Chapter 2 Writing.

One of the most interesting phases of modern mediumship, on the physical side, is psychography, or slate-writing. After an investigation extending over ten years, I am of the opinion that the majority of slate-writing feats are the results of conjuring. The process generally used is the following.

The medium takes two slates, binds them together, after first having deposited a small bit of chalk or slate pencil between their surfaces, and either holds them in his hands, or lays them on the table. Soon the scratching of the pencil is heard, and when the cords are removed a spirit message is found upon the surface of one of the slates. I will endeavor to explain the "modus operandi" of these startling experiments.

Some years ago, the most famous of the slate-writing mediums was Dr. Henry Slade, of New York, with whom I had several sittings. I was unable to penetrate the mystery of his performance, until the summer of 1889, when light was thrown upon the subject by the conjurer C- whom I met in Baltimore.

FIG. 2. DR. HENRY SLADE.

"Do you know the medium Slade?" I asked him.

"Yes," said he, "and he is a conjurer like myself. I've had sittings with him. Come to my rooms to-night, and I will explain the secret workings of the medium's slate-writing. But first I will treat you to a regular séance."

On my way to C's home I tried to put myself in the frame of mind of a genuine seeker after transcendental knowledge. I recalled all the stories of mysterious rappings and ghostly visitations I had read or heard of. It was just the night for such eerie musings. Black clouds were scurrying across the face of the moon like so many mediaeval witches mounted on the proverbial broomsticks en route for a mad sabbat in some lonely churchyard. The prestidigitateur's pension was a great, lumbering, gloomy old house, in an old quarter of Baltimore. The windows were tightly closed and only the feeble glimmer of gaslight was emitted through the cracks of the shutters. I rang the bell and Mr. C's stage-assistant, a pale-faced young man, came to the door, relieved me of my light overcoat and hat, and ushered me upstairs into the conjurer's sitting-room.

A large, baize-covered table stood in the centre of the apartment, and a cabinet with a black curtain drawn across it occupied a position in a deep alcove. Suspended from the roof of the cabinet was a large guitar. I took a chair and waited patiently for the appearance of the anti-Spiritualist, after having first examined everything in the room-table, cabinet, and musical instruments-but I discovered no evidence of trickery anywhere. I waited and waited, but no C-. "Can he have forgotten me?" I said to myself. Suddenly a loud rap resounded on the table top, followed by a succession of raps from the cabinet; and the guitar began to play. I was quite startled. When the music ceased the door opened, and C- entered.

"The spirits are in force to-night," he remarked with a meaning smile, as he slightly diminished the light in the apartment.

"Yes," I replied. "How did you do it?"

"All in good time, my dear ghost-seer," was the answer. "Let us try first a few of Dr. Slade's best slate tests."

So saying he handed me a slate and directed me to wash it carefully on both sides with a damp cloth. I did so and passed it back to him. Scattering some tiny fragments of pencil upon it, he held the slate pressed against the under surface of the table leaf, the fingers of his right hand holding the slate, his thumb grasping the leaf. C- then requested me to hold the other end of the slate in a similar fashion, and took my right hand in his left. Heavy raps were heard on the table-top, and I felt the fingers of a spirit hand plucking at my garments from beneath the table. C-'s body seemed possessed with some strange convulsion, his hands quivered, and his eyes had a glassy look. Listening attentively, I heard the sound of a pencil writing on the slate.

"Take care!" gasped the conjurer, breathlessly.

The slate was jerked violently out of our hands by some powerful agency, but the medium regained it, and again pressed it against the table as before. In a little while he brought the slate up and there upon its upper surface was a spirit message, addressed to me-"Are you convinced now?-D. D. Home."

At this juncture there came a knock at the door, and C-, with the slate in his hand, went to see who it was. It proved to be the pale-faced assistant. A few words in a low-tone of voice were exchanged between them, and the conjurer returned to the table, excusing the interruption by remarking, "Some one to see me, that is all, but don't hurry, for I have another test to show you." After thoroughly washing both sides of the slate he placed it, with a slate pencil, under a chafing-dish cover in the center of the table. We joined hands and awaited developments.

Being tolerably well acquainted with conjuring devices, I manifested but little surprise in the first test when the spirit message was written, because the magician had his fingers on the slate. But in this test the slate was not in his possession; how then could the writing be accomplished?

FIG. 3. THE HOLDING OF THE SLATE.

"Hush!" said C-, "is there a spirit present?" A responsive rap resounded on the table, and after a few minutes' silence, the mysterious scratching of the slate-pencil began. I was nonplussed.

"Turn over the slate," said the juggler.

I complied with his request and found a long message to me, covering the entire side of the slate. It was signed "Cagliostro."

"What do you think of Dr. Slade's slate tests?" inquired C-.

"Splendid!" I replied, "but how are they done?"

His explanations made the seeming marvel perfectly plain. While the slate is being examined in the first test, the medium slips on a thimble with a piece of slate pencil attached or else has a tiny bit of pencil under his finger nail. In the act of holding the slate under the table, he writes the short message backwards on its under side. It becomes necessary, however, to turn the slate over before exhibiting it to the sitter, so that the writing may appear to have been written on its upper surface-the side that has been pressed to the table. To accomplish this the medium pretends to go into a sort of neurotic convulsion, during which state the slate is jerked away from the sitter, presumably by spirit power, and is turned over in the required position. It is not immediately brought up for examination but is held for a few seconds underneath the table top, and then produced with a certain amount of deliberation.

The special difficulty of this trick consists in the medium's ability to write in reverse upon the under surface of the slate. If he wrote from left to right, in the ordinary method, it would, of course, reverse the message when the slate is examined, and give a decided clue to the mystery. This inscribing in reverse, or mirror writing, as it is often called, is exceedingly difficult to do, but nothing is impossible to a Slade.

But how is the writing done on the slate in the second test? asks the curious reader. Nothing easier! The servant who raps at the door brings with him, concealed under his coat, a second slate, upon which the long message is written. Over the writing is a pad cut from a book-slate, exactly fitting the frame of the prepared slate. It is impossible to detect the fraud when the light in the room is a trifle obscure. The medium makes an exchange of slates, returns to the table, washes both sides of the trick slate, and carelessly exhibits it to the sitter, the writing being protected of course by the pad. Before placing the slate under the chafing-dish cover, he lets the pad drop into his lap. Now comes a crucial point in the imposture: the writing heard beneath the slate, supposed to be the work of a disembodied spirit. The medium under cover of his handkerchief removes from his pocket an instrument known as a "pencil-clamp." This clamp consists of a small block of wood with two sharp steel points protruding from the upper edge and a piece of slate pencil fixed in the lower. The medium presses the steel points into the under surface of the table with sufficient force to attach the block securely to the table, and then rubs a pencil, previously attached to his right knee by silk sutures, against the side of the pencil fastened to the apparatus. The noise produced thereby exactly simulates that of writing upon a slate. In my case the illusion was perfect. During the examination of the message, the medium has ample opportunity to secrete the false pad and the clamp in his pocket. Instead of having a servant bring the slate to him and making the exchange described above, he may have the trick slate concealed about him before the séance begins, with the message written on it, and adroitly make the substitution while the sitter is engaged in lowering the light. Dr. Slade almost invariably adopted the first-mentioned exchange, because it enabled his confederate to write a lucid message to the sitter.

An examination of the sitter's overcoat in the hall frequently yielded valuable information in the way of names and initials extracted from letters, sealed or unsealed. Sealed letters? Yes; it is an easy matter to steam a gummed envelope, open it, and seal it again. Another method is to wet the sealed envelope with a sponge dipped in alcohol. The writing will show up tolerably well if written upon a card. In a very short time the envelope will dry and exhibit no evidence of having been tampered with.

And now as to the rest of the phenomena witnessed that evening in C-'s room. The raps on the table top were the result of an ingenious, hidden mechanism, worked by electricity; the mysterious hand that operated under the table was the juggler's right foot. He wore slippers and had the toe part of one stocking cut away. By dropping the slipper from his foot he was enabled to pull the edge of my coat, lift and shove a chair away, and perform sundry other ghostly evolutions, thanks to a well trained big toe. Dr. Slade who was long and lithe of limb, worked this dodge to perfection, prior to the paralytic attack which partly disabled his lower limbs.

The stringed instrument which played in the cabinet was arranged as follows: Inside of the guitar was a small musical box, so arranged that the steel vibrating tongues of the box came in contact with a small piece of writing paper. When the box was set to going by means of an electric current, it closely imitated the twanging of a guitar, just as a sheet of music when laid on the strings of a piano simulates a banjo. This spirit guitar is a very useful instrument in the hands of a medium. It may be made to play when it is attached to a telescopic rod, and waved in phosphorescent curves over the heads of a circle of believers in the dark séance.

I shall now sum up the subject of Dr. Slade's spirit-slate writing, (Fig. 3) and endeavor to show how grossly exaggerated the reports of the medium's performances have been, and the reasons for such misstatements. No one who is not a professional or amateur prestidigitateur can correctly report what he sees at a spiritualistic séance.

It is not so much the swiftness of the hand that counts in conjuring but the ability to force the attention of the spectators in different directions away from the crucial point of the trick. The really important part of the test, then, is hidden from the audience, who imagine they have seen all when they have not. Says Dr. Max Dessoir: "It must therefore be regarded as a piece of rare naiveté if a reporter asserts that in the description of his subjective conclusions he is giving the exact objective processes."

This will be seen in Mr. Davey's experiments. Mr. Davey, a member of the London Society for Psychical Research, and an amateur magician who possessed great dexterity in the slate-writing business, gave a series of exhibitions before a number of persons, but did not inform them that the results were due to prestidigitation. No entrance fee was charged for the séances, but the sitters, who were fully impressed with the genuineness of the affair, were requested to submit written reports of what they had seen. These letters, published in vol. iv of the Proceedings of the Society, are admirable examples of mal-observation, for no one detected Mr. Davey exchanging slates and doing the writing.

"The sources of error," says Dr. Max Dessoir, in an article reproduced in the "Open Court," "through which such strange reports arise, may be arranged in four groups. First, the observer interpolates a fact which did not happen, but which he is led to believe has happened; thus, he imagines he has examined the slate when as a fact he never has. Second, he confuses two similar ideas; he thinks he has carefully examined the slate, when in reality he has only done so hastily, or in ignorance of the point at issue. Third, the witness changes the order of events a little in consequence of a very natural deception of memory; he believes he tested the slate later than he actually did. Fourth and last, he passes over certain details which were purposely described to him as insignificant; he does not notice that the 'medium' asks him to close a window, and that the trick is thus rendered possible."

Similar experiments in slate-writing were conducted by the Seybert Commission with Mr. Harry Kellar, the conjurer, after sittings were had with Dr. Slade, and the magician outdid the medium. The Seybert Commission found none of Slade's tests genuine, and officially denied "the extraordinary stories of his performances with locked slates which constitute a large part of his fame."

Dr. Slade began his Spiritualistic operations in London in the year 1876, and charged a fee of a guinea a head for séances lasting a few minutes. Crowds went to see him and he reaped a golden harvest from the credulous, until the grand fiasco came. Slade was caught in one of his juggling séances and exposed by Prof. Lancaster and Dr. Donkin. The result was a criminal prosecution and a sensational trial lasting three days at the Bow Street Police Court. Mr. Maskelyne, the conjurer, was summoned as an expert witness and performed a number of the medium's tricks in the witness box. The court sentenced Slade to three months' hard labor, but he took an appeal from the magistrate's decision. The appeal was sustained on the ground of a technical flaw in the indictment, and the medium fled to the Continent before new summons could be served. He visited Paris, Leipsic, Berlin, St. Petersburg and other cities, giving séances before Royalty and before distinguished members of scientific societies; and afterwards went to Australia. He made money fast and spent it fast, but it took all of his ingenuity to elude the clutches of the police. In 1892, we find him the inmate of a workhouse in one of our Western towns, penniless, friendless and a lunatic.

Slade's séances with Prof. Zoellner, of Berlin, in 1878, attracted wide attention, and did more to advertise his fame as a medium than anything else in his career.

Zoellner's belief in the genuineness of Slade's mediumistic marvels led him to write a curious work, entitled, "Transcendental Physics," being an inquiry into the "fourth dimension of space." Poor old Zoellner, he was half insane when these séances were held! We have the undisputed authority of the Seybert Commission for the correctness of this statement.

In Hamburg, Dr. Borchert wrote to Slade offering him one thousand marks if he would produce writing between locked slates, similar to the writing alleged to have been executed at the Zoellner séances, but the medium took no notice of the professor's letter. The conjurer, Carl Wilmann, with two friends, had a sitting with Slade, but without satisfactory results for the medium. "Slade," says Wilmann, "was unable to distract my attention from the crucial point of the trick, and threw down the slates on the table in disgust, remarking: 'I can not obtain any results to-day, the power that controls me is exhausted. Come tomorrow!'" That tomorrow never arrived for Wilmann and his friends; Slade did not keep his appointment, nor could Wilmann succeed in obtaining another sitting with him. The medium had been warned by friends that Wilmann was an expert professor of legerdemain.

It was in 1886 that Slade created such a furore in Hamburg in Spiritualistic circles. A talented conjurer of that city, named Schradieck, after a few weeks' practice succeeded in eclipsing Slade. He learned to write in reverse on slates, and produced writing in various colored chalks. Another one of his experiments was making the slate disappear from one side of the table where it was held a la Slade and appear at the opposite end of the table suddenly, as if held up to view by a spirit hand. Wilmann describes the effect as startling in the extreme and says Schradieck produced it by means of his left foot. After Slade's departure from Hamburg, spirit mediums sprang up like toadstools in a single night. Wilmann in his crusade against these worthies had many interesting experiences. He gives in his work "Moderne Wunder" several exposes of mediumistic tricks, two of which, in the sealed slate line, are very ingenious. The medium takes a slate (one furnished by the sitter if preferred), wipes it on both sides with a wet sponge, and then wraps it up carefully in a piece of ordinary white wrapping paper, allowing the package to be sealed and corded ad libitum. Notwithstanding all the precautions used, a message appears on the slate. It is accomplished in this way. A message in reverse is written on the wrapping paper with a camel's hair brush or pointed stick, dipped in some sticky substance, and finely powdered slate pencil dust is scattered over the writing. At a little distance, especially in a dim light, it is impossible to discover the writing as it blends very well with the white paper. In wrapping up the slate the medium presses the writing on the paper against the surface of the slate and the chirography adheres thereto, very much as the greasy drawing on a lithographer's stone prints on paper.

In the other experiment the medium uses a papier mache slate, set in the usual wooden frame. A papier mache pad is prepared with a spirit message on one surface; on the other is pasted a piece of newspaper. This pad is laid, written side down, on a sheet of newspaper. After the genuine slate has been washed, the medium proceeds to wrap it up in the newspaper, and presses the trick pad, writing up, into the frame of the slate where it exactly fits into a groove prepared for the purpose.

Since Dr. Slade's retirement from the mediumistic field, Pierre L. O. A. Keeler's fame as a slate-writing medium has been spread broadcast. He oscillates between Boston, New York, Cleveland, Philadelphia, Baltimore and Washington, and has a very large and fashionable clientele. He gives evening materializing séances of the cabinet type three times a week at his rooms. During the day he gives private slate tests which are very popular.

I had a sitting with him on the afternoon of April 24th, 1895. In order to gain his confidence, I went as one witnessing a slate séance for the first time, that is, I accepted his slates, and had no prepared questions.

I was ushered into a small, back parlor by the medium who closed the folding doors. We were alone. I made a mental photograph of the surroundings. There was no furniture except a table and two chairs placed near the window. Over the table was a faded cloth, hanging some eight or ten inches below the table. Upon it were several pads of paper and a heterogeneous assortment of lead pencils. Leaning against the mantelpiece, within a foot or so of the medium's chair, were some thirty or forty slates.

"Take a seat", said Mr. Keeler pointing to a chair. I sat down, whereupon he seated himself opposite me, remarking as he did so, "Have you brought slates with you?"

"I have not," was my reply.

"Then, if you have no objection," he said, "we will use two of mine. Please examine these two slates, wash them clean with this damp cloth, and dry them." With that he passed me two ordinary school-slates, which I inspected closely, and carefully cleaned.

"Be kind enough to place the slates to one side," said Keeler. I complied.

"Have you prepared any slips with the names of friends, relatives, or others, who have passed into spirit life, with questions for them to answer?"

"I have not," I replied.

"Kindly do so then," he answered, "and take your time about it. There is a pad on the table. Please write but a single question on each slip. Then fold the slips and place them on the table." I did so.

"I will also make one," he continued, "it is to my spirit control, George Christy." He wrote a name on a slip of paper, folded it, and tossed it among those I had prepared, passing his hand over them and fingering them, saying, "It is necessary to get a psychic impression from them." We sat in silence several minutes.

After a little while Mr. Keeler said: "I do not know whether or not we shall get any responses this afternoon, but have patience." Again we waited. "Suppose you write a few more slips," he remarked, "perhaps we'll have better luck. Be sure and address them to people who were old enough to write before they passed into spirit life." This surprised me, but I complied with his wishes. While writing I glanced furtively at him from time to time; his hands were in his lap, concealed by the table cloth. He looked at me occasionally, then at his lap, fixedly. I am satisfied that he opened some of my slips, having adroitly abstracted them from the table in the act of fingering them.

FIG. 4-SLATE WRITING.

He directed me to take my handkerchief and tie the two slates on the table tightly together, holding the slates in his hands as I did so. I laid the slates on the table before me, and we waited. "I think we will succeed this time in getting responses to some of the questions. Let us hold the slates." He grasped them with fingers and thumbs at one end, and I at the other in like manner, holding the slates about two inches above the table. We listened attentively, and soon was heard the scratching noise of a slate pencil moving upon a slate. The sound seemed directly under the slate, and was sufficiently impressive to startle any person making a slate test for the first time, and unacquainted with the multifarious devices of the sleight-of-hand artist.

"Hold the slates tightly, please!" said Mr. Keeler, as a convulsive tremor shook his hands. I grasped firmly my end of the slates, and waited further developments. The faint tap of a slate pencil upon a slate was heard, and the medium announced that the communications were finished. I untied the handkerchief, and turned up the inner surfaces of the slates. Upon one of them several messages were written, and signed. Other communications were received during the sitting. After the first messages were received, and while I was engaged in reading them, Keeler quickly picked up a slate from the floor, clapped it upon the clean slate remaining on the table, and requested me to tie the two rapidly together with my handkerchief before the influence was lost. At a signal from him I unfastened the slates and found another set of answers. The same proceeding was gone through for the third set. The imitation of a pencil writing upon a slate was either made by the apparatus, described in the séance with C- in the first part of this chapter, or by some other contrivance; more than likely by simply scratching with his finger on the under surface of the slate. While my attention was absorbed in the act of writing my second set of questions, he prepared answers to two of my first set and substituted a prepared slate for the cleaned slate on the table. I was sure he was writing under the table; I heard the faint rubbing of a soft bit of pencil upon the surface of a slate. His hands were in his lap and his eyes were fixed downwards. Several times I saw him put his fingers into his vest pockets, and he appeared to bring up small particles of something, which I believe were bits of the white and colored crayons used in writing the messages. His quiet audacity was surprising. I give below the questions and answers with my comments thereon:

First Slate. Fig. 4.

QUESTION.

To Mamie:-

Tell me the name of your dead brother?

(Signed) Harry R. Evans.

ANSWER.

You must not think of me as one gone forever from you. You have made conditions by and through which I can return to you, and so long as I can do this I can not feel unhappy. So dear one, rest in the assurance that you are helping me, and that I am doing all I can to help you. Let us make the best of it all and help each other as best we can, then all will be well. My home in spirit life is beautiful and awaiting you. I will be the first to greet you. I have no dead brother. All of us are living. I am Mamie -. (The medium here cleverly evades giving a name by an equivoque.)

QUESTION.

To Len-

Tell me the cause of your death, and the circumstances surrounding it?

(Signed) Harry R. Evans.

ANSWER.

Harry! I am very glad to see you. I am happy. You must be reconciled, and not mourn me as dead! I will try to come again soon, when I am stronger and tell of my decease.-Len. (He again evades an answer.)

Second Slate. Fig. 5.

QUESTION.

To A. D. B.-

When and where did you die?

(Signed) Harry R. Evans.

ANSWER.

This all seems so strange coming back and writing just as one would if they were in the earth life and communicating with a friend. What a blessed privilege it is. I am so happy. Oh, I would not come back. It is so restful here. No pain or sorrow. Dear, do not think I have forgotten you, I constantly think of you and wish that you, too, might view these lovely scenes of glorious beauty. You must rest with the thought that when your life is ended upon the earth, I will be the first to meet you. Now be patient and hopeful until we meet where there is no more parting. I am sincerely, A. D. B. (No answer at all.) Observe error in first sentence: "as one would if they were-." A. D. B. was an educated gentleman, and not given to such ungrammatical expressions.

FIG. 5-SLATE WRITING.

Third Slate. Fig. 6.

QUESTION.

To B. G.-

Can you recall any of the conversations we had together on the B. and P. R. R. cars?

(Signed) H. R. Evans.

ANSWER.

O my dear one, I can only write a few lines that you may know that I see and hear you as you call upon me. I do not forget you. When I am stronger will come again. I do not know what conversation you refer to in the cars.

B. G.

(Again evades answering. B. G. was very much interested in the drama, and talked continuously about the stage.)

QUESTION.

To C. J.-

Where did you die, and from what disease?

(Signed) H. R. Evans.

ANSWER.

I know the days and weeks seem long and lonely to you without me. I do not forget you; am doing the best I can to help you.

C. J.-.

(Still another evasion of a straightforward question. The lady in spirit life to whom the question was addressed died of consumption in a Roman Catholic Convent. She was only a society acquaintance of the writer, and not on such terms of intimacy as to warrant Mr. Keeler's reply.)

In one corner of Slate No. 2 was the following, written with a yellow crayon: "This is remarkable. How did you know we could come?-H. K. Evans." Scrawled across the face of Slate No. 3, in red pencil, was a communication from George Christy, Mr. Keeler's spirit control, reading as follows: "Many are here who--G. C. (George Christy)" (The remainder is so badly written, as to be indecipherable.)

On carefully analyzing the various communications it will be observed that the handwriting of the messages from Mamie-and B G.-are similar, possessing the same characteristics as regards letter formation, etc. It does not require a professional expert in chirography to detect this fact. One and the same person wrote the messages purporting to come from Mamie R-, Len-, B. G.-, C. J.-, and A. D. B. In fact, the writing on all the slates is, in my opinion, the work of Mr. Pierre Keeler.

The longer communications were doubtless prepared beforehand, being general in nature and conveying about the same information that any departed spirit might give to any inquiring mortal, but, as will be observed, giving no adequate answers to the queries, with the exception of the last two sentences, which were written by the medium, after he became acquainted with the tenor of the questions upon the folded slips. The very short communications are written in a careless hand, such as a man would dash off hastily. There is an attempt at disguise, but a clumsy one, the letters still retaining the characteristics of the more deliberate chirography of the long communications. A close inspection of the slates reveals the exact similarity of the y's, u's, I's, g's, h's, m's and n's.

The handwriting of messages on slates should be, and is claimed to be, adequate evidence of the genuineness of the communication, for are we not supposed to know the handwriting of our friends?

Possibly Mr. Keeler would claim that the handwriting was the work of his control "Geo. Christy", who acted as a sort of amanuensis for the spirits. If this be so, why the attempts at disguise, and bungling attempts at that?

In the séance with Mr. Keeler, I subjected him to no tests. He had everything his own way. I should have brought my own marked slates with me and never let them out of my sight for an instant. I should have subjected the table to a close examination, and requested the medium to move or rather myself removed the collection of slates against the mantel, placed so conveniently within his reach. I did not do this, because of his well known irascibility. He would probably have shown me the door and refused a sitting on any terms, as he has done to many skeptics. I was anxious to meet Keeler, and preferred playing the novice rather than not get a slate test from one of the best-known and most famous of modern slate-writing mediums.

FIG. 6-SLATE WRITING.

After what has been stated, I think there can be no shadow of doubt that the medium abstracted by sleight-of-hand some of the paper slips containing my written questions, read them under cover of the table, and did the slate-writing himself. All of these slate-tests, where pellets or slips of paper are used, are performed in a similar manner, as will be seen from the exposé published by the Society for Psychical Research. In vol. viii of the proceedings of that association will be found a number of revelations, one of which throws considerable light on the Keeler tests. The sitter was Dr. Richard Hodgson, and the medium was a Mrs. Gillett. Says Dr. Hodgson:

"Under pretence of 'magnetising' the pellets prepared by the sitter, or folding them more tightly, she substitutes a pellet of her own for one of the sitter's. Reading the sitter's pellet below the table, she writes the answer on one of her own slates, a pile of which, out of the sitter's view, she keeps on a chair by her side. She then takes a second slate, places it on the table, and sponges and dries both sides, after which she takes the first slate, and turning the side upon which she has written towards herself, rubs it in several places with a dry cloth or the ends of her fingers as though cleaning it. She then places it, writing downward, on the other slate on the table, and sponges and dries the upper surface of it. She then pretends to take one of the pellets on the table and put it between the two slates. What she does, however, is to bring the pellet up from below the table, take another of the sitter's pellets on the table into her hand, and place the pellet which she has brought up from below the table between the slates, keeping in her hand the pellet just taken from the top of the table. The final step is to place a rubber band round both slates, in doing which she turns both slates over together. She professes to get the writing without the use of any chalk or pencil. Some of her slates are prepared beforehand with messages or drawings. More interesting, perhaps, because of its boldness, is her method of producing writing on the sitter's own slates. Under the pretence of 'magnetising' these she cleans them several times, rubs them with her hands, stands them up on end together, and while they are in this position between herself and the sitter she writes with one hand on the slate-side nearest to herself, holding the slates erect with the other hand. Later on, she lays both slates together flat on the table again, the writing being on the undermost surface. She then sponges the upper surface of the top slate, turns it over, and sponges its other surface. She next withdraws the bottom slate, places it on top and sponges its top surface, keeping its under surface carefully concealed. The final step, the reversal, is made, as in the other case, with the help of the rubber band. Mrs. Gillett has probably other methods, also. Those which I have described were all that I witnessed at my single sitting with her."

My friend, Dr. L. M. Taylor, of Washington, D. C., an investigator of Spiritualistic phenomena, and skeptical like myself of the objective phases of the subject, has had many sittings with Keeler for independent slate-writing. One séance in particular he is fond of relating:

"On one occasion, after I had written my slips, folded them up, and tossed them on the table, I said to Keeler who was obtaining his 'psychic' impression of them, 'I wish, if possible, to have a spirit tell me the numbers and the maker's name engraved in my watch. I have never taken the trouble to look at the numbers, consequently I do not know them.' 'Your request is an unusual one,' replied the medium, 'but I will endeavor to gratify it.' We had some conversations on the subject that lasted several minutes. Suddenly he picked up a slate pencil, and scrawled the name, J. S. Granger on the upper surface of one of my slates; the two slates had been previously tied together with my handkerchief and laid on the table in front of me. 'You recognize that name, do you not?' asked Keeler. 'Yes,' I replied, 'that is one of the names I wrote on the slips. J. S. Granger was an old friend of mine who died some years ago. He was a brother-in-law of Stephen A. Douglass.' 'If you wish to facilitate matters,' said Keeler, 'place your watch on top of the slates, concealed beneath the handkerchief, otherwise we may have to wait an hour or more without obtaining results, and there are a number of persons waiting for me in the ante-room. My time you see is limited.'

"I detached my watch from its chain, and placed it in the required position. Keeler then took a piece of black cloth, used to clean slates, and laid it over my slates. Finally he requested me to take the covered slates and hold them in my lap. I took care to feel through the cloth that the watch was still beneath the handkerchief. In a short time I was directed to uncover the slates, and untie them, which I did. Upon the inner surface of one of the slates the following message was written: 'Dear Friend, Stephen is with me. I have been through that beautiful watch of yours, and, if I see correctly, the number is 163131. On the inside I see this-E. Howard & Co., Boston, 211327. And then your name as follows: Dr. L. M. Taylor, 1221 Mass. Ave., N. W., Washington, D. C. Signed J. M. Granger.'

"I then compared the name and numbers in my watch with those on the slate, and found the latter correct, with the exception of one number. A relative of mine was present in the room during this séance, and I showed her the communication on the slate. Afterwards we passed the slate to Keeler who examined it closely. When he handed it back to me, I was surprised to see that the incorrect number was mysteriously changed to the proper one."

This is a very interesting test, indeed, because of its apparently impromptu character. I have seen similar feats performed by professional conjurers as well as mediums. A dummy watch is substituted for the sitter's watch, and after the medium has ascertained the name and numbers on the sitter's timepiece, he succeeds in adroitly exchanging it again for the dummy, thanks to the black cloth. The writing on the slate in the above séance was evidently produced in the same way as that described in my sitting with Keeler, after he had ascertained the name on the slip. The name of Stephen, of course, was directly obtained from Dr. Taylor. Not having been an eye witness of Keeler's movements in the watch test, I am unable to say how closely Dr. Taylor's description coincides with the medium's actual operations.

In May, 1897, Mr. Pierre Keeler was in Washington, D. C., as usual. My friend, Dr. Taylor, who was desirous of putting the medium to another crucial test, wrote down a list of names on a sheet of paper-cognomens of ancient Egyptian, Chaldean, and Grecian priests and philosophers-folded the paper, and carefully sealed it in an envelope. He took ten slates with him, all of them marked with a private mark of his own. Mr. Keeler eyed the envelope dubiously, but passed no criticisms on the doctor's precautions to prevent trickery. The two men sat down at a table and waited for the spirits to manifest. Dr. Taylor, on this occasion, was absolutely certain that his slates had not been tampered with, and that the medium had not succeeded in opening the envelope. In a little while the comedy of the pencil-scratching between the tied slates began.

"Ah", exclaimed the physician, "a message at last!" Then he thought to himself, "can the medium possibly have deluded my senses by some hypnotic power, and adroitly opened that envelope without my being aware of the fact? But no, that is impossible!"

Mr. Keeler took the slates away from Dr. Taylor, and quickly opened them, accidentally dropping one of them behind the table. In a second, however, he brought up the slate, and remarked: "How awkward of me. I beg your pardon," etc. On the surface of this slate was written the following sentence: "See some other medium; d-n it!-George Christy." Dr. Taylor is positive, as he has repeatedly told me, that this message was not inscribed on his own marked slate, but was written by the medium on one of his own. The exchange, of course, must have been effected in the pretended accidental dropping of the doctor's slate by the medium. This is a very old expedient among pretenders to spirit power. All conjurers are familiar with the device. Imro Fox, the American magician, uses it constantly in his entertainments, with capital effect.

Dr. Taylor, unfortunately, did not succeed in getting possession of the medium's prepared slate. Another exchange was undoubtedly made by Mr. Keeler, and the physician had returned to him his own marked slate. When he got home that afternoon, and had time to carefully scrutinize his slates, he found that they bore no evidence of having been written upon at all. Having also examined these slates, I am prepared to add my testimony to that of Dr. Taylor.

The reader will see from the above-described séance that unless the medium (or a confederate) is enabled to read the names and questions, prepared by the sitter, his hands are practically tied in all experiments in psychology.

When investigators bring their own marked slates with them, screwed tightly together, and sealed, the medium has to adopt different tactics from those employed in the tests before mentioned. He has to call in the aid of a confederate. The audacity of the sealed-slate test is without parallel in the annals of pretended mediumship. For an insight into the secrets of this phase of psychography, the reading public is indebted to a medium, the anonymous author of a remarkably interesting work, "Revelations of a Spirit Medium." Many skeptical investigators have been converted to Spiritualism by these tests. They invariably say to you when approached on the subject: "I took my own marked slates, carefully screwed together, to the medium, and had lengthy messages written upon them by spirit power. These slates never left my hands for a second." I will quote what the writer of "Revelations of a Spirit Medium" says on the subject:

"No man ever received independent slate-writing between slates fastened together that he did not allow out of his hands a few seconds. Scores of persons will tell you that they have received writing under those conditions through the mediumship of the writer; but the writer will tell you how he fooled them and how you can do so if you see fit.

"In the first place you will rent a house with a cellar in connection. Cut a trap-door one foot square through the floor between the sills on which the floor is laid. Procure a fur floor mat with long hair. Cut a square out of the mat and tack it to the top of the trap door. Tack the mat fast to the floor, for some one may visit you who will want to raise it up.

"Explain the presence of the fur by saying it is an absorbent of magnetic forces, through which you produce the writing. Over the rug place a heavy pine table about four feet square; and over the table a heavy cover that reaches the floor on all sides. Put your assistant in the cellar with a coal-oil stove, a tea-kettle of hot water, different colored letter wax and lead pencils, a screw driver, a pair of nippers, a pair of pliers, a pair of scissors and an assortment of wire brads. You are ready for business.

"When your sitter comes in you will notice his slates, if he brings a pair, and see if they are secured in any way that your man in the cellar can not duplicate. If they are, you can touch his slates with your finger and say to him that you can not use his slates on account of the 'magnetism' with which they are saturated. He will know nothing of 'magnetic conditions' and will ask you what he is to do about it.

"You will furnish him a pair of new slates with water and cloths to clean them. You also furnish him paper to write his questions on and the screws, wax, paper and mucilage to secure them with. He will write his questions and fasten the slates securely together.

"You now conduct him to your séance-room and invite inspection of your table and surroundings. After the examination has been made you will seat the sitter at one side of the table with his side and arm next it. If he desires to keep hold of the slates a signal agreed upon between yourself and your assistant will cause the spirit in the cellar to open the trap door, which opens downwards, and to push through the floor and into position where the sitter can grasp one end of it, a pair of dummy slates. This dummy your assistant will continue to hold until the sitter has taken hold of it after the following performance:

"Your assistant lets you know everything is ready by touching your foot. You now reach and take the sitter's slates and put them below the table, and under it, telling the sitter to put his hand under from his side and hold them with you. He puts his hand under and gets hold of the dummy slates held by your assistant.

"Your assistant holds on until you have stood the slates on end, leaning against the table leg, and have got hold of the dummy. He then takes the sitter's slates below and closes the trap. He proceeds to open them, read the questions, answer them and refasten the slates.

"You will be entertaining your sitter by twitching and jerking and making clairvoyant and clairaudient guesses for him.

"When your assistant touches your foot you will know that he is ready to make the exchange again, by which the sitter will get hold of the slates he fastened. When you get the signal you give a snort and jump that jerks the end of the slates from the sitter's hand. He is now given the end of the slates held by your assistant, and you will allow the assistant to take the dummy. After sitting a moment or two longer, you will tell the sitter to take out his slates and examine them if he chooses. Many times they do not open the slates until they reach their homes.

"This, reader, is the man who will declare that he furnished the slates and did not allow them out of his hands a minute.

"The usual method of obtaining the writing is for the medium to hold the slates alone. When this is the case the medium passes the slates below, and receives in return a dummy which he is continually thumping on the under side of the table for the purpose of showing the sitter that the slates are there all the time.

"It is not necessary that you should use a cellar to get this phase of 'independent slate-writing.' You could place your table against a partition door and by fitting one of the small panels with hinges and bolts, would have a very convenient way of obtaining the assistance of the spirit in the next room. It is also possible to make a trap in a room that has a wooden wainscoting."

Before closing this brief survey of slate-writing experiments, I must describe an exceedingly ingenious trick, indeed, bordering on the marvelous. It is the recent invention of a Western conjurer, and solves the problem of actually writing between locked slates by physical means. The effect is as follows: You request the sitter to take two slates, wash them carefully, and tie them together, after first having placed a bit of chalk between their surfaces. Hold them under the table for a minute, and then hand them to the sitter for examination. A name, or a short sentence, in answer to some question, will be found scrawled across the upper surface of the bottom slate. It is accomplished in this way. You take a small pellet of iron or steel, coat it with mucilage, and dip it into chalk or slate-pencil dust. This dust will adhere and harden into a consistent mass, after a little while, completely concealing the metal, and causing the whole to resemble a bit of chalk. Take this supposed pellet of chalk from your vest pocket and place it between the slates; hold the latter level beneath a table, and by moving the poles of a strong magnet against the surface of the under slate, you can cause the iron or steel to write a name or sentence, thanks to its coating of chalk dust. It is better to use slates with rather deep frames, in order that the chalked metal may write with facility. It requires considerable practice to write with ease in the manner described above. The first thing of course is to locate the position of the chalk between the locked slates. To enable you to do this, place the supposed chalk in one corner of slate No. 1 before covering with slate No. 2, or else exactly in the center of slate No. 2. In this way you will have no difficulty in affecting the metal with the magnet, when the slates are held under the table. There are various ways of holding the slates; one, is to ask the sitter to hold one end, while you hold the other, five or six inches above the table. The light is put out, and you take the magnet from your pocket and execute the writing. The noise of the magnet passing over the surface of the under slate serves to represent a disembodied spirit as doing the writing.