ok to hasten the pace of her
lagging "controls." The three sittings were attended by little noise,
pounding, or violence; there was no breaking or crumpling up of slates,
as had been the case during an earlier sitting on Thursday.

The psychic's principal "control"--to be known here as "Dr.
Cooke"--spoke in whispers, and his words were repeated aloud by the
psychic herself. These whisperings were only occasionally audible to the
writer, but they were plainly heard by Mr. Garland. It may be added that
on at least two occasions, however, the writer heard and understood
replies which the psychic declared had not been audible to her. During
the latter portion of these sittings, especially that of Saturday, the
"control" seemed to withdraw altogether, and for two or three hours the
circle was in apparent communication--direct, rapid, uninterrupted--with
an intelligence that may conveniently be termed the "Composer."

The paraphernalia for these sittings comprised the following:

1. A small, light, walnut centre-table, which Mr. Garland himself had
assisted in repairing before the proceedings began.

2. A silicon book-slate, eight inches by five inches. There were six
pages--the insides of the covers and a double leaf. These leaves lay
close and flat, like those of a book.

3. A few bits of slate-pencil, from one-quarter of an inch to
three-eighths of an inch in length; also a longer slate-pencil used by
the writer.

4. A small writing-pad and lead-pencil, for general memoranda and
notations.

5. Certain fruits and flowers, such as roses, sweet-peas, pineapples,
and grape-fruit. These met the psychic's needs or fancies, and were
brought into close relation with pad or slate when the "forces" seemed
inclined to weaken.

6. The piano.

Shortly after the opening of the Friday-morning sitting the Composer
requested that the whole slate be ruled with staves for writing music.
Throughout the preceding Wednesday and Thursday attempts at the writing
of music had been of constant occurrence; they had come on slates, on
writing-pads, and on the leaves of closed books. These bits of musical
notation had been very fragmentary and obscure; often they had consisted
of less than half a dozen notes placed upon staves consisting of but
three or four lines, instead of five. The most successful of these
earlier efforts had been produced on a double school-slate, with a
wooden, list-bound frame: two measures on a treble staff had been