different question. These sets
have to be learned by heart by the agent and the percipient. I give in
the table four sets to illustrate my meaning. After asking the question
which conveys the set to which the article belongs, a second question is
asked, beginning with the word corresponding to the number on the number
table. This will indicate what number in the set the article corresponds
to. As an example: when the question "What is this?" is asked, it means
that the article corresponds to SET A. If the second question begins
with "Do," such as "Do you know?", this question on referring to the
number table would mean No. 4; therefore the article would be a chain.
Now, if the question "What is it made of?" is asked, it would refer to
SET C, and if this question is followed by "Can you tell me?", on
referring to the number table it will be found to correspond to No. 3;
therefore the article would be a chain made of copper. When an article
is not in any one of the sets the substituted letter code is used. Of
course public entertainers learn by heart a number of sets, not only
four.

For silent thought transference occasionally electrical contrivances
are resorted to. These are placed in different parts of the hall, and
when being pressed by the foot or hand of the agent will convey a
message to a certain part of the stage upon which the percipient (who
may be blindfolded) rests his foot.

There is another silent method which can be worked by a confederate who
is placed behind a curtain close to the chair on the stage upon which
the blindfolded percipient sits. The confederate watches the performer
who stands amongst the audience and reads through a spyglass what he is
writing on his tablet when putting down what members of the audience
wish to be done. The confederate then communicates the contents of the
writing to the percipient on the stage by whispering or by an electrical
apparatus. The position of the performer or agent while he is writing in
a clear hand on his tablets with his back to the stage easily enables a
confederate to read the writing.

Then there is the silent method of a French conjurer, some of whose
performances I have witnessed, which consists of suggesting or "forcing"
the spectators to do certain things, each action having a corresponding
number which he conveys to his lady assistant, who is blindfolded, by
touching her foot with his after she has come down from the stage and
stands by his side