Ventriloquism loses its distinctive character if its imitations are not performed by a voice from the belly. The voice, indeed, does not actually come from that region; but when the ventriloquist utters sounds from the larynx without moving the muscles of his face, he gives them strength by a powerful action of the abdominal muscles. Hence he speaks by means of his belly, although the throat is the real source from whence the sounds proceed. Mr. Dugald Stewart has doubted the fact, that ventriloquists possess the power of fetching a voice from within: he cannot conceive what aid could be derived from such an extraordinary power; and he considers that the imagination, when seconded by such powers of imitation as some mimics possess, is quite sufficient to account for all the phenomena of ventriloquism which he has heard. This opinion, however, is strongly opposed by the remark made to Mr. Stewart himself by a ventriloquist, “that his art would be perfect, if it were possible only to speak distinctly without any movement of the lips at all.” But, independent of this admission, it is a matter of absolute certainty, that this internal power is exercised by the true ventriloquist. In the account which the Abbé Chapelle has given of the performances of M. St. Gille and Louis Brabant, he distinctly states that M. St. Gille appeared to be absolutely mute while he was exercising his art, and that no change in his countenance could be discovered.[16] He affirms, also, that the countenance of Louis Brabant exhibited no change, and that his lips were close and inactive. M. Richerand, who attentively watched the performances of M. Fitz-James, assures us that during his exhibition there was a distention in the epigastric region, and that he could not long continue the exertion without fatigue. [16] Edinburgh Journal of Science, No. xviii., p. 254. The influence over the human mind which the ventriloquist derives from the skilful practice of his art is greater than that which is exercised by any other species of conjuror. The ordinary magician requires his theatre, his accomplices, and the instruments of his art, and he enjoys but a local sovereignty within the precincts of his own magic circle. The ventriloquist, on the contrary, has the supernatural always at his command. In the open fields as well as in the crowded city, in the private apartment as well as in the public hall, he can summon up innumerable spirits; and though the persons of his fictitious dialogue are not visible to the eye, yet they are unequivocally present to the imagination of his auditors, as if they had been shadowed forth in the silence of a spectral form. In order to convey some idea of the influence of this illusion, I shall mention a few well-authenticated cases of successful ventriloquism.