Chapter 4 Tying and Holding Mediums.

THE DAVENPORT BROTHERS.

Ira Erastus and William Henry Davenport were born at Buffalo, N. Y., the former on Sept. 17, 1839, and the latter on February 1, 1841. Their father, Ira Davenport, was in the police detective department, and, it is alleged, invented the celebrated rope-tying feats after having seen the Indian jugglers of the West perform similar illusions. The usual stories about ghostly phenomena attending the childhood of mediums were told about the Davenport Brothers, but it was not until 1855 that they started on their tour of the United States, with their father as showman or spiritual lecturer. When the Civil War broke out, the Brothers, accompanied by Dr. J. B. Ferguson, formerly an Independent minister of Nashville, Tenn., in the capacity of lecturer, and a Mr. Palmer as general agent and manager, went to England to exhibit their mediumistic powers, following the example of D. D. Home. With the company also was a Buffalo boy named Fay, of German-American parentage, who had formerly acted as ticket-taker for the mediums. He discovered the secret of the rope-tying feat, and was an adept at the coat feat, so he was employed as an "under-study" in case of the illness of William Davenport, who was in rather delicate health. The Brothers Davenport at this period, aged respectively 25 and 23 years, had "long black curly hair, broad but not high foreheads, dark eyes, heavy eye-brows and moustaches, firm set lips, and a bright, keen look." Their first performance in England was given at the Concert Rooms, Hanover Square, London, and created intense excitement.

Punch called the furore over the spirit rope-tyers the "tie-fuss fever," and said the mediums were "Ministers of the Interior, with a seat in the Cabinet." J. N. Maskelyne, the London conjurer of Egyptian Hall, wrote of them: "About the Davenport Brothers' performances, I have to say that they were and still remain the most inexplicable ever presented to the public as of spiritual origin; and had they been put forth as feats of jugglery would have awakened a considerable amount of curiosity though certainly not to the extent they did."

In September, 1865, the Brothers arrived in Paris, and placarded the city with enormous posters announcing that the Brothers Davenport, spirit-mediums, would give a series of public séances at the Salle Herz. Their reputation had preceded them to France and the boulevardiers talked of nothing but the wonderful American mediums and their mysterious cabinet. Before exhibiting in Paris the Davenports visited the Chateau de Gennevilliers, whose owner was an enthusiastic believer in Spiritism, and gave a séance before a select party of journalists and scientific men. The exhibition was pronounced marvellous in the extreme and perfectly inexplicable.

The Parisian press was divided on the subject of the Davenports and their advertised séances. Some of the papers protested against such performances on the ground that they were dangerous to the mental health of the public, and, one writer said, "Particularly to those weaker intellects which are always ready enough to accept as gospel the tricks and artifices of the adepts of sham witchcraft." M. Edmond About, the famous journalist and novelist, in the Opinion Nationale, wrote a scathing denunciation of Spiritism, but all to no purpose, except to inflame public curiosity.

The performances of the Davenports were divided into two parts: (1) The light séance, (2) the dark séance. In the light séance a cabinet, elevated from the stage by three trestles, was used. It was a simple wooden structure with three doors. In the centre door was a lozenge-shaped window covered with a curtain. Upon the sides of the cabinet hung various musical instruments, a guitar, a violin, horns, tambourines, and a big dinner bell.

FIG. 22. THE DAVENPORT BROTHERS IN THEIR CABINET.

A committee chosen by the audience tied the mediums' hands securely behind their backs, fastened their legs together, and pinioned them to their seats in the cabinet, and to the cross rails with strong ropes. The side doors were closed first, then the center door, but no sooner was the last fastened, than the hands of one of the mediums were thrust through the window in the centre door. In a very short time, at a signal from the mediums, the doors were opened, and the Davenports stepped forth, with the ropes in their hands, every knot untied, confessedly by spirit power. The astonishment of the spectators amounted to awe. On an average it took ten minutes to pinion the Brothers; but a single minute was required for their release. Once more the mediums went into the cabinet, this time with the ropes lying in a coil at their feet. Two minutes elapsed. Hey, presto! the doors were opened, and the Davenports were pronounced by the committee to be securely lashed to their seats. Seals were affixed to the knots in the ropes, and the doors closed as before. Pandemonium reigned. Bells were rung, horns blown, tambourines thumped, violins played, and guitars vigorously twanged. Heavy rappings also were heard on the ceiling, sides and floor of the cabinet, then after a brief but absolute silence, a bare hand and arm emerged from the lozenge window, and rung the big dinner bell. On opening the doors the Brothers were found securely tied as before, and seals intact. An amusing feature of the exhibition occurred when a venturesome spectator volunteered to sit inside of the cabinet between the two mediums. He came out with his coat turned inside out and his hat jammed over his eyes. In the dark séance the cabinet was dispensed with and the spectators, holding hands, formed a ring around the mediums. The lights were put out and similar phenomena took place, with the addition of luminous hands, and musical instruments floating in the air.

Robert-Houdin wrote an interesting brochure on the Davenports, ("Secrets of Stage Conjuring," translated by Prof. Hoffmann) from which I take the following: "The ropes used by the Davenport Brothers are of a cotton fibre; and they present therefore smooth surfaces, adapted to slip easily one upon another. Gentlemen are summoned from the audience to tie the mediums. Now, tell me, is it an easy task for an amateur to tie a man up off-hand with a rope three yards long, in a very secure way? The amateur is flurried, self-conscious, anxious to acquit himself well of the business, but he is a gentleman, not a brute, and if one of the Brothers sees the ropes getting into a dangerous tangle, he gives a slight groan, as if he were being injured, and the instantaneous impulse of the other man is to loosen the cord a trifle. A fraction of an inch is an invaluable gain in the after-business of loosening the ropes. Sometimes the stiffening of a muscle, the raising of a shoulder, the crooking of a knee, gives all the play required by the Brothers in ridding themselves of their bonds. Their muscles and joints are wonderfully supple, too; the thumbs can be laid flat in the palm of the hand, the hand itself rounded until it is no broader than the wrist, and then it is easy to pull through. Violent wrenches send the ropes up toward the shoulder, vigorous shakings get the legs free; the first hand untied is thrust through the hole in the door of the cabinet, and then returns to give aid to more serious knots on his own or his brother's person. In tying themselves up the Davenports used the slip-knot, a sort of bow, the ends of which have only to be pulled to be tightened or loosened."

This slip-knot is a very ingenious affair. (See Fig. 23.) In performing the spirit-tying, the mediums went into the cabinet with the ropes examined by the audience lying coiled at their feet. The doors were closed. They had concealed about their persons ropes in which these trick knots were already adjusted, and with which they very speedily secured themselves, having first secreted the genuine ropes. Then the doors were opened. Seals were affixed to the knots, but this sealing, owing to the position of the hands, and the careful exposition of the knots did not affect the slipping of the ropes sufficiently to prevent the mediums from removing and replacing their hands.

NO. 23. TRICK-TIE IN CABINET WORK.

In the dark séance, flour was sometimes placed in the pinioned hands of the Davenports. On being released from their bonds, the flour was found undisturbed.

This was considered a convincing test; for how could the Brothers possibly manipulate the musical instruments with their hands full of flour. One day a wag substituted a handful of snuff for flour, and when the mediums were examined, the snuff had disappeared and flour taken its place. As will be understood, in the above test the Davenports emptied the flour from their hands into secret pockets and at the proper moment took out cornucopias of flour and filled their hands again before securing themselves in the famous slip-knots.

Among the exposés of the Brothers Davenport, Herrmann, the conjurer, gives the following in the Cosmopolitan Magazine: "The Davenports, for thirteen years, in Europe and America, augmented the faith in Spiritualism. Unfortunately for the Davenports they appeared at Ithaca, New York, where is situated Cornell University. The students having a scientific trend of mind, provided themselves before attending the performance with pyrotechnic balls containing phosphorus, so made as to ignite suddenly with a bright light. During the dark séance when the Davenports were supposed to be bound hand and foot within the closet and when the guitars were apparently floating in the air, the students struck their lights, whereupon the spirits were found to be no other than the Davenports themselves, dodging about the stage brandishing guitars and playing tunes and waving at the same time tall poles surmounted by phosphorescent spook pictures."

The Davenports had some stormy experiences in Paris, but managed to come through all successfully, with plenty of French gold in their pockets. William died in October, 1877, at the Oxford Hotel, Sydney, Australia, having publicly denounced Spiritualism. Mr. Fay took to raising sheep in Australia, while Ira Davenport drifted back to his old home in Buffalo, New York.

Many mediums, taking the cue from the Davenports, have performed the cabinet act with its accompanying rope-tying, but the conjurers (anti-spiritists) have, with the aid of mechanism, brought the business to a high degree of perfection, notably Mr. J. Nevil Maskelyne, of Egyptian Hall, London, and Mr. Harry Kellar, of the United States. Writing of the Davenport Brothers, Maskelyne says:

"The instantaneous tying and untying was simply marvellous, and it utterly baffled everyone to discover, until, on one occasion, the accidental falling of a piece of drapery from a window (the lozenge-shaped aperture in the door of the cabinet), at a critical moment let me into the secret. I was able in a few months to reproduce every item of the Davenports' cabinet and dark séance. So close was the resemblance to the original, that the Spiritualist had no alternative but to claim us (Maskelyne and Cooke) as most powerful spirit mediums who found it more profitable to deny the assistance of spirits."

Robert-Houdin's explanation of the slip-knot, used by the Davenports in their dark séance, is the correct one, but he failed to fathom the mystery of the mode of release of the Brothers after they were tied in the cabinet by a committee selected from the audience. Anyone trying to extricate himself from bondage a la Houdin, no matter how slippery and serpentine he be, would find it exceedingly difficult. It seems almost incredible, but trickery was used in the light séance, as well as the dark. Maskelyne, as quoted above, claimed to have penetrated the mystery, but he kept it a profound secret-though he declared that his cabinet work was trickery. The writer is indebted for an initiation into the mysteries of the Davenport Brothers' rope-tying to Mr. H. Morgan Robinson (Professor Helmann), of Washington, D. C., a very clever prestidigitateur.

In the year 1895, after an unbroken silence of nineteen years, Fay, ex-assistant of the Davenports, determined to resume the profession of public medium. He abandoned his sheep ranch and hunted up Ira Davenport. They gave several performances in Northern towns, and finally landed at the Capital of the Nation, in the spring of 1895, and advertised several séances at Willard's Hall. A very small audience greeted them on their first appearance. Among the committee volunteering to go on the stage and tie the mediums were the writer and Mr. Robinson. After the séance the prestidigitateur fully explained the modus operandi of the mystic tie, which is herein for the first time correctly given to the public.

The medium holds out his left wrist first and has it tied securely, about the middle of the rope. Two members of the committee are directed to pull the ends of the cord vigorously. "Are you confident that the knots are securely tied?" he asks; when the committee respond "yes," he puts his hand quickly behind him, and places against the wrist, the wrist of his right hand, in order that they may be pinioned together. During this rapid movement he twists the rope about the knot on his left wrist, thereby allowing enough slack cord to disengage his right hand when necessary. To slip the right hand back into place is an easy matter. After both hands are presumably tied, the medium steps into the cabinet; the ends of the rope are pushed through two holes in the chair or wooden seat, by the committee and made fast to the medium's legs. Bells ring, horns blow, and the performer's hand is thrust through the window of the cabinet. Finally a gentleman is requested to enter the cabinet with the medium. The doors are locked and a perfect pandemonium begins; when they are opened the volunteer assistant tumbles out in great trepidation. His hat is smashed over his eyes, his cravat is tied around his leg, and he is found to have on the medium's coat, while the medium wears the gentleman's coat turned inside out. It all appears very remarkable, but the mystery is cleared up when I state that the innocent looking gentleman is invariably a confederate, what conjurers call a plant, because he is planted in the audience to volunteer for the special act.

Ira and William Davenport were tied in the manner above described. Often one of the Brothers allowed himself to be genuinely pinioned, after having received a preconcerted signal from his partner that all was right, i. e., the partner had been fastened by the trick tie, calling attention to the knots in the cord, etc. The trick tie, however, is so delusive, that it is impossible to penetrate the secret in the short time allowed the committee for investigation, and there is no special reason for permitting a genuine tie-up. Once in a great while, the Davenports were over-reached by clever committee-men and tied up so tightly that there was no getting loose. Where one brother failed to execute the trick and was genuinely fastened, the other medium performed the spirit evolutions, and cut his "confrere" loose before they came out of the cabinet.

The Fay-Davenport revival proved a failure, and the mediums dissolved partnership in Washington. Kellar, the magician and former assistant of the original Davenport combination, by a curious coincidence was giving his fine conjuring exhibition in the city at the same time. His tricks far eclipsed the feeble revival of the rope-tying phenomena. The fickle public crowded to see the magician and neglected the mediums.

ANNIE EVA FAY.

One of the most famous of the materializing mediums now exhibiting in the United States is Annie Eva Fay. She is quite an adept at the spirit-tying business, and like the Davenports, uses a cabinet on the stage, but her method of tying, though clever, is inferior to that used by the Brothers in their balmy days. In the center of the Fay cabinet (a plain, curtained affair) is a post firmly screwed to the stage. The medium permits a committee of two from the audience to tie her to this post, and seal the bandages about her wrists with court plaster. She then takes her seat upon a small stool in front of the stanchion; the musical instruments are placed on her lap, and the curtains of the cabinet closed. Immediately the evidences of spirit power begin: the bell is jingled, the tambourine thumped, and the sound of a horn heard, simultaneously.

The Fay method of tying is designed especially to facilitate the medium's actions. Cotton bandages are used, and the committee are invited to sew the knots through and through. Each wrist is tied with a bandage, about an inch and a half wide by a half yard in length; and the medium then clasps her hands behind her, so that her wrists are about six inches apart. The committee now proceed to tie the ends of the bandages firmly together, and, after this is accomplished, the dangling pieces of the bandages are clipped off. It is true, the medium is firmly bound by this process, and it would be physically impossible for her to release herself, without disturbing the sewing and the seals, but it is not intended for her to release herself at all; the method pursued being altogether different from the old species of rope-tying. All being secure, the committee are requested to pass another bandage about the short ligature between the lady's wrists, and tie it in double square knots, and firmly secure this to a ring in the post of the cabinet, the medium being seated on a stool in front of the stanchion, facing the audience. Her neck is likewise secured to the post by cotton bandages and her feet fastened together with a cord, the end of which passes out of the cabinet and is held by one of the committee.

The peculiar manner of holding the hands, described above, enables the medium to secure for her use, a ligature of knotted cloth between her hands, some six inches long; and the central bandage, usually tied in four or five double knots, gives her about two inches play between the middle of the cotton handcuffs and the ring in the post, to which it is secured. The ring is two and a half inches in diameter, and the staple which holds it to the stanchion is a half inch. The left hand of the medium gives six additional inches, and the bandage on her wrist slips readily along her slender arm nearly half way to the elbow-"all of which," says John W. Truesdell,[3] who was the first to expose Miss Fay's spirit pretensions, "gives the spirits a clear leeway of not less than 20 inches from the stanchion. The moment the curtain is closed, the medium, under spirit influence spreads her hands as far apart as possible, an act which stretches the knotted ligature so that the bandage about it will easily slip from the centre to either wrist; then, throwing her lithe form by a quick movement, to the left, so that her hips will pass the stanchion without moving her feet from the floor, the spirits are able, through the medium, to reach whatever may have been placed upon her lap."

One of Annie Eva's most convincing tests is the accordion which plays, after it has been bound fast with tapes and the tapes carefully sealed at every note, so as to prevent its being performed on in the regular manner. Her method of operating, though simple, is decidedly ingenious. She places a small tube in the valve-hole of the instrument, breathes and blows alternately into it, and then by fingering the keys, executes an air with excellent effect.

Sometimes she places a musical box on an oblong plate of glass suspended from the ceiling by four cords. The box plays and stops at word of command, much to the astonishment of listeners. "Electricity," exclaims the reader! Hardly so, for the box is completely insulated on the sheet of glass. Then how is it done? Mr. Asprey Vere, an investigator of spirit phenomena, tells the secret in the following words: ("Modern Magic"). "In the box there is placed a balance lever which when the glass is in the slightest degree tilted, arrests the fly-fan, and thus prevents the machinery from moving. At the word of command the glass is made level, and the fly-fan being released, the machinery moves, and a tune is played. When commanded to stop, either side of the cord is pulled by a confederate behind the scenes, the balance lever drops, the fly-fan is arrested, and the music stops."

One of the tests presented to the American public by this medium is the "spirit-hand," constructed of painted wood or papier mache, which raps out answers to questions, after it has been isolated from all contact by being placed on a sheet of glass supported on the backs of two chairs.

It is a trick performed by every conjurer, and the secret is a piece of black silk thread, worked by confederates stationed in the wings of the theatre, one at the right, the other at the left. The thread lies along the stage when not in use, but at the proper cue from the medium, it is lifted up and brought in contact with the wooden hand. The hand is so constructed that the palm lies on the glass sheet and the wrist, with a fancy lace cuff about it, is elevated an inch above the glass, the whole apparatus being so pivoted that a pressure of the thread from above will depress the wrist and elevate the palm. When the thread is relaxed the hand comes down on the glass with a thump and makes the spirit rap which is so effective. A rapping skull made on similar principles is also in vogue among mediums.

CHARLES SLADE.

Annie Eva Fay has a rival in Charles Slade, who is a clever performer and a most convincing talker. His cabinet test is the same as Miss Fay's, but he has other specialties that are worth explaining-one is the "table-raising," and another is the "spirit neck-tie." The effect of the first experiment is as follows: Slade, with his arms bared and coat removed, requests several gentlemen to sit around a long table, reserving the head for himself. Hands are placed on the table, and developments awaited. "Do you feel the table raising?" asks the medium, after a short pause. "We do!" comes the response of the sitters. Slade then rises; all stand up, and the table is seen suspended in the air, about a foot from the floor of the stage. In a little while an uncontrollable desire seems to take possession of the table to rush about the stage. Frequently the medium requests several persons to get on the table, but that has no effect whatever. The same levitation takes place. The secret of this surprising mediumistic test is very simple. In the first place, the man who sits at the foot of the table is a confederate. Both medium and confederate wear about their waists wide leather belts, ribbed and strengthened with steel bands, and supported from the shoulders by bands of leather and steel. In the front of each belt is a steel hinge concealed by the vest of the wearer. In the act of sitting down at the table the medium and his confederate quickly pull the hinges which catch under the top of the table when the sitters rise. The rest of the trick is easily comprehended. When the levitation act is finished the hinges are folded up and hidden under the vests of the performers.

The "spirit neck-tie" is one of the best things in the whole range of mediumistic marvels, and has never to my knowledge been exposed. A rope is tied about the medium's neck with the knots at the back and the ends are thrust through two holes in one side of the cabinet, and tied in a bow knot on the outside. The holes in the cabinet must be on a level with the medium's neck, after he is seated. The curtains of the cabinet are then closed, and the committee requested to keep close watch on the bow-knot on the outside of the cabinet. The assistant in a short time pulls back the curtain from the cabinet on the side farthest from the medium, and reveals a sheeted figure which writes messages and speaks to the spectators. Other materializations take place. The curtain is drawn. At this juncture the medium is heard calling: "Quick, quick, release me!" The assistant unfastens the bow-knot, the ends of the rope are quickly drawn into the cabinet, and the medium comes forward, looking somewhat exhausted, with the rope still tied about his neck. The question resolves itself into two factors-either the medium gets loose the neck-tie and impersonates the spirits or the materializations are genuine. "Gets loose! But that is impossible," exclaim the committee, "we watched the cord in the closest way." The secret of this surprising feat lies in a clever substitution. The tie is genuine, but the medium, after the curtains of the cabinet are closed, cuts the cord with a sharp knife, just about the region of the throat, and impersonates the ghosts, with the aid of various wigs and disguises concealed about him. Then he takes a second cord from his pocket, ties it about his neck with the same number of knots as are in the original rope and twists the neck-tie around so that these knots will appear at the back of his neck. Now, he exclaims, "Quick, quick, unfasten the cord." As soon as his assistant has untied the simple bow knot on the outside of the cabinet, the medium quickly pulls the genuine rope into the cabinet and conceals it in his pocket.

When he presents himself to the spectators the rope about his neck (presumed to be the original) is found to be correctly tied and untampered with. Much of the effect depends on the rapidity with which the medium conceals the original cord and comes out of the cabinet. The author has seen this trick performed in parlors, the holes being bored in a door.

Charles Slade makes a great parade in his advertisements about exposing the vulgar tricks of bogus mediums, but he says nothing about the secrets of his own pet illusions. His exposés are made for the purpose of enhancing his own mediumistic marvels.

I insert a verbatim copy of the handbills with which he deluges the highways and byways of American cities and towns.

SLADE

Will fully demonstrate the various methods employed by such renowned spiritualistic mediums as Alex. Hume, Mrs. Hoffmann, Prof. Taylor, Chas. Cooke, Richard Bishop, Dr. Arnold, and various others,

IN PLAIN, OPEN LIGHT.

Every possible means will be used to enlighten the auditor as to whether these so-called wonders are enacted through the aid of spirits or are the result of natural agencies.

SUCH PHENOMENA AS

Spirit Materializations,

Marvelous Superhuman Visions,

Spiritualistic Rappings,

Slate Writing,

Spirit Pictures,

Floating Tables and Chairs,

Remarkable Test of the Human Mind,

Second Sight Mysteries,

A Human Being Isolated from Surrounding Objects

Floating in Mid-Air.

Committees will be selected by the audience to assist SLADE, and to report their views as to the why and wherefore of the many strange things that will be shown during the evening. This is done so that every person attending may learn the truth regarding the tests, whether they are genuine, or caused by expert trickery.

Do not class or confound SLADE with the numerous so-called spirit mediums and spiritual exposers that travel through the country, like a set of roaming vampires, seeking whom they may devour. It is SLADE'S object in coming to your city to enlighten the people one way or the other as to the real

TRUTH CONCERNING THESE MYSTERIES.

Scientific men, and many great men, have believed there was a grain of essential truth in the claims of Spiritualism. It was believed more on the account of the want of power to deny it than anything else. The idea that under some strained and indefinable possibilities the spirit of the mortal man may communicate with the spirit of the departed man is something that the great heart of humanity is prone to believe, as it has faith in future existence. No skeptic will deny any man's right to such a belief, but this little grain of hope has been the foundation for such extensive and heartless mediumistic frauds that it is constantly losing ground.

A NIGHT OF

Wonderful Manifestations

The Veil Drawn

So that all may have an insight into the

Spirit World

And behold many things that are

Strange and Startling.

The Clergy, the Press, Learned Synods and Councils, Sage Philosophers and Scientists, in fact, the whole world have proclaimed these Philosophical Idealisms to be an astounding

FACT.

YOU ARE BROUGHT

Face to Face with the Spirits.

A SMALL ADMISSION WILL BE CHARGED TO DEFRAY EXPENSES.

PIERRE L. O. A. KEELER.

Pierre Keeler's fame as a producer of spirit phenomena rests largely upon his materializing séances. It was his materializations that received the particular attention of the Seybert Commission. The late Mr. Henry Seybert, who was an ardent believer in modern Spiritualism, presented to the University of Pennsylvania a sum of money to found a chair of philosophy, with the proviso that the University should appoint a commission to investigate "all systems of morals, religion or philosophy which assume to represent the truth, and particularly of modern Spiritualism." The following gentlemen were accordingly appointed, and began their investigations: Dr. William Pepper, Dr. Joseph Leidy, Dr. George A. Koenig, Prof. R. E. Thompson, Prof. George S. Fullerton, and Dr. Horace H. Furness. Subsequently others were added to the commission-Dr. Coleman Sellers, Dr. James W. White, Dr. Calvin B. Kneer, and Dr. S. Weir Mitchell. Dr. Pepper, Provost of the University, was ex-officio chairman; Dr. Furness, acting chairman, and Prof. Fullerton, secretary.

Keeler's materializations are thus described in the report of the commission:

"On May 27 the Seybert commission held a meeting at the house of Mr. Furness at 8 p. m., to examine the phenomena occurring in the presence of Mr. Pierre L. O. A. Keeler, a professional medium.

"The medium, Mr. Keeler, is a young man, with well cut features, curly brown hair, a small sandy mustache, and rather worn and anxious expression; he is strongly built, about 5 feet 8 inches high, and with rather short, quite broad, and very muscular hands and strong wrists. The hands were examined by Dr. Pepper and Mr. Fullerton after the séance.

"The séance was held in Mr. Furness' drawing-room, and a space was curtained off by the medium in the northeast corner, thus, (Fig. 25):

FIG. 25. PIERRE KEELER'S CABINET SEANCE.

"The curtain is represented by A, B; C, D and E are three chairs, placed in front of the curtain by the medium, in one of which (E) he afterwards sat; G denotes the position of Mrs. Keeler; F is a small table, placed within the curtain, and upon which was a tambourine, a guitar, two bells, a hammer, a metallic ring; the stars show the positions of the spectators, who sat in a double row-the two stars at the top facing the letter A indicate the positions taken by Mrs. Kase and Col. Kase, friends of Mr. Keeler, according to the directions of the medium.

"The curtain, or rather curtains, were of black muslin, and arranged as follows: There was a plain black curtain, which was stretched across the corner, falling to the floor. Its height, when in position, was 53 inches; it was made thus:

FIG. 26. PIERRE KEELER'S CABINET CURTAIN.

"The cord which held the curtain was 1, 2, and the flaps which are represented as standing above it (A, B, C, etc.), fell down over A1, B1, C1, etc., and could be made to cover the shoulders of one sitting with his back against the curtain. A black curtain was also pinned against the wall, in the space curtained off, partly covering it. Another curtain was added to the one pictured, as will be described presently.

"The medium asked Col. Kase to say a few words as to the necessity of observing the conditions, need of harmony, etc. And then the medium himself spoke a few words of similar import. He then drew the curtain along the cord (1, 2,) and fastened it; placed three wooden chairs in front of the curtain, as indicated in the diagram, and, saying he needed to form a battery, asked Miss Agnes Irwin to sit in chair D, and Mr. Yost in chair C, the medium himself sitting in chair E. A black curtain was then fastened by Mrs. Keeler over Mr. Keeler, Miss Irwin and Mr. Yost, being fastened at G, between E and D, between D and C, and beyond A; thus entirely covering the three sitting in front of the stretched curtain up to their necks; and when the flaps before mentioned were pulled down over their shoulders, nothing could be seen but the head of each.

"Before the last curtain was fastened over them, the medium placed both his hands upon the forearm and wrist of Miss Irwin, the sleeve being pulled up for the purpose, and Miss Irwin grasped with her right hand the left wrist of Mr. Yost, his right hand being in sight to the right of the curtain.

"After some piano music the medium said he felt no power from this 'battery,' and asked Mrs. E. D. Gillespie to take Miss Irwin's place. Hands and curtains were arranged as before. The lights were turned down until the room was quite dim. During the singing the medium turned to speak to Mr. Yost, and his body, which had before faced rather away from the two other persons of the 'battery' (which position would have brought his right arm out in front of the stretched curtain), was now turned the other way, so that had he released his grasp upon Mrs. Gillespie's arm, his own right arm could have had free play in the curtained space behind him. His left knee also no longer stood out under the curtain in front, but showed a change of position.

"At this time Mrs. Gillespie declared she felt a touch, and soon after so did Mr. Yost. The medium's body was distinctly inclined toward Mr. Yost at this time. Mrs. Gillespie said she felt taps, but declared that, to the best of her knowledge, she still felt the medium's two hands upon her arm.

"Raps indicated that the spirit, George Christy, was present. As one of those present played on the piano, the tambourine was played in the curtained space and thrown over the curtain; bells were rung; the guitar was thrummed a little. At this time the medium's face was toward Mrs. Gillespie, and his right side toward the curtain. His body was further in against the curtain than either of the others. Upon being asked, Mrs. Gillespie then said she thought she still felt two hands upon her arm.

"The guitar was then thrust out, at least the end of it was, at the bottom of the curtain, between Mrs. Gillespie and the medium. Mrs. Keeler drawing the curtain from over the toes of the medium's boots, to show where his feet were; the guitar was thrummed a little. Had the medium's right arm been free the thrumming could have been done quite easily with one hand. Afterward the guitar was elevated above the curtain; the tambourine, which was by Mrs. Keeler placed upon a stick held up within the inclosure, was made to whirl by the motion of the stick. The phenomena occurred successively, not simultaneously.

"When the guitar was held up, and when the tambourine was made to whirl, both of these were to the right of the medium, chiefly behind Mrs. Gillespie; they were just where they might have been produced by the right arm of the medium, had it been free. Two clothes-pins were then passed over the curtain, and they were used in drumming to piano music. They could easily be used in drumming by one hand alone, the fingers being thrust into them. The pins were afterward thrown out over the curtain. Mr. Sellers picked one up as soon as it fell, and found it warm in the split, as though it had been worn. The drumming was probably upon the tambourine.

"A hand was seen moving rapidly with a trembling motion-which prevented it from being clearly observed-above the back curtain, between Mr. Yost and Mrs. Gillespie. Paper was passed over the curtain into the cabinet and notes were soon thrown out. The notes could have been written upon the small table within the enclosure by the right hand of the medium, had it been free. Mrs. Keeler then passed a coat over the curtain, and an arm was passed through the sleeve, the fingers, with the cuff around them being shown over the curtain. They were kept moving, and a close scrutiny was not possible.

"Mr. Furness was then invited to hold a writing tablet in front of the curtain, when the hand, almost concealed by the coat-sleeve and the flaps mentioned as attached to the curtain, wrote with a pencil on the tablet. The writing was rapid, and the hand, when not writing, was kept in constant, tremulous motion. The hand was put forth, in this case not over the top curtain, but came from under the flap, and could easily have been the medium's right hand were it disengaged, for it was about on a level with his shoulder and to his right, between him and Mrs. Gillespie. Mr. Furness was allowed to pass his hand close to the curtain and grasp the hand for a moment. It was a right hand.

"Soon after the medium complained of fatigue, and the sitting was discontinued. It was declared by the Spiritualists present to be a fairly successful séance. When the curtains were removed the small table in the enclosure was found to be overturned, and the bells, hammer, etc., on the floor.

"It is interesting to note the space within which all the manifestations occurred. They were, without exception, where they would have been had they been produced by the medium's right arm. Nothing happened to the left of the medium, nor very far over to the right. The sphere of activity was between the medium and Mr. Yost, and most of the phenomena occurred, as, for example, the whirling of the tambourine, behind Mrs. Gillespie.

"The front curtain-that is, the main curtain which hung across the corner-was 85 inches in length, and the cord which supported it 53 inches from the floor. The three chairs which were placed in front of it were side by side, and it would not have been difficult for the medium to reach across and touch Mr. Yost. When Mrs. Keeler passed objects over the curtain, she invariably passed them to the right of the medium, although her position was on his left; and the clothes-pins, paper, pencil, etc., were all passed over at a point where the medium's right hand could easily have reached them.

"To have produced the phenomena by using his right hand the medium would have had to pass it under the curtain at his back. This curtain was not quite hidden by the front one at the end, near the medium, and this end both Mr. Sellers and Dr. Pepper saw rise at the beginning of the séance. The only thing worthy of consideration, as opposed to a natural explanation of the phenomena, was the grasp of the medium's hand on Mrs. Gillespie's arm.

"The grasp was evidently a tight one above the wrist, for the arm was bruised for about four inches. There was no evidence of a similar pressure above that, as the marks on the arm extended in all about five or six inches only. The pressure was sufficient to destroy the sensibility of the forearm, and it is doubtful whether Mrs. Gillespie, with her arm in such a condition could distinguish between the grasp of one hand, with a divided pressure (applied by the two last fingers and the thumb and index) and a double grip by two hands. Three of our number, Mr. Sellers, Mr. Furness, and Dr. White, can, with one hand, perfectly simulate the double grip.

"It is specially worthy of note that Mrs. Gillespie declared that, when the medium first laid hold of her arms with his right hand before the curtain was put over them, it was with an undergrip, and she felt his right arm under her left. But when the medium asked her if she felt both his hands upon her arm, and she said, yes, she could feel the grasp, but no arm under hers, though she moved her elbow around to find it-she felt a hand, but not an arm, and at no time during the séance did she find that arm.

"It should be noted that both the medium and Mr. Yost took off their coats before being covered with the curtain. It was suggested by Dr. Pepper that this might have been required by the medium as a precaution against movements on the part of Mr. Yost. The white shirt-sleeves would have shown against the black background."

I attended a number of Keeler's materializing exhibitions in Washington, D. C., in the spring of 1895, and it is my opinion that the writing of his so-called spirit messages is a simple affair, the very long and elaborate ones being written before the séance begins and the short ones by the medium during the sitting. The latter are done in a scrawling, uncertain hand, just such penmanship one would execute when blindfolded.

The evidence of Dr. G. H. La Fetra, of Washington, D. C., is sufficiently convincing on this point. Said Dr. La Fetra to me: "Some years ago I went with a friend, Col. Edward Hayes, to one of Mr. Keeler's light séances. It was rather early in the evening, and but few persons had assembled. Upon the mantel piece of the séance-room were several tablets of paper. Unobserved, I took up these tablets, one at a time, and drew the blade of my pen-knife across one end of each of them, so that I might identify the slips of paper torn therefrom by the nicks in them. In a little while, the room was filled with people, and the séance began; the gas being lowered to a dim religious light. When the time came for the writing, Mr. Keeler requested that some of the tablets of paper on the mantel be passed into the cabinet. This was done. Various persons present received 'spirit' communications, the slips of paper being thrown over the curtain of the cabinet by a 'materialized' hand. Some gentleman picked up the papers and read them, for the benefit of the spectators; afterwards he laid aside those not claimed by anybody. Some of these 'spirit' communications covered almost an entire slip. These were carefully written, some of them in a fine hand. The short messages were roughly scrawled. After the séance, Col. Hayes and myself quietly pocketed a dozen or more of the slips. The next morning at my office we carefully examined them. In every instance, we found that the well-written, lengthy messages were inscribed on unnicked slips, the short ones being written on nicked slips."

To me, this evidence of Dr. La Fetra seems most conclusive, proving beyond the shadow of a doubt that Keeler prepared his long communications before the séance and had them concealed upon his person, throwing them out of the cabinet at the proper moment. He used the nicked tablets for his short messages, written on the spot, thereby completely revealing his method of operating to the ingenious investigator.

The late Dr. Leonard Caughey, of Baltimore, Maryland, an intimate friend of the writer, made a specialty of anti-Spiritualistic tricks, and among others performed this cabinet test of Keeler's. He bought the secret from a broken-down medium for a few dollars, and added to it certain effects of his own, that far surpassed any of Keeler's. The writer has seen Dr. Caughey give the tests, and create the utmost astonishment. His improvement on the trick consisted in the use of a spring clasp like those used by gentlemen bicycle riders to keep their trousers in at the ankles. One end terminated in a soft rubber or chamois skin tip, shaped like a thumb, the other end had four representations of fingers. Two wire rings were soldered on the back of the clasp. This apparatus he had concealed under his vest. Before the curtain of the cabinet was drawn, Dr. Caughey grasped the arm of the lady on his right in the following manner: The thumb of his left hand under her wrist, the fingers extended above it; the thumb of his right hand resting on the thumb of the left, the fingers lightly resting on the fingers of the left hand. As soon as the curtain was fastened he extended the fourth and index fingers of the left hand to the fullest extent and pressed hard upon the lady's arm, relaxing at the same time the pressure of his second and third fingers. This movement exactly simulates the grasp of two hands, and enables the medium to take away his right hand altogether. Dr. Caughey then took his spring clasp, opened it by inserting his thumb and first finger in the soldered rings above mentioned, and lightly fastened it on the lady's arm near the wrist, relaxing the pressure of the first and fourth fingers of the left hand at the same moment. "I will slide my right hand along your arm, and grasp you near the elbow. It will relieve the pressure about your wrist; besides be more convincing to you that there is no trickery." So saying, he quickly slid the apparatus along her arm, and left it in the position spoken of. This produces a perfect illusion, the clasp with its trick thumb and fingers working to perfection.

This apparatus may also be used in the following manner: Roll up your sleeves and exhibit your hands to the sitter. Tell him you are going to stand behind him and grasp his arms firmly near the shoulders. Take your position immediately under the gas jet. Ask him to please lower the light. Produce the trick clasps, distend them by means of your thumbs and fingers, and after the gas is lowered, grasp the sitter in the manner described. Remove your fingers and thumbs lightly from the clasps and perform various mediumistic evolutions, such as writing a message on a pad or slate placed on the sitter's head; strike him gently on his cheek with a damp glove, etc. When the séance is over, insert your fingers and thumbs in the soldered rings, remove the clasps and conceal them quickly.

EUSAPIA PALADINO.

The materializing medium who has caused the greatest sensation since Home's death is Eusapia Paladino, an Italian peasant woman. Signor Damiani, of Florence, Italy, discovered her alleged psychical powers in 1875, and brought her into notice. An Italian Count was so impressed with the manifestations witnessed in the presence of the illiterate peasant woman, that he insisted upon "a commission of scientific men being called to investigate them." In the year 1884, this commission held séances with Eusapia, and afterwards declared that the phenomena witnessed were inexplicable, and unquestionably the result of forces transcending ordinary experience. In the year 1892 another commission was formed in Milan to test Eusapia's powers as a medium, and from this period her fame dates, as the most remarkable psychic of modern times. The report drawn up by this commission was signed by Giovanni Schiaparelli, director of the Astronomical Observatory, Milan; Carl du Prel, doctor of philosophy, Munich; Angelo Brofferio, professor of physics in the Royal School of Agriculture, Portici; G. B. Ermacora, doctor of physics; Giorgio Finzi, doctor of physics. At some of the sittings were present Charles Richet and the famous Cesare Lombroso. The conclusion arrived at by these gentlemen was that Eusapia's mediumistic phenomena were most worthy of scientific attention, and were unfathomable. The medium reaped the benefit of this notoriety, and gave sittings to hundreds of investigators among the Italian nobility, charging as high as $500 for a single séance. At last she was exposed by a clever American, Dr. Richard Hodgson, of Boston, secretary of the American branch of the Society for Psychical Research. His account of the affair, communicated to the New York Herald, Jan. 10, 1897, is very interesting. Speaking of the report of the Milan commission, he says:

FIG. 27. EUSAPIA PALADINO.

FIG. 28. EUSAPIA BEFORE THE SCIENTISTS.

"Their report confessed to seeing and hearing many strange things, although they believed they had the hands and feet of the psychic so closely held that she could have had nothing to do with the manifestations.

"Chairs were moved, bells were rung, imprints of fingers were made on smoked paper and soft clay, apparitions of hands appeared on slightly luminous backgrounds, the chair of the medium and the medium herself were lifted to the table, the sound of trumpets, the contact of a seemingly human face, the touch of human hands, warm and moist, all were felt.

"Most of these phenomena were repeated, and the members of the commission were, with two exceptions, satisfied that no known power could have produced them. Professor Richet did not sign the report, but induced Signora Eusapia to go to an island he owned in the Mediterranean, where other exacting tests were made under other scientific eyes. The investigators all agreed that the demonstrations could not be accounted for by ordinary forces.

"I have found in my experience that learned scientific men are the most easily duped of any in the world. Instead of having a cold, inert piece of matter to investigate by exact processes and microscopic inspections, they had a clever, bright woman doing her best to mystify them. They could not cope with her.

"Professor Richet replied to an article I wrote, upholding his position, and brought Signora Eusapia Paladino to Cambridge, England, where I joined the investigating committee. In the party were Professor Lodge, of Liverpool; Professor F. M. C. Meyer, secretary of the British Society for Psychical Research; Professor Richet and Mr. Henry Sedgwick, president of the society.

"I found that the psychic, though giving a great variety of events, confined them to a very limited scope. She was seated during the tests at the end of a rectangular table and when the table was lifted it rose up directly at the other end. It was always so arranged that she was in the dark, even if the rest of the table was in the light; in the so-called light séances it was not light, the lamp being placed in an adjoining room. There were touches, punches and blows given, minor objects moved, some near and some further away; the outline of faces and hands appeared, etc.

"When I came to hold her hands I found a key to the mystery.

"It was chiefly that she made one hand and one foot do the work of both, by adroit substitution. Given a free hand and a free foot, and nearly all the phenomena can be explained. She has very strong, supple hands, with deft fingers and great coolness and intelligence.

"This is the way she substituted one hand for both. She placed one of her hands over A's hand and the other under B's hand. Then, in the movements of the arms during the manifestation, she worked her hands toward each other until they rested one upon the other, with A's hand at the bottom of the pile, B's at the top and both her own, one upon the other, between. To draw out one hand and leave one and yet have the investigators feel that they still had a hand was easy.

"With this hand free and in darkness there were great possibilities. There were strings, also, as I believe, which were attached to different objects and moved them. The dim outlines of faces and hands seen were clever representations of the medium's own free hand in various shapes.

"It is thought that if a medium was kept clapping her hands she could do nothing with them, but one of the investigators found the Signora slapping her face with one hand, producing just the same sound as if her hands met, while the other hand was free to produce mysterious phenomena.

"I have tried the experiment of shifting hands when those who held them knew they were going to be tricked, and yet they did not discover when I made the exchange. I am thoroughly satisfied that Signora Eusapia Paladino is a clever trickster."

Eusapia Paladino was by no means disconcerted by Dr. Hodgson's exposé, but continued giving her séances. At the present writing she is continuing them in France with a number of new illusions. Many who have had sittings with her declare that she is able to move heavy objects without contact. Possibly this is due to jugglery, or it may be due to some psychic force as yet not understood.

F. W. TABOR.

Mr. F. W. Tabor is a materializing medium whose specialty is the trumpet test for the production of spirit voices. I had a sitting with him at the house of Mr. X, of Washington, D. C., on the night of Jan. 10, 1897. Seven persons, including the medium, sat around an ordinary-sized table in Mr. X-'s drawing room, and formed a chain of hands, in the following manner: Each person placed his or her hands on the table with the thumbs crossed, and the little fingers of each hand touching the little fingers of the sitters on the right and left. A musical box was set going and the light was turned out by Mr. X-, who broke the circle for that purpose, but immediately resumed his old position at the table. A large speaking trumpet of tin about three feet long had been placed upright in the center of the table, and near it was a pad of paper, and pencils. We waited patiently for some little time, the monotony being relieved by operatic airs from the music box, and the singing of hymns by the sitters. There were convulsive twitchings of the hands and feet of the medium, who complained of tingling sensations in those members. The first "phenomena" produced were balls of light dancing like will-o'-the-wisps over the table, and the materialization of a luminous spirit hand. Taps upon the table signalled the arrival of Mr. Tabor's spirit control, "Jim," a little newsboy, of San Francisco, who was run over some years ago by a street car. The medium was the first person who picked up the wounded waif and endeavored to administer to him, but without avail. "Jim" died soon after, and his disembodied spirit became the medium's control. Soon the trumpet arose from the table and floated over the heads of the sitters, and the voice of "Jim" was heard, sepulchral and awe-inspiring, through the instrument. Subsequently, messages of an impersonal character were communicated to Mr. X- and his wife. At one time the trumpet was heard knocking against the chandelier. During the séance several of the ladies experienced the clasp of a ghostly hand about their wrists, and considerable excitement was occasioned thereby.

It is not a difficult matter to explain this trumpet test. It hinges on one fact, freedom of the medium's right hand! In all of these holding tests, the medium employs a subterfuge to release his hands without the knowledge of the sitter on his right. During his convulsive twitchings, he quickly jerks his right hand away, but immediately extends the fingers of his left hand, and connects the index fingers with the little finger of the sitter's left hand, thereby completing the chain, or "battery," as it is technically called. Were the medium to use his thumb in making the connection the secret would be revealed, but the index finger of his left hand sufficiently simulates a little finger, and in the darkness the sitter is deceived. The right hand once released, the medium manipulates the trumpet and the phosphorescent spirit hands to his heart's content. Sometimes he utilizes the telescopic rod, or a pair of steel "crazy tongs," to elevate the trumpet to the ceiling. This holding test is absurdly simple and perhaps for that reason is so convincing.

Mr. Tabor has another method of holding which is far more deceptive than the above. I am indebted to the "Revelations of a Spirit Medium" for an explanation of this test. "The investigators are seated in a circle around the table, male and female alternating. The person sitting on the medium's right-for he sits in the circle-grasps the medium's right wrist in his left hand, while his own right wrist is held by the sitter on his right and this is repeated clear around the circle. This makes each sitter hold the right wrist of his left hand neighbor in his left hand, while his own right hand wrist is held in the left hand of his neighbor on the left. Each one's hands are thus secured and engaged, including the medium's. It will be seen that no one of the sitters can have the use of his or her hands without one or the other of their neighbors knowing it. As each hand was held by a separate person, you cannot understand how he [the medium] could get the use of either of them except the one on his right was a confederate. Such was not the case, and still he did have the use of one hand, the right one. But how? He took his place before the light was turned down, and those holding him say he did not let go for an instant during the séance. He did though, after the light was turned out for the purpose of getting his handkerchief to blow his nose. After blowing his nose he requested the sitter to again take his wrist, which is done, but this time it is the wrist of the left hand instead of the right. He has crossed his legs and there is but one knee to be felt, hence the sitter on the right does not feel that she is reaching across the right knee and thinks it is the left knee which she does feel to be the right. He has let his hand slip down until instead of holding the sitter on his left by the wrist he has him by the fingers, thus allowing him a little more distance, and preventing the left hand sitter using the hand to feel about and discover the right hand sitter's hand on the wrist of the hand holding his. You will see, now, that although both sitters are holding the same hand each one thinks he is holding the one on his or her side of the medium. The balance of the séance is easy."

An amusing incident happened during my sitting with Mr. Tabor. Growing somewhat weary waiting for him to "manifest," I determined to undertake some materializations on my own account. I adopted the subterfuge of getting my right hand loose from the lady on my right, and produced the spirit hand that clasped the wrist of several of the sitters in the circle. Mr. X- asked "Jim" if everything was all right in the circle, every hand promptly joined, and the magnetic conditions perfect. "Jim" responded with three affirmative taps on the table top. I congratulate myself on having deceived "Jim," a spirit operating in the fourth dimension of space, and supposedly cognizant of all that was transpiring at the séance. Once, when the medium was floating the trumpet over my head, I grasped the instrument and dashed it on the table. He made no further attempt to manipulate the trumpet in my direction, and very shortly brought the séance to a close. No written communications were received during the evening.