Spirit-drawings and paintings have drawn out just the same ingenuity on the part of the mediums. A favourite and impressive form is to let the sitter choose a blank card and see that it _is_ blank. Then the medium tears off the corner and hands it to the sitter, so that he will recognize his own card at the close. The lights are completely extinguished, the card is laid on the table, and when the gas is re-lit a very fair picture (still wet) in oil is found to have been painted on the card. David Duguid persuaded thousands of people of this marvel in the later decades of the nineteenth century. It was represented that he was merely a cabinet-maker who, in 1866, came under the control of the spirits of certain Dutch painters, and was used by them. I learned long ago in Scotland that the statement that he had never practised drawing or painting was untrue. It is, in any case, probable that he had torn the corners off the little paintings he had prepared in advance, and that it was _these_ corners which he palmed off on the sitter. In the dark he substituted his painting for the blank card, and the corner naturally fitted. The fact that the paint was "still wet" need impress nobody. A touch of varnish easily gives that impression. Innumerable tricks have been invented by American mediums for fooling the Spiritualist public in this respect, and in many cases it taxes the ingenuity of an expert conjurer to find out where the fraud lay. Mr. Carrington gives a long series of frauds which he has at one time or other studied. One medium offers you an apparently blank sheet of paper, and, although nothing more suspicious than laying it under an innocent-looking blotting-pad can be seen, and there is certainly no substitution, a photograph appears on it while you wait. If you happen to be one of those people whom the medium had had in mind as a possible sitter, or whom he (through an intermediary) induced to come to him, it may be a photograph of your dead son. The photograph was there, invisible, all the time. It had been taken on a special paper (solio paper), and bleached out with bi-chloride of mercury. The blotting-pad was wet with a solution of hypo, and this suffices to restore the photograph. In other cases the medium, with solemn air, enters his cabinet and draws the curtain. There is a fantastic theory in the Spiritualist world that this cabinet, or cloth-covered frame (like a Punch and Judy show), prevents the "fluid" or force which the medium generates from spreading about the room and being wasted. Nearly all these convenient theories and regulations come from the spirits through the mediums; that is to say, are imposed by the mediums themselves. The closed cabinet, like charity, covers a multitude of sins. In the case of the spirit-painting it may have a trap-door or other outlet, through which the medium hands the blank canvas to a confederate and receives the previously painted picture.