Spirit slate writing and kindred phenomena

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I

HARVARD COLLEGE
LIBRARY

THE BEQUEST OF
EVERT JANSEN WENDELL

OF NEW YORK

/

p*

SPIRIT SLATE WRITING

AND

KINDRED PHENOMENA

BY

WILLIAM E. ROBINSON

Assistant to the late Herrmann

SIXTY-SIX ILLUSTRA TIONS

MUNN & COMPANY

SCIENTIFIC AMERICAN OFFICE

New York City

1898

- ^ ^^- < 1- — 5 — -T r — "

"^ HARVARD COLU^t bSMflY

FROK

THE BEQUEST df

EVERT JAN8EN WElWftU

Copyrighted, 1898, by Munn & Company.
All rights reserved.

PREFACE.

The author of the present volume is not an
opponent of spiritualism — on the contrary, he was
brought up from childhood in this belief; and
though, at the present writing, he does not acknowl-
edge the truth of its teachings, nevertheless he
respects the feelings of those who are honest in their
convictions. At the same time he confidently be-
lieves that all rational persons, spiritualists as well
as others, will heartily indorse this endeavor to
explain the methods of those who, under the mask
of mediumship, and possessing all the artifices of the
charlatan, victimize those seeking knowledge of
their loved ones who have passed away. As a great
New York lawyer once said, it was not spiritualism
he was fighting, but fraud under the guise of spirit-
ualism.

Owing to the fact that the author has for many
years been engaged in the practice of the profession
of magic, both as a prestidigitateur and designer of
stage illusions for the late Alexander Herrmann, and
has also been associated with Prof. Kellar, he feels

IV PREFACE.

that he is fitted to treat of clever tricks used by
mediums. He has attended hundreds of seances
both at home and abroad, and the present volume
is the fruit of his studies.

Some of the means of working these slate tests
may appear simple and impossible of deceiving, but
in the hands of the medium they are entirely suc-
cessful. It should be remembered it is not so much
the apparatus employed as it is the shrewd, cun-
ning, ever-observing sharper using it. The devices
and methods employed by slate writing frauds seem
innumerable. No sooner are they caught and ex-
posed while employing one system than they im-
mediately set their wits to work and evolve an
entirely different idea. It is almost impossible at
the first sitting with a slate writing medium to know
what method he will employ, and should you, after
the sitting, go away with the idea that you have
discovered his method of operation and come a
second time ready to expose him, you may be sadly
disappointed, for the medium will undoubtedly lead
you to believe he is going to use his former method,
and so mislead you. He accomplishes his test by
another method, while you are on the lookout for
something entirely different. The great success of
the medium is in disarming the suspicions of the
skeptic, and at that very moment the trick is done.
Slate writing is of course the great standby of

PREFACE. V

mediums, but there are many other tricks which
they employ which are described in the present
volume.

The publishers have added a chapter on '* Miscel-
laneous Tricks " which may serve as a supplement to
their "Magic: Stage Illusions and Scientific Diver-
sions, Including Trick Photography/* which has
already obtained an enviable position in the litera-
ture of magic, and has been even translated into
Swedish. These tricks are by Mr. W. B. Caulk and
the author.

New York, November, 1898.

TABLE OF CONTENTS.

Chapter I.

PAGE

The Single Slate , 3

Chapter II.
The Double Slate 32

Chapter III.
Miscellaneous Slate Tests 41

Chapter IV.
Mind Reading and Kindred Phenomena 51

Chapter V.
Table Lifting and Spirit Rapping 71

Chapter VI.
Spiritualistic Ties . . . .' 82

Chapter VII.
Post Tests, Handcuffs, Spirit Collars, etc 93

Chapter VIII.
Seances and Miscellaneous Spirit Tricks loi

Chapter IX.
Miscellaneous Tricks 115

SPIRIT SLATE WRITING

AND

KINDRED PHENOMENA.

CHAPTER I.
The Single Slate.

There has probably been nothing that has made
more converts to spiritualism than the much talked
of ** Slate Writing Test/' and if we are to believe
some of the stories told of the writings mysteriously
obtained on slates, under what is known as '* severe
test conditions,'* that preclude, beyond any possible
doubt, any form of deception or trickery, one would
think that the day of miracles had certainly returned ;
but we must not believe half we hear nor all that we
see, for the chances are that just as you are about to
attribute some unaccountable spirit phenomena to
an unseen power, something turns up to show that
you have been tricked by a clever device which is
absurd in its simplicity.

There are a large number of methods of produc-
ing slate writing, but the writer will describe a few
which will be sufficient to give an idea of the work-
ing of slate tests in general. First we have the
ordinary one in which the writing is placed on the
slate beforehand, and then hidden from view by a

4 SPIRIT SLATE WRITING.

flap or loose piece of slate. (Fig. i.) After both
sides of the slate have been cleaned, the false flap is
dropped on the table, the side which is then upper-
most being covered with cloth similar to the table
lop, where it will remain unnoticed, or the flap is
allowed to (all into a second slate with which the
first is covered. In the latter case no cloth is pasted
on the flap. Sometimes the flap is covered with

Fig, I.— Ordinary Slate with Flap.

a piece of newspaper and is allowed to drop into a
newspaper lying on the table, then the newspaper
containing the flap is carelessly removed, thus doing
away with any trace ol trickery.

Another way of utilizing the false flap is as fol-
lows: The writing is not placed beforehand on the
slate, but on the flap, which, as before, is covered
with the same material as the table top. This is

SPIRIT SLATE WRITING. 5

lying on the table writing downward. The slate is
handed around for inspection, and, on being re-
turned to the performer, he stands at the table and
cleans the slate on one side, then turns it over and
cleans the other. As he does so he lifts the flfip into
the slate. The flap is; held in firmly by an edging of
thin pure sheet rubber cemented on the flap between
the slate and the cloth covering of the slate. This
grips the wooden sides of the frame hard enough
to prevent the false piece from tumbling out acci-
dentally.

We now come to another style, wherein a slate is
cleaned on both sides, and, while held in the hand
facing the audience, becomes suddenly covered with
writing, and the slate is immediately given for in-
spection. The writing is on the slate previous to
the cleaning, and is hidden from view by a flap of
slate colored silk, held firmly in place by a pellet of
wax in each of the corners of the silk. Attached to
this silk flap or covering (at the end that is nearest
to the performer's sleeve) is a stout cord or string,,
which is also made fast to a strap around the wrist
of the hand opposite to that holding the slate. If
the arms are now extended their full length, the
piece of silk covering will leave the slate and pass
rapidly up the sleeve out of the way, and thus leave
the writing exposed to view. (Fig. 2.) The slate is
found to be still a little damp from the cleaning with
the sponge and water it had been given previously.
This is easily accounted for. The water from the
sponge penetrates just enough through the cloth to
dampen the slate.

There is still another slate on which we can make

SPIRIT SLATE WRITING.

the writing appear suddenly. It is composed of a
wooden frame, such as all wooden-edged slates have,

Fig. 2.— Removing the Silk from the Face of the Slate.

but the slate itself is a sham. It is a piece of cloth
painted with a kind of paint known as liquid, or sili-
cate slating, which, when dry and hard, is similar to

SPIRIT SLATE WRITING. 7

the real article. This cloth is twice the length of
the slate and just the exact width. The two ends of
the cloth are united with cement, so as to make an
endless piece or loop. There is a small rod or roller
in both the top and bottom pieces of the frame, the
ends being made hollow to receive theni. Over
these rollers runs the cloth, stretched firmly and
tightly. Just where the cloth is joined or cemented
is a little black button, or stud of hard rubber or
leather. This allows the cloth to be pushed up and
down, bringing the back to the front ; and by doing
so quickly, the writing which is written on the cloth
at the rear of the frame is made to come to the front
in plain view. (Fig. 3.)

Still another idea in a
single slate is as follows :
An ordinary looking slate
is given out for examina-
tion, and, on its being re-
turned to the medium, he
takes his handkerchief and
cleans or brushes both sides
of the slate with it ; and,
upon again showing that
sideof the slate first cleaned,
it is found covered with
writing apparently done
with chalk. The following
is the simple explanation
of it: Take a small camel's
hair brush and dip it in
urine or onion juice, and with it write or trace on
the slate whatever you desire, and when it becomes

Fig. 3.— The Kndless
Band Silicate Trick
Slate.

8 SPIRIT SLATE WRITING.

dry, or nearly so, the slate can be given for examina-
tion without fear of detection. The handkerchief
the performer uses to clean the slate with is lightly
sprinkled with powdered chalk. He makes believe to
clean the one side devoid of preparation, but the side
containing the invisible writing is gently rubbed
with the handkerchief, not too hard just enough to
let the powdered chalk fall on the urine or onion
juice, where it leaves a mark not unlike a chalk mark.
It will not be out of place to describe a trick by
which writing is produced upon an ordinary china
plate by a somewhat similar means. The plate is
examined and cleaned with a borrowed handker-
chief, and then the performer requests the loan of a
pinch of snuflf, or uses a little sand or dust, which he
places on the plate. He now commences to move
the plate around in circles, and while doing so the
shufif or sand is seen to gradually form itself into
writing. The explanation is simple — whatever writ-
ing you desire to appear on the plate is placed be-
forehand on it. It is done with a camel's hair brush
dipped in the white of an egg and allowed to become
dry before being handed around for inspection. As
the performer cleans the plate he breathes on both
sides of it, as if to give it moisture enough to help
take off any dirt that might be thereon when rubbed
with the handkerchief. In breathing on the front of
the plate containing the writing done with the white
of the egg, he moistens the writing enough to make
the snuff or sand, as the case may be, adhere to it.
Of course, in cleaning the front of the plate, care
must be taken not to brush or disturb the invisible
writing.

SPIRIT SLATE WRITING. 9

It may not be amiss to also mention another method
of producing writing, employed by mediums to ob-
tain a message on a blank piece of paper which has
been placed between two slates, which are held by
the medium in his hand, high above his head, and, on
afterwards taking the slate apart, the paper is cov-
ered with writing. This again calls into use the
extra or false flap. (Fig. i ) A piece of paper
with writing on it is placed face downward on one
of the slates and covered with the false flap. It
then looks like an ordinary slate. On this is placed
the plain piece of paper, and over this is laid the
second slate. The slates are now held up in plain
view of the audience, and on being lowered to the
table they are turned over, thus bringing the blank
piece of paper under the false flap and the one with
the writing on it on the top of the flap, which has
fallen from the slate, which is now the top, but origi-
nally the bottom one, on or into the under one, and,
of course, on the removal of the present top slate,
the writing is found on what is supposed to be the
original blank paper.

If the paper is to have a private mark put on it by
an observer, so as to prove the writing really does
appear on that identical piece of paper, the operation
is varied as follows: The false flap is done away
with, and the paper, which is furnished by the
medium, has written on it the desired communica-
tion with ink, which is made visible and brought out
black by means of heat. For the invisible ink you
can use sulphuric acid, very much diluted, so as not
to destroy the paper. The necessary heat is obtained
in the following manner : The table (Fig. 4) on which

V

SPIRIT SLATE WRITING.

the slates are resting is hollow, and has concealed in
it a spirit lamp filled with alcohol. This lamp sits
directly under a trap in the table top, which is cov-
ered underneath for safety with sheet iron, so it will

Fig. 4. — False Table for Developing Communications
Written with Sympathetic Ink.

not catch fire. When the slates are placed on the
table they are laid over the little trap door, which,
in conjuring parlance, is known as a " trap." This is
now opened, and the slates allowed to become well
heated and the trap then closed, and the prepared
paper, upon coming in contact with the hot slate, is
thus covered with writing.

Another medium employed a somewhat similar

SPIRIT SLATE WRITING. - II

method, only the paper in this case was placed in a
glass vial (Fig. 5) which had been lying on the iron
trap door. The medium's hand covered the vial,
which was corked and sealed, while the writing was
making its appearance. You can also produce writ-
ing on the paper in the vial without resorting to the
use of heat by using a vial that has
been washed out with ammonia
and kept well corked, and writing
on the paper with a weak solution
of copper sulphate, which is in-
visible until the paper is placed
in the vial, when the two chemi
cals produce writing in blue. Still
another message is produced as
follows : The writing is done with

iron sulphate on blank cards. Of ^. ^, ^ .

\. ., „, Fig. 5.— The Devel-

course this is mvisible. These ^p^^^j ^f gpj^j

cards are placed in envelopes and writing.

sealed up. Upon opening the

envelopes shortly afterward the cards are cov.

ered with the writing which was before invisible,

but is brought out by a solution of nut galls with

which the inside of the envelopes had been slightly

moistened.

The subject of sympathetic inks is such an in-
teresting one that we give thirty-seven formulas,
which include all those which are liable to be used
by the medium.

The solutions used should be so nearly colorless
that the writing cannot be seen till the agent is ap-
plied to render it visible. Sympathetic inks are of
three general classes.

12 SPIRIT SLATE WRITING.

Inks that Appear through Heat,

1. Write with a concentrated solution of causti':
potash. The writing will appear when the paper
is submitted to strong heat.

2. Write with a solution of ammonium hydro-
chlorate, in the proportion of 15 parts to 100. The
writing will appear when the paper is heated by
holding it over a stove or by passing a hot smooth-
ing iron over it.

3. A weak solution of copper nitrate gives an in-
visible writing, which becomes red through heat.

4. A very dilute solution of copper perchloride
gives invisible characters that become yellow
through heat.

5. A slightly alcoholic solution of copper bromide
gives perfectly invisible characters which are made
apparent by a gentle heat, and which disappear
again through cold.

6. Write upon rose colored paper with a solution
of cobalt chloride. The invisible writing will be-
come blue through heat, and will disappear on cool-
ing.

7. Write with a solution of sulphuric acid. The
characters will appear in black through heat. This
ink has the disadvantage of destroying the paper.
(See the caution given on page 9.)

8. Write with lemon, onion, leek, cabbage or arti-
choke juice. Characters written with these juices
become very visible when the paper is heated.

9. Digest I oz. of zafifre, or cobalt oxide, at a
gentle heat, with 4 oz. of nitro-muriatic acid till no
more is dissolved, then add i oz. common salt and

SPIRIT SLATE WRITING. 1 3

i6 oz. of water. If this be written with and the
paper held to the fire, the writing becomes green,
unless the cobalt should be quite pure, in which
case it will be blue. The addition of a little iron
nitrate will then impart the property of becoming
green. It is used in chemical landscapes for the
foliage.

10. Put in a vial ^^ oz. of distilled water, i drm.
of potassium bromide and i drm. of pure copper
sulphate. The solution is nearly colorless, but be-
comes brown when heated.

11. Nickel nitrate and nickel chloride in weak
solution form an invisible ink, which becomes green
by heating when the salt contains traces of cobalt,
which usually is the case ; when pure, it becomes
yellow.

12. When the solution of acetate of protoxide of
cobalt contains nickel or iron, the writing made by
it will become green when heated ; when it is pure
and free from these metals, it becomes blue.

1 3. Milk makes a good invisible ink, and buttermilk
answers the purpose better. It will not show if
written with a clean new pen, and ironing with a hot
flat iron is the best way of showing it up. All in-
visible inks will show on glazed paper; therefore
unglazed paper should be used.

14. Burn flax so that it may be rather smoldered
than burned to ashes, then grind it with a muUer on
a stone, putting a little alcohol to it, then mix it with
a little gum water, and what you write, though it
seem clear, may be rubbed or washed out.

15. Boil cobalt oxide in acetic acid. If a little
common salt be added, the writing becomes green

14 SPIRIT SLATE WRITING.

when heated, but with potassium nitrate it becomes
a pale rose color.

i6. A weak solution of mercury nitrate becomes
black by heat.

Inks that Appear under the Influence of Light,

17. Gold chloride serves for forming characters
that appear only as long as the paper is exposed to
daylight, say for an hour at least.

18. Write with a solution made by dissolving one
part of silver nitrate in 1,000 parts of distilled
water. When submitted to daylight, the writing
appears of a slate color or tawny brown.

Inks Appearing through Reagents,

19. If writing be done with a solution of lead
acetate in distilled water, the characters will appear
in black upon passing a solution of an alkaline sul-
phide over the paper.

20. Characters written with a very weak solution
of gold chloride will become dark brown upon pass-
ing a solution of tin perchloride over them.

21. Characters written with a solution of gallic
acid in water will become black through a solution
of iron sulphate and brown through the alkalies.

22. Upon writing on paper that contains but little
sizing with a very clear solution of starch, and sub-
mitting the dry characters to the vapor of iodine,
or passing over them a weak solution of potassium
iodide, the writing becomes blue, and disappears
under the action of a solution of sodium hypo-
sulphite in the proportions of i to 1,000.

SPIRIT SLATE WRITING. 1$

23. Characters written with a 10 per cent, solu-
tion of nitrate of protoxide of mercury become black
when the paper is moistened with liquid ammonia,
and gray through heat.

24. Characters written with a weak solution of the
soluble platinum or iridium chloride become black
when the paper is submitted to mercurial vapor.
This ink may be used for marking linen. It is in-
delible.

25. C. Widemann communicates a new method of
making an invisible ink to Die Natur. To make the
writing or the drawing appear which has been made
upon paper with the ink, it is sufficient to dip it
into water. On drying, the traces disappear again,
and reappear by each succeeding immersion. The
ink is made by intimately mixing linseed oil, i part ;
water of ammonia, 20 parts ; water, 100 parts. The
mixture must be agitated each time before the pen is
dipped into it, as a little of the oil may separate and
float on top, which would, of course, leave an oily
stain upon the paper.

26. Write with a solution of potassium ferro-
cyanide, develop by pressing over the dry, in-
visible characters a piece of blotting paper moist-
ened with a solution of copper sulphate or of iron
sulphate.

27. Write with pure dilute tincture of iron ; de-
velop with a blotter moistened with strong tea.

28. Writing with potassium iodide and starch be-
comes blue by the least trace of acid vapors in the
atmosphere or by the presence of ozone. To make
it, boil starch, and add a small quantity of potassium
iodide in solution.

1 6 SPIRIT SLATE WRITING.

29. Copper sulphate in very dilute solution will

produce an invisible writing, which will turn light
blue by vapors of ammonia.

30. Soluble compounds of antimony will become
red by hydrogen sulphide vapor.

31. Soluble compounds of arsenic and of tin per-
oxide will become yellow by the same vapor.

32. An acid solution of iron chloride is diluted
till the writing is invisible when dry. This writing
has the remarkable property of becoming red by
sulphocyanide vapors (arising from the action of
sulphuric acid on potassium sulphocyanide in a long
necked flask), and it disappears by ammonia, and
may alternately be made to appear and disappear by
these two vapors.

33. Writing executed with rice water is visible
when dry, but the characters become blue by the
application of iodine. This ink was much employed
during the Indian mutiny.

34. Write with a solution of paraffin in benzol.
When the solvent has evaporated, the paraffin is in-
visible, but becomes visible on being dusted with
lampblack or powdered graphite, or smoking over a
candle flame.

35. To Write Black Characters with Water. —
Mix 10 parts nutgalls, 2)^ parts calcined iron sul-
phate. Dry thoroughly, and reduce to fine pow-
der. Rub this powder over the surface of the paper^
and force into the pores by powerful pressure, brush
oflf the loose powder. A pen dipped in water will
write black on paper thus treated.

. 36. To Write Blue Characters with Water.— Mix
iron sesquisulphate and potassium ferrocyanide.

SPIRIT SLATE WRITING. 1/

Prepare the paper in the same manner as for writ-
ing black characters with water. Write with water^
and the characters will appear blue.

37. To Produce Brown Writing with Water. —
Mix copper sulphate and potassium ferrocyanide.
Prepare the paper in the same manner as before.
The characters written with water will be reddish
brown.

Here is another trick calling for the use of sympa-
thetic ink. A medium suggests a number of questions
to write on a paper, one of which you select and
write on a slip of paper furnished by the medium.
Writing is done with pen and ink. You are request-
ed to dry it with a blotter, and not to remove the
blotter for a time, the medium says, so as to keep the
paper in the dark, thus giving the " spirits " better
conditions under which to work. After a while the
blotter is removed, and an answer to the question is
found on the same paper. The questions suggested
were all of such a character that one answer would
nearly do for any one. The paper the question was
written on had this answer written with invisible
ink brought out by a reagent on the blotter, with
which it was saturated, and thus another mystery is
easily dispelled.

We will now take up a few slate tests, in which
the slates are brought or furnished by the spectator
or investigator. The tests in which the slates are
brought by skeptics and tied and sealed by them,
and still writing is obtained upon them, are the ones
that are the most convincing and most talked about,^
and they are offered to the unbeliever as proof abso-
lute of spirit power.

l8 SPIRIT SLATE WRITING.

First we will beg^n with the single slate which
has just been handed to the medium, after being
thoroughly cleaned by the person bringing it. The
skeptic holds one end of the slate in one hand and
the medium the opposite end in one of his hands, and
both persons clasp their disengaged hands. In a
short time the slate is turned over and a few words
written in a scrawling style are found. I must
acknowledge that when I first witnessed this test it
somewhat staggered me, but afterward, on seeing it

Fig. 6.— Writing on the Slate with the Pencil
Thimble.

the second time, I was enabled to fathom its mys-
tery. It is patterned somewhat after the style claimed
to have been used by Slade, wherein he used a piece
of slate pencil fastened to a thimble, and with appa-
ratus attached to his forefinger of the same hand
holding the slate he did the writing. The thimble
(Fig. 6) was fastened to an elastic which pulled
the thimble out of sight up the sleeve or under the
coat when it was done with. But it always required
a httle scheming and maneuvering both to use and
conceal the device and get rid of it, and there was

SPIRIT SLATE WRITING. I9

always the fear of being detected with this bit of
machinery about the person ; so someone of an in-
genious turn of mind hit upon another method.
There are some slate pencils made the same as lead
pencils, that is, a very small piece of slate pencil,
about the size of a match, is enclosed in the wood
after the manner of lead pencils. A liny piece of
this pencil is placed at the tip of the forefinger and
over it is placed a piece of flesh-colored court plas-
ter well fastened to the finger (Fig. 7) and well
blended in with aniline dye with the finger, so both are
exactly the same color. After everything becomes

Fig. 7. — ^The Prepared Finger.

dry and hard a little hole is made in the court plas-
ter, so as to allow the point of the piece of pencil to
come through enough to mark on the slate. The
finger thus prepared is what does the writing. The
message or name must be written backward, so that
when the slate is reversed it will appear in its cor-
rect position. To learn to do this quickly, stand in
front of a looking-glass with the slate in your hand
and watch your writing in the glass as you go along.
You do not need to hold the slate underneath the
table in this test ; hold it in the air with a handker-
chief over it, so as to disguise the movement of the

20 SFIBIT SLATE WRITING*

finger. The message must necessarily be short, on
account of the radius through which the medium's
finger can traveL

We now come to another method o£ using the
single slate. The medium takes the slate and places
it on the table and requests the spectator to write a
question on a piece of paper.. He, the medium,
gains knowledge of the contents of the paper in
various ways ; one is by using a pad of paper which
contains underneath the second or third layer of
paper a carbon sheet made of wax and lampblack.
Whatever is written on the first sheet of paper will
be transferred or copied by means of the carbon
paper to the sheet underneath it. Another way is
by requesting a person to fold the paper and hold
it against his head, and, under the pretense of show-
ing the person how to hold it, exchange it for a
paper of his own folded in like manner. This ex-
changed paper is then opened and read by the
medium while his hand is below the level of the
table top, and while he is holding a conversation
with the auditor. After it is read, the paper is again
folded and kept in the performer's lap until needed.
As he now knows the contents of the paper, he
can frame in his mind a suitable answer. He re-
marks : " I will ask the spirits first to give you
a decided answer, through me as an independent
trance slate writing medium, whether they will
answer your question during this sitting.'* So
the medium takes a pencil in hand and writes on
one side of the slate, apparently under spirit con-
trol, and then on the other side. The message
is read, and it says the conditions are very favor-

SPIRIT SLATE WRITING. 21

able, and no doubt, if the skeptic will place the
utmost confidence in the medium, there will be satis-
factory results. After the slate has been shown
with both sides covered with writing, it is thor-
oughly cleaned and placed on the table. The medi-
um now picks up the original paper from his lap and
asks the person to give him the paper he is holding.
This the medium apparently places under the slate ;
however, he really holds this one back and intro-
duces the one he has had in his hand, which is the
one originally written upon. He has now his own
paper in his hand, and the one with the question is
under the slate. On the slate being turned over in
a short time, it is covered with writing, forming a
sensible reply to the question on the paper, which is
now opened and read to compare it with the answer.
All that remains to be explained is how the writing
on the slate appeared there. The false flap is again
used, but in a directly opposite manner to which it
has been employed heretofore. One side of this flap
is covered with a portion of the writing that the
medium first wrote under spirit control. Let us say
the first half supposed to have been written on the
one side of the slate, and which he afterward reads
off in connection with that written on the last or
second side of the slate. What he really wrote on
the first half of the slate was a correct answer to the
question, and after he turns the slate over to write
on the opposite side he slips the false flap over the
answer on the slate. Of course it is what is on this
false flap and on the other side of the slate that the
spectator really reads, and when the slate is cleaned
it is this flap and the opposite side of the slate. The

22 SPIRIT SLATE WRITING.

writing, covered by the flap, which is the answer to
the question, is never seen or touched until after
the flap is allowed to drop into the medium's lap. The
slate can be examined ; and, of course, no trickery
can be found in connection with it. The method
described above, in the hands of a calm and cool per-
son, is a convincing one, and never fails to satisfy the
most exacting of skeptics.

I wish to remark that, if any person tells you
he took two slates of his own to a medium, thor-
oughly well tied or sealed, and that the slates never
left his (the skeptic's) hands, and that there was writ-
ing obtained upon the interior surface of the slates
under those conditions, he was sadly mistaken,
and has failed to keep track of everything that
actually took place at the time of the sitting. Sup-
pose two slates tied together are brought to the
medium. Both he and the stranger sit at a table.
The slates are h^ld under the table, the medium
grasping one coi^her and the skeptic the opposite
corner, each wftli one hand, and the disengaged
hands clasped together above the table. After a
while the slktes are laid upon the table, the string
untied, thfe slates taken apart, but no writing is found.
The medium states it must have been because there
was no slate pencil between them. So a small piece
of pencil is placed between the slates, and again they
are tied with the cord by the medium, and he again
passes them under the table, both persons holding
the slates as before. Presently writing is heard, and,
upon the skeptic bringing the slates from under the
table and untying the cord himself, he finds .one of
the slates covered with writing, although but shortly

SPIRIT SLATE WRITING. 23

before they were devoid of even a scratch. Here is
the explanation : The medium does not pass the slates
under the table the first time, but drops them in his lap,
with the side on which the string is tied or knotted
downward, and really passes a set of his own for the
skeptic to hold; he (the medium) supporting his end by
pressing against the table with his knee, which leaves
his hand disengaged. There is a slate pencil, called the
soapstone pencil, which is softer than the ordinary.
This is the one used by the medium. He now covers
the face of the slate which is uppermost in his lap
with writing, doing so very quietly and without any
noise. Now, as he brings the slates above the table,
he leaves his own in his lap and brings up the skep-
tic's with the writing side down. The slates are
untied and taken apart and shown, devoid of writing
upon the inside, which he claims was caused by not
having any slate pencil inside • The medium now
places the pencil upon the slate wjiich was originally
the upper one, and covers this w^'th what was the
bottom slate, which is covered witii, the writing in-
side on the back or bottom of slate.* This maneu-
ver or action brings the slate on top with the writ-
ing upon its inside. Nothing could be more simple
and natural. The slates are again tied together, and
in doing so the slates are turned over, bringing the
slate containing the writing, still upon the inside, at
the bottom instead of the top, and the string tied or
knotted above the top slate. Of course, when again
separated, the writing is found upon the inside of the
lower slate. When the slates are passed under the
table the second time, the spectator himself is allowed
to do this, and the medium, with one of his finger

24 SPIRIT SLATE WRITING.

nails, while holding his end of the slate, produces a
scratching noise on the slate closely resembling the
tracing of a pencil. It is not really necessary to
pass the slates under the table the second time, but
they can be held above it if preferred.

Now, suppose two slates are brought that are riv-
eted or screwed or sealed at the four corners. How
can writing be obtained upon them without disturbing
any of the above arrangements ? The slates are held
under the table in the same manner as in previous
tests. To produce the writing upon the slates the
medium is provided with a few simple, though effect-
ive devices, one of which is a little hard wood ta-
pering wedge, and a piece of thin steel wire, to one
end of which is fastened a tiny piece of slate pencil.
An old umbrella rib will be found to work admir-
ably, because there is a small clasp at one end and
at its other end a small eye. The pencil is made to
fit into the end with the clasp. Now take the
wooden wedge and push it between the wooden
frames of the slates at the sides. The frames and
slates will give enough to allow the wire and pencil
to be inserted and the writing be accomplished with
it, after which the wire is withdrawn, and then also
the wooden wedge, and all is done without leaving
any trace or mark behind as to how it is all per-
formed. (Fig. 8.)

A well known conjuror at one time made a remark
that he could duplicate any slate writing test he
ever witnessed, he having publicly declared, time
and time again, the slate writing test to be a fraud.
He gave a test in private at his own home and hit
upon a rather unique idea. A slate would be cleaned

SPIRIT SLATE WRITING. 25

on both sides and a private mark placed on it, and
the slate allowed to lie flat on the table, and the ma-
gician and the committee sat around it and placed
their hands upon the slate. Presently writing was
heard, and upon lifting the slate the side underneath
was found covered with writing. The table was a

Fig. 8.— Wedging Apart the Slates.

kitchen table with the ordinary hanging cloth cover,
or table cloth. The table had a double top with
room enough between the two to conceal a small
boy. There was a neatly made trap in both the
table cloth and the top of the table; the cloth being
glued around the opening to keep it in place. The
trap door opened downwards. The boy concealed

26 SPIRIT SLATE WRITING.

in the table opened the trap door and did the neces-
sary writing on the slate, and closed the opening.
The idea of having the committee hold their hands
on the slate was to prevent the slate from being acci-
dentally moved by the boy when writing. The above
idea was improved upon by doing away with the
use of the boy and the double top of the table. The
trap in the cloth and table top was still used. But
the test was done with the lights turned out or
down low, and the medium had a confederate sitting
at his right hand side. This allowed the medium to
take away his right hand, introduce it under the
table, open the trap, do the writing, shut the trap,
replace his hand, and on the lights being turned up
the writing is found. It should be stated that the
medium and committee sat around the table with
their hands resting on the slate, and each person's
hand touching that of his neighbor ; so neither could
move without the other being aware of the fact, but
the medium's right hand neighbor, being one of his
confederates, allows him to take his (the medium's)
hand away without any one being the wiser.

I will now describe how the writing is obtained
upon the interior of two slates sealed together, and
all hands placed on them, and without the assist-
ance of a confederate. The table is the same as pre-
viously described, that is, it contains the trap. The
slates are two single ones hinged together and sealed
around the edges in any manner the committee may
see fit. One of the slates is a trick slate made in this
fashion: The slate part itself is made to work on
a pivot or hinge along one of its sides. (Fig. 9.)
The side opposite to where both slates are hinged

SPIRIT -SLATE WRITING. 27

together, b}' touching a portion of the hinges that
htrfd the two slates together, a catch concealed in
the wooden framework is released, which allows the
slate part itself to drop down on its own hinge or
pivot. So when the slates are placed on the table
they are put directly over the trap in the table, and
with the hinges of the two slates toward the medium.
The medium, as he places the slates over the trap in
the table, pushes the hinge releasing the catch, which

Fig, 9.— The Trick Slate.

allows the underneath slate to drop as far as the
table. Now, when the trap in the table is opened,
the slate opens or drops far enough for the medium
to write on that part, also on the slate above it. He
closes both the slate and the table, and the slates,
upon being unsealed, are found covered with writ-
ing. The only thing that remains to be explained is
how the medium gets his hand free to do the writ-

28 SPIRIT SLATE WRITING.

ing without being detected. The lamp or gas jet is
close to the medium's right hand, where be can
reach it. Now, all the persons are seated around
the table with their hands on the slates, and each
other's hands or fingers touching one another. The
medium takes his right hand away to turn down the
light, and his next door neighbor, as soon as the
light goes out, feels his (the medium's) hand or
finger replaced. At least, so he thinks. What
really happens is this: The thumb of the medi-

Fig. ID, — The Medium Holding the Two Skeptics' Hands,

urn's left hand is stretched far enough over to
touch the hand or finger of the person sitting on
the performer's right hand side. (Fig. lo.) The
medium immediately goes to work and produces
the writing, and when finished, just as he goes to re-
light the gas or lamp, he removes the left thumb to
create the impression that he has just taken his right
hand away again for the light.

Here is a trick I once saw a medium do. He

SPIRIT SLATE WRITING. . 29

had a number of slates piled on top uf the table;
he would clean these, one at a time, showing each,
and after they had been thoroughly examined, he
placed them on the floor. He would then pick them
all up together and replace them on the table, and
select two of them, put them together, holding them
in his hand above his head, would shortly separate
them and show one covered with writing. The

Fig. II.— The Slate under the Carpet,

slates were devoid of all trickery, as was easily proved
in allowing them to be thoroughly examined.

The explanation is as follows: The floor was cov-
ered with carpet. In this there was a slit or cut just
large enough to pass or draw a slate through. A
slate with writing on one side is previously placed
under the carpet, with that side down, (Fig. 11.)
The slates, as they are cleaned, are laid on the car-

30 SPIRIT SLATE WRITING.

pet immediately over or near this concealed one,
and, on lifting the slates from the floor, this one is
also carried with them, and all placed on the table.

Of course, it is this slate and one of the prepared
ones that are afterward used. There is little likeli-
hood of any one taking notice of there being one
more slate in the pile.

Some mediums use two single slates, and, after
cleaning them on both sides, hold one in each hand.
They sit a little way from the table and place the
right hand, with the slate, under the chair, as if to
draw the chair closer to the table. What the medi-
um really accomplishes is an exchange of slates.
There is a little shelf, or drawer, under the seat of
the chair. On this lies a slate, one side of which is
prepared with writing. The medium picks up the
slate and leaves behind in its place the one held in
his right hand as he moves the chair. This is
a method used to a considerable extent and always
successfully.

The following is a clever ruse, ofttimes used by
mediums to destroy all traces of the use of the false
flap when it is employed. It is the test where the
flap is used to cover the writing on one slate, and
then that slate is covered with another. • Now, if
the slates are turned over or reversed, the writing
is uncovered and the flap remains in the opposite or
underneath slate. Now, to get rid of that flap, the
medium deliberately presses his knee against that
slate, breaking not only the slate, but also the flap
contained in it. The broken flap mingles in with
the broken slate, and nobody is any the wiser. No-
body for a moment thinks of picking up the pieces

SPIRIT SLATE WRITING. 3 1

to see if there are one or more slates. Of course,
when the slates are broken, it is done secretly under
the table, and the medium remarks : " The spirit
force is so strong it has smashed the slate." A
test with a single slate that I once saw done was
rather neat in its way, and I think it worth describ-
ing. The slate was examined and cleaned on both
sides, and placed on a small table covered with a
little fancy cloth. On lifting the slate afterward,
its underneath side was found with writing on it.
The top of the table was no larger than the slate.
When the slate was laid on the table, the medium
remarked : " To convince you there is no trickery
about the table, I will remove the cloth ; " which he
did, with the slate still on or in it, and then replaced
the slate and cloth. Now, on this table top was
resting another slate covered with writing on one
side, and that side upward, and this covered with
the table cloth. When the medium picked up the
cloth and the slate, which had just been cleaned,
he also carried along the second slate with it, which
was under the cloth, and in replacing the cloth he
simply reversed the sides, laying the first slate on
the table, where it was covered by the cloth, and
the second one was thus brought to view. It is
astonishing how such barefaced and simple devices
will deceive the spectator. It is the boldness and
air of conviction of his assertions that carry a medi-
um's test successfully through.

32 SPIRIT SLATE WRITING.

CHAPTER II.

The Double Slate.

We now come to a slate called by the mediums
" The double slate." It is, to all appearances, two
ordinary slates hinged together at one side and
locked with a padlock, the shackle of which passes
through a hole in the sides of the frame oif each
slate. This slate also contains the false flap or slate,
but the slate or flap is held firmly in each frame as
follows : The inside edges of both ends of each frame
of the slates are beveled inward a trifle. One of
these ends of each slate frame is also made to slide
or pull out about one-quarter of an inch. These are
prevented from sliding until wanted by the medium
by a catch in the framework, which is connected
with a screw in one of the hinges. This screw
stands a little higher than the rest, so as to be easily
found. The hinges are on the outside of the frame
instead of inside. By pressing this screw it undoes
the catch, which allows the ends to be moved a trifle.
The false flap is just large enough to fill in the space
under the bevels of the frame, and if, in the top frame,
the catch is released and the end moved, the flap
will drop into the bottom slate, where it is held tight
and firm by releasing the catch in that frame, mov-
ing the end until the flap settles into its place and
then sending the end back into its original place
again. The writing is placed beforehand on one
side of the flap and on one slate, both the written
sides face to face, and after the flap has changed
slates it presents two slates with written sides.

SPIRIT SLATE WRITING.

33

There is still another double slate used with hinges
and padlock. (Fig. 12.)

One of the ends of the wooden frame of one slate
is fastened securely to its slate, which is made to
slide out completely from the groove in the frame.
This allows the insides of both slates to be written
upon. After that is done the slate is slid back into
its frame. Care should be taken, in sliding the piece
back, not to reverse it so as to bring the writing side
out. The best way is not to pull the slate completely

Fig. 12.— The Sliding Trick Slates.

out, and write upon the inside of the stationary slate,
and then reverse the slates, which will bring the
inside of the movable slate into view. Write on that
and then close the slate.

I have seen a medium use the double or folding
slate and get rid of the false flap in this way: He
used a pair of small slates. These he opened out
with the flat side towards the audience, and while in
his hand, cleaned those two sides away from the table.
He now showed the reverse sides and cieaned them

34 SPIRIT SLATE WRITING.

likewise. He now closed the slates, but toward him,
instead of away from him, holding them close to his
body, and as he does so, the false flap, by this move-
ment, slips easily and unperceived beneath his coat
or vest.

I once witnessed a test which, for a time, com-
pletely nonplussed me, but, after considerable study
and experimenting, I solved it.

This is the effect of the test : A person was allowed
to bring two slates ; he was to wash them himself
and securely seal them in the presence of the medi-
um, the medium placing, before the slates were
sealed, a piece of chalk between them. The slates
were sealed after this fashion : Around the whole
length and width of the slates court plaster was
stuck, and that was also sealed to the slates with
sealing wax, making it an utter impossibility to
insert a piece of wire, or like substance, between
the slates. Nevertheless, the slates were held under
the table and presently removed, unsealed, and writ-
ing in a very poor hand found upon the inner sur-
face of one of the slates. It could hardly be called
-writing, being hardly more than a scrawl.

Now, how can this be accounted for? By one of
the simplest devices imaginable. The medium placed
the piece of chalk between the slates. This was
composed of pulverized chalk, mixed with a little
water, glue and iron filings, and allowed to become
hard. The medium, while under cover of the table,
traced with a magnet below the slate the words
iound upon the inside, but backward, the same as
type is set for printing ; if not, the writing on the
slate will be in reverse. The chalk, on account of

SPIRIT SLATE WRITING. 35

the iron filings it contains, follows the direction of
the magnet. (Fig. 13.)

We now come to another idea with two slates*
Have two slates made with fairly deep wooden
frames, deep enough to hold the slate proper and a
false flap of slate. One made of silicate book-slate

Fig. 13. — Magnetic Writing.

stuff is preferable. Your apparatus consists now of
two slates and one false flap. The false flap is made
to fit very tightly, so it will not fall out of its own
weight. The slates in the frame also fit snugly.
The frames are mortised out a little thicker than the
slate, say twice as thick. This allows the slate to
work backward and forward, from front to back, and

36 SPIRIT SLATE WRITING.

vice vena. If the slate is well pushed down and the
flap placed on it, the flap will not fall out, but if you
press the slate on the back forward, it shoves out the
flap, and if it is covered with the other or second
slate during this operation, it is forced into the
second slate, which holds it firm and secure.
Another test, which was supposed to be convincing
to skeptics, was one in which a
double slate was used; it was
hinged and provided with a lock
in the wooden frame. The slates
were examined, locked, and the
key given to the skeptic. The
skeptic was allowed to select
from a number of pieces of
colored chalk the color that he
desired the message to be writ-
ten in. Upon the slates being
unlocked and opened, the writ-
ing is found in the color
selected. While the slates are
being examined, the medium
Fig. i4.-The Thimble ^^.^^^ ^ duplicate key which
Carrying False Key fits the lock. (Fig. 14.) This
and Chalks. j^gy ^as a thimble attached to

it which fits the performer's
right thumb ; also attached lengthwise to the key are
several small colored pencils or crayons of different
lengths. When the slate has been examined, it is
placed under the top of the table and held in posi-
tion by the thumb of the right hand, which is under-
neath, and the fingers above the table. During this
manipulation the thimble is placed on the thumb, and

SPIRIT SLATE WRITING. 37

the performer, with the key attached to it, opens the
slate, using his knee to assist or support the slate.
One part of the slate opens downward and rests on
the knee, which holds it in position, i. e., at an in-
cline, pressing it against the table top. On this part
of the slate the writing is now done with the colored
crayon selected, which are usually red, blue, green
and white. When the color of the crayon is selected
the performer turns the thimble around, bringing
that color upward. Although not easy to execute,
it is, nevertheless, a most sui'prising and effective
test.

The above test was used by a medium very suc-
cessfully for years in England and France, and was
found out recently.

A test I once received was, I thought, quite clever.
I was asked to write a question on a piece of paper
furnished by myself and place it between two slates
without the wooden frames. The medium said I
would in a short time receive an answer. He then
opened the slates, stating the answer must be there,
but none was found. He remarked that perhaps we
did not give the spirits time enough. So he replaced
the slates together with the paper containing the
question between. Again, on taking the slates apart,
they were devoid of writing, but, strange to say, the
answer in what looked like lead pencil was found on
the paper containing the question. When the slates
were removed the first time, the medium got a
glimpse of the question on the piece of paper and
then gave me one slate to examine, and apparently
was looking at the other one himself. What he
really was doing was this : On the side of the slate

38 SPIRIT SLATE WRITING.

toward him he was writing a brief answer to my
question with a pencil composed of mutton tallow
and lampblack pressed very hard. This pencil was
attached to his thumb. He held the slate at the
ends with both hands, thumbs behind and fingers in
front, the writing being done backward. When
the slates were replaced the writing, being black, was
not seen against the black slate, and was placed im-
mediately over the paper and the writing transferred
to it. This is the reason the slates were used with-
out the wooden frame, because with the frame the
two slates would not come close together to press
hard enough to transfer the answer.

A test, using a half dozen or so of slates, is as fol-
lows: Two slates are cleaned and examined and
given to be held together by a skeptic, and the other
slates cleaned on both sides and placed on the table.
The medium now takes the two slates apart, but no
writing is found ; one slate is given to the skeptic
and the other is placed on the table by the medium,
who picks up another slate and places that with the
one held by the unbeliever. After a short time the
slates are again removed by the medium and no
writing is found. As if in despair, the medium takes
one slate away, placing it on the table, picks up
another, showing both sides, places it with the one
in the spectator's hand, and in a little while the skep-
tic himself separates the slates and writing is found
on one of them.

This method brings in use again the slate with a
false flap. This slate is among the others on the
table. The two slates first given to the individual to
hold are all right when the medium takes one slate

SPIRIT SLATE WRITING. 39

away and places it on the table the first time and
picks up another slate to place it with the one held
by the skeptic. It is the flap slate, and this he places
underneath the other slate and asks the skeptic to
hold them. When the medium again separates the
slates he turns them over, bringing the slate with the
writing uppermost and also allowing the flap to fall
into the lower slate, which is now taken away to be
replaced by another taken from the table. Care is
taken not to show the underneath side of the upper

Fig, 15. — Slate with False Hinges.

slate during this transaction. The slates the skeptic
now holds are devoid of trickery, and when exposed
with the writing on will cause wonderment.

There is still another style of slate made, and used
to good advantage. It is two slates hinged together,
making a double slate. It has also two holes in
the frame opposite to the hinges, through which
tape or cord can be run and tied and sealed to the
slates. (Fig. 15.) The secret of getting the writing
upon the inside lies in the fact that at least one-half

40 SPIRIT SLATE WRITING.

of each hinge is screwed to the slate ; the other half
is made fast to a little projecting piece in which
there is a slight notch. These projections enter cor-
responding holes in the other slate, in which is con-
cealed a spring bolt which engages these catches of
the hinge. This bolt is shoved back to release the
catches by means of a pin pushed through a hole in
the end of the frame.

SPIRIT SLATE WRITING. 4 1

CHAPTER III.
Miscellaneous Slate Tests.

At a public test or seance given by a medium I
saw the following clever trick performed : A slate
clean on both sides, to all appearances, and, of course,
devoid of writing, was given to a spectator to hold
above his head. The medium then loaded a pistol,
putting in, instead of a bullet, a piece of chalk, which
he rammed well in. He then took careful aim at
the slate, fired away, and the slate was covered with
writing from the chalk that was placed in the pistol.
The medium, beforehand, allows any one in the
audience to choose from a plate containing different
colored chalks the colors they desire. The chalk is
all right, and is actually placed in the pistol and
crushed to a powder by the ramrod. The slate has
been written on one side with glycerine. This
side of the slate is supposed to be cleaned, so as to
keep clear of the glycerine, in order that the invis-
ible writing may not be disturbed. It is this pre-
pared side that faces the medium when he fires the
pistol. The powdered chalk adheres to the glycer-
ine, and thus we make clear another slate miracle.

A clever trick employed to deceive me on one
occasion was as follows: I was handed a slate and a
damp sponge, with a request to cleanse the slate. I
did so, and handed it back to the medium, who held
it in plain view in one hand. In a short time the slate
was given back to me with writing on it that could
not be produced by any of the methods I was al-
ready acquainted with. I witnessed this test a

42 SPIRIT SLATE WRITING.

second time, and it was only by accident that I dis-
covered it, and all through the breaking of a string,
to which the device employed was attached. The
apparatus was a strip of narrow wood, nearly the
length of the slate. Glued on it were raised letters of
cork (felt would do also). These letters were in re-
verse, and were well rubbed with soft chalk. This
strip of wood was attached to a cord running up the
left sleeve, across the back, and down the right arm-
hole, and thence under the vest and the end fiistened
to a button. The length of the string allowed the
wood to hang behind the slate when held in the left
hand. To keep the wood up in the sleeve until
wanted, there was a loop on the string far enough
up to suit the purpose. This loop was slipped over
the button, where it could be easily detached with
the right hand. The sponge was soaked in water
containing alum, which makes the chalk adhere
better to the slate. When the slate was handed to
the medium, he held it downward in his left hand,
and allowed the strip of wood to slip down behind it,
when it was pressed firmly against the surface of the
slate, and then pulled up into the sleeve again, out
of sight. This same idea has been utilized in using
a blotter, the same as is used for ink, to dry the
slate with. The blotter has the writing done on it
with chalk, thus doing away with the strip of
wood.

Take a slate and cover it with writing on one side.
Cover this writing with a piece of slate-colored silk,
held in the corners lightly with wax. At one end
of this silk have a few minute hooks. The slate is
now cleaned on both sides, and, placing the slate

SPIRIT SLATE WRITING. 43

on the floor, the piece of silk is allowed to attach
itself by means of the hooks to the medium'3 pants»
or dress, as the case may be, thus leaving the
slate devoid of trickery. It is hardly necessary to
remark that the slate is placed on the floor written-
side downward.

A friend of mine told me of a medium he once
went to see, who gave him a most remarkable test.
He brought his own slate, and, as he afterward said,
there could have been no trick about it. The medi-
um took the slate for a moment, and with a pencil
covered the slate with writing on both sides, just to
see, so he said, if it would be good enough for the
test. He then cleaned oflf the slate on both sides
and gave it back to my friend, requesting him to
hold it close against his breast, and then in a short
time remove it, and, when he did [so, he was thun-
derstruck to find writing on it on the side nearest to
him. This struck me as being a most astounding
proof of spirit writing. 1 had a meeting with the
medium, who gave me the same test. It seamed
strange to me that he should want my slate to write
on and wash it off again, for the same reason as he
gave my friend, and that was to see " if it was good
enough for the spirits to work with." I received a
message on the slate, after it was washed, and saw
that there was none on there after it was cleaned
and handed to me. I went home puzzled, and ex
perimented to no avail. I had another sitting with
the medium, but he* did not give me the same test ;
so I returned home again and tried to fathom the
mystery, and was eventually successful. The trick
was mainly in the pencil. It was pointed at both

44 SPIRIT SLATE WRITING.

ends. (Fig. i6.) One end was a genuine slate pen-
cil, the other end was a silver nitrate, or caustic
pencil. In writing on the slate he wrote the lines
quite a little distance apart with the slate i>encil ; in
between these lines he wrote with the caustic pencil,
the writing of which was invisible. The spionge
the slate was cleaned with, was dipped in salt water.
That part of the slate containing the writing done
with the silver nitrate was just lightly tapped with
the sponge^ the rest of the slate was thoroughly
cleaned. The salt water, when the slate becomes
dry, brings out the silver nitrate white like a slate

Fig. i6.— The Caustic Trick Pencil.

pencil mark. I consider this trick as ingenious and
clever a one as it has been my good fortune to witness,
and one that caused me much mental effort to solve.
Here is another test. A slate just cleaned and
marked is placed under the table on the floor. The
medium and the skeptic grasp each other's hands
across the table. In a few seconds the slate is taken
up from the floor and is found with writing on it.
The solution of this, like all the rest of the slate
phenomena, rests in simplicity and boldness. The
medium wears slippers or low-cut shoes, that he can
slip his foot out of easily. His stocking on his right
foot is cut away so as to leave the toes bare. Now,
attached to his great toe is a bit of pencil, and with

SPIRIT SLATE WRITING. 45

this the writing is done. (Fig. 17.) Sometimes the
test is varied. Five or six pieces of chalk of differ-
ent colors are on the table, and the investigator is
allowed to select one, place it on the slate. In this

Fig. 17. — Writing with the Toes.

case the chalk is held between the great and adjoin,
ing toe, and the writing is thus produced. It is sur.
prising to see, with a little practice, what you can
educate the foot to do. I myself can easily pick a
pin off the floor and write quite well. Sometimes,

46 SPIRIT SLATE WRITING.

by way of variation, instead of the medium or inves-
tigator lifting the slate from the floor, it is seen to
mysteriously make its appearance above the edge of
the table, being lifted. there by means of the toes of
the medium's foot. Another method used is that of
scratching the writing on the slate with any metal
instrument and then wash the slate on both sides,
being careful not to show the scratched side until it
is wet from the washing. In this condition a casual
glance will reveal nothing, but as soon as the slate
become^ dry the writing or scratching appears.
Writing has also been made to appear on a slate on
the table while the medium and investigator sit with
both hands clasped across the table. The medium
accomplished this by the simple means of a pencil
concealed in his mouth. At the proper moment he
holds it between his teeth, leans his head over and
writes on the slate. Of course this is all done in the
dark, and the writing is not very good, but it answers
the purpose, and that is all that is necessary.

Here is still another test. A person writes a ques-
tion on the slate and places it, written side down, on
the table. All this when the medium is not looking.
The medium takes his seat at the table, places one
hand on the slate (so does the skeptic, the other
hand on the medium's forehead). With the disen-
gaged hand the medium now proceeds to write on
the upper surface of the slate. When he has finished,
the communication is read, and it is found to be a
correct answer to the question on the opposite side
of the slate. To perform this seeming impossibility
the medium has to employ a table containing a trap
smaller than the frame of the slate. When the slate

SPIRIT SLATE WRITING. 47

is placed on the table, the medium shifts it over this
trap. The trap is then opened, and by means of
mirrors, 3, 4, 5, placed at angles of 45 degrees in the
body of the table, the writing is reflected to the
very place where the medium is sitting, and the
image is reversed to normal by the third mirror,

Fig. 18. — Reading the Questions by Means of Mirrors.

and it is easy then to give an answer to it. (Fig, 18.)
The following is how writing can be made to
appear on a slate on which a person has placed his
initials in one corner of it, which is then placed
with that side downward on the table, and shortly
afterward, on turning it over, it is found com-

48 SPIRIT SLATE WRITING.

pletely covered with writing, and the signature
of the visitor proves there has been no exchange of
the slate. The secret of obtaining this effect is both
a unique and quite original method.

The writing is already on the slate and is hidden
from view by the false flap, which has a corner miss-
ing from it. This missing corner is where the clever
idea comes in. After the medium cleans both sides
of the slate, he says : " I will just draw a chalk
mark down in this cor-
ner of the slate where-
in the gentleman is to
place his signature."
He really draws the
chalk mark on the
slate proper, but close
to the edge of the
missing corner of the
flap, thus disguising
the joint, and after the
flap is dropped out of
the slate of course this
mark and signature
still remains. (Fig.
■9-)
Fig. 19.— The Interrupted Here is Still another.

Flap. The medium cleans a

slate on both sides and
hands it to a skeptic to place his mark on it. It is then
placed on the table, face downward, and in a short
time, on being turned over, it is found with a spirit
message on it. This is performed as follows : Let
the message be written on the slate and then sponged

SPIRIT SLATE WRITING. 49

out with alcohol, and when the slate dries, the writ-
ing will be as plain as ever.

Here is another slate writing secret. Dissolve
in hydrochloric acid some small pieces of pure zinc,
about one-half ounce to an ounce of acid. With
this solution write upon the slate with a quill or a
small camel's hair brush the desired communication.
When dry it closely resembles writing done with a
slate pencil. When the time arrives for the test,
wash the slate, and it appears to be perfectly clean ;
allow any one to examine it and hold it until it be-
comes dry, but with the prepared side down. On
the slate being turned over it is found to be covered
with writing while in the spectator's hand.

Here is still another idea. The medium has a
number of slates in his arms, say four. He hands
the investigator the top one to clean. When he has
done so, the medium receives it back and places it at
the bottom of the pile of slates and hands him another
again from the top to be cleaned, and repeats
this operation until all four slates have been cleaned.
He now takes two of the slates, places them together,
and, on removing them again, writing is found on one
of them. Here is the method of procedure: Pre-
pare your communication on one of the slates, and let
it be the bottom of the pile, with the writing side down.
Have your visitor seated, stand by his side just a
trifle behind him, hand him the top slate to clean ;
after he has done so, hand him the second one and
receive the first one back, placing it at the bottom
of all the slates, and repeat until the third slate.
While this one is being cleaned, slip the fourth, now
the top slate, to the bottom again. When the third

50 SPIRIT SLATE WRITING.

slate is received, place it on the bottom and hand the
fourth, really the first one over again ; it is, of course,
the top one and dry by this time, and the investi-
gator is none the wiser. Of course, the two slates
placed together afterward are the one prepared with
writing and one of the blank ones. Instead of slip-
ping the top slate to the bottom, sometimes another
dodge is used. The medium simply turns the three
slates over by a twist of the hand. This brings the
prepared slate at the bottom and the last slate
cleaned at the top, and he says he will clean this one,
thus saving time ; really, however, to disguise the
fact that it is still wet from the last cleaning. He
says, however, to the visitor, " You can clean it also,
if you desire."

SPIRIT SLATE WRITING. 5 1

CHAPTER IV.

Mind Reading and Kindred Phenomena.

Having now described the principal slate tricks
which mediums use to entangle the unwary for their
own ends, we come to other tricks which are used
from time to time to impress the credulous with the
idea that the medium is imbued with supernatural
power and can perform what are, in effect, miracles.
These tricks are legion, and they vary from clumsy
attempts at mystification to the use of elaborate
pieces of magical apparatus which call for rare
mechanical genius in their design and construction.
The present chapter will deal more particularly with
what might be termed mind reading tricks and the
reading of concealed writing. Of these tricks one
of the most perplexing is that of reading sealed com-
munications, or answering questions placed in an
envelope which is well sealed.

If I were to tell you that I could read whatever
was written on a card inclosed in an envelope, and
that envelope not only well sealed, but also stitched
or sewn through with a thread and needle or
machine, and the thread sealed to the envelope also,
without removing the seal, stitches, etc., you would
hardly credit the assertion. It is nevertheless true,
and is easily and readily accomplished by very sim-
ple means.

Prepare a sponge with alcohol. With this you
rub or brush the envelope, which immediately be-
comes transparent as glass, thus enabling you to see
through.it and read what is written on the card. It

52

SPIRIT SLATE WRITING.

takes but a few seconds for the alcohol to evaporate
and leave the envelope in the same condition as
before, without leaving a trace as to what or how it
has done. This test was used most successfully for
years by a celebrated Philadelphia medium.

We now come to a test often employed. A card
is given by the medium to a skeptic with the request
to write a question on it. The medium now holds
the card in his hand against his forehead. Presently

Fig. 20. — The Thumb Pencil Carrier.

he hands the card back to the spectator, and on it, in
writing, is found an answer to the question. The
medium accomplishes the above feat by means of a
little apparatus which is easily attached to the tip
■of the thumb. Part of it goes under the thumb nail
and the lower part has a small needle point which
embeds itself in the flesh. In the center of this
little apparatus is a tiny piece of lead pencil. With

SPIRIT SLATE WRITING. 53

this clever bit of mechanism the medium does the
writing with the thumb of the hand holding the
card. (Fig. 20.)

Four or five persons are seated around a table.
They are given paper and pencil and requested to
write questions, then fold their papers up and place
them in their pockets. The medium will give them
replies to their questions ; in fact, can tell them the
full text of the questions they asked, and, what is
more mysterious, he has been out of the room all
the time the writing has been going on. To pro-
duce this effect, you are provided with a table con-
tiaining a hollow leg. Now, spread a piece of thin
white silk on top of table, then on the top of that a
piece of carbon, or duplicating paper, or cloth.
Now, over all, a thin table cover, fastened around
the edges, so it cannot be raised up and looked under
by the inquisitive.

To the white piece of silk is fastened a string leading
down the hollow leg, through a hole in the flooring,
to the cellar or room below. Whatever writing is
placed on the papers is transferred by the carbon
paper to the silk below it. The medium pulls the
string, down comes the silk. One corner of the silk
has a mark corresponding with a certain corner of
the table, and by this method not only does the me-
dium know what is written, but who wrote it, as he
has simply to see the position the writing occupies
on the silk, and it will have been done by the party
occupying the same position at the table. Another
way is by using a pad of soft paper and hard pen-
cils, and, after the writing, remove the pads. It will
be found that the hard pencil has caused an imprint,

54 SPIRIT SLATE WRITING.

or indenture, of the writing on the page below, not
readily seen by a casual glance, but easily seen by
the skilled eye of the medium.

A test sometimes oflFered is as follows : A card is
offered to a person to write a request. It is then
placed in an envelope and sealed by the medium and
placed on the table sealed side up. The medium
now takes a pencil and slate and writes something
on it. It is given to the skeptic who wrote the
question, and it is found to be an answer to his query.
The medium now opens the envelope by tearing it
at one end, and takes out the card containing the
question and hands it to the spectator. This is an-
other humbug, and is accomplished by exceedingly
simple but bold means. It will be observed that the
medium places the card in the envelope, also takes
it out. The skeptic never sees it. This is the secret :
The envelope, on its face, has a slit cut in it a little
lower down than the opening on the other side of
the envelope. This side, the face of the envelope, is
never shown. The card, in being placed in the en-
velope, is deliberately pushed through the slit in the
envelope into the medium's hand and palmed by
him and read. Of course, it is an easy matter to
write some kind of a sensible answer when the ques-
tion is known. The card is inserted in the envel-
ope in the same manner as it is taken out.

Another trick is to have an answer appear written
upon the inside of the body of the envelope in which
is enclosed the question. The envelope is closed
and sealed with sealing wax. This is accomplished
without disturbing the seal. In the ordinary manu-
facture of an envelope, three of the flaps are stuck

SPIRIT SLATE WRITING. 55

together with adhesive gum of far less strength
than the fourth flap, which is to be moistened and
closed by the user. It is generally an easy matter
to insert the blade of a penknife behind the bottom
flap, that is, between it and one of the end flaps, and
separate them a trifle. Then, if you insert into this a
wooden skewer, or hard, round-pointed stick, like a
pencil, in fact, a lead pencil will do, but look out
it does not leave marks behind ; and by pushing
this along, and giving it a rolling motion, you will
separate the flaps up as far as the seal, and, if done
carefully, without tearing or mutilating the envel-
ope. Now, on a slip of paper write the answer or
suitable message, but in reverse or backward writing,
as the words would appear in a looking-glass, with a
carbon or copying pencil. Pass this slip through
the opening in the envelope, shake it into the desired
position, now rub the envelope over this spot until
you think the envelope has taken the impression.
Then remove the slip of paper by the same way it
came in, moisten and gum the opening, and the trick
is done. In rubbing the envelope, it is a good plan
to place a piece of paper over it to keep the envel-
ope clean of marks, which would be liable to appear
from damp or moist fingers during the rubbing.

The following is from the experiments of a Ger-
man scientist. He discovered, by the use of an em-
bryoscope, or egg-glass, that the shells of eggs were
of very unequal thickness.

It occurred to him to make experiments in order
to ascertain how many leaves of ordinary letter or
official paper must be laid above and below a written
leaf, in order to make it illegible to a highly sensi-

56 SPIRIT SLATE WRITING.

tive eye in the direct sunlight. He found that after
he had rested his eye in a dark room for ten or fif-
teen minutes, he could read a piece of writing
over the mirror of the embryoscope that had
been covered with eight layers of paper. He
called in other observers to confirm this. The let-
ters, however, that could be thus deciphered were
written in dark ink on one side of the paper only.
If four written sides were folded together, and es-
pecially if there had been crossing, it was hard to
make out the drift of the writing ; and there are
some kinds of writing which, when folded thrice or
twice, admit too little light for the purpose of de-
cipherment.

In this way, possibly, many of the performances of
" clairvoyants ** may be explained. By means of the
egg-glass it is, as a rule, easier to make out the con-
tents of a letter or telegram without the slightest
tampering with the envelope than it is to detect the
movements of the embryo in the egg.

Suppose the writer of a billet, the contents of
which are known only to himself, lets it out of his
hands and loses sight of it for five minutes, it may
be carried either in the direct sunlight, or into elec-
tric or magnesium light, and be read by the aid of
the egg-glass. The placing of a piece of cartridge
paper in the envelope, or the coloring of it black,
is a means of defense at hand. In their present
form, telegrams cannot be protected from perusal,
unless delivered at once into the hands of the
addressees.

A few tests employed by mind readers and clair-
voyants, so called from their presumed ability to read

SPIRIT SLATE WRITING. $7

other people's minds, will, I think, prove interesting.
Let us suppose the performer, as a means of proving
his ability to cause his subject to read his mind from
a distance, or by mental telegraphy, execute the fol-
lowing feat. His subject, let us say his wife, is at
home. The professor is in a public place, a store, or
banking house, etc. He requests some one to write
a question ; he hands this person a fountain pen and
a pad of paper. After the person has done so, he is
requested to fold the communication up, place it in
an envelope and seal it, and then put it in his pocket.
He is now asked to write a letter or note to the pro-
fessor's assistant, asking her to inform him what it
was that he had asked on the paper inclosed in the
envelope in his pocket. This note, and the pen also,
for fear the lady has no writing utensils, is carried
by the gentleman himself to the lady. She reads the
request, and, turning the paper over, she writes the
answer correctly on the other side. Sometimes,
instead of the gentleman himself going with the note,
a messenger boy is sent with it and the answer
brought back by him. In either case the paper and
pen are sent along. The pen is an ordinary fountain
pen, and it is by means of it that the lady receives
the desired information of what has been written.
First the professor has to know what has been writ-
ten. He simply says to the gentleman : '* You must
allow me to read the question ; for, if I do not see it,
how can my assistant see it, for it is through me she
is enabled to know ? What I see I convey to her by
mental telegraphy, and thus convey the communica-
tion." After the professor sees the communication
he goes to a desk and gets an envelope, or takes one

58 SPIRIT SLATE WRITING.

out of his pocket, and gives it to the gentleman to
place his question in and seal it. While this is being
done he stealthily writes on a piece of fine, thin
paper an exact copy of the question. This he makes
into a little pellet and places it in the little cap or
end that is made to cover the point of the pen for
protection. Of coxirse it is now easy to see the
method by which the question is made known to the
assistant. She has simply to remove the pellet of
paper, unfold it and read it. Sometimes a pad of
paper is used that has cunningly concealed between
two of its leaves, near the top, a piece of carbon
duplicating paper. These two sheets are pasted
around the edges so as to appear as one, and when
the person writes a question it is duplicated on the
sheet of paper following the one wherein is concealed
the carbon paper. The professor has simply to tear
out this sheet and inclose it in the cap of the fountain
pen. The name of Foster is almost invariably
coupled with any test wherein there is reading of
sealed letters, pellets, etc., just the same as Slade's
is connected with the slate writing tests.

Foster was an inveterate smoker, anywhere and
everywhere, especially at his s6ance, and it was all
for a purpose. The visitor who desired a sitting
with Foster was asked to write a few questions on
small pieces of paper, fold them up separately, and
press them into small balls or pellets. Foster would
pick one of these up and hold it to his head, as if to
try and penetrate it. Apparently failing to do so,
he would place it back on the table. This he would
repeat with others. Finally, he hands one of them
to the visitor, after holding it against his forehead.

SPIRIT SLATE WRITING. 59

requesting him to hold it himself. Foster then took
a pencil and paper, and scribbled something on it,
and then bared one of his arms, and showed it de-
void of any preparation. He then rubbed this arm
with his hand, and, on removing it, a name was seen.
On reading what Foster scribbled on the paper, the
visitor finds an answer to one of his questions, and
the name in blood red on Foster's arm is found to
be the name of a person addressed by the visitor in
the note. Foster had a pellet of paper of his own
concealed between his finger tips, and, at some con*
venient moment, instead of placing back on the
table one of the pellets he has just taken up, he sub-
stitutes one of his own, keeping the bona fide one in
his hand, which he lowers into his lap and unfolds.
Holding it in the palm of his hand, he strikes a match
and lights his cigar, and while doing so he is delib-
erately reading the note, which he afterward crum-
ples into a ball and conceals in his hand. He now
takes up another pellet and tries to see through it
by holding it to his forehead. He, however, fails,
and gives it to the visitor to hold, really exchanging
it for the one he has just read. He now has his
own and the visitor has his. He now allows his
hands to lie carelessly in his lap, and, while convers-
ing with the visitor, he pushes one of his coat sleeves
up a short distance, and, with a sharp-pointed stick,
writes the desired name on his arm, pressing down
hard. In a second or two he writes the answer to
the visitor's question, minus the name he has just
placed on his arm. He now shows his arm bare,
and rubs the spot where he has written, with his
fingers slightly moistened, whereupon the name ap-

6o SPIRIT SLATE WRITING.

pears in bright pink writing. If it is desired to
make it disappear, hold the hand above the head a
few seconds. To make it appear again, rub once
more with the fingers.

Here is another trick which apparently calls for
mind reading. The performer's assistant is sent out of
the room. Now, a sum of figures in addition is placed
on the slate by a spectator. When he has concluded^
the performer takes the chalk and draws a line under
the numbers, turns the slate downward on a table,
so nothing can be seen, places chalk on the slate, and
retires into a corner of the room. His assistant is
now called into the room, steps up to the table and
seizes the chalk and marks down the correct answer
to the sum of figures which is on the other side.
Like all the tricks that appear the most incompre-
hensible, this is one of the most simple. The per-
former stands watching the person as he places
down the numbers on the slate, he mentally adds
them, and, with his hands behind his back or under
his coat-tails, with a lead pencil in one hand, he
writes on a piece of chalk held in the other hand the
correct answer. It is needless to say that it is this
piece of chalk he places on the slate, and not the one
used. The chalk is scraped or filed flat a trifle
lengthwise. This is to keep it from rolling on the
slate, thus avoiding accidental exposure of the writ-
ing on it, and also give it a flat surface to write on.

Here is an effect I produced as a stage illusion
some years ago, somewhat resembling a spiritualis-
tic effect. Hanging up against the scene, at the rear
of the stage, was a large blackboard. On this black-
board writing appeared gradually, done in chalk, as

SPIRIT SLATE WRITING. 6l

though some unseen hand were actually at work.
The blackboard was really nothing but fine wire
slate-colored netting. There was a large hole cut in
the scene immediately behind the blackboard. This
hole was completely boxed in by curtains or wood-
work, so as to make it as dark as night. A man was
in this space, and he was dressed in a complete suit

Fig. 21. — The Board Facing the Audience.

of black ; also a black mask and gloves. He was
provided with a pot of white paint, composed of
whiting, water and glue, and a brush. Now, the
man can see through this netting, but the spectators
are nable to see him behind this screen of net-
ting. With the brush and paint he traces on the

62 SPIRIT SLATE WRITING.

wire netting whatever is desired. The paint comes
through the meshes of the netting, and, adhering to
it, makes a very good imitation of a chalk mark. It
should be remembered the person doing the writing
does so backward ; so it will be in correct position
when seen by the audience.

The following is somewhat in the same line, and is
called the " Educated Fly :*' When the curtain rises
a large mirror, in a gilt frame, is seen resting against
an easel. (Fig. 21.) The magician takes the mirror
in its frame from the easel and rests it on the floor,
showing both sides to the audience. He also re-
moves the glass from the frame, and rests the glass
against the easel while he exhibits the frame to the
audience. The frame has a solid wooden back. The
mirror is abpiit four and a half feet wide and three
feet high, &d after it has been inspected, the ma-
gician replaces it in the frame. He now takes a
piece of soap and marks the glass off into twenty-
eififht even squares, which he numbers from one to
twenty-si:t, and letters from A to Z; one of the
remaining squares is zero, and the other is left, as
the prestidigitateur says, for a starting^oint. He
now takes a large fly from the table and places it on
a little shelf which projects from the empty square.
He then asks that a letter or number be called. As
soon as this is done, the fly is seen to travel across
the mirror and stop at the desired square. This is
repeated time and time again, the fly every, time
returning to the starting point.

The reason for having the mirror separate from its
frame, and exhibiting it separately, is this : It will be
remembered that the mirror is rested against the

SPIRIT SLATE WRITING. 63

easel as the frame is shown, and that this frame has a
wooden back. In addition to the wooden back, it
has a cloth back, which is firmly fastened to the
frame, and then comes the wooden back. This back
is hinged to the frame at the bottom. Now, when

Fig. 32.— The Mystery Explain^,

the frame is placed on the easel and the mirror
rested on the floor, the space behind the easel from
the floor up is concealed by the mirror, and this
gives an opportunity for a boy to get through a trap
in the floor and pull down the back of the frame, to
makeashelf on which hesits. (Fig.22.) Ofcourse,the

64 SPIRIT SLATE WRITING.

cloth back is still in the frame ; so the boy cannot be
seen. The mirror is taken up and replaced in the
frame ; then it is marked off into squares, as already
mentioned. The black cloth is previously marked off
into squares which exactly duplicate those which
. have been made on the face of the mirror. The fly
is made of cork, with an iron core which is set flat
against the glass. The boy behind the mirror is pro-
vided with a strong electro-magnet attached to a wire
running down the leg of the easel and under the
stage, where it is connected to a powerful battery.
He brings up the magnet and several feet of wire
with him while the mirror is resting on the stage.
When the boy hears the numbers called, he applies
his magnet to the corner where the fly is resting on
the little shelf, and the magnetic attraction, working
through the glass, draws it successively over the
squares until it comes to the desired spot, which the
boy can see on his chart ; and, of course, the proper
letter or figure is indicated where the fly stops.

The most sphinx-like problem ever presented to
the public for solution was the second-sight mystery.
There have been many exposes of " meittal fnaigic,"
and some of the best of them are described in
" Magic : Stage Illusions and Scientific Diverdons,
Including Trick Photography.**

We have now to concern ourselves with " mental
magic '* where the results are obtained by clever
tricks. There have appeared, from time to time,
before the public, individuals who generally work in
couples, termed " operators " and " subjects,** who
have given performances which were termed mental
wonders, silent second-sight, etc. The operator in-

SPIRIT SLATE WRITING. 65

variably tries to impose on the public with the idea
that he possesses some mysterious power over the
** subject " by which he is enabled to communicate
information to her by his will power over her mind,
without a word being spoken. There are, of course,
various methods of performing this trick, as by a
code of predetermined signals in which sentences
like the following are used : ** Say the number.
Well? Speak out. Say what it is." But these
methods are not comparable with the mechanical
means which we are about to describe.

The " operator,** after informing the audience ot
the wonderful powers of divination which the sub-
ject possesses, introduces the ** subject," who is in-
variably a lady. She is seated on a chair near the
front of the stage, in plain view of the audience.
Her eyes are heavily bandaged, so she cannot see.
A committee is invited to go upon the stage to sec
that the lady has had her eyes properly blindfolded,
and also, ostensibly, to help the operator. A large
blackboard is placed at one side of the stage, behind
the lady. One of the committee is requested to step
to this blackboard and write on it, with chalk, some
figures, usually up to four or more decimal places ;
and after he has done so he resumes his seat. 1 he
lady immediately appears to add up the number
mentally, calling out the numbers and giving the re-
sults of the addition. Each member of the commit-
tee is invited to step to the blackboard and touch a
figure. No sooner has he done so than the lady calls
out the number* Other tests of a similar nature are
given, such as the extraction of square and cube root,
etc. They all prove that the lady has a thorough

66 SPIRIT SLATE WRITING.

knowledge of the numbers on the blackboard and the
relative position which they occupy. It is, of course,
proved beyond a doubt that the lady cannot see the
blackboard. The question then arises, How does
she obtain the information ? There are two methods
of performing this trick. In either case her informa-
tion is obtained from a confederate, who is generally
concealed under the stage, who has the blackboard
in sight, and who transmits to the lady the desired
information.

Id one method the lady has a hole, one and a half

Fig. 23. — The Foot Telegraph,

inches in diameter, cut out of the sole of one of her
slippers. {Fig. 23.) She places this foot over a hole
in the stage, through which a small piston is worked
pneumatically by the assistant. The piston is con-
nected with a rubber tube, which runs to where
the assistant is concealed. The assistant looks at the
blackboard and manipulates the bulb, thus causing
the piston rod to strike the sole of the foot, giving
signals which can be readily understood by the sub-
ject. Robert Heller used a system somewhat simi-

SPIRIT SLATE WRITING. 67

lar, only an electro-magnet was used instead of the
pneumatic piston.
Another and bolder method of conveying infor-

Fig. 24, — The Speaking Tube.

mation is the speaking tube. In this case a Vienna
bent-wood chair is used. The chair is specially pre-
pared for the trick. One leg of the chair is hollow.

SPIRIT SLATE WRITING.

and the air passage is continued to the very top.
The lady usually has a long braid of hair hanging

\ i

I

down her back, and, if not blessed by nature with
this hirsute adornment, she wears a wig. In either
case, concealed in the hair is a rubber tube, one end

SPIRIT SLATE WRITING. 69

being close to the ear and the other hanging down
with the braid, so that when the lady is seated on the
chair the operator can easily connect it with the tube
in the chair. (Fig. 24.)

There is still a third method, which is so absurdly-
simple that it deceives even a very knowing com-

Fig, 26. — The Signaling Instrument.

mittee. The committee places a chair on any part
of the stage they may see fit, and the subject seats
herself and is blindfolded as before. A thread runs
from the side of the subject through a small ring
attached to a chandelier overhead. (Fig. 25.) One
end of this thread is held by an assistant and the

70 SPIRIT SLATE WRITING.

Other end is fastened to a hammer working on a
pivot secured to a metal plate concealed in the hair
of the lady, her hair being dressed high. When she
walks on the stage, the assistant pulls in the slack of
the thread, and when she is seated on the chair, the
assistant pulls the thread taut, so that he is able to
communicate signals to her by a very slight motion
of the thread, which causes the hammer to work on
the plate, which is resting very close to the skull, so
that the signals are easily felt at every stroke of the
hammer. (Fig. 26.) Predetermined signals may be
used, or the regular Morse alphabet, as in telegraph-
ing. There are a number of other ways of convey-
ing information, but the three methods we have
described are perhaps the best.

SPIRIT SLATE WRITING. 7 1

CHAPTER V.

Table Lifting and Spirit Rapping.

So much has been heard about table tipping and
floating tables, it will, I think, prove interesting to
explain a few of the clever devices employed to pro-
duce the above phenomena. Small, light tables are
lifted by the mere " laying on of hands." The arms
are raised in the air and the table is seen to cling to

\/j^

Fig. 27.—Table Ufting Trick.

the hands and follow every motion. This is accom-
plished by a pin driven well into the table, and a
ring with a slot in it (Fig. 27) worn on one of the
medium's fingers. The body of the pin easily enters
the slot in the ring, but the head of the pin, being
larger, prevents the table from falling away from the
hand. After the table has been floated successfully,
an extra strong upward pressure of the hand pulls
the pin out, and the table can be examined. Another

72 SPIRIT SLATE WRITING,

test on somewhat similar lines is the lifting of a bowl
of water by immersing the hand in the basin of
water. In this case a pin is fastened firmly into a
leather or rubber sucker, and the finger ring again
does the work. (Fig. 28.) This can also be used to
lift anything that is not of a porous nature. A table
with a well polished top can be easily lifted. In
lifting large tables the medium is assisted by a con-
federate among the assembled guests. It is his
duty to get as near opposite the medium as possible.
The medium and the confederate have fastened to
their wrists, by means of a leather cuff and straps, a
bent hook. (Fig. 29.) Their hands rest on top
and the hooks under the table. By this means it is

Fig. 28.— The Sucker.

a simple task to raise the table. Sometimes the
above device is varied ; instead of hooks fastened to
their wrists they use hooks from under their vests,
hanging by a loop from their necks. (Fig. 30.)
I have seen a square table lifted without the use of
either of the above devices. The medium and his
confederate simply got the linen cuffs of their right
hands well under the corner of the table, and with
their hands on top they found no difficulty in raising
the table by this improvised means.

Although spiritualists claim they have, and can,
make pianos float in the air, I have never seen it
accomplished, and I could never get a medium who

SPIRIT SLATE WRITING.

73

was able to produce the efifect, and I sincerely doubt
if any one can honestly and truthfully acknowledge
they have witnessed it.

I saw a small, round table once floated in the air
without the medium touching it. It was accom-
plished by means of two threads running across the
room and worked by two confederates. The threads
were on the floor and lifted up and allowed to catch
under the table.

I have also seen a letter raised from a table and

Fig. 29. — The Leather Cuflf and Hook.

float in the air into the medium's hand. This was
done also with a thread, one end fastened in the
wall above the table the letter rested on, the other
near the medium. The letter is not sealed. This
allows the thread to go between the flap and letter,
or envelope, and when the medium pulled the thread
taut, it made an incline for the envelope to travel on,
right up to the outstretched hand.

74 SPIRIT SLATE WRITING.

Years ago Robert-Houdin, the celebrated French
conjurer, produced, at his pretty little theater in
Paris, an illusion which, for startling effects, has not
since that time been excelled ; and the means which
he employed for operating the stage machinery have
been employed in many stage tricks of more recent
date. The stage is set to represent a drawing-room,
and, in stage parlance, would be called a " box set/*
There are side scenes, as well as a " drop '* or back
piece. In the center of the room is a large door, and
a grand piano rests against one of the side scenes, a
small table being placed near the door. When the

Fi&- 30' — l^he Loop and Hook for Table

Raising.

illusion is to be performed, a lady enters carrying a
bouquet, which she leaves on the table and advances
to the piano. (See Frontispiece.) She seats herself,
opens the cover of the piano and plays a short piece ;
then, closing down the cover, remarks that she does
not feel in the humor to play. She extends her hand
toward the bouquet on the table, which mysteriously
rises and falls through the air into her hand ; and, at
the same time, she is seen to rise upward in the air
still seated upon the piano stool. When she reaches
a point midway between the ceiling and the floor she

SPIRIT SLATE WRITING. 75

glides toward the opposite sides of the room, and the
piano, which seems as if it will not be outdone, rises
also and follows her through the air. This is usually
received with great applause by the audience, and
the curtain falls. The explanation of the phenomena
is the following (Fig. 31): In the first place, the
piano case is cleverly made out of papier macft^,
and is really a mere shell containing no keyboard or
action. The back of the piano is open ; immediately
behind it, in the side scene, is a trap, and at the back
of this scene is a real piano mounted on a truck, so
that it can be easily moved backward and forward.
Our engraving shows both the piano and the trap.
When the real piano is run into the papier machd
case the keyboard is in its normal position, so that
the lady can play upon it. When the lady finishes
playing she closes the lid of the false piano. As soon
as this is done an assistant behind the scene moves
the piano back, thus leaving the empty shell, and the
trap in the scene is closed. The false piano is, of
course, very light, and to it are fastened fine wires,
which are invisible at a short distance ; one is secured
to each corner. These wires run up over pulleys on
a truck overhead, which can be run backward and
forward immediately over the scene. Each wire is
terminated by a bag of sand or shot, which counter-
balances the weight of the piano. It will be noticed
that there is a fifth wire secured to the false case. It
is run up also over the pulley in the truck, and then
off to the side of the stage beyond the side scenes.
By pulling this wire the piano is raised or lowered to
any desired distance. Counterweights hold the in-
strument at any position. There is a rope attached

SPIRIT SLATE WRITING.

SPIRIT SLATE WRITING. JJ

to the overhead truck, so that it can be pulled back
and forth, thus causing the piano to move across the
stage. There are, of course, slits in the ceiling of the
mimic stage which allow the wires to pass through.

The lady is raised by a curious device. There is
attached to the piano stool a clear piece of plate glass,
which comes up through a slot in the stage techni-
cally known as a "slider." This glass is made to
raise or lower by means of a windlass. The glass
rests on a cross-piece ot wood and works up and
down in a grooved frame, which is secured to a mov-
able truck under the stage. The slot in the stage is
continued in the direction in which the glass is to
move, and the carpet is of a marked design which
will cover the narrow opening.

The bouquet is secured with a thread attached to
the piano, and it then goes through the door, where
an assistant holds the loose end. A small loop of
wire is attached to the bouquet, and a thread runs
through it. When the lady enters the room and lays
the bouquet on the table, this thread is passed
through the loop of wire. When the bouquet is de-
sired to travel to the lady, the assistant has only to
raise the end of the thread high enough and the
bouquet slides down the incline into the lady's hand.

A medium in Detroit, Mich., has lately been hood-
winking the public and coining money with an idea
that was quite original. He employed a small, shal-
low box, composed of wooden sides and ends and
slate top and bottom. The box and its lid were
about of even height, and were hinged together.
(Fig. 32.) The box contained a telegraph key con-
nected up to a sounder and a dry battery sitting

/S SPIRIT SLATE WRITING.

outside of the box on the table. The medium
allowed everything to be well examined. It was
proved that the battery on the table was the only
means of operating the sounder whenever the key
was worked. If one of the wires were disconnected,
or the box were closed and the key thus out of the
way of manipulation, the sounder would not work.
After everything was satisfactorily explained, notes
were written on pieces of paper, which were

Fig. 33.— The Telegraph Set.

folded and placed upon the table. These are
taken, one at a time, and placed in the box and
the lid closed. If conditions are favorable, the
spirits will be enabled to read one of the inclosed
notes, and will send a telegraphic reply over
the sounder ; and such is ofttimes the result. Of
course, we know spirits do nothing of the sort ;
it is the medium who accomplishes all of this. How
does he know the contents of the note? How does

SPIRIT SLATE WRITING. 79

he cause the ticker to work with the key inclosed in
the box? The visitor is placed on one side of the
table, generally facing a window, so as to have the
light shine into his or her eyes. The medium sits
opposite with his back toward the window ; the box
containing the key is at his side of the table, with
the hinges, or the back of the box, toward the vis-
itor. Now, if the lid of this box is opened and a
paper taken off the table and placed in the box and
the lid closed, you could not tell for certain if the
paper was actually placed in or not, for the simple
reason that the cover of the box, when up, complete-
ly masked the operation. It is by the above scheme
that the medium obtains the notes on the paper.
The first one or two are actually placed in the box ;
then the next one is deliberately dropped into the
medium's lap instead of the box. He unfolds it, reads
it, refolds it, and, on opening the box, apparently
takes it from there and places it back on the table
and does not lose track of it. Two or three other
papers are placed in it by the visitor, and again taken
out by him. Again the visitor is asked to place in it
the one the medium knows the contents of. Now
the ticker commences to work. With his left hand
carelessly resting on the corner of the closed box, the
medium writes with his right hand, with a pencil, on a
pad of paper, the communication received over the
ticker. The visitor removes the paper trom the box,
and the answer just written by the medium on the
pad is found to be a reasonable one to the written
request.

All that remains to be explained is the working of
the sounder. It is very simple. In the first place, the

8o SPIRIT SLATE WRITING.

lid and box are hinged so as to be hinge bound ;
that is, they will not, of their own weight, quite
touch each other, possibly about an eighth of an
inch, or less, apart. But by the pressure or weight
of the hand they will come together. Now, the
telegraph key, like all such instruments, is provided
with a tension screw, which can be screwed one
way or the other. When the medium desires his
instrument to work, he raises this tension screw,
to which is fastened the button of the key, just high
enough to touch the lid on the inside of the box
when it is closed of its own weight. Now, when the
hand is resting on the box, he proceeds to make
the sounder "speak" at will, with no perceptible
movement of his hand. A simple muscular con-
traction of the palm of the hand, which cannot be
detected, is sufficient to control the sensitive key,
by pressure of the box cover on it. The whole thing
is so simple, and at the same time puzzling, that it
makes one laugh to think how little it takes to make
a fool of a man.

In the case of this medium, the head of the tension
screw was brass, and left a brassy mark on the slate
top. He soon observed this, and changed it for a
hard rubber one, which left no telltale marks behind.
Sometimes he did not raise the tension screw, but
laid the folded paper the question was written on
on top of it. This made up the required height.
Other mediums improved on the above method by
working the key through the box by an electro-
magnet concealed in the table top. The current to
the magnets was turned on and off, or broken, as the
line is used, by means of a small button in the body

SPIRIT SLATE WRITING. 8 1

of the table, pressed by the medium's leg. This
method allowed him to keep his hand off the box.

The raps, or noises, are produced in various man-
ners. Press your boot heel gently against a table
leg. The slipping of the leather against the wood
makes perfect spirit raps, wood being a good con-
ductor of sound. The raps apparently come from
the table top if attention is directed in that direction.
Some mediums, with the tips of their fingers pressed
firmly on a table top, slip them, by a dexterous
movement, along the varnished surface, thus making
very fair examples of raps or thuds. Some mediums,
in their own homes, have tables provided with
electro-magnets concealed in them, by which the
knocks are accomplished. Medical experts claim
that a very good result can be obtained by the mere
displacement of the tendons of the muscle called
peroneus longuSy in the sheath in which it slides
behind the external malleolus. Others again produce
it by snapping the toe or knee joints. Watch a
boy some day as he snaps his finger joints, and if
he were to rest his elbows on the table while do-
ing so, the sound would be intensely strengthened.

82 SPIRIT SLATE WRITING.

CHAPTER VI.

Spiritualistic Ties.

"Ties'* have always been one of the great stand-
bies of mediums, second only to slate writing.

The following is a simple test Avith a rope or piece
of string: A long piece of rope is given for inspec-
tion, and, on its return to the medium, he coils it up
and lays it on the table ; the two ends are tied
together and sealed fast to the table. The coils of
the rope are now allowed to drop on the floor.
Lights are lowered, and, in a few minutes, when
the lights are relighted, the coil of rope is found
with numerous knots tied in it that could not natu-
rally have been accomplished without the ends
being untied and unsealed. This mystery is accom
plished by simple means. When the medium re-
ceives the rope back he does not coil it up as a person
would, in the ordinary fashion, but makes the coils
so they really form half hitches, and, as he lays them
on the table, he runs one of the free ends through
all the coils, then ties the two ends together. Each
coil will now form an overhand knot. An easy man-
ner of manipulating the rope is as follows : The rope
is held in the hands, with palms upward ; now, to
form the coil, or half hitch, the right hand is given a
half twist; this brings the palm facing the per-
son's breast and back of hand outward, and leaves
the rope as seen in Fig. 33 ; this loop is transferred
to the left hand (Fig. 34), and the operation repeated
until the supply of the rope is exhausted. Now, to

I

I

SPIRIT SLATE WRITING. 8j

make the knots, one end of the rope has simply to be
passed through all the loops.

I have seen the above test worked also as follows :
Two skeptics were used. One end of the rope was
fastened to one of the skeptic's wrists and the other
end to the wrist of the second skeptic. The knots
were sealed. The rope in this case was quite long^
about twenty feet. The medium now makes the
rope up into a few coils ; out go the lights, and, in a
few minutes, on the lights being turned up, the rope
is found with knots. This is what happens : When the
lights went out, the medium went up to one of the
skeptics, and, while talking to him and moving him
two or three feet further away from the other skeptic^
he has passed the coils over this one man's head, and
allowed the coils to drop to the floor. As soon as
the skeptic steps out of these, the job is done.

There is another test on somewhat similar lines.
A short piece of rope is examined and the performer
holds it in one hand and then tosses it into the
cabinet, which is empty. On opening the curtain in
a few seconds the rope is found with a knot on it.
The performer himself actually ties the knot with
one hand in the act of tossing the rope into the cabi-
net. The rope is held in the hand palm upward^
very near one end, the short end in the hand being
with the long end hanging down, the shorter part
being between the thumb and the forefinger. The
hand and arm are given a kind of half circular sweep
in tossing the rope into the cabinet ; this causes the
long portion of the rope to swing under, then over
the wrist, and across the fingers of the hand. This
end is then seized between the fingers and drawn

84

SPIRIT SLATE WRITING.

through the loop just made ; at the same time the
loop is dropped off the wrist as the rope is tossed
into the cabinet. In reading the above description

Fig. 33. — First Position.

it seems like four or five different movements, but
with practice they all blend into one.

Here is another test. A single knot is tied in the
center of a piece of string ; now the ends are tied

Fig- 34- — Second Position.

together and knots sealed. The lights turned down ;
on their again being turned up, the knot from the
center of the cord has disappeared. The moment

SPIRIT SLATE WRITING. 8$

there was darkness the medium started to work, and
kept slipping the knot along the string until it joined
the rest at the top of the string, where there is not
much fear of its being seen. To further protect him-
self he uses the following plan : He chews gum col-
ored the same as the sealing wax usjed. Now in the
dark, when he has the single knot up against the
others at the end of the string, he covers this knot
with part of the chewing gum and blends it in with
the sealing wax..

I will now explain a few ties, rope and otherwise,
by which the mediums allow themselves to be tied.
It is almost invariably the rule for the medium to
suggest to the investigator the general way he wishes
to- be tied. They must have certain conditions, so
they say, or the spirits will not work. It is safe to
say the conditions are very strict and always in favor
of the medium. The female medium has a prefer-
ence for ties in which tape or muslin, or cotton
cloth torn into strips, is utilized. The male per-
former, as a rule, uses rope and wire. I will first
describe what is known as the braid or tape test.
Take a piece of tape about three-quarters of an inch
wide. Have one end of this securely tied around
the wrist ; now the person who is conducting the
test seats himself in a chair with his hands behind
the back of the chair ; now have the loose end of the
tape passed between the uprights forming the back
of the chair; have the other end fastened around
the remaining hand. The moment you are in the
dark, or hidden from view, you can produce any
manifestation that requires the use of one or both
hands, by following these instructions. The first

86 SPIRIT SLATE WRITING.

hand can be tied as the investigator pleases. Now,
when the second hand is to be tied, keep a strain on
the tape enough to keep it taut. By so doing a
square knot cannot be tied on the tape, but simply a
running knot, or a knot around the strand of the
tape — a knot that can be slid backward and forward.
Here is what is known as the cotton bandage test.
A ring staple or ring screw eye, the ring being about
two inches in diameter, is wound around with un-
bleached muslin of the same color as used to tie the
medium's wrists with. This ring is fastened securely
into the door jamb or any stationary wooden support
by one of the investigators. Two strips of muslin about
three feet long are given to the investigator ; one of
each is tied around one of the medium's wrists and
the knots sewed and sealed. Her (for the medium is
supposed, in this case, to be a lady) hands are now
placed behind her, and the ends of the strips from
each wrist are now tied together and the knots tied
and also sewed ; and what ends are left are evenly
cut off near the knots. Another strip of muslin,
about the same width and length as the others, is now
produced, and one of the committee ties this strip
around the knots between her wrists, leaving the
ends of equal length. The medium now takes her
seat on a small stool, with her back toward the ring
in the door jamb. One end of the last muslin strip is
passed through the ring and several knots are tied.
After tying several knots, the ends of the strips are
tacked securely to the woodwork of the door.
Another strip is procured and tied around the medi-
um's neck, and then tacked also to the door jamb.
Two more strips are now used, one passed around

SPIRIT SLATE WRITING. 8/

each arm, not tied, and the ends of each tacked to
the door. The committee, having done all the work
themselves, of course, are thoroughly satisfied as to
its genuineness. They now retire from the cabinet,
which has been simply made by a curtain across one
corner of the room, forming a triangular space. No
sooner is the curtain closed than the usual manifes-
tations occur, such as ringing of bells, tooting of
horns, banging of tambourine, etc. Immediately the
curtain is opened and the medium found securely
bound and not a bandage disturbed. Finally a
pocket knife is placed upon her lap, the curtain is
closed, and in a few seconds the medium comes for-
ward with her bonds cut, but only the wrists sepa-
rated ; this has been done, she claims, by the spirits,
with the use of the knife which was placed in her lap.
Now to explain away the mystery. In a convenient
pocket in her belt she has concealed a small, sharp,
open knife, with which she cuts through the bands
between the wrists. She cuts this band between the
knot on her right wrist and the knot in the middle
made by tying the ends of the wrist bands together.
She now slips the loop which was tied around off,
leaving it whole and still tied around the ring. She
is now free to use both hands, and, as the last strips
around her arm were not tied, they are easily man-
aged. She makes what manifestations she chooses,
and by placing her wrists one each side of the ring,
and clasping her hands together, pressing all tightly
together, she is ready for examination. The ring
being wound with muslin, one cannot see that any-
thing has been changed ; and this is the reason it is
wound. Another thing to notice is that the spirit

88 SPIRIT SLATE WRITING.

cutting is the last test. The reason of this is, if the
investigators were to release her, they would dis-
cover the secret. Male performers use the same idea
for rope ties from which they find it impossible to
release themselves. They have a knife blade sol-
dered firmly on to a brass plate, which is riveted or
sewed on the back of the performer's trousers, the
edge of the knife blade being outward. He has sim-
ply to run the rope up and down over this contriv-
ance, and he soon gains his liberty.

^ig- 35- — The Davenport Tie.

I will next illustrate a tie made famous by the
Davenport Brothers. (Fig. 35.) The rope used is
what is known in trade as a sash rope. Silver Lake
or Sampson brand is the best. This is a stiff, pol-
ished or smooth, hard finished rope. With this
style of rope it is an almost utter impossibility to
be tied but what you can free yourself. The Daven-
ports, on first being secured, would try and induce
or lead the committee who did the tying to do so in
a way which would be advantageous to the medium.

SPIRIT SLATE WRITING. 89

See Barnum's " Humbugs of the World/' page
136: "The brothers saw they could not wriggle out
of the knots. They therefore refused to let the tying
be finished." Of course, they did not make the re-
quest pointed, or apparent, but, in the coolest nat-
ural way, and not suggestive of any conceived plan.
Their method was as follows :

One of the committee, holding a piece of rope,
about twelve feet long, as near the center as possible,
would be requested to tie first one of the mediums*
left hands, tying two or three good, hard, square
knots about the wrist, the knots coming to the in-
side of the wrist or palm side of the hand. The
medium, during this part of the tie, faces the audi-
ence. He now explains to the person who does the
tying that when he, the medium, places his left hand
behind his back, he will place his right hand close
against it, and requests the skeptic to tie a few or
as many knots on top of that hand as he may see fit.
The medium, after this explanation, places his hands
behind his back, and then turns around, with his
back toward the audience. The committeeman
now secures the right hand against the left. The
medium now enters the cabinet, is seated in a chair,
or on a bench, in which two holes are bored. The
ends of the ropes are now passed through these
holes, and knots tied in the rope close to the seat of the
chair, and thence carried to the front legs of the chair,
where it is fastened. Two other smaller ropes are
used to tie the medium's legs to the chair. The
usual manifestations, such as ringing of bells, tooting
of a horn, hands at cabinet window, etc., take place.
After this is repeated a few times, the medium comes

90 SPIRIT SLATE WRITING.

forth entirely free from the ropes, which he now
holds in his hands devoid of knots. Of course, the
medium is really the cause of all the demonstrations,
and to accomplish the results he must free himself.
Now, let us see how it is done. The first hand is
tied fair and square, but when he places his two
hands behind his back, that's the time the trick
is done. In placing his hands behind his back, and
before turning around, with back toward the audi-
ence, he catches up a little slack of the rope, and,
pressing the two hands together, manages not to
lose that slack as the two hands are tied together.
Another plan is employed so as to be certain not to
allow this slack to get away from the medium. In
the act of placing the hands behind the back, one part
of the rope is allowed to go around the middle fin-
ger. The ends are then crossed, A going behind B,
before the right hand is placed against left. Of course,
the right hand covers the rope, or false tie, com-
pletely. When the hand is to be released, the finger
has simply to bend down, and off drops the slack
part of the rope, and gives plenty of room to draw
the hand from the loop. With one hand free, it is
easy to produce the desired manifestations, also to
release the other hand, and then completely untie
the rope. Now, whenever the committee cannot be
influenced to tie in the above manner, they are
allowed to proceed as they wish. Very few per-
sons can tie a medium securely with the stiff rope
furnished. The medium will manage, by slight con-
tortion of his body, to secure a little slack rope,
by which agency square knots can be easily upset
into a slip or running knot, and, when he fails in this.

SPIRIT SLATE WRITING. 9 1

the rope is deliberately cut with the little knife blade
on belt, as described previously. This destroyed
rope is now concealed on the medium, and he takes
also from his clothes a similar rope and walks out of
the cabinet with it, stating the spirits had released
him. He again retires to the cabinet, and, in a short
time, he is found retied, with his hands behind his
back, securely fastened. Here is the explanation:
When he enters the cabinet, he allows both ends of
the rope to hang down, holding the rope
in center; the rope now, in its doubled
condition, has a knot tied near its double
end, leaving a knot and loop. (Fig. 36.)
Then a single knot, tied in each portion
of the rope, each side of this loop knot, far
enough away so as to give length enough
for the ropes to encircle the wrists, and
these single knots come up hard against
the loop knot. The ends of the rope are.
now run through the loop knot, and two
loops are thus formed, which can be made pj^ 36.—
larger, as desired, to slip the hands out. The First
(Fig. 37.) The ends ot the rope are now Knot,
run down through holes in the chair seat,
and ends fastened, and the medium inserts his wrists
in the loop and pulls up taut, and he is ready
for an investigation. It will readily be seen the me-
dium can now do as he pleases, remove his coat,
place on a borroAved one, etc.

Another tie frequently used is that in which the
medium seats himself in a chair, takes the rope, and
ties it around his legs at the knees, with the single
knot on top. On this he places his two hands, close

92 SPIRIT SLATE WRITING.

together, and has the committee tie his hands with
as many knots as they please, from which he never-
theless frees himself. The whole scheme lies in the
fact that the medium tied but one knot around the
legs, but did not pull it deep into the flesh. When
the knots are tied over his hands, he keeps the legs

Fig. 37. — The Double Loop.

a trifle apart. Now, to release himself, he simply
has to draw his legs together, and strain on the ropes,
so they sink into the legs a trifle, and let all the
slack go above the single knot, thus giving room for
the hands to be withdrawn. By forcing the hands
apart, the desired slack is easily taken up.

SPIRIT SLATE WRITING. 93

CHAPTER VII.

Post Tests, Handcuffs, Collars, etc.

The *• Spiritualistic Post Test** is one of the latest
and most successful of mechanical fastenings used by
mediums. The most common form is made of what
appears to be a piece of joist. This is given to the
committee, one of whose members bores a hole
through it, near its upper end, and then passes an
ordinary rope through the hole, a knot being tied
in the rope on each side of the post. The knots are
pressed against the post, so that the rope cannot be
drawn through the post. The ends of the rope
are now unraveled, and the post is fastened to the
floor with spikes. The medium is tied to the post
by the unraveled ends of the rope A nail is driven
in the top of the post, and a rope is secured to it.
This second rope is held by the committee; after
the curtains are drawn, bells are rung, etc., show-
ing that the medium has the use of his hands. The
trick consists in boring a hole in the center of the
end of the joist ; a chisel is then inserted in the
hole, and the opening is closed with glue and saw-
dust tinted with water color. The medium starts
the bit, so that there is no danger of. the committee
boring the hole too low, or so high that it will
strike the chisel. When the nail is driven in, it
forces the chisel down and cuts the rope. The me-
dium may now ring bells, etc. After he is through
ringing the bells, he puts back the ends of the rope
in the post.

94 SPIRIT SLATE WRITING.

There is another very good rope and mechanical
post test sometimes used by mediums. A post in an
upright position is securely fastened to the floor. In

Fig. 38.— Tlie Trick Post.

I. Lead weight with notch.
I. Spring catch.

3. Hole In catch by which cord is Kcured.

4. RoU«r over which eoid, 5, runs; cord is attached at one end, j,

to spriiiE oatch. and at other end at 6 to bolt Id angle piece.

the upper part of the post a hole is bored clear
through, to allow of two small ropes being passed
through the opening from side to side. The medium

SPIRIT SLATE WRITING. 95

passes the ropes through the post, then invites the
committee to tie his hands fast against the post, and
then to tie or nail the ends of the rope down on the
floor. All the usual manifestations take place. The
medium is also instantaneously released, and rope
and knots are found undisturbed. By glancing at
Fig. 38 the mystery will be cleared up. The
post is hollow, and carries a leaden or iron weight.
This weight has a horizontally extending passage to
correspond with the channel in the post. This weight
is held in the top part of the post by a catch, which
is released by a projecting bolt-head at the bottom
of the post. It will be remembered that the post is
made fast to the floor by screws passing through
angle irons fastened by bolts to the post. It is one
of these bolt-heads that releases the catch. At the
bottom of the post is another catch, which will also
hold the weight at the bottom. The one bolt will
release both catches. The medium runs the ropes
through the post, releases the catch, which allows
weight to drop, carrying ropes with it ; and the
catch locks the weight at the bottom of the post.
They can now tie the medium. All he has to do is
to release the weight ; he can then pull the rope up
and get as large a slack as he desires, allowing the
weight to drop back again. There is a chair — an
ordinary-looking wooden kitchen chair — worked on
somewhat the same style. There is a hole bored
through each rear leg or upright of the back. The
medium sits on the chair, facing the back of it, and
has a hand tied to each upright. The slack is ob
tained the same as in the post, with the exception
that a spring instead of a weight is used, and it is

96 SPIRIT SLATE WRITING.

locked or released by the backward or forward
sliding of a portion of the chair-seat.

A convincing trick often employed is the iron
ring test. The medium and investigator sit oppo-
site each other, clasping their hands. An iron
ring is now placed on the medium's lap, and the
cabinet door is closed ; in a few moments the door
is opened again, and the ring is found on the inves-
tigator's arm, although he has never released his
hold of the medium's hand. The medium has con-
cealed in his coat sleeve a duplicate of the ring
used. When the cabinet door is closed, the medium
spreads his legs apart, allowing the ring to drop on
the seat of his chair, the bottom of which should be
of cane or of cloth, in order to avoid the noise due
to the dropping of the ring. He now replaces his
legs, and, of course, this ring is hidden merely by
his sitting on it. The ring in his sleeve he tosses
on to the skeptic's arm, and, of course, without the
hands being unclasped.

The handcuff trick is always a great favorite with
the medium. He has no objection to placing his
hands in any pair of handcuflFs furnished by the au-
dience. A few moments after he has entered the
cabinet, he begins throwing out various articles of
clothing; but, on examination, the handcuffs are
found to be still on his wrists. It is impossible to
see how he could have taken off his coat. As a
final test the medium comes out of the cabinet hold-
ing the handcuffs in his hand still locked. There
are only a few styles of handcuffs made, and all the
medium has to do is to secure the proper key for
each style. He conceals these keys on his person,

SPIRIT SLATE WRITING. 97

and by the aid of his fingers and teeth the proper
key can be fitted to the handcuffs. It is impossible,
with some types of handcuflFs, to get the fingers to
the keyhole. If such a pair are placed on the per-
former, and he cannot use his teeth to hold the key,
he slips the key into a convenient crack in the cabi-
net or in the chair. The lock of the handcuflFs being
forced on to the key, the handcuflFs can then be
readily unlocked.

The spirit collar is also a favorite instrument of
the medium. It consists of a brass collar which fits
closely about the performer's neck. Through the
openings in the end of the collar, is placed a chain.
After the collar is on the performer's neck, the chain
is placed around a post and carried back and
through the padlock used to lock the collar. By
this arrangement the performer is securely fastened
to a post ; but after he is concealed by the use of any
convenient means, he suddenly appears before the
audience minus the collar, while the collar will be
found locked, as before. The trick depends for its
success on the series of bolts with which the collar
is studded. The bolts, with one exception, are all
false, being pieces of metal simply screwed into the
top and bottom of the collar, and not penetrating
through them. One bolt, however, passes through
the collar and engages the two parts thereof; the
parts terminate in a tongue which fits in the socket
in the other half of the collar. The bolt passes
through this tongue so accurately that there is no
danger of its being removed with the fingers. The
performer uses a small wrench to remove the bolt.

There are numerous other devices, such as trick

98 SPIRIT SLATE WRITING.

bolts, which are inserted by a spectator through a
post and screwed up tight, the medium being fast-
ened to the bolt. He has simply to give the bolt
a half twist, usually toward the right, and the bolt
comes apart. The joint is Invisible to the eye, and,
in fact, is made more so just before it is used each
time by being rubbed with sandpaper, which slightly
roughens the bolt, making the joint imperceptible
to the naked eye. There are staples, ordinary look-
ing staple-plates, which are apparently screwed fast
into the bench on which the medium is seated. The
hands of the medium are fastened to the staples by
wire. The staples are not fastened to the plates by
riveting them, as is ordinarily done, but are held by
a spring catch, concealed under the plate, and work-
ing in a notch in the staple. This is released by the.
medium's pushing the catch back by the insertion of
a piece of clock spring between the staple plate
and the bench. After releasing himself he performs
the stereotyped manifestations, and at the finish has
simply to jam the staples back into their plate, where-
upon they are locked or held fast by the spring catch
or bolt. This was a device used by a Boston me-
dium.

There are also trick bags in which the medium is
bound up or tied. In one style of bag there is a
string running in the selvage, or turned-over portion
of the bag at the top. As the string is about to be
drawn taut the medium inserts one of his fingers
into a portion of this selvage not sewn, and pulls
down enough slack of the cord to allow him, after the
tying, either to place his arm through or to get out
entirely. Another style is this : The medium has a

SPIRI r SLATE WRITING. 99

round wooden plug, covered with cloth like the bag.
This he has concealed about him. As the mouih of
the bag is gathered together to tie the string, the
medium inserts this plug, and bag and plug are both
tied. After the tying he has simply to remove the
plug and he can then place his hand through and re-
lease the cord, or shove it off the bag completely.
Still another way is to have a duplicate bag con-
cealed down one trousers leg and coming up at the
back of the neck under the coat, the mouth of the
bag being upward. When the medium gets in, his
manager or the director of the s6ance gathers the
mouth of the baCg together, and, at the same time,
pulls the duplicate bag out from under the medium's
coat. He pulls this up four or five inches higher than
the original bag and ties his handkerchief around
where the two bags are joined, so the trick will not
be detected. He then allows a committee to tie, and
even sew, the bag together — of course, the duplicate,
not the first one. The medium has simply to pull
the first bag down around him, get out of it and
conceal it on his body. A " dodge '* used sometimes
is to borrow one of the investigators' handkerchiefs
and drop it into the duplicate bag ; and, after the
medium has escaped and the bag is given for inspec-
tion, the bag is opened and the handkerchief found
inside. This strengthens the effect of the trick, inas-
much as it convinces the onlookers that the medium
certainly must have been got out by the aid of
spirits, as the handkerchief — a very small article, in
comparison to the body of the medium — could not
be removed until the string had been released from
the bag.

lOO SPIRIT SLATE WRITING.

Mediums are great judges of human nature; they
know full well the usual action of the human mind,
the direction the thoughts are liable to travel in.
This is part of their stock-in-trade — to try to do
just such things as the handkerchief ** dodge/* in
order to convince the skeptic of the truth of the
wonders witnessed.

SPIRIT SLATE WRITING. lOI

CHAPTER VIII.

Seances and Miscellaneous Spirit Tricks.

A test which made the Eddy Brothers famous
was their " light " and " dark '* stances. Horatio
Eddy gave what he termed a "light s6ance/* and
William was famous for the "dark s6ance.** In-
stead of using a cabinet of wood, Horatio formed
one simply by stretching a couple of shawls or
curtains across a corner of the room, thus making a
triangular inclosure. A table containing the usual
musical instruments, bells, tambourine, guitar, etc.,
is placed in this space. The medium sits on a chair
in front of this curtain, to the left hand side. Next
to him, on his right, sits a gentleman selected from
the audience, and to the right of this gentleman, a
lady similarly chosen. William Eddy now pins
across the breasts of the two gentlemen a third shawl,
attaching the ends to the curtain. (Fig. 39 ) Previ-
ously to this, however, Horatio has grasped with both
his hands the gentleman's left arm ; the lady is re-
quested to grasp the gentleman's right arm. In this
position neither can make a movement but what one
of the others would be immediately cognizant of it.
Presently there is a commotion among the articles on
the table behind the screen; they appear floating
in the air above the top of the curtains, some coming
through and tapping the trio on the head. A hand
comes through the curtain and writes a message on
the slate held by William Eddy. Numerous other
tests are performed — all in subdued light, not dark-

SPIRIT SLATE WRITING.

Fig. 39.— The Light Stance.

ness. Now, to raise the veil from this mystery : In
grasping the left arm of the person in the center, the
medium first grasps the gentleman's left arm with his,

SPIRIT SLATE WRITING. 103

the medium's, left hand, fingers being spread apart as
far as possible. With this hand he presses quite
hard, and takes a light hold of the same arm, but
above the left hand. If the medium gently and care-
fully removes the right hand, the action cannot, by
sense of touch, be detected. Sometimes, so as to en-
able him to use both hands, another ruse is also em-
ployed. A piece of heavy sheet lead is cut in the
shape of the medium's hand. This is placed in his
left hand. With this hand he grasps the skeptic's
arm. Being made of lead, the hand easily conforms
or bends to the shape of the arm, and, what is more,
if the real hand of the medium be quietly removed,
the leaden hand remains behind, giving the same sense
of touch as if the actual hand were there. (Fig. 40.)
Of course, with the hands free, the medium can
stealthily glide between the curtains, grasp and man
ipulate the instruments, and throw them to the floor,
immediately replacing his hands gently.

A rather clever test used in a dark seance, given by
Miss Annie Eva Fay, is one in which the hands are
not bound. Miss Fay made cotton, bandage and tape-
ties a success, and sometimes varied her s6ance
by not using a tie, but by continually clapping her
hands together during the darkness. She also had
her mouth filled with water. Nevertheless, the usual
manifestations occurred. The horn ** tooted," the
tambourine and guitar floated, bells rang, etc. The
dodge she employed was this : Instead of clapping
her hands together, she slapped one against her fore-
head, which gave the same sound, and gave her one
hand at liberty. She also swallowed the water. She
was now at liberty to blow the horn, ring bells or

104 SPIRIT SLATE WRITING.

the like. When she was finished, she refilled her
mouth with water from a bottle concealed on her

Fig. 40. — The Mystery Explained.

person, and again resumed, clapping her hands to-
gether instead of striking one hand against her fore-
head. An investigator suspected the idea of the

SPIRIT SLATE WRITING. 10$

water and once came prepared with a glass of milk,
which he requested the medium to use instead. She
consented. The horn tooted just the same, and
the medium's mouth still contained the riiilk. She
had simply inserted the end of the horn in one of
her nostrils. Another time she merely emptied
the liquid into one of the hand bells on the table
and held it upside down in her lap. Still another
" wrinkle *' is the use of a rubber ball with a hole in
it. This can readily be attached to the horn, and
squeezing the ball does the tooting.

Dr. Henry Slade was, of course, identified and
recognized as the principal slate-writing medium,
but at various times he presented other phenomena,
one of which was the playing of an accordion
while held in one hand under the table. The ac-
cordion was taken by him from the table with his
right hand,. at the end containing the strap, the keys
or notes at the other end being away from him. He
thus held the accordion beneath the table, and his
left hand was laid on top of the table, where it was
always in. plain view. Nevertheless, the accordion
was heard to give forth melodious tunes, and at the
conclusion was brought up on top of the table as
held originally ; the whole dodge consisting in turn-
ing the accordion end for end as it went under the
table. The strap end being now downward, and held
between the legs, the medium's hand grasped the
keyboard end, and worked the bellows and keys, hold-
ing the accordion firmly with the legs and working
the hand, not with an arm movement, but mostly by
a simple wrist movement. Of course, at the conclu-
sion, the hand grasped the accordion at the strap end.

I06 SPIRIT SLATE WRITING.

and brought it up in this condition. Sometimes an
accordion is tied with strings and sealed so the bel-
lows cannot be worked. This is for the dark seance.
Even in this condition the accordion is played by
inserting a tube in the air-hole or valve and by the
medium's using his lungs as bellows.

In regard to dark stances and materializations, I
would state that they are so barefaced and bold it is
hardly worth while to worry about them. What
cannot be done in the dark ? Spirit costumes, to be
donned later by the medium to impersonate people
from the other world, are concealed in strange places
under the very eyes of the investigators — in the
body of the guitar, in a drum, about the person of
one of the circle of skeptics, who is really a confeder-
ate, or behind the surface of a wall. Time and place
make all the difference in the method of work used
by mediums. In their homes mediums have any
number of accomplices, who enter the room under
cover of darkness by various means — one way, by
means of a trap in the floor. This opens upwardly ;
the carpet does not have to be cut, and can also
be well tacked down. The trap is not cut square,
but triangularly, across the two sides of the room in
one corner. Through this trap the confederates, dis-
guised as spirits, enter from the cellar below and
vanish. Another method is to gain admittance from
an adjoining room. Between the two rooms are
sliding doors, misnamed ** folding " doors. The space
in one of the walls is not only large enough to re-
ceive its own single door, but also a portion of the
other. Before commencing the s6ance, the doors
are locked and the key kept by a committee. The

SPIRIT SLATE WRITING. lO/

doors are also sealed with court plaster across their
joints, and said court plaster sealed with sealing-
wax. The confederates are not obliged to push the
doors apart ; they simply slide both at the same time
toward the side previously mentioned. This side
receives one door and a portion of the other, thus
leaving an opening for a person slyly to creep
through.

Sometimes, in the circle of investigators, there
are five or six confederates. Three of these are
placed or seated together. Now, if all in the circle
join hands, it seems no one could assist the medium
without the fact being discovered ; but in the center,
one of three confederates, sitting together, releases
the hands of his companions, and, in the dark, " cuts
up *' all the tricks he wishes and returns to the circle
again, no one being any the wiser. Of course, if one
confederate were seated between two of the skeptics,
he would not dare let go his hands; but when a
friend is placed each side of him, it makes no differ-
ence. A test often used, when everybody, medium-
included, is sitting at a table, is the wire test. A
copper wire is threaded through the shirt sleeve of
every male member present, and through the sleeve
of the ladies' dresses, the wire being fastened to the
table by staples. When the lights are put out, the
spirits *' raise Cain " again. It is the medium again.
The wire did not go through his shirt sleeves, but
through two short extra shirt sleeves, or cuffs, which
he wears over the real sleeves. All he has to do is
to slip out of these, produce the manifestations, and
slip back into the cuffs again.

A test that caused more talk and wonderment than

108 SPIRIT SLATE WRITING.

all the rest of the cabinet tricks combined is the chair
and net test. The medium enters a very small cabinet,
just large enough to contain him when sitting down
in a chair. The cabinet is closed by a single door,
locked with a padlock, the keyhole of which is
sealed ; the door is also sealed all around the
edges, A fish-net so finely meshed that even
the finger of the medium could not be pushed
through, is now placed over this cabinet and tacked
to it all around the bottom. This miniature cabi-
net is set in the cabinet proper, and a chair, with
the usual bell, tambourine, etc., placed beside it.
Doors are closed, and immediately the fun begins.

Bells, tambourine, and
horns all play together.
A sudden fall of the chair
and instruments is heard,

^. ^ J T^i r ^^^ the cabinet doors

Fig. 41. — Ground Plan of , . .

Cabinet. being opened, every-

thing is found strewn
about ; the smaller cabinet is, however, still found
as it was left, with the netting over it and seals
undisturbed. Again the large cabinet is closed,
and almost immediately it is opened from the in-
side, and out walks the medium ; and the netting
on the smaller cabinet is examined once more, and
likewise the padlock and seals, everything is found
intact. The whole trick depends upon the con-
struction of the smaller cabinet. Fig. 41 represents a
ground plan of the apparatus. The floor is not nailed
or fastened to the sides. There are four battens or
strengthening pieces, one in each corner of the cabi-
net, running from top to bottom ; these are securely

SPIRIT SLATE WRITING. 109

fastened to the floor, but not to the sides of the cabi-
net. Over these battens is laid a strip of wood
that is really made fast to the cabinet. This leaves
in each corner a socket or pocket the height of the
cabinet, and in these work, telescopic fashion, the
four battens which are made fast to the bottom.

Fig. 42. — The Trick Cabinet.

The bottom is set inside ol the cabinet, not on the
outside. It is only tacked to the sides of the
bottom of cabinet. It will now be readily observed
that the medium has only to stand up in order
to raise the main part of the cabinet quite a height
above the bottom, as seen at Fig. 42. It is held in the

no SPIRIT SLATE WRITING.

above position by a concealed catch. The medium
can now produce manifestations, and, as he is about
to drop the cabinet back into the bottom, he gives
the leg of the chair a jerk and over it goes, and dowi>
drops the cabinet. There is also a catch that auto-
matically locks the bottom firm to the cabinet, so as
to allow inspection of the same.

The above manifestation was in use long before the
wire cage test, and is considered by some mediums
more convincing than the latter. While speaking
about the wire cage test, I may as well describe one
form of it. There are numerous makes, but the one
explained will serve as a sample of the rest. A cage
composed of uprights and cross-bars of iron is made
fast to an iron frame containing a small door through
which the medium enters. Sometimes the door is
done away with and the bottom of the cage is sepa-
rated from it. The medium sits on this bottom, and
the cage is lifted and placed over him. The bottom
and cage are padlocked together or bound with wires
and sealed.

No matter what method is used, the results are the
same ; the medium can play the instruments or es-
cape, as he may see fit. The wire cage is, we shall
say, of a design similar to that shown in Fig. 43.
There is no door to it, and the cage being
secured by a wire bottom padlocked on or nailed
fast to the floor. A close inspection of Fig. 44
will help to expose the fraud. The lower cross-
bar is not riveted through the frame at its end, but
ends square against it, and a false rivet head, hav-
ing no connection with it, is riveted on the frame
where this cross-bar is supposed to emerge. All of

SPIRIT SLATE WRITING. Ill

the upright rods are made fast only to this cross-bar.
In the other cross-bars they simply go through holes,
not closely, but loosely, to ensure then to be
slid up and down. The tops of these rods are riv-
eted, but not made fast to the frame at the top The
center rod is not made permanent in the lower cross-

Pig. 43-— The Wire Cage.

bar, but is fastened so it can be turned around one way
or the other. Now, where all these rods are supposed
to come through the lower part of the iron frame are
rivet-heads representing the heads of the rods, should
they have come through. The bottom frame is drilled
half way through for the end of each rod to enter a

112 SJ'IRIT SLATE WRITING.

little, the middle rod is tapped with a thread like a
screw on its end, and its corresponding hole is also tap-
ped. It will now be seen why this rod was left to turn.
By pulling cross-bar down and then screwing this
middle rod tight, everything is solid ; but unscrew the
rod and raise the cross-bar, and all the upright rods

Fig. 44. — The Cage Opened.

will travel with it and the medium is at liberty. And
we have another spirit mystery laid bare. I could
describe numerous other tricks and devices of a like
nature, but a few are as good as a quantity ; sufficient,
in fact, to place the investigator on his guard against
being duped by like contrivances.

SPIRIT SLATE WRITING. II3

I believe a few words in regard to spirit photo-
graphy will not be amiss. These are made or pro-
duced in various ways : First, a glass with an image
on it of the desired spirit lorra could be placed in the
plate holder, in front of the sensitive plate, so that
the image on the glass would act on the sensi-
tive plate. The size and distinctness of the re-
sulting spirit form would vary according to the dis-
tance between the two plates. Second, a figure
clothed in white -can be introduced for a moment be-
hind the sitter and then be withdrawn before the sit^
ting is over, leaving a shadowy image on the plate.
Third, a microscopic picture of the spirit form can be
inserted in the camera box alongside of the lens, and
by a small magnifying lens its image can be thrown
on the sensitive plate with that of the sitter. This is
the trick used when the skeptic brings his own plate
for the negative. Fourth, a glass with the spirit
image can be placed behind the sensitive plate after
the sitting is completed, and afterward, by a feeble
light, the image can be impressed upon the plate
with that of the sitter. Fifth, the silver nitrate
bath could have a glass side, and the image im-
pressed by a secret light while the glass plate
apparently was being coated with the sensitive film.
Sixth, the spirit form can be printed first on the neg-
ative and then the living sitter by a second print-
ing, or the spirit can be printed on the paper
and the sitter's portrait printed over it. Seventh,
a sensitive plate can be prepared by what is known
as the dry process, the spirit form being impressed
on it; and then, at a subsequent time, the portrait of
the living sitter can be taken on this same plate, so

114 SPIRIT SLATE WRITING.

that the two will develop together. Eighth, take a
solution of sulphate of quinine and paint on the back-
ground screen a picture of any one ; when it dries it
is invisible to the naked eye. Still, when the picture
is taken, the painted picture is very plainly seen on
the glass negative. Ninth, small pictures are taken
on thin, transparent celluloid and fastened against the
front lens of the camera, and when the photograph is
taken the picture appears. Of course, the above are
by no means all the methods, but enough to illus-
trate the possibilities of obtaining two pictures on the
same plate or at one sitting.

SPIRIT SLATE WRITING. II 5

CHAPTER IX.

Miscellaneous Tricks.
The " Magician's Omelette.*'

The magician has never proved himself an adept
at the art of cooking, from an epicure's standpoint;
yet the ease with which he can bake cakes in bor-
rowed hats and cook omelettes in empty pans has
long been a source of wonder to the economical
housewife, as well as to the professional cook.

To see the magician hold a small, shallow, empty
pan over the blaze of a spirit lamp for a few mo-
ments, when an omelette, done to a turn, appears in
the pan and is cut up and distributed to the audi-
ence, one is almost convinced that at least one per-
son has solved that most perplexing of all problems
— how to live without work.

But has he solved it ? No ! my friend, no more
than you or I. He has merely deceived you ; but
most cleverly, you must admit.

The pan is without any preparation whatever ; but
as much cannot be said of the wand, which he is con-
tinually stirring around in the pan. This wand is
hollow, with an opening at one end only ; and in the
wand, previous to the trick, of course, are placed the
properly seasoned ingredients of an omelette, after
which the end is closed with a metal plug that is
turned and enameled to correspond with the oppo-
site end of the wand.

When the pan is being examined the performer is
holding the wand in his hand, and such an innocent-

Il6 SPIRIT SLATE WRITING.

appearing black stick is never suspected of being in
any way connected with the trick.

Just before holding the pan over the lamp the per
former finds it a most easy matter to remove the
plug from the end of the wand, when, by holding the
wand by the closed end, he can empty the contents
into the pan in the mere act of passing the open end
of the wand around the inside of the pan. (Fig. 45.)

Fiff, 45. — The "Magician's Omelette."

The metal of which the pan is made being thin,
and there not being a great quantity of the omelette,
assisted by a large flame from the lamp, it only re-
quires a few moments to cook the omelette, when it
is turned out on a plate and carried down to the
audience.

It is hardly necessary to say that when the cooked
omelette is carried down, the wand is left on the

SPIIilT SLATE WRITING. II7

stand, which prevents any inquisitive person asking
to see it.

Spinning and Balancing Tricks.

The spinning handkerchief is a great favorite with
jugglers. A handkerchief is borrowed, thrown in

Fig. 46. — -Tlie Spinning Handkerchief.

the air and caught on the end of a whirling stick held
by the juggler, when the handkerchief spreads out
to its full size and commences to spin around rapidly.
The secret is that in the end of the stick a needle is
inserted about one-quarter of an inch, leaving the

Il8 SPIRIT SLATE WRITING.

sharp end out. When the handkerchief is caught on
the end of the whirling stick the needle point passes
through it, thus preventing its falling off the stick,
which is rapidly whirled around, and the handker-
chief will spread out and spin about on the end of
the stick.

Jugglers are very partial to tricks performed with
eggs, and spinning an egg on its smaller end is a
trick they are almost sure to perform. It is impos-

Fig. 47.— Spinning an Egg.

sible to spin a raw egg ; so our juggler uses a hard-
boiled one, and spins it on its small end in a shallow
japanned tray. If the tray is kept gently moving in
a small circle in the opposite direction to that in
which the egg is spinning, the latter will continue to
spin as long as desired. (Fig. 47.)

The egg spinning trick is usually followed by a
balancing trick in which a playing card is balanced
upon a small wand, and an egg is then balanced on
a corner of the card. This trick usually calls forth

SPIRIT SLATE WRITING. II9

a great pretension of skill on the part of the per-
former, when, in reality, no skill whatever is re-
quired.

The wand is of ebony, or some dark wood, and
about three inches from one end is a small hole.
The egg is made oi wood, painted white, and with a
small hole in one end. The card is composed of two
cards glued together, with a fine steel wire between
them, running diagonally from corner to comer of
the card, with the ends of the wire projecting about
a quarter of an inch. The prepared egg is on a plate

Fig. 48. — Balancing Card and Egg on Wand.

with several ordinary eggs, and the card is placed on
a pack of common cards. The wand is held in one
hand, the card taken in the other and apparently bal.
anced on one corner on the wand : but in reality the
wire point is placed in the hole in the wand. Now
the assistant passes the prepared egg to the juggler,
who carefully balances it upon the comer of the
card ; that is, slips the hole in the end of the egg
over the w ire point projecting from the card.

A fitting finale to such a juggling act is that in
which a potato is placed on the hand of the assistant

I20 SPIRIT SIJ^TE WRITING

and cut in two with a sharp sword, without leaving
any mark upon the skin. As a general thing, a sec-
ond potato is then cut upon the throat of the assist-
ant. This apparently marvelous mastery of the
sword always brings forth great applause.

Among the several medium-sized sound potatoes
on a tray are placed two potatoes prepared as fol-
lows: Insert a needle crosswise of the potato near
the bottom. After showing the sword to be really
sharp, by cutting paper and slicing one or two oi

Fig. 49. — Cutting a Potato on the Hand.

the potatoes, the pertormer picks up one of the pre-
pared potatoes and places it on the assistant's hand ;
but apparently it does not He to suit him, so he slices
off one side of it, using care to cut away the side just
under the needle and as close to it as possible, then
places the potato once again on the assistant's hand.
After making a few flourishes with the sword, he
cuts through the potato, dividing it in half. (Fig. 49,)
In striking the potato with the sword he makes
sure that the sword will come exactly crosswise on
the needle; consequently, when the sword reaches

SPIRIT SLATE WRITING. 121

the needle it can go no farther, and the brittle nature
of the potato will cause it to fall apart, the very thin
portion below the needle offering no resistance to the
separation. The second potato is then cut in the
same manner on the assistant's neck. There are
many other false juggling tricks, but the above will
suffice to show that " there are tricks in all trades
but yours."

The Blindfolded Juggler.

While watching the clever manner in which a
good juggler passes various articles from hand to
hand, how many peof^ ever give a thought to the
many hours of practice devoted to even the sim-
plest trick that he performs? To become even a
passable juggler, many weary months of constant
practice are necessary. There are tricks in all
trades, and some of the most successful entertainers
in this line can scarcely do a half dozen genuine feats
of juggling, yet they are great favorites with the pub-
lic. It has been truly said that ** the tricks that re-
quire the most practice are the least appreciated by
the average spectator." It is our intention merely to
show how a simple trick has won fame for several
well-known jugglers.

This is the trick of juggling blindfolded. An as-
sistant tightly binds a heavy handkerchief over the
juggler s eyes, and then, to make sure that he cannot
see, there is placed over his head and shoulders a sort
of bag, made of heavy goods, which should exclude
all light, even if his eyes were not tightly bound with
the handkerchief. Regardless of this, the juggler
performs the usual passes with balls and knives. Yet,

SPIRIT SLATE WRITING.

when the bag is removed, the bandage over his eyes
is found undisturbed. (Fig. 50.)
The explanation is simple. The bag is made of the

Fig. 50. — The Blindfolded Juggler

usual coarse bagging, and a few threads are pulled
out of the part that will come in front of the juggler's
face when the bag is over his head, thus allowing

SPIRIT SLATE WRITING. 125

him to see between the remaining threads as though
looking through a coarse screen. (Fig. 51.)

When the bag is being placed over his head, and
during the seeming efiort of
passing the arms through the
armholes in the bag, the per-
former or assistant has no
trouble in pushing the hand-
kerchief up from the eyes to
the forehead, thus allowing
him to see through the open

work of the bag. In remov- Fig 5 r -The Illusion
ing the bag after the act. Explained.

there is no trouble in pulling the handkerchief down
over the eyes.

The Chinese Rods and Cords.

Nothing excites curiosity in the public mind more
than a simple and clever puzzle, and the " Fifteen

Fig. 52. — Chinese Rods and Cords.

Puzzle" and "Pigs in Clover" have given enjoy-
ment to hundreds of thousands. The Chinese rods

124 SPIRIT SLATK WRITING.

and cords, which forms the subject of our engrav-
ings, is in the line of ingenious inventions, and is
really more in the nature of a trick than a toy. (Fig.
52.)

It is of Chinese origin, and the example shown in
our engraving was purchased in Chinatown, San
Francisco, Cal. The puzzle consists of eight pieces
of bamboo or hollow ivory tubes, each containing
seven holes spaced equidistantly. Through these
holes are seen to pass seven silken cords, each with a
bead at the top and a tassel at the bottom. The toy
is held by the loop at the top, which serves to hold
the upper rod. When it is first picked up, its condi-
tion is shown in our first engraving at the left.
There are seven of the rods at the top and one at
the bottom. Now the lower bar of the upper set is
moved down to the bar at the bottom ; the two lower
bars will appear to be supported by three cords at
the center, as shown in our engraving, four of the
cords having vanished. If the next bar is brought
down, another change is observed, only the two
outer cords being seen. This is shown to the right
of our engraving. If the next bar is brought down,
the end cords have approached the center, and five
of the seven cords have vanished. The next rod
brought down brings five cords into view, the two
end ones and the center one being visible. When
the next bar is pulled down, the center and the outer
cords only remain ; so that, if all the bars between
the top and bottom bars are brought together,
the seven cords appear to pass entirely through
them. Fig. 53 gives a clew to the mystery. The
rods are all hollow, and each contains seven holes ;

SPIRIT SLATE WRITING. 125

and our engraving shows the course of the silk
cords. It will be noticed that where a number of
cords pass through a single
hole, the strand w h i c li
is formed is much thicker
than are the single cords ;
as they are of different
colors, the effect is most
pleasing. It will be ob-
served that the strings go
clear through the top bar ;
but in the next bar,although
they enter the seven holes
at the top, they emerge
from three holes at the bot-
tom, three of the strands
going through the center
hole and two through each
of the end holes, and so on
throughout the entire num-
ber of bars, the strings
changing their course, as
is clearly shown in our en-
graving, thus causing the
increase and decrease in ^''«- 53— The illusion

their number.

Explained.

The "Surprise" Pen.

Our engraving shows a very clever trick pen
which would tend to create great surprise among the
uninitiated. Let us suppose that a gentleman is
seated at his desk and is busily writing when a neigh.

SPIRIT SLATE WRITING.

bor comes in, and he jokingly challenges the latter
to try and forge his signature. He hands the

pen to his friend, who attempts to write. Immedi-
ately there is an explosion, and the paper receives a

SPIRIT SLATE WRITING. 12/

big ink blot The writer is apt to be surprised by
the report, which is like a pistol shot, and, if a timid
person, is apt to be frightened. The noise comes
from the pen itself, as it is so constructed that it can
be loaded and shot oflF at will. The person in the
secret can handle the pen with safety, but the poor
unfortunate will experience a rather unexpected
shock to his nerves when he attempts to write with it.

The upper part of the penholder, into which an
ordinary writing pen is thrust, works on a pivot
about half way down its length. This separate part
is provided with only one-half a bottom, in order that
it may engage the conical head of a piston rod, which
ends in a plunger, which sets off the cap secured in
the bottom of the penholder. The normal position
of the plunger is against the cap of the holder ; but
it can be raised by means of a projecting pin riveted
to the rod and passing through a slot cut in the side
of the lower part of the holder. Now, the closed
half of the bottom of the pivoted end enters a notch
caused by the conical head of the plunger ; and the
plunger, with its spring, is cocked, as it were, by
means of the projecting pin, and is held in place by
the bottom of the pivoted section. When the pen is
pressed to the paper the pivoted section swings on
the pivot, releasing the plunger, which is forced down
on the explosive cap by the spring.

The lower end of the penholder is threaded, so that
it can secure the end cap firmly in place. The ex-
plosive cap is put in the end cap, and it is screwed on
the bottom of the holder. Ordinary paper caps for
children's pistols are used. As long as the plunger,
simply rests on the cap there is no danger of an ex

128 SPIRIT SLATE WRITING.

plosion ; but, just before the joker wishes to give his
friend a scare, he cocks it by pushing the plunger up
with the pin, until the pivoted top engages it.

The " Miraculous Wineglasses."
As a rule, magicians are very generous fellows.

Fig- 55-— The "Miraculous Wineglass."

always ready to give their audiences something,
such as coins and handkerchiefs, but, just when one
thinks they have the gift safely in their grasp, it
mysteriously vanishes. However, there are a few

SPIRIT SLATE WRITING. 129

exceptions to this rule, one of whom is a very popu-
lar English performer.

This magician goes among the audience and b ar-
rows a gentleman's handerchief, and immediately
produces from it a glass filled with sherry. This he
offers to the ladies, then,
shaking the handkerchief,
he produces a second glass
full of port for the gentle-
men, next one of ginger
beer for the younger mem-
bers, and one of milk for
the very young, but there
being present one or two

teetotalers, he next pro- ^'«' se-The Glass

J I ( . J Covered with Rubber.

duces a glass 01 water, and

lastly a glass of stout for himself. All of these are
pronounced by the audience to be excellent.

The glasses are of the small stem wineglass pat-
tern. On both sides of the magician's coat, inside,
of course, are large pockets, and in each pocket is
placed in a prearranged form three of the glasses.
To prevent a possible spilling of their contents (and,
as each glass is filled to the brim, this would be very
difficult), there is fastened over the mouth of each
glass a thin soft rubber cap or cover, as shown in the
small engraving.

To produce the glass, the performer spreads the
borrowed handkerchief, which should be a large one,
over his breast in such a manner that one hand is
concealed under it ; and with this hand he reaches in
the pocket and brings forth the proper glass, remov-
ing the rubber cover and leaving it in the pocket.

130 SPIRIT SLATE WRITING.

This move is repeated until all the glasses have been
brought out. After producing three of the glasses
with, say, the Left hand, he must spread the hand-
kerchief so as to corer the right hand, leaving the
left one free to manipulate the handkerchief, as it
would be most awkward to try and produce the

Fig. 57- — The Miraculous Wine Bottle.

glasses from both sides of the coat with the same
hand.

This trick is a most effective one, as the spectators
cannot understand how it would be possible for the
performer to conceal a glass filled to the brim, as
these are, about his person.

After distributing the glasses, and offering an

SPIRIT SLATE WRITING. I3I

apology for his inability to treat all present, he pre-
tends to overhear a remark that his audience is not
satisfied, and that many think they have been slighted.
He states that he will endeavor to comply with the
demands of his thirsty audience, and retires to fetch
a bottle. Off the stage he removes his coat and

Fig. 58.— The Miraculous Wine Bottle.

places under his right arm a rubber bag filled with
wine. To-the bag is attached a rubber pipe with a
small metal point, which pipe he holds next to his
right arm and replaces his coat, leaving the metal
end just within the cuff.

The bottle has a small hole in the side, near the
bottom, of such a size as to fit the metal point on the

132 SPIRIT SLATE WRITING.

rubber pipe. In rinsing the bottle the performer
keeps one finger over the hole, thus preventing the
audience discovering that the bottle differs from an
ordinary one. In rinsing the bottle the outside has
become wet, and in drying it with a cloth the per-
former places the metal point on the rubber, pipe in
the hole in the side of the bottle, thus making con-
nections with the bag of wine. By holding the bot-
tle well down toward the neck, and close to his
wrist, he can venture among the audience without
fear of detection.

By pressing the right arm against his side the bag
is compressed, forcing the wine through the pipe
into the bottle.

The glasses are of special make and of very thick
glass, making quite a bulky appearance, but of very
limited capacity. An assistant carries a tray con-
taining one hundred of the glasses.

The " Mysterious Vase."

Tricks performed with ink and water have always
been favorites with magicians, and they have devised
means of keeping this trick fully abreast of the times^
thus retaining its popularity. The manner of per-
forming the latest ink trick involves such novel
principles as to puzzle even those who are well posted
on modern magic. The " Mysterious Vase " has been
presented by but few prestidigitateurs, and the secret
so well guarded that comparatively few people know
how it is done. (Fig. 59.)

The attention of the audience is called to a glass
vase that is filled with water which is resting on a
light stand. This vase resembles a large octagon

" SPIRIT SLATE WRITING. 135

celery glass. In the vase there are a few cut
flowers, which the performer removes as he calls
attention to the vase and the clear water it contains.

Fig- 59- — ^The "Mysterious Vase."

The flowers are given to the ladies in the audience,
as they have no further connection with the trick,
A lady's handkerchief is borrowed and the vase

134 SPIRIT SLATE WRITING.

covered with it for a moment. On removing the
handkerchief, the water that was seen in the vase
appears to have changed to ink. While this rapid

Fig. 60. — ^The Illusion Explained.

transformation is very startling, yet the most mar-
velous part of the trick is to come. The magician
bares his forearm, that the audience may see that his

SPIRIT SLATE WRITING. 13$

sleeves have no connection with the trick, and then
proceeds to remove from the ink in the vase six silk
handkerchiefs and two lighted candles, each article
being perfectly dry.

The means by which this seeming impossibility is
performed are as simple as the trick is mysterious^
as the following will showi In the center of the
vase, reaching from side to side and from the bot-
tom to within a half inch of the top, is a piece of pol-
ished mirror. The side edges of the mirror rest in
the angles of the vase, and as the vase is only seen
from the front, the edges are not seen. The front
half of the vase being reflected in the mirror leaves
the impression that one is looking directly through
the vase, when in reality you only see one-half of the
inside. (Fig. 60.)

To the back of this mirror is attached a watertight
tin box, in which are placed six small silk handker-
chiefs and two candles. The exterior of the box and
back of the mirror are painted a dead black color.
Enough water is poured into the vase to reach the
top edge of the mirror. In the water is dissolved a
small portion of iron protosulphate. A few cut
flowers are placed in the vase, which is then placed
on the stand with the mirror side to the audience^
and the candles lighted.

After the flowers are removed and a handkerchief
borrowed, the magician secures possession of and
palms between his fingers a small lozenge made of
pyrogallic acid, which he drops in the water in front
of the mirror in the act of covering the vase with
the handkerchief. In a very few moments the loz-
enge dissolves, and the pyrogallic acid of which it is

136 SPIRIT SLATE WRITING.

composed causes the water, which holds in solution
the iron protosulphate, to change to a good black
ink.

On removing the handkerchief with which the
vase was covered, ink is seen to have taken the
place of the water, and from the center of the vase
the performer removes the silk handkerchiefs and
candles.

Our first engraving shows the vase of water on
the stand ; the second shows the vase after the water
has changed to ink, with the magician removing one
of the silk handkerchiefs. The third illustration
represents the vase with one side broken away,
showing attached to the back of the mirror the tin
receptacle that contains the handkerchiefs and can-
dles.

The "Mermaid's Head.'*

M. Alber, the prestidigitateur, describes in La
Nature a variant of a trick which, although old in
principle, has recently been brought 6ut in a new and
attractive form.

Upon a light tripod placed in an alcove or recess
hung with some sort of a red fabric, such as cotton
velvet, stands an aquarium in which gold fish are
observed swimming about, and in the center of which
is seen a living female head that moves, smiles, and
seems to be absolutely at its ease, although deprived
of a body and immersed in water. A reference to the
figure will show how the apparatus is arranged.

The tripod consists of three gilded copper rods
fixed at the bottom to a triangular platform and sup-

SPIRIT SLATE WRITlNa

porting at the top another platform of nickel-plated
metal. At their point of union the three rods, which

Fig. 6i. — The "Mermaid's Head."
are firmly brazed to each other, seem to be united by
a simple ribbon tied with a bow knot.

138 SPIRIT SLATE WRITING.

From the base to the ribbon there is an empty
space, but above the latter there are fixed between
the rods three triangular glass mirrors backed with
thin and resistant steel plate. The nickel-plated top
is movable. Previous to the entrance of the specta-
tors, the woman whose head is to appear, places her-
self between the mirrors, crosses her legs and rests
upon her heels. It is impossible for the apparatus to
topple over, since it is firmly screwed to the floor.
The nickel-plated top, which is in two pieces, em-
braces the neck so closely, when put in place, that
the joint can scarcely be seen at a short distance.
Since the mirrors reflect the floor, which is covered
like the walls, it seems as if it were the back of the
alcove that is visible between the rods at the upper
part ; and the entire apparatus appears to be abso-
lutely open.

As for the aquarium trick, that is simple. The
aquarium is an adaptation of one that has long been
found in the market, and in which are perceived
birds that seem to be flying about in the water amid
fishes.

The crystal glass aquarium, which is manufactured
especially for the purpose, consists of two recep-
tacles. The central one of these is open at the bot-
tom to receive the head, while the outer one is open
at the top and contains the water and fishes. As the
glass is exceedingly transparent, it is almost impos.
sibie to detect the empty space in the center.

The aquarium is placed upon four small nickel-
plated supports that permit of the introduction of
air into the internal receptacle. The position of the
decapitated woman is an exceedingly cramped one,

SPIRIT SLATE WRITING. 1 39

and it is therefore necessary for her to make her exit
from the tnpod between each exhibition in order to
take a well-earned rest.

"Card Cricket."

One of the most eflfective and pretty tricks per-
formed by the celebrated English magician Mr.
Devant is known as " Card Cricket." In this trick
the performer shows his hands empty, and takes a
pack of cards and requests three ladies to take one
card each, and to remember what the cards are.
The cards are then replaced in the pack, which is
well shuffled and cut by one of the audience. The
performer then passes for inspection an ordinary
cricket bat, which,^ on its return, he places on a table
in full sight of all. He then asks if any one in the
audience can bowl, and requests the gentleman who
can, to come and have a game of cricket.

The performer now asks the gentleman to take
the pack of cards and bowl at him, and he will be
the player or one at the wicket. The performer
picks up the bat and says *' Play." The cards are
bowled at him, and he hits the pack with the bat as
the cards are in the air, and, to the astoni^ment of
the audience, the chosen cards are seen sticking to
the bat. This very pretty card trick is quite simple
to work.

In selecting the cards the ladies were under the
impression that they exercised their own free will,
but such was not the case. The pack of cards was
what is known to magicians as a forcing pack, thai
is, consisting of only three cards, which, for con-

SPIRIT SLATE WRITING.

venience sake, we wiU say are the ace of clubs, five
of hearts, and nine of spades, one-third of the pack
being composed of only one of these cards. The

Pig. 6a.— "Caid Cricket"

pack being thus made up, it is very easy for a skill-
ful performer to present to the first lady the portion
of the pack containing only ace of clubs, to the sec-

SPIRIT SLATE WRITING.

ond lady the part consisting solely of five of hearts,
aDd to the third lady the part that contains only nine
of spades. By using such a forcing pack the per-

Kgf. 63.— "Card Cricket."

former is sure to have the proper cards selected.
While the ladies are examining their cards the per-
former steps to his table on some pretense and slyly
changes the forcing pack for an ordinary one con-

142 SPIRIT SLATE WRITING,

sisting of the usual cards, with the exception of the
five of hearts, ace of clubs, and nine of spades. This
pack he hands to some member of the audience and
requests them to have replaced the selected cards
and shuffled.

The cricket bat is an ordinary one, which, after
being examined by the audience, is laid on a table
until the performer finds a gentleman who will bowl
the pack at him.

In this simple act of la3ring the bat on the table we
find the principal secret of the trick.

Previous to beginning the performance the magi-
cian has placed face down on the table, in a line with
each other, an ace of clubs, five of hearts, and nine
of spades. ' The back of each of these cards is lined
with cloth similar to the covering of the table, thus
preventing any one noticing the cards when placed
face down on the table. On the cloth covering of
each of the cards is smeared a dab of soft adhesive
wax. In placing the bat on the table, care is taken
to lay it directly over the three cards, the wax on the
backs adhering tightly to the bat

After the gentleman who has consented to bowl
the pack of cards at the performer is in place, the
performer picks up the bat, steps back a few feet,
and says " Play." The instant the flying cards touch
the bat the performer turns it over, bringing into
view the side of the bat to which the three cards are
sticking, which appear to have been caught on the
bat from the flying cards.

Until the pack of cards arc thrown against the
bat, the magician exercises the greatest care not to
turn the side of the bat to which the cards are stick-

SPIRIT SLATE WRITING. I43

ing toward the spectators. Properly presented, this
trick has proved most illusive.

" Cupid Lighter than a Butterfly."

The pleasing trick which forms the subject of our
engravings owes its success to the ingenious applica-
tion of mechanical principles. The magician pre-
sents for inspection to the audience a large pair of
balance scales. The audience is allowed to examine
the various parts of the balance before it is erected
on the stage. It consists of a central column and a
beam resting on a knife-edge, and two pans suspended
try cords or chains. After the column has been put
in position, the beam is put on and a pin inserted,
thus making a center for the beam to work on. A
gentleman is asked to stand in one of the scale pans,
and then weights are gradually placed in the other
pan until his exact weight is ascertained. The
weights are removed, and the gentleman steps down
off the stage. The audience is now convinced that
the scale is to all intents and purposes like the ordi-
nary balance which is so much used in groceries
for weighing tea, coffee, etc., although, of course,
in the present instance, it is built on a mammoth
scale.

The magician now goes on to say that he will prove
the old assertion that " love is lighter than a butter-
fly '* to be absolutely true. He introduces a little
boy dressed as Cupid, with wings and a bow and
a quiver of arrows. When the child steps on the
scale pan, it immediately sinks to the floor by his

SPIRIT SLATE WRITING.

weight. The conjurer now takes a butterfly, and,
asking all to direct their attention to the scale, drops

it on the opposite pan, which immediately descends
to the floor, at the same time raising the pan with
the Cupid high in the air. If he takes the butterfly

SPIklT SLATE WRITING.

off, the Cupid descends, and every time the presti-
digitateur replaces the butterfly, Cupid is raised off
the floor.

Fig. 65. — The Illusion Explained.

The trick depends for success upon a carefully
devised and concealed niechanism. The balance
beam is devoid of any preparation, but the mechan>

146 SPIRIT SLATE \VRITING.

ism IS cleverly concealed in the column, and motion
is imparted to the beam by means of a shaft and
bevel gears. The hole in the beam is not perfectlj*
round ; it is slightly oval, but . not enough so to be
easily seen by a casual glance. The pin is also oval,
instead of round, and it is made to fit tightly. It
will be seen that, when this pin is rocked or tilted,
the beam is moved, carrying one scale pan up and
the other down. The top of the column is of con-
siderable size, and one side of it is cut away to ad-
mit of a bevel gear, which also has an oval hole the
same as the beam. When the balance is put together
and the beam is placed in position, the oval pin passes
through the bevel gear and the beam, forming a hori-
zontal shaft. This vertical wheel meshes with a
horizontal gear wheel, which is also secured in the
head of the pedestal. A shaft runs through it to the
space below the floor, where it terminates in a lever
secured at right angles. The magician's assistant,
under the stage, grasps the lever, and, pulling it back
and forth, transmits a seesaw motion to the beam
through the medium of the shaft, the two bevel gears,
and the oval pin.

The trick depends very largely for success upon
the apparent willingness of the prestidigitaiteur to
allow all parts of the apparatus to be examined,
and, as the gear wheels are very cleverly concealed,
there is almost no chance of the trick being dis
covered.

INDEX.

PAGB

Bags, trick 98

Balance illusion 143

Balancing tricks 117

Bandage test 86

Blindfolded juggler 121

Blotter trick 17

Bottle, miraculous 130

Cablnettest 108

Cabinet, the trick 109

Card balancing 119

Carpet, slitted 29

Chair and net test 108

Chalk, writing on 60

Chalks, writing with colored. . . . 36

Confederates 107

Cricket, card 139

Cuff, leather 73

Cupid lighter than a butterfly. . . 143

Davenport tie 88

Double slate 82-41

Eddy Brothers, seances 101

Egg glass, use of 55

Eggs, spinning 118

Fay's seances 103

Finger, prepared 19

Flap,false 21-38

Flap, interrupted 48

Fly, educated 62

Folding slate 33

Hands, holding 28

Handcuff test 96

Head, mermaid's 136

Hinges, false 39

Hook for table raising 74

Inks, sympathetic 11-17

Interrupted flap 48

Juggler, blindfolded 121

L'ght seances 101

Loop, double 92

Magician's omelette 115

Magnetic writing . . . 34

PAOB

Mind reading and kindred pheno-
mena 51-71

Mirrors, reading writing by 47

Miscellaneous slate tests 41-61

Miscellaneous tricks 115-146

Omelette, magician's 115

Pad, transferring to 20

Pen, surprise 125

Pencil carrier, thumb 52

Pencil, silver nitrate . 44

Pencil thimble 18

Photography, spirit 113

Pistol loaded with chalk 41

Post tests, etc 93-1

Post test, mechanical 94

Post test, ordinary 93

Potato cutting 120

Raps, spirit 81

Ring test 96

Rods and cords, Chinese 123

Rope test 82

Stance, spiritualistic 76

Seances 101-114

Silica slate 6

Siln flap 5

Silver nitrate pencil 44

Single slate 3-32

Slade, iJr 105

Slate, double 32-41

Slates exchanged 30

Slate, folding 33

Slate writing on china 8

Slates, locked 36

Slate tests, multiple 38

Slates, padlocked 3

Slates, pivot 26

Slates, riveted 24

Slates, screwed 24

Slates, scaled 34

Slates, sliding 33

Slates, tied 22

148

INDEX.

PAGE

Slates, transferring.. 87

Slates, wedging 24

Slates with false hinges 39

Sliding slates 33

Spinning tricks 117

SpiritcoJlar 97

Stencil, wood id

Sucker for table lifting 72

Sympathetic ink writing 9

Table, false 10

Table lifting and spirit rapping,

71-«2

Table, traps in 26, 26

Table tri c k 47

Telegraph 77

Telegraph, foot 66

PAGS

Telegraph head 68

Thimble key 36

Thimble pencil 18

Thumb pencil carrier S2

Tie, Davenport 88

Ties, rope 86

Ties, spiritualistic 82-92

Toes, writing with the 46

Traps 106

Tube, speaking 67

Vase, miraculous 132

Wine glass, miraculous 128

Wire cage test 110

Wire, cloth 61

Writing, reading concealed 61-68

MAGIC

Stage Illusions and Scientific Diversions,
Including Trick Photography.

BY A. A. HOPKINS.

Tith an Introduction by H. R, EVANS.

568 pages. 420 illustrations. Price, $2.50 postpaid.

holiday bookeof the vear. The iUueions
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may send for a free sample copy. Subscription
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1898 EDITION

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Bv GEO. M. HOPKINS.

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