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HERMAN PINETTI + BRIDGEPORT, CONN. + + BEING A COMPLETE DESCRIPTION OF MANY OF + THE LATEST EFFECTS IN MECHANICAL MAGIC, + TOGETHER WITH SECRETS AND EXPLANATIONS OF + HOW MANY OF THE PERFORMANCES IN SECOND + SIGHT AND MIND-READING ARE PERFORMED. + + + + + COPYRIGHT 1905 + BY + THE DUNHAM PRESS + BRIDGEPORT, CONN. + + + + +CONTENTS + + + Chapter 1. Cabinet Tricks, 7 + + Chapter 2. Table Lifting, 14 + + Chapter 3. The Floating Girl, 18 + + Chapter 4. Second Sight and Kindred Phenomena, 24 + + Chapter 5. Parlor Amusements, 48 + + + + +PREFACE. + + +The author in presenting this little volume does so with the intention +of assisting his readers to solve some of the mysteries and illusions +that are performed on the public stage to-day by conjurors and +so-called spiritualists, and also with the hope of dispelling the +idea that these mysteries are accomplished by occult or supernatural +methods, which belief is growing to quite an extent in this country. + +The author has made a very careful study of the many illusions both in +magic and in spiritualism, and of the transmission of thought, which +is known by a great many different names, and in this little volume +he intends to show how these illusions may be performed by purely +mechanical means. It should be borne in mind, however, that it is not +so much the apparatus employed as it is the shrewd, ever-observing +methods employed by the performers, who are very sharp, keen men. +The devices employed by the performers are so numerous that it is +impossible to say just what methods they will use next. As soon as +one method is exposed they immediately begin to plan, and evolve an +entirely different method of performing the same illusion. The great +success of the magician is in disarming the suspicions of the skeptic, +and this is accomplished by leading him to think a certain method is +employed when he is really using another. + +The author merely offers some solutions and points out certain +fundamental principles which are usually employed, and which he thinks +will assist his readers in solving these mysteries for themselves. +No literary merit or perfection of style is attempted in this little +volume for it is written in every-day language, but I hope it may prove +of interest and value to my readers. + + DR. HERMAN PINETTI. + + + + +CHAPTER I. + +CABINET TRICKS. + + +Cabinet tricks have always been a great stand-by for performers in +spiritualism. A committee from the audience is usually chosen, and +after tying the performer securely to a chair or board or in some other +way binding him very securely, he is then placed in a cabinet, the +curtains drawn, and immediately manifestations take place, such as the +ringing of bells, the banging of tambourines and playing of guitars. + +I will now explain three of the latest and best cabinet tricks which I +know. The first is known as the “Mahatma Miracles,” and the effect of +same is as follows:— + +A cabinet with a translucent gauze opening in the front curtain stands +on the stage and is freely inspected by a committee to see that there +are no double backs, sides or tops. The medium then takes a seat in +the cabinet and passes his or her hands through two apertures in the +sides of the cabinet, where they are tied with ribbons and the ribbons +held on the outside of the cabinet by the committee. The curtains are +now closed, but due to the translucent gauze opening in the front of +the curtain the medium’s head and shoulders are seen by all. In spite +of this, however, bells are rung, tambourines played, a glass of water +is raised to the medium’s mouth, a newspaper which is placed on the +floor of the cabinet is cut into beautiful designs, and many other +manifestations take place. + +The secret of this trick lies in the cabinet. It is an ordinary cloth +one, with a raised platform about four feet square. The front curtain, +as above mentioned, has a gauze opening about eighteen inches in +diameter, and the two side curtains have openings large enough to allow +the medium to pass his hands through. The legs of the cabinet are about +six inches high and five inches in diameter. The secret of this cabinet +lies in one of the front legs, which is hollow. The floor of the +cabinet is laid off in squares so that one of the squares comes over +the hollow leg and acts as a trap. A strong screw-eye is screwed in the +under side of the trap and a rope attached to same. This rope passes +down through a hole in the floor to an assistant underneath the stage, +who holds the trap down while the committee inspects the cabinet. + +The medium takes his seat on a chair in the cabinet, and passes one +hand through each aperture in the sides, where they are securely +fastened with ribbons or ropes, the ends of which are held by the +committee. The curtains are now closed and the tests occur. The +assistant under the stage works everything by pushing his hand and +arm up through the hollow leg. He is thus able to ring the bells and +play the musical instruments which are placed on the floor. In the +glass-of-water test the assistant has a stuffed glove, with wires +running up each finger, which is painted flesh color, and is fastened +to a stick. He bends the wire fingers of this glove around the glass +of water and pushes same up to the medium’s mouth. In regard to the +paper test. An ordinary newspaper is placed on the floor of the cabinet +with a pair of scissors. The assistant promptly draws this paper +down through the hole in the floor and places another paper, cut into +beautiful designs, on the floor of the cabinet, where it is found +when the curtain is drawn aside. Many other tests can be performed, +all of which I think will now be clear. It is needless to say that +the assistant must always pull the trap down and hold it tightly by +the rope after each test so the committee can discover nothing upon +examining the cabinet. The medium gives the assistant a signal when to +open the trap by tapping his foot on the trap. The cloth of the cabinet +should be of some dark material. + +The spiritualistic post test is the next which I will describe. In the +most common form it consists of a post of pine wood two and a half feet +long. This is given to the committee, one of whose members bores a +hole through it, near its upper edge, and then passes an ordinary rope +through the hole. A knot is then tied in the rope on each side of the +post. The knots are pressed against the sides of the post to prevent +the rope from being pulled through the hole. The ends of the rope are +now unravelled, and the post is fastened to the floor with spikes. The +medium takes a seat behind the post and his hands are securely tied to +the post with the unravelled ends of the rope. Small pieces of court +plaster are pasted over the knots so as to prevent him from slipping +his hands from the fastenings. A nail is driven into the top of the +post and a rope is secured to it. This second rope is held by the +committee. A screen is now placed around the medium. Bells are rung, +etc., showing that the medium has the use of his hands. + +The secret of this trick consists in boring a hole in the center of +the end of the post. A chisel is then inserted in the hole and the +opening closed with glue and sawdust colored with paint. In boring +the hole through the post 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 the top of the post +it forces the chisel down and cuts the rope. The medium may now ring +bells, etc. After the medium is through he puts the rope ends back in +the hole in the post and holds his hands very tightly against the post +while the knots are inspected by the committee. + +I will now explain what is known as the cotton bandage test, which +is usually used by female mediums. A male performer, as a rule, uses +rope or wire. In this experiment the committee is chosen from the +audience and furnished by the performer with pieces of cotton cloth +about an inch and a half wide and three feet long. One of these +cotton strips is tied securely around each wrist of the medium, the +performer instructing them to tie a number of good hard knots. As an +extra precaution, a needle and thread is now furnished and a number of +stitches are made above the knots to prevent them from getting untied. +Strips of court plaster are also fastened over the bandages on wrists +to prevent them from being slipped off the hands. The medium now places +her hands behind her, and the ends of the strips from each wrist are +now tied together by a number of good hard knots by the committee. What +ends are left are evenly cut off near the knots. Another strip of cloth +is now produced and one of the committee ties this strip around the +knots between her wrists, leaving the ends of about equal length. The +medium now takes her seat on a small stool with her back toward a ring +in a board which has been fastened to the floor. One end of the last +strip is passed through the ring and several knots are tied. Another +strip is produced and tied around the medium’s neck and then tacked +against the upright board. Two more strips are now used, tying one +around each arm above the elbow, and the ends of same are also tacked +to the board. The committee having done all this work themselves are +thoroughly satisfied as to its genuineness. As an extra precaution, to +show that the medium does not use her limbs in any way, a cord is tied +around both feet, an end of which is held by a member of the committee. + +A cabinet is now placed over the medium, and no sooner is the curtain +closed than the usual manifestations take place, such as the ringing +of bells, tooting of horns, banging of tambourines, driving of nails, +etc., etc. Each time the curtain is opened the medium is seen with +her hands apparently securely tied as before. Finally a pocket knife +is placed in her lap, the curtain is closed for a few seconds, and +soon the medium comes forth with her bonds cut, but only the wrists +separated. This is supposed to be done by the spirits. Now, I will +explain this mystery. + +In a convenient pocket in the back of the medium’s dress or in her belt +she has slipped a small sharp open knife, with which she cuts through +the bands between her wrists. She is able to do this as her hands are +not tied absolutely tight together, because in tying the bandages +around the wrists the performer instructs the committee to tie a number +of good hard knots, and furthermore to sew the bandages together about +two inches above these knots. These knots are also tied on the inside +of wrists or above the palms of the hands. It will be readily seen +that when the loose ends are tied together there is a three or four +inch space between her hands, so it is not at all difficult for her to +cut herself free. She cuts the bandage which connects her wrists close +to the band which fastens her to the ring and slips this bandage off, +leaving it whole and still tied to the ring, and now has the free use +of both hands, and as the strips tied around her arms were tied above +her elbows she has full use of her forearms, and is thus able to raise +a glass of water to her mouth, tie knots in a handkerchief around her +neck and drive nails into a chair. She makes what manifestations she +chooses, and by placing her wrists one on each side of the ring and +clasping her hands together, pressing all tightly together, she is +ready for examination. The ring being wound with cotton cloth the same +as used in the bandages the committee cannot see that anything has been +changed, and, being a little ill at ease upon a public stage, they +are ready to say that she is bound without making the most thorough +examination possible. Another thing to notice is that she is finally +cut free. The reason of this is that if the investigators were to +release her they would discover the secret. + +This cotton bandage test is also performed in a little different +manner, in which the medium is not cut free at all. In this case, when +she places her hands behind her, she rests one hand on each hip so +that her hands are about nine inches apart, and then has the committee +tie the four ends together and then fasten her as in former case. +She is now able by reaching with her left hand in back of her as far +as possible to slip her right hand into her lap and get hold of what +musical instruments are placed there. At first thought this may seem +impossible, but with a little practice and some contortion on the part +of the performer it is quite easy to perform the trick in this manner. + + + + +CHAPTER II. + +TABLE LIFTING. + + +Most spiritualistic performers usually perform a test of table +lifting or of floating tables. 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, projecting above +the table about a quarter of an inch. There is a good-sized head to +this pin. The performer wears a ring with a slot in it. The body of +the pin easily enters the slot in the ring, but the head of the pin +being of good size 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. +This trick may be performed when the table is covered with a borrowed +silk handkerchief, as the handkerchief, being of fine, soft texture, +does not prevent the pin slipping into the slot cut into the ring. This +addition makes the trick a little more effective. + +There is also another method employed of raising a table which has been +examined beforehand by a committee, who also examine the performer’s +hands to see that there is no sticky substance on them. In this method, +instead of having a slot cut into the ring, a strong needle point is +soldered to the outside of the ring and at a slight angle to it. This +ring is placed upon the performer’s hand so that the point is sticking +toward the tips of his fingers. The ring may be turned upon his finger +so that the point can be concealed between the fingers when his hands +are being examined. When he performs this trick he merely turns the +point around to the inside of his hand, and the top of the table being +of some soft texture, such as cardboard or wood covered with felt, he +is able to push this needle point well into the top of the table, and +is thus able to raise it without trouble. + +Small, light tables are sometimes floated in the air with the performer +holding his hand well above the table and not touching it at all. This +is easily accomplished by having two strings running from one side of +the stage to the other worked by assistants. They merely raise these +strings from the floor so they come underneath the table, when by a +little effort they are able to raise the table completely off the floor. + + +THE OBEDIENT HANDKERCHIEF. + +This little trick is usually performed in connection with some other +handkerchief trick or with some act in hypnotism. + +The performer having borrowed a handkerchief from some one in the +audience for some trick, before returning same to the owner states +that he is going to try and make the handkerchief stand alone. He ties +a knot in one corner of the handkerchief, rubs it between his hands, +“to endow it with magnetism,” and then places same on the floor. At +his command the handkerchief rises or falls, it dances to music, and +altogether acts in a very strange manner. He now picks the handkerchief +up and carries it forward to its owner. + +There are several methods of performing this little experiment, and, +while not much of a trick in itself, if well presented it is very +interesting. The old method used to be of having a string extending +from the floor to the ceiling and thence passing over a small pulley to +the back or side of the stage. On the end of the string on the stage +was a small bent pin or a pellet of wax. The performer when tying the +knot in the handkerchief stuck the pin in the corner of same or stuck +the wax to the handkerchief, whichever method was used. His assistant +from the side of the stage was now able to operate the handkerchief. +This was somewhat of a clumsy method, as it took a little dexterity to +release the handkerchief from the string after the performance. The +method now usually employed, and on which the details are worked out +with care, is to have a fine black string passing from one side of the +stage to the other. The performer has an assistant at both sides. When +he is to perform this trick they raise the string to the height of his +hands, and in tying the knot in the handkerchief he ties it loosely +around the string. He now drops it to the floor, and at his command the +assistants are able to raise the handkerchief and make it move forward +and backward in a very mystifying manner. To heighten the effect +the performer passes a chair or a tambourine over the handkerchief, +thus showing that there is no connection made from above, which is +the method usually supposed to be employed. Now, when he returns the +handkerchief one assistant drops his end of the string and the other +holds his firmly, and the performer walking down to the front of the +stage with the handkerchief, the string is drawn through the knot. + +Another method of fastening the string to the handkerchief may be +employed where the performer is able to carry the handkerchief to the +side of the stage before performing the experiment. In this case he +passes a needle to which is attached a thread through a corner of the +handkerchief, and then walks to the other side of the stage, where he +gives one assistant an end of the string, the other end being held by +the assistant on the first side. + +There is also another method of performing this, in which the performer +passes a solid hoop completely over and around the handkerchief while +it is suspended in the air This little contrivance, being one of my +own, consists of a fine piece of wire made on the same plan as the +apparatus used in suspending a woman in mid-air, which I will explain +in the next chapter. + + + + +CHAPTER III. + +THE FLOATING GIRL. + + +The following illusion is usually performed in connection with an act +of hypnotism, and is very sensational and mystifying. The effect is +as follows:—On the stage is a long, narrow couch with back and ends, +usually upholstered in some dark material. The legs of the couch are +about twelve inches high, and the audience are able to see plainly +underneath the couch. The performer introduces a young lady, and +apparently hypnotizes her. She then lies down upon this couch and +the performer continues to make more passes over her, arranges the +draperies of her dress, and sometimes covers her with a small shawl. +He then takes a position in back of the couch directly over her and +continues his hypnotic passes. To the wonderment of all, she is seen to +rise slowly from the couch to a considerable height. The couch is now +removed by two assistants, and she is apparently suspended in mid-air. +To disprove the agency of any mechanical appliance the performer now +has brought to him a solid wooden hoop, which he passes completely +over, in back, and again over the suspended girl. His two assistants +then bring back the couch, and she slowly sinks back upon the seat of +same. The performer now rouses her from her hypnotic sleep, she rises, +bows to the audience and retires. + +I will now explain how this illusion is usually performed. It can +only be performed on a theatre stage or where there is plenty of room +underneath, as this is where the working of the trick takes place. +There is a false seat to the couch, which consists of a board from four +and a half to five feet long and from six to eight inches wide. This +board is upholstered in the same material as the couch, and when laying +on the seat of the couch cannot be noticed. There is a small slot cut +in the back of the couch in the very center, from the top down to the +seat. This slot is hidden by the upholstery so it cannot be noticed by +the audience. + +[Illustration: floating girl platform] + +I will now call attention to the accompanying cut, by the aid of which +I can better explain this illusion. “A-B” is the board or false seat +which I have described. In this diagram we are supposed to be looking +directly down upon it. At “G” there is firmly connected to this board +a heavy metal coil, as illustrated in the cut. This coil consists of +three metal bars, numbered, respectively, “1, 2 and 3.” This entire +apparatus is in the same horizontal plane as the board “A-B.” The +connection “G” is made through the slot in the back of the couch of +which I spoke, and the back of the couch extends between rod “No. 1” +and the board “A-B,” running out considerably beyond the ends of this +board. It will now be seen if this metal coil is raised upward it will +carry with it the board “A-B.” At “F” there is a small stud, connected +to metal coil either by welding or having the bar bent over. This +little stud is of triangular shape and several inches long, and is at +right angles to the metal coil and perpendicular to the floor. The +smaller cut “F” at the right will make this plain to the reader. + +This stud “F” fits firmly into a bar having a triangular opening at +its end. This bar is pushed up through a small trap in the stage from +underneath same. This bar is free to move up and down, but otherwise is +firmly secured underneath stage. Underneath it is a strong screw-jack, +which is capable of raising the complete apparatus above, even with the +additional weight of the young lady reclining on the board “A-B.” The +performer, after the young lady lies down on the seat of the couch, +in reality on the board “A-B,” walks around in back of the couch and +stands close up to bar “No. 3” with his right leg in the space “H.” +The stud “F” is thus in back of his right leg. The small trap in the +floor is now opened and the bar is pushed up in back of the performer’s +leg and connected with the stud “F.” The bar being painted black would +not be noticeable against the performer’s black trousers and shoes +should it come into view. It is, in fact, hidden from view by the +performer’s right leg. All the performer has now to do is to remain +in this position, and heighten the effect by his spectacular play, +such as hypnotic passes directed toward the young lady. His assistants +underneath the stage merely raise the young lady by screwing up the +jack, or raising her by whatever appliance may be used. When she comes +to a position above the top of the couch the couch may be removed by +two assistants of the performer. Of course, it will be understood that +the dress and draperies of the girl will completely hide the board and +the apparatus in back of same. + +Now, for passing the solid wooden hoop over the suspended girl. To do +this the performer takes the hoop in his left hand, passes it over the +end marked “A” of the board and down between rods “No. 1” and “No. 2,” +the hoop assuming the position of that in the diagram marked “D.” It is +now carried forward by the performer’s right hand and off at the end +of board “B.” The hoop is now turned around and assumes the position +“C.” The whole hoop is now passed in back of the girl, running between +rods “No. 2” and “No. 3.” When it reaches the end of the board “A” it +is again passed over the girl and board and assumes the position marked +“E.” It may now be completely withdrawn from off of the end marked “B.” +The performer may now reverse the motion of the hoop by starting it at +“B” if he chooses. + +The foregoing is somewhat difficult to explain, but if the reader will +bend a piece of wire into the shape as above and take a small ring and +follow these directions he will see how this is accomplished. + +The position which the legs of the couch occupy are marked off on +the floor, so that when the couch is returned it will be in the same +position as at first, and thus the little bar “G” slips through the +slot in back of couch when the girl is again lowered. This slot may be +cut diagonally through back and then cannot be seen. When the board +“A-B” comes to rest on the seat of couch the bar which passes up +through the hole in the floor is now withdrawn through the floor and +the trap closed. The performer then walks around to the front of the +couch and apparently awakens his subject. + +Some performers have a different connection with the rod from under the +floor, having a thread cut on the end which screws into the coil at +“F.” This may be a more secure fastening, but it takes longer to insert +and remove. + +I wish to call attention to the fact that this little diagram, which is +made very roughly, is not drawn to scale, being more to illustrate the +course of the hoop than for any other purpose. The small semi-circular +space “H” has a diameter of about a foot, and the performer stands in +this, the semi-circular hoop encircling his leg. The apparatus may +be raised up as high as performer’s waist or even higher, and the +hoop will then be encircling his body, while the rod connected to “F” +running through the floor will be hidden by the performer. + +This illusion was first performed by having the girl lie on a couch +or upon a board supported by two wooden horses, quite close to the +rear curtain of the stage, and instead of having the connection made +underneath the floor a rod was passed through a slot in the back +curtain which connected to the metal coil. The end of the rod in back +of the curtain was firmly fitted into a heavy block which slid up +and down in a perpendicular frame. This block, by means of ropes and +pulleys, could be raised or lowered by the assistants in back of stage. +Without a doubt, however, the method of performing this illusion now, +where the performer stands over the girl in the center or even in the +front part of stage, is very much better and more mystifying in every +way. + + + + +CHAPTER IV. + +SECOND SIGHT AND KINDRED PHENOMENA. + + +As far back in history as one cares to go he will find mention of +magicians and the works of magic which they performed. Even before the +building of the Pyramids in Egypt magic was a reputed art. + +We read in the Bible of Aaron casting down his rod before Pharaoh and +his servants and its becoming a serpent. The magicians of Egypt then +being summoned by Pharaoh did likewise with their enchantments, turning +their rods into serpents. (Exodus, Chapter seven, Verses ten and +eleven.) + +Magic was greatly in vogue in the middle ages, and we read weird tales +of ghosts and gnomes in literature of that time. + +One of the earliest of the necromancers of whom we read was Joseph +Balsamo, known as Count Cagliostro. He married a very beautiful girl at +Rome, who proved of great assistance to him in his impostures, and with +her and a retinue of servants traveled all over Europe and scattered +money right and left. He, however, reaped an abundant harvest by his +impostures. He was very cordially received wherever he went, and was +believed in by serious-minded and educated men. In Paris he became +involved in some affair and was thrown into Bastille. Though eventually +liberated, he was compelled to leave Paris. Cagliostro was the last +to win any great fame as a pretender to occultism, although there +was a feeble attempt to revive thaumaturgy in the nineteenth century +by Madame Blavatsky. Science, however, has laughed away sorcery and +witchcraft. + +In London, 1784, we read of Chevalier and Madame Pinetti, and his +wonderful experiments of new discovery. We read of Madame Pinetti being +seated in one of the front boxes of the theatre, blind-folded, and +guessing at everything imagined and proposed to her by any person in +the company. Here we have the first mention of the second sight trick +which, in the hands of latter-day artists, has become so popular. +Houdin rediscovered it, passed it on to Robert Heller, who improved it, +and at the present day Keller and others make it a feature of their +performances. + +Heller’s performance was very remarkable and mystified the people for +years, even after his death; in fact, until Mr. Fred Hunt, Jr., who was +Heller’s assistant for many years, made an _exposé_ for the “London +Times.” + +Heller used to perform with his sister, Haidee Heller. She was +introduced to the audience blind-folded and seated upon the stage. +Heller would then go among the audience and receive from them various +articles, which Miss Heller accurately described. Heller’s method +consisted of a very elaborate code of words, which system he so +simplified as to embrace every variety of article, classified in sets. +One question with a word or two added sufficed to give the desired +information to his sister, who had a thorough knowledge of the code, +and she could at once describe any desired article. + +Heller also had a silent method of performing these tricks, in which +he did not speak a word, and this effect puzzled every one. It was +accomplished by means of electricity. A confederate sat among the +spectators, near the center aisle of the theatre, and the wires of an +electric battery connected with his chair, a small push button being +under front part of seat. The wires ran from the confederate’s chair +to the floor and under the carpet and underneath the stage, then up +to the floor of the stage, and connected to a small metal plate. The +chair on which Miss Heller sat had two little pins in one leg, and +these were placed upon the metal plate in the floor. In the chair was +a little mechanical contrivance connected with wires which ran through +the woodwork and down through the leg of the chair, and connected to +the two little pins before mentioned. When the chair was placed on the +plate the connection was made, and when the button was pressed by the +confederate the little contrivance used made a slight tapping upon +the chair which could be heard or easily felt by Miss Heller. In this +manner the code used by them could be telegraphed by the assistant. +Heller would bring the article to be described down near where the +assistant sat so that he could see it, and he would then telegraph in +their code a description of what the article might be to Miss Heller, +who sat blind-folded on the stage, and she, to the wonderment of all, +would accurately describe the article. + +This method of telegraphing information to an assistant has been used +by later performers in a slightly different manner. The assistant +is concealed at the side of stage where he can see the audience +and performer. The medium is blind-folded, and a committee of +gentlemen come upon the stage and write numbers on a blackboard. The +blind-folded medium adds or subtracts, and tells whatever figure is +pointed to by any one in the committee; also tells the value of cards, +and gives other tests in numbers. + +The assistant at side of the stage can see all numbers on the +blackboard and can also see the cards. He communicates the answer to +the blind-folded medium by pulling a little string which runs under the +stage and which causes a little metal rod to come up through a small +hole in the stage floor. The medium sits with her foot directly over +this small hole, and also has a hole about one inch in diameter cut +in the sole of her shoe. Now, when the string is pulled the small rod +presses against the medium’s foot, and when the string is released the +rod, which is fastened to a spring or stout elastic band, again recedes +into the floor. + +Suppose the sum of several columns of figures on the blackboard is +5037. The assistant at the side of stage quickly adds them up himself, +and then pulls the string seven times, and the medium calls out in slow +tones, as if under great mental pressure, (not foot pressure) “Put down +number seven.” The assistant now pulls the cord three times and pauses. +“The next figure is number three,” says the medium. To telegraph the +cipher the assistant now gives a long steady pull. The medium now calls +for cipher, and then on receiving five pulls calls out the last number +five. She is thus able to tell any number pointed to by any one. When +vacant space is pointed to the assistant does not pull the string, and, +there being a long pause, the medium knows that no figure is being +pointed to, and says: “You are not pointing to any figure.” The signal +to stop is a series of two pulls in rapid succession. + +It sometimes happens that the assistant cannot see what number is +required, say, for instance, the number on a watch or the date on a +coin. In this case the performer communicates with the assistant by +sign language, and the assistant now telegraphs the desired number or +numbers to the medium. The signs may be gotten up as in the following +table: + + Closing right hand, sign for number 1. + Frowning, sign for number 2. + Smiling, sign for number 3. + Right hand on hip, sign for number 4. + Raising eyebrows, sign for number 5. + Rubbing chin, sign for number 6. + Drawing mouth to right, sign for number 7. + Rubbing ear, sign for number 8. + Hand to brow, sign for number 9. + Looking to floor, sign for 0. + +A great many signs can be used, and most performers have their own. +The telegraphic method is very good for tests in numbers, but for +the communication of words or questions is too slow, and it is also +difficult for medium to get the question, if it be a long one, as she +cannot write it down, and, therefore, this method is not often used in +anything but number tests. + +Some of the performers in magic around the country are now giving very +mysterious exhibitions in thought transmission. Notably among these are +the Baldwins, known as the “White Mahatmas,” and the Fays in their act +called “Thaumaturgy.” Their performances are remarkable, and I will now +describe the effect, and offer some solutions to the mystery. I do not +say that the methods I suggest are the only ones used, for there are so +many methods that it would be impossible to describe them all. I will +merely tell the principal methods employed for producing these effects +by purely mechanical means. Now, for a description of the tricks +performed by some of the present conjurors. + +The performer announces that his assistant, who is usually a woman, +and whom I choose to call a medium in the following description, will +read and answer questions written by the people in the audience, which +they may have written at home on their own paper or at the theatre. He +instructs them to write a short question and sign their name if they +wish an answer, then to fold the question up and place same in their +pocket or pocketbook. For the convenience of those who have not written +their questions at home the performer and the ushers distribute slips +of paper and pencils among the audience. They also pass out pieces of +millboard to act as a rest on which to write the question. They (the +performer and ushers) disclaim any preparation of these millboards +and they are only passed out to obviate the inconvenience of writing +on the knee. A number of these boards are torn in two and given to +the audience to examine, and keep as souvenirs, if they so wish. This +is done to show that there is no preparation about the boards. After +the questions are written the boards are brought back by the ushers +and laid upon the stage in view of all. A little vaudeville show +now usually takes place, which occupies a half-hour or so, the star +performance or that of thought transmission or telepathy being held +until last. + +Before commencing this last part the performer makes a few remarks +and impresses it upon the audience that if they wish their questions +answered they must concentrate their minds upon them, for if they +oppose “the one with attributes not usually utilized by man” or think +that the medium cannot read their questions then she cannot, and they +will not be answered. He instructs the audience that if any person’s +name be called, whether he or she has written a question or not, to +promptly respond by raising his hand so as to put himself in direct +communication with the medium. Why the raising of the hand, which is +somewhat embarrassing to a person, places him into closer or more +direct communication with the medium the performer fails to explain. +To assist the audience to concentrate their thoughts on the questions +he bids them take out their questions from their pockets or purses +or wherever they may be concealed, and occasionally read them over. +At this point a rustle of paper is usually heard all over the house, +showing what faith the audience have in the performance. + +The performer now presents the medium. She is very carefully +blind-folded, and then mesmerized by the performer. A large sheet is +now usually thrown over the medium, ostensibly to shut out material +vision and to retain the personal magnetism, which cannot escape +through the white sheet, provided it be a very white one. The performer +and ushers now distribute themselves about the theatre, and the medium +now starts in something after the following:— + +“Sitting down stairs and to my right there comes to me the name of +Smith. I believe it is Clarence R. Smith.” + +Now the performer requests Mr. Smith to raise his hand, which he does, +and the medium continues:— + +“He is sending me a thought about himself. Now, concentrate your +thoughts, Mr. Smith, and think very hard, and I will see if I can get +your question. Yes! He says: ‘Will I be successful?’” + +Mr. Smith now states that this is the question which he has written, +and the medium now proceeds to answer him in something of this manner:— + +“I see no reason, Mr. Smith, why you will not be successful, and I +think you will. However, you will make a change in a short time and +will leave your present position as bookkeeper for Brown & Jones. + +“You wrote that question out at home, Mr. Smith, and on a card, didn’t +you? + +“Yes,—I thought so. It is written in ink, and you wrote it at your +home, No. 734 Main Street. Am I not right?” + +Mr. Smith now states that everything the medium has told him is correct +as far as he knows. + +The performer now collects the card from Mr. Smith and brings it down +to the front of the house, and calls attention to the fact that it is +not written on his paper. If there is some printed matter on the card +he may ask the medium to read what is there, and she, after a little +hesitation, does so. + +This test which I have described would be known as a star test, as the +question was written outside of the theatre and besides reading and +answering the question she describes the card on which it is written. + +I will now enter into an explanation of a variety of methods used, or +that may be used, to perform these seemingly remarkable experiments, by +the pure aid of science and trickery. + +The very innocent-looking little millboards play a very important +part in performances of this character. Out of a lot of about fifty +boards there are twelve to fifteen that are “faked” in a manner which I +will presently describe. The rest of the boards are, however, without +any preparation, and can be broken open and examined by any one. The +“fake” boards are prepared by inserting under the top thin layer of the +board a piece of white paper and over this a sheet of carbon paper. +The thin layer or face of the board, really a piece of brown paper, +is now pasted down around the edges, which, when sandpapered off, +bears casual inspection without disclosing the secret. Both sides of +the board may be prepared if desired, but one side is usually deemed +sufficient, for the ushers who pass out the boards know which is the +“fake” side. They place a piece of paper on this side and pass it to +the person to write on, and not one person in a hundred will turn the +board over to write on the other side. Any question written on the +paper, using this board as a rest, will be transferred by means of the +carbon paper to the sheet of white paper underneath. The ushers armed +with a handful of good solid boards and four or five “fake” boards now +pass among the audience. By a little practice they are able to pick out +a skeptic or any one whom they think may cause trouble by stealing a +board or tearing it open for the purpose of discovering the secret in +the board. To those they give the genuine boards, and if that person +should now break it open for the purpose of exposing the performer he +feels very cheap on finding no preparation about it. As before stated, +to all of those of whom the ushers are suspicious they pass genuine +boards, and to others they pass the “fake” boards with paper and +pencil, and they are very careful to get all of these boards back. +They may occasionally break open a good board to show that there is no +preparation. Several questions can be written on each prepared board, +as the questions, being brief, are not apt to be written on the same +part of the board, and even if they are can easily be read. + +The ushers, after they have collected all the boards, retire to the +back of the house, where they slip the “fake” boards under their coats +or vests, and then bring down the genuine ones with some little show, +holding them above their heads and throwing them carelessly down upon +the stage, where they remain during the entire performance. + +The performer also passes out some boards to be written on, but as all +eyes are on him he has no opportunity to slip any of these boards under +his vest, so he uses only genuine boards, and is not very particular +whether they are returned or not. Questions written on these boards are +not answered, that is, not by any assistance of the boards, but they +may be answered by some of the other methods, which I will describe +later. + +The ushers now carry their boards around to the back of the stage to +the medium, where they are arranged in piles. The usher who distributes +the boards on the right side of the house places his in one pile; a +pile is also made by the usher from the left of the house, another by +the usher from the center of the house, and still another by the usher +from the gallery. In this way it is known in what part of the house the +questioner sits. + +A paper knife is now inserted under the top sheet of board and the top +sheet removed and the white sheet with the copy of the questions on +it is taken out. The medium and her assistants now either cut these +questions out, making little slips of them, or copy them into a little +book, making notes regarding the answers under each question where it +is necessary. Of course, the sensational part of the performance is in +the answers the medium gives, and the quicker and cleverer she is in +her answers determines the success of the performance. + +The medium and assistants now, while the vaudeville show is taking +place on the stage, work up the answers. They are provided with recent +issues of local papers from which they can get information about local +affairs, and also are able to post themselves on the latest stock +quotations, if any question is asked about them, and there usually +are a number. They also have a directory of the town they are in, +which contains a great deal of useful information for their business. +Suppose the medium only has the name of some man in the audience. She +can look that person up in the directory, find out his business and +his home address, and, by consulting the street directory, can find +out his next-door neighbors. If, in her performance, she calls out +this man’s name, telling him she cannot seem to catch his question, +as he does not concentrate his thoughts upon it, she may bring in, in +a very clever manner, the information which she has obtained from the +directory, telling him where he lives and naming his neighbors, also +telling him where he is employed. This makes a very good impression +on the audience, especially if the man is well-known in the town and +one who all would know was not in collusion with the performer. The +directory also gives a list of all city and town officials, names of +all physicians, clergymen and lawyers, names of men in the different +departments, such as the police and fire departments, besides giving +a list of all stores and manufactories in the town, their owners and +officers, and it is all in a very convenient form for reference. + +I will now describe a similar method of gaining possession of questions +by the aid of the boards, but in this case the boards are free of +preparation, but not so with the small slips of paper distributed, on +which the questions are written. One side of these slips of paper is +prepared by rubbing it over with a piece of hard soap of good quality. +Nothing will be noticed about the paper except that one side seems to +be glazed. The cardboards used have a hard smooth face. In passing out +the slips of paper and boards the soaped side of the paper is placed +down upon the face of the board and passed to members of the audience. +They write their questions upon these papers, naturally using the side +uppermost. The pencils provided have a rather blunt point. + +These boards being collected they are carried back of stage as in the +former method. Here the boards are dusted over with some pigment, +such as bronze powder or lamp black. This is now shaken off, and the +questions written will now show up plainly on the boards, the particles +of lamp black or whatever is used sticking to the outline of the soap, +which adhered to the board in the act of writing the question, and +which was not visible until dusted with this fine powdered pigment. + +The medium now having a list of questions on which she has made up +suitable answers conceals these in her dress and comes forward onto the +stage, where she is blind-folded. As soon as the large sheet is thrown +over her, however, she pushes this bandage up from her eyes, and the +sheet being of thin material or having a number of threads drawn out +in that portion which covers her face, she is enabled to read her +questions and answers under the sheet. + +I think this will fully describe the methods employed where the +questions are written upon the performer’s boards. + +I will now describe a number of methods by which she obtains questions +which are written outside of the theatre, and upon the people’s own +paper. + +Besides the ushers and assistants we see with the performer at his +exhibition he also employs a number of men and women of whom the +audience know nothing. They act as assistants to the performer in many +ways. Usually one or two of them make a systematic canvass of the +town to be played in a week or so in advance of the performer in the +ostensible occupation of book-agent or peddler of some sort. Their real +mission is, however, to keep their eyes and ears open and gain all the +knowledge possible that may be of assistance to their employer. They +mail a list made up with index to the performer before they leave the +town for the next. On this list they have described subjects of local +interest in the town which they have canvassed. The list may contain a +description of some local mystery, such as a robbery, murder, fire or +wreck, together with a list of names of those persons who are, or are +thought to be, implicated in any way. If an election of any sort is +soon to take place they send the performer a list of the candidates, +with the probable successful candidates, and about how many votes each +is expected to carry. If some race or athletic event is soon to occur +the favorites are mentioned. + +This information the performer’s “advance guard” find out from local +papers and by overhearing conversations in the hotels, on the streets, +and at the houses and offices at which they call. By using a little +diplomacy, they can “pump” a whole lot of local gossip and useful +information from the unsuspecting citizens whom they run across, +all of which is sent to the performer, who follows along a week or +two afterwards. This preliminary work is known by professionals as +“planting a town,” and the performer usually reaps the harvest. + +Another use of the confederates is to have them scattered through the +audience at the performances. They make it their business to see and +learn what questions those around them write or have written. They +can often overhear one person telling another what question he has +written. The confederates or “cappers,” as they are known, make copies +of these questions they learn of by spying on those around them and +by hearing them talked of. Sometimes they cannot get the person’s +name, and in this case they give the number of the seat the person is +sitting in or a description of the person. In other cases a person’s +name is all they can see or overhear. They write this down, however, +for all information, no matter how trivial, can be made use of in +the performance. The “cappers” also write down a description of the +question, whether written in ink or pencil and the color of same, and a +description of what it is written on, whether a large, small or narrow +piece of paper, card or envelope. + +When the boards and papers are passed around the “cappers” write down +all the information they have gathered. This writing by the “cappers” +is not noticed by those sitting around them, for they write the +questions on one of the boards distributed and at the same time all +are writing. When the “cappers” return the boards and pencils to the +ushers they pass the slips, containing the information which they have +gathered, rolled up in little balls to the ushers, who take them in +back of stage to the medium. + +A star test is usually worked up by aid of the “cappers,” the medium +answering some question which they are supposed to have written, about +the past or present, describing the details of what they inquire about +in a very tragic manner, the “cappers” announcing that all she tells +them is absolutely correct. + +The treasurer or ticket seller of the theatre or hall is usually taken +into the confidence of the performer, and he can furnish additional +information, as he knows the people in town well and by name, and +is able to tell the performer what seats they are sitting in. He is +also able to draw out from those buying tickets what questions they +intend to ask, or they will often volunteer the information, telling +the treasurer that they are coming to see the performance to find out +who stole their watch or who will be the next mayor, or whatever they +may wish to know. The treasurer makes a note of all this, and this +information is used in the act. The person, however, who tells the +treasurer what he would like to know may not write the question at all. +In this case, the medium calling on him and being informed that he has +written no question states that he is thinking of such or such a thing, +and this adds greatly to the act and makes a number of converts to +occultism. + +It will be seen now that if at every performance the four or five +“cappers” sitting among the audience are all successful in finding out +two or three questions which are written at home or outside of the +theatre and a description of what they are written upon, together with +what information is obtained from the treasurer of the house, and also +the questions which the medium obtains from the “fake” boards, the +medium has now obtained abundant ammunition of mystery to fire at the +audience for about an hour, the solution of which passes over their +heads. + +This method of employing confederates to find out questions written +outside of the theatre is, of course, expensive, and some performers +do not like to use it, not only on account of the expense, but because +often-times “cappers” or “planters” leave the performers and start a +show of their own or give away some of the secrets, so some resort to +another method, which is simple and worked very openly, the working of +which I will now describe. + +When the medium is covered with the sheet an assistant under the stage +passes up through a small hole or trap in the floor either a rubber +speaking-tube or a small telephone receiver connected by wires. This is +either connected to the medium’s ear by a band which passes around her +head or is held to her ear by her hand. The rubber speaking-tube or the +wires from the telephone, whichever is used, run under the stage to an +assistant. The arrangement of theatres being very different, there is +no fixed place for the assistant to conceal him or herself, but it is +always in the most advantageous position—sometimes at the side of the +platform, sometimes in one of the lower boxes, but usually underneath +the stage, directly under the footlights or under the runway which runs +from the stage out to the auditorium. The sides of this runway being +boarded up or covered with rugs or carpets, the assistant is concealed +from view of the audience. In one of the steps leading from the runway +down to the floor of the auditorium there is a secret opening, by means +of which the performer is able to pass, unobserved, slips of paper +containing questions and suggestions, which are read by assistant and +telephoned to medium sitting under sheet. + +The performer usually stands near these steps and walks back and forth, +while his assistants or ushers wander over the theatre locating the +people whose names are called. + +As the performer has requested the audience to take out their questions +and read them over, they are usually held in their hands. The ushers +often on seeing a person holding a question ask to see it for the +purpose of assisting him in thinking about it. The ushers experience +very little difficulty in collecting these questions, as the majority +of the people in the audience believe that the performance is one in +pure thought reading, and think the reason their questions are not +answered is due to their being unable to concentrate their thoughts +upon them, and as they are usually anxious for an answer are very +willing to accept the proffered assistance of the ushers and give them +their questions outright. The usher usually makes a few inquiries about +the question. The usher, if he does not retain the question or slip, on +walking down the aisle makes a copy of it on a little slip of paper, +either in longhand or in some code understood by the assistant, and +furthermore adds what information he has obtained about it. + +Suppose the question be:— + +“Where is my sister, Mary,” signed, “Annie Laurie.” The usher asks +Miss Laurie when and where her sister was last heard from, and may be +informed that it was a year ago, from Germany. + +On the questioner’s slip or copy of same he writes: “last heard from in +Germany a year ago.” + +This slip and many others which he has obtained he rolls up into small +balls, and on passing the performer, or under cover of talking to him, +secretly passes him these slips. The performer in turn passes them +through trap opening in the step to the assistant concealed under +same, or possibly drops them over the railing of the lower box, if the +assistant is concealed there, where they are gathered in from the floor +of the box by the assistant and telephoned to medium. + +The medium is now able to answer the person’s inquiry about their +missing sister. She utilizes as much dramatic power as possible in her +answers and works them up cleverly, often-times giving information +in her answers which she gains from the written question alone. For +instance, she will probably answer the “lost sister” question as +follows:— + +“Some one is sending me a thought from down stairs. It is a lady and I +think her name is Annie Laurie.” + +“I see the lady right here!” exclaims an usher, and a connection being +now established between the medium and Miss Laurie, she is able to read +the question. She proceeds. + +“Miss Laurie is sending me a thought about her sister, and wants to +know where she is. + +“I think I can tell you your sister’s name, Miss Laurie. It is Mary. +Isn’t that right? Yes,—I thought so, and you have not heard from her +for over a year. + +“It seems to me she is in a foreign land, and I seem to see the flag of +Germany. + +“Your sister is well, Miss Laurie. She has written you a letter and it +is now on its way, and you will receive it next Tuesday.” + +“Wonderful!” exclaim the audience, and Miss Laurie goes home a firm +believer in the supernatural, wondering, possibly, if there will be +money in “Mary’s” letter. + +The majority of questions written pertain to lost or stolen articles +and questions regarding the future. This is natural, for most people +are not interested in the past or present. It, of course, makes the +answering of the questions very much easier for the medium, for where +the questioner is in ignorance about the answer she can tell him +anything, and the success of her answers is limited only by her skill +and dramatic ability. + +There are, however, always a number of skeptics at the performances, +who try and test the value of the medium’s answers by asking questions, +the answers of which they know, such as:—“What is the number of my +watch?” “What was the score of such and such a game?” “What is the date +of the coin in my hand?” etc. The answers to these have to be worked +out with more care, and is usually performed in this way. The medium +has gained knowledge of the question in some of the preceding methods +I have described, and when she answers this question she calls out the +questioner’s name, and states that he or she is thinking about a watch, +about a game, or coin, or whatever the question may be about. She +states she cannot seem to see more, asking the person to think intently +about it and she may get it. + +She now proceeds to answer some other questioner, but she has given the +performer a cue that she desires more information about the question +she left unanswered. + +The performer now goes to the person, asks for his question (we will in +this case consider the questioner a man) and reads it. He also asks for +the answer, which is usually told him. (If it is not the question will +not be answered.) He now tells the person to think about it intently +and he may be answered. + +The performer now leaves the person and walks down to the stage. On his +way, secretly or openly, the latter is usually the better method of +disarming the suspicious, he writes down the answer to the question, +such as the number of the watch, score of the game or date of the coin, +on a slip of paper. He now passes this through trap to assistant, who +reads it off to medium, and she returns to the questioner, stating that +she can now see his question, reads it and answers it. Questions of +this kind always make a decided hit. + +Some performers, when they wish to convey a number to their assistant, +do so by sign language, the assistant keeping his eye on the performer +through a peep-hole from his place of concealment. + +By the aid of a verbal code the number may be conveyed directly to +medium by a question or sentence spoken by performer. I will explain an +example of this code. For instance, we will say + + Please, means 1 + Tell, means 2 + Can, means 3 + We, means 4 + Hurry, means 5 + Give, means 6 + Quick, means 7 + I, means 8 + Speak, means 9 + What, means 0 + +Suppose the performer wishes to communicate the number 68,401. He says +to the medium:— + +“Give us an answer. I wish it. We all do. What is the number of so and +so? Please tell me.” + +By making short sentences or questions, using the code word first in +each sentence, the number is conveyed to medium. It may also be done +by making up one sentence and slightly emphasizing the code word; for +example:— + +“_Give_ Mr. Blank an answer, for _I_ wish it and _we_ all do; _what_ is +it, _please_?” + +There is another clever way of getting questions directly to medium. +On the medium’s first coming on the stage she takes a seat on a chair +that is upon a table, and is then covered over with the sheet. This is +done to show there is no connection from underneath the stage, as the +audience can see under the table. + +She now calls off a number of questions and answers same. These are the +questions, however, she has concealed on her person, which she obtained +from the boards or from the “cappers” before going on. + +She becomes restless after a while, however, and requests to be taken +down from the table. The performer and one of the ushers go upon the +stage and lift her, chair and all, on to the floor. The performer and +usher have in their hands a quantity of questions they have collected +from the audience, or copied, rolled up in little balls, and in lifting +medium down from the table place their hands under the sheet in a +perfectly natural way to take hold of the chair. Under cover of the +sheet, however, the medium takes the questions from their hands, and +now has ammunition for a lot more mystery. + +It will be seen that there are any quantity of ways to get questions to +the medium. + +Regarding the part of performance where the medium describes a card or +envelope which the performer holds in his hand on which some person +has written his question, she is not only reading the question but the +printed matter on the card or envelope as well. This is often done by +holding the article to be described so that the concealed assistant +at the side or under the stage or in a lower box can see it through a +small peep-hole, either with his naked eye, or with the assistance of +a powerful spy-glass, with which he is able to read fine print, the +information being immediately telephoned to medium. + +Some performers do not cover the medium with a sheet. In this case one +of the rear legs of the chair, in which she sits, comes directly over +a small hole in the stage. The leg of the chair is hollow and this +opening extends up the back of the chair, the chair being one of the +bent-wood variety. + +The medium has a small rubber tube, one end connected to her ear, +the other end running around her head and down the back of her neck. +This tube is concealed by her hair and dress. The performer, in +blind-folding the medium, slips the free end of this tube into a small +hole in the back of the chair which opens into the hollow back and leg. +One end of another tube is passed up through the hole in the floor into +the hollow chair leg; the other end of this tube is in the hands of the +assistant where he has concealed himself. Anything whispered into this +end, to which is attached a mouth-piece, is distinctly heard by medium. + +The rest is easy, for instead of medium having a list of questions to +read they are in possession of assistant, who reads them to her through +the speaking tube, together with notes regarding the answers and all +other information passed into him by performer. In my opinion, this is +a very much neater way of performing the trick, for there has never +been a good reason advanced for covering the medium with a sheet. + + +CLOSING REMARKS. + +It must be remembered that in this little volume the author has not +been able to enumerate and discuss all the methods used by clairvoyants +or mind-readers on the public stage, or suggest what methods they will +next use, for they will surely plan and contrive new ones as soon as +the old methods are discovered. But I think, however, by the aid of the +preceding explanations and suggestions the reader will perceive how +most of the performances of this kind are now accomplished, and by the +knowledge of these secrets discover other methods and, possibly, those +to come in the future. + +I hope I have been successful in removing my readers from the hazy +clouds of occultism and bringing them to earth, where we are all +predestined to remain, both body and soul, until death. The only mind +that any of us can read is that of our own, and that, many times, not +too well. If any of us could fathom the thoughts of others an interview +with financiers of Wall Street would enable us to own the world in a +short time, especially if we could also predict the future, which would +be, in my opinion, an easier and shorter way of gaining earthly riches +than two performances a day at popular prices. + + + + +CHAPTER V. + +PARLOR AMUSEMENTS. + + +I will now explain a few simple little tricks in second sight which may +be performed by any one in his own home, but which, if well done, will +be very mystifying. + + +DISAPPEARANCE OF A CARD THOUGHT OF BY A SPECTATOR. + +The performer brings forward a pack of cards which he shuffles well, +and then passes the cards from one hand to the other with faces toward +the audience. A spectator is now asked to remember any card he sees. +Upon this being done the performer again shuffles the cards and passes +them from hand to hand, one at a time, when it is discovered that the +card thought of has disappeared. A second card is similarly treated. + +To produce the above effect the performer takes an ordinary pack +of fifty-two cards, but pastes them back to back, so he really has +twenty-six cards with a face on each side. It will thus be seen that +on one side are pictures of twenty-six cards and on the other side the +remaining twenty-six. After the spectator has thought of any card the +performer in shuffling the pack merely turns them over and next exposes +the other side. It will be readily seen that any card selected, in +fact, all of the cards first exposed have now apparently disappeared. +To any one with a pack of cards so arranged would be suggested a number +of clever experiments, such as changing the colors of the cards from +all red to all black, and by waving a single card in the air to change +its suit and color, etc., etc. + + +DISCOVERING A SELECTED COIN. + +In this experiment the performer has an assistant, usually a young lady +as the effect is better, whom he blind-folds, and she takes a seat in +the room. He next borrows a number of coins from those in the audience, +and has some one person select a coin. The performer asks this person +to notice the coin carefully so that he can identify it. He then asks +the person to hold the coin tightly in his hand and think very intently +about it. The rest of the coins are now placed in a hat, and after a +short period the person who has selected a coin is asked to drop the +coin into the hat with the others. The coins are now well shaken up, +and the hat taken to the blind-folded assistant. She puts her hand into +the hat and promptly withdraws the selected coin. This, while a very +simple trick, is very effective. The coin which the person selects and +holds in his hand becomes slightly warm from the heat of the hand, and +the assistant is thus able to distinguish it from the other coins, +which are cool. + + +TEST IN ADDITION. + +In this experiment the performer brings forward an ordinary slate and +piece of crayon and requests some person to write a column of figures +on the slate. The performer now takes the slate, quickly draws a line +underneath the column of figures, and places the slate, face downward, +on a table, on the top of slate placing a small piece of crayon. +His assistant, who has been out of the room during this part of the +experiment, now enters, and on walking up to the slate picks up the +crayon and marks down the total sum of figures on the other side of the +slate, which are found to be absolutely correct on turning the slate +over and adding the figures up. + +To perform this experiment the performer is armed with a small piece +of crayon in addition to the crayon which he gives to the spectator. +One side of the crayon which he retains is filed smooth. The performer +also has a small lead pencil concealed in his hand along with the +crayon. When the person in the audience is writing down the figures the +performer mentally adds these up, and secretly writes the sum total on +this small piece of chalk which he has in his hand. He now takes the +slate, places it face downward upon the table, and on top of it places +the prepared piece of chalk, flat side down, retaining the chalk which +the spectator used. All that is now necessary is for his assistant to +pick up the piece of chalk, secretly read the figures written on it, +and mark them down upon the slate. + + +SECOND SIGHT TRICKS. + +By the following method quite mysterious tricks may be performed in +one’s own house. The performer’s assistant is blind-folded and sits in +a remote part of the room. She has attached to her finger an end of +a fine black silk thread. The other end of this thread the performer +carries. He is now able by sharp twitches upon the cord to communicate +with his assistant, telling her the dates of coins, the suit of a card, +the number of a watch and many other experiments by using a little +code which they have arranged between them. It is needless to say the +performer must keep his hand hidden in making these twitches on the +thread so as not to be observed by the audience. This little trick can +be worked up with good effect, as the performer may stand quite some +distance from his assistant, and no words are spoken. + + +ENVELOPE TRICK. + +A person is requested to write a question with ink upon a card. The +card is now placed in an envelope and sealed. The performer takes the +envelope from the room for a few seconds. On coming back he returns the +envelope to its owner and also another envelope, which on being opened +will be found to contain a card, on which is written an answer to his +question. The envelope, however, in which his question is sealed shows +no evidence of having been tampered with in the slightest. + +When the performer leaves the room he immediately takes a sponge which +is saturated with alcohol and rubs it over the surface of the envelope, +which makes it transparent, and he is thus able to read what is written +on the card inside. He then writes a suitable answer on another card, +which he seals in another envelope. The alcohol evaporating very +quickly there is no sign of it upon the envelope when returned to its +owner. + + +The End. + + + + + Transcriber’s Notes + + pg 12 Changed: loose ends are tied to-together + to: loose ends are tied together + + + +*** END OF THE PROJECT GUTENBERG EBOOK 75010 *** diff --git a/75010-h/75010-h.htm b/75010-h/75010-h.htm new file mode 100644 index 0000000..8fa5e03 --- /dev/null +++ b/75010-h/75010-h.htm @@ -0,0 +1,1754 @@ + + + + + + Second Sight Secrets And Mechanical Magic | Project Gutenberg + + + + + +
*** START OF THE PROJECT GUTENBERG EBOOK 75010 ***
+ +
+ +
+ +
+ +

+SECOND SIGHT
+SECRETS
+AND
+MECHANICAL MAGIC

+ +

BY

+DR. HERMAN PINETTI

+BRIDGEPORT, CONN.

+ +

+ +

BEING A COMPLETE DESCRIPTION OF MANY OF +THE LATEST EFFECTS IN MECHANICAL MAGIC, +TOGETHER WITH SECRETS AND EXPLANATIONS OF +HOW MANY OF THE PERFORMANCES IN SECOND +SIGHT AND MIND-READING ARE PERFORMED. +

+ + +
+ +
+

+Copyright 1905
+BY
+THE DUNHAM PRESS
+Bridgeport, Conn.
+

+
+ + +
+ +
+

CONTENTS

+
+ + + + + + + + + + + + + + + + + + + + + + + +
Chapter 1. Cabinet Tricks,7
Chapter 2. Table Lifting,14
Chapter 3. The Floating Girl,18
Chapter 4. Second Sight and Kindred Phenomena,24
Chapter 5. Parlor Amusements,48
+ + +
+ +
+

[Pg 5]

+ +

PREFACE.

+
+ +
+ drop-cap +
+ +

The author in presenting this little volume does so +with the intention of assisting his readers to solve +some of the mysteries and illusions that are performed +on the public stage to-day by conjurors and +so-called spiritualists, and also with the hope of dispelling the +idea that these mysteries are accomplished by occult or supernatural +methods, which belief is growing to quite an extent +in this country.

+ +

The author has made a very careful study of the many +illusions both in magic and in spiritualism, and of the transmission +of thought, which is known by a great many different +names, and in this little volume he intends to show how these +illusions may be performed by purely mechanical means. It +should be borne in mind, however, that it is not so much the +apparatus employed as it is the shrewd, ever-observing +methods employed by the performers, who are very sharp, +keen men. The devices employed by the performers are so +numerous that it is impossible to say just what methods they +will use next. As soon as one method is exposed they immediately +begin to plan, and evolve an entirely different +method of performing the same illusion. The great success +of the magician is in disarming the suspicions of the skeptic, +and this is accomplished by leading him to think a certain[Pg 6] +method is employed when he is really using another.

+ +

The author merely offers some solutions and points out +certain fundamental principles which are usually employed, +and which he thinks will assist his readers in solving these +mysteries for themselves. No literary merit or perfection of +style is attempted in this little volume for it is written in +every-day language, but I hope it may prove of interest and +value to my readers.

+ +

+DR. HERMAN PINETTI.
+

+ + +
+ +
+

[Pg 7]

+ +

CHAPTER I.
+CABINET TRICKS.

+
+ + +
+ drop-cap +
+ +

Cabinet tricks have always been a great stand-by +for performers in spiritualism. A committee from +the audience is usually chosen, and after tying the +performer securely to a chair or board or in some +other way binding him very securely, he is then placed in a +cabinet, the curtains drawn, and immediately manifestations +take place, such as the ringing of bells, the banging of tambourines +and playing of guitars.

+ +

I will now explain three of the latest and best cabinet +tricks which I know. The first is known as the “Mahatma +Miracles,” and the effect of same is as follows:—

+ +

A cabinet with a translucent gauze opening in the front +curtain stands on the stage and is freely inspected by a committee +to see that there are no double backs, sides or tops. +The medium then takes a seat in the cabinet and passes his +or her hands through two apertures in the sides of the cabinet, +where they are tied with ribbons and the ribbons held +on the outside of the cabinet by the committee. The curtains +are now closed, but due to the translucent gauze opening in +the front of the curtain the medium’s head and shoulders are +seen by all. In spite of this, however, bells are rung, tambourines +played, a glass of water is raised to the medium’s +mouth, a newspaper which is placed on the floor of the cabinet[Pg 8] +is cut into beautiful designs, and many other manifestations +take place.

+ +

The secret of this trick lies in the cabinet. It is an ordinary +cloth one, with a raised platform about four feet square. +The front curtain, as above mentioned, has a gauze opening +about eighteen inches in diameter, and the two side curtains +have openings large enough to allow the medium to pass his +hands through. The legs of the cabinet are about six inches +high and five inches in diameter. The secret of this cabinet +lies in one of the front legs, which is hollow. The floor of the +cabinet is laid off in squares so that one of the squares comes +over the hollow leg and acts as a trap. A strong screw-eye +is screwed in the under side of the trap and a rope attached +to same. This rope passes down through a hole in the floor +to an assistant underneath the stage, who holds the trap down +while the committee inspects the cabinet.

+ +

The medium takes his seat on a chair in the cabinet, and +passes one hand through each aperture in the sides, where +they are securely fastened with ribbons or ropes, the ends of +which are held by the committee. The curtains are now +closed and the tests occur. The assistant under the stage +works everything by pushing his hand and arm up through +the hollow leg. He is thus able to ring the bells and play +the musical instruments which are placed on the floor. In +the glass-of-water test the assistant has a stuffed glove, with +wires running up each finger, which is painted flesh color, +and is fastened to a stick. He bends the wire fingers of this +glove around the glass of water and pushes same up to the +medium’s mouth. In regard to the paper test. An ordinary +newspaper is placed on the floor of the cabinet with a pair of[Pg 9] +scissors. The assistant promptly draws this paper down +through the hole in the floor and places another paper, cut +into beautiful designs, on the floor of the cabinet, where it is +found when the curtain is drawn aside. Many other tests can +be performed, all of which I think will now be clear. It is +needless to say that the assistant must always pull the trap +down and hold it tightly by the rope after each test so the +committee can discover nothing upon examining the cabinet. +The medium gives the assistant a signal when to open the +trap by tapping his foot on the trap. The cloth of the cabinet +should be of some dark material.

+ +

The spiritualistic post test is the next which I will describe. +In the most common form it consists of a post of +pine wood two and a half feet long. This is given to the +committee, one of whose members bores a hole through it, +near its upper edge, and then passes an ordinary rope through +the hole. A knot is then tied in the rope on each side of the +post. The knots are pressed against the sides of the post to +prevent the rope from being pulled through the hole. The +ends of the rope are now unravelled, and the post is fastened +to the floor with spikes. The medium takes a seat behind the +post and his hands are securely tied to the post with the unravelled +ends of the rope. Small pieces of court plaster are +pasted over the knots so as to prevent him from slipping his +hands from the fastenings. A nail is driven into the top of +the post and a rope is secured to it. This second rope is +held by the committee. A screen is now placed around the +medium. Bells are rung, etc., showing that the medium has +the use of his hands.

+ +

The secret of this trick consists in boring a hole in the[Pg 10] +center of the end of the post. A chisel is then inserted in +the hole and the opening closed with glue and sawdust colored +with paint. In boring the hole through the post 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 the top of the post it +forces the chisel down and cuts the rope. The medium may +now ring bells, etc. After the medium is through he puts the +rope ends back in the hole in the post and holds his hands +very tightly against the post while the knots are inspected by +the committee.

+ +

I will now explain what is known as the cotton bandage +test, which is usually used by female mediums. A male performer, +as a rule, uses rope or wire. In this experiment the +committee is chosen from the audience and furnished +by the performer with pieces of cotton cloth about an inch +and a half wide and three feet long. One of these cotton +strips is tied securely around each wrist of the medium, the +performer instructing them to tie a number of good hard +knots. As an extra precaution, a needle and thread is now +furnished and a number of stitches are made above the knots +to prevent them from getting untied. Strips of court plaster +are also fastened over the bandages on wrists to prevent them +from being slipped off the hands. The medium now places +her hands behind her, and the ends of the strips from each +wrist are now tied together by a number of good hard knots +by the committee. What ends are left are evenly cut off near +the knots. Another strip of cloth is now produced and one +of the committee ties this strip around the knots between her +wrists, leaving the ends of about equal length. The medium +now takes her seat on a small stool with her back toward a[Pg 11] +ring in a board which has been fastened to the floor. One +end of the last strip is passed through the ring and several +knots are tied. Another strip is produced and tied around +the medium’s neck and then tacked against the upright board. +Two more strips are now used, tying one around each arm +above the elbow, and the ends of same are also tacked to the +board. The committee having done all this work themselves +are thoroughly satisfied as to its genuineness. As an extra +precaution, to show that the medium does not use her limbs +in any way, a cord is tied around both feet, an end of which +is held by a member of the committee.

+ +

A cabinet is now placed over the medium, and no sooner +is the curtain closed than the usual manifestations take place, +such as the ringing of bells, tooting of horns, banging of tambourines, +driving of nails, etc., etc. Each time the curtain is +opened the medium is seen with her hands apparently securely +tied as before. Finally a pocket knife is placed in her +lap, the curtain is closed for a few seconds, and soon the +medium comes forth with her bonds cut, but only the wrists +separated. This is supposed to be done by the spirits. Now, +I will explain this mystery.

+ +

In a convenient pocket in the back of the medium’s dress +or in her belt she has slipped a small sharp open knife, with +which she cuts through the bands between her wrists. She is +able to do this as her hands are not tied absolutely tight together, +because in tying the bandages around the wrists the +performer instructs the committee to tie a number of good +hard knots, and furthermore to sew the bandages together +about two inches above these knots. These knots are also +tied on the inside of wrists or above the palms of the hands.[Pg 12] +It will be readily seen that when the loose ends are tied together +there is a three or four inch space between her hands, +so it is not at all difficult for her to cut herself free. She +cuts the bandage which connects her wrists close to the band +which fastens her to the ring and slips this bandage off, +leaving it whole and still tied to the ring, and now has the +free use of both hands, and as the strips tied around her arms +were tied above her elbows she has full use of her forearms, +and is thus able to raise a glass of water to her mouth, tie +knots in a handkerchief around her neck and drive nails into +a chair. She makes what manifestations she chooses, and by +placing her wrists one on each side of the ring and clasping +her hands together, pressing all tightly together, she is ready +for examination. The ring being wound with cotton cloth the +same as used in the bandages the committee cannot see that +anything has been changed, and, being a little ill at ease upon +a public stage, they are ready to say that she is bound +without making the most thorough examination possible. Another +thing to notice is that she is finally cut free. The reason +of this is that if the investigators were to release her they +would discover the secret.

+ +

This cotton bandage test is also performed in a little +different manner, in which the medium is not cut free at all. +In this case, when she places her hands behind her, she rests +one hand on each hip so that her hands are about nine inches +apart, and then has the committee tie the four ends together +and then fasten her as in former case. She is now able by +reaching with her left hand in back of her as far as possible +to slip her right hand into her lap and get hold of what musical[Pg 13] +instruments are placed there. At first thought this may +seem impossible, but with a little practice and some contortion +on the part of the performer it is quite easy to perform +the trick in this manner.

+ + +
+ +
+

[Pg 14]

+ +

CHAPTER II.
+TABLE LIFTING.

+
+ + +
+ drop-cap +
+ +

Most spiritualistic performers usually perform a test +of table lifting or of floating tables. 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, projecting +above the table about a quarter of an inch. There is a good-sized +head to this pin. The performer wears a ring with a +slot in it. The body of the pin easily enters the slot in the +ring, but the head of the pin being of good size 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. +This trick may be performed when the table is covered with +a borrowed silk handkerchief, as the handkerchief, being of +fine, soft texture, does not prevent the pin slipping into the +slot cut into the ring. This addition makes the trick a little +more effective.

+ +

There is also another method employed of raising a table +which has been examined beforehand by a committee, who +also examine the performer’s hands to see that there is no +sticky substance on them. In this method, instead of having[Pg 15] +a slot cut into the ring, a strong needle point is soldered to +the outside of the ring and at a slight angle to it. This ring +is placed upon the performer’s hand so that the point is sticking +toward the tips of his fingers. The ring may be turned +upon his finger so that the point can be concealed between +the fingers when his hands are being examined. When he +performs this trick he merely turns the point around to the +inside of his hand, and the top of the table being of some +soft texture, such as cardboard or wood covered with felt, +he is able to push this needle point well into the top of the +table, and is thus able to raise it without trouble.

+ +

Small, light tables are sometimes floated in the air with +the performer holding his hand well above the table and not +touching it at all. This is easily accomplished by having two +strings running from one side of the stage to the other +worked by assistants. They merely raise these strings from +the floor so they come underneath the table, when by a little +effort they are able to raise the table completely off the floor.

+ + +

THE OBEDIENT HANDKERCHIEF.

+ +

This little trick is usually performed in connection with +some other handkerchief trick or with some act in hypnotism.

+ +

The performer having borrowed a handkerchief from +some one in the audience for some trick, before returning +same to the owner states that he is going to try and make +the handkerchief stand alone. He ties a knot in one corner +of the handkerchief, rubs it between his hands, “to endow it +with magnetism,” and then places same on the floor. At his[Pg 16] +command the handkerchief rises or falls, it dances to music, +and altogether acts in a very strange manner. He now picks +the handkerchief up and carries it forward to its owner.

+ +

There are several methods of performing this little experiment, +and, while not much of a trick in itself, if well presented +it is very interesting. The old method used to be of +having a string extending from the floor to the ceiling and +thence passing over a small pulley to the back or side of the +stage. On the end of the string on the stage was a small +bent pin or a pellet of wax. The performer when tying the +knot in the handkerchief stuck the pin in the corner of same +or stuck the wax to the handkerchief, whichever method was +used. His assistant from the side of the stage was now able +to operate the handkerchief. This was somewhat of a clumsy +method, as it took a little dexterity to release the handkerchief +from the string after the performance. The method +now usually employed, and on which the details are worked +out with care, is to have a fine black string passing from +one side of the stage to the other. The performer has an +assistant at both sides. When he is to perform this trick +they raise the string to the height of his hands, and in tying +the knot in the handkerchief he ties it loosely around the +string. He now drops it to the floor, and at his command the +assistants are able to raise the handkerchief and make it +move forward and backward in a very mystifying manner. +To heighten the effect the performer passes a chair or a tambourine +over the handkerchief, thus showing that there is no +connection made from above, which is the method usually +supposed to be employed. Now, when he returns the handkerchief +one assistant drops his end of the string and the[Pg 17] +other holds his firmly, and the performer walking down to +the front of the stage with the handkerchief, the string is +drawn through the knot.

+ +

Another method of fastening the string to the handkerchief +may be employed where the performer is able to carry +the handkerchief to the side of the stage before performing +the experiment. In this case he passes a needle to which is +attached a thread through a corner of the handkerchief, and +then walks to the other side of the stage, where he gives one +assistant an end of the string, the other end being held by +the assistant on the first side.

+ +

There is also another method of performing this, in +which the performer passes a solid hoop completely over and +around the handkerchief while it is suspended in the air +This little contrivance, being one of my own, consists of a +fine piece of wire made on the same plan as the apparatus +used in suspending a woman in mid-air, which I will explain +in the next chapter.

+ + +
+ +
+

[Pg 18]

+ +

CHAPTER III.
+THE FLOATING GIRL.

+
+ +
+ drop-cap +
+ +

The following illusion is usually performed in connection +with an act of hypnotism, and is very sensational +and mystifying. The effect is as follows:—On +the stage is a long, narrow couch with back +and ends, usually upholstered in some dark material. The +legs of the couch are about twelve inches high, and the +audience are able to see plainly underneath the couch. The +performer introduces a young lady, and apparently hypnotizes +her. She then lies down upon this couch and the performer +continues to make more passes over her, arranges +the draperies of her dress, and sometimes covers her with a +small shawl. He then takes a position in back of the couch +directly over her and continues his hypnotic passes. To the +wonderment of all, she is seen to rise slowly from the couch +to a considerable height. The couch is now removed by two +assistants, and she is apparently suspended in mid-air. To +disprove the agency of any mechanical appliance the performer +now has brought to him a solid wooden hoop, which +he passes completely over, in back, and again over the suspended +girl. His two assistants then bring back the couch, +and she slowly sinks back upon the seat of same. The performer +now rouses her from her hypnotic sleep, she rises,[Pg 19] +bows to the audience and retires.

+ +

I will now explain how this illusion is usually performed. +It can only be performed on a theatre stage or where there is +plenty of room underneath, as this is where the working of +the trick takes place. There is a false seat to the +couch, which consists of a board from four and a half to +five feet long and from six to eight inches wide. This board +is upholstered in the same material as the couch, and when +laying on the seat of the couch cannot be noticed. There is +a small slot cut in the back of the couch in the very center, +from the top down to the seat. This slot is hidden by the +upholstery so it cannot be noticed by the audience.

+ +
+ floating girl platform +
+ +

I will now call attention to the accompanying cut, by[Pg 20] +the aid of which I can better explain this illusion. “A-B” is +the board or false seat which I have described. In this diagram +we are supposed to be looking directly down upon it. +At “G” there is firmly connected to this board a heavy metal +coil, as illustrated in the cut. This coil consists of three +metal bars, numbered, respectively, “1, 2 and 3.” This entire +apparatus is in the same horizontal plane as the board “A-B.” +The connection “G” is made through the slot in the back of +the couch of which I spoke, and the back of the couch extends +between rod “No. 1” and the board “A-B,” running out considerably +beyond the ends of this board. It will now be seen +if this metal coil is raised upward it will carry with it the +board “A-B.” At “F” there is a small stud, connected to metal +coil either by welding or having the bar bent over. This +little stud is of triangular shape and several inches long, and +is at right angles to the metal coil and perpendicular to the +floor. The smaller cut “F” at the right will make this plain to +the reader.

+ +

This stud “F” fits firmly into a bar having a triangular opening +at its end. This bar is pushed up through a small trap +in the stage from underneath same. This bar is free to move +up and down, but otherwise is firmly secured underneath +stage. Underneath it is a strong screw-jack, which is capable +of raising the complete apparatus above, even with the additional +weight of the young lady reclining on the board “A-B.” +The performer, after the young lady lies down on the seat +of the couch, in reality on the board “A-B,” walks around in +back of the couch and stands close up to bar “No. 3” with +his right leg in the space “H.” The stud “F” is thus in back[Pg 21] +of his right leg. The small trap in the floor is now opened +and the bar is pushed up in back of the performer’s leg and +connected with the stud “F.” The bar being painted black +would not be noticeable against the performer’s black trousers +and shoes should it come into view. It is, in fact, hidden +from view by the performer’s right leg. All the performer +has now to do is to remain in this position, and heighten the +effect by his spectacular play, such as hypnotic passes directed +toward the young lady. His assistants underneath the stage +merely raise the young lady by screwing up the jack, or +raising her by whatever appliance may be used. When she +comes to a position above the top of the couch the couch +may be removed by two assistants of the performer. Of +course, it will be understood that the dress and draperies of +the girl will completely hide the board and the apparatus in +back of same.

+ +

Now, for passing the solid wooden hoop over the suspended +girl. To do this the performer takes the hoop in his +left hand, passes it over the end marked “A” of the board +and down between rods “No. 1” and “No. 2,” the hoop assuming +the position of that in the diagram marked “D.” It +is now carried forward by the performer’s right hand and off +at the end of board “B.” The hoop is now turned around +and assumes the position “C.” The whole hoop is now +passed in back of the girl, running between rods “No. 2” and +“No. 3.” When it reaches the end of the board “A” it is +again passed over the girl and board and assumes the position +marked “E.” It may now be completely withdrawn from +off of the end marked “B.” The performer may now reverse +the motion of the hoop by starting it at “B” if he chooses.

+ +

[Pg 22]

+ +

The foregoing is somewhat difficult to explain, but if +the reader will bend a piece of wire into the shape as above +and take a small ring and follow these directions he will see +how this is accomplished.

+ +

The position which the legs of the couch occupy are +marked off on the floor, so that when the couch is returned +it will be in the same position as at first, and thus the little +bar “G” slips through the slot in back of couch when the +girl is again lowered. This slot may be cut diagonally +through back and then cannot be seen. When the board +“A-B” comes to rest on the seat of couch the bar which +passes up through the hole in the floor is now withdrawn +through the floor and the trap closed. The performer then +walks around to the front of the couch and apparently +awakens his subject.

+ +

Some performers have a different connection with the +rod from under the floor, having a thread cut on the end +which screws into the coil at “F.” This may be a more secure +fastening, but it takes longer to insert and remove.

+ +

I wish to call attention to the fact that this little diagram, +which is made very roughly, is not drawn to scale, being more +to illustrate the course of the hoop than for any other purpose. +The small semi-circular space “H” has a diameter of +about a foot, and the performer stands in this, the semi-circular +hoop encircling his leg. The apparatus may be raised +up as high as performer’s waist or even higher, and the hoop +will then be encircling his body, while the rod connected to +“F” running through the floor will be hidden by the performer.

+ +

This illusion was first performed by having the girl lie[Pg 23] +on a couch or upon a board supported by two wooden +horses, quite close to the rear curtain of the stage, and instead +of having the connection made underneath the floor a rod +was passed through a slot in the back curtain which connected +to the metal coil. The end of the rod in back of the curtain +was firmly fitted into a heavy block which slid up and down +in a perpendicular frame. This block, by means of ropes +and pulleys, could be raised or lowered by the assistants in +back of stage. Without a doubt, however, the method of performing +this illusion now, where the performer stands over +the girl in the center or even in the front part of stage, is +very much better and more mystifying in every way.

+ + +
+ +
+

[Pg 24]

+ +

CHAPTER IV.
+SECOND SIGHT AND KINDRED PHENOMENA.

+
+ +
+ drop-cap +
+ +

As far back in history as one cares to go he will find +mention of magicians and the works of magic which +they performed. Even before the building of the +Pyramids in Egypt magic was a reputed art.

+ +

We read in the Bible of Aaron casting down his rod +before Pharaoh and his servants and its becoming a serpent. +The magicians of Egypt then being summoned by Pharaoh +did likewise with their enchantments, turning their rods into +serpents. (Exodus, Chapter seven, Verses ten and eleven.)

+ +

Magic was greatly in vogue in the middle ages, and we +read weird tales of ghosts and gnomes in literature of that +time.

+ +

One of the earliest of the necromancers of whom we +read was Joseph Balsamo, known as Count Cagliostro. He +married a very beautiful girl at Rome, who proved of great +assistance to him in his impostures, and with her and a +retinue of servants traveled all over Europe and scattered +money right and left. He, however, reaped an abundant +harvest by his impostures. He was very cordially received +wherever he went, and was believed in by serious-minded +and educated men. In Paris he became involved in some +affair and was thrown into Bastille. Though eventually +liberated, he was compelled to leave Paris. Cagliostro was[Pg 25] +the last to win any great fame as a pretender to occultism, +although there was a feeble attempt to revive thaumaturgy +in the nineteenth century by Madame Blavatsky. Science, +however, has laughed away sorcery and witchcraft.

+ +

In London, 1784, we read of Chevalier and Madame +Pinetti, and his wonderful experiments of new discovery. +We read of Madame Pinetti being seated in one of the front +boxes of the theatre, blind-folded, and guessing at everything +imagined and proposed to her by any person in the company. +Here we have the first mention of the second sight trick +which, in the hands of latter-day artists, has become so +popular. Houdin rediscovered it, passed it on to Robert +Heller, who improved it, and at the present day Keller and +others make it a feature of their performances.

+ +

Heller’s performance was very remarkable and mystified +the people for years, even after his death; in fact, until Mr. +Fred Hunt, Jr., who was Heller’s assistant for many years, +made an exposé for the “London Times.”

+ +

Heller used to perform with his sister, Haidee Heller. +She was introduced to the audience blind-folded and seated +upon the stage. Heller would then go among the audience +and receive from them various articles, which Miss Heller +accurately described. Heller’s method consisted of a very +elaborate code of words, which system he so simplified as to +embrace every variety of article, classified in sets. One +question with a word or two added sufficed to give the desired +information to his sister, who had a thorough knowledge of +the code, and she could at once describe any desired article.

+ +

Heller also had a silent method of performing these +tricks, in which he did not speak a word, and this effect[Pg 26] +puzzled every one. It was accomplished by means of electricity. +A confederate sat among the spectators, near the +center aisle of the theatre, and the wires of an electric battery +connected with his chair, a small push button being +under front part of seat. The wires ran from the confederate’s +chair to the floor and under the carpet and underneath +the stage, then up to the floor of the stage, and connected to +a small metal plate. The chair on which Miss Heller sat had +two little pins in one leg, and these were placed upon the +metal plate in the floor. In the chair was a little mechanical +contrivance connected with wires which ran through the +woodwork and down through the leg of the chair, and connected +to the two little pins before mentioned. When the +chair was placed on the plate the connection was made, and +when the button was pressed by the confederate the little +contrivance used made a slight tapping upon the chair which +could be heard or easily felt by Miss Heller. In this manner +the code used by them could be telegraphed by the assistant. +Heller would bring the article to be described down near +where the assistant sat so that he could see it, and he would +then telegraph in their code a description of what the article +might be to Miss Heller, who sat blind-folded on the stage, +and she, to the wonderment of all, would accurately describe +the article.

+ +

This method of telegraphing information to an assistant +has been used by later performers in a slightly different +manner. The assistant is concealed at the side of stage +where he can see the audience and performer. The medium +is blind-folded, and a committee of gentlemen come upon +the stage and write numbers on a blackboard. The blind-folded[Pg 27] +medium adds or subtracts, and tells whatever figure +is pointed to by any one in the committee; also tells the +value of cards, and gives other tests in numbers.

+ +

The assistant at side of the stage can see all numbers on +the blackboard and can also see the cards. He communicates +the answer to the blind-folded medium by pulling a +little string which runs under the stage and which causes a +little metal rod to come up through a small hole in the stage +floor. The medium sits with her foot directly over this small +hole, and also has a hole about one inch in diameter cut in +the sole of her shoe. Now, when the string is pulled the +small rod presses against the medium’s foot, and when the +string is released the rod, which is fastened to a spring or +stout elastic band, again recedes into the floor.

+ +

Suppose the sum of several columns of figures on the +blackboard is 5037. The assistant at the side of stage quickly +adds them up himself, and then pulls the string seven times, +and the medium calls out in slow tones, as if under great +mental pressure, (not foot pressure) “Put down number +seven.” The assistant now pulls the cord three times and +pauses. “The next figure is number three,” says the medium. +To telegraph the cipher the assistant now gives a long steady +pull. The medium now calls for cipher, and then on receiving +five pulls calls out the last number five. She is thus able +to tell any number pointed to by any one. When vacant +space is pointed to the assistant does not pull the string, and, +there being a long pause, the medium knows that no figure +is being pointed to, and says: “You are not pointing to any +figure.” The signal to stop is a series of two pulls in rapid +succession.

+ +

It sometimes happens that the assistant cannot see what[Pg 28] +number is required, say, for instance, the number on a watch +or the date on a coin. In this case the performer communicates +with the assistant by sign language, and the assistant +now telegraphs the desired number or numbers to the medium. +The signs may be gotten up as in the following table:

+ +
+
+
+
Closing right hand, sign for number 1.
+
Frowning, sign for number 2.
+
Smiling, sign for number 3.
+
Right hand on hip, sign for number 4.
+
Raising eyebrows, sign for number 5.
+
Rubbing chin, sign for number 6.
+
Drawing mouth to right, sign for number 7.
+
Rubbing ear, sign for number 8.
+
Hand to brow, sign for number 9.
+
Looking to floor, sign for 0.
+
+
+
+ +

A great many signs can be used, and most performers +have their own. The telegraphic method is very good for +tests in numbers, but for the communication of words or +questions is too slow, and it is also difficult for medium to +get the question, if it be a long one, as she cannot write it +down, and, therefore, this method is not often used in anything +but number tests.

+ +

Some of the performers in magic around the country +are now giving very mysterious exhibitions in thought transmission. +Notably among these are the Baldwins, known as +the “White Mahatmas,” and the Fays in their act called +“Thaumaturgy.” Their performances are remarkable, and I +will now describe the effect, and offer some solutions to the[Pg 29] +mystery. I do not say that the methods I suggest are the +only ones used, for there are so many methods that it would +be impossible to describe them all. I will merely tell the +principal methods employed for producing these effects by +purely mechanical means. Now, for a description of the +tricks performed by some of the present conjurors.

+ +

The performer announces that his assistant, who is usually +a woman, and whom I choose to call a medium in the +following description, will read and answer questions written +by the people in the audience, which they may have written +at home on their own paper or at the theatre. He instructs +them to write a short question and sign their name if they +wish an answer, then to fold the question up and place same +in their pocket or pocketbook. For the convenience of those +who have not written their questions at home the performer +and the ushers distribute slips of paper and pencils among +the audience. They also pass out pieces of millboard to act +as a rest on which to write the question. They (the performer +and ushers) disclaim any preparation of these millboards +and they are only passed out to obviate the inconvenience +of writing on the knee. A number of these boards +are torn in two and given to the audience to examine, and +keep as souvenirs, if they so wish. This is done to show that +there is no preparation about the boards. After the questions +are written the boards are brought back by the ushers +and laid upon the stage in view of all. A little vaudeville show +now usually takes place, which occupies a half-hour or so, the +star performance or that of thought transmission or telepathy +being held until last.

+ +

Before commencing this last part the performer makes[Pg 30] +a few remarks and impresses it upon the audience that if they +wish their questions answered they must concentrate their +minds upon them, for if they oppose “the one with attributes +not usually utilized by man” or think that the medium cannot +read their questions then she cannot, and they will not be +answered. He instructs the audience that if any person’s +name be called, whether he or she has written a question or +not, to promptly respond by raising his hand so as to put +himself in direct communication with the medium. Why +the raising of the hand, which is somewhat embarrassing to +a person, places him into closer or more direct communication +with the medium the performer fails to explain. To +assist the audience to concentrate their thoughts on the questions +he bids them take out their questions from their pockets +or purses or wherever they may be concealed, and occasionally +read them over. At this point a rustle of paper is usually +heard all over the house, showing what faith the audience +have in the performance.

+ +

The performer now presents the medium. She is very +carefully blind-folded, and then mesmerized by the performer. +A large sheet is now usually thrown over the medium, +ostensibly to shut out material vision and to retain the personal +magnetism, which cannot escape through the white +sheet, provided it be a very white one. The performer and +ushers now distribute themselves about the theatre, and the +medium now starts in something after the following:—

+ +

“Sitting down stairs and to my right there comes to me +the name of Smith. I believe it is Clarence R. Smith.”

+ +

Now the performer requests Mr. Smith to raise his hand, +which he does, and the medium continues:—

+ +

“He is sending me a thought about himself. Now,[Pg 31] +concentrate your thoughts, Mr. Smith, and think very hard, +and I will see if I can get your question. Yes! He says: +‘Will I be successful?’”

+ +

Mr. Smith now states that this is the question which he +has written, and the medium now proceeds to answer him in +something of this manner:—

+ +

“I see no reason, Mr. Smith, why you will not be successful, +and I think you will. However, you will make a +change in a short time and will leave your present position as +bookkeeper for Brown & Jones.

+ +

“You wrote that question out at home, Mr. Smith, and +on a card, didn’t you?

+ +

“Yes,—I thought so. It is written in ink, and you wrote +it at your home, No. 734 Main Street. Am I not right?”

+ +

Mr. Smith now states that everything the medium has +told him is correct as far as he knows.

+ +

The performer now collects the card from Mr. Smith +and brings it down to the front of the house, and calls attention +to the fact that it is not written on his paper. If there +is some printed matter on the card he may ask the medium +to read what is there, and she, after a little hesitation, does +so.

+ +

This test which I have described would be known as a +star test, as the question was written outside of the theatre +and besides reading and answering the question she describes +the card on which it is written.

+ +

I will now enter into an explanation of a variety of +methods used, or that may be used, to perform these seemingly +remarkable experiments, by the pure aid of science and +trickery.

+ +

The very innocent-looking little millboards play a very[Pg 32] +important part in performances of this character. Out of a +lot of about fifty boards there are twelve to fifteen that are +“faked” in a manner which I will presently describe. The +rest of the boards are, however, without any preparation, +and can be broken open and examined by any one. The +“fake” boards are prepared by inserting under the top thin +layer of the board a piece of white paper and over this a sheet +of carbon paper. The thin layer or face of the board, really +a piece of brown paper, is now pasted down around the edges, +which, when sandpapered off, bears casual inspection without +disclosing the secret. Both sides of the board may be prepared +if desired, but one side is usually deemed sufficient, for +the ushers who pass out the boards know which is the “fake” +side. They place a piece of paper on this side and pass it to +the person to write on, and not one person in a hundred will +turn the board over to write on the other side. Any question +written on the paper, using this board as a rest, will be transferred +by means of the carbon paper to the sheet of white +paper underneath. The ushers armed with a handful of good +solid boards and four or five “fake” boards now pass among +the audience. By a little practice they are able to pick out a +skeptic or any one whom they think may cause trouble by +stealing a board or tearing it open for the purpose of discovering +the secret in the board. To those they give the +genuine boards, and if that person should now break it open +for the purpose of exposing the performer he feels very cheap +on finding no preparation about it. As before stated, to all +of those of whom the ushers are suspicious they pass genuine +boards, and to others they pass the “fake” boards with paper +and pencil, and they are very careful to get all of these boards[Pg 33] +back. They may occasionally break open a good board to +show that there is no preparation. Several questions can be +written on each prepared board, as the questions, being brief, +are not apt to be written on the same part of the board, and +even if they are can easily be read.

+ +

The ushers, after they have collected all the boards, retire +to the back of the house, where they slip the “fake” boards +under their coats or vests, and then bring down the genuine +ones with some little show, holding them above their heads +and throwing them carelessly down upon the stage, where +they remain during the entire performance.

+ +

The performer also passes out some boards to be written +on, but as all eyes are on him he has no opportunity to slip +any of these boards under his vest, so he uses only genuine +boards, and is not very particular whether they are returned +or not. Questions written on these boards are not answered, +that is, not by any assistance of the boards, but they may be +answered by some of the other methods, which I will describe +later.

+ +

The ushers now carry their boards around to the back +of the stage to the medium, where they are arranged in piles. +The usher who distributes the boards on the right side of the +house places his in one pile; a pile is also made by the usher +from the left of the house, another by the usher from the +center of the house, and still another by the usher from the +gallery. In this way it is known in what part of the house the +questioner sits.

+ +

A paper knife is now inserted under the top sheet of +board and the top sheet removed and the white sheet with the +copy of the questions on it is taken out. The medium and[Pg 34] +her assistants now either cut these questions out, making little +slips of them, or copy them into a little book, making +notes regarding the answers under each question where it is +necessary. Of course, the sensational part of the performance +is in the answers the medium gives, and the quicker and +cleverer she is in her answers determines the success of the +performance.

+ +

The medium and assistants now, while the vaudeville +show is taking place on the stage, work up the answers. They +are provided with recent issues of local papers from which +they can get information about local affairs, and also are +able to post themselves on the latest stock quotations, if any +question is asked about them, and there usually are a number. +They also have a directory of the town they are in, which +contains a great deal of useful information for their business. +Suppose the medium only has the name of some man in +the audience. She can look that person up in the directory, +find out his business and his home address, and, by consulting +the street directory, can find out his next-door neighbors. +If, in her performance, she calls out this man’s name, telling +him she cannot seem to catch his question, as he does not +concentrate his thoughts upon it, she may bring in, in a very +clever manner, the information which she has obtained from +the directory, telling him where he lives and naming his +neighbors, also telling him where he is employed. This makes +a very good impression on the audience, especially if the +man is well-known in the town and one who all would know +was not in collusion with the performer. The directory also +gives a list of all city and town officials, names of all physicians, +clergymen and lawyers, names of men in the different[Pg 35] +departments, such as the police and fire departments, besides +giving a list of all stores and manufactories in the town, their +owners and officers, and it is all in a very convenient form for +reference.

+ +

I will now describe a similar method of gaining possession +of questions by the aid of the boards, but in this case the +boards are free of preparation, but not so with the small slips +of paper distributed, on which the questions are written. One +side of these slips of paper is prepared by rubbing it over +with a piece of hard soap of good quality. Nothing will be +noticed about the paper except that one side seems to be +glazed. The cardboards used have a hard smooth face. In +passing out the slips of paper and boards the soaped side of +the paper is placed down upon the face of the board and +passed to members of the audience. They write their questions +upon these papers, naturally using the side uppermost. +The pencils provided have a rather blunt point.

+ +

These boards being collected they are carried back of +stage as in the former method. Here the boards are dusted +over with some pigment, such as bronze powder or lamp +black. This is now shaken off, and the questions written will +now show up plainly on the boards, the particles of lamp +black or whatever is used sticking to the outline of the +soap, which adhered to the board in the act of writing the +question, and which was not visible until dusted with this fine +powdered pigment.

+ +

The medium now having a list of questions on which she +has made up suitable answers conceals these in her dress and +comes forward onto the stage, where she is blind-folded. As +soon as the large sheet is thrown over her, however, she[Pg 36] +pushes this bandage up from her eyes, and the sheet being of +thin material or having a number of threads drawn out in that +portion which covers her face, she is enabled to read her questions +and answers under the sheet.

+ +

I think this will fully describe the methods employed +where the questions are written upon the performer’s boards.

+ +

I will now describe a number of methods by which she +obtains questions which are written outside of the theatre, +and upon the people’s own paper.

+ +

Besides the ushers and assistants we see with the performer +at his exhibition he also employs a number of men +and women of whom the audience know nothing. They act +as assistants to the performer in many ways. Usually one +or two of them make a systematic canvass of the town to be +played in a week or so in advance of the performer in the +ostensible occupation of book-agent or peddler of some sort. +Their real mission is, however, to keep their eyes and ears +open and gain all the knowledge possible that may be of +assistance to their employer. They mail a list made up with +index to the performer before they leave the town for the +next. On this list they have described subjects of local interest +in the town which they have canvassed. The list may +contain a description of some local mystery, such as a robbery, +murder, fire or wreck, together with a list of names of +those persons who are, or are thought to be, implicated in +any way. If an election of any sort is soon to take place +they send the performer a list of the candidates, with the +probable successful candidates, and about how many votes +each is expected to carry. If some race or athletic event is[Pg 37] +soon to occur the favorites are mentioned.

+ +

This information the performer’s “advance guard” find +out from local papers and by overhearing conversations in +the hotels, on the streets, and at the houses and offices at +which they call. By using a little diplomacy, they can “pump” +a whole lot of local gossip and useful information from the +unsuspecting citizens whom they run across, all of which is +sent to the performer, who follows along a week or two +afterwards. This preliminary work is known by professionals +as “planting a town,” and the performer usually reaps the +harvest.

+ +

Another use of the confederates is to have them scattered +through the audience at the performances. They make +it their business to see and learn what questions those around +them write or have written. They can often overhear one +person telling another what question he has written. The +confederates or “cappers,” as they are known, make copies +of these questions they learn of by spying on those around +them and by hearing them talked of. Sometimes they cannot +get the person’s name, and in this case they give the number +of the seat the person is sitting in or a description of the +person. In other cases a person’s name is all they can see +or overhear. They write this down, however, for all information, +no matter how trivial, can be made use of in the performance. +The “cappers” also write down a description of +the question, whether written in ink or pencil and the color +of same, and a description of what it is written on, whether a +large, small or narrow piece of paper, card or envelope.

+ +

When the boards and papers are passed around the “cappers” +write down all the information they have gathered.[Pg 38] +This writing by the “cappers” is not noticed by those sitting +around them, for they write the questions on one of the +boards distributed and at the same time all are writing. When +the “cappers” return the boards and pencils to the ushers +they pass the slips, containing the information which they +have gathered, rolled up in little balls to the ushers, who +take them in back of stage to the medium.

+ +

A star test is usually worked up by aid of the “cappers,” +the medium answering some question which they are supposed +to have written, about the past or present, describing +the details of what they inquire about in a very tragic manner, +the “cappers” announcing that all she tells them is absolutely +correct.

+ +

The treasurer or ticket seller of the theatre or hall is +usually taken into the confidence of the performer, and he can +furnish additional information, as he knows the people in +town well and by name, and is able to tell the performer what +seats they are sitting in. He is also able to draw out from +those buying tickets what questions they intend to ask, or +they will often volunteer the information, telling the treasurer +that they are coming to see the performance to find out +who stole their watch or who will be the next mayor, or +whatever they may wish to know. The treasurer makes a +note of all this, and this information is used in the act. The +person, however, who tells the treasurer what he would like +to know may not write the question at all. In this case, +the medium calling on him and being informed that he has +written no question states that he is thinking of such or such +a thing, and this adds greatly to the act and makes a number +of converts to occultism.

+ +

[Pg 39]

+ +

It will be seen now that if at every performance the four +or five “cappers” sitting among the audience are all successful +in finding out two or three questions which are written at +home or outside of the theatre and a description of what they +are written upon, together with what information is obtained +from the treasurer of the house, and also the questions which +the medium obtains from the “fake” boards, the medium has +now obtained abundant ammunition of mystery to fire at the +audience for about an hour, the solution of which passes +over their heads.

+ +

This method of employing confederates to find out questions +written outside of the theatre is, of course, expensive, +and some performers do not like to use it, not only on account +of the expense, but because often-times “cappers” or +“planters” leave the performers and start a show of their own +or give away some of the secrets, so some resort to another +method, which is simple and worked very openly, the working +of which I will now describe.

+ +

When the medium is covered with the sheet an assistant +under the stage passes up through a small hole or trap in +the floor either a rubber speaking-tube or a small telephone +receiver connected by wires. This is either connected to the +medium’s ear by a band which passes around her head or is +held to her ear by her hand. The rubber speaking-tube or +the wires from the telephone, whichever is used, run under +the stage to an assistant. The arrangement of theatres +being very different, there is no fixed place for the assistant +to conceal him or herself, but it is always in the most advantageous +position—sometimes at the side of the platform, +sometimes in one of the lower boxes, but usually underneath[Pg 40] +the stage, directly under the footlights or under the runway +which runs from the stage out to the auditorium. The sides +of this runway being boarded up or covered with rugs or +carpets, the assistant is concealed from view of the audience. +In one of the steps leading from the runway down to the +floor of the auditorium there is a secret opening, by means +of which the performer is able to pass, unobserved, slips of +paper containing questions and suggestions, which are read +by assistant and telephoned to medium sitting under sheet.

+ +

The performer usually stands near these steps and walks +back and forth, while his assistants or ushers wander over +the theatre locating the people whose names are called.

+ +

As the performer has requested the audience to take out +their questions and read them over, they are usually held in +their hands. The ushers often on seeing a person +holding a question ask to see it for the purpose of assisting +him in thinking about it. The ushers experience very +little difficulty in collecting these questions, as the majority of +the people in the audience believe that the performance is one +in pure thought reading, and think the reason their questions +are not answered is due to their being unable to concentrate +their thoughts upon them, and as they are usually anxious for +an answer are very willing to accept the proffered assistance +of the ushers and give them their questions outright. The usher +usually makes a few inquiries about the question. The usher, +if he does not retain the question or slip, on walking down +the aisle makes a copy of it on a little slip of paper, either in +longhand or in some code understood by the assistant, and +furthermore adds what information he has obtained about it.

+ +

Suppose the question be:—

+ +

[Pg 41]

+ +

“Where is my sister, Mary,” signed, “Annie Laurie.” +The usher asks Miss Laurie when and where her sister was +last heard from, and may be informed that it was a year ago, +from Germany.

+ +

On the questioner’s slip or copy of same he writes: +“last heard from in Germany a year ago.”

+ +

This slip and many others which he has obtained he +rolls up into small balls, and on passing the performer, or +under cover of talking to him, secretly passes him these slips. +The performer in turn passes them through trap opening in +the step to the assistant concealed under same, or possibly +drops them over the railing of the lower box, if the assistant +is concealed there, where they are gathered in from the floor +of the box by the assistant and telephoned to medium.

+ +

The medium is now able to answer the person’s inquiry +about their missing sister. She utilizes as much dramatic +power as possible in her answers and works them up cleverly, +often-times giving information in her answers which she +gains from the written question alone. For instance, she +will probably answer the “lost sister” question as follows:—

+ +

“Some one is sending me a thought from down stairs. +It is a lady and I think her name is Annie Laurie.”

+ +

“I see the lady right here!” exclaims an usher, and a +connection being now established between the medium and +Miss Laurie, she is able to read the question. She proceeds.

+ +

“Miss Laurie is sending me a thought about her sister, +and wants to know where she is.

+ +

“I think I can tell you your sister’s name, Miss Laurie. +It is Mary. Isn’t that right? Yes,—I thought so, and you +have not heard from her for over a year.

+ +

[Pg 42]

+ +

“It seems to me she is in a foreign land, and I seem to +see the flag of Germany.

+ +

“Your sister is well, Miss Laurie. She has written you +a letter and it is now on its way, and you will receive it next +Tuesday.”

+ +

“Wonderful!” exclaim the audience, and Miss Laurie +goes home a firm believer in the supernatural, wondering, +possibly, if there will be money in “Mary’s” letter.

+ +

The majority of questions written pertain to lost or +stolen articles and questions regarding the future. This is +natural, for most people are not interested in the past or +present. It, of course, makes the answering of the questions +very much easier for the medium, for where the questioner +is in ignorance about the answer she can tell him anything, +and the success of her answers is limited only by her skill +and dramatic ability.

+ +

There are, however, always a number of skeptics at the +performances, who try and test the value of the medium’s +answers by asking questions, the answers of which they know, +such as:—“What is the number of my watch?” “What was +the score of such and such a game?” “What is the date of +the coin in my hand?” etc. The answers to these have to be +worked out with more care, and is usually performed in this +way. The medium has gained knowledge of the question in +some of the preceding methods I have described, and when +she answers this question she calls out the questioner’s name, +and states that he or she is thinking about a watch, about a +game, or coin, or whatever the question may be about. She +states she cannot seem to see more, asking the person to +think intently about it and she may get it.

+ +

[Pg 43]

+ +

She now proceeds to answer some other questioner, but +she has given the performer a cue that she desires more information +about the question she left unanswered.

+ +

The performer now goes to the person, asks for his question +(we will in this case consider the questioner a man) and +reads it. He also asks for the answer, which is usually told +him. (If it is not the question will not be answered.) He now +tells the person to think about it intently and he may be answered.

+ +

The performer now leaves the person and walks down to +the stage. On his way, secretly or openly, the latter is usually +the better method of disarming the suspicious, he writes down +the answer to the question, such as the number of the watch, +score of the game or date of the coin, on a slip of paper. He +now passes this through trap to assistant, who reads it off to +medium, and she returns to the questioner, stating that she +can now see his question, reads it and answers it. Questions +of this kind always make a decided hit.

+ +

Some performers, when they wish to convey a number +to their assistant, do so by sign language, the assistant keeping +his eye on the performer through a peep-hole from his +place of concealment.

+ +

By the aid of a verbal code the number may be conveyed +directly to medium by a question or sentence spoken by performer. +I will explain an example of this code. For instance, +we will say

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Please, means1
Tell, means2
Can, means3[Pg 44]
We, means4
Hurry, means5
Give, means6
Quick, means7
I, means8
Speak, means9
What, means0
+ + +

Suppose the performer wishes to communicate the number +68,401. He says to the medium:—

+ +

“Give us an answer. I wish it. We all do. What is the +number of so and so? Please tell me.”

+ +

By making short sentences or questions, using the code +word first in each sentence, the number is conveyed to medium. +It may also be done by making up one sentence and +slightly emphasizing the code word; for example:—

+ +

“Give Mr. Blank an answer, for I wish it and we all do; +what is it, please?”

+ +

There is another clever way of getting questions directly +to medium. On the medium’s first coming on the stage she +takes a seat on a chair that is upon a table, and is then covered +over with the sheet. This is done to show there is no connection +from underneath the stage, as the audience can see +under the table.

+ +

She now calls off a number of questions and answers +same. These are the questions, however, she has concealed +on her person, which she obtained from the boards or from +the “cappers” before going on.

+ +

She becomes restless after a while, however, and requests +to be taken down from the table. The performer and[Pg 45] +one of the ushers go upon the stage and lift her, chair and all, +on to the floor. The performer and usher have in their hands +a quantity of questions they have collected from the audience, +or copied, rolled up in little balls, and in lifting medium down +from the table place their hands under the sheet in a perfectly +natural way to take hold of the chair. Under cover of +the sheet, however, the medium takes the questions from +their hands, and now has ammunition for a lot more mystery.

+ +

It will be seen that there are any quantity of ways to get +questions to the medium.

+ +

Regarding the part of performance where the medium +describes a card or envelope which the performer holds in his +hand on which some person has written his question, she is +not only reading the question but the printed matter on the +card or envelope as well. This is often done by holding the +article to be described so that the concealed assistant at the +side or under the stage or in a lower box can see it through +a small peep-hole, either with his naked eye, or with the assistance +of a powerful spy-glass, with which he is able to read +fine print, the information being immediately telephoned to +medium.

+ +

Some performers do not cover the medium with a sheet. +In this case one of the rear legs of the chair, in which she sits, +comes directly over a small hole in the stage. The leg of the +chair is hollow and this opening extends up the back of the +chair, the chair being one of the bent-wood variety.

+ +

The medium has a small rubber tube, one end connected +to her ear, the other end running around her head and down +the back of her neck. This tube is concealed by her hair and +dress. The performer, in blind-folding the medium, slips the[Pg 46] +free end of this tube into a small hole in the back of the chair +which opens into the hollow back and leg. One end of another +tube is passed up through the hole in the floor into the +hollow chair leg; the other end of this tube is in the hands of +the assistant where he has concealed himself. Anything +whispered into this end, to which is attached a mouth-piece, +is distinctly heard by medium.

+ +

The rest is easy, for instead of medium having a list of +questions to read they are in possession of assistant, who +reads them to her through the speaking tube, together with +notes regarding the answers and all other information passed +into him by performer. In my opinion, this is a very +much neater way of performing the trick, for there has never +been a good reason advanced for covering the medium with +a sheet.

+ + +

CLOSING REMARKS.

+ +
+ drop-cap +
+ +

It must be remembered that in this little volume the +author has not been able to enumerate and discuss +all the methods used by clairvoyants or mind-readers +on the public stage, or suggest what methods they +will next use, for they will surely plan and contrive new ones +as soon as the old methods are discovered. But I think, however, +by the aid of the preceding explanations and suggestions +the reader will perceive how most of the performances +of this kind are now accomplished, and by the knowledge of[Pg 47] +these secrets discover other methods and, possibly, those to +come in the future.

+ +

I hope I have been successful in removing my readers +from the hazy clouds of occultism and bringing them to earth, +where we are all predestined to remain, both body and soul, +until death. The only mind that any of us can read is that +of our own, and that, many times, not too well. If any of us +could fathom the thoughts of others an interview with financiers +of Wall Street would enable us to own the world in a +short time, especially if we could also predict the future, +which would be, in my opinion, an easier and shorter way of +gaining earthly riches than two performances a day at popular +prices.

+ + +
+ +
+

[Pg 48]

+ +

CHAPTER V.
+PARLOR AMUSEMENTS.

+
+ +
+ drop-cap +
+ +

I will now explain a few simple little tricks in second +sight which may be performed by any one in +his own home, but which, if well done, will be very +mystifying.

+ + +

DISAPPEARANCE OF A CARD THOUGHT OF BY A +SPECTATOR.

+ +

The performer brings forward a pack of cards which he +shuffles well, and then passes the cards from one hand to the +other with faces toward the audience. A spectator is now +asked to remember any card he sees. Upon this being done +the performer again shuffles the cards and passes them from +hand to hand, one at a time, when it is discovered that the +card thought of has disappeared. A second card is similarly +treated.

+ +

To produce the above effect the performer takes an ordinary +pack of fifty-two cards, but pastes them back to back, +so he really has twenty-six cards with a face on each side. It +will thus be seen that on one side are pictures of twenty-six +cards and on the other side the remaining twenty-six. After[Pg 49] +the spectator has thought of any card the performer in +shuffling the pack merely turns them over and next exposes +the other side. It will be readily seen that any card selected, +in fact, all of the cards first exposed have now apparently disappeared. +To any one with a pack of cards so arranged +would be suggested a number of clever experiments, such as +changing the colors of the cards from all red to all black, and +by waving a single card in the air to change its suit and +color, etc., etc.

+ + +

DISCOVERING A SELECTED COIN.

+ +

In this experiment the performer has an assistant, usually +a young lady as the effect is better, whom he blind-folds, +and she takes a seat in the room. He next borrows a number +of coins from those in the audience, and has some one +person select a coin. The performer asks this person to +notice the coin carefully so that he can identify it. He then +asks the person to hold the coin tightly in his hand and think +very intently about it. The rest of the coins are now placed +in a hat, and after a short period the person who has selected +a coin is asked to drop the coin into the hat with the others. +The coins are now well shaken up, and the hat taken to the +blind-folded assistant. She puts her hand into the hat and +promptly withdraws the selected coin. This, while a very +simple trick, is very effective. The coin which the person +selects and holds in his hand becomes slightly warm from the +heat of the hand, and the assistant is thus able to distinguish +it from the other coins, which are cool.

+ +

[Pg 50]

+ + +

TEST IN ADDITION.

+ +

In this experiment the performer brings forward an ordinary +slate and piece of crayon and requests some person to +write a column of figures on the slate. The performer now +takes the slate, quickly draws a line underneath the column of +figures, and places the slate, face downward, on a table, on +the top of slate placing a small piece of crayon. His assistant, +who has been out of the room during this part of the experiment, +now enters, and on walking up to the slate picks up +the crayon and marks down the total sum of figures on the +other side of the slate, which are found to be absolutely correct +on turning the slate over and adding the figures up.

+ +

To perform this experiment the performer is armed with +a small piece of crayon in addition to the crayon which he +gives to the spectator. One side of the crayon which he retains +is filed smooth. The performer also has a small lead +pencil concealed in his hand along with the crayon. When +the person in the audience is writing down the figures the +performer mentally adds these up, and secretly writes the sum +total on this small piece of chalk which he has in his hand. +He now takes the slate, places it face downward upon the +table, and on top of it places the prepared piece of chalk, +flat side down, retaining the chalk which the spectator used. +All that is now necessary is for his assistant to pick up the +piece of chalk, secretly read the figures written on it, and +mark them down upon the slate.

+ +

[Pg 51]

+ + +

SECOND SIGHT TRICKS.

+ +

By the following method quite mysterious tricks may be +performed in one’s own house. The performer’s assistant is +blind-folded and sits in a remote part of the room. She has +attached to her finger an end of a fine black silk thread. The +other end of this thread the performer carries. He is now +able by sharp twitches upon the cord to communicate with +his assistant, telling her the dates of coins, the suit of a card, +the number of a watch and many other experiments by using +a little code which they have arranged between them. It is +needless to say the performer must keep his hand hidden in +making these twitches on the thread so as not to be observed +by the audience. This little trick can be worked up with +good effect, as the performer may stand quite some distance +from his assistant, and no words are spoken.

+ + +

ENVELOPE TRICK.

+ +

A person is requested to write a question with ink upon +a card. The card is now placed in an envelope and sealed. +The performer takes the envelope from the room for a few +seconds. On coming back he returns the envelope to its +owner and also another envelope, which on being opened +will be found to contain a card, on which is written an answer +to his question. The envelope, however, in which his question +is sealed shows no evidence of having been tampered +with in the slightest.

+ +

[Pg 52]

+ +

When the performer leaves the room he immediately +takes a sponge which is saturated with alcohol and rubs it +over the surface of the envelope, which makes it transparent, +and he is thus able to read what is written on the card +inside. He then writes a suitable answer on another card, +which he seals in another envelope. The alcohol evaporating +very quickly there is no sign of it upon the envelope when +returned to its owner.

+ + +

The End.

+ + + +
+ +
+

Transcriber’s Notes

+ + +
+ +
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