The Lock and Key Library: The Most Interesting Stories of All Nations: Real Life

by Unknown

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 spiritualism.

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 production.

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 gums.

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 possible.

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.