“An assistant is introduced, laid upon an ottoman, and then sent off into a hypnotic trance (?). The performer takes an ordinary fan and fans the body while it rises slowly about four feet in the air, where it mysteriously remains for any length of time desired. A large solid steel hoop is given for examination, and after the audience is satisfied as to its genuineness it is passed over the body from head to feet, behind the body and over it again, at once dispelling the idea of wires or any other tangible support being used, the body, as it were, journeying through the hoop each time. The suspended assistant is now fanned from {244} above and gently descends to the ottoman as slowly and gracefully as he rose from it. He is then brought back to his normal state out of the trance, and walks off none the worse for his aerial pose. [Illustration: FIG. 2.—“LEVITATION”—HYPNOTISM OR MECHANISM?—WHICH?] “This seeming impossibility is performed by the aid of a cranked bar (Fig. 2 and A, Fig. 3) and a pulley to raise it, the bar being pushed through from the back at the moment when the performer is ‘hypnotizing’ the subject, and in the act of placing a light covering over him he guides a clamp (B, Fig. 3) and fixes it to the top of the ottoman upon which the subject rests, and which rises, unseen, with him, the edges being obscured by the covering. The bar being the same color as the back scene cannot be noticed, and resting upon a stand (C, Figs. 2 and 3) behind the scenes the same height as the ottoman it is kept firm by the aid of strong supports. Being also double the width (D, Fig. 3) at this part greater leverage is obtained to hold the board upon which the subject rests secure from tilting either way. By means of a pulley arrangement (E, Fig. 2) the assistant behind raises and lowers the body, looking through a small hole in the scene and timing the performer’s movements with exactness. Fig. 1 shows the illusion as it appears. Fig. 2—a side view—shows the {245} means of suspension and the pulley for raising the bar and telescopic stand. Fig. 3 almost explains itself. It shows the method of passing the ring over the body. By putting it on at (1) and passing it as far as the center of the bar (A) it can be brought around and off the body at (2), apparently having passed right over it, although not free from the crank; it is then passed behind the body as far as (3), when it can again be placed over the end (1) and drawn across once more, this time being, of course, quite free, having made an apparent circle right around and across the body. It seems evident to the audience that the subject is so raised and suspended by the performer’s magic power alone.