with it he could grasp the investigator’s arm where he had previously grasped it with his right hand. With the latter he could then reach around the edge of the clothes-horse and make a noise on the instruments. With the drumsticks he thumped on the dulcimer. Taking the guitar by the neck, he could vibrate the strings and show the body of the instrument above the clothes-horse, without any one seeing his hand! All persons present were so seated that they could not see behind the clothes-horse, or have a view of the medium’s right shoulder. When asked why people were not allowed to occupy such a position, that they could have a fair view of the instruments when sounded, the “manager” replied that he did not exactly know, but presumed it was because the magnetic emanations from the eyes of the beholders would prevent the spirits being able to move the instruments at all! What was claimed to be a spirit-hand was often shown above the clothes-horse, where it flickered for an instant and was withdrawn; but it was invariably a right hand with the wrist toward the medium. When the person sitting with the medium was asked if the hands of the latter had constantly hold of his arm, he replied in the affirmative. Of course, he felt what he supposed to be both the medium’s hands; but as I before explained, the pressure on his wrist was from the medium’s left arm—the left hand of whom, by means of a very accommodating crook in the elbow, was grasping the investigator’s arm where the medium’s right hand was supposed to be.
From Boston the Allen boy went to Portland, Maine, where he succeeded “astonishingly,” till some
