>In regard to dark séances and materializations, I -would state that they are so barefaced and bold it is -hardly worth while to worry about them. What -cannot be done in the dark? Spirit costumes, to be -donned later by the medium to impersonate people -from the other world, are concealed in strange places -under the very eyes of the investigators—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<span class="pagenum"><a id="Page_107">[107]</a></span> -doors are also sealed with court plaster across their -joints, and said court plaster sealed with sealing-wax. -The confederates are not obliged to push the -doors apart; they simply slide both at the same time -toward the side previously mentioned. This side -receives one door and a portion of the other, thus -leaving an opening for a person slyly to creep -through.</p> - -<p>Sometimes, in the circle of investigators, there -are five or six confederates. Three of these are -placed or seated together. Now, if all in the circle -join hands, it seems no one could assist the medium -without the fact being discovered; but in the center, -one of three confederates, sitting together, releases -the hands of his companions, and, in the dark, “cuts -up” all the tricks he wishes and returns to the circle -again, no one being any the wiser. Of course, if one -confederate were seated between two of the skeptics, -he would not dare let go his hands; but when a -friend is placed each side of him, it makes no difference. -A test often used, when everybody, medium -included, is sitting at a table, is the wire test. A -copper wire is threaded through the shirt sleeve of -every male member present, and through the sleeve -of the ladies’ dresses, the wire being fastened to the -table by staples. When the lights are put out, the -spirits “raise Cain” again. It is the medium again. -The wire did not go through his shirt sleeves, but -through two short extra shirt sleeves, or cuffs, which -he wears over the real sleeves. All he has to do is -to slip out of these, produce the manifestations, and -slip back into the cuffs again.</p> - -<div class="figleft"> -<img src="images/i_p108.jpg" width="250" alt="" /> -<div class="caption"> -Fig. 41.—Ground Plan<br /> -of Cabinet.</div> -</div> - -<p>A test that caused more talk and wonderment than<span class="pagenum"><a id="Page_108">[108]</a></span> -all the rest of the cabinet tricks combined is the chair -and net test. The medium enters a very small cabinet, -just large enough to contain him when sitting down -in a chair. The cabinet is closed by a single door, -locked with a padlock, the keyhole of which is -sealed; the door is also sealed all around the -edges. A fish-net so finely meshed that even -the finger of the medium could not be pushed -through, is now placed over this cabinet and tacked -to it all around the bottom. This miniature cabinet -is set in the cabinet proper, and a chair, with -the usual bell, tambourine, etc., placed beside it. -Doors are closed, and immediately the fun begins. -Bells, tambourine, and -horns all play together. -A sudden fall of the chair -and instruments is heard, -and the cabinet doors -being opened, everything -is found strewn -about; the smaller cabinet is, however, still found -as it was left, with the netting over it and seals -undisturbed. Again the large cabinet is closed, -and almost immediately it is opened from the inside, -and out walks the medium; and the netting -on the smaller cabinet is examined once more, and -likewise the padlock and seals, everything is found -intact. The whole trick depends upon the construction -of the smaller cabinet. Fig. 41 represents a -ground plan of the apparatus. The floor is not nailed -or fastened to the sides. There are four battens or -strengthening pieces, one in each corner of the cabinet, -running from top to bottom; these are securely<span class="pagenum"><a id="Page_109">[109]</a></span> -fastened to the floor, but not to the sides of the cabinet. -Over these battens is laid a strip of wood -that is really made fast to the cabinet. This leaves -in each corner a socket or pocket the height of the -cabinet, and in these work, telescopic fashion, the -four battens which are made fast to the bottom. -The bottom is set inside of the cabinet, not on the -outside. It is only tacked to the sides of the -bottom of cabinet. It will now be readily observed -that the medium has only to stand up in order -to raise the main part of the cabinet quite a height -above the bottom, as seen at Fig. 42. It is held in the<span class="pagenum"><a id="Page_110">[110]</a></span> -above position by a concealed catch. The medium -can now produce manifestations, and, as he is about -to drop the cabinet back into the bottom, he gives -the leg of the chair a jerk and over it goes, and down -drops the cabinet. There is also a catch that automatically -locks the bottom firm to the cabinet, so as -to allow inspection of the same.</p> - -<div class="figcenter"> -<img src="images/i_p109.jpg" width="250" alt="" /> -<div class="caption"> -Fig. 42.—The Trick Cabinet.</div> -</div> - -<p>The above manifestation was in use long before the -wire cage test, and is considered by some mediums -more convincing than the latter. While speaking -about the wire cage test, I may as well describe one -form of it. There are numerous makes, but the one -explained will serve as a sample of the rest. A cage -composed of uprights and cross-bars of iron is made -fast to an iron frame containing a small door through -which the medium enters. Sometimes the door is -done away with and the bottom of the cage is separated -from it. The medium sits on this bottom, and -the cage is lifted and placed over him. The bottom -and cage are padlocked together or bound with wires -and sealed.</p> - -<div class="figcenter"> -<img src="images/i_p111.jpg" width="300" alt="" /> -<div class="caption"> -Fig. 43.—The Wire Cage.</div> -</div> - -<p>No matter what method is used, the results are the -same; the medium can play the instruments or escape, -as he may see fit. The wire cage is, we shall -say, of a design similar to that shown in Fig. 43. -There is no door to it, and the cage being -secured by a wire bottom padlocked on or nailed -fast to the floor. A close inspection of Fig. 44 -will help to expose the fraud. The lower cross-bar -is not riveted through the frame at its end, but -ends square against it, and a false rivet head, having -no connection with it, is riveted on the frame -where this cross-bar is supposed to emerge. All of<span class="pagenum"><a id="Page_111">[111]</a></span> -the upright rods are made fast only to this cross-bar. -In the other cross-bars they simply go through holes, -not closely, but loosely, to ensure then to be -slid up and down. The tops of these rods are riveted, -but not made fast to the frame at the top. The -center rod is not made permanent in the lower cross-bar, -but is fastened so it can be turned around one way -or the other. Now, where all these rods are supposed -to come through the lower part of the iron frame are -rivet-heads representing the heads of the rods, should -they have come through. The bottom frame is drilled -half way through for the end of each rod to enter a<span class="pagenum"><a id="Page_112">[112]</a></span> -little, the middle rod is tapped with a thread like a -screw on its end, and its corresponding hole is also tapped. -It will now be seen why this rod was left to turn. -By pulling cross-bar down and then screwing this -middle rod tight, everything is solid; but unscrew the -rod and raise the cross-bar, and all the upright rods -will travel with it and the medium is at liberty. And -we have another spirit mystery laid bare. I could -describe numerous other tricks and devices of a like -nature, but a few are as good as a quantity; sufficient, -in fact, to place the investigator on his guard against -being duped by like contrivances.</p> - -<p><span class="pagenum"><a id="Page_113">[113]</a></span></p> - -<div class="figcenter"> -<img src="images/i_p112.jpg" width="300" alt="" /> -<div class="caption"> -Fig. 44.—The Cage Opened.</div> -</div> - -<p>I believe a few words in regard to spirit photography -will not be amiss. These are made or produced -in various ways: First, a glass with an image -on it of the desired spirit form could be placed in the -plate holder, in front of the sensitive plate, so that -the image on the glass would act on the sensitive -plate. The size and distinctness of the resulting -spirit form would vary according to the distance -between the two plates. Second, a figure -clothed in white can be introduced for a moment behind -the sitter and then be withdrawn before the sitting -is over, leaving a shadowy image on the plate. -Third, a microscopic picture of the spirit form can be -inserted in the camera box alongside of the lens, and -by a small magnifying lens its image can be thrown -on the sensitive plate with that of the sitter. This is -the trick used when the skeptic brings his own plate -for the negative. Fourth, a glass with the spirit -image can be placed behind the sensitive plate after -the sitting is completed, and afterward, by a feeble -light, the image can be impressed upon the plate -with that of the sitter. Fifth, the silver nitrate -bath could have a glass side, and the image impressed -by a secret light while the glass plate -apparently was being coated with the sensitive film. -Sixth, the spirit form can be printed first on the negative -and then the living sitter by a second printing, -or the spirit can be printed on the paper -and the sitter’s portrait printed over it. Seventh, -a sensitive plate can be prepared by what is known -as the dry process, the spirit form being impressed -on it; and then, at a subsequent time, the portrait of -the living sitter can be taken on this same plate, so<span class="pagenum"><a id="Page_114">[114]</a></span> -that the two will develop together. Eighth, take a -solution of sulphate of quinine and paint on the background -screen a picture of any one; when it dries it -is invisible to the naked eye. Still, when the picture -is taken, the painted picture is very plainly seen on -the glass negative. Ninth, small pictures are taken -on thin, transparent celluloid and fastened against the -front lens of the camera, and when the photograph is -taken the picture appears. Of course, the above are -by no means all the methods, but enough to illustrate -the possibilities of obtaining two pictures on the -same plate or at one sitting.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_115">[115]</a></span></p> -<p class="p4" /> - -<h2 class="no-brk"><a id="CHAPTER_IX"></a><a href="#CONTENTS">CHAPTER IX.</a><br /> - -<span class="smcap">Miscellaneous Tricks.</span></h2> - - -<h3>The “Magician’s Omelette.”</h3> - -<p>The magician has never proved himself an adept -at the art of cooking, from an epicure’s standpoint; -yet the ease with which he can bake cakes in borrowed -hats and cook omelettes in empty pans has -long been a source of wonder to the economical -housewife, as well as to the professional cook.</p> - -<p>To see the magician hold a small, shallow, empty -pan over the blaze of a spirit lamp for a few moments, -when an omelette, done to a turn, appears in -the pan and is cut up and distributed to the audience, -one is almost convinced that at least one person -has solved that most perplexing of all problems—how -to live without work.</p> - -<p>But has he solved it? No! my friend, no more -than you or I. He has merely deceived you; but -most cleverly, you must admit.</p> - -<p>The pan is without any preparation whatever; but -as much cannot be said of the wand, which he is continually -stirring around in the pan. This wand is -hollow, with an opening at one end only; and in the -wand, previous to the trick, of course, are placed the -properly seasoned ingredients of an omelette, after -which the end is closed with a metal plug that is -turned and enameled to correspond with the opposite -end of the wand.</p> - -<p>When the pan is being examined the performer is -holding the wand in his hand, and such an innocent-appearing<span class="pagenum"><a id="Page_116">[116]</a></span> -black stick is never suspected of being in -any way connected with the trick.</p> - -<p>Just before holding the pan over the lamp the performer -finds it a most easy matter to remove the -plug from the end of the wand, when, by holding the -wand by the closed end, he can empty the contents -into the pan in the mere act of passing the open end -of the wand around the inside of the pan. (Fig. 45.)</p> - -<div class="figcenter"> -<img src="images/i_p116.jpg" width="600" alt="" /> -<div class="caption"> -Fig. 45.—The “Magician’s Omelette.”</div> -</div> - -<p>The metal of which the pan is made being thin, -and there not being a great quantity of the omelette, -assisted by a large flame from the lamp, it only requires -a few moments to cook the omelette, when it -is turned out on a plate and carried down to the -audience.</p> - -<p>It is hardly necessary to say that when the cooked -omelette is carried down, the wand is left on the<span class="pagenum"><a id="Page_117">[117]</a></span> -stand, which prevents any inquisitive person asking -to see it.</p> - - -<h3>Spinning and Balancing Tricks.</h3> - -<p>The spinning handkerchief is a great favorite with -jugglers. A handkerchief is borrowed, thrown in -the air and caught on the end of a whirling stick held -by the juggler, when the handkerchief spreads out -to its full size and commences to spin around rapidly. -The secret is that in the end of the stick a needle is -inserted about one-quarter of an inch, leaving the<span class="pagenum"><a id="Page_118">[118]</a></span> -sharp end out. When the handkerchief is caught on -the end of the whirling stick the needle point passes -through it, thus preventing its falling off the stick, -which is rapidly whirled around, and the handkerchief -will spread out and spin about on the end of -the stick.</p> - -<div class="figcenter"> -<img src="images/i_p117.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 46.—The Spinning Handkerchief.</div> -</div> - -<p>Jugglers are very partial to tricks performed with -eggs, and spinning an egg on its smaller end is a -trick they are almost sure to perform. It is impossible -to spin a raw egg; so our juggler uses a hard-boiled -one, and spins it on its small end in a shallow -japanned tray. If the tray is kept gently moving in -a small circle in the opposite direction to that in -which the egg is spinning, the latter will continue to -spin as long as desired. (Fig. 47.)</p> - -<div class="figcenter"> -<img src="images/i_p118.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 47.—Spinning an Egg.</div> -</div> - -<p>The egg spinning trick is usually followed by a -balancing trick in which a playing card is balanced -upon a small wand, and an egg is then balanced on -a corner of the card. This trick usually calls forth<span class="pagenum"><a id="Page_119">[119]</a></span> -a great pretension of skill on the part of the performer, -when, in reality, no skill whatever is required.</p> - -<div class="figcenter"> -<img src="images/i_p119.jpg" width="600" alt="" /> -<div class="caption"> -Fig. 48.—Balancing Card and Egg on Wand.</div> -</div> - -<p>The wand is of ebony, or some dark wood, and -about three inches from one end is a small hole. -The egg is made of wood, painted white, and with a -small hole in one end. The card is composed of two -cards glued together, with a fine steel wire between -them, running diagonally from corner to corner of -the card, with the ends of the wire projecting about -a quarter of an inch. The prepared egg is on a plate -with several ordinary eggs, and the card is placed on -a pack of common cards. The wand is held in one -hand, the card taken in the other and apparently balanced -on one corner on the wand; but in reality the -wire point is placed in the hole in the wand. Now -the assistant passes the prepared egg to the juggler, -who carefully balances it upon the corner of the -card; that is, slips the hole in the end of the egg -over the wire point projecting from the card.</p> - -<p>A fitting finale to such a juggling act is that in -which a potato is placed on the hand of the assistant<span class="pagenum"><a id="Page_120">[120]</a></span> -and cut in two with a sharp sword, without leaving -any mark upon the skin. As a general thing, a second -potato is then cut upon the throat of the assistant. -This apparently marvelous mastery of the -sword always brings forth great applause.</p> - -<div class="figcenter"> -<img src="images/i_p120.jpg" width="600" alt="" /> -<div class="caption"> -Fig. 49.—Cutting a Potato on the Hand.</div> -</div> - -<p>Among the several medium-sized sound potatoes -on a tray are placed two potatoes prepared as follows: -Insert a needle crosswise of the potato near -the bottom. After showing the sword to be really -sharp, by cutting paper and slicing one or two of -the potatoes, the performer picks up one of the prepared -potatoes and places it on the assistant’s hand; -but apparently it does not lie to suit him, so he slices -off one side of it, using care to cut away the side just -under the needle and as close to it as possible, then -places the potato once again on the assistant’s hand. -After making a few flourishes with the sword, he -cuts through the potato, dividing it in half. (Fig. 49.)</p> - -<p>In striking the potato with the sword he makes -sure that the sword will come exactly crosswise on -the needle; consequently, when the sword reaches<span class="pagenum"><a id="Page_121">[121]</a></span> -the needle it can go no farther, and the brittle nature -of the potato will cause it to fall apart, the very thin -portion below the needle offering no resistance to the -separation. The second potato is then cut in the -same manner on the assistant’s neck. There are -many other false juggling tricks, but the above will -suffice to show that “there are tricks in all trades -but yours.”</p> - - -<h3>The Blindfolded Juggler.</h3> - -<p>While watching the clever manner in which a -good juggler passes various articles from hand to -hand, how many people ever give a thought to the -many hours of practice devoted to even the simplest -trick that he performs? To become even a -passable juggler, many weary months of constant -practice are necessary. There are tricks in all -trades, and some of the most successful entertainers -in this line can scarcely do a half dozen genuine feats -of juggling, yet they are great favorites with the public. -It has been truly said that “the tricks that require -the most practice are the least appreciated by -the average spectator.” It is our intention merely to -show how a simple trick has won fame for several -well-known jugglers.</p> - -<p>This is the trick of juggling blindfolded. An assistant -tightly binds a heavy handkerchief over the -juggler’s eyes, and then, to make sure that he cannot -see, there is placed over his head and shoulders a sort -of bag, made of heavy goods, which should exclude -all light, even if his eyes were not tightly bound with -the handkerchief. Regardless of this, the juggler -performs the usual passes with balls and knives. Yet,<span class="pagenum"><a id="Page_122">[122]</a></span> -when the bag is removed, the bandage over his eyes -is found undisturbed. (Fig. 50.)</p> - -<div class="figcenter"> -<img src="images/i_p122.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 50.—The Blindfolded Juggler.</div> -</div> - -<div class="figright"> -<img src="images/i_p123a.jpg" width="200" alt="" /> -<div class="caption"> -Fig. 51.—The Illusion -Explained.</div> -</div> - -<p>The explanation is simple. The bag is made of the -usual coarse bagging, and a few threads are pulled -out of the part that will come in front of the juggler’s -face when the bag is over his head, thus allowing<span class="pagenum"><a id="Page_123">[123]</a></span> -him to see between the remaining threads as though -looking through a coarse screen. (Fig. 51.)</p> - -<p>When the bag is being placed over his head, and -during the seeming effort of -passing the arms through the -armholes in the bag, the performer -or assistant has no -trouble in pushing the handkerchief -up from the eyes to -the forehead, thus allowing -him to see through the open -work of the bag. In removing -the bag after the act, -there is no trouble in pulling the handkerchief down -over the eyes.</p> - - -<h3>The Chinese Rods and Cords.</h3> - -<p>Nothing excites curiosity in the public mind more -than a simple and clever puzzle, and the “Fifteen -Puzzle” and “Pigs in Clover” have given enjoyment -to hundreds of thousands. The Chinese rods<span class="pagenum"><a id="Page_124">[124]</a></span> -and cords, which forms the subject of our engravings, -is in the line of ingenious inventions, and is -really more in the nature of a trick than a toy. (Fig. -52.)</p> - -<div class="figcenter"> -<img src="images/i_p123b.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 52.—Chinese Rods and Cords.</div> -</div> - -<div class="figright"> -<img src="images/i_p125.jpg" width="200" alt="" /> -<div class="caption"> -Fig. 53.—The Illusion<br /> -Explained.</div> -</div> - -<p>It is of Chinese origin, and the example shown in -our engraving was purchased in Chinatown, San -Francisco, Cal. The puzzle consists of eight pieces -of bamboo or hollow ivory tubes, each containing -seven holes spaced equidistantly. Through these -holes are seen to pass seven silken cords, each with a -bead at the top and a tassel at the bottom. The toy -is held by the loop at the top, which serves to hold -the upper rod. When it is first picked up, its condition -is shown in our first engraving at the left. -There are seven of the rods at the top and one at -the bottom. Now the lower bar of the upper set is -moved down to the bar at the bottom; the two lower -bars will appear to be supported by three cords at -the center, as shown in our engraving, four of the -cords having vanished. If the next bar is brought -down, another change is observed, only the two -outer cords being seen. This is shown to the right -of our engraving. If the next bar is brought down, -the end cords have approached the center, and five -of the seven cords have vanished. The next rod -brought down brings five cords into view, the two -end ones and the center one being visible. When -the next bar is pulled down, the center and the outer -cords only remain; so that, if all the bars between -the top and bottom bars are brought together, -the seven cords appear to pass entirely through -them. Fig. 53 gives a clew to the mystery. The -rods are all hollow, and each contains seven holes;<span class="pagenum"><a id="Page_125">[125]</a></span> -and our engraving shows the course of the silk -cords. It will be noticed that where a number of -cords pass through a single -hole, the strand which -is formed is much thicker -than are the single cords; -as they are of different -colors, the effect is most -pleasing. It will be observed -that the strings go -clear through the top bar; -but in the next bar, although -they enter the seven holes -at the top, they emerge -from three holes at the bottom, -three of the strands -going through the center -hole and two through each -of the end holes, and so on -throughout the entire number -of bars, the strings -changing their course, as -is clearly shown in our engraving, -thus causing the -increase and decrease in -their number.</p> - - -<h3>The “Surprise” Pen.</h3> - -<p>Our engraving shows a very clever trick pen -which would tend to create great surprise among the -uninitiated. Let us suppose that a gentleman is -seated at his desk and is busily writing when a neighbor<span class="pagenum"><a id="Page_126">[126]</a></span> -comes in, and he jokingly challenges the latter -to try and forge his signature. He hands the -pen to his friend, who attempts to write. Immediately -there is an explosion, and the paper receives a<span class="pagenum"><a id="Page_127">[127]</a></span> -big ink blot. The writer is apt to be surprised by -the report, which is like a pistol shot, and, if a timid -person, is apt to be frightened. The noise comes -from the pen itself, as it is so constructed that it can -be loaded and shot off at will. The person in the -secret can handle the pen with safety, but the poor -unfortunate will experience a rather unexpected -shock to his nerves when he attempts to write with it.</p> - -<div class="figcenter"> -<img src="images/i_p126.jpg" width="600" alt="" /> -<div class="caption"> -Fig. 54.—The “Surprise” Pen.</div> -</div> - -<p>The upper part of the penholder, into which an -ordinary writing pen is thrust, works on a pivot -about half way down its length. This separate part -is provided with only one-half a bottom, in order that -it may engage the conical head of a piston rod, which -ends in a plunger, which sets off the cap secured in -the bottom of the penholder. The normal position -of the plunger is against the cap of the holder; but -it can be raised by means of a projecting pin riveted -to the rod and passing through a slot cut in the side -of the lower part of the holder. Now, the closed -half of the bottom of the pivoted end enters a notch -caused by the conical head of the plunger; and the -plunger, with its spring, is cocked, as it were, by -means of the projecting pin, and is held in place by -the bottom of the pivoted section. When the pen is -pressed to the paper the pivoted section swings on -the pivot, releasing the plunger, which is forced down -on the explosive cap by the spring.</p> - -<p>The lower end of the penholder is threaded, so that -it can secure the end cap firmly in place. The explosive -cap is put in the end cap, and it is screwed on -the bottom of the holder. Ordinary paper caps for -children’s pistols are used. As long as the plunger -simply rests on the cap there is no danger of an explosion;<span class="pagenum"><a id="Page_128">[128]</a></span> -but, just before the joker wishes to give his -friend a scare, he cocks it by pushing the plunger up -with the pin, until the pivoted top engages it.</p> - - -<h3>The “Miraculous Wineglasses.”</h3> - -<p>As a rule, magicians are very generous fellows, -always ready to give their audiences something, -such as coins and handkerchiefs, but, just when one -thinks they have the gift safely in their grasp, it -mysteriously vanishes. However, there are a few<span class="pagenum"><a id="Page_129">[129]</a></span> -exceptions to this rule, one of whom is a very popular -English performer.</p> - -<div class="figcenter"> -<img src="images/i_p128.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 55.—The “Miraculous Wineglass.”</div> -</div> - -<div class="figright"> -<img src="images/i_p129.jpg" width="200" alt="" /> -<div class="caption"> -Fig. 56.—The Glass<br /> -Covered with Rubber.</div> -</div> - -<p>This magician goes among the audience and borrows -a gentleman’s <ins class="corr" title="Transcriber's Note—Original text: 'handerchief, and'">handkerchief, and</ins> immediately -produces from it a glass filled with sherry. This he -offers to the ladies, then, -shaking the handkerchief, -he produces a second glass -full of port for the gentlemen, -next one of ginger -beer for the younger members, -and one of milk for -the very young, but there -being present one or two -teetotalers, he next produces -a glass of water, and -lastly a glass of stout for himself. All of these are -pronounced by the audience to be excellent.</p> - -<p>The glasses are of the small stem wineglass pattern. -On both sides of the magician’s coat, inside, -of course, are large pockets, and in each pocket is -placed in a prearranged form three of the glasses. -To prevent a possible spilling of their contents (and, -as each glass is filled to the brim, this would be very -difficult), there is fastened over the mouth of each -glass a thin soft rubber cap or cover, as shown in the -small engraving.</p> - -<p>To produce the glass, the performer spreads the -borrowed handkerchief, which should be a large one, -over his breast in such a manner that one hand is -concealed under it; and with this hand he reaches in -the pocket and brings forth the proper glass, removing -the rubber cover and leaving it in the pocket.<span class="pagenum"><a id="Page_130">[130]</a></span> -This move is repeated until all the glasses have been -brought out. After producing three of the glasses -with, say, the left hand, he must spread the handkerchief -so as to cover the right hand, leaving the -left one free to manipulate the handkerchief, as it -would be most awkward to try and produce the -glasses from both sides of the coat with the same -hand.</p> - -<div class="figcenter"> -<img src="images/i_p130.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 57.—The Miraculous Wine Bottle.</div> -</div> - -<p>This trick is a most effective one, as the spectators -cannot understand how it would be possible for the -performer to conceal a glass filled to the brim, as -these are, about his person.</p> - -<p>After distributing the glasses, and offering an<span class="pagenum"><a id="Page_131">[131]</a></span> -apology for his inability to treat all present, he pretends -to overhear a remark that his audience is not -satisfied, and that many think they have been slighted. -He states that he will endeavor to comply with the -demands of his thirsty audience, and retires to fetch -a bottle. Off the stage he removes his coat and -places under his right arm a rubber bag filled with -wine. To the bag is attached a rubber pipe with a -small metal point, which pipe he holds next to his -right arm and replaces his coat, leaving the metal -end just within the cuff.</p> - -<div class="figcenter"> -<img src="images/i_p131.jpg" width="450" alt="" /> -<div class="caption"> -Fig. 58.—The Miraculous Wine Bottle.</div> -</div> - -<p>The bottle has a small hole in the side, near the -bottom, of such a size as to fit the metal point on the<span class="pagenum"><a id="Page_132">[132]</a></span> -rubber pipe. In rinsing the bottle the performer -keeps one finger over the hole, thus preventing the -audience discovering that the bottle differs from an -ordinary one. In rinsing the bottle the outside has -become wet, and in drying it with a cloth the performer -places the metal point on the rubber pipe in -the hole in the side of the bottle, thus making connections -with the bag of wine. By holding the bottle -well down toward the neck, and close to his -wrist, he can venture among the audience without -fear of detection.</p> - -<p>By pressing the right arm against his side the bag -is compressed, forcing the wine through the pipe -into the bottle.</p> - -<p>The glasses are of special make and of very thick -glass, making quite a bulky appearance, but of very -limited capacity. An assistant carries a tray containing -one hundred of the glasses.</p> - - -<h3>The “Mysterious Vase.”</h3> - -<p>Tricks performed with ink and water have always -been favorites with magicians, and they have devised -means of keeping this trick fully abreast of the times, -thus retaining its popularity. The manner of performing -the latest ink trick involves such novel -principles as to puzzle even those who are well posted -on modern magic. The “Mysterious Vase” has been -presented by but few prestidigitateurs, and the secret -so well guarded that comparatively few people know -how it is done. (Fig. 59.)</p> - -<div class="figcenter"> -<img src="images/i_p133.jpg" width="300" alt="" /> -<div class="caption"> -Fig. 59.—The “Mysterious Vase.”</div> -</div> - -<p>The attention of the audience is called to a glass -vase that is filled with water which is resting on a -light stand. This vase resembles a large octagon<span class="pagenum"><a id="Page_133">[133]</a></span> -celery glass. In the vase there are a few cut -flowers, which the performer removes as he calls -attention to the vase and the clear water it contains. -The flowers are given to the ladies in the audience, -as they have no further connection with the trick.</p> - -<p>A lady’s handkerchief is borrowed and the vase<span class="pagenum"><a id="Page_134">[134]</a></span> -covered with it for a moment. On removing the -handkerchief, the water that was seen in the vase -appears to have changed to ink. While this rapid -transformation is very startling, yet the most marvelous -part of the trick is to come. The magician -bares his forearm, that the audience may see that his<span class="pagenum"><a id="Page_135">[135]</a></span> -sleeves have no connection with the trick, and then -proceeds to remove from the ink in the vase six silk -handkerchiefs and two lighted candles, each article -being perfectly dry.</p> - -<div class="figcenter"> -<img src="images/i_p134.jpg" width="350" alt="" /> -<div class="caption"> -Fig. 60.—The Illusion Explained.</div> -</div> - -<p>The means by which this seeming impossibility is -performed are as simple as the trick is mysterious, -as the following will show. In the center of the -vase, reaching from side to side and from the bottom -to within a half inch of the top, is a piece of polished -mirror. The side edges of the mirror rest in -the angles of the vase, and as the vase is only seen -from the front, the edges are not seen. The front -half of the vase being reflected in the mirror leaves -the impression that one is looking directly through -the vase, when in reality you only see one-half of the -inside. (Fig. 60.)</p> - -<p>To the back of this mirror is attached a watertight -tin box, in which are placed six small silk handkerchiefs -and two candles. The exterior of the box and -back of the mirror are painted a dead black color. -Enough water is poured into the vase to reach the -top edge of the mirror. In the water is dissolved a -small portion of iron protosulphate. A few cut -flowers are placed in the vase, which is then placed -on the stand with the mirror side to the audience, -and the candles lighted.</p> - -<p>After the flowers are removed and a handkerchief -borrowed, the magician secures possession of and -palms between his fingers a small lozenge made of -pyrogallic acid, which he drops in the water in front -of the mirror in the act of covering the vase with -the handkerchief. In a very few moments the lozenge -dissolves, and the pyrogallic acid of which it is<span class="pagenum"><a id="Page_136">[136]</a></span> -composed causes the water, which holds in solution -the iron protosulphate, to change to a good black -ink.</p> - -<p>On removing the handkerchief with which the -vase was covered, ink is seen to have taken the -place of the water, and from the center of the vase -the performer removes the silk handkerchiefs and -candles.</p> - -<p>Our first engraving shows the vase of water on -the stand; the second shows the vase after the water -has changed to ink, with the magician removing one -of the silk handkerchiefs. The third illustration -represents the vase with one side broken away, -showing attached to the back of the mirror the tin -receptacle that contains the handkerchiefs and candles.</p> - - -<h3>The “Mermaid’s Head.”</h3> - -<p>M. Alber, the prestidigitateur, describes in <cite lang="fr" xml:lang="fr">La -Nature</cite> a variant of a trick which, although old in -principle, has recently been brought out in a new and -attractive form.</p> - -<p>Upon a light tripod placed in an alcove or recess -hung with some sort of a red fabric, such as cotton -velvet, stands an aquarium in which gold fish are -observed swimming about, and in the center of which -is seen a living female head that moves, smiles, and -seems to be absolutely at its ease, although deprived -of a body and immersed in water. A reference to the -figure will show how the apparatus is arranged.</p> - -<p>The tripod consists of three gilded copper rods -fixed at the bottom to a triangular platform and supporting<span class="pagenum"><a id="Page_137">[137]</a></span> -at the top another platform of nickel-plated -metal. At their point of union the three rods, which -are firmly brazed to each other, seem to be united by -a simple ribbon tied with a bow knot.</p> - -<p><span class="pagenum"><a id="Page_138">[138]</a></span></p><div class="figcenter"> -<img src="images/i_p137.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 61.—The “Mermaid’s Head.”</div> -</div> - -<p>From the base to the ribbon there is an empty -space, but above the latter there are fixed between -the rods three triangular glass mirrors backed with -thin and resistant steel plate. The nickel-plated top -is movable. Previous to the entrance of the spectators, -the woman whose head is to appear, places herself -between the mirrors, crosses her legs and rests -upon her heels. It is impossible for the apparatus to -topple over, since it is firmly screwed to the floor. -The nickel-plated top, which is in two pieces, embraces -the neck so closely, when put in place, that -the joint can scarcely be seen at a short distance. -Since the mirrors reflect the floor, which is covered -like the walls, it seems as if it were the back of the -alcove that is visible between the rods at the upper -part; and the entire apparatus appears to be absolutely -open.</p> - -<p>As for the aquarium trick, that is simple. The -aquarium is an adaptation of one that has long been -found in the market, and in which are perceived -birds that seem to be flying about in the water amid -fishes.</p> - -<p>The crystal glass aquarium, which is manufactured -especially for the purpose, consists of two receptacles. -The central one of these is open at the bottom -to receive the head, while the outer one is open -at the top and contains the water and fishes. As the -glass is exceedingly transparent, it is almost impossible -to detect the empty space in the center.</p> - -<p>The aquarium is placed upon four small nickel-plated -supports that permit of the introduction of -air into the internal receptacle. The position of the -decapitated woman is an exceedingly cramped one,<span class="pagenum"><a id="Page_139">[139]</a></span> -and it is therefore necessary for her to make her exit -from the tripod between each exhibition in order to -take a well-earned rest.</p> - - -<h3>“Card Cricket.”</h3> - -<p>One of the most effective and pretty tricks performed -by the celebrated English magician Mr. -Devant is known as “Card Cricket.” In this trick -the performer shows his hands empty, and takes a -pack of cards and requests three ladies to take one -card each, and to remember what the cards are. -The cards are then replaced in the pack, which is -well shuffled and cut by one of the audience. The -performer then passes for inspection an ordinary -cricket bat, which, on its return, he places on a table -in full sight of all. He then asks if any one in the -audience can bowl, and requests the gentleman who -can, to come and have a game of cricket.</p> - -<p>The performer now asks the gentleman to take -the pack of cards and bowl at him, and he will be -the player or one at the wicket. The performer -picks up the bat and says “Play.” The cards are -bowled at him, and he hits the pack with the bat as -the cards are in the air, and, to the astonishment of -the audience, the chosen cards are seen sticking to -the bat. This very pretty card trick is quite simple -to work.</p> - -<div class="figcenter"> -<img src="images/i_p140.jpg" width="350" alt="" /> -<div class="caption"> -Fig. 62.—“Card Cricket.”</div> -</div> - -<p>In selecting the cards the ladies were under the -impression that they exercised their own free will, -but such was not the case. The pack of cards was -what is known to magicians as a forcing pack, that -is, consisting of only three cards, which, for convenience<span class="pagenum"><a id="Page_140">[140]</a></span> -sake, we will say are the ace of clubs, five -of hearts, and nine of spades, one-third of the pack -being composed of only one of these cards. The -pack being thus made up, it is very easy for a skillful -performer to present to the first lady the portion -of the pack containing only ace of clubs, to the second<span class="pagenum"><a id="Page_141">[141]</a></span> -lady the part consisting solely of five of hearts, -and to the third lady the part that contains only nine -of spades. By using such a forcing pack the performer -is sure to have the proper cards selected. -While the ladies are examining their cards the performer -steps to his table on some pretense and slyly -changes the forcing pack for an ordinary one consisting<span class="pagenum"><a id="Page_142">[142]</a></span> -of the usual cards, with the exception of the -five of hearts, ace of clubs, and nine of spades. This -pack he hands to some member of the audience and -requests them to have replaced the selected cards -and shuffled.</p> - -<div class="figcenter"> -<img src="images/i_p141.jpg" width="350" alt="" /> -<div class="caption"> -Fig. 63.—“Card Cricket.”</div> -</div> - -<p>The cricket bat is an ordinary one, which, after -being examined by the audience, is laid on a table -until the performer finds a gentleman who will bowl -the pack at him.</p> - -<p>In this simple act of laying the bat on the table we -find the principal secret of the trick.</p> - -<p>Previous to beginning the performance the magician -has placed face down on the table, in a line with -each other, an ace of clubs, five of hearts, and nine -of spades. The back of each of these cards is lined -with cloth similar to the covering of the table, thus -preventing any one noticing the cards when placed -face down on the table. On the cloth covering of -each of the cards is smeared a dab of soft adhesive -wax. In placing the bat on the table, care is taken -to lay it directly over the three cards, the wax on the -backs adhering tightly to the bat.</p> - -<p>After the gentleman who has consented to bowl -the pack of cards at the performer is in place, the -performer picks up the bat, steps back a few feet, -and says “Play.” The instant the flying cards touch -the bat the performer turns it over, bringing into -view the side of the bat to which the three cards are -sticking, which appear to have been caught on the -bat from the flying cards.</p> - -<p>Until the pack of cards are thrown against the -bat, the magician exercises the greatest care not to -turn the side of the bat to which the cards are sticking<span class="pagenum"><a id="Page_143">[143]</a></span> -toward the spectators. Properly presented, this -trick has proved most illusive.</p> - - -<h3>“Cupid Lighter than a Butterfly.”</h3> - -<p>The pleasing trick which forms the subject of our -engravings owes its success to the ingenious application -of mechanical principles. The magician presents -for inspection to the audience a large pair of -balance scales. The audience is allowed to examine -the various parts of the balance before it is erected -on the stage. It consists of a central column and a -beam resting on a knife-edge, and two pans suspended -by cords or chains. After the column has been put -in position, the beam is put on and a pin inserted, -thus making a center for the beam to work on. A -gentleman is asked to stand in one of the scale pans, -and then weights are gradually placed in the other -pan until his exact weight is ascertained. The -weights are removed, and the gentleman steps down -off the stage. The audience is now convinced that -the scale is to all intents and purposes like the ordinary -balance which is so much used in groceries -for weighing tea, coffee, etc., although, of course, -in the present instance, it is built on a mammoth -scale.</p> - -<div class="figcenter"> -<img src="images/i_p144.jpg" width="500" alt="" /> -<div class="caption"> -Fig. 64.—“Cupid Lighter than a Butterfly.”</div> -</div> - -<p>The magician now goes on to say that he will prove -the old assertion that “love is lighter than a butterfly” -to be absolutely true. He introduces a little -boy dressed as Cupid, with wings and a bow and -a quiver of arrows. When the child steps on the -scale pan, it immediately sinks to the floor by his<span class="pagenum"><a id="Page_144">[144]</a></span> -weight. The conjurer now takes a butterfly, and, -asking all to direct their attention to the scale, drops -it on the opposite pan, which immediately descends -to the floor, at the same time raising the pan with -the Cupid high in the air. If he takes the butterfly<span class="pagenum"><a id="Page_145">[145]</a></span> -off, the Cupid descends, and every time the prestidigitateur -replaces the butterfly, Cupid is raised off -the floor.</p> - -<div class="figcenter"> -<img src="images/i_p145.jpg" width="400" alt="" /> -<div class="caption"> -Fig. 65.—The Illusion Explained.</div> -</div> - -<p>The trick depends for success upon a carefully -devised and concealed mechanism. The balance -beam is devoid of any preparation, but the mechanism<span class="pagenum"><a id="Page_146">[146]</a></span> -is cleverly concealed in the column, and motion -is imparted to the beam by means of a shaft and -bevel gears. The hole in the beam is not perfectly -round; it is slightly oval, but not enough so to be -easily seen by a casual glance. The pin is also oval, -instead of round, and it is made to fit tightly. It -will be seen that, when this pin is rocked or tilted, -the beam is moved, carrying one scale pan up and -the other down. The top of the column is of considerable -size, and one side of it is cut away to admit -of a bevel gear, which also has an oval hole the -same as the beam. When the balance is put together -and the beam is placed in position, the oval pin passes -through the bevel gear and the beam, forming a horizontal -shaft. This vertical wheel meshes with a -horizontal gear wheel, which is also secured in the -head of the pedestal. A shaft runs through it to the -space below the floor, where it terminates in a lever -secured at right angles. The magician’s assistant, -under the stage, grasps the lever, and, pulling it back -and forth, transmits a seesaw motion to the beam -through the medium of the shaft, the two bevel gears, -and the oval pin.</p> - -<p>The trick depends very largely for success upon -the apparent willingness of the prestidigitateur to -allow all parts of the apparatus to be examined, -and, as the gear wheels are very cleverly concealed, -there is almost no chance of the trick being discovered.</p> - - - <div class="chapter"></div> -<hr class="chap" /> -<p><span class="pagenum"><a id="Page_147">[147]</a></span></p> -<p class="p2" /> - -<h2 class="no-brk fs150"><a id="INDEX">INDEX.</a></h2> -<hr class="r10" /> - - -<div class="fs90"> -<table border="0" cellpadding="4" cellspacing="0" width="70%" summary=""> -<tr><td class="tdl"></td><td class="tdr fs70">PAGE</td></tr> -<tr><td class="tdl">Bags, trick,</td><td class="tdr"><a href="#Page_98">98</a></td></tr> -<tr><td class="tdl">Balance illusion,</td><td class="tdr"><a href="#Page_143">143</a></td></tr> -<tr><td class="tdl">Balancing tricks,</td><td class="tdr"><a href="#Page_117">117</a></td></tr> -<tr><td class="tdl">Bandage test,</td><td class="tdr"><a href="#Page_86">86</a></td></tr> -<tr><td class="tdl">Blindfolded juggler,</td><td class="tdr"><a href="#Page_121">121</a></td></tr> -<tr><td class="tdl">Blotter trick,</td><td class="tdr"><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl">Bottle, miraculous,</td><td class="tdr"><a href="#Page_130">130</a></td></tr> -<tr><td class="tdl">Cabinet test,</td><td class="tdr"><a href="#Page_108">108</a></td></tr> -<tr><td class="tdl">Cabinet, the trick,</td><td class="tdr"><a href="#Page_109">109</a></td></tr> -<tr><td class="tdl">Card balancing,</td><td class="tdr"><a href="#Page_119">119</a></td></tr> -<tr><td class="tdl">Carpet, slitted,</td><td class="tdr"><a href="#Page_29">29</a></td></tr> -<tr><td class="tdl">Chair and net test,</td><td class="tdr"><a href="#Page_108">108</a></td></tr> -<tr><td class="tdl">Chalk, writing on,</td><td class="tdr"><a href="#Page_60">60</a></td></tr> -<tr><td class="tdl">Chalks, writing with colored,</td><td class="tdr"><a href="#Page_36">36</a></td></tr> -<tr><td class="tdl">Confederates,</td><td class="tdr"><a href="#Page_107">107</a></td></tr> -<tr><td class="tdl">Cricket, card,</td><td class="tdr"><a href="#Page_139">139</a></td></tr> -<tr><td class="tdl">Cuff, leather,</td><td class="tdr"><a href="#Page_73">73</a></td></tr> -<tr><td class="tdl">Cupid lighter than a butterfly,</td><td class="tdr"><a href="#Page_143">143</a></td></tr> -<tr><td class="tdl">Davenport tie,</td><td class="tdr"><a href="#Page_88">88</a></td></tr> -<tr><td class="tdl">Double slate,</td><td class="tdr"><a href="#Page_32">32-41</a></td></tr> -<tr><td class="tdl">Eddy Brothers, séances,</td><td class="tdr"><a href="#Page_101">101</a></td></tr> -<tr><td class="tdl">Egg glass, use of,</td><td class="tdr"><a href="#Page_55">55</a></td></tr> -<tr><td class="tdl">Eggs, spinning,</td><td class="tdr"><a href="#Page_118">118</a></td></tr> -<tr><td class="tdl">Fay’s séances,</td><td class="tdr"><a href="#Page_103">103</a></td></tr> -<tr><td class="tdl">Finger, prepared,</td><td class="tdr"><a href="#Page_19">19</a></td></tr> -<tr><td class="tdl">Flap, false,</td><td class="tdr"><a href="#Page_21">21-38</a></td></tr> -<tr><td class="tdl">Flap, interrupted,</td><td class="tdr"><a href="#Page_48">48</a></td></tr> -<tr><td class="tdl">Fly, educated,</td><td class="tdr"><a href="#Page_62">62</a></td></tr> -<tr><td class="tdl">Folding slate,</td><td class="tdr"><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl">Hands, holding,</td><td class="tdr"><a href="#Page_28">28</a></td></tr> -<tr><td class="tdl">Handcuff test,</td><td class="tdr"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl">Head, mermaid’s,</td><td class="tdr"><a href="#Page_136">136</a></td></tr> -<tr><td class="tdl">Hinges, false,</td><td class="tdr"><a href="#Page_39">39</a></td></tr> -<tr><td class="tdl">Hook for table raising,</td><td class="tdr"><a href="#Page_74">74</a></td></tr> -<tr><td class="tdl">Inks, sympathetic,</td><td class="tdr"><a href="#Page_11">11-17</a></td></tr> -<tr><td class="tdl">Interrupted flap,</td><td class="tdr"><a href="#Page_48">48</a></td></tr> -<tr><td class="tdl">Juggler, blindfolded,</td><td class="tdr"><a href="#Page_121">121</a></td></tr> -<tr><td class="tdl">Light séances,</td><td class="tdr"><a href="#Page_101">101</a></td></tr> -<tr><td class="tdl">Loop, double,</td><td class="tdr"><a href="#Page_92">92</a></td></tr> -<tr><td class="tdl">Magician’s omelette,</td><td class="tdr"><a href="#Page_115">115</a></td></tr> -<tr><td class="tdl">Magnetic writing,</td><td class="tdr"><a href="#Page_34">34</a></td></tr> -<tr><td class="tdl">Mind reading and kindred phenomena,</td><td class="tdr"><a href="#Page_51">51-71</a></td></tr> -<tr><td class="tdl">Mirrors, reading writing by,</td><td class="tdr"><a href="#Page_47">47</a></td></tr> -<tr><td class="tdl">Miscellaneous slate tests,</td><td class="tdr"><a href="#Page_41">41-51</a></td></tr> -<tr><td class="tdl">Miscellaneous tricks,</td><td class="tdr"><a href="#Page_115">115-146</a></td></tr> -<tr><td class="tdl">Omelette, magician’s,</td><td class="tdr"><a href="#Page_115">115</a></td></tr> -<tr><td class="tdl">Pad, transferring to,</td><td class="tdr"><a href="#Page_20">20</a></td></tr> -<tr><td class="tdl">Pen, surprise,</td><td class="tdr"><a href="#Page_125">125</a></td></tr> -<tr><td class="tdl">Pencil carrier, thumb,</td><td class="tdr"><a href="#Page_52">52</a></td></tr> -<tr><td class="tdl">Pencil, silver nitrate,</td><td class="tdr"><a href="#Page_44">44</a></td></tr> -<tr><td class="tdl">Pencil thimble,</td><td class="tdr"><a href="#Page_18">18</a></td></tr> -<tr><td class="tdl">Photography, spirit,</td><td class="tdr"><a href="#Page_113">113</a></td></tr> -<tr><td class="tdl">Pistol loaded with chalk,</td><td class="tdr"><a href="#Page_41">41</a></td></tr> -<tr><td class="tdl">Post tests, etc,</td><td class="tdr"><a href="#Page_93"><ins class="corr" title="Transcriber's Note—Original text: '93-1 0'">93-100</ins></a></td></tr> -<tr><td class="tdl">Post test, mechanical,</td><td class="tdr"><a href="#Page_94">94</a></td></tr> -<tr><td class="tdl">Post test, ordinary,</td><td class="tdr"><a href="#Page_93">93</a></td></tr> -<tr><td class="tdl">Potato cutting,</td><td class="tdr"><a href="#Page_120">120</a></td></tr> -<tr><td class="tdl">Raps, spirit,</td><td class="tdr"><a href="#Page_81">81</a></td></tr> -<tr><td class="tdl">Ring test,</td><td class="tdr"><a href="#Page_96">96</a></td></tr> -<tr><td class="tdl">Rods and cords, Chinese,</td><td class="tdr"><a href="#Page_123">123</a></td></tr> -<tr><td class="tdl">Rope test,</td><td class="tdr"><a href="#Page_82">82</a></td></tr> -<tr><td class="tdl">Séance, spiritualistic,</td><td class="tdr"><a href="#Page_76">76</a></td></tr> -<tr><td class="tdl">Séances,</td><td class="tdr"><a href="#Page_101">101-114</a></td></tr> -<tr><td class="tdl">Silica slate,</td><td class="tdr"><a href="#Page_6">6</a></td></tr> -<tr><td class="tdl">Silk flap,</td><td class="tdr"><a href="#Page_5">5</a></td></tr> -<tr><td class="tdl">Silver nitrate pencil,</td><td class="tdr"><a href="#Page_44">44</a></td></tr> -<tr><td class="tdl">Single slate,</td><td class="tdr"><a href="#Page_3">3-32</a></td></tr> -<tr><td class="tdl">Slade, Dr.,</td><td class="tdr"><a href="#Page_105">105</a></td></tr> -<tr><td class="tdl">Slate, double,</td><td class="tdr"><a href="#Page_32">32-41</a></td></tr> -<tr><td class="tdl">Slates exchanged,</td><td class="tdr"><a href="#Page_30">30</a></td></tr> -<tr><td class="tdl">Slate, folding,</td><td class="tdr"><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl">Slate writing on china,</td><td class="tdr"><a href="#Page_8">8</a></td></tr> -<tr><td class="tdl">Slates, locked,</td><td class="tdr"><a href="#Page_36">36</a></td></tr> -<tr><td class="tdl">Slate tests, multiple,</td><td class="tdr"><a href="#Page_38">38</a></td></tr> -<tr><td class="tdl">Slates, padlocked,</td><td class="tdr"><a href="#Page_32"><ins class="corr" title="Transcriber's Note—Original text: '3'">32</ins></a></td></tr> -<tr><td class="tdl">Slates, pivot,</td><td class="tdr"><a href="#Page_26">26</a></td></tr> -<tr><td class="tdl">Slates, riveted,</td><td class="tdr"><a href="#Page_24">24</a></td></tr> -<tr><td class="tdl">Slates, screwed,</td><td class="tdr"><a href="#Page_24">24</a></td></tr> -<tr><td class="tdl">Slates, scaled,</td><td class="tdr"><a href="#Page_34">34</a></td></tr> -<tr><td class="tdl">Slates, sliding,</td><td class="tdr"><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl">Slates, tied,</td><td class="tdr"><a href="#Page_22">22</a></td></tr> -<tr><td class="tdl"><span class="pagenum"><a id="Page_148">[148]</a></span> - Slates, transferring,</td><td class="tdr"><a href="#Page_37">37</a></td></tr> -<tr><td class="tdl">Slates, wedging,</td><td class="tdr"><a href="#Page_24">24</a></td></tr> -<tr><td class="tdl">Slates with false hinges,</td><td class="tdr"><a href="#Page_39">39</a></td></tr> -<tr><td class="tdl">Sliding slates,</td><td class="tdr"><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl">Spinning tricks,</td><td class="tdr"><a href="#Page_117">117</a></td></tr> -<tr><td class="tdl">Spirit collar,</td><td class="tdr"><a href="#Page_97">97</a></td></tr> -<tr><td class="tdl">Stencil, wood,</td><td class="tdr"><a href="#Page_42">42</a></td></tr> -<tr><td class="tdl">Sucker for table lifting,</td><td class="tdr"><a href="#Page_72">72</a></td></tr> -<tr><td class="tdl">Sympathetic ink writing,</td><td class="tdr"><a href="#Page_9">9</a></td></tr> -<tr><td class="tdl">Table, false,</td><td class="tdr"><a href="#Page_10">10</a></td></tr> -<tr><td class="tdl">Table lifting and spirit rapping,</td><td class="tdr"><a href="#Page_71">71-82</a></td></tr> -<tr><td class="tdl">Table, traps in,</td><td class="tdr"><a href="#Page_25">25</a>, <a href="#Page_26">26</a></td></tr> -<tr><td class="tdl">Table trick,</td><td class="tdr"><a href="#Page_47">47</a></td></tr> -<tr><td class="tdl">Telegraph,</td><td class="tdr"><a href="#Page_77">77</a></td></tr> -<tr><td class="tdl">Telegraph, foot,</td><td class="tdr"><a href="#Page_66">66</a></td></tr> -<tr><td class="tdl">Telegraph head,</td><td class="tdr"><a href="#Page_68">68</a></td></tr> -<tr><td class="tdl">Thimble key,</td><td class="tdr"><a href="#Page_36">36</a></td></tr> -<tr><td class="tdl">Thimble pencil,</td><td class="tdr"><a href="#Page_18">18</a></td></tr> -<tr><td class="tdl">Thumb pencil carrier,</td><td class="tdr"><a href="#Page_52">52</a></td></tr> -<tr><td class="tdl">Tie, Davenport,</td><td class="tdr"><a href="#Page_88">88</a></td></tr> -<tr><td class="tdl">Ties, rope,</td><td class="tdr"><a href="#Page_85">85</a></td></tr> -<tr><td class="tdl">Ties, spiritualistic,</td><td class="tdr"><a href="#Page_82">82-92</a></td></tr> -<tr><td class="tdl">Toes, writing with the,</td><td class="tdr"><a href="#Page_45">45</a></td></tr> -<tr><td class="tdl">Traps,</td><td class="tdr"><a href="#Page_106">106</a></td></tr> -<tr><td class="tdl">Tube, speaking,</td><td class="tdr"><a href="#Page_67">67</a></td></tr> -<tr><td class="tdl">Vase, miraculous,</td><td class="tdr"><a href="#Page_132">132</a></td></tr> -<tr><td class="tdl">Wine glass, miraculous,</td><td class="tdr"><a href="#Page_128">128</a></td></tr> -<tr><td class="tdl">Wire cage test,</td><td class="tdr"><a href="#Page_110">110</a></td></tr> -<tr><td class="tdl">Wire, cloth,</td><td class="tdr"><a href="#Page_61">61</a></td></tr> -<tr><td class="tdl">Writing, reading concealed,</td><td class="tdr"><a href="#Page_51">51-58</a></td></tr> -</table></div> - - - <div class="chapter"></div> -<hr class="fulla" /> - - -<p class="pfs240">MAGIC</p> - -<p class="pfs135">Stage Illusions and Scientific Diversions, -Including Trick Photography.</p> - -<p class="p1 pfs100 bold">BY A. A. HOPKINS.</p> - -<p class="p1 pfs70">With an Introduction by H. R. EVANS.</p> - -<p class="pfs120 wsp">568 pages. 420 illustrations. Price, $2.50 postpaid.</p> - - -<p class="p1" /> -<div class="figleft"> -<img src="images/i_p149.jpg" width="150" alt="" /> -</div> - -<p class="fs90">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.</p> - -<p class="fs90">Acknowledged by the profession to be -the</p> - -<p class="clear pfs180 lsp1">Standard Work on Magic</p> - -<p class="negin3"><span class="fs150">☞</span>Circular of Contents and sample illustrations with -testimonials from W. E. Robinson, M. Trewey, W. 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