same time allow free play for her pedal extremities. The blanket, at the end where she sits, comes to her waist and hangs down to the floor on each side of her chair. The space under the table is thus made dark—a necessary condition, it is claimed—and all therein concealed from view. The “medium” then folds her arms, looks careless, and the “manifestations” commence. The accordeon is sounded, no music being executed upon it, and the bell rung at the same time. Then the dishpan receives such treatment that it makes a terrible noise. Some one is requested to go to the end of the table opposite the “medium,” put his hand under the blanket, take hold of the dishpan, and pull. He does so, and finds that some power is opposing him, holding the dishpan to one place. Not being rude, he forbears to jerk with all his force, but retires to his seat. The table rises several inches and comes down “kerslap,” then it tips forward a number of times; then one end jumps up and down in time to music, if there is any one present to play; loud raps are heard upon it, and the hypothetical Samson has quite a lively time generally. Some of the mortals present, one at a time, put their fingers, by request, against the blankets, through which those members are gingerly squeezed by what might be a hand, if there was one under the table. A person being told to take hold of the top of the table at the ends, he does so, and finds it so heavy that he can barely lift it. Setting it down, he is told to raise it again several inches; and at the second lifting it is no heavier than one would naturally judge such a piece of furniture to be. Another person is asked to lift the
