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.

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. . . .