True Stories of Modern Magic

A Conjurer's Confessions
Deception Explained By The Science Of Psychology
Facing The Arab's Pistol
Fact And Fable In Psychology
Fraudulent Spiritualism Unveiled[1]
How Spirits Materialize
How The Tricks Succeeded
Matter Through Matter
Mind Reading In Public
Second Sight
Some Famous Exposures
The Magician Who Became An Ambassador
The Man In The Iron Mask
The Methods Of A Doctor Of The Occult
The Name Of The Dead

The Lock And Key Library

A Case Of Identity
A Conjurer's Confessions
A Flight Into Texas
A Formidable Weapon
A Mystery With A Moral
A Scandal In Bohemia
A Wish Unexpectedly Gratified
Addressed To The Advocate Who Defended Him At His Trial
Adventure Of The Black Fisherman
Adventures In The Secret Service Of The Post-office Department
An Aspirant For Congress
An Erring Shepherd
An Heiress From Redhorse
An Old Game Revived
By The Waters Of Paradise
Deception Explained By The Science Of Psychology
Facing The Arab's Pistol
Fact And Fable In Psychology
Fraudulent Spiritualism Unveiled[1]
His Wedded Wife
Horror: A True Tale
How Spirits Materialize
How The Tricks Succeeded
In The House Of Suddhoo
Introduction To A Mystery With A Moral
Introduction To Melmoth The Wanderer
Introduction To The Corpus Delicti
Matter Through Matter
Melmoth The Wanderer
Mind Reading In Public
My Own True Ghost Story
My Wife's Tempter
No 1 Branch Line: The Signal-man
On Being Found Out
Saint-germain The Deathless
Second Sight
Some Famous Exposures
The Avenger
The Baron's Quarry
The Closed Cabinet
The Corpus Delicti
The Dream Woman
The Fortune Of Seth Savage
The Fowl In The Pot
The Gold-bug
The Golden Ingot
The Great Valdez Sapphire
The Haunted And The Haunters Or The House And The Brain
The Hostler's Story Told By Himself
The Incantation
The Lost Duchess
The Magician Who Became An Ambassador
The Man And The Snake
The Man In The Iron Mask
The Methods Of A Doctor Of The Occult
The Minister's Black Veil
The Minor Canon
The Mortals In The House
The Name Of The Dead
The Notch On The Ax - A Story A La Mode
The Oblong Box
The Pavilion On The Links
The Pipe
The Puzzle
The Red-headed League
The Sending Of Dana Da
The Shadows On The Wall
The Story Continued By Percy Fairbank
Wieland's Madness
Wolfert Webber Or Golden Dreams

How Spirits Materialize

From "The Revelations of a Spirit Medium"--a book out of existence
now, since the plates and all copies were bought up by
"spiritualists" and destroyed. The following is given by courtesy
of Mr. Hereward Carrington:

Reader, have you ever attended a "seance" for "full-form
materialization?" Have you ever thought you had met your dead
relative's spirit at these "seances"?

If you have never had the pleasure of attending a seance of this
"phase" you have missed a rare treat. The writer has assisted at
many a one and will relate to you some of the wonderful phenomena
occurring at them and the means used to produce them. . . . There
are hundreds of "materializing mediums" doing business in this
country, who are swelling a good-sized bank account. Their
business sometimes runs into the hundreds of dollars in a single
week. This "phase" of mediumship is considered by the spiritual-
ists as the highest possible attainable, and if you are a clever
"full-form medium" your financial welfare is assured. . . . Many
and various are the methods employed by the different "mediums" in
producing this phase. It is in Boston, New York, and San Francisco
that it is worked the finest. The full-form seances most often met
with are very simply worked, and easy of performance by the medium.
You are usually given a seat in a circle of chairs about the front
of a "cabinet" made by hanging heavy curtains across the corner of
the room. If you are a stranger or one who looks or acts as though
he would "grab" the "spirits," you are seated at the farthest point
from the cabinet; or, if there are two rows of seats, you will be
given a seat in the back row. . . .

I made my way to the "materializing seance," at which my friends
hoped to materialize. I was admitted to the seance room and found
about twenty persons already assembled. I was seated in the front
row of chairs. The cabinet used was a closet about six feet long
and four feet wide. The ceiling of both the room and the cabinet
was of wood. After a thorough examination had been made of the
cabinet by all those who cared to do so, the sitters were
rearranged to suit the medium. There were present now thirty-five
persons. The seance room was very large. The door had been taken
off the closet that served as a cabinet, and in its stead were hung
heavy curtains. The floor of the room was carpeted with a dark
carpet, as was the cabinet. The light was furnished by a lamp
placed in a box that was fastened to the wall some eight feet from
the floor. This box had a sliding lid in front, controlled by a
cord passing into the cabinet. By this means the "spirits" could
regulate the light to suit themselves, without any movement on the
part of any of those in the seance room being necessary. When
everything was in readiness the medium entered the cabinet, seated
himself and was tied, and so secured to his chair that it was
impossible that he could have any use of himself. He was most
thoroughly secured to his chair, and his chair nailed fast to the
floor by passing leather straps over the rounds in the side and
nailing the ends to the floor. After it was shown to the sitters
that he was utterly helpless, the curtain was drawn. The manager
now placed an ordinary kitchen table in front of the door of the
cabinet, so that it stood away from it about two feet. The table
contained no drawer. On the table was laid writing materials, a
guitar, and small bell. The manager seated himself close to one
side of the cabinet entrance, and started a large Swiss music box.
Before it had finished the first air the lamp was shut entirely
off, making the room inky dark.

An illuminated hand and arm was now seen to come from behind the
curtain, and played an accompaniment to the music box on the
guitar. We could see plainly the movements of the hand, arm, and
fingers, as it manipulated the strings of the instrument. It did
not appear necessary to finger the strings on the keyboard,
although the air was in a key that made it impossible to tune the
guitar so that an accompaniment could be performed WITHOUT
fingering. However, but one hand was visible, and it was picking
the strings. After the tune was finished, the hand left the in-
strument, and moved out into the room to the front of the table,
and from the sound we knew it was writing on the tablet that had
been placed there. The arm was of bluish light and appeared to end
just above the elbow, and to have no connection with the body. It
finished writing and seemed to float into the cabinet near the top.

The light was opened and the manager requested those who had tied
the medium to examine his condition and see if the ropes had been
tampered with. The examination was made and it was evident that
the fastenings were undisturbed. The communication was read aloud
to those present, and contained the following:

"We are pleased to meet so many seekers after light and truth here
this evening, and, from the conditions, as we sense them, we will
have a satisfactory and pleasant seance. The way to obtain the
best results is for each person to maintain a passive condition and
take what we have to give. You may rest assured that our best
efforts will be put forth to give you entire satisfaction. The

The writing was exactly on the ruled lines although written in
absolute darkness. The hand and arm, although luminous, did not
give out a particle of light. The arm had been at least five feet
from the cabinet opening and seven feet from the medium. Surely,
it was not he. The message read, the light was again shut down and
the music again started.

Once more a hand appeared, and floating out to the table, again
began writing. Of a sudden the hand disappeared, and, after a few
seconds, I was astonished to feel a hand thrusting a paper into my
top coat pocket. Now appeared two hands and they played an air on
the guitar. Now came three, then four hands were visible, bright
as the day. Two of them began writing again, and, when they had
finished, two more sitters were the recipients of sheets of paper.
Soon the light was opened for an inspection of the cabinet, which
was made, with the conclusion that the medium had not moved. Those
of us receiving communications were afforded an opportunity to read
them. We found them nicely written, as before, and all contained
"tests." . . .

After the light went out again, more hands were seen; the table was
floated about over the heads of the circle, as was the music box,
which weighed at least fifty pounds. Another examination of the
cabinet was made and everything found satisfactory. This time the
light was not put entirely out, but a very dim light was allowed.

The music box was again set playing, and, while yet it was playing
the first tune, a tall figure, robed in creamy white, with gleaming
sparks in her hair, and on her head a sort of crown, issued from
the cabinet. She was recognized by a gentleman present, a
spiritualist, whose spirit guide she was, and who addressed her as
"my queen." She stood a few seconds behind the table and then
stepped out in the open space between the sitters and the table.
The gentleman now arose from his seat and, standing beside her,
holding her hand, conversed in a whisper with her for some seconds.

This was most assuredly a lady, if appearances go for anything.
Her hands were quite small, and were warm and lifelike, as several,
including myself, can testify, having been permitted to shake hands
with her. At last she started to the cabinet, and, as she went,
appeared to grow shorter, until, as she disappeared between the
curtains, she was not much taller than the table. The manager now
explained that the spirit had remained out rather too long and came
near dematerializing before she reached the cabinet. Now came the
spirit of a young man, dressed in a light suit of clothes, who gave
his name and said his mother was present. She was, and had a few
words of conversation with him when he disappeared into the
cabinet. The lady said that it was unmistakably her son; but there
was SOMETHING that was not as he had been, but what it was she was
unable to describe.

The next spirit to present itself was my son Eddie. He came out
from the cabinet calling "Papa, papa." The manager asked "Who is
your papa?" and he replied, "Mr. (Smith)." All this time he stood
between the table and the cabinet, and only his head and shoulders
could be seen. The manager told him to step out where he could be
seen, when he came around to the front of the table.

It was rather dark, but I could swear it was my son. He was just
the right size, with long flaxen hair and a very pale face. He
wore a light-colored waist and darker knee-breeches and stockings,
with a large black bow at his throat, Just as I remember seeing him
last in health.

While Eddie was still standing in front of the table a large man
came out and took him by the hand. Eddie spoke, saying:

"Must I go back, grandpa?" The form turned toward me, saying:

"My son, this is a great pleasure to us, but we must not long
remain, as it is our first attempt at materializing." He turned to
go when the manager said to him:

"If the gentleman is your son you ought to give him your name."

"The name of the child is Eddie, and my own is J. A. Smith,"
replied the form, as they vanished into the cabinet.

The manager suggested that it would be well to examine and see
whether the medium had been out or not. The cabinet was examined
and everything found satisfactory.

Spirit after spirit came from the cabinet, one or two at a time for
an hour; some of them came to friends, and others were "controls"
of the medium. Many of them were recognized by different ones of
the sitters in the room. I, for one, could swear to the identity
of my own son Eddie, while my father was plainly recognizable. . . .

The room was again made dark. Suddenly there appeared on the
floor, in front of the table, a light about as large as a baseball.
It moved about in a circle of perhaps a foot in diameter and grew
larger. It soon lost the shape of a ball and appeared to be a
luminous cloud. Seemingly we could see into and through it. In
the course of thirty seconds it had become as large as a six-year-
old child; still there was no definite shape, only a fleecy
cloudlike mass, turning, twisting, and rolling. At the end of
perhaps a minute it was the size and shape of an adult person. The
face could not be seen, but light, luminous spots were visible as
though the hair and ears were decorated with gems. The shape spoke
and requested light. As the light was turned on the luminousness
disappeared, and we beheld a beautiful young lady clothed in a
dazzling white costume. Her arms and shoulders were bare, and
about her neck there was a necklace of what appeared to be very
brilliant diamonds. Her feet were encased in white slippers, with
straps across the instep. In her ears and hair glistened and
shimmered beautiful diamonds. Her face and arms were as alabaster,
and altogether she was one of the most beautiful women I had ever
beheld. She was recognized by a lady and gentleman present as
their daughter. They had met her here before. They were from the
East, and were wealthy. The spirit requested that they come to
her, which they did, and were each kissed and embraced by it. They
held a moment's conversation with her and resumed their seats, when
the lamp was slowly turned down. As the light became dim the
spirit became luminous. The face and arms disappeared and the body
became as a cloud again, turning and twisting and growing smaller
until it was nothing but a small light spot on the carpet, which of
a sudden disappeared entirely.

Immediately after this manifestation an examination of the medium
and cabinet was made, and it was certain the medium had not been
away from his chair. The light was again turned out and the music
box started, when TWO bright spots appeared on the carpet, one at
either end of the table. These went through the same process of
development until, when the light was turned on, there was another
beautiful female spirit at one end of the table, and a child of
perhaps eight years of age at the other. The child was recognized
by a lady present as her daughter, while the adult spirit was
recognized and rapturously greeted by a gentleman who sat near me
on my left, as his "darling angel guardian." They had quite a long
conversation, in which they made use of very endearing language,
each to the other. I supposed it was the gentleman's wife. . . .

The spirits did not disappear as the first one had, but, when the
light had been turned off, the luminous shape revolved a few times,
and on two occasions assumed the garb and shape of men, and when
the light was turned on again, there stood the men with beards and
men's forms. After some eight or ten of these materializations and
dematerializations, before our eyes, the last couple completely

The light was again turned down and a luminous shape came from the
cabinet, followed by others, until seven of them stood on the
floor. The light was turned up until we could see the seven
spirits. Five were females and two males. They were of different
sizes. The curtain at the door of the cabinet was pulled aside and
we could see the medium sitting in the chair in which he was bound.
The forms now filed into the cabinet again, while the music box
played. After they had disappeared the light was turned up, an
investigation made of the cabinet, and the seance was over.

There, reader, is a truthful description of what can be witnessed
at the seances of mediums who are artists. None of your bungling,
amateur work here. The work of such a medium is always
satisfactory for the reason that if a man feels SURE that the
medium is a fraud, he has been so well entertained that he does not
regret the money paid for the opportunity to witness it. This is
the class of medium also who frequently succeed in getting large
sums of money from wealthy persons they have converted to

Did the writer not give you the true explanation of the manner in
which these things were produced, you would probably say it was
conceived by a very fertile imagination. If you believed that he
saw these things you would perhaps offer the preacher's
explanation, by saying, "it is the work of the devil"; or that of
the scientist, by asserting that "it is the mesmerist's power over
your mind"; or "the operator has discovered an odd force in
nature"; or go off on a long dissertation on hypnotism and fourth
dimension of space problems. However, it is not the work of the
devil, neither are there any but NATURAL laws necessary to its

The seance described actually occurred and was described in writing
by Mr. Smith in the language used, although it was not printed, and
the writer was one of those who assisted in its production. He
will now proceed to explain this particular seance. . . .

It will be remembered that the room and cabinet were carpeted with
a dark carpet, and that the ceilings were of wood. The ceilings
were decorated by being put on in panels. The ceiling of the
cabinet would not have been like that of the room had the closet
been a part of the architect's plans of the house. It was not, but
was made by the medium. He simply built a lath and plaster
partition from the corner of a wide chimney to the wall, thus
inclosing a space of six by four feet. The panel in the ceiling of
the closet was twenty inches square. This panel was "doctored" and
could be displaced, leaving an aperture large enough for the
"spooks" to get through with perfect ease. A light ladder which
reached within three feet of the floor of the cabinet was hooked
fast above and furnished the means of getting down and up again.
There were eight persons connected with the seance described by Mr.
Smith, seven upstairs and the medium in the cabinet. Of course it
was not necessary that the medium get out of his fastenings, and
the facts are that he did NOT. The table was placed across the
cabinet door, not to lay the instruments on, but to be very much in
the way should anyone make a rush and "grab" for the materialized
forms. In case this occurred, the "spooks" above would close the
light, making the room perfectly dark, and the manager would do his
utmost to turn the table on end, or side, with the legs out in the
room. Before the "grabber" could get the lay of things and get
past it, the spooks would have gone through the trap, closed it,
pulled up the ladder, and the "grabber" would have found the medium
writhing and groaning and bleeding from the mouth. The bleeding
was for effect, and was caused by sucking very hard on his teeth or

The table also served a convenient purpose in the materialization
and dematerialization through the floor. You now know where the
spooks came from, in this particular house, and how they got in and
out. Now let us see how they managed the materializations, and the
properties used to produce them. The trap and ladder were
practically noiseless in their operations, but the music box made
assurance doubly sure that the least sound from the cabinet should
not he heard in the seance room.

When the box began its first air the trapdoor was opened and down
the ladder came a young man clad in a suit of black tights. He was
entirely covered with black with the exception of his right arm,
which was bare to a point a little more than halfway from the elbow
to his shoulder. The bare arm glowed with a luminous bluish light.

This condition of things was brought about by powdering his arm
with pulverized luminous paint. If you are not told the method of
transforming the sticky paint to powder, you will not be able to do
it, and will conclude the writer was romancing in this case. The
most essential thing to you will be to know where you can procure
this paint. The writer has been unable to procure it anywhere,
except of Devoe & Co., of New York City. It is put up in a package
resembling six-ounce jelly glasses, and you will get six of them
for five dollars. In order to reduce it to powder, thin the
contents of one of the glasses with one pint of turpentine. When
it is thoroughly cut and incorporated into the turpentine, soak
strips of muslin in it and hang them out to dry. When thoroughly
dry you can shake the powder from the cloth. In order to powder
one of your arms, gather one of the cloths in your hands, and use
it as a powder puff on your arm. You will not be able to get all
the paint out, but the pieces will make luminous crowns, slippers,
stars, and luminous decorations for your robes. You will be under
the necessity of perfuming your robes each time they are used, for
the odor of the turpentine will always remain to a greater or less
degree. To illuminate a robe or costume (the mediums always say
"robe") you proceed the same as in the powdering process, except
that to the pint of paint you will add a wineglass full of Demar
varnish, which will prevent its falling or being shaken off as
powder. You are not to make the robe of muslin, but of white
netting. Every lady will know what netting is. It is the
lightest, thinnest material the writer ever saw sold in a dry goods
store. Ten yards of it can be put into the vest pocket. Do not
scrimp the material, but get as much of it into your robe as

When he of the luminous arm steps from the cabinet into the dark
room no part of him is visible save the arm. He picks the strings
of the instrument with the illuminated hand and fingers the
keyboard with the other. He makes a sound of writing on the tablet
and tears off a leaf which he conceals, and, drawing a long black
stocking over the luminous arm, places in the pocket of the sitter
a communication that has been written upstairs in a good light.
This accounts for the even, beautiful writing, supposed to have
been done in the dark. He covers the luminous arm so that anyone
so inclined could not locate it in order to "grab" when he is near
enough. By mounting the table, that luminous hand and arm can be
made to show as though it was floating about near the ceiling.

When four hands were visible there were two spooks at work with
both arms illuminated. . . . You can readily understand the forces
that floated the music box and table above the heads of the
sitters, and an explanation is useless.

When the first female spirit appeared it was, in reality, a young
woman, dressed in a gorgeous white costume without paint, hence the
light was turned up instead of down, in order that she be visible.
Rhinestones and Sumatra gems being cheap, she was plentifully
supplied with "diamonds," although many of those who are the queens
or spirit guides or "controls" of wealthy spiritualistic fanatics
wear real diamonds, the gift of their wealthy charge, or "king" as
they usually call him.

When she started for the cabinet she used her hands to keep her
robe from under her feet, and as she went stooped lower and lower,
until, as she disappeared in the cabinet, she went on her hands and
knees. This is what caused the appearance of "dematerialization."

When Mr. Smith's son, Eddie, came from the cabinet, he was
represented by a boy of about eight years of age, the son of one of
the female "spooks" upstairs. He receives two dollars a night for
his services, the same as the larger spooks. He was powdered until
he was very white, a blond wig put over his own hair, and dressed
as most boys are at the age Mr. Smith's son died. Mr. Smith
recognized him by his size, his light complexion, and flaxen hair,
and the fact that he called him "papa" and gave his correct name.
His father was "made up" from the description given by the medium,
and acknowledged by Mr. Smith as correct. Of course he knew his
own name, for it was given him by the slate-writer. . . .

We now come to a part of the phenomena that all spiritualists who
have witnessed it will swear by. What is referred to is the
materializing and dematerializing of the spirit from the floor and
before your eyes. In this you see first a small light, which grows
larger and larger, until there stands before you a fully formed
female or male spirit, as was described in Mr. Smith's experience.

In order to accomplish what he witnessed, the same spook who had
before been recognized by a gentleman as "his queen," prepared
herself in the following way: Divesting herself of all clothing she
donned simply a long chemise that reached her shoe tops. She drew
on a pair of white stockings, and over them a pair of white
slippers. Into her hair and ears she put rhinestone diamonds, and
around her neck a necklace of the same beautiful but valueless
stones. On each ear lobe and around her neck were put small spots
of the luminous powder to represent the diamonds while it was dark.
Her face was powdered and her eyebrows and eyelashes darkened,
while a dark line was drawn under each eye. She now took a black
mask that covered her head, and her "robe" in her hands, and went
down to the cabinet. Arriving there, she put the black mask over
her head, to prevent the luminous diamonds being seen until the
proper time. She carried her robe in a black bag. Crawling from
between the curtains and under the table, she exposed on the floor
a small part of her robe. This she shook and moved about, allowing
it to escape from the bag until it was all out. She was now from
under the table and on her knees, and it was time the head show on
the form, so, getting close to the robe, she threw off and under
the table the black mask. The shape was now the size of an adult;
she adjusted the robe to her person, and rapped for light. As a
matter of course, when any light was made the luminousness of the
robe was drowned, and she appeared in simply a white costume. The
necklace and eardrops could now be seen, but when the light was
such as to reveal them, the luminous spots had disappeared, leaving
the spectator to think the ones he now saw were the ones he had
seen in the dark. The process of dematerialization will now be
apparent, and a description will only tire the reader. One small
spook was all that was required, as he could be made to represent
boy or girl as was desired, by clothing him in the garments of
either sex.

At the close of the seance, the full force of "spooks" came into
the room. After disappearing, they shinned up the ladder, drew it
after them, closed the panel and the trap in the floor above it,
replaced the carpet and pushed over the place a heavy bedstead from
which they took the castors. They now carried the ladder
downstairs and concealed it in the coal house as they went through
it on their way home. They will get their pay next day.

Should ever so close an examination of the cabinet be made, you
would not find anything wrong. This particular medium has taken
investigators into the cellar beneath the cabinet, and the room
above it, scores of times, yet nothing was discovered.

You are not always to search for the trap in the ceiling, nor yet
in the floor. A trap is not possible in the ceiling except a
closet is used as "cabinet," and the ceiling is of wood. Where
this condition of things does not exist, you must search elsewhere.
The floor is a very likely place when it cannot be made in the
ceiling. If you do not find it there, examine the base or
mopboard. If it is in the mopboard you will find, upon
examination, that there is a joint in it near the corner of the
cabinet, but you will find it solidly nailed with about four nails
each side of the joint. This appearance of extraordinary solidity
will be absolute proof that it is NOT solid.

The nails are not what they appear, but are only pieces about one
half inch in length, and do not even go through the board. The
piece is fastened on the other side with a couple of bolts that
hold it very firmly in place. There is a corresponding opening in
the mopboard in the next room, although no attempt is made to so
carefully conceal it, as no one is ever admitted to it. Through
this trap the "spooks" enter the cabinet by crawling and wiggling.
It is not a very desirable trap, for the mopboard is scarcely ever
wide enough to permit of a trap that the spook could get through in
a hurry; besides, they must assume their costumes after they get
into the cabinet or tear them to pieces. You can see how this
would make it very inconvenient.

If the room is wainscoted the spook will have all the sea room
necessary in his trap, for it will extend from just below the
molding on the top of the wainscoting to the floor behind the strip
of quarter-round. . . .

It is next to an impossibility to detect these traps by examining
in the cabinet. They were constructed to avoid discovery, and no
pains spared to make them so absolutely perfect that not one chance
in a million is taken. The proper place to seek for traps is in
the adjoining room, upstairs, or in the cellar. One is foolish to
undertake to find a trap by thumping the walls or floor; for, if
you happen to thump one, the medium who is smart enough to make use
of a trap is also sharp enough to make provision for its being
thumped, and your sounding method goes for naught.[1] Bear in mind
that when you are examining the cabinet, you are seeking at the
very place that is prepared most effectually to withstand your
investigations. . . . Do not forget the MANAGER in your search.
He or she is never searched, or never has been up to date, which
has been the cause of many a failure to find the "properties" of
the medium when the seance was given in a room and cabinet
furnished by a stranger and skeptic. Do not be deceived into a
belief that all of the sitters are strangers to the medium. There
may be from one to five persons present who pay their money the
same as yourself, and who may appear to be the most skeptical of
anyone in the room. They will generally be the recipients of some
very elegant "tests," and weep copiously great grief-laden tears
when they recognize the beloved features of some relative.

[1] It must be remembered that it is occasionally possible for the
medium to do away with traps altogether, either by having a con-
federate in the audience who produces all the phenomena--the medium
sitting bound meanwhile--or by some such simple device as the
following: Suppose the seance room is closed at one end by a pair
of folding-doors; these doors are locked, the key kept by a member
of the audience, while the keyhole is sealed, and strips of gummed
paper are also stretched across the crack between the doors,
sealing them firmly together. Confederates enter the room, in this
case, by merely pushing BOTH doors to one side, they being so
constructed that this is possible. A small space is now left
around the end of ONE door, through which the medium's confederate

They are the most careful of investigators, and, when the medium's
trap is located in the door-jamb, will pound the walls, and insist
on the carpet being taken up, when they will get upon their hands
and knees and make a most searching examination of the floor. They
are the closest and most critical of investigators, but they are
very careful to examine everywhere EXCEPT WHERE THE DEFECT IS
LOCATED. Because one or two men seem to be making such a critical
investigation, do not allow that fact to prevent you making one on
your own responsibility. Wait until they have finished and then
examine not only where they did, but more particularly where they
did NOT. Their examination is only for the purpose of misleading
others. Their "tests" are received in a way to cause those about
them to think they admit them very unwillingly, or because they
were so undeniable that they could do nothing else.

A great many will probably deny that confederates are ever
employed. They are not, by mediums who are not smooth enough to
produce that which appears so wonderful as to make a good business
for them. The writer would advise those mediums who give such rank
seances to employ a few floor workers (they are easily obtained),
and see what a difference it would make in the amount of business
they will do. Get good ones, those who know human nature, and know
when they have said all that is necessary. Most of them are
inclined to say too much, thus causing the ordinary man to suspect
that they are confederates.

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