Hours with the Ghosts or, Nineteenth Century Witchcraft / Illustrated Investigations into the Phenomena of Spiritualism and Theosophy

by Henry Ridgely Evans

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.