“The sleeping subject is now lowered, and in the act of being ‘dehypnotized’ the performer slips the crank off, which is immediately drawn in from behind, the subject and performer sharing the applause. It is almost needless to explain that the ‘hypnotism’ is mere sham to heighten the effect and admit of an excuse to stoop in order to fix the cranked bar.” [Illustration: FIG. 3.—“LEVITATION” HOW THE HOOP IS PASSED OVER THE BODY.] So far, so good. The above method was undoubtedly the one used in Mr. Kellar’s original presentation of the illusion. But he has since made numerous improvements in it which have puzzled not only the public but the conjurers as well. III. Kellar has been an extensive Oriental traveler. He has hob-nobbed with Hindoo Rajahs, smoked nargilehs with the {246} turbaned Turk, and penetrated into darkest Africa. In India he witnessed many exhibitions of thaumaturgy. Concerning the high-caste magic, such as hypnotic feats and experiments in apparent death, he speaks with respect, but the magic of the strolling Fakirs he characterizes as inferior to that of our Western conjurers, with, perhaps, the exception of the Hindoo Basket Trick, which is a clever illusion. When we contemplate the fact that this startling trick is always performed in the open air, amid a circle of spectators, we must give due credit to the histrionic ability of the native conjurers and their powers of misdirection. Robert-Houdin and Col. Stodare introduced this experiment to European theatre-goers, but they were aided by all the accessories of the modern stage and the audience sat at a respectable distance. Let us hear Kellar’s explanation of the feat (_A Magician’s Tour_, Chicago, 1886).