The exact state of affairs is that the current generated by the coil is passed into the condenser and stored up on the inner coating of same, the electricity from the outer coating at the same time escaping by way of the wire and brass or copper cap, then through the subject's body, who it will be remembered is seated in the chair, and then through the performer's body to the earth. It is on this principle that all the effects are worked.

This is done as the first test of the electrocution chair, the performer thereby proving that the current is passing through the subject's body; to strengthen this effect the body of the subject quivers and shakes. Of course it must be understood that electricity in this form is not the same as the electricity as generally understood; that is, it is not current or dynamic, but is what is termed “static” or “high frequency.”

I will now describe some of the effects obtained.

Lighting a Cigarette.

The performer places a cigarette in his lips and then brings it near to some part of the subject's body; sparks then fly across to the cigarette, the performer meanwhile drawing it; in a second or two the cigarette will be lit, and can then be smoked in the ordinary way.

It must be understood that unless otherwise mentioned, the performer stands on the uninsulated part of the stage during the experiments, and that the coil must be working during each effect, but switched off as soon as the effect is over for a reason that will now be understood.

Lighting Gas.

Attach a gas bracket to one end of a long indiarubber tube, the other end fix to any ordinary gas bracket, first removing the burner.

Now bring the special burner close to the subject's bare arm or foot, turn on the gas, when it will light. A better effect is obtained if the special bracket has four or five burners instead of one.

Lighting “ARC” in Teeth and in Hands.

This is presumably (to the audience) done by the same method as the last two effects, but it is really done in an entirely different manner.

A special preparation of the chair and carbons used is necessary.

For the first effect, a carbon is placed between the teeth of the subject as she sits in the chair, the performer doing this for her as she is supposed to be under hypnotic influence, and insensible to her surroundings.

The performer then takes another carbon in his hand and bringing it into contact with, and immediately withdrawing it from actual contact, a brilliant arc light is formed between the carbons.

This effect is then repeated, but this time both the subject and the performer hold the carbons in their hands.

For the lighting of the arc between the teeth, one of the carbons is insulated (in a way that does not alter its appearance to any great extent viewed from a distance), at the blunt end. A wire is then securely attached to the carbon, an inch or two from the bottom end. The carbon thus prepared is then placed on a small shelf at the back of the electrocution chair, at the far side of the subject's head so that when the carbon is placed in the teeth the wire is hidden from the; audience, who are led to believe that the current is supplied through the body of the subject. The second carbon is insulated and attached to a wire and held by the performer in his hand. Both wires are then led away to the back of the stage, where they are attached to a plug connection, and connected up in the ordinary way for obtaining arc lights at the hall or theatre.

It will thus be seen that there is nothing special about the arc, being the same as any other arc in the hall, except that the method of connection is kept secret from the audience. To help in concealing the wires, the stage is darkened.

For producing the second light (i.e., in the hand of the subject), a connection is fitted up in the arm of the chair nearest to audience, the subject rests her arm on the arm of the chair, taking care to hold the hand over the connection, the carbon she holds is insulated in the centre and is placed in the subject's hand in such a manner that the end of the carbon will fit into the connection on the chair arm. In both cases the performer brings his carbon into contact with the one held by the subject; the arc is then produced.

Whilst on the subject of lighting electric arcs apparently through the body, it will be as well to mention another method which is sometimes used.

Two brass plates are sunk into the floor of the stage from which wires are carried to the plug connection, two persons each having fixed to one of the heels of the boots or shoes a brass plate, from the plate wires run up the outside of the body under the clothing, then down the arm to the wrist where they are connected to a brass plate fastened on a wristlet worn by the performers, the wristlet being disguised by some fancy frilling on the sleeves or otherwise according to the style of dress adopted.

The carbons used are insulated in the centre, and are held in the hands in such a manner that the blunt end comes in contact with the brass plate on the wristlet.

Both performers stand sideways to the audience with the carbons in the hand nearest to the audience, the arm hiding the means of connection from view. The brass plates on the heels are brought into contact with those in the stage, the circuit being completed by bringing the carbons into contact, and producing the arc.

To Light a Row of Electric Lamps Apparently Through the Body.

A row of five or six lamps are arranged on a batten with connections complete as in the ordinary way for temporary lights. From one end a wire runs to a plug connection, at the other end a small brass or copper connection is made. The special connection is brought into contact with a connection attached to the foot-plate of the chair under the subject's foot, from which the other wire runs to the plug. This causes the lamps to light, apparently by being brought into contact with the foot of the subject.

After the last experiment, the current is switched off from the coil.

The subject is then awakened (?) from her apparent hypnotic sleep.

The awakening is made more interesting to the audience by a little clever by-play on the part of the subject.