ation to the well known case of a long-used
violin becoming a more perfect instrument, and giving forth richer and
fuller notes than a new instrument. The longer a gazing crystal is used,
especially by the one person, the better does it seem to serve the
purposes of that particular person. Experts in crystal gazing insist
that the crystal gazer should keep his own crystal for his own
particular use, and not allow it to be used indiscriminately,
particularly in the case of strangers or of persons not sympathetic with
psychic subjects. They claim that each crystal becomes polarized
according to the individual character and needs of the person habitually
using it, and that it is unwise to allow others to disturb this quality
in it.

How to Use the Crystal.

The best authorities on the subject of crystal-gazing insist that all
experiments along the said lines should be conducted in a serious,
earnest manner, and that all frivolity or trifling should be avoided if
the best results are wished for. This, of course, is true concerning all
phases of psychic investigation, as all true students of the subject
know. All the authorities agree that the crystal gazer should sit with
the light behind his back, and never in front of him. While an earnest
steady gaze is desirable, there should be no straining of the eyes. As
one writer has said: "Gaze calmly at the crystal, but do not strain your
eyes. Do not try to avoid winking your eyes--there is a difference
between 'gazing' and 'staring,' remember." Some authorities advise that
the crystal gazer should make funnels of his hands, using them as he
would a pair of opera-glasses.

The "Milky Mist."

While some experimenters obtain results almost from the time of the
first trial, others find that it requires a number of sittings before
they begin to obtain even faint results. The psychic picture in the
crystal usually begins by the appearance of a cloudy "milky mist,"
succeeding the former transparent appearance of the crystal. The milky
cloud becomes more dense, and finally there appears in its midst a
faint form, outline, face, or scene of some kind. Some have compared
this gradual emergence of the picture to the gradual development of the
picture of the photographic plate when the latter is subjected to the
action of the developing fluid.

Classes of Psychic Pictures.

An English writer on the subject furnishes the following general
classification of the psychic pictures