removed, the leaden hand remains behind, giving the same sense of touch as if the actual hand were there. (Fig. 40.) Of course, with the hands free, the medium can stealthily glide between the curtains, grasp and manipulate the instruments, and throw them to the floor, immediately replacing his hands gently. [Illustration: Fig. 39.--The Light Séance.] [Illustration: Fig. 40.--The Mystery Explained.] A rather clever test used in a dark séance, given by Miss Annie Eva Fay, is one in which the hands are not bound. Miss Fay made cotton, bandage and tape-ties a success, and sometimes varied her séance by not using a tie, but by continually clapping her hands together during the darkness. She also had her mouth filled with water. Nevertheless, the usual manifestations occurred. The horn “tooted,” the tambourine and guitar floated, bells rang, etc. The dodge she employed was this: Instead of clapping her hands together, she slapped one against her forehead, which gave the same sound, and gave her one hand at liberty. She also swallowed the water. She was now at liberty to blow the horn, ring bells or the like. When she was finished, she refilled her mouth with water from a bottle concealed on her person, and again resumed, clapping her hands together instead of striking one hand against her forehead. An investigator suspected the idea of the water and once came prepared with a glass of milk, which he requested the medium to use instead. She consented. The horn tooted just the same, and the medium’s mouth still contained the milk. She had simply inserted the end of the horn in one of her nostrils. Another time she merely emptied the liquid into one of the hand bells on the table and held it upside down in her lap. Still another “wrinkle” is the use of a rubber ball with a hole in it. This can readily be attached to the horn, and squeezing the ball does the tooting.