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.