s
most suspicious, he will note some pieces of tissue paper which were
stuck on the plaster by Yoga Rama and were under the pieces of folded
paper, which prevented these from adhering to the plaster; thus by an
upper movement of the eyebrows Yoga Rama succeeded in raising the folded
piece of paper which covered his right eye, and with this eye he glanced
under the plaster and watched the movements of the sitter's hands, etc.

2. As I have stated above, Yoga Rama always kept the right side of his
head towards the person with whom he was experimenting. He tried one
experiment with a gentleman who sat in the second row of the stalls. He
then turned his body round so that the right side of his face was in the
same position relatively to this gentleman as it had been to the sitters
on the stage. Moreover, the lights in the body of the theatre were not
alight when Yoga Rama was trying his alleged thought-readings with the
members of the Committee on the stage, but when he experimented with the
gentleman in the stalls, one of the electric chandeliers in the body of
the theatre, not far from the gentleman, was immediately lit, thus
enabling Yoga Rama to watch the movements of the gentleman's right hand
when tracing the letters of the name he had chosen on the palm of his
left hand, and giving the taps corresponding to the number of the
letters.

3. At the conclusion of the performance, after the bulk of the audience
had left, some persons remained in the foyer of the theatre, and a
discussion arose, during which some of the persons present asserted that
Yoga Rama had brought about his results by supernormal means. Mr.
Marriott, Mr. Guttwoch, and I denied this. At that moment Yoga Rama came
into the foyer, and he was accused by us of having been able to see. He
asserted that he had not seen, and to prove it offered to try some
experiments while a handkerchief was held tightly against his eyes. Mr.
Guttwoch held a handkerchief against his eyes. As Yoga Rama was not now
able to see, he resorted to a different method from the one he used on
the stage. He held the wrist of the left hand of a lady with the thumb
and three fingers of his right hand, while his forefinger rested against
the back of the lady's hand. He then asked her to trace the letters of
the name thought of with the forefinger of her right hand on the palm of
her left hand, which was being held by him. He was able to tell the
name, but only after repeated tracing of