,,transcriber',s ,,note ,italic text is denoted by underscores4 ,the right-pointing finger symbol is denoted by 4 ,some minor changes to the text are noted at the end of the book4 ,illustration3 8,the ,spiritualistic ,sance40 ,,spirit ,,slate ,,writing ,,and ,,kindred ,,phenomena ,,by ,,william ,e4 ,,robinson ,assistant to the late ,herrmann ,,sixty-,,six ,,illustrations ,,munn ,,company ,,scientific ,,american ,,office ,,new ,,york ,,city #ahih ,,copyrighted1 #ahih1 ,,by ,,munn ,,company4 ,,all ,,rights ,,reserved4 ,,preface4 ,the author of the present volume is not an opponent of spiritualism--on the contrary1 he was brought up from childhood in this belief2 and though1 at the present writing1 he does not acknowledge the truth of its teachings1 nevertheless he respects the feelings of those who are honest in their convictions4 ,at the same time he confidently believes that all rational persons1 spiritualists as well as others1 will heartily indorse this endeavor to explain the methods of those who1 under the mask of mediumship1 and possessing all the artifices of the charlatan1 victimize those seeking knowledge of their loved ones who have passed away4 ,as a great ,new ,york lawyer once said1 it was not spiritualism he was fighting1 but fraud under the guise of spiritualism4 ,owing to the fact that the author has for many years been engaged in the practice of the profession of magic1 both as a prestidigitateur and designer of stage illusions for the late ,alexander ,herrmann1 and has also been associated with ,prof4 ,kellar1 he feels that he is fitted to treat of clever tricks used by mediums4 ,he has attended hundreds of sances both at home and abroad1 and the present volume is the fruit of his studies4 ,some of the means of working these slate tests may appear simple and impossible of deceiving1 but in the hands of the medium they are entirely successful4 ,it should be remembered it is not so much the apparatus employed as it is the shrewd1 cunning1 ever-observing sharper using it4 ,the devices and methods employed by slate writing frauds seem innumerable4 ,no sooner are they caught and exposed while employing one system than they immediately set their wits to work and evolve an entirely different idea4 ,it is almost impossible at the first sitting with a slate writing medium to know what method he will employ1 and should you1 after the sitting1 go away with the idea that you have discovered his method of operation and come a second time ready to expose him1 you may be sadly disappointed1 for the medium will undoubtedly lead you to believe he is going to use his former method1 and so mislead you4 ,he accomplishes his test by another method1 while you are on the lookout for something entirely different4 ,the great success of the medium is in disarming the suspicions of the skeptic1 and at that very moment the trick is done4 ,slate writing is of course the great standby of mediums1 but there are many other tricks which they employ which are described in the present volume4 ,the publishers have added a chapter on 8,miscellaneous ,tricks0 which may serve as a supplement to their 8,magic3 ,stage ,illusions and ,scientific ,diversions1 ,including ,trick ,photography10 which has already obtained an enviable position in the literature of magic1 and has been even translated into ,swedish4 ,these tricks are by ,mr4 ,w4 ,b4 ,caulk and the author4 ,,new ,,york1 ,november1 #ahih4 ,,table ,,of ,,contents4 ,,chapter ,i4 ,,page ,the ,single ,slate #c ,,chapter ,,ii4 ,the ,double ,slate #cb ,,chapter ,,iii4 ,miscellaneous ,slate ,tests #da ,,chapter ,,iv4 ,mind ,reading and ,kindred ,phenomena #ea ,,chapter ,v4 ,table ,lifting and ,spirit ,rapping #ga ,,chapter ,,vi4 ,spiritualistic ,ties #hb ,,chapter ,,vii4 ,post ,tests1 ,handcuffs1 ,spirit ,collars1 etc4 #ic ,,chapter ,,viii4 ,sances and ,miscellaneous ,spirit ,tricks #aja ,,chapter ,,ix4 ,miscellaneous ,tricks #aae ,,spirit ,,slate ,,writing ,,and ,,kindred ,,phenomena4 ,,chapter ,i4 ,,the ,,single ,,slate4 ,there has probably been nothing that has made more converts to spiritualism than the much talked of 8,slate ,writing ,test10 and if we are to believe some of the stories told of the writings mysteriously obtained on slates1 under what is known as 8severe test conditions10 that preclude1 beyond any possible doubt1 any form of deception or trickery1 one would think that the day of miracles had certainly returned2 but we must not believe half we hear nor all that we see1 for the chances are that just as you are about to attribute some unaccountable spirit phenomena to an unseen power1 something turns up to show that you have been tricked by a clever device which is absurd in its simplicity4 ,there are a large number of methods of producing slate writing1 but the writer will describe a few which will be sufficient to give an idea of the working of slate tests in general4 ,first we have the ordinary one in which the writing is placed on the slate beforehand1 and then hidden from view by a flap or loose piece of slate4 7,fig4 #a47 ,after both sides of the slate have been cleaned1 the false flap is dropped on the table1 the side which is then uppermost being covered with cloth similar to the table top1 where it will remain unnoticed1 or the flap is allowed to fall into a second slate with which the first is covered4 ,in the latter case no cloth is pasted on the flap4 ,sometimes the flap is covered with a piece of newspaper and is allowed to drop into a newspaper lying on the table1 then the newspaper containing the flap is carelessly removed1 thus doing away with any trace of trickery4 ,illustration3 ,fig4 #a4--,ordinary ,slate with ,flap4 ,another way of utilizing the false flap is as follows3 ,the writing is not placed beforehand on the slate1 but on the flap1 which1 as before1 is covered with the same material as the table top4 ,this is lying on the table writing downward4 ,the slate is handed around for inspection1 and1 on being returned to the performer1 he stands at the table and cleans the slate on one side1 then turns it over and cleans the other4 ,as he does so he lifts the flap into the slate4 ,the flap is held in firmly by an edging of thin pure sheet rubber cemented on the flap between the slate and the cloth covering of the slate4 ,this grips the wooden sides of the frame hard enough to prevent the false piece from tumbling out accidentally4 ,we now come to another style1 wherein a slate is cleaned on both sides1 and1 while held in the hand facing the audience1 becomes suddenly covered with writing1 and the slate is immediately given for inspection4 ,the writing is on the slate previous to the cleaning1 and is hidden from view by a flap of slate colored silk1 held firmly in place by a pellet of wax in each of the corners of the silk4 ,attached to this silk flap or covering 7at the end that is nearest to the performer's sleeve7 is a stout cord or string1 which is also made fast to a strap around the wrist of the hand opposite to that holding the slate4 ,if the arms are now extended their full length1 the piece of silk covering will leave the slate and pass rapidly up the sleeve out of the way1 and thus leave the writing exposed to view4 7,fig4 #b47 ,the slate is found to be still a little damp from the cleaning with the sponge and water it had been given previously4 ,this is easily accounted for4 ,the water from the sponge penetrates just enough through the cloth to dampen the slate4 ,illustration3 ,fig4 #b4--,removing the ,silk from the ,face of the ,slate4 ,there is still another slate on which we can make the writing appear suddenly4 ,it is composed of a wooden frame1 such as all wooden-edged slates have1 but the slate itself is a sham4 ,it is a piece of cloth painted with a kind of paint known as liquid1 or silicate slating1 which1 when dry and hard1 is similar to the real article4 ,this cloth is twice the length of the slate and just the exact width4 ,the two ends of the cloth are united with cement1 so as to make an endless piece or loop4 ,there is a small rod or roller in both the top and bottom pieces of the frame1 the ends being made hollow to receive them4 ,over these rollers runs the cloth1 stretched firmly and tightly4 ,just where the cloth is joined or cemented is a little black button1 or stud of hard rubber or leather4 ,this allows the cloth to be pushed up and down1 bringing the back to the front2 and by doing so quickly1 the writing which is written on the cloth at the rear of the frame is made to come to the front in plain view4 7,fig4 #c47 ,illustration3 ,fig4 #c4--,the ,endless ,band ,silicate ,trick ,slate4 ,still another idea in a single slate is as follows3 ,an ordinary looking slate is given out for examination1 and1 on its being returned to the medium1 he takes his handkerchief and cleans or brushes both sides of the slate with it2 and1 upon again showing that side of the slate first cleaned1 it is found covered with writing apparently done with chalk4 ,the following is the simple explanation of it3 ,take a small camel's hair brush and dip it in urine or onion juice1 and with it write or trace on the slate whatever you desire1 and when it becomes dry1 or nearly so1 the slate can be given for examination without fear of detection4 ,the handkerchief the performer uses to clean the slate with is lightly sprinkled with powdered chalk4 ,he makes believe to clean the one side devoid of preparation1 but the side containing the invisible writing is gently rubbed with the handkerchief1 not too hard just enough to let the powdered chalk fall on the urine or onion juice1 where it leaves a mark not unlike a chalk mark4 ,it will not be out of place to describe a trick by which writing is produced upon an ordinary china plate by a somewhat similar means4 ,the plate is examined and cleaned with a borrowed handkerchief1 and then the performer requests the loan of a pinch of snuff1 or uses a little sand or dust1 which he places on the plate4 ,he now commences to move the plate around in circles1 and while doing so the snuff or sand is seen to gradually form itself into writing4 ,the explanation is simple--whatever writing you desire to appear on the plate is placed beforehand on it4 ,it is done with a camel's hair brush dipped in the white of an egg and allowed to become dry before being handed around for inspection4 ,as the performer cleans the plate he breathes on both sides of it1 as if to give it moisture enough to help take off any dirt that might be thereon when rubbed with the handkerchief4 ,in breathing on the front of the plate containing the writing done with the white of the egg1 he moistens the writing enough to make the snuff or sand1 as the case may be1 adhere to it4 ,of course1 in cleaning the front of the plate1 care must be taken not to brush or disturb the invisible writing4 ,it may not be amiss to also mention another method of producing writing1 employed by mediums to obtain a message on a blank piece of paper which has been placed between two slates1 which are held by the medium in his hand1 high above his head1 and1 on afterwards taking the slate apart1 the paper is covered with writing4 ,this again calls into use the extra or false flap4 7,fig4 #a47 ,a piece of paper with writing on it is placed face downward on one of the slates and covered with the false flap4 ,it then looks like an ordinary slate4 ,on this is placed the plain piece of paper1 and over this is laid the second slate4 ,the slates are now held up in plain view of the audience1 and on being lowered to the table they are turned over1 thus bringing the blank piece of paper under the false flap and the one with the writing on it on the top of the flap1 which has fallen from the slate1 which is now the top1 but originally the bottom one1 on or into the under one1 and1 of course1 on the removal of the present top slate1 the writing is found on what is supposed to be the original blank paper4 ,illustration3 ,fig4 #d4--;,false ,table for ,developing ,communications ,written with ,sympathetic ,ink4 ,if the paper is to have a private mark put on it by an observer1 so as to prove the writing really does appear on that identical piece of paper1 the operation is varied as follows3 ,the false flap is done away with1 and the paper1 which is furnished by the medium1 has written on it the desired communication with ink1 which is made visible and brought out black by means of heat4 ,for the invisible ink you can use sulphuric acid1 very much diluted1 so as not to destroy the paper4 ,the necessary heat is obtained in the following manner3 ,the table 7,fig4 #d7 on which the slates are resting is hollow1 and has concealed in it a spirit lamp filled with alcohol4 ,this lamp sits directly under a trap in the table top1 which is covered underneath for safety with sheet iron1 so it will not catch fire4 ,when the slates are placed on the table they are laid over the little trap door1 which1 in conjuring parlance1 is known as a 8trap40 ,this is now opened1 and the slates allowed to become well heated and the trap then closed1 and the prepared paper1 upon coming in contact with the hot slate1 is thus covered with writing4 ,illustration3 ,fig4 #e4--,the ,development of ,spirit ,writing4 ,another medium employed a somewhat similar method1 only the paper in this case was placed in a glass vial 7,fig4 #e7 which had been lying on the iron trap door4 ,the medium's hand covered the vial1 which was corked and sealed1 while the writing was making its appearance4 ,you can also produce writing on the paper in the vial without resorting to the use of heat by using a vial that has been washed out with ammonia and kept well corked1 and writing on the paper with a weak solution of copper sulphate1 which is invisible until the paper is placed in the vial1 when the two chemicals produce writing in blue4 ,still another message is produced as follows3 ,the writing is done with iron sulphate on blank cards4 ,of course this is invisible4 ,these cards are placed in envelopes and sealed up4 ,upon opening the envelopes shortly afterward the cards are covered with the writing which was before invisible1 but is brought out by a solution of nut galls with which the inside of the envelopes had been slightly moistened4 ,the subject of sympathetic inks is such an interesting one that we give thirty-seven formulas1 which include all those which are liable to be used by the medium4 ,the solutions used should be so nearly colorless that the writing cannot be seen till the agent is applied to render it visible4 ,sympathetic inks are of three general classes4 ,inks that ,appear through ,heat4 #a4 ,write with a concentrated solution of caustic potash4 ,the writing will appear when the paper is submitted to strong heat4 #b4 ,write with a solution of ammonium hydrochlorate1 in the proportion of #ae parts to #ajj4 ,the writing will appear when the paper is heated by holding it over a stove or by passing a hot smoothing iron over it4 #c4 ,a weak solution of copper nitrate gives an invisible writing1 which becomes red through heat4 #d4 ,a very dilute solution of copper perchloride gives invisible characters that become yellow through heat4 #e4 ,a slightly alcoholic solution of copper bromide gives perfectly invisible characters which are made apparent by a gentle heat1 and which disappear again through cold4 #f4 ,write upon rose colored paper with a solution of cobalt chloride4 ,the invisible writing will become blue through heat1 and will disappear on cooling4 #g4 ,write with a solution of sulphuric acid4 ,the characters will appear in black through heat4 ,this ink has the disadvantage of destroying the paper4 7,see the caution given on page #i47 #h4 ,write with lemon1 onion1 leek1 cabbage or artichoke juice4 ,characters written with these juices become very visible when the paper is heated4 #i4 ,digest #a oz4 of zaffre1 or cobalt oxide1 at a gentle heat1 with #d oz4 of nitro-muriatic acid till no more is dissolved1 then add #a oz4 common salt and #af oz4 of water4 ,if this be written with and the paper held to the fire1 the writing becomes green1 unless the cobalt should be quite pure1 in which case it will be blue4 ,the addition of a little iron nitrate will then impart the property of becoming green4 ,it is used in chemical landscapes for the foliage4 #aj4 ,put in a vial oz4 of distilled water1 #a drm4 of potassium bromide and #a drm4 of pure copper sulphate4 ,the solution is nearly colorless1 but becomes brown when heated4 #aa4 ,nickel nitrate and nickel chloride in weak solution form an invisible ink1 which becomes green by heating when the salt contains traces of cobalt1 which usually is the case2 when pure1 it becomes yellow4 #ab4 ,when the solution of acetate of protoxide of cobalt contains nickel or iron1 the writing made by it will become green when heated2 when it is pure and free from these metals1 it becomes blue4 #ac4 ,milk makes a good invisible ink1 and buttermilk answers the purpose better4 ,it will not show if written with a clean new pen1 and ironing with a hot flat iron is the best way of showing it up4 ,all invisible inks will show on glazed paper2 therefore unglazed paper should be used4 #ad4 ,burn flax so that it may be rather smoldered than burned to ashes1 then grind it with a muller on a stone1 putting a little alcohol to it1 then mix it with a little gum water1 and what you write1 though it seem clear1 may be rubbed or washed out4 #ae4 ,boil cobalt oxide in acetic acid4 ,if a little common salt be added1 the writing becomes green when heated1 but with potassium nitrate it becomes a pale rose color4 #af4 ,a weak solution of mercury nitrate becomes black by heat4 ,inks that ,appear under the ,influence of ,light4 #ag4 ,gold chloride serves for forming characters that appear only as long as the paper is exposed to daylight1 say for an hour at least4 #ah4 ,write with a solution made by dissolving one part of silver nitrate in #a1jjj parts of distilled water4 ,when submitted to daylight1 the writing appears of a slate color or tawny brown4 ,inks ,appearing through ,reagents4 #ai4 ,if writing be done with a solution of lead acetate in distilled water1 the characters will appear in black upon passing a solution of an alkaline sulphide over the paper4 #bj4 ,characters written with a very weak solution of gold chloride will become dark brown upon passing a solution of tin perchloride over them4 #ba4 ,characters written with a solution of gallic acid in water will become black through a solution of iron sulphate and brown through the alkalies4 #bb4 ,upon writing on paper that contains but little sizing with a very clear solution of starch1 and submitting the dry characters to the vapor of iodine1 or passing over them a weak solution of potassium iodide1 the writing becomes blue1 and disappears under the action of a solution of sodium hyposulphite in the proportions of #a to #a1jjj4 #bc4 ,characters written with a #aj per cent4 solution of nitrate of protoxide of mercury become black when the paper is moistened with liquid ammonia1 and gray through heat4 #bd4 ,characters written with a weak solution of the soluble platinum or iridium chloride become black when the paper is submitted to mercurial vapor4 ,this ink may be used for marking linen4 ,it is indelible4 #be4 ,c4 ,widemann communicates a new method of making an invisible ink to ,die ,natur4 ,to make the writing or the drawing appear which has been made upon paper with the ink1 it is sufficient to dip it into water4 ,on drying1 the traces disappear again1 and reappear by each succeeding immersion4 ,the ink is made by intimately mixing linseed oil1 #a part2 water of ammonia1 #bj parts2 water1 #ajj parts4 ,the mixture must be agitated each time before the pen is dipped into it1 as a little of the oil may separate and float on top1 which would1 of course1 leave an oily stain upon the paper4 #bf4 ,write with a solution of potassium ferro-cyanide1 develop by pressing over the dry1 invisible characters a piece of blotting paper moistened with a solution of copper sulphate or of iron sulphate4 #bg4 ,write with pure dilute tincture of iron2 develop with a blotter moistened with strong tea4 #bh4 ,writing with potassium iodide and starch becomes blue by the least trace of acid vapors in the atmosphere or by the presence of ozone4 ,to make it1 boil starch1 and add a small quantity of potassium iodide in solution4 #bi4 ,copper sulphate in very dilute solution will produce an invisible writing1 which will turn light blue by vapors of ammonia4 #cj4 ,soluble compounds of antimony will become red by hydrogen sulphide vapor4 #ca4 ,soluble compounds of arsenic and of tin peroxide will become yellow by the same vapor4 #cb4 ,an acid solution of iron chloride is diluted till the writing is invisible when dry4 ,this writing has the remarkable property of becoming red by sulphocyanide vapors 7arising from the action of sulphuric acid on potassium sulphocyanide in a long necked flask71 and it disappears by ammonia1 and may alternately be made to appear and disappear by these two vapors4 #cc4 ,writing executed with rice water is visible when dry1 but the characters become blue by the application of iodine4 ,this ink was much employed during the ,indian mutiny4 #cd4 ,write with a solution of paraffin in benzol4 ,when the solvent has evaporated1 the paraffin is invisible1 but becomes visible on being dusted with lampblack or powdered graphite1 or smoking over a candle flame4 #ce4 ,to ,write ,black ,characters with ,water4--,mix #aj parts nutgalls1 #b parts calcined iron sulphate4 ,dry thoroughly1 and reduce to fine powder4 ,rub this powder over the surface of the paper1 and force into the pores by powerful pressure1 brush off the loose powder4 ,a pen dipped in water will write black on paper thus treated4 #cf4 ,to ,write ,blue ,characters with ,water4--,mix iron sesquisulphate and potassium ferrocyanide4 ,prepare the paper in the same manner as for writing black characters with water4 ,write with water1 and the characters will appear blue4 #cg4 ,to ,produce ,brown ,writing with ,water4--,mix copper sulphate and potassium ferrocyanide4 ,prepare the paper in the same manner as before4 ,the characters written with water will be reddish brown4 ,here is another trick calling for the use of sympathetic ink4 ,a medium suggests a number of questions to write on a paper1 one of which you select and write on a slip of paper furnished by the medium4 ,writing is done with pen and ink4 ,you are requested to dry it with a blotter1 and not to remove the blotter for a time1 the medium says1 so as to keep the paper in the dark1 thus giving the 8spirits0 better conditions under which to work4 ,after a while the blotter is removed1 and an answer to the question is found on the same paper4 ,the questions suggested were all of such a character that one answer would nearly do for any one4 ,the paper the question was written on had this answer written with invisible ink brought out by a reagent on the blotter1 with which it was saturated1 and thus another mystery is easily dispelled4 ,we will now take up a few slate tests1 in which the slates are brought or furnished by the spectator or investigator4 ,the tests in which the slates are brought by skeptics and tied and sealed by them1 and still writing is obtained upon them1 are the ones that are the most convincing and most talked about1 and they are offered to the unbeliever as proof absolute of spirit power4 ,illustration3 ,fig4 #f4--,writing on the ,slate with the ,pencil ,thimble4 ,first we will begin with the single slate which has just been handed to the medium1 after being thoroughly cleaned by the person bringing it4 ,the skeptic holds one end of the slate in one hand and the medium the opposite end in one of his hands1 and both persons clasp their disengaged hands4 ,in a short time the slate is turned over and a few words written in a scrawling style are found4 ,i must acknowledge that when ,i first witnessed this test it somewhat staggered me1 but afterward1 on seeing it the second time1 ,i was enabled to fathom its mystery4 ,it is patterned somewhat after the style claimed to have been used by ,slade1 wherein he used a piece of slate pencil fastened to a thimble1 and with apparatus attached to his forefinger of the same hand holding the slate he did the writing4 ,the thimble 7,fig4 #f7 was fastened to an elastic which pulled the thimble out of sight up the sleeve or under the coat when it was done with4 ,but it always required a little scheming and maneuvering both to use and conceal the device and get rid of it1 and there was always the fear of being detected with this bit of machinery about the person2 so someone of an ingenious turn of mind hit upon another method4 ,there are some slate pencils made the same as lead pencils1 that is1 a very small piece of slate pencil1 about the size of a match1 is enclosed in the wood after the manner of lead pencils4 ,a tiny piece of this pencil is placed at the tip of the forefinger and over it is placed a piece of flesh-colored court plaster well fastened to the finger 7,fig4 #g7 and well blended in with aniline dye with the finger1 so both are exactly the same color4 ,after everything becomes dry and hard a little hole is made in the court plaster1 so as to allow the point of the piece of pencil to come through enough to mark on the slate4 ,the finger thus prepared is what does the writing4 ,the message or name must be written backward1 so that when the slate is reversed it will appear in its correct position4 ,to learn to do this quickly1 stand in front of a looking-glass with the slate in your hand and watch your writing in the glass as you go along4 ,you do not need to hold the slate underneath the table in this test2 hold it in the air with a handkerchief over it1 so as to disguise the movement of the finger4 ,the message must necessarily be short1 on account of the radius through which the medium's finger can travel4 ,illustration3 ,fig4 #g4--,the ,prepared ,finger4 ,we now come to another method of using the single slate4 ,the medium takes the slate and places it on the table and requests the spectator to write a question on a piece of paper4 ,he1 the medium1 gains knowledge of the contents of the paper in various ways2 one is by using a pad of paper which contains underneath the second or third layer of paper a carbon sheet made of wax and lampblack4 ,whatever is written on the first sheet of paper will be transferred or copied by means of the carbon paper to the sheet underneath it4 ,another way is by requesting a person to fold the paper and hold it against his head1 and1 under the pretense of showing the person how to hold it1 exchange it for a paper of his own folded in like manner4 ,this exchanged paper is then opened and read by the medium while his hand is below the level of the table top1 and while he is holding a conversation with the auditor4 ,after it is read1 the paper is again folded and kept in the performer's lap until needed4 ,as he now knows the contents of the paper1 he can frame in his mind a suitable answer4 ,he remarks3 8,i will ask the spirits first to give you a decided answer1 through me as an independent trance slate writing medium1 whether they will answer your question during this sitting40 ,so the medium takes a pencil in hand and writes on one side of the slate1 apparently under spirit control1 and then on the other side4 ,the message is read1 and it says the conditions are very favorable1 and no doubt1 if the skeptic will place the utmost confidence in the medium1 there will be satisfactory results4 ,after the slate has been shown with both sides covered with writing1 it is thoroughly cleaned and placed on the table4 ,the medium now picks up the original paper from his lap and asks the person to give him the paper he is holding4 ,this the medium apparently places under the slate2 however1 he really holds this one back and introduces the one he has had in his hand1 which is the one originally written upon4 ,he has now his own paper in his hand1 and the one with the question is under the slate4 ,on the slate being turned over in a short time1 it is covered with writing1 forming a sensible reply to the question on the paper1 which is now opened and read to compare it with the answer4 ,all that remains to be explained is how the writing on the slate appeared there4 ,the false flap is again used1 but in a directly opposite manner to which it has been employed heretofore4 ,one side of this flap is covered with a portion of the writing that the medium first wrote under spirit control4 ,let us say the first half supposed to have been written on the one side of the slate1 and which he afterward reads off in connection with that written on the last or second side of the slate4 ,what he really wrote on the first half of the slate was a correct answer to the question1 and after he turns the slate over to write on the opposite side he slips the false flap over the answer on the slate4 ,of course it is what is on this false flap and on the other side of the slate that the spectator really reads1 and when the slate is cleaned it is this flap and the opposite side of the slate4 ,the writing1 covered by the flap1 which is the answer to the question1 is never seen or touched until after the flap is allowed to drop into the medium's lap4 ,the slate can be examined2 and1 of course1 no trickery can be found in connection with it4 ,the method described above1 in the hands of a calm and cool person1 is a convincing one1 and never fails to satisfy the most exacting of skeptics4 ,i wish to remark that1 if any person tells you he took two slates of his own to a medium1 thoroughly well tied or sealed1 and that the slates never left his 7the skeptic's7 hands1 and that there was writing obtained upon the interior surface of the slates under those conditions1 he was sadly mistaken1 and has failed to keep track of everything that actually took place at the time of the sitting4 ,suppose two slates tied together are brought to the medium4 ,both he and the stranger sit at a table4 ,the slates are held under the table1 the medium grasping one corner and the skeptic the opposite corner1 each with one hand1 and the disengaged hands clasped together above the table4 ,after a while the slates are laid upon the table1 the string untied1 the slates taken apart1 but no writing is found4 ,the medium states it must have been because there was no slate pencil between them4 ,so a small piece of pencil is placed between the slates1 and again they are tied with the cord by the medium1 and he again passes them under the table1 both persons holding the slates as before4 ,presently writing is heard1 and1 upon the skeptic bringing the slates from under the table and untying the cord himself1 he finds one of the slates covered with writing1 although but shortly before they were devoid of even a scratch4 ,here is the explanation3 ,the medium does not pass the slates under the table the first time1 but drops them in his lap1 with the side on which the string is tied or knotted downward1 and really passes a set of his own for the skeptic to hold2 he 7the medium7 supporting his end by pressing against the table with his knee1 which leaves his hand disengaged4 ,there is a slate pencil1 called the soapstone pencil1 which is softer than the ordinary4 ,this is the one used by the medium4 ,he now covers the face of the slate which is uppermost in his lap with writing1 doing so very quietly and without any noise4 ,now1 as he brings the slates above the table1 he leaves his own in his lap and brings up the skeptic's with the writing side down4 ,the slates are untied and taken apart and shown1 devoid of writing upon the inside1 which he claims was caused by not having any slate pencil inside4 ,the medium now places the pencil upon the slate which was originally the upper one1 and covers this with what was the bottom slate1 which is covered with the writing inside on the back or bottom of slate4 ,this maneuver or action brings the slate on top with the writing upon its inside4 ,nothing could be more simple and natural4 ,the slates are again tied together1 and in doing so the slates are turned over1 bringing the slate containing the writing1 still upon the inside1 at the bottom instead of the top1 and the string tied or knotted above the top slate4 ,of course1 when again separated1 the writing is found upon the inside of the lower slate4 ,when the slates are passed under the table the second time1 the spectator himself is allowed to do this1 and the medium1 with one of his finger nails1 while holding his end of the slate1 produces a scratching noise on the slate closely resembling the tracing of a pencil4 ,it is not really necessary to pass the slates under the table the second time1 but they can be held above it if preferred4 ,now1 suppose two slates are brought that are riveted or screwed or sealed at the four corners4 ,how can writing be obtained upon them without disturbing any of the above arrangements8 ,the slates are held under the table in the same manner as in previous tests4 ,to produce the writing upon the slates the medium is provided with a few simple1 though effective devices1 one of which is a little hard wood tapering wedge1 and a piece of thin steel wire1 to one end of which is fastened a tiny piece of slate pencil4 ,an old umbrella rib will be found to work admirably1 because there is a small clasp at one end and at its other end a small eye4 ,the pencil is made to fit into the end with the clasp4 ,now take the wooden wedge and push it between the wooden frames of the slates at the sides4 ,the frames and slates will give enough to allow the wire and pencil to be inserted and the writing be accomplished with it1 after which the wire is withdrawn1 and then also the wooden wedge1 and all is done without leaving any trace or mark behind as to how it is all performed4 7,fig4 #h47 ,illustration3 ,fig4 #h4--,wedging ,apart the ,slates4 ,a well known conjuror at one time made a remark that he could duplicate any slate writing test he ever witnessed1 he having publicly declared1 time and time again1 the slate writing test to be a fraud4 ,he gave a test in private at his own home and hit upon a rather unique idea4 ,a slate would be cleaned on both sides and a private mark placed on it1 and the slate allowed to lie flat on the table1 and the magician and the committee sat around it and placed their hands upon the slate4 ,presently writing was heard1 and upon lifting the slate the side underneath was found covered with writing4 ,the table was a kitchen table with the ordinary hanging cloth cover1 or table cloth4 ,the table had a double top with room enough between the two to conceal a small boy4 ,there was a neatly made trap in both the table cloth and the top of the table2 the cloth being glued around the opening to keep it in place4 ,the trap door opened downwards4 ,the boy concealed in the table opened the trap door and did the necessary writing on the slate1 and closed the opening4 ,the idea of having the committee hold their hands on the slate was to prevent the slate from being accidentally moved by the boy when writing4 ,the above idea was improved upon by doing away with the use of the boy and the double top of the table4 ,the trap in the cloth and table top was still used4 ,but the test was done with the lights turned out or down low1 and the medium had a confederate sitting at his right hand side4 ,this allowed the medium to take away his right hand1 introduce it under the table1 open the trap1 do the writing1 shut the trap1 replace his hand1 and on the lights being turned up the writing is found4 ,it should be stated that the medium and committee sat around the table with their hands resting on the slate1 and each person's hand touching that of his neighbor2 so neither could move without the other being aware of the fact1 but the medium's right hand neighbor1 being one of his confederates1 allows him to take his 7the medium's7 hand away without any one being the wiser4 ,illustration3 ,fig4 #i4--,the ,trick ,slate4 ,i will now describe how the writing is obtained upon the interior of two slates sealed together1 and all hands placed on them1 and without the assistance of a confederate4 ,the table is the same as previously described1 that is1 it contains the trap4 ,the slates are two single ones hinged together and sealed around the edges in any manner the committee may see fit4 ,one of the slates is a trick slate made in this fashion3 ,the slate part itself is made to work on a pivot or hinge along one of its sides4 7,fig4 #i47 ,the side opposite to where both slates are hinged together1 by touching a portion of the hinges that hold the two slates together1 a catch concealed in the wooden framework is released1 which allows the slate part itself to drop down on its own hinge or pivot4 ,so when the slates are placed on the table they are put directly over the trap in the table1 and with the hinges of the two slates toward the medium4 ,the medium1 as he places the slates over the trap in the table1 pushes the hinge releasing the catch1 which allows the underneath slate to drop as far as the table4 ,now1 when the trap in the table is opened1 the slate opens or drops far enough for the medium to write on that part1 also on the slate above it4 ,he closes both the slate and the table1 and the slates1 upon being unsealed1 are found covered with writing4 ,the only thing that remains to be explained is how the medium gets his hand free to do the writing without being detected4 ,the lamp or gas jet is close to the medium's right hand1 where he can reach it4 ,now1 all the persons are seated around the table with their hands on the slates1 and each other's hands or fingers touching one another4 ,the medium takes his right hand away to turn down the light1 and his next door neighbor1 as soon as the light goes out1 feels his 7the medium's7 hand or finger replaced4 ,at least1 so he thinks4 ,what really happens is this3 ,the thumb of the medium's left hand is stretched far enough over to touch the hand or finger of the person sitting on the performer's right hand side4 7,fig4 #aj47 ,the medium immediately goes to work and produces the writing1 and when finished1 just as he goes to relight the gas or lamp1 he removes the left thumb to create the impression that he has just taken his right hand away again for the light4 ,illustration3 ,fig4 #aj4--,the ,medium ,holding the ,two ,skeptics' ,hands4 ,here is a trick ,i once saw a medium do4 ,he had a number of slates piled on top of the table2 he would clean these1 one at a time1 showing each1 and after they had been thoroughly examined1 he placed them on the floor4 ,he would then pick them all up together and replace them on the table1 and select two of them1 put them together1 holding them in his hand above his head1 would shortly separate them and show one covered with writing4 ,the slates were devoid of all trickery1 as was easily proved in allowing them to be thoroughly examined4 ,illustration3 ,fig4 #aa4--,the ,slate under the ,carpet4 ,the explanation is as follows3 ,the floor was covered with carpet4 ,in this there was a slit or cut just large enough to pass or draw a slate through4 ,a slate with writing on one side is previously placed under the carpet1 with that side down4 7,fig4 #aa47 ,the slates1 as they are cleaned1 are laid on the carpet immediately over or near this concealed one1 and1 on lifting the slates from the floor1 this one is also carried with them1 and all placed on the table4 ,of course1 it is this slate and one of the prepared ones that are afterward used4 ,there is little likelihood of any one taking notice of there being one more slate in the pile4 ,some mediums use two single slates1 and1 after cleaning them on both sides1 hold one in each hand4 ,they sit a little way from the table and place the right hand1 with the slate1 under the chair1 as if to draw the chair closer to the table4 ,what the medium really accomplishes is an exchange of slates4 ,there is a little shelf1 or drawer1 under the seat of the chair4 ,on this lies a slate1 one side of which is prepared with writing4 ,the medium picks up the slate and leaves behind in its place the one held in his right hand as he moves the chair4 ,this is a method used to a considerable extent and always successfully4 ,the following is a clever ruse1 ofttimes used by mediums to destroy all traces of the use of the false flap when it is employed4 ,it is the test where the flap is used to cover the writing on one slate1 and then that slate is covered with another4 ,now1 if the slates are turned over or reversed1 the writing is uncovered and the flap remains in the opposite or underneath slate4 ,now1 to get rid of that flap1 the medium deliberately presses his knee against that slate1 breaking not only the slate1 but also the flap contained in it4 ,the broken flap mingles in with the broken slate1 and nobody is any the wiser4 ,nobody for a moment thinks of picking up the pieces to see if there are one or more slates4 ,of course1 when the slates are broken1 it is done secretly under the table1 and the medium remarks3 8,the spirit force is so strong it has smashed the slate40 ,a test with a single slate that ,i once saw done was rather neat in its way1 and ,i think it worth describing4 ,the slate was examined and cleaned on both sides1 and placed on a small table covered with a little fancy cloth4 ,on lifting the slate afterward1 its underneath side was found with writing on it4 ,the top of the table was no larger than the slate4 ,when the slate was laid on the table1 the medium remarked3 8,to convince you there is no trickery about the table1 ,i will remove the cloth20 which he did1 with the slate still on or in it1 and then replaced the slate and cloth4 ,now1 on this table top was resting another slate covered with writing on one side1 and that side upward1 and this covered with the table cloth4 ,when the medium picked up the cloth and the slate1 which had just been cleaned1 he also carried along the second slate with it1 which was under the cloth1 and in replacing the cloth he simply reversed the sides1 laying the first slate on the table1 where it was covered by the cloth1 and the second one was thus brought to view4 ,it is astonishing how such barefaced and simple devices will deceive the spectator4 ,it is the boldness and air of conviction of his assertions that carry a medium's test successfully through4 ,,chapter ,,ii4 ,,the ,,double ,,slate4 ,we now come to a slate called by the mediums 8,the double slate40 ,it is1 to all appearances1 two ordinary slates hinged together at one side and locked with a padlock1 the shackle of which passes through a hole in the sides of the frame of each slate4 ,this slate also contains the false flap or slate1 but the slate or flap is held firmly in each frame as follows3 ,the inside edges of both ends of each frame of the slates are beveled inward a trifle4 ,one of these ends of each slate frame is also made to slide or pull out about one-quarter of an inch4 ,these are prevented from sliding until wanted by the medium by a catch in the framework1 which is connected with a screw in one of the hinges4 ,this screw stands a little higher than the rest1 so as to be easily found4 ,the hinges are on the outside of the frame instead of inside4 ,by pressing this screw it undoes the catch1 which allows the ends to be moved a trifle4 ,the false flap is just large enough to fill in the space under the bevels of the frame1 and if1 in the top frame1 the catch is released and the end moved1 the flap will drop into the bottom slate1 where it is held tight and firm by releasing the catch in that frame1 moving the end until the flap settles into its place and then sending the end back into its original place again4 ,the writing is placed beforehand on one side of the flap and on one slate1 both the written sides face to face1 and after the flap has changed slates it presents two slates with written sides4 ,there is still another double slate used with hinges and padlock4 7,fig4 #ab47 ,illustration3 ,fig4 #ab4--,the ,sliding ,trick ,slates4 ,one of the ends of the wooden frame of one slate is fastened securely to its slate1 which is made to slide out completely from the groove in the frame4 ,this allows the insides of both slates to be written upon4 ,after that is done the slate is slid back into its frame4 ,care should be taken1 in sliding the piece back1 not to reverse it so as to bring the writing side out4 ,the best way is not to pull the slate completely out1 and write upon the inside of the stationary slate1 and then reverse the slates1 which will bring the inside of the movable slate into view4 ,write on that and then close the slate4 ,i have seen a medium use the double or folding slate and get rid of the false flap in this way3 ,he used a pair of small slates4 ,these he opened out with the flat side towards the audience1 and while in his hand1 cleaned those two sides away from the table4 ,he now showed the reverse sides and cleaned them likewise4 ,he now closed the slates1 but toward him1 instead of away from him1 holding them close to his body1 and as he does so1 the false flap1 by this movement1 slips easily and unperceived beneath his coat or vest4 ,i once witnessed a test which1 for a time1 completely nonplussed me1 but1 after considerable study and experimenting1 ,i solved it4 ,this is the effect of the test3 ,a person was allowed to bring two slates2 he was to wash them himself and securely seal them in the presence of the medium1 the medium placing1 before the slates were sealed1 a piece of chalk between them4 ,the slates were sealed after this fashion3 ,around the whole length and width of the slates court plaster was stuck1 and that was also sealed to the slates with sealing wax1 making it an utter impossibility to insert a piece of wire1 or like substance1 between the slates4 ,nevertheless1 the slates were held under the table and presently removed1 unsealed1 and writing in a very poor hand found upon the inner surface of one of the slates4 ,it could hardly be called writing1 being hardly more than a scrawl4 ,now1 how can this be accounted for8 ,by one of the simplest devices imaginable4 ,the medium placed the piece of chalk between the slates4 ,this was composed of pulverized chalk1 mixed with a little water1 glue and iron filings1 and allowed to become hard4 ,the medium1 while under cover of the table1 traced with a magnet below the slate the words found upon the inside1 but backward1 the same as type is set for printing2 if not1 the writing on the slate will be in reverse4 ,the chalk1 on account of the iron filings it contains1 follows the direction of the magnet4 7,fig4 #ac47 ,illustration3 ,fig4 #ac4--,magnetic ,writing4 ,we now come to another idea with two slates4 ,have two slates made with fairly deep wooden frames1 deep enough to hold the slate proper and a false flap of slate4 ,one made of silicate book-slate stuff is preferable4 ,your apparatus consists now of two slates and one false flap4 ,the false flap is made to fit very tightly1 so it will not fall out of its own weight4 ,the slates in the frame also fit snugly4 ,the frames are mortised out a little thicker than the slate1 say twice as thick4 ,this allows the slate to work backward and forward1 from front to back1 and vice versa4 ,if the slate is well pushed down and the flap placed on it1 the flap will not fall out1 but if you press the slate on the back forward1 it shoves out the flap1 and if it is covered with the other or second slate during this operation1 it is forced into the second slate1 which holds it firm and secure4 ,illustration3 ,fig4 #ad4--,the ,thimble ,carrying ,false ,key and ,chalks4 ,another test1 which was supposed to be convincing to skeptics1 was one in which a double slate was used2 it was hinged and provided with a lock in the wooden frame4 ,the slates were examined1 locked1 and the key given to the skeptic4 ,the skeptic was allowed to select from a number of pieces of colored chalk the color that he desired the message to be written in4 ,upon the slates being unlocked and opened1 the writing is found in the color selected4 ,while the slates are being examined1 the medium seizes a duplicate key which fits the lock4 7,fig4 #ad47 ,this key has a thimble attached to it which fits the performer's right thumb2 also attached lengthwise to the key are several small colored pencils or crayons of different lengths4 ,when the slate has been examined1 it is placed under the top of the table and held in position by the thumb of the right hand1 which is underneath1 and the fingers above the table4 ,during this manipulation the thimble is placed on the thumb1 and the performer1 with the key attached to it1 opens the slate1 using his knee to assist or support the slate4 ,one part of the slate opens downward and rests on the knee1 which holds it in position1 i4 e41 at an incline1 pressing it against the table top4 ,on this part of the slate the writing is now done with the colored crayon selected1 which are usually red1 blue1 green and white4 ,when the color of the crayon is selected the performer turns the thimble around1 bringing that color upward4 ,although not easy to execute1 it is1 nevertheless1 a most surprising and effective test4 ,the above test was used by a medium very successfully for years in ,england and ,france1 and was found out recently4 ,a test ,i once received was1 ,i thought1 quite clever4 ,i was asked to write a question on a piece of paper furnished by myself and place it between two slates without the wooden frames4 ,the medium said ,i would in a short time receive an answer4 ,he then opened the slates1 stating the answer must be there1 but none was found4 ,he remarked that perhaps we did not give the spirits time enough4 ,so he replaced the slates together with the paper containing the question between4 ,again1 on taking the slates apart1 they were devoid of writing1 but1 strange to say1 the answer in what looked like lead pencil was found on the paper containing the question4 ,when the slates were removed the first time1 the medium got a glimpse of the question on the piece of paper and then gave me one slate to examine1 and apparently was looking at the other one himself4 ,what he really was doing was this3 ,on the side of the slate toward him he was writing a brief answer to my question with a pencil composed of mutton tallow and lampblack pressed very hard4 ,this pencil was attached to his thumb4 ,he held the slate at the ends with both hands1 thumbs behind and fingers in front1 the writing being done backward4 ,when the slates were replaced the writing1 being black1 was not seen against the black slate1 and was placed immediately over the paper and the writing transferred to it4 ,this is the reason the slates were used without the wooden frame1 because with the frame the two slates would not come close together to press hard enough to transfer the answer4 ,a test1 using a half dozen or so of slates1 is as follows3 ,two slates are cleaned and examined and given to be held together by a skeptic1 and the other slates cleaned on both sides and placed on the table4 ,the medium now takes the two slates apart1 but no writing is found2 one slate is given to the skeptic and the other is placed on the table by the medium1 who picks up another slate and places that with the one held by the unbeliever4 ,after a short time the slates are again removed by the medium and no writing is found4 ,as if in despair1 the medium takes one slate away1 placing it on the table1 picks up another1 showing both sides1 places it with the one in the spectator's hand1 and in a little while the skeptic himself separates the slates and writing is found on one of them4 ,this method brings in use again the slate with a false flap4 ,this slate is among the others on the table4 ,the two slates first given to the individual to hold are all right when the medium takes one slate away and places it on the table the first time and picks up another slate to place it with the one held by the skeptic4 ,it is the flap slate1 and this he places underneath the other slate and asks the skeptic to hold them4 ,when the medium again separates the slates he turns them over1 bringing the slate with the writing uppermost and also allowing the flap to fall into the lower slate1 which is now taken away to be replaced by another taken from the table4 ,care is taken not to show the underneath side of the upper slate during this transaction4 ,the slates the skeptic now holds are devoid of trickery1 and when exposed with the writing on will cause wonderment4 ,illustration3 ,fig4 #ae4--,slate with ,false ,hinges4 ,there is still another style of slate made1 and used to good advantage4 ,it is two slates hinged together1 making a double slate4 ,it has also two holes in the frame opposite to the hinges1 through which tape or cord can be run and tied and sealed to the slates4 7,fig4 #ae47 ,the secret of getting the writing upon the inside lies in the fact that at least one-half of each hinge is screwed to the slate2 the other half is made fast to a little projecting piece in which there is a slight notch4 ,these projections enter corresponding holes in the other slate1 in which is concealed a spring bolt which engages these catches of the hinge4 ,this bolt is shoved back to release the catches by means of a pin pushed through a hole in the end of the frame4 ,,chapter ,,iii4 ,,miscellaneous ,,slate ,,tests4 ,at a public test or sance given by a medium ,i saw the following clever trick performed3 ,a slate1 clean on both sides1 to all appearances1 and1 of course1 devoid of writing1 was given to a spectator to hold above his head4 ,the medium then loaded a pistol1 putting in1 instead of a bullet1 a piece of chalk1 which he rammed well in4 ,he then took careful aim at the slate1 fired away1 and the slate was covered with writing from the chalk that was placed in the pistol4 ,the medium1 beforehand1 allows any one in the audience to choose from a plate containing different colored chalks the colors they desire4 ,the chalk is all right1 and is actually placed in the pistol and crushed to a powder by the ramrod4 ,the slate has been written on one side with glycerine4 ,this side of the slate is supposed to be cleaned1 so as to keep clear of the glycerine1 in order that the invisible writing may not be disturbed4 ,it is this prepared side that faces the medium when he fires the pistol4 ,the powdered chalk adheres to the glycerine1 and thus we make clear another slate miracle4 ,a clever trick employed to deceive me on one occasion was as follows3 ,i was handed a slate and a damp sponge1 with a request to cleanse the slate4 ,i did so1 and handed it back to the medium1 who held it in plain view in one hand4 ,in a short time the slate was given back to me with writing on it that could not be produced by any of the methods ,i was already acquainted with4 ,i witnessed this test a second time1 and it was only by accident that ,i discovered it1 and all through the breaking of a string1 to which the device employed was attached4 ,the apparatus was a strip of narrow wood1 nearly the length of the slate4 ,glued on it were raised letters of cork 7felt would do also74 ,these letters were in reverse1 and were well rubbed with soft chalk4 ,this strip of wood was attached to a cord running up the left sleeve1 across the back1 and down the right arm-hole1 and thence under the vest and the end fastened to a button4 ,the length of the string allowed the wood to hang behind the slate when held in the left hand4 ,to keep the wood up in the sleeve until wanted1 there was a loop on the string far enough up to suit the purpose4 ,this loop was slipped over the button1 where it could be easily detached with the right hand4 ,the sponge was soaked in water containing alum1 which makes the chalk adhere better to the slate4 ,when the slate was handed to the medium1 he held it downward in his left hand1 and allowed the strip of wood to slip down behind it1 when it was pressed firmly against the surface of the slate1 and then pulled up into the sleeve again out of sight4 ,this same idea has been utilized in using a blotter1 the same as is used for ink1 to dry the slate with4 ,the blotter has the writing done on it with chalk1 thus doing away with the strip of wood4 ,take a slate and cover it with writing on one side4 ,cover this writing with a piece of slate-colored silk1 held in the corners lightly with wax4 ,at one end of this silk have a few minute hooks4 ,the slate is now cleaned on both sides1 and1 placing the slate on the floor1 the piece of silk is allowed to attach itself by means of the hooks to the medium's pants1 or dress1 as the case may be1 thus leaving the slate devoid of trickery4 ,it is hardly necessary to remark that the slate is placed on the floor written-side downward4 ,illustration3 ,fig4 #af4--,the ,caustic ,trick ,pencil4 ,a friend of mine told me of a medium he once went to see1 who gave him a most remarkable test4 ,he brought his own slate1 and1 as he afterward said1 there could have been no trick about it4 ,the medium took the slate for a moment1 and with a pencil covered the slate with writing on both sides1 just to see1 so he said1 if it would be good enough for the test4 ,he then cleaned off the slate on both sides and gave it back to my friend1 requesting him to hold it close against his breast1 and then in a short time remove it1 and1 when he did so1 he was thunderstruck to find writing on it on the side nearest to him4 ,this struck me as being a most astounding proof of spirit writing4 ,i had a meeting with the medium1 who gave me the same test4 ,it seemed strange to me that he should want my slate to write on and wash it off again1 for the same reason as he gave my friend1 and that was to see 8if it was good enough for the spirits to work with40 ,i received a message on the slate1 after it was washed1 and saw that there was none on there after it was cleaned and handed to me4 ,i went home puzzled1 and experimented to no avail4 ,i had another sitting with the medium1 but he did not give me the same test2 so ,i returned home again and tried to fathom the mystery1 and was eventually successful4 ,the trick was mainly in the pencil4 ,it was pointed at both ends4 7,fig4 #af47 ,one end was a genuine slate pencil1 the other end was a silver nitrate1 or caustic pencil4 ,in writing on the slate he wrote the lines quite a little distance apart with the slate pencil2 in between these lines he wrote with the caustic pencil1 the writing of which was invisible4 ,the sponge the slate was cleaned with1 was dipped in salt water4 ,that part of the slate containing the writing done with the silver nitrate was just lightly tapped with the sponge1 the rest of the slate was thoroughly cleaned4 ,the salt water1 when the slate becomes dry1 brings out the silver nitrate white like a slate pencil mark4 ,i consider this trick as ingenious and clever a one as it has been my good fortune to witness1 and one that caused me much mental effort to solve4 ,illustration3 ,fig4 #ag4--,writing with the ,toes4 ,here is another test4 ,a slate just cleaned and marked is placed under the table on the floor4 ,the medium and the skeptic grasp each other's hands across the table4 ,in a few seconds the slate is taken up from the floor and is found with writing on it4 ,the solution of this1 like all the rest of the slate phenomena1 rests in simplicity and boldness4 ,the medium wears slippers or low-cut shoes1 that he can slip his foot out of easily4 ,his stocking on his right foot is cut away so as to leave the toes bare4 ,now1 attached to his great toe is a bit of pencil1 and with this the writing is done4 7,fig4 #ag47 ,sometimes the test is varied4 ,five or six pieces of chalk of different colors are on the table1 and the investigator is allowed to select one1 place it on the slate4 ,in this case the chalk is held between the great and adjoining toe1 and the writing is thus produced4 ,it is surprising to see1 with a little practice1 what you can educate the foot to do4 ,i myself can easily pick a pin off the floor and write quite well4 ,sometimes1 by way of variation1 instead of the medium or investigator lifting the slate from the floor1 it is seen to mysteriously make its appearance above the edge of the table1 being lifted there by means of the toes of the medium's foot4 ,another method used is that of scratching the writing on the slate with any metal instrument and then wash the slate on both sides1 being careful not to show the scratched side until it is wet from the washing4 ,in this condition a casual glance will reveal nothing1 but as soon as the slate becomes dry the writing or scratching appears4 ,writing has also been made to appear on a slate on the table while the medium and investigator sit with both hands clasped across the table4 ,the medium accomplished this by the simple means of a pencil concealed in his mouth4 ,at the proper moment he holds it between his teeth1 leans his head over and writes on the slate4 ,of course this is all done in the dark1 and the writing is not very good1 but it answers the purpose1 and that is all that is necessary4 ,here is still another test4 ,a person writes a question on the slate and places it1 written side down1 on the table4 ,all this when the medium is not looking4 ,the medium takes his seat at the table1 places one hand on the slate 7so does the skeptic1 the other hand on the medium's forehead74 ,with the disengaged hand the medium now proceeds to write on the upper surface of the slate4 ,when he has finished1 the communication is read1 and it is found to be a correct answer to the question on the opposite side of the slate4 ,to perform this seeming impossibility the medium has to employ a table containing a trap smaller than the frame of the slate4 ,when the slate is placed on the table1 the medium shifts it over this trap4 ,the trap is then opened1 and by means of mirrors1 #c1 #d1 #e1 placed at angles of #de degrees in the body of the table1 the writing is reflected to the very place where the medium is sitting1 and the image is reversed to normal by the third mirror1 and it is easy then to give an answer to it4 7,fig4 #ah47 ,illustration3 ,fig4 #ah4--,reading the ,questions by ,means of ,mirrors4 ,the following is how writing can be made to appear on a slate on which a person has placed his initials in one corner of it1 which is then placed with that side downward on the table1 and shortly afterward1 on turning it over1 it is found completely covered with writing1 and the signature of the visitor proves there has been no exchange of the slate4 ,the secret of obtaining this effect is both a unique and quite original method4 ,illustration3 ,fig4 #ai4--,the ,interrupted ,flap4 ,the writing is already on the slate and is hidden from view by the false flap1 which has a corner missing from it4 ,this missing corner is where the clever idea comes in4 ,after the medium cleans both sides of the slate1 he says3 8,i will just draw a chalk mark down in this corner of the slate wherein the gentleman is to place his signature40 ,he really draws the chalk mark on the slate proper1 but close to the edge of the missing corner of the flap1 thus disguising the joint1 and after the flap is dropped out of the slate of course this mark and signature still remains4 7,fig4 #ai47 ,here is still another4 ,the medium cleans a slate on both sides and hands it to a skeptic to place his mark on it4 ,it is then placed on the table1 face downward1 and in a short time1 on being turned over1 it is found with a spirit message on it4 ,this is performed as follows3 ,let the message be written on the slate and then sponged out with alcohol1 and when the slate dries1 the writing will be as plain as ever4 ,here is another slate writing secret4 ,dissolve in hydrochloric acid some small pieces of pure zinc1 about one-half ounce to an ounce of acid4 ,with this solution write upon the slate with a quill or a small camel's hair brush the desired communication4 ,when dry it closely resembles writing done with a slate pencil4 ,when the time arrives for the test1 wash the slate1 and it appears to be perfectly clean2 allow any one to examine it and hold it until it becomes dry1 but with the prepared side down4 ,on the slate being turned over it is found to be covered with writing while in the spectator's hand4 ,here is still another idea4 ,the medium has a number of slates in his arms1 say four4 ,he hands the investigator the top one to clean4 ,when he has done so1 the medium receives it back and places it at the bottom of the pile of slates and hands him another again from the top to be cleaned1 and repeats this operation until all four slates have been cleaned4 ,he now takes two of the slates1 places them together1 and1 on removing them again1 writing is found on one of them4 ,here is the method of procedure3 ,prepare your communication on one of the slates1 and let it be the bottom of the pile1 with the writing side down4 ,have your visitor seated1 stand by his side just a trifle behind him1 hand him the top slate to clean2 after he has done so1 hand him the second one and receive the first one back1 placing it at the bottom of all the slates1 and repeat until the third slate4 ,while this one is being cleaned1 slip the fourth1 now the top slate1 to the bottom again4 ,when the third slate is received1 place it on the bottom and hand the fourth1 really the first one over again2 it is1 of course1 the top one and dry by this time1 and the investigator is none the wiser4 ,of course1 the two slates placed together afterward are the one prepared with writing and one of the blank ones4 ,instead of slipping the top slate to the bottom1 sometimes another dodge is used4 ,the medium simply turns the three slates over by a twist of the hand4 ,this brings the prepared slate at the bottom and the last slate cleaned at the top1 and he says he will clean this one1 thus saving time2 really1 however1 to disguise the fact that it is still wet from the last cleaning4 ,he says1 however1 to the visitor1 8,you can clean it also1 if you desire40 ,,chapter ,,iv4 ,,mind ,,reading ,,and ,,kindred ,,phenomena4 ,having now described the principal slate tricks which mediums use to entangle the unwary for their own ends1 we come to other tricks which are used from time to time to impress the credulous with the idea that the medium is imbued with supernatural power and can perform what are1 in effect1 miracles4 ,these tricks are legion1 and they vary from clumsy attempts at mystification to the use of elaborate pieces of magical apparatus which call for rare mechanical genius in their design and construction4 ,the present chapter will deal more particularly with what might be termed mind reading tricks and the reading of concealed writing4 ,of these tricks one of the most perplexing is that of reading sealed communications1 or answering questions placed in an envelope which is well sealed4 ,if ,i were to tell you that ,i could read whatever was written on a card inclosed in an envelope1 and that envelope not only well sealed1 but also stitched or sewn through with a thread and needle or machine1 and the thread sealed to the envelope also1 without removing the seal1 stitches1 etc41 you would hardly credit the assertion4 ,it is nevertheless true1 and is easily and readily accomplished by very simple means4 ,prepare a sponge with alcohol4 ,with this you rub or brush the envelope1 which immediately becomes transparent as glass1 thus enabling you to see through it and read what is written on the card4 ,it takes but a few seconds for the alcohol to evaporate and leave the envelope in the same condition as before1 without leaving a trace as to what or how it has done4 ,this test was used most successfully for years by a celebrated ,philadelphia medium4 ,illustration3 ,fig4 #bj4--,the ,thumb ,pencil ,carrier4 ,we now come to a test often employed4 ,a card is given by the medium to a skeptic with the request to write a question on it4 ,the medium now holds the card in his hand against his forehead4 ,presently he hands the card back to the spectator1 and on it1 in writing1 is found an answer to the question4 ,the medium accomplishes the above feat by means of a little apparatus which is easily attached to the tip of the thumb4 ,part of it goes under the thumb nail and the lower part has a small needle point which embeds itself in the flesh4 ,in the center of this little apparatus is a tiny piece of lead pencil4 ,with this clever bit of mechanism the medium does the writing with the thumb of the hand holding the card4 7,fig4 #bj47 ,four or five persons are seated around a table4 ,they are given paper and pencil and requested to write questions1 then fold their papers up and place them in their pockets4 ,the medium will give them replies to their questions2 in fact1 can tell them the full text of the questions they asked1 and1 what is more mysterious1 he has been out of the room all the time the writing has been going on4 ,to produce this effect1 you are provided with a table containing a hollow leg4 ,now1 spread a piece of thin white silk on top of table1 then on the top of that a piece of carbon1 or duplicating paper1 or cloth4 ,now1 over all1 a thin table cover1 fastened around the edges1 so it cannot be raised up and looked under by the inquisitive4 ,to the white piece of silk is fastened a string leading down the hollow leg1 through a hole in the flooring1 to the cellar or room below4 ,whatever writing is placed on the papers is transferred by the carbon paper to the silk below it4 ,the medium pulls the string1 down comes the silk4 ,one corner of the silk has a mark corresponding with a certain corner of the table1 and by this method not only does the medium know what is written1 but who wrote it1 as he has simply to see the position the writing occupies on the silk1 and it will have been done by the party occupying the same position at the table4 ,another way is by using a pad of soft paper and hard pencils1 and1 after the writing1 remove the pads4 ,it will be found that the hard pencil has caused an imprint1 or indenture1 of the writing on the page below1 not readily seen by a casual glance1 but easily seen by the skilled eye of the medium4 ,a test sometimes offered is as follows3 ,a card is offered to a person to write a request4 ,it is then placed in an envelope and sealed by the medium and placed on the table sealed side up4 ,the medium now takes a pencil and slate and writes something on it4 ,it is given to the skeptic who wrote the question1 and it is found to be an answer to his query4 ,the medium now opens the envelope by tearing it at one end1 and takes out the card containing the question and hands it to the spectator4 ,this is another humbug1 and is accomplished by exceedingly simple but bold means4 ,it will be observed that the medium places the card in the envelope1 also takes it out4 ,the skeptic never sees it4 ,this is the secret3 ,the envelope1 on its face1 has a slit cut in it a little lower down than the opening on the other side of the envelope4 ,this side1 the face of the envelope1 is never shown4 ,the card1 in being placed in the envelope1 is deliberately pushed through the slit in the envelope into the medium's hand and palmed by him and read4 ,of course1 it is an easy matter to write some kind of a sensible answer when the question is known4 ,the card is inserted in the envelope in the same manner as it is taken out4 ,another trick is to have an answer appear written upon the inside of the body of the envelope in which is enclosed the question4 ,the envelope is closed and sealed with sealing wax4 ,this is accomplished without disturbing the seal4 ,in the ordinary manufacture of an envelope1 three of the flaps are stuck together with adhesive gum of far less strength than the fourth flap1 which is to be moistened and closed by the user4 ,it is generally an easy matter to insert the blade of a penknife behind the bottom flap1 that is1 between it and one of the end flaps1 and separate them a trifle4 ,then1 if you insert into this a wooden skewer1 or hard1 round-pointed stick1 like a pencil1 in fact1 a lead pencil will do1 but look out it does not leave marks behind2 and by pushing this along1 and giving it a rolling motion1 you will separate the flaps up as far as the seal1 and1 if done carefully1 without tearing or mutilating the envelope4 ,now1 on a slip of paper write the answer or suitable message1 but in reverse or backward writing1 as the words would appear in a looking-glass1 with a carbon or copying pencil4 ,pass this slip through the opening in the envelope1 shake it into the desired position1 now rub the envelope over this spot until you think the envelope has taken the impression4 ,then remove the slip of paper by the same way it came in1 moisten and gum the opening1 and the trick is done4 ,in rubbing the envelope1 it is a good plan to place a piece of paper over it to keep the envelope clean of marks1 which would be liable to appear from damp or moist fingers during the rubbing4 ,the following is from the experiments of a ,german scientist4 ,he discovered1 by the use of an embryoscope1 or egg-glass1 that the shells of eggs were of very unequal thickness4 ,it occurred to him to make experiments in order to ascertain how many leaves of ordinary letter or official paper must be laid above and below a written leaf1 in order to make it illegible to a highly sensitive eye in the direct sunlight4 ,he found that after he had rested his eye in a dark room for ten or fifteen minutes1 he could read a piece of writing over the mirror of the embryoscope that had been covered with eight layers of paper4 ,he called in other observers to confirm this4 ,the letters1 however1 that could be thus deciphered were written in dark ink on one side of the paper only4 ,if four written sides were folded together1 and especially if there had been crossing1 it was hard to make out the drift of the writing2 and there are some kinds of writing which1 when folded thrice or twice1 admit too little light for the purpose of decipherment4 ,in this way1 possibly1 many of the performances of 8clairvoyants0 may be explained4 ,by means of the egg-glass it is1 as a rule1 easier to make out the contents of a letter or telegram without the slightest tampering with the envelope than it is to detect the movements of the embryo in the egg4 ,suppose the writer of a billet1 the contents of which are known only to himself1 lets it out of his hands and loses sight of it for five minutes1 it may be carried either in the direct sunlight1 or into electric or magnesium light1 and be read by the aid of the egg-glass4 ,the placing of a piece of cartridge paper in the envelope1 or the coloring of it black1 is a means of defense at hand4 ,in their present form1 telegrams cannot be protected from perusal1 unless delivered at once into the hands of the addressees4 ,a few tests employed by mind readers and clairvoyants1 so called from their presumed ability to read other people's minds1 will1 ,i think1 prove interesting4 ,let us suppose the performer1 as a means of proving his ability to cause his subject to read his mind from a distance1 or by mental telegraphy1 execute the following feat4 ,his subject1 let us say his wife1 is at home4 ,the professor is in a public place1 a store1 or banking house1 etc4 ,he requests some one to write a question2 he hands this person a fountain pen and a pad of paper4 ,after the person has done so1 he is requested to fold the communication up1 place it in an envelope and seal it1 and then put it in his pocket4 ,he is now asked to write a letter or note to the professor's assistant1 asking her to inform him what it was that he had asked on the paper inclosed in the envelope in his pocket4 ,this note1 and the pen also1 for fear the lady has no writing utensils1 is carried by the gentleman himself to the lady4 ,she reads the request1 and1 turning the paper over1 she writes the answer correctly on the other side4 ,sometimes1 instead of the gentleman himself going with the note1 a messenger boy is sent with it and the answer brought back by him4 ,in either case the paper and pen are sent along4 ,the pen is an ordinary fountain pen1 and it is by means of it that the lady receives the desired information of what has been written4 ,first the professor has to know what has been written4 ,he simply says to the gentleman3 8,you must allow me to read the question2 for1 if ,i do not see it1 how can my assistant see it1 for it is through me she is enabled to know8 ,what ,i see ,i convey to her by mental telegraphy1 and thus convey the communication40 ,after the professor sees the communication he goes to a desk and gets an envelope1 or takes one out of his pocket1 and gives it to the gentleman to place his question in and seal it4 ,while this is being done he stealthily writes on a piece of fine1 thin paper an exact copy of the question4 ,this he makes into a little pellet and places it in the little cap or end that is made to cover the point of the pen for protection4 ,of course it is now easy to see the method by which the question is made known to the assistant4 ,she has simply to remove the pellet of paper1 unfold it and read it4 ,sometimes a pad of paper is used that has cunningly concealed between two of its leaves1 near the top1 a piece of carbon duplicating paper4 ,these two sheets are pasted around the edges so as to appear as one1 and when the person writes a question it is duplicated on the sheet of paper following the one wherein is concealed the carbon paper4 ,the professor has simply to tear out this sheet and inclose it in the cap of the fountain pen4 ,the name of ,foster is almost invariably coupled with any test wherein there is reading of sealed letters1 pellets1 etc41 just the same as ,slade's is connected with the slate writing tests4 ,foster was an inveterate smoker1 anywhere and everywhere1 especially at his sance1 and it was all for a purpose4 ,the visitor who desired a sitting with ,foster was asked to write a few questions on small pieces of paper1 fold them up separately1 and press them into small balls or pellets4 ,foster would pick one of these up and hold it to his head1 as if to try and penetrate it4 ,apparently failing to do so1 he would place it back on the table4 ,this he would repeat with others4 ,finally1 he hands one of them to the visitor1 after holding it against his forehead1 requesting him to hold it himself4 ,foster then took a pencil and paper1 and scribbled something on it1 and then bared one of his arms1 and showed it devoid of any preparation4 ,he then rubbed this arm with his hand1 and1 on removing it1 a name was seen4 ,on reading what ,foster scribbled on the paper1 the visitor finds an answer to one of his questions1 and the name in blood red on ,foster's arm is found to be the name of a person addressed by the visitor in the note4 ,foster had a pellet of paper of his own concealed between his finger tips1 and1 at some convenient moment1 instead of placing back on the table one of the pellets he has just taken up1 he substitutes one of his own1 keeping the bona fide one in his hand1 which he lowers into his lap and unfolds4 ,holding it in the palm of his hand1 he strikes a match and lights his cigar1 and while doing so he is deliberately reading the note1 which he afterward crumples into a ball and conceals in his hand4 ,he now takes up another pellet and tries to see through it by holding it to his forehead4 ,he1 however1 fails1 and gives it to the visitor to hold1 really exchanging it for the one he has just read4 ,he now has his own and the visitor has his4 ,he now allows his hands to lie carelessly in his lap1 and1 while conversing with the visitor1 he pushes one of his coat sleeves up a short distance1 and1 with a sharp-pointed stick1 writes the desired name on his arm1 pressing down hard4 ,in a second or two he writes the answer to the visitor's question1 minus the name he has just placed on his arm4 ,he now shows his arm bare1 and rubs the spot where he has written1 with his fingers slightly moistened1 whereupon the name appears in bright pink writing4 ,if it is desired to make it disappear1 hold the hand above the head a few seconds4 ,to make it appear again1 rub once more with the fingers4 ,here is another trick which apparently calls for mind reading4 ,the performer's assistant is sent out of the room4 ,now1 a sum of figures in addition is placed on the slate by a spectator4 ,when he has concluded1 the performer takes the chalk and draws a line under the numbers1 turns the slate downward on a table1 so nothing can be seen1 places chalk on the slate1 and retires into a corner of the room4 ,his assistant is now called into the room1 steps up to the table and seizes the chalk and marks down the correct answer to the sum of figures which is on the other side4 ,like all the tricks that appear the most incomprehensible1 this is one of the most simple4 ,the performer stands watching the person as he places down the numbers on the slate1 he mentally adds them1 and1 with his hands behind his back or under his coat-tails1 with a lead pencil in one hand1 he writes on a piece of chalk held in the other hand the correct answer4 ,it is needless to say that it is this piece of chalk he places on the slate1 and not the one used4 ,the chalk is scraped or filed flat a trifle lengthwise4 ,this is to keep it from rolling on the slate1 thus avoiding accidental exposure of the writing on it1 and also give it a flat surface to write on4 ,here is an effect ,i produced as a stage illusion some years ago1 somewhat resembling a spiritualistic effect4 ,hanging up against the scene1 at the rear of the stage1 was a large blackboard4 ,on this blackboard writing appeared gradually1 done in chalk1 as though some unseen hand were actually at work4 ,the blackboard was really nothing but fine wire slate-colored netting4 ,there was a large hole cut in the scene immediately behind the blackboard4 ,this hole was completely boxed in by curtains or woodwork1 so as to make it as dark as night4 ,a man was in this space1 and he was dressed in a complete suit of black2 also a black mask and gloves4 ,he was provided with a pot of white paint1 composed of whiting1 water and glue1 and a brush4 ,now1 the man can see through this netting1 but the spectators are unable to see him behind this screen of netting4 ,with the brush and paint he traces on the wire netting whatever is desired4 ,the paint comes through the meshes of the netting1 and1 adhering to it1 makes a very good imitation of a chalk mark4 ,it should be remembered the person doing the writing does so backward2 so it will be in correct position when seen by the audience4 ,illustration3 ,fig4 #ba4--,the ,board ,facing the ,audience4 ,the following is somewhat in the same line1 and is called the 8,educated ,fly40 ,when the curtain rises a large mirror1 in a gilt frame1 is seen resting against an easel4 7,fig4 #ba47 ,the magician takes the mirror in its frame from the easel and rests it on the floor1 showing both sides to the audience4 ,he also removes the glass from the frame1 and rests the glass against the easel while he exhibits the frame to the audience4 ,the frame has a solid wooden back4 ,the mirror is about four and a half feet wide and three feet high1 and after it has been inspected1 the magician replaces it in the frame4 ,he now takes a piece of soap and marks the glass off into twenty-eight even squares1 which he numbers from one to twenty-six1 and letters from ,a to ,z2 one of the remaining squares is zero1 and the other is left1 as the prestidigitateur says1 for a starting point4 ,he now takes a large fly from the table and places it on a little shelf which projects from the empty square4 ,he then asks that a letter or number be called4 ,as soon as this is done1 the fly is seen to travel across the mirror and stop at the desired square4 ,this is repeated time and time again1 the fly every time returning to the starting point4 ,illustration3 ,fig4 #bb4--,the ,mystery ,explained4 ,the reason for having the mirror separate from its frame1 and exhibiting it separately1 is this3 ,it will be remembered that the mirror is rested against the easel as the frame is shown1 and that this frame has a wooden back4 ,in addition to the wooden back1 it has a cloth back1 which is firmly fastened to the frame1 and then comes the wooden back4 ,this back is hinged to the frame at the bottom4 ,now1 when the frame is placed on the easel and the mirror rested on the floor1 the space behind the easel from the floor up is concealed by the mirror1 and this gives an opportunity for a boy to get through a trap in the floor and pull down the back of the frame1 to make a shelf on which he sits4 7,fig4 #bb47 ,of course1 the cloth back is still in the frame2 so the boy cannot be seen4 ,the mirror is taken up and replaced in the frame2 then it is marked off into squares1 as already mentioned4 ,the black cloth is previously marked off into squares which exactly duplicate those which have been made on the face of the mirror4 ,the fly is made of cork1 with an iron core which is set flat against the glass4 ,the boy behind the mirror is provided with a strong electro-magnet attached to a wire running down the leg of the easel and under the stage1 where it is connected to a powerful battery4 ,he brings up the magnet and several feet of wire with him while the mirror is resting on the stage4 ,when the boy hears the numbers called1 he applies his magnet to the corner where the fly is resting on the little shelf1 and the magnetic attraction1 working through the glass1 draws it successively over the squares until it comes to the desired spot1 which the boy can see on his chart2 and1 of course1 the proper letter or figure is indicated where the fly stops4 ,the most sphinx-like problem ever presented to the public for solution was the second-sight mystery4 ,there have been many exposs of 8mental magic10 and some of the best of them are described in 8,magic3 ,stage ,illusions and ,scientific ,diversions1 ,including ,trick ,photography40 ,we have now to concern ourselves with 8mental magic0 where the results are obtained by clever tricks4 ,there have appeared1 from time to time1 before the public1 individuals who generally work in couples1 termed 8operators0 and 8subjects10 who have given performances which were termed mental wonders1 silent second-sight1 etc4 ,the operator invariably tries to impose on the public with the idea that he possesses some mysterious power over the 8subject0 by which he is enabled to communicate information to her by his will power over her mind1 without a word being spoken4 ,there are1 of course1 various methods of performing this trick1 as by a code of predetermined signals in which sentences like the following are used3 8,say the number4 ,well8 ,speak out4 ,say what it is40 ,but these methods are not comparable with the mechanical means which we are about to describe4 ,the 8operator10 after informing the audience of the wonderful powers of divination which the subject possesses1 introduces the 8subject10 who is invariably a lady4 ,she is seated on a chair near the front of the stage1 in plain view of the audience4 ,her eyes are heavily bandaged1 so she cannot see4 ,a committee is invited to go upon the stage to see that the lady has had her eyes properly blindfolded1 and also1 ostensibly1 to help the operator4 ,a large blackboard is placed at one side of the stage1 behind the lady4 ,one of the committee is requested to step to this blackboard and write on it1 with chalk1 some figures1 usually up to four or more decimal places2 and after he has done so he resumes his seat4 ,the lady immediately appears to add up the number mentally1 calling out the numbers and giving the results of the addition4 ,each member of the committee is invited to step to the blackboard and touch a figure4 ,no sooner has he done so than the lady calls out the number4 ,other tests of a similar nature are given1 such as the extraction of square and cube root1 etc4 ,they all prove that the lady has a thorough knowledge of the numbers on the blackboard and the relative position which they occupy4 ,it is1 of course1 proved beyond a doubt that the lady cannot see the blackboard4 ,the question then arises1 ,how does she obtain the information8 ,there are two methods of performing this trick4 ,in either case her information is obtained from a confederate1 who is generally concealed under the stage1 who has the blackboard in sight1 and who transmits to the lady the desired information4 ,illustration3 ,fig4 #bc4--,the ,foot ,telegraph4 ,in one method the lady has a hole1 one and a half inches in diameter1 cut out of the sole of one of her slippers4 7,fig4 #bc47 ,she places this foot over a hole in the stage1 through which a small piston is worked pneumatically by the assistant4 ,the piston is connected with a rubber tube1 which runs to where the assistant is concealed4 ,the assistant looks at the blackboard and manipulates the bulb1 thus causing the piston rod to strike the sole of the foot1 giving signals which can be readily understood by the subject4 ,robert ,heller used a system somewhat similar1 only an electro-magnet was used instead of the pneumatic piston4 ,illustration3 ,fig4 #bd4--,the ,speaking ,tube4 ,another and bolder method of conveying information is the speaking tube4 ,in this case a ,vienna bent-wood chair is used4 ,the chair is specially prepared for the trick4 ,one leg of the chair is hollow1 and the air passage is continued to the very top4 ,the lady usually has a long braid of hair hanging down her back1 and1 if not blessed by nature with this hirsute adornment1 she wears a wig4 ,in either case1 concealed in the hair is a rubber tube1 one end being close to the ear and the other hanging down with the braid1 so that when the lady is seated on the chair the operator can easily connect it with the tube in the chair4 7,fig4 #bd47 ,illustration3 ,fig4 #be4--,the ,head ,telegraph4 ,illustration3 ,fig4 #bf4--,the ,signaling ,instrument4 ,there is still a third method1 which is so absurdly simple that it deceives even a very knowing committee4 ,the committee places a chair on any part of the stage they may see fit1 and the subject seats herself and is blindfolded as before4 ,a thread runs from the side of the subject through a small ring attached to a chandelier overhead4 7,fig4 #be47 ,one end of this thread is held by an assistant and the other end is fastened to a hammer working on a pivot secured to a metal plate concealed in the hair of the lady1 her hair being dressed high4 ,when she walks on the stage1 the assistant pulls in the slack of the thread1 and when she is seated on the chair1 the assistant pulls the thread taut1 so that he is able to communicate signals to her by a very slight motion of the thread1 which causes the hammer to work on the plate1 which is resting very close to the skull1 so that the signals are easily felt at every stroke of the hammer4 7,fig4 #bf47 ,predetermined signals may be used1 or the regular ,morse alphabet1 as in telegraphing4 ,there are a number of other ways of convey conveying information1 but the three methods we have described are perhaps the best4 ,,chapter ,v4 ,,table ,,lifting ,,and ,,spirit ,,rapping4 ,illustration3 ,fig4 #bg4--,table ,lifting ,trick4 ,so much has been heard about table tipping and floating tables1 it will1 ,i think1 prove interesting to explain a few of the clever devices employed to produce the above phenomena4 ,small1 light tables are lifted by the mere 8laying on of hands40 ,the arms are raised in the air and the table is seen to cling to the hands and follow every motion4 ,this is accomplished by a pin driven well into the table1 and a ring with a slot in it 7,fig4 #bg7 worn on one of the medium's fingers4 ,the body of the pin easily enters the slot in the ring1 but the head of the pin1 being larger1 prevents the table from falling away from the hand4 ,after the table has been floated successfully1 an extra strong upward pressure of the hand pulls the pin out1 and the table can be examined4 ,another test on somewhat similar lines is the lifting of a bowl of water by immersing the hand in the basin of water4 ,in this case a pin is fastened firmly into a leather or rubber sucker1 and the finger ring again does the work4 7,fig4 #bh47 ,this can also be used to lift anything that is not of a porous nature4 ,a table with a well polished top can be easily lifted4 ,in lifting large tables the medium is assisted by a confederate among the assembled guests4 ,it is his duty to get as near opposite the medium as possible4 ,the medium and the confederate have fastened to their wrists1 by means of a leather cuff and straps1 a bent hook4 7,fig4 #bi47 ,their hands rest on top and the hooks under the table4 ,by this means it is a simple task to raise the table4 ,sometimes the above device is varied2 instead of hooks fastened to their wrists they use hooks from under their vests1 hanging by a loop from their necks4 7,fig4 #cj47 ,i have seen a square table lifted without the use of either of the above devices4 ,the medium and his confederate simply got the linen cuffs of their right hands well under the corner of the table1 and with their hands on top they found no difficulty in raising the table by this improvised means4 ,illustration3 ,fig4 #bh4--,the ,sucker4 ,although spiritualists claim they have1 and can1 make pianos float in the air1 ,i have never seen it accomplished1 and ,i could never get a medium who was able to produce the effect1 and ,i sincerely doubt if any one can honestly and truthfully acknowledge they have witnessed it4 ,illustration3 ,fig4 #bi4--,the ,leather ,cuff and ,hook4 ,i saw a small1 round table once floated in the air without the medium touching it4 ,it was accomplished by means of two threads running across the room and worked by two confederates4 ,the threads were on the floor and lifted up and allowed to catch under the table4 ,i have also seen a letter raised from a table and float in the air into the medium's hand4 ,this was done also with a thread1 one end fastened in the wall above the table the letter rested on1 the other near the medium4 ,the letter is not sealed4 ,this allows the thread to go between the flap and letter1 or envelope1 and when the medium pulled the thread taut1 it made an incline for the envelope to travel on1 right up to the outstretched hand4 ,illustration3 ,fig4 #cj4--,the ,loop and ,hook for ,table ,raising4 ,years ago ,robert-,houdin1 the celebrated ,french conjurer1 produced1 at his pretty little theater in ,paris1 an illusion which1 for startling effects1 has not since that time been excelled2 and the means which he employed for operating the stage machinery have been employed in many stage tricks of more recent date4 ,the stage is set to represent a drawing-room1 and1 in stage parlance1 would be called a 8box set40 ,there are side scenes1 as well as a 8drop0 or back piece4 ,in the center of the room is a large door1 and a grand piano rests against one of the side scenes1 a small table being placed near the door4 ,when the illusion is to be performed1 a lady enters carrying a bouquet1 which she leaves on the table and advances to the piano4 7,see ,frontispiece47 ,she seats herself1 opens the cover of the piano and plays a short piece2 then1 closing down the cover1 remarks that she does not feel in the humor to play4 ,she extends her hand toward the bouquet on the table1 which mysteriously rises and falls through the air into her hand2 and1 at the same time1 she is seen to rise upward in the air still seated upon the piano stool4 ,when she reaches a point midway between the ceiling and the floor she glides toward the opposite sides of the room1 and the piano1 which seems as if it will not be outdone1 rises also and follows her through the air4 ,this is usually received with great applause by the audience1 and the curtain falls4 ,the explanation of the phenomena is the following 7,fig4 #ca73 ,in the first place1 the piano case is cleverly made out of papier mach1 and is really a mere shell containing no keyboard or action4 ,the back of the piano is open2 immediately behind it1 in the side scene1 is a trap1 and at the back of this scene is a real piano mounted on a truck1 so that it can be easily moved backward and forward4 ,our engraving shows both the piano and the trap4 ,when the real piano is run into the papier mach case the keyboard is in its normal position1 so that the lady can play upon it4 ,when the lady finishes playing she closes the lid of the false piano4 ,as soon as this is done an assistant behind the scene moves the piano back1 thus leaving the empty shell1 and the trap in the scene is closed4 ,the false piano is1 of course1 very light1 and to it are fastened fine wires1 which are invisible at a short distance2 one is secured to each corner4 ,these wires run up over pulleys on a truck overhead1 which can be run backward and forward immediately over the scene4 ,each wire is terminated by a bag of sand or shot1 which counter-balances the weight of the piano4 ,it will be noticed that there is a fifth wire secured to the false case4 ,it is run up also over the pulley in the truck1 and then off to the side of the stage beyond the side scenes4 ,by pulling this wire the piano is raised or lowered to any desired distance4 ,counterweights hold the instrument at any position4 ,there is a rope attached to the overhead truck1 so that it can be pulled back and forth1 thus causing the piano to move across the stage4 ,there are1 of course1 slits in the ceiling of the mimic stage which allow the wires to pass through4 ,illustration3 ,fig4 #ca4--,the ,mystery ,explained4 ,the lady is raised by a curious device4 ,there is attached to the piano stool a clear piece of plate glass1 which comes up through a slot in the stage technically known as a 8slider40 ,this glass is made to raise or lower by means of a windlass4 ,the glass rests on a cross-piece of wood and works up and down in a grooved frame1 which is secured to a movable truck under the stage4 ,the slot in the stage is continued in the direction in which the glass is to move1 and the carpet is of a marked design which will cover the narrow opening4 ,the bouquet is secured with a thread attached to the piano1 and it then goes through the door1 where an assistant holds the loose end4 ,a small loop of wire is attached to the bouquet1 and a thread runs through it4 ,when the lady enters the room and lays the bouquet on the table1 this thread is passed through the loop of wire4 ,when the bouquet is desired to travel to the lady1 the assistant has only to raise the end of the thread high enough and the bouquet slides down the incline into the lady's hand4 ,illustration3 ,fig4 #cb4--,the ,telegraph ,set4 ,a medium in ,detroit1 ,mich41 has lately been hoodwinking the public and coining money with an idea that was quite original4 ,he employed a small1 shallow box1 composed of wooden sides and ends and slate top and bottom4 ,the box and its lid were about of even height1 and were hinged together4 7,fig4 #cb47 ,the box contained a telegraph key connected up to a sounder and a dry battery sitting outside of the box on the table4 ,the medium allowed everything to be well examined4 ,it was proved that the battery on the table was the only means of operating the sounder whenever the key was worked4 ,if one of the wires were disconnected1 or the box were closed and the key thus out of the way of manipulation1 the sounder would not work4 ,after everything was satisfactorily explained1 notes were written on pieces of paper1 which were folded and placed upon the table4 ,these are taken1 one at a time1 and placed in the box and the lid closed4 ,if conditions are favorable1 the spirits will be enabled to read one of the inclosed notes1 and will send a telegraphic reply over the sounder2 and such is ofttimes the result4 ,of course1 we know spirits do nothing of the sort2 it is the medium who accomplishes all of this4 ,how does he know the contents of the note8 ,how does he cause the ticker to work with the key inclosed in the box8 ,the visitor is placed on one side of the table1 generally facing a window1 so as to have the light shine into his or her eyes4 ,the medium sits opposite with his back toward the window2 the box containing the key is at his side of the table1 with the hinges1 or the back of the box1 toward the visitor4 ,now1 if the lid of this box is opened and a paper taken off the table and placed in the box and the lid closed1 you could not tell for certain if the paper was actually placed in or not1 for the simple reason that the cover of the box1 when up1 completely masked the operation4 ,it is by the above scheme that the medium obtains the notes on the paper4 ,the first one or two are actually placed in the box2 then the next one is deliberately dropped into the medium's lap instead of the box4 ,he unfolds it1 reads it1 refolds it1 and1 on opening the box1 apparently takes it from there and places it back on the table and does not lose track of it4 ,two or three other papers are placed in it by the visitor1 and again taken out by him4 ,again the visitor is asked to place in it the one the medium knows the contents of4 ,now the ticker commences to work4 ,with his left hand carelessly resting on the corner of the closed box1 the medium writes with his right hand1 with a pencil1 on a pad of paper1 the communication received over the ticker4 ,the visitor removes the paper from the box1 and the answer just written by the medium on the pad is found to be a reasonable one to the written request4 ,all that remains to be explained is the working of the sounder4 ,it is very simple4 ,in the first place1 the lid and box are hinged so as to be hinge bound2 that is1 they will not1 of their own weight1 quite touch each other1 possibly about an eighth of an inch1 or less1 apart4 ,but by the pressure or weight of the hand they will come together4 ,now1 the telegraph key1 like all such instruments1 is provided with a tension screw1 which can be screwed one way or the other4 ,when the medium desires his instrument to work1 he raises this tension screw1 to which is fastened the button of the key1 just high enough to touch the lid on the inside of the box when it is closed of its own weight4 ,now1 when the hand is resting on the box1 he proceeds to make the sounder 8speak0 at will1 with no perceptible movement of his hand4 ,a simple muscular contraction of the palm of the hand1 which cannot be detected1 is sufficient to control the sensitive key1 by pressure of the box cover on it4 ,the whole thing is so simple1 and at the same time puzzling1 that it makes one laugh to think how little it takes to make a fool of a man4 ,in the case of this medium1 the head of the tension screw was brass1 and left a brassy mark on the slate top4 ,he soon observed this1 and changed it for a hard rubber one1 which left no telltale marks behind4 ,sometimes he did not raise the tension screw1 but laid the folded paper the question was written on on top of it4 ,this made up the required height4 ,other mediums improved on the above method by working the key through the box by an electro-magnet concealed in the table top4 ,the current to the magnets was turned on and off1 or broken1 as the line is used1 by means of a small button in the body of the table1 pressed by the medium's leg4 ,this method allowed him to keep his hand off the box4 ,the raps1 or noises1 are produced in various manners4 ,press your boot heel gently against a table leg4 ,the slipping of the leather against the wood makes perfect spirit raps1 wood being a good conductor of sound4 ,the raps apparently come from the table top if attention is directed in that direction4 ,some mediums1 with the tips of their fingers pressed firmly on a table top1 slip them1 by a dexterous movement1 along the varnished surface1 thus making very fair examples of raps or thuds4 ,some mediums1 in their own homes1 have tables provided with electro-magnets concealed in them1 by which the knocks are accomplished4 ,medical experts claim that a very good result can be obtained by the mere displacement of the tendons of the muscle called peroneus longus1 in the sheath in which it slides behind the external malleolus4 ,others again produce it by snapping the toe or knee joints4 ,watch a boy some day as he snaps his finger joints1 and if he were to rest his elbows on the table while doing so1 the sound would be intensely strengthened4 ,,chapter ,,vi4 ,,spiritualistic ,,ties4 8,ties0 have always been one of the great standbys of mediums1 second only to slate writing4 ,the following is a simple test with a rope or piece of string3 ,a long piece of rope is given for inspection1 and1 on its return to the medium1 he coils it up and lays it on the table2 the two ends are tied together and sealed fast to the table4 ,the coils of the rope are now allowed to drop on the floor4 ,lights are lowered1 and1 in a few minutes1 when the lights are relighted1 the coil of rope is found with numerous knots tied in it that could not naturally have been accomplished without the ends being untied and unsealed4 ,this mystery is accomplished by simple means4 ,when the medium receives the rope back he does not coil it up as a person would1 in the ordinary fashion1 but makes the coils so they really form half hitches1 and1 as he lays them on the table1 he runs one of the free ends through all the coils1 then ties the two ends together4 ,each coil will now form an overhand knot4 ,an easy manner of manipulating the rope is as follows3 ,the rope is held in the hands1 with palms upward2 now1 to form the coil1 or half hitch1 the right hand is given a half twist2 this brings the palm facing the person's breast and back of hand outward1 and leaves the rope as seen in ,fig4 #cc2 this loop is transferred to the left hand 7,fig4 #cd71 and the operation repeated until the supply of the rope is exhausted4 ,now1 to make the knots1 one end of the rope has simply to be passed through all the loops4 ,illustration3 ,fig4 #cc4--;,first ,position4 ,illustration3 ,fig4 #cd4--,second ,position4 ,i have seen the above test worked also as follows3 ,two skeptics were used4 ,one end of the rope was fastened to one of the skeptic's wrists and the other end to the wrist of the second skeptic4 ,the knots were sealed4 ,the rope in this case was quite long1 about twenty feet4 ,the medium now makes the rope up into a few coils2 out go the lights1 and1 in a few minutes1 on the lights being turned up1 the rope is found with knots4 ,this is what happens3 ,when the lights went out1 the medium went up to one of the skeptics1 and1 while talking to him and moving him two or three feet further away from the other skeptic1 he has passed the coils over this one man's head1 and allowed the coils to drop to the floor4 ,as soon as the skeptic steps out of these1 the job is done4 ,there is another test on somewhat similar lines4 ,a short piece of rope is examined and the performer holds it in one hand and then tosses it into the cabinet1 which is empty4 ,on opening the curtain in a few seconds the rope is found with a knot on it4 ,the performer himself actually ties the knot with one hand in the act of tossing the rope into the cabinet4 ,the rope is held in the hand palm upward1 very near one end1 the short end in the hand being with the long end hanging down1 the shorter part being between the thumb and the forefinger4 ,the hand and arm are given a kind of half circular sweep in tossing the rope into the cabinet2 this causes the long portion of the rope to swing under1 then over the wrist1 and across the fingers of the hand4 ,this end is then seized between the fingers and drawn through the loop just made2 at the same time the loop is dropped off the wrist as the rope is tossed into the cabinet4 ,in reading the above description it seems like four or five different movements1 but with practice they all blend into one4 ,here is another test4 ,a single knot is tied in the center of a piece of string2 now the ends are tied together and knots sealed4 ,the lights turned down2 on their again being turned up1 the knot from the center of the cord has disappeared4 ,the moment there was darkness the medium started to work1 and kept slipping the knot along the string until it joined the rest at the top of the string1 where there is not much fear of its being seen4 ,to further protect himself he uses the following plan3 ,he chews gum colored the same as the sealing wax used4 ,now in the dark1 when he has the single knot up against the others at the end of the string1 he covers this knot with part of the chewing gum and blends it in with the sealing wax4 ,i will now explain a few ties1 rope and otherwise1 by which the mediums allow themselves to be tied4 ,it is almost invariably the rule for the medium to suggest to the investigator the general way he wishes to be tied4 ,they must have certain conditions1 so they say1 or the spirits will not work4 ,it is safe to say the conditions are very strict and always in favor of the medium4 ,the female medium has a preference for ties in which tape or muslin1 or cotton cloth torn into strips1 is utilized4 ,the male performer1 as a rule1 uses rope and wire4 ,i will first describe what is known as the braid or tape test4 ,take a piece of tape about three-quarters of an inch wide4 ,have one end of this securely tied around the wrist2 now the person who is conducting the test seats himself in a chair with his hands behind the back of the chair2 now have the loose end of the tape passed between the uprights forming the back of the chair2 have the other end fastened around the remaining hand4 ,the moment you are in the dark1 or hidden from view1 you can produce any manifestation that requires the use of one or both hands1 by following these instructions4 ,the first hand can be tied as the investigator pleases4 ,now1 when the second hand is to be tied1 keep a strain on the tape enough to keep it taut4 ,by so doing a square knot cannot be tied on the tape1 but simply a running knot1 or a knot around the strand of the tape--a knot that can be slid backward and forward4 ,here is what is known as the cotton bandage test4 ,a ring staple or ring screw eye1 the ring being about two inches in diameter1 is wound around with unbleached muslin of the same color as used to tie the medium's wrists with4 ,this ring is fastened securely into the door jamb or any stationary wooden support by one of the investigators4 ,two strips of muslin about three feet long are given to the investigator2 one of each is tied around one of the medium's wrists and the knots sewed and sealed4 ,her 7for the medium is supposed1 in this case1 to be a lady7 hands are now placed behind her1 and the ends of the strips from each wrist are now tied together and the knots tied and also sewed2 and what ends are left are evenly cut off near the knots4 ,another strip of muslin1 about the same width and length as the others1 is now produced1 and one of the committee ties this strip around the knots between her wrists1 leaving the ends of equal length4 ,the medium now takes her seat on a small stool1 with her back toward the ring in the door jamb4 ,one end of the last muslin strip is passed through the ring and several knots are tied4 ,after tying several knots1 the ends of the strips are tacked securely to the woodwork of the door4 ,another strip is procured and tied around the medium's neck1 and then tacked also to the door jamb4 ,two more strips are now used1 one passed around each arm1 not tied1 and the ends of each tacked to the door4 ,the committee1 having done all the work themselves1 of course1 are thoroughly satisfied as to its genuineness4 ,they now retire from the cabinet1 which has been simply made by a curtain across one corner of the room1 forming a triangular space4 ,no sooner is the curtain closed than the usual manifestations occur1 such as ringing of bells1 tooting of horns1 banging of tambourine1 etc4 ,immediately the curtain is opened and the medium found securely bound and not a bandage disturbed4 ,finally a pocket knife is placed upon her lap1 the curtain is closed1 and in a few seconds the medium comes forward with her bonds cut1 but only the wrists separated2 this has been done1 she claims1 by the spirits1 with the use of the knife which was placed in her lap4 ,now to explain away the mystery4 ,in a convenient pocket in her belt she has concealed a small1 sharp1 open knife1 with which she cuts through the bands between the wrists4 ,she cuts this band between the knot on her right wrist and the knot in the middle made by tying the ends of the wrist bands together4 ,she now slips the loop which was tied around off1 leaving it whole and still tied around the ring4 ,she is now free to use both hands1 and1 as the last strips around her arm were not tied1 they are easily managed4 ,she makes what manifestations she chooses1 and by placing her wrists one each side of the ring1 and clasping her hands together1 pressing all tightly together1 she is ready for examination4 ,the ring being wound with muslin1 one cannot see that anything has been changed2 and this is the reason it is wound4 ,another thing to notice is that the spirit cutting is the last test4 ,the reason of this is1 if the investigators were to release her1 they would discover the secret4 ,male performers use the same idea for rope ties from which they find it impossible to release themselves4 ,they have a knife blade soldered firmly on to a brass plate1 which is riveted or sewed on the back of the performer's trousers1 the edge of the knife blade being outward4 ,he has simply to run the rope up and down over this contrivance1 and he soon gains his liberty4 ,illustration3 ,fig4 #ce4--,the ,davenport ,tie4 ,i will next illustrate a tie made famous by the ,davenport ,brothers4 7,fig4 #ce47 ,the rope used is what is known in trade as a sash rope4 ,silver ,lake or ,sampson brand is the best4 ,this is a stiff1 polished or smooth1 hard finished rope4 ,with this style of rope it is an almost utter impossibility to be tied but what you can free yourself4 ,the ,davenports1 on first being secured1 would try and induce or lead the committee who did the tying to do so in a way which would be advantageous to the medium4 ,see ,barnum's 8,humbugs of the ,world10 page #acf3 8,the brothers saw they could not wriggle out of the knots4 ,they therefore refused to let the tying be finished40 ,of course1 they did not make the request pointed1 or apparent1 but1 in the coolest natural way1 and not suggestive of any conceived plan4 ,their method was as follows3 ,one of the committee1 holding a piece of rope1 about twelve feet long1 as near the center as possible1 would be requested to tie first one of the medium's left hands1 tying two or three good1 hard1 square knots about the wrist1 the knots coming to the inside of the wrist or palm side of the hand4 ,the medium1 during this part of the tie1 faces the audience4 ,he now explains to the person who does the tying that when he1 the medium1 places his left hand behind his back1 he will place his right hand close against it1 and requests the skeptic to tie a few or as many knots on top of that hand as he may see fit4 ,the medium1 after this explanation1 places his hands behind his back1 and then turns around1 with his back toward the audience4 ,the committeeman now secures the right hand against the left4 ,the medium now enters the cabinet1 is seated in a chair1 or on a bench1 in which two holes are bored4 ,the ends of the ropes are now passed through these holes1 and knots tied in the rope close to the seat of the chair1 and thence carried to the front legs of the chair1 where it is fastened4 ,two other smaller ropes are used to tie the medium's legs to the chair4 ,the usual manifestations1 such as ringing of bells1 tooting of a horn1 hands at cabinet window1 etc41 take place4 ,after this is repeated a few times1 the medium comes forth entirely free from the ropes1 which he now holds in his hands devoid of knots4 ,of course1 the medium is really the cause of all the demonstrations1 and to accomplish the results he must free himself4 ,now1 let us see how it is done4 ,the first hand is tied fair and square1 but when he places his two hands behind his back1 that's the time the trick is done4 ,in placing his hands behind his back1 and before turning around1 with back toward the audience1 he catches up a little slack of the rope1 and1 pressing the two hands together1 manages not to lose that slack as the two hands are tied together4 ,another plan is employed so as to be certain not to allow this slack to get away from the medium4 ,in the act of placing the hands behind the back1 one part of the rope is allowed to go around the middle finger4 ,the ends are then crossed1 ,a going behind ,b1 before the right hand is placed against left4 ,of course1 the right hand covers the rope1 or false tie1 completely4 ,when the hand is to be released1 the finger has simply to bend down1 and off drops the slack part of the rope1 and gives plenty of room to draw the hand from the loop4 ,with one hand free1 it is easy to produce the desired manifestations1 also to release the other hand1 and then completely untie the rope4 ,now1 whenever the committee cannot be influenced to tie in the above manner1 they are allowed to proceed as they wish4 ,very few persons can tie a medium securely with the stiff rope furnished4 ,the medium will manage1 by slight contortion of his body1 to secure a little slack rope1 by which agency square knots can be easily upset into a slip or running knot1 and1 when he fails in this1 the rope is deliberately cut with the little knife blade on belt1 as described previously4 ,this destroyed rope is now concealed on the medium1 and he takes also from his clothes a similar rope and walks out of the cabinet with it1 stating the spirits had released him4 ,he again retires to the cabinet1 and1 in a short time1 he is found retied1 with his hands behind his back1 securely fastened4 ,here is the explanation3 ,illustration3 ,fig4 #cf4--,the ,first ,knot4 ,when he enters the cabinet1 he allows both ends of the rope to hang down1 holding the rope in center2 the rope now1 in its doubled condition1 has a knot tied near its double end1 leaving a knot and loop4 7,fig4 #cf47 ,then a single knot1 tied in each portion of the rope1 each side of this loop knot1 far enough away so as to give length enough for the ropes to encircle the wrists1 and these single knots come up hard against the loop knot4 ,the ends of the rope are now run through the loop knot1 and two loops are thus formed1 which can be made larger1 as desired1 to slip the hands out4 7,fig4 #cg47 ,the ends of the rope are now run down through holes in the chair seat1 and ends fastened1 and the medium inserts his wrists in the loop and pulls up taut1 and he is ready for an investigation4 ,it will readily be seen the medium can now do as he pleases1 remove his coat1 place on a borrowed one1 etc4 ,illustration3 ,fig4 #cg4--,the ,double ,loop4 ,another tie frequently used is that in which the medium seats himself in a chair1 takes the rope1 and ties it around his legs at the knees1 with the single knot on top4 ,on this he places his two hands1 close together1 and has the committee tie his hands with as many knots as they please1 from which he nevertheless frees himself4 ,the whole scheme lies in the fact that the medium tied but one knot around the legs1 but did not pull it deep into the flesh4 ,when the knots are tied over his hands1 he keeps the legs a trifle apart4 ,now1 to release himself1 he simply has to draw his legs together1 and strain on the ropes1 so they sink into the legs a trifle1 and let all the slack go above the single knot1 thus giving room for the hands to be withdrawn4 ,by forcing the hands apart1 the desired slack is easily taken up4 ,,chapter ,,vii4 ,,post ,,tests1 ,,handcuffs1 ,,collars1 ,,etc4 ,the 8,spiritualistic ,post ,test0 is one of the latest and most successful of mechanical fastenings used by mediums4 ,the most common form is made of what appears to be a piece of joist4 ,this is given to the committee1 one of whose members bores a hole through it1 near its upper end1 and then passes an ordinary rope through the hole1 a knot being tied in the rope on each side of the post4 ,the knots are pressed against the post1 so that the rope cannot be drawn through the post4 ,the ends of the rope are now unraveled1 and the post is fastened to the floor with spikes4 ,the medium is tied to the post by the unraveled ends of the rope4 ,a nail is driven in the top of the post1 and a rope is secured to it4 ,this second rope is held by the committee2 after the curtains are drawn1 bells are rung1 etc41 showing that the medium has the use of his hands4 ,the trick consists in boring a hole in the center of the end of the joist2 a chisel is then inserted in the hole1 and the opening is closed with glue and saw-dust tinted with water color4 ,the medium starts the bit1 so that there is no danger of the committee boring the hole too low1 or so high that it will strike the chisel4 ,when the nail is driven in1 it forces the chisel down and cuts the rope4 ,the medium may now ring bells1 etc4 ,after he is through ringing the bells1 he puts back the ends of the rope in the post4 ,illustration3 ,fig4 #ch4--,the ,trick ,post4 #a4 ,lead weight with notch4 #b4 ,spring catch4 #c4 ,hole in catch by which cord is secured4 #d4 ,roller over which cord1 #e1 runs2 cord is attached at one end1 #c1 to spring catch1 and at other end at #f to bolt in angle piece4 ,there is another very good rope and mechanical post test sometimes used by mediums4 ,a post in an upright position is securely fastened to the floor4 ,in the upper part of the post a hole is bored clear through1 to allow of two small ropes being passed through the opening from side to side4 ,the medium passes the ropes through the post1 then invites the committee to tie his hands fast against the post1 and then to tie or nail the ends of the rope down on the floor4 ,all the usual manifestations take place4 ,the medium is also instantaneously released1 and rope and knots are found undisturbed4 ,by glancing at ,fig4 #ch the mystery will be cleared up4 ,the post is hollow1 and carries a leaden or iron weight4 ,this weight has a horizontally extending passage to correspond with the channel in the post4 ,this weight is held in the top part of the post by a catch1 which is released by a projecting bolt-head at the bottom of the post4 ,it will be remembered that the post is made fast to the floor by screws passing through angle irons fastened by bolts to the post4 ,it is one of these bolt-heads that releases the catch4 ,at the bottom of the post is another catch1 which will also hold the weight at the bottom4 ,the one bolt will release both catches4 ,the medium runs the ropes through the post1 releases the catch1 which allows weight to drop1 carrying ropes with it2 and the catch locks the weight at the bottom of the post4 ,they can now tie the medium4 ,all he has to do is to release the weight2 he can then pull the rope up and get as large a slack as he desires1 allowing the weight to drop back again4 ,there is a chair--an ordinary-looking wooden kitchen chair--worked on somewhat the same style4 ,there is a hole bored through each rear leg or upright of the back4 ,the medium sits on the chair1 facing the back of it1 and has a hand tied to each upright4 ,the slack is obtained the same as in the post1 with the exception that a spring instead of a weight is used1 and it is locked or released by the backward or forward sliding of a portion of the chair-seat4 ,a convincing trick often employed is the iron ring test4 ,the medium and investigator sit opposite each other1 clasping their hands4 ,an iron ring is now placed on the medium's lap1 and the cabinet door is closed2 in a few moments the door is opened again1 and the ring is found on the investigator's arm1 although he has never released his hold of the medium's hand4 ,the medium has concealed in his coat sleeve a duplicate of the ring used4 ,when the cabinet door is closed1 the medium spreads his legs apart1 allowing the ring to drop on the seat of his chair1 the bottom of which should be of cane or of cloth1 in order to avoid the noise due to the dropping of the ring4 ,he now replaces his legs1 and1 of course1 this ring is hidden merely by his sitting on it4 ,the ring in his sleeve he tosses on to the skeptic's arm1 and1 of course1 without the hands being unclasped4 ,the handcuff trick is always a great favorite with the medium4 ,he has no objection to placing his hands in any pair of handcuffs furnished by the audience4 ,a few moments after he has entered the cabinet1 he begins throwing out various articles of clothing2 but1 on examination1 the handcuffs are found to be still on his wrists4 ,it is impossible to see how he could have taken off his coat4 ,as a final test the medium comes out of the cabinet holding the handcuffs in his hand still locked4 ,there are only a few styles of handcuffs made1 and all the medium has to do is to secure the proper key for each style4 ,he conceals these keys on his person1 and by the aid of his fingers and teeth the proper key can be fitted to the handcuffs4 ,it is impossible1 with some types of handcuffs1 to get the fingers to the keyhole4 ,if such a pair are placed on the performer1 and he cannot use his teeth to hold the key1 he slips the key into a convenient crack in the cabinet or in the chair4 ,the lock of the handcuffs being forced on to the key1 the handcuffs can then be readily unlocked4 ,the spirit collar is also a favorite instrument of the medium4 ,it consists of a brass collar which fits closely about the performer's neck4 ,through the openings in the end of the collar1 is placed a chain4 ,after the collar is on the performer's neck1 the chain is placed around a post and carried back and through the padlock used to lock the collar4 ,by this arrangement the performer is securely fastened to a post2 but after he is concealed by the use of any convenient means1 he suddenly appears before the audience minus the collar1 while the collar will be found locked1 as before4 ,the trick depends for its success on the series of bolts with which the collar is studded4 ,the bolts1 with one exception1 are all false1 being pieces of metal simply screwed into the top and bottom of the collar1 and not penetrating through them4 ,one bolt1 however1 passes through the collar and engages the two parts thereof2 the parts terminate in a tongue which fits in the socket in the other half of the collar4 ,the bolt passes through this tongue so accurately that there is no danger of its being removed with the fingers4 ,the performer uses a small wrench to remove the bolt4 ,there are numerous other devices1 such as trick bolts1 which are inserted by a spectator through a post and screwed up tight1 the medium being fastened to the bolt4 ,he has simply to give the bolt a half twist1 usually toward the right1 and the bolt comes apart4 ,the joint is invisible to the eye1 and1 in fact1 is made more so just before it is used each time by being rubbed with sandpaper1 which slightly roughens the bolt1 making the joint imperceptible to the naked eye4 ,there are staples1 ordinary looking staple-plates1 which are apparently screwed fast into the bench on which the medium is seated4 ,the hands of the medium are fastened to the staples by wire4 ,the staples are not fastened to the plates by riveting them1 as is ordinarily done1 but are held by a spring catch1 concealed under the plate1 and working in a notch in the staple4 ,this is released by the medium's pushing the catch back by the insertion of a piece of clock spring between the staple plate and the bench4 ,after releasing himself he performs the stereotyped manifestations1 and at the finish has simply to jam the staples back into their plate1 whereupon they are locked or held fast by the spring catch or bolt4 ,this was a device used by a ,boston medium4 ,there are also trick bags in which the medium is bound up or tied4 ,in one style of bag there is a string running in the selvage1 or turned-over portion of the bag at the top4 ,as the string is about to be drawn taut the medium inserts one of his fingers into a portion of this selvage not sewn1 and pulls down enough slack of the cord to allow him1 after the tying1 either to place his arm through or to get out entirely4 ,another style is this3 ,the medium has a round wooden plug1 covered with cloth like the bag4 ,this he has concealed about him4 ,as the mouth of the bag is gathered together to tie the string1 the medium inserts this plug1 and bag and plug are both tied4 ,after the tying he has simply to remove the plug and he can then place his hand through and release the cord1 or shove it off the bag completely4 ,still another way is to have a duplicate bag concealed down one trousers leg and coming up at the back of the neck under the coat1 the mouth of the bag being upward4 ,when the medium gets in1 his manager or the director of the sance gathers the mouth of the bag together1 and1 at the same time1 pulls the duplicate bag out from under the medium's coat4 ,he pulls this up four or five inches higher than the original bag and ties his handkerchief around where the two bags are joined1 so the trick will not be detected4 ,he then allows a committee to tie1 and even sew1 the bag together--of course1 the duplicate1 not the first one4 ,the medium has simply to pull the first bag down around him1 get out of it and conceal it on his body4 ,a 8dodge0 used sometimes is to borrow one of the investigators' handkerchiefs and drop it into the duplicate bag2 and1 after the medium has escaped and the bag is given for inspection1 the bag is opened and the handkerchief found inside4 ,this strengthens the effect of the trick1 inasmuch as it convinces the onlookers that the medium certainly must have been got out by the aid of spirits1 as the handkerchief--a very small article1 in comparison to the body of the medium--could not be removed until the string had been released from the bag4 ,mediums are great judges of human nature2 they know full well the usual action of the human mind1 the direction the thoughts are liable to travel in4 ,this is part of their stock-in-trade--to try to do just such things as the handkerchief 8dodge10 in order to convince the skeptic of the truth of the wonders witnessed4 ,,chapter ,,viii4 ,s,,ances ,,and ,,miscellaneous ,,spirit ,,tricks4 ,a test which made the ,eddy ,brothers famous was their 8light0 and 8dark0 sances4 ,horatio ,eddy gave what he termed a 8light sance10 and ,william was famous for the 8dark sance40 ,instead of using a cabinet of wood1 ,horatio formed one simply by stretching a couple of shawls or curtains across a corner of the room1 thus making a triangular inclosure4 ,a table containing the usual musical instruments1 bells1 tambourine1 guitar1 etc41 is placed in this space4 ,the medium sits on a chair in front of this curtain1 to the left hand side4 ,next to him1 on his right1 sits a gentleman selected from the audience1 and to the right of this gentleman1 a lady similarly chosen4 ,william ,eddy now pins across the breasts of the two gentlemen a third shawl1 attaching the ends to the curtain4 7,fig4 #ci47 ,previously to this1 however1 ,horatio has grasped with both his hands the gentleman's left arm2 the lady is requested to grasp the gentleman's right arm4 ,in this position neither can make a movement but what one of the others would be immediately cognizant of it4 ,presently there is a commotion among the articles on the table behind the screen2 they appear floating in the air above the top of the curtains1 some coming through and tapping the trio on the head4 ,a hand comes through the curtain and writes a message on the slate held by ,william ,eddy4 ,numerous other tests are performed--all in subdued light1 not darkness4 ,now1 to raise the veil from this mystery3 ,in grasping the left arm of the person in the center1 the medium first grasps the gentleman's left arm with his1 the medium's1 left hand1 fingers being spread apart as far as possible4 ,with this hand he presses quite hard1 and takes a light hold of the same arm1 but above the left hand4 ,if the medium gently and carefully removes the right hand1 the action cannot1 by sense of touch1 be detected4 ,sometimes1 so as to enable him to use both hands1 another ruse is also employed4 ,a piece of heavy sheet lead is cut in the shape of the medium's hand4 ,this is placed in his left hand4 ,with this hand he grasps the skeptic's arm4 ,being made of lead1 the hand easily conforms or bends to the shape of the arm1 and1 what is more1 if the real hand of the medium be quietly removed1 the leaden hand remains behind1 giving the same sense of touch as if the actual hand were there4 7,fig4 #dj47 ,of course1 with the hands free1 the medium can stealthily glide between the curtains1 grasp and manipulate the instruments1 and throw them to the floor1 immediately replacing his hands gently4 ,illustration3 ,fig4 #ci4--,the ,light ,sance4 ,illustration3 ,fig4 #dj4--,the ,mystery ,explained4 ,a rather clever test used in a dark sance1 given by ,miss ,annie ,eva ,fay1 is one in which the hands are not bound4 ,miss ,fay made cotton1 bandage and tape-ties a success1 and sometimes varied her sance by not using a tie1 but by continually clapping her hands together during the darkness4 ,she also had her mouth filled with water4 ,nevertheless1 the usual manifestations occurred4 ,the horn 8tooted10 the tambourine and guitar floated1 bells rang1 etc4 ,the dodge she employed was this3 ,instead of clapping her hands together1 she slapped one against her forehead1 which gave the same sound1 and gave her one hand at liberty4 ,she also swallowed the water4 ,she was now at liberty to blow the horn1 ring bells or the like4 ,when she was finished1 she refilled her mouth with water from a bottle concealed on her person1 and again resumed1 clapping her hands together instead of striking one hand against her forehead4 ,an investigator suspected the idea of the water and once came prepared with a glass of milk1 which he requested the medium to use instead4 ,she consented4 ,the horn tooted just the same1 and the medium's mouth still contained the milk4 ,she had simply inserted the end of the horn in one of her nostrils4 ,another time she merely emptied the liquid into one of the hand bells on the table and held it upside down in her lap4 ,still another 8wrinkle0 is the use of a rubber ball with a hole in it4 ,this can readily be attached to the horn1 and squeezing the ball does the tooting4 ,dr4 ,henry ,slade was1 of course1 identified and recognized as the principal slate-writing medium1 but at various times he presented other phenomena1 one of which was the playing of an accordion while held in one hand under the table4 ,the accordion was taken by him from the table with his right hand1 at the end containing the strap1 the keys or notes at the other end being away from him4 ,he thus held the accordion beneath the table1 and his left hand was laid on top of the table1 where it was always in plain view4 ,nevertheless1 the accordion was heard to give forth melodious tunes1 and at the conclusion was brought up on top of the table as held originally2 the whole dodge consisting in turning the accordion end for end as it went under the table4 ,the strap end being now downward1 and held between the legs1 the medium's hand grasped the keyboard end1 and worked the bellows and keys1 holding the accordion firmly with the legs and working the hand1 not with an arm movement1 but mostly by a simple wrist movement4 ,of course1 at the conclusion1 the hand grasped the accordion at the strap end1 and brought it up in this condition4 ,sometimes an accordion is tied with strings and sealed so the bellows cannot be worked4 ,this is for the dark sance4 ,even in this condition the accordion is played by inserting a tube in the air-hole or valve and by the medium's using his lungs as bellows4 ,in regard to dark sances and materializations1 ,i would state that they are so barefaced and bold it is hardly worth while to worry about them4 ,what cannot be done in the dark8 ,spirit costumes1 to be donned later by the medium to impersonate people from the other world1 are concealed in strange places under the very eyes of the investigators--in the body of the guitar1 in a drum1 about the person of one of the circle of skeptics1 who is really a confederate1 or behind the surface of a wall4 ,time and place make all the difference in the method of work used by mediums4 ,in their homes mediums have any number of accomplices1 who enter the room under cover of darkness by various means--one way1 by means of a trap in the floor4 ,this opens upwardly2 the carpet does not have to be cut1 and can also be well tacked down4 ,the trap is not cut square1 but triangularly1 across the two sides of the room in one corner4 ,through this trap the confederates1 disguised as spirits1 enter from the cellar below and vanish4 ,another method is to gain admittance from an adjoining room4 ,between the two rooms are sliding doors1 misnamed 8folding0 doors4 ,the space in one of the walls is not only large enough to receive its own single door1 but also a portion of the other4 ,before commencing the sance1 the doors are locked and the key kept by a committee4 ,the doors are also sealed with court plaster across their joints1 and said court plaster sealed with sealing-wax4 ,the confederates are not obliged to push the doors apart2 they simply slide both at the same time toward the side previously mentioned4 ,this side receives one door and a portion of the other1 thus leaving an opening for a person slyly to creep through4 ,sometimes1 in the circle of investigators1 there are five or six confederates4 ,three of these are placed or seated together4 ,now1 if all in the circle join hands1 it seems no one could assist the medium without the fact being discovered2 but in the center1 one of three confederates1 sitting together1 releases the hands of his companions1 and1 in the dark1 8cuts up0 all the tricks he wishes and returns to the circle again1 no one being any the wiser4 ,of course1 if one confederate were seated between two of the skeptics1 he would not dare let go his hands2 but when a friend is placed each side of him1 it makes no difference4 ,a test often used1 when everybody1 medium included1 is sitting at a table1 is the wire test4 ,a copper wire is threaded through the shirt sleeve of every male member present1 and through the sleeve of the ladies' dresses1 the wire being fastened to the table by staples4 ,when the lights are put out1 the spirits 8raise ,cain0 again4 ,it is the medium again4 ,the wire did not go through his shirt sleeves1 but through two short extra shirt sleeves1 or cuffs1 which he wears over the real sleeves4 ,all he has to do is to slip out of these1 produce the manifestations1 and slip back into the cuffs again4 ,illustration3 ,fig4 #da4--;,ground ,plan of ,cabinet4 ,a test that caused more talk and wonderment than all the rest of the cabinet tricks combined is the chair and net test4 ,the medium enters a very small cabinet1 just large enough to contain him when sitting down in a chair4 ,the cabinet is closed by a single door1 locked with a padlock1 the keyhole of which is sealed2 the door is also sealed all around the edges4 ,a fish-net so finely meshed that even the finger of the medium could not be pushed through1 is now placed over this cabinet and tacked to it all around the bottom4 ,this miniature cabinet is set in the cabinet proper1 and a chair1 with the usual bell1 tambourine1 etc41 placed beside it4 ,doors are closed1 and immediately the fun begins4 ,bells1 tambourine1 and horns all play together4 ,a sudden fall of the chair and instruments is heard1 and the cabinet doors being opened1 everything is found strewn about2 the smaller cabinet is1 however1 still found as it was left1 with the netting over it and seals undisturbed4 ,again the large cabinet is closed1 and almost immediately it is opened from the inside1 and out walks the medium2 and the netting on the smaller cabinet is examined once more1 and likewise the padlock and seals1 everything is found intact4 ,the whole trick depends upon the construction of the smaller cabinet4 ,fig4 #da represents a ground plan of the apparatus4 ,the floor is not nailed or fastened to the sides4 ,there are four battens or strengthening pieces1 one in each corner of the cabinet1 running from top to bottom2 these are securely fastened to the floor1 but not to the sides of the cabinet4 ,over these battens is laid a strip of wood that is really made fast to the cabinet4 ,this leaves in each corner a socket or pocket the height of the cabinet1 and in these work1 telescopic fashion1 the four battens which are made fast to the bottom4 ,the bottom is set inside of the cabinet1 not on the outside4 ,it is only tacked to the sides of the bottom of cabinet4 ,it will now be readily observed that the medium has only to stand up in order to raise the main part of the cabinet quite a height above the bottom1 as seen at ,fig4 #db4 ,it is held in the above position by a concealed catch4 ,the medium can now produce manifestations1 and1 as he is about to drop the cabinet back into the bottom1 he gives the leg of the chair a jerk and over it goes1 and down drops the cabinet4 ,there is also a catch that automatically locks the bottom firm to the cabinet1 so as to allow inspection of the same4 ,illustration3 ,fig4 #db4--,the ,trick ,cabinet4 ,the above manifestation was in use long before the wire cage test1 and is considered by some mediums more convincing than the latter4 ,while speaking about the wire cage test1 ,i may as well describe one form of it4 ,there are numerous makes1 but the one explained will serve as a sample of the rest4 ,a cage composed of uprights and cross-bars of iron is made fast to an iron frame containing a small door through which the medium enters4 ,sometimes the door is done away with and the bottom of the cage is separated from it4 ,the medium sits on this bottom1 and the cage is lifted and placed over him4 ,the bottom and cage are padlocked together or bound with wires and sealed4 ,illustration3 ,fig4 #dc4--,the ,wire ,cage4 ,no matter what method is used1 the results are the same2 the medium can play the instruments or escape1 as he may see fit4 ,the wire cage is1 we shall say1 of a design similar to that shown in ,fig4 #dc4 ,there is no door to it1 and the cage being secured by a wire bottom padlocked on or nailed fast to the floor4 ,a close inspection of ,fig4 #dd will help to expose the fraud4 ,the lower cross-bar is not riveted through the frame at its end1 but ends square against it1 and a false rivet head1 having no connection with it1 is riveted on the frame where this cross-bar is supposed to emerge4 ,all of the upright rods are made fast only to this cross-bar4 ,in the other cross-bars they simply go through holes1 not closely1 but loosely1 to ensure then to be slid up and down4 ,the tops of these rods are riveted1 but not made fast to the frame at the top4 ,the center rod is not made permanent in the lower cross-bar1 but is fastened so it can be turned around one way or the other4 ,now1 where all these rods are supposed to come through the lower part of the iron frame are rivet-heads representing the heads of the rods1 should they have come through4 ,the bottom frame is drilled half way through for the end of each rod to enter a little1 the middle rod is tapped with a thread like a screw on its end1 and its corresponding hole is also tapped4 ,it will now be seen why this rod was left to turn4 ,by pulling cross-bar down and then screwing this middle rod tight1 everything is solid2 but unscrew the rod and raise the cross-bar1 and all the upright rods will travel with it and the medium is at liberty4 ,and we have another spirit mystery laid bare4 ,i could describe numerous other tricks and devices of a like nature1 but a few are as good as a quantity2 sufficient1 in fact1 to place the investigator on his guard against being duped by like contrivances4 ,illustration3 ,fig4 #dd4--,the ,cage ,opened4 ,i believe a few words in regard to spirit photography will not be amiss4 ,these are made or produced in various ways3 ,first1 a glass with an image on it of the desired spirit form could be placed in the plate holder1 in front of the sensitive plate1 so that the image on the glass would act on the sensitive plate4 ,the size and distinctness of the resulting spirit form would vary according to the distance between the two plates4 ,second1 a figure clothed in white can be introduced for a moment behind the sitter and then be withdrawn before the sitting is over1 leaving a shadowy image on the plate4 ,third1 a microscopic picture of the spirit form can be inserted in the camera box alongside of the lens1 and by a small magnifying lens its image can be thrown on the sensitive plate with that of the sitter4 ,this is the trick used when the skeptic brings his own plate for the negative4 ,fourth1 a glass with the spirit image can be placed behind the sensitive plate after the sitting is completed1 and afterward1 by a feeble light1 the image can be impressed upon the plate with that of the sitter4 ,fifth1 the silver nitrate bath could have a glass side1 and the image impressed by a secret light while the glass plate apparently was being coated with the sensitive film4 ,sixth1 the spirit form can be printed first on the negative and then the living sitter by a second printing1 or the spirit can be printed on the paper and the sitter's portrait printed over it4 ,seventh1 a sensitive plate can be prepared by what is known as the dry process1 the spirit form being impressed on it2 and then1 at a subsequent time1 the portrait of the living sitter can be taken on this same plate1 so that the two will develop together4 ,eighth1 take a solution of sulphate of quinine and paint on the background screen a picture of any one2 when it dries it is invisible to the naked eye4 ,still1 when the picture is taken1 the painted picture is very plainly seen on the glass negative4 ,ninth1 small pictures are taken on thin1 transparent celluloid and fastened against the front lens of the camera1 and when the photograph is taken the picture appears4 ,of course1 the above are by no means all the methods1 but enough to illustrate the possibilities of obtaining two pictures on the same plate or at one sitting4 ,,chapter ,,ix4 ,,miscellaneous ,,tricks4 ,the 8,magician's ,omelette40 ,the magician has never proved himself an adept at the art of cooking1 from an epicure's standpoint2 yet the ease with which he can bake cakes in borrowed hats and cook omelettes in empty pans has long been a source of wonder to the economical housewife1 as well as to the professional cook4 ,to see the magician hold a small1 shallow1 empty pan over the blaze of a spirit lamp for a few moments1 when an omelette1 done to a turn1 appears in the pan and is cut up and distributed to the audience1 one is almost convinced that at least one person has solved that most perplexing of all problems--how to live without work4 ,but has he solved it8 ,no6 my friend1 no more than you or ,i4 ,he has merely deceived you2 but most cleverly1 you must admit4 ,the pan is without any preparation whatever2 but as much cannot be said of the wand1 which he is continually stirring around in the pan4 ,this wand is hollow1 with an opening at one end only2 and in the wand1 previous to the trick1 of course1 are placed the properly seasoned ingredients of an omelette1 after which the end is closed with a metal plug that is turned and enameled to correspond with the opposite end of the wand4 ,when the pan is being examined the performer is holding the wand in his hand1 and such an innocent-appearing black stick is never suspected of being in any way connected with the trick4 ,just before holding the pan over the lamp the performer finds it a most easy matter to remove the plug from the end of the wand1 when1 by holding the wand by the closed end1 he can empty the contents into the pan in the mere act of passing the open end of the wand around the inside of the pan4 7,fig4 #de47 ,illustration3 ,fig4 #de4--,the 8,magician's ,omelette40 ,the metal of which the pan is made being thin1 and there not being a great quantity of the omelette1 assisted by a large flame from the lamp1 it only requires a few moments to cook the omelette1 when it is turned out on a plate and carried down to the audience4 ,it is hardly necessary to say that when the cooked omelette is carried down1 the wand is left on the stand1 which prevents any inquisitive person asking to see it4 ,spinning and ,balancing ,tricks4 ,the spinning handkerchief is a great favorite with jugglers4 ,a handkerchief is borrowed1 thrown in the air and caught on the end of a whirling stick held by the juggler1 when the handkerchief spreads out to its full size and commences to spin around rapidly4 ,the secret is that in the end of the stick a needle is inserted about one-quarter of an inch1 leaving the sharp end out4 ,when the handkerchief is caught on the end of the whirling stick the needle point passes through it1 thus preventing its falling off the stick1 which is rapidly whirled around1 and the handkerchief will spread out and spin about on the end of the stick4 ,illustration3 ,fig4 #df4--,the ,spinning ,handkerchief4 ,jugglers are very partial to tricks performed with eggs1 and spinning an egg on its smaller end is a trick they are almost sure to perform4 ,it is impossible to spin a raw egg2 so our juggler uses a hard-boiled one1 and spins it on its small end in a shallow japanned tray4 ,if the tray is kept gently moving in a small circle in the opposite direction to that in which the egg is spinning1 the latter will continue to spin as long as desired4 7,fig4 #dg47 ,illustration3 ,fig4 #dg4--,spinning an ,egg4 ,the egg spinning trick is usually followed by a balancing trick in which a playing card is balanced upon a small wand1 and an egg is then balanced on a corner of the card4 ,this trick usually calls forth a great pretension of skill on the part of the performer1 when1 in reality1 no skill whatever is required4 ,illustration3 ,fig4 #dh4--;,balancing ,card and ,egg on ,wand4 ,the wand is of ebony1 or some dark wood1 and about three inches from one end is a small hole4 ,the egg is made of wood1 painted white1 and with a small hole in one end4 ,the card is composed of two cards glued together1 with a fine steel wire between them1 running diagonally from corner to corner of the card1 with the ends of the wire projecting about a quarter of an inch4 ,the prepared egg is on a plate with several ordinary eggs1 and the card is placed on a pack of common cards4 ,the wand is held in one hand1 the card taken in the other and apparently balanced on one corner on the wand2 but in reality the wire point is placed in the hole in the wand4 ,now the assistant passes the prepared egg to the juggler1 who carefully balances it upon the corner of the card2 that is1 slips the hole in the end of the egg over the wire point projecting from the card4 ,a fitting finale to such a juggling act is that in which a potato is placed on the hand of the assistant and cut in two with a sharp sword1 without leaving any mark upon the skin4 ,as a general thing1 a second potato is then cut upon the throat of the assistant4 ,this apparently marvelous mastery of the sword always brings forth great applause4 ,illustration3 ,fig4 #di4--;,cutting a ,potato on the ,hand4 ,among the several medium-sized sound potatoes on a tray are placed two potatoes prepared as follows3 ,insert a needle crosswise of the potato near the bottom4 ,after showing the sword to be really sharp1 by cutting paper and slicing one or two of the potatoes1 the performer picks up one of the prepared potatoes and places it on the assistant's hand2 but apparently it does not lie to suit him1 so he slices off one side of it1 using care to cut away the side just under the needle and as close to it as possible1 then places the potato once again on the assistant's hand4 ,after making a few flourishes with the sword1 he cuts through the potato1 dividing it in half4 7,fig4 #di47 ,in striking the potato with the sword he makes sure that the sword will come exactly crosswise on the needle2 consequently1 when the sword reaches the needle it can go no farther1 and the brittle nature of the potato will cause it to fall apart1 the very thin portion below the needle offering no resistance to the separation4 ,the second potato is then cut in the same manner on the assistant's neck4 ,there are many other false juggling tricks1 but the above will suffice to show that 8there are tricks in all trades but yours40 ,the ,blindfolded ,juggler4 ,while watching the clever manner in which a good juggler passes various articles from hand to hand1 how many people ever give a thought to the many hours of practice devoted to even the simplest trick that he performs8 ,to become even a passable juggler1 many weary months of constant practice are necessary4 ,there are tricks in all trades1 and some of the most successful entertainers in this line can scarcely do a half dozen genuine feats of juggling1 yet they are great favorites with the public4 ,it has been truly said that 8the tricks that require the most practice are the least appreciated by the average spectator40 ,it is our intention merely to show how a simple trick has won fame for several well-known jugglers4 ,this is the trick of juggling blindfolded4 ,an assistant tightly binds a heavy handkerchief over the juggler's eyes1 and then1 to make sure that he cannot see1 there is placed over his head and shoulders a sort of bag1 made of heavy goods1 which should exclude all light1 even if his eyes were not tightly bound with the handkerchief4 ,regardless of this1 the juggler performs the usual passes with balls and knives4 ,yet1 when the bag is removed1 the bandage over his eyes is found undisturbed4 7,fig4 #ej47 ,illustration3 ,fig4 #ej4--,the ,blindfolded ,juggler4 ,illustration3 ,fig4 #ea4--,the ,illusion ,explained4 ,the explanation is simple4 ,the bag is made of the usual coarse bagging1 and a few threads are pulled out of the part that will come in front of the juggler's face when the bag is over his head1 thus allowing him to see between the remaining threads as though looking through a coarse screen4 7,fig4 #ea47 ,when the bag is being placed over his head1 and during the seeming effort of passing the arms through the armholes in the bag1 the performer or assistant has no trouble in pushing the handkerchief up from the eyes to the forehead1 thus allowing him to see through the open work of the bag4 ,in removing the bag after the act1 there is no trouble in pulling the handkerchief down over the eyes4 ,the ,chinese ,rods and ,cords4 ,nothing excites curiosity in the public mind more than a simple and clever puzzle1 and the 8,fifteen ,puzzle0 and 8,pigs in ,clover0 have given enjoyment to hundreds of thousands4 ,the ,chinese rods and cords1 which forms the subject of our engravings1 is in the line of ingenious inventions1 and is really more in the nature of a trick than a toy4 7,fig4 #eb47 ,illustration3 ,fig4 #eb4--;,chinese ,rods and ,cords4 ,illustration3 ,fig4 #ec4--,the ,illusion ,explained4 ,it is of ,chinese origin1 and the example shown in our engraving was purchased in ,chinatown1 ,san ,francisco1 ,cal4 ,the puzzle consists of eight pieces of bamboo or hollow ivory tubes1 each containing seven holes spaced equidistantly4 ,through these holes are seen to pass seven silken cords1 each with a bead at the top and a tassel at the bottom4 ,the toy is held by the loop at the top1 which serves to hold the upper rod4 ,when it is first picked up1 its condition is shown in our first engraving at the left4 ,there are seven of the rods at the top and one at the bottom4 ,now the lower bar of the upper set is moved down to the bar at the bottom2 the two lower bars will appear to be supported by three cords at the center1 as shown in our engraving1 four of the cords having vanished4 ,if the next bar is brought down1 another change is observed1 only the two outer cords being seen4 ,this is shown to the right of our engraving4 ,if the next bar is brought down1 the end cords have approached the center1 and five of the seven cords have vanished4 ,the next rod brought down brings five cords into view1 the two end ones and the center one being visible4 ,when the next bar is pulled down1 the center and the outer cords only remain2 so that1 if all the bars between the top and bottom bars are brought together1 the seven cords appear to pass entirely through them4 ,fig4 #ec gives a clew to the mystery4 ,the rods are all hollow1 and each contains seven holes2 and our engraving shows the course of the silk cords4 ,it will be noticed that where a number of cords pass through a single hole1 the strand which is formed is much thicker than are the single cords2 as they are of different colors1 the effect is most pleasing4 ,it will be observed that the strings go clear through the top bar2 but in the next bar1 although they enter the seven holes at the top1 they emerge from three holes at the bottom1 three of the strands going through the center hole and two through each of the end holes1 and so on throughout the entire number of bars1 the strings changing their course1 as is clearly shown in our engraving1 thus causing the increase and decrease in their number4 ,the 8,surprise0 ,pen4 ,our engraving shows a very clever trick pen which would tend to create great surprise among the uninitiated4 ,let us suppose that a gentleman is seated at his desk and is busily writing when a neighbor comes in1 and he jokingly challenges the latter to try and forge his signature4 ,he hands the pen to his friend1 who attempts to write4 ,immediately there is an explosion1 and the paper receives a big ink blot4 ,the writer is apt to be surprised by the report1 which is like a pistol shot1 and1 if a timid person1 is apt to be frightened4 ,the noise comes from the pen itself1 as it is so constructed that it can be loaded and shot off at will4 ,the person in the secret can handle the pen with safety1 but the poor unfortunate will experience a rather unexpected shock to his nerves when he attempts to write with it4 ,illustration3 ,fig4 #ed4--,the 8,surprise0 ,pen4 ,the upper part of the penholder1 into which an ordinary writing pen is thrust1 works on a pivot about half way down its length4 ,this separate part is provided with only one-half a bottom1 in order that it may engage the conical head of a piston rod1 which ends in a plunger1 which sets off the cap secured in the bottom of the penholder4 ,the normal position of the plunger is against the cap of the holder2 but it can be raised by means of a projecting pin riveted to the rod and passing through a slot cut in the side of the lower part of the holder4 ,now1 the closed half of the bottom of the pivoted end enters a notch caused by the conical head of the plunger2 and the plunger1 with its spring1 is cocked1 as it were1 by means of the projecting pin1 and is held in place by the bottom of the pivoted section4 ,when the pen is pressed to the paper the pivoted section swings on the pivot1 releasing the plunger1 which is forced down on the explosive cap by the spring4 ,the lower end of the penholder is threaded1 so that it can secure the end cap firmly in place4 ,the explosive cap is put in the end cap1 and it is screwed on the bottom of the holder4 ,ordinary paper caps for children's pistols are used4 ,as long as the plunger simply rests on the cap there is no danger of an explosion2 but1 just before the joker wishes to give his friend a scare1 he cocks it by pushing the plunger up with the pin1 until the pivoted top engages it4 ,the 8,miraculous ,wineglasses40 ,as a rule1 magicians are very generous fellows1 always ready to give their audiences something1 such as coins and handkerchiefs1 but1 just when one thinks they have the gift safely in their grasp1 it mysteriously vanishes4 ,however1 there are a few exceptions to this rule1 one of whom is a very popular ,english performer4 ,illustration3 ,fig4 #ee4--,the 8,miraculous ,wineglass40 ,illustration3 ,fig4 #ef4--,the ,glass ,covered with ,rubber4 ,this magician goes among the audience and borrows a gentleman's handkerchief1 and immediately produces from it a glass filled with sherry4 ,this he offers to the ladies1 then1 shaking the handkerchief1 he produces a second glass full of port for the gentlemen1 next one of ginger beer for the younger members1 and one of milk for the very young1 but there being present one or two teetotalers1 he next produces a glass of water1 and lastly a glass of stout for himself4 ,all of these are pronounced by the audience to be excellent4 ,the glasses are of the small stem wineglass pattern4 ,on both sides of the magician's coat1 inside1 of course1 are large pockets1 and in each pocket is placed in a prearranged form three of the glasses4 ,to prevent a possible spilling of their contents 7and1 as each glass is filled to the brim1 this would be very difficult71 there is fastened over the mouth of each glass a thin soft rubber cap or cover1 as shown in the small engraving4 ,to produce the glass1 the performer spreads the borrowed handkerchief1 which should be a large one1 over his breast in such a manner that one hand is concealed under it2 and with this hand he reaches in the pocket and brings forth the proper glass1 removing the rubber cover and leaving it in the pocket4 ,this move is repeated until all the glasses have been brought out4 ,after producing three of the glasses with1 say1 the left hand1 he must spread the handkerchief so as to cover the right hand1 leaving the left one free to manipulate the handkerchief1 as it would be most awkward to try and produce the glasses from both sides of the coat with the same hand4 ,illustration3 ,fig4 #eg4--,the ,miraculous ,wine ,bottle4 ,this trick is a most effective one1 as the spectators cannot understand how it would be possible for the performer to conceal a glass filled to the brim1 as these are1 about his person4 ,after distributing the glasses1 and offering an apology for his inability to treat all present1 he pretends to overhear a remark that his audience is not satisfied1 and that many think they have been slighted4 ,he states that he will endeavor to comply with the demands of his thirsty audience1 and retires to fetch a bottle4 ,off the stage he removes his coat and places under his right arm a rubber bag filled with wine4 ,to the bag is attached a rubber pipe with a small metal point1 which pipe he holds next to his right arm and replaces his coat1 leaving the metal end just within the cuff4 ,illustration3 ,fig4 #eh4--,the ,miraculous ,wine ,bottle4 ,the bottle has a small hole in the side1 near the bottom1 of such a size as to fit the metal point on the rubber pipe4 ,in rinsing the bottle the performer keeps one finger over the hole1 thus preventing the audience discovering that the bottle differs from an ordinary one4 ,in rinsing the bottle the outside has become wet1 and in drying it with a cloth the performer places the metal point on the rubber pipe in the hole in the side of the bottle1 thus making connections with the bag of wine4 ,by holding the bottle well down toward the neck1 and close to his wrist1 he can venture among the audience without fear of detection4 ,by pressing the right arm against his side the bag is compressed1 forcing the wine through the pipe into the bottle4 ,the glasses are of special make and of very thick glass1 making quite a bulky appearance1 but of very limited capacity4 ,an assistant carries a tray containing one hundred of the glasses4 ,the 8,mysterious ,vase40 ,tricks performed with ink and water have always been favorites with magicians1 and they have devised means of keeping this trick fully abreast of the times1 thus retaining its popularity4 ,the manner of performing the latest ink trick involves such novel principles as to puzzle even those who are well posted on modern magic4 ,the 8,mysterious ,vase0 has been presented by but few prestidigitateurs1 and the secret so well guarded that comparatively few people know how it is done4 7,fig4 #ei47 ,illustration3 ,fig4 #ei4--,the 8,mysterious ,vase40 ,the attention of the audience is called to a glass vase that is filled with water which is resting on a light stand4 ,this vase resembles a large octagon celery glass4 ,in the vase there are a few cut flowers1 which the performer removes as he calls attention to the vase and the clear water it contains4 ,the flowers are given to the ladies in the audience1 as they have no further connection with the trick4 ,a lady's handkerchief is borrowed and the vase covered with it for a moment4 ,on removing the handkerchief1 the water that was seen in the vase appears to have changed to ink4 ,while this rapid transformation is very startling1 yet the most marvelous part of the trick is to come4 ,the magician bares his forearm1 that the audience may see that his sleeves have no connection with the trick1 and then proceeds to remove from the ink in the vase six silk handkerchiefs and two lighted candles1 each article being perfectly dry4 ,illustration3 ,fig4 #fj4--,the ,illusion ,explained4 ,the means by which this seeming impossibility is performed are as simple as the trick is mysterious1 as the following will show4 ,in the center of the vase1 reaching from side to side and from the bottom to within a half inch of the top1 is a piece of polished mirror4 ,the side edges of the mirror rest in the angles of the vase1 and as the vase is only seen from the front1 the edges are not seen4 ,the front half of the vase being reflected in the mirror leaves the impression that one is looking directly through the vase1 when in reality you only see one-half of the inside4 7,fig4 #fj47 ,to the back of this mirror is attached a watertight tin box1 in which are placed six small silk handkerchiefs and two candles4 ,the exterior of the box and back of the mirror are painted a dead black color4 ,enough water is poured into the vase to reach the top edge of the mirror4 ,in the water is dissolved a small portion of iron protosulphate4 ,a few cut flowers are placed in the vase1 which is then placed on the stand with the mirror side to the audience1 and the candles lighted4 ,after the flowers are removed and a handkerchief borrowed1 the magician secures possession of and palms between his fingers a small lozenge made of pyrogallic acid1 which he drops in the water in front of the mirror in the act of covering the vase with the handkerchief4 ,in a very few moments the lozenge dissolves1 and the pyrogallic acid of which it is composed causes the water1 which holds in solution the iron protosulphate1 to change to a good black ink4 ,on removing the handkerchief with which the vase was covered1 ink is seen to have taken the place of the water1 and from the center of the vase the performer removes the silk handkerchiefs and candles4 ,our first engraving shows the vase of water on the stand2 the second shows the vase after the water has changed to ink1 with the magician removing one of the silk handkerchiefs4 ,the third illustration represents the vase with one side broken away1 showing attached to the back of the mirror the tin receptacle that contains the handkerchiefs and candles4 ,the 8,mermaid's ,head40 ,m4 ,alber1 the prestidigitateur1 describes in ,la ,nature a variant of a trick which1 although old in principle1 has recently been brought out in a new and attractive form4 ,upon a light tripod placed in an alcove or recess hung with some sort of a red fabric1 such as cotton velvet1 stands an aquarium in which gold fish are observed swimming about1 and in the center of which is seen a living female head that moves1 smiles1 and seems to be absolutely at its ease1 although deprived of a body and immersed in water4 ,a reference to the figure will show how the apparatus is arranged4 ,the tripod consists of three gilded copper rods fixed at the bottom to a triangular platform and supporting at the top another platform of nickel-plated metal4 ,at their point of union the three rods1 which are firmly brazed to each other1 seem to be united by a simple ribbon tied with a bow knot4 ,illustration3 ,fig4 #fa4--,the 8,mermaid's ,head40 ,from the base to the ribbon there is an empty space1 but above the latter there are fixed between the rods three triangular glass mirrors backed with thin and resistant steel plate4 ,the nickel-plated top is movable4 ,previous to the entrance of the spectators1 the woman whose head is to appear1 places herself between the mirrors1 crosses her legs and rests upon her heels4 ,it is impossible for the apparatus to topple over1 since it is firmly screwed to the floor4 ,the nickel-plated top1 which is in two pieces1 embraces the neck so closely1 when put in place1 that the joint can scarcely be seen at a short distance4 ,since the mirrors reflect the floor1 which is covered like the walls1 it seems as if it were the back of the alcove that is visible between the rods at the upper part2 and the entire apparatus appears to be absolutely open4 ,as for the aquarium trick1 that is simple4 ,the aquarium is an adaptation of one that has long been found in the market1 and in which are perceived birds that seem to be flying about in the water amid fishes4 ,the crystal glass aquarium1 which is manufactured especially for the purpose1 consists of two receptacles4 ,the central one of these is open at the bottom to receive the head1 while the outer one is open at the top and contains the water and fishes4 ,as the glass is exceedingly transparent1 it is almost impossible to detect the empty space in the center4 ,the aquarium is placed upon four small nickel-plated supports that permit of the introduction of air into the internal receptacle4 ,the position of the decapitated woman is an exceedingly cramped one1 and it is therefore necessary for her to make her exit from the tripod between each exhibition in order to take a well-earned rest4 8,card ,cricket40 ,one of the most effective and pretty tricks performed by the celebrated ,english magician ,mr4 ,devant is known as 8,card ,cricket40 ,in this trick the performer shows his hands empty1 and takes a pack of cards and requests three ladies to take one card each1 and to remember what the cards are4 ,the cards are then replaced in the pack1 which is well shuffled and cut by one of the audience4 ,the performer then passes for inspection an ordinary cricket bat1 which1 on its return1 he places on a table in full sight of all4 ,he then asks if any one in the audience can bowl1 and requests the gentleman who can1 to come and have a game of cricket4 ,the performer now asks the gentleman to take the pack of cards and bowl at him1 and he will be the player or one at the wicket4 ,the performer picks up the bat and says 8,play40 ,the cards are bowled at him1 and he hits the pack with the bat as the cards are in the air1 and1 to the astonishment of the audience1 the chosen cards are seen sticking to the bat4 ,this very pretty card trick is quite simple to work4 ,illustration3 ,fig4 #fb4--8;,card ,cricket40 ,in selecting the cards the ladies were under the impression that they exercised their own free will1 but such was not the case4 ,the pack of cards was what is known to magicians as a forcing pack1 that is1 consisting of only three cards1 which1 for convenience sake1 we will say are the ace of clubs1 five of hearts1 and nine of spades1 one-third of the pack being composed of only one of these cards4 ,the pack being thus made up1 it is very easy for a skillful performer to present to the first lady the portion of the pack containing only ace of clubs1 to the second lady the part consisting solely of five of hearts1 and to the third lady the part that contains only nine of spades4 ,by using such a forcing pack the performer is sure to have the proper cards selected4 ,while the ladies are examining their cards the performer steps to his table on some pretense and slyly changes the forcing pack for an ordinary one consisting of the usual cards1 with the exception of the five of hearts1 ace of clubs1 and nine of spades4 ,this pack he hands to some member of the audience and requests them to have replaced the selected cards and shuffled4 ,illustration3 ,fig4 #fc4--8;,card ,cricket40 ,the cricket bat is an ordinary one1 which1 after being examined by the audience1 is laid on a table until the performer finds a gentleman who will bowl the pack at him4 ,in this simple act of laying the bat on the table we find the principal secret of the trick4 ,previous to beginning the performance the magician has placed face down on the table1 in a line with each other1 an ace of clubs1 five of hearts1 and nine of spades4 ,the back of each of these cards is lined with cloth similar to the covering of the table1 thus preventing any one noticing the cards when placed face down on the table4 ,on the cloth covering of each of the cards is smeared a dab of soft adhesive wax4 ,in placing the bat on the table1 care is taken to lay it directly over the three cards1 the wax on the backs adhering tightly to the bat4 ,after the gentleman who has consented to bowl the pack of cards at the performer is in place1 the performer picks up the bat1 steps back a few feet1 and says 8,play40 ,the instant the flying cards touch the bat the performer turns it over1 bringing into view the side of the bat to which the three cards are sticking1 which appear to have been caught on the bat from the flying cards4 ,until the pack of cards are thrown against the bat1 the magician exercises the greatest care not to turn the side of the bat to which the cards are sticking toward the spectators4 ,properly presented1 this trick has proved most illusive4 8,cupid ,lighter than a ,butterfly40 ,the pleasing trick which forms the subject of our engravings owes its success to the ingenious application of mechanical principles4 ,the magician presents for inspection to the audience a large pair of balance scales4 ,the audience is allowed to examine the various parts of the balance before it is erected on the stage4 ,it consists of a central column and a beam resting on a knife-edge1 and two pans suspended by cords or chains4 ,after the column has been put in position1 the beam is put on and a pin inserted1 thus making a center for the beam to work on4 ,a gentleman is asked to stand in one of the scale pans1 and then weights are gradually placed in the other pan until his exact weight is ascertained4 ,the weights are removed1 and the gentleman steps down off the stage4 ,the audience is now convinced that the scale is to all intents and purposes like the ordinary balance which is so much used in groceries for weighing tea1 coffee1 etc41 although1 of course1 in the present instance1 it is built on a mammoth scale4 ,illustration3 ,fig4 #fd4--8;,cupid ,lighter than a ,butterfly40 ,the magician now goes on to say that he will prove the old assertion that 8love is lighter than a butterfly0 to be absolutely true4 ,he introduces a little boy dressed as ,cupid1 with wings and a bow and a quiver of arrows4 ,when the child steps on the scale pan1 it immediately sinks to the floor by his weight4 ,the conjurer now takes a butterfly1 and1 asking all to direct their attention to the scale1 drops it on the opposite pan1 which immediately descends to the floor1 at the same time raising the pan with the ,cupid high in the air4 ,if he takes the butterfly off1 the ,cupid descends1 and every time the prestidigitateur replaces the butterfly1 ,cupid is raised off the floor4 ,illustration3 ,fig4 #fe4--,the ,illusion ,explained4 ,the trick depends for success upon a carefully devised and concealed mechanism4 ,the balance beam is devoid of any preparation1 but the mechanism is cleverly concealed in the column1 and motion is imparted to the beam by means of a shaft and bevel gears4 ,the hole in the beam is not perfectly round2 it is slightly oval1 but not enough so to be easily seen by a casual glance4 ,the pin is also oval1 instead of round1 and it is made to fit tightly4 ,it will be seen that1 when this pin is rocked or tilted1 the beam is moved1 carrying one scale pan up and the other down4 ,the top of the column is of considerable size1 and one side of it is cut away to admit of a bevel gear1 which also has an oval hole the same as the beam4 ,when the balance is put together and the beam is placed in position1 the oval pin passes through the bevel gear and the beam1 forming a horizontal shaft4 ,this vertical wheel meshes with a horizontal gear wheel1 which is also secured in the head of the pedestal4 ,a shaft runs through it to the space below the floor1 where it terminates in a lever secured at right angles4 ,the magician's assistant1 under the stage1 grasps the lever1 and1 pulling it back and forth1 transmits a seesaw motion to the beam through the medium of the shaft1 the two bevel gears1 and the oval pin4 ,the trick depends very largely for success upon the apparent willingness of the prestidigitateur to allow all parts of the apparatus to be examined1 and1 as the gear wheels are very cleverly concealed1 there is almost no chance of the trick being discovered4 ,,index4 ,,page ,bags1 trick1 #ih ,balance illusion1 #adc ,balancing tricks1 #aag ,bandage test1 #hf ,blindfolded juggler1 #aba ,blotter trick1 #ag ,bottle1 miraculous1 #acj ,cabinet test1 #ajh ,cabinet1 the trick1 #aji ,card balancing1 #aai ,carpet1 slitted1 #bi ,chair and net test1 #ajh ,chalk1 writing on1 #fj ,chalks1 writing with colored1 #cf ,confederates1 #ajg ,cricket1 card1 #aci ,cuff1 leather1 #gc ,cupid lighter than a butterfly1 #adc ,davenport tie1 #hh ,double slate1 #cb-da ,eddy ,brothers1 sances1 #aja ,egg glass1 use of1 #ee ,eggs1 spinning1 #aah ,fay's sances1 #ajc ,finger1 prepared1 #ai ,flap1 false1 #ba-ch ,flap1 interrupted1 #dh ,fly1 educated1 #fb ,folding slate1 #cc ,hands1 holding1 #bh ,handcuff test1 #if ,head1 mermaid's1 #acf ,hinges1 false1 #ci ,hook for table raising1 #gd ,inks1 sympathetic1 #aa-ag ,interrupted flap1 #dh ,juggler1 blindfolded1 #aba ,light sances1 #aja ,loop1 double1 #ib ,magician's omelette1 #aae ,magnetic writing1 #cd ,mind reading and kindred phenomena1 #ea-ga ,mirrors1 reading writing by1 #dg ,miscellaneous slate tests1 #da-ea ,miscellaneous tricks1 #aae-adf ,omelette1 magician's1 #aae ,pad1 transferring to1 #bj ,pen1 surprise1 #abe ,pencil carrier1 thumb1 #eb ,pencil1 silver nitrate1 #dd ,pencil thimble1 #ah ,photography1 spirit1 #aac ,pistol loaded with chalk1 #da ,post tests1 etc1 #ic-ajj ,post test1 mechanical1 #id ,post test1 ordinary1 #ic ,potato cutting1 #abj ,raps1 spirit1 #ha ,ring test1 #if ,rods and cords1 ,chinese1 #abc ,rope test1 #hb ,sance1 spiritualistic1 #gf ,sances1 #aja-aad ,silica slate1 #f ,silk flap1 #e ,silver nitrate pencil1 #dd ,single slate1 #c-cb ,slade1 ,dr41 #aje ,slate1 double1 #cb-da ,slates exchanged1 #cj ,slate1 folding1 #cc ,slate writing on china1 #h ,slates1 locked1 #cf ,slate tests1 multiple1 #ch ,slates1 padlocked1 #cb ,slates1 pivot1 #bf ,slates1 riveted1 #bd ,slates1 screwed1 #bd ,slates1 scaled1 #cd ,slates1 sliding1 #cc ,slates1 tied1 #bb ,slates1 transferring1 #cg ,slates1 wedging1 #bd ,slates with false hinges1 #ci ,sliding slates1 #cc ,spinning tricks1 #aag ,spirit collar1 #ig ,stencil1 wood1 #db ,sucker for table lifting1 #gb ,sympathetic ink writing1 #i ,table1 false1 #aj ,table lifting and spirit rapping1 #ga-hb ,table1 traps in1 #be1 #bf ,table trick1 #dg ,telegraph1 #gg ,telegraph1 foot1 #ff ,telegraph head1 #fh ,thimble key1 #cf ,thimble pencil1 #ah ,thumb pencil carrier1 #eb ,tie1 ,davenport1 #hh ,ties1 rope1 #he ,ties1 spiritualistic1 #hb-ib ,toes1 writing with the1 #de ,traps1 #ajf ,tube1 speaking1 #fg ,vase1 miraculous1 #acb ,wine glass1 miraculous1 #abh ,wire cage test1 #aaj ,wire1 cloth1 #fa ,writing1 reading concealed1 #ea-eh 99 99 99 99 99 ,,magic ,stage ,illusions and ,scientific ,diversions1 ,including ,trick ,photography4 ,,by ,a4 ,a4 ,,hopkins4 ,with an ,introduction by ,h4 ,r4 ,,evans4 #efh pages4 #dbj illustrations4 ,price1 #b4ej postpaid4 ,illustration3 7the book cover7 ,this work appeals to old and young alike1 and it is one of the most attractive holiday books of the year4 ,the illusions are illustrated by the highest class of engravings1 and the exposs of the tricks and spiritualistic phenomena are1 in many cases1 furnished by the prestidigitateurs themselves4 ,conjuring1 large stage illusions1 fire-eating1 sword-swallowing1 ventriloquism1 mental magic1 ancient magic1 automata1 curious toys1 stage effects1 photographic tricks1 and the projection of moving photographs are all well described and illustrated1 making a handsome volume4 ,it is tastefully printed and bound4 ,acknowledged by the profession to be the ,standard ,work on ,magic ,circular of ,contents and sample illustrations with testimonials from ,w4 ,e4 ,robinson1 ,m4 ,trewey1 ,w4 ,b4 ,caulk1 ,harry ,rouclere1 ,jewett1 ,clivette1 etc41 free upon request4 ,,munn ,,co41 ,publishers1 ,,scientific ,,american ,,office #cfa ,,broadway1 ,,new ,,york ,,city4 ,the ,scientific ,american ,this unrivaled publication is now in its fifty-fourth year1 and is acknowledged to be the foremost and most popular scientific journal published4 ,the excellence and variety of the reading matter render it one of the most interesting and widely read journals in the world4 ,each issue is fully illustrated and no topic of popular interest germane to science or industry is neglected4 ,the latest tricks of the greatest modern conjurers are published from time to time4 ,those who are not familiar with the ,scientific ,american may send for a free sample copy4 ,subscription price1 #c4jj per annum4 ,,munn ,,co41 ,publishers1 ,scientific ,american ,office1 #cfa ,broadway1 ,new ,york ,city4 ,illustration3 7the magazine cover7 ,,the ,,edison ,,magnetic ,,concentrating ,,works4 ,,the ,,giant ,,rolls4 ,,munn ,,co41 ,publishers1 #cfa ,,broadway1 ,,new ,,york4 #ahih ,,edition --,,of-- ,experimental ,science ,,by ,,geo4 ,m4 ,,hopkins4 #bjth ,edition ,revised and ,enlarged4 #iad ,pages1 #hbj ,illustrations4 ,price #d4jj in cloth2 #e4jj in half morocco1 postpaid ,,the ,,most ,,popular ,,scientific ,,book ,,of ,,the ,,day ,illustration3 7the book cover7 ,this is a book full of interest and value for ,teachers1 ,students1 and others who desire to impart or obtain a practical knowledge of ,physics4 ,this splendid work gives young and old something worthy of thought4 ,it has influenced thousands of men in the choice of a career4 ,it will give anyone1 young or old1 information that will enable him to comprehend the great improvements of the day4 ,it furnishes suggestions for hours of instructive recreation4 ,this new edition is now ready4 ,it contains a large amount of new matter1 bringing it up to date4 ,such subjects as the ,x-rays and liquefied air being fully treated4 ,send for large ,illustrated ,circular and complete ,table of ,contents4 ,,munn ,,co41 ,publishers1 ,,office ,,of ,,the ,,scientific ,,american1 #cfa ,,broadway1 ,,new ,,york4 ,,transcriber',s ,,note ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained4 ,pg #fa3 #8are nable to see' replaced by #8are unable to see'4 ,pg #hb3 #8great standbies' replaced by #8great standbys'4 ,pg #abi3 #8handerchief1 and' replaced by #8handkerchief1 and'4 ,pg #adg2 ,index entry #8,post tests'3 #8#ic-a #j' replaced by #8#ic-ajj'4 ,pg #adg2 ,index entry #8,slates1 padlocked'3 #8#c' replaced by #8#cb'4