e different notes. She is
thus able to make sounds on the accordeon that approximate to the very
simple tune of "Bounding Billows," and that is the extent of her musical
ability when only using her "pedals."

To get a congress-gaiter off the foot without using the hands is quite
easy; but how to get one on again, those members not being employed to
do it, would puzzle most people. It is not difficult to do, however, if
a cord has been attached to the strap of the gaiter and tied to the leg
above the calf. The cord should be slack, and that will admit of the
gaiter coming off. To get it on, the toe has to be worked into the top
of it, and then pulling on the cord with the toe of the other foot will
accomplish the rest.

The racket with the dishpan is made by putting the toe of the foot into
one of the handles or ears, and beating the pan about. By keeping the
toe in this handle and putting the other foot into the pan, the operator
can "stand a pull" from an investigator, who reaches under the blanket
and takes hold of the other handle.

To raise the table, the "medium" puts her knees under and against the
frame of it, then lifts her heels, pressing the toes against the floor,
at the same time bearing with her arms on the end. To make the table tip
forward, one knee only is pressed against the frame at the back side.
The raps are made with the toe of the medium's shoe against the leg,
frame, or top of the table.

What feels like a hand pressing the investigator's fingers when he puts
them against the blanket, is nothing more than the medium's feet, the
big toe of one foot doing duty for a thumb, and all the toes of the
other foot being used to imitate fingers. The pressure of these, through
a thick blanket, cannot well be distinguished from that of a hand. When
this experiment is to be made, the medium wears slippers that she can
readily get off her feet.

To make the table heavy, the operator presses her knees outwardly
against the legs of the table, and then presses down in opposition to
the party who is lifting, or she presses her knees against that surface
of the legs of the table that is toward her, while her feet are hooked
around the lower part of the legs; that gives her a leverage, by means
of which she can make the whole table or the end furthest from her seem
quite heavy, and if the person lifting it suddenly relaxes his hold, it
will come down with a forcible bang to the floor.

To work the "spirit-dial