“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.