“The séance is generally concluded by an invisible flight, the vanishing performer immediately reappearing amongst the audience. He takes the dancing sheet and entirely covers himself with it, standing in the center of the chamber, taking great care to drape himself in such a manner as to show the shape of his body. In a few seconds the sheet collapses, and before it has time to reach the ground a shout is heard in the back of the {296} hall; the audience turning around naturally are surprised to see the performer standing amongst them, smilingly bowing in acknowledgment of the applause which greets him. [Illustration: DECAPITATION. Showing the girl’s head covered with a black hood—The girl acting for the head falling to her knees.] [Illustration: Le Commandeur, Marius Cazeneuve] “As before mentioned, the whole of this takes place in darkness, obtained by the chamber being draped in black velvet and the floor covered with black felt. The brightness of the lights turned towards the audience, contrasting with the denseness of the black behind, dazzles the eye to such an extent that it cannot discern anything in the chamber that is not white or of a very light color. The stage is all arranged before the act, and the tables are in their respective places, but cannot be seen on account of their being draped with black velvet. The goblets, frame, lady, ghost, etc., are all placed in readiness behind a black screen, also draped. None of this can be seen while they are behind the lights, if kept covered in black, no matter how near to the front they are placed. But how do they float about and appear so mysteriously? An assistant is within the chamber, dressed in black velvet throughout, with black gloves and mask, covering all signs of white about him and making him perfectly invisible. He wears no boots, and the felt {297} upon the floor deadens the sound of all his movements. He it is who really produces all the articles. When the performer stretches his hand out for the wand, the assistant brings it from behind the screen and hands it to him with a floating movement. As the performer taps the floor he immediately pulls away the black covering and the table instantly appears to view. The goblets are painted black inside, allowing him to hold them at the back with his fingers inside, unnoticed. After the tables are both produced he places the goblets upon them at the right moment with one hand while he pulls off the velvet with the other. The exposition is so quick and sudden that nothing suspicious can be noticed. The turning of the goblet is also the work of the invisible assistant, and is quickly changed from one hand to another when the ring is being passed over it. The watches, etc., are not placed in the goblet as they appear to be, but dropped behind it into the assistant’s hands, who takes them over to the other while the performer is exhibiting his empty hands. The picture-frame is also