POST OFFICE BOX 144 • FREEHOLD, NEW JERSEy< 07728

4
PI\IRT I
\L MANN~d~
POST OFFICE BOX 144 • FREEHOLD, NEW JERSEY 07128

MASTER SLATE SECRETS, PART I

FOREWORD
There is magic in slates, mystery and
intrigue. It is said that the spirits sometimes write
on slates with chalk, with a wet finger or with bloodl
There is wonder.ment in the eyes of an au-
dience as they behold the miracle worker with a slate.
The slate effects that startled the world at
one time are still miraculous to the new generation of
viewers. With the technique that the magician has to-
day, there is little excuse for not creating a sensa-
tion with slates.
The author's original intent was to offer
the profession a compilation of notes, ideas, comments
and effects with slates from his collection of over 40
magic slates, same of which have became rare and are now
only collector's items. The material on slates is so
large that short of writing an encyclopedia, the next
best thing was to ,~ite the material in parts. By the
advise of Karl Fulves, editor of the Pallbearers Review,
Part I was rearranged to include effects done with or-
dinary slates, ungtmmi.cked and without flaps, that any-
one can do without having to invest in expensive trick
slates. Part II will deal with pocket slates.
Part III will be devoted to trick slates.
Part IV will treat on fabulous trick slates
and a short history of slate magic.
MASTER SLATES Sr~CRb.~S is not intended as a
rehash but as a discussion of new ideas, techniques and
effects possible with what we already have plUS the latest
innovations in slate magic. Some of the trick slates are
no Longer- available. 'rho author's intent is to preserve
the ideas in print and to give proper credit to tile ori-
ginators vlith historical notes Hhere ever possible.

Happy SlatinG,

m/tb/kg
 1
MASTER SLATE Sl!;CRETS AN AL MANN EXCLUSIVg
PART I CHAPTER I
THE SPIRIT OF THE FABERLANDS

It is with the greatest of pleasure that the au-

thor brings to light an amazing slate effect that has
lain dormant in the pages of magic's history for over
half-a-century.
Even more amazing is that the effect was totally
overlooked by all the writers of slate magic.
In May of 1921, an effeot titled "Spirits?" by the
Faberlands, appeared in the pages of the Sphinx Vol. 20
No.3. Chalk written messages appeared on TWO slates
after the four sides of the two slates had been shown to
be blank and oleaned by the performer. That was the effect
as seen by the audience and was done with two ungimmioked
slates and without the use of the much abused 'flap.'
FollowinG are the moves as used by the Faberlands:
Two slates with messages on the lower sides are picked
up and shown blank sides to the audience.fue slates are
next placed together one in front of the other. Irhe front
slate is then cleaned as it faces the audience. The cleaned
slate is then placed behind the back one and the new front
slate is cleaned. The slates are next taken one in each
hand to show the two sides blank and are brought together
and closed book fashion towards the performer so that the
tHO messages are now on the inside. The slates are then
turned over and both sidns are again cleaned in turn. The
two slates are again separated by openning them book fashion
but in a reversed way from the way they were olosed. The
slates are then closed book fashion again as before and are
tied with string. TlB two messages are rev,}aled in due time.
The Faberlands claimed they worked the above routine
repeatedly with unusual success.
The reader, without tryin'3 out the effect, can ease-
ly see that the psychological factor is on the side of the
magician. The eyes of the audience have become accustomed
to seeing blank slates so that when a message appears it
will look magical indeed.
This effect has it's greatest impact when seen for
the first time as it will also baffle any magicians who
may be in the audience as they expect to see writing on
one slate only. The slates may be examine1 after the effect
and let the wise ones look for the flap that was never
there.
Following is the author's version of this axcellent
effect. If the handling is followed, the effect oan be re-
peated with the same audience and should produce the same
amazement.
 2
WiSTEll SLATE SECRETS PART I CHAPTER 1

'l'HE SPLtIT OF THE FABER LANDS •• cont ,

The :most iInportant requisite is to thoroughly con-

vince the audience that they have actually seen all the
four sides of the two slates. that all si des are devoid
of any :marks and that the magician has actually cleaned
all sides. To do this, the operator must pay close atten-
tion to the selection and handling of the slates and
the proper writing of the :messages.
'fHE SLATES: The two slates should be identical and
as light in weight as possible so that the operator will
have no trouble in handling them. The insido measure:ments
of the slates (the writing surfaces ) should be approxi-
mately 6 by 8 inches. The frames of the slates should be
of a dark color, like dark oak, and wide, about 1 inch
to 1 ~2 inches. l~ere is a good reason for these recomen-
dations as will be seen.
Tli~ MESSAGES: The message must appear to have been
written in chalk and to cover the entire surface of the
slates. Actually the :messages cover most of one side of
each slate, except for a 3 inch square that is left blank
on the lower left corner of each slate and also a one
inch :margin all around is left blank except for the top
where tIle writing is right next to the frame. The :messages
are 'fixed' onto the slate by painting the:m with diluted
white paint or; writing the messages with a chalk stick
and then spraying the:m with a fixing solution ( sold in
art stares ). When the :messages are fixed on the slates
in this manner, the perfor:mer can pass the eraser over
the :messages without erasing them.
Fig. 1, shows the messages as they look on the two
slates. The 3 inch squares on the lower left corner are
marked with pencil and later erased if necessary.
HANDLING AND PRESENTATION: Place the two slates to-
gether with the messages on the inside and t~le 3 inch
blank squares on the same end. One :message is upside
down. Now separate
the two slates
as shown in
l'i'ig. 2 •
.Please refer
to Fig. 2 on
the next page. B fC. Wd..tt: CI-
114j~/!4,-ER r-
- "'- FRtEND5

Fig. 1
MASTER SLATE SECRETS PAR'r I CHAPTER 1 J
THE SPIRIT OF THE FABBRLANDS ••• cont.
~ig. 2 shows two slates that
appear to be totally unmarked, yet
what you are actually looking at is
the blaru{ side or one slate and
about 1/6 th or the writing surrace
or the other one. Tre blank part or
the baok slate is the 3 inch square
that was lert blank. The wide rrame
or the slates also adds to the illu-
sion that a big portion or the back
slate is shown, The dark color of the
frames also helps.
The two slates are rlashed in
this manner to the audience and both Fig. 2
sides are shown to give the initial
impression that both slates are blank.
As stated berore, do not mention to the audience that
the slates are blank. Let the suboonsQious mind of the au-
dience register what the eyes perceive.
As soon as the slates are flashed on both sides as in
.B'ig. 2, they are closed up and held as; lin Fig. 3. The slate
racing the performer is now cleaned • fhe slates are then
turned over so that the side just cleaned is now facing the
audience and the new side facing the performer is in turn
oleaned. 'The slates are again turned over to show the new
oleaned side. The intent is to get
the audience used to seeing you .
clean the side that is not seen but
which is later shown blank.
Next the operator must hold the
slates as shown in l<'ig. 4. The slates
are held almost horizontal to the
floor but just above the line of
sight of the audience. The operator
then takes the lower right corner
of the top slate with his right
hand and opens the slate upwards, Fig. 3
book fashion as shown in ~ig. 5,
and turns the top slate over.
dince the line of sight cannot bend
around corners, the audience
cannot see the messages.
The performer now
'cleans' the new surface
with the erasor. 4"- - -

Fig. 4
MAS'f&i 3L11.1'£ SECHETS PAHT I CHAPTEr{ 1 4
Tlib; SPIRIT OF rfHE FAB'~I\LANDS ••• cont ,

Actually what the operator is doing

is rubbing the message \d th the ez-ascr ,
'I'h.e performer must proceed ae though the <:" '\
... ~"'.-\_-'
slate is actually blank anq act according-
ly. The message is fixed so it cannot be
erased ,..t hich will allow for the proper
/ -------.~ mes ~ age
c::::-:~--~~..
.'

acting. r:: ~-...:;: sidl!

The top slate is pl~ced below the
bottom slate and the oPerator again fla-
shes the two blank sidqs to the audience
Hithout any dramatics, during the move.
fhe slates are stil~ being held as in Il'ig, 5
l'lig. 4. '.£1he new top SU!:-face has a messgge
on it and again the oP~rator pretends to
clean the sl ate.
Next the operator must open up the slates 'book fashion',
but this time it is d011e in reverse ord~r as ahovm in ,tilig. 6.
l1'he slates are next operme d up as in Fig. 2 and are
flashed on both sides, That completes the illusion.

All the moves app e ar- natural and must

be done Hithout hesitation. The slates are
then tied together with string if desired
and the messages are revealed in due time.
L~ach individual p er-t'ormer- will of course
add his oun technique to the pre "entation.
here is one valUable tip: At the beginning
when the slates are shown blank as in Fig.2
and 3, place a cross mark on the slates with
the chalk and then erase it! This shows the Fig. 6
audience that the slates are erasable and
that the erasor actually works.
NOT..l.!l! 1 :: In the above mnneuvers shown in }I'ig. 3 to .l."ig. 6,
you are not numbering the sides of the slates or even trying
to show the slates blank. You did that when the slates Here
flashed as in Fig. 2.I'lhat you must appear to be do Lng is
go i.ng OV:lr the unmarked slates (?) with an erasor to remove
any foreign particles that may mar the test. So the whole
act of cleaning the slates with the erasor must be done with-
out any florishes or dramatics, It is coincidental if the
audience happens to take notice that the slates are in fact
devoid of writing.
NOTB: flace a pencil line on the lower slate aa shown on
F'ig. 2, so that you can tell how much to open tile slates
without exposing the message.
MASTER SLA'rE SECRETS lART I CHAPTER 1 5
SPIRITS BY THE NUMBER

This test which has been called 'The ~imple Slate

Test' differs from the preceeding one in that a message appears
on only one side of one of two slates used. Each side of both
slates are apparently shown blank, cleaned and numbered 1 to 4.
The impact of the effect on a lay aUdience is indeed
profound. The effect has been described
in many books on magic, with many varia-
tions and oredited to as many performers,
yet the triok is as old as slate magic.
Henry Slade did a version of it. Qve I
Magician Frederick E. Powell .sERA
witnessed the simple-slate-test done by
Slade in 1882 in Philadelphia. 5£ f'A

Following is the author's

version of this excellent effeot. All the i'ig. 7
moves have been routined so that apparently
the same maneuver is used everytime a slate
is cleaned and turned over. The apparent
sameness of the moves makes it easy on both
the operator and the aUdience, and all seems
fair.
The message is written as shown
in Fig. 7. Note that the number one is
chalked in the upper right corner and the
message has a margin at the right hand
side and also a blank 3-inch square on
the lower left corner. Fig. 8
At the beginning of the presen-
tation the operator can flash the two slates
as shown in Fig. 2, page 3. The slates are
then held together as in Fig. 8. The
message is on the back or the front
slate upside down.
The front slate is placed
behind the back slate which serves
to show the audience two more blank
sides. The message is now facing the
operator.
Please note Fig. 9. This is
/
the move which will app~ently be
used throughout the routine after
each slate is cleaned and marked.
Let's oall this the 'circle' move
since the top slate describes a com-
plete circle around the bottom Fig. 9, side-view
slate and becomes the new bottom
slate with the same side shOWing.
MASTEH SLATE SECRETS PART I . CHAPTER 1 6
S~IHITS BY TH~ NUMBER •• • • cant •
The Routine:
1. Mark a 111" on the upper right corner or the
r'r-onb slate .as it f'ace s the audience when the slates are
held as in ~ig. 8. (The message f'aces the perf'ormer)
2. Do the Circle move placing the top slate under
the bottom one.
3. The number "1" is now upside down on the back
slate next to rrour lef't f'ingers. So secretly
rub out the "1 1 with your f'ingers and at the
same time mark a "2" on the new tront slate,
as it f'aces the audience.
4. Do the Circle move again and mark a "3" on the
new f'ront slate.
5. n~ Circle move is repeated again BUT the top
slate is only turned over and remains the top or
front slate. This move is shown in Fig. 5 page 4.
ilease note that the slates must be held horizon-
tally to the f'loor to avoid f'lashing the message.
o. Eark a "4 11 on the new top slate over the spot
wher-e the "1" was rubbed off. This CW1. be done
while the slates are held horizontally, and then
shown to the audience.
7. :u·ow if th~ slates are slid as shown by the top
arrow in .L'ig. 10. 'fre "1" and the "4 11 will show.
If the slates are slid in the opposite direction
as shown by the bottom arrow then the "2'1 and "3"
will show when the slates
are turned over.
8. llhe slates may now be
wrapped in paper or
tied with string to
later reveal the
message.
MASTER SLATE SECRETS PART I CHAPTER 1 7
SPIRITS BY THE NUMBER •••• cont.

Do not let the antiquity of these effects deter

you trom using the~. These effects with slates completely
baffle a lay audience. The appearance of a message where
there shouldn't be any is indeed uncanny.
The author had the rmique experience of having the
slate snatched from his hands by one spectator who then
almost tore the slats apart looking for a gimmick. It
oouldn't have happened at a better time.
The side of the slate that is never seen offers the
magician a wide avenue for miracle. Any flat item can be
concealed suoh as a sealed envelope, cards, pictures, paper
flowers, etc. The late Richard Himber materialized a piece
of rope for a rope trick in his "Write-a-Rope" slate which
was an elaboration of Dr. J.R• .t,ilries Rope Biting, Jinx #53.
As a token of love from the spirit world, mediums
materialized a flower or a hankerchief together with the
message.
Actually nothing has as much impact as the appearence
of a message, especially when the slate can be left for exa-
mire t Lon , 'lne more impossible the writing the more bafning
it appears as when the message cannot be erased because it
is painted on or fixed on etc.
THE MYSTIC SLNrE
In 1910 at the Apollo theatre, Vienna, appeared the
Willey Co. Their principle trick was "The Mystic Slate~ The
illusion was as follows:
An immense slate is seen standing on the stage. The
performer draws on the slate a room with table, two chairs,
a lamp, a door and a window. Suddenly two gentlemen appear
sitting on the chairs, a drawer from the table is pUlled
out, a pack of cards taken out and a game started. The door
opens and a yormg girl brings wine on a tray and li~pts the
lamp. The gentlemen step down from the slate. T~ slate is
washed off and everything disappears from it. Shinx Vol. IX
No.4, page 81.
MASll'Erl SLA'l'E Sl,!;CRETS PAR'r I CHAPTER 1 8
MESSAGES FROM BABEL

At the turn of the century when slate-writing mediums

were in their hey day, one of their closely gaurdod S6crets
was the producing of messages on ungimmieked
slates. They had several most clever methods.
There were several reasons for
wanting to produce messages on ungimmicked
slates instead of the easier method of
using flaps or dealer slates. First of all
the methods were almost impromptu. They
could be done with any king of slates
available in the locality and which were
used by the local residents. There was
no fumbling or need for careful handling
of special flaps to fit special slates. Fig. 11
But most important of all there was no
incrlm.i.nating evid.,mce to be found in case of a. raid by the
police or the exposers.
A popular method resorted to, was a stack of 8 small
slates which were carried on a larger slate as shown in 1<'ig.
11. The small slates measured about 5 by 7 inches and the
larger slate, 8 by 11 inches. 'The effect was very strong as
the sitter was allowed to examine and clean all the slates"
yet a message was produced on one side of one slate. 'l'his
test was of course only suitable for the seance room and
preferrably for a s LngLe s Lt t er-,
B'ollowing is a list of methods in skeletal format:
Ml!."TJ iOD I
Nine small slates are used and one lar .up one. Only
ei'~ht small slates are car-r-Led on the larger one. 'l'he ninth
small slate with a message in it's lower side is concealed
undep the large slate. The number of slates used is never
mentioned and are nev.r- counted• .nfter the sitter finishes
cleaning all the small slates which were handed to him one
at a time, they are agaln stacked and the largu slate VJith
the hidden message-slate is placed ovor the stnck tnereby
adding ono slate, assuming the extra slate will not be no-
ticed. 'rhe si tter is told to s1.';n the large slate. Later
the message slate which can be maneuvered to tllo center of
the stack, is revealed in due time.
I1~'THOD II
'I'he slate with the message is concealed on the medium's
lap, under his chair, under the carpet, undur the table, or
on his person to be addod at the proper moment when the
sitter is distracted. In this case the small slates are not
stacked but are thrown about on the table or carpet.
MASTER SLATE SECR~TS PART I CHAP'l'EH 1 9
MESSAGES FROH BABEL •••• oont.
MErHOD III
The message-slate is in the oenter of a staok of
seven mnall slates held by the medium. The medium hands the
slates to the sitter one at a time for oleaning. After the
third slate is handed out the medoum turns the staok over
and hands out the rest of the slates but the message slate
is never seen.
MEl'HOD IV
The message slate is the top of nine small slates
whioh are oovered by the large slate. The medium brings these
slates to the table and then removes the large slate and at
the srone time stealing the message slate under oover of the
large slate. The sitter is then allowed to olean the staok
of slates after whioh the message slate is added to the staok
when it is again oovered with the large slate.
TO READ A QUESTION
Sitter is told to write a question on the top slate
of a staok of eight slates and to replaoe the slate question-
side down. 1~ operator oovers the staok with the large
slate thereby adding a ninth small slate whioh was ooncealed
under the larger one. The large slate is then removed to make
notes on it. The top slate of the staok is now removed (sitter
assumes this is the question slate) and wrapped in newspaper.
The meditun then cover-s the staok I.-lith the large slate and
again removes it stealing the question-slate, reading it and
answering the question. The medium can then un~~ap thesuppossed
question-slate, pretend to read it and erase it.

MANY VOICES
Why do we need nine slates to produce a message on
only one slate? This is one question that the true believers
never asked. To them any message was a miraole to be marbled
at. Counting the slates used was also no ooncorn to the seek-
ers of enli~~tment.
Nevertheless we will now proceed to produoe messages
on three slates of the stack. One of the slates will have
writing on both sidesJ
PREPARATION: We will use nine small slates and one
larger one. On one small slate write a message on both sides
of it. Also write a message
on one side only of two other
small slates. The slate with
writing on both sides is
plaoed under the large slate.

Fig. 12
MASTER SLATE SBCRETS PART I CHAP'rEt{ 1 10

I~NY VOIC~ •••• cant.

Of the stack of eight slates, the messages are
on the lower sides or slates number 3 and 7 from the top.
PRES ::l~'rATION:
The large slate which is concealing the ninth slate,
with writing on both sid0s, is laying on the table to your
left. See Fig. 13.
Take the staok of eight slates and spread it out in
front of the sitter as shown in Fig. 12 while you say,
"We will use these slates i'or the test." This move is done
with a flourish to imply that the slates are all blank and
everything above suspicion.
Push the two top slates tiowar-ds the sitter together
with an erasor and say, "Please help me clean these slates.
lI' or the test, the slates must be dust free."
Performer takes the next two slates, which were the
3rd and 4th slates in the stack, and flashes them to show
both sidls blank saying, trAIl of these slates are blank,
but we must make sure and remove any foreign particles that
might interfere with the experiment."
Here, the performer must be careful not to expose the
mes3age that is on the lower side of his top slate •
. ocf'or-mer- now proceeds to do a 'table' version of the
"simple slate test" as described in "3piI'its by the Humber."
1. Clean the top slate Hi th an er-aaor , 'i'he message is
on the under side of this slate.
2. 'i'urn both slates over and clean the new top surface.
3. Do the 'Circle' move with t:16 top slate only, as
shown in B'ig. 5, page 4. Clean the new top slate.
'j_. Turn both slates OVGr again and clean the n..w top
surface. 'I'm slates are again in their ori[;ianl
p oe Ltidon with the message on the 10Her si d o of the
top slate. ,
All chis while the sitter is busy cleaning his own slates!
I'he psychological misdirection is colossal s Lnc e the
sitter is actually seeing many blank surfaces and is also
cleaning the slates.

The t\o10 slates that the performer is holding and which

nave just been cleaned are then first turned over and then
placed on top of the two slates that the sitter has cleaned.
The message is now facing up on the second slate from the
top or. a stack of four slates! See Fig. 13.
.tepe a t the same maneuver with the remaining four slates,
but at the end turn your two slates over- and placed them 1ID,-
der the two slates just cleanod by the sitter.
MAsrr EL( SLATE SECRE:fS PART I CHAPTER 1 11
MANY VOICES •••• cont.
Next cover one of the stacks with the large slate
thereby adding the hidden ninth slate. Take two slates from
the uncovered pile of four slates and add it to the stack
under the large slate, being careful not to expose the
double-message slate under the large slate.
Next add the remaining two slates to the stack
under the large slate and the trick is done I
\ihen the stack of small slates are again spread
out ribbon-fashion, the sitter will see that three slates
have messages on them and all are facing up!
It is obvious to the reader that the routine can
be changed to suit the performer. The message slates can
be made to appear at any number called by the sitter,
simply by asking the sitter ahead of time to choose two
numbers between 1 and 9. The performer can then maneuver
the slates with the messages to fallon these numbers fram
the toP.
Your final patter, after the trick is done, can be
something like: " You have chosen the numbers "2" and "7".
I am going to try to cause messages to appear on the slates
at position 2 and 7 from the top. And also I will try to
make a message appear on both sides of a third slate."
At the conclusion, the sitter will be so baffled
to see messages appear on three slates that he will not
even bother to notice whether the slates with the messages
appeared at the right position.
.,

Slate covers
€Ii ~i~
small slate
with writing
(;.sage is
face up on
2nd slate.
Message
slate _ , /
.J
on bottoms .
on both sides.
Fig. 13
MASTER SLATE SECRb."'TS PART I CHAPTER 1 12

THE UPROAR

'i'here appears to be no l1m.i t

as to what the spirits can do if
they are given free rein.

~~ • •
Applying the technique that
was learned in "The i.:)pirit of the
Faberlands," we oan assist the
spirits in producing messages on
five slates of the stackJ
Preparations: Using 9 small slates,
write a message on both sides of
one slate and plaoe it under the
large slate as in the p~evious effect.
Next write messages on four slates, on
one side of each.
'l'hese four slates will be on the
3rd, 4th, 7th and 8th positions from the
top on the stack of ei@lt slates and
message sides down.
PH~SEN'rATION:
Sl;read out the eight slates as
in Pig. 12, before the sitter. All the
slates show blank sides, as the messages
face down.
vive the first two slates to the
sitter for cleaning while you clean
the next two, as follows:
Fig.
1. tour two slates are placed
together sid8 by side as in
fig. 14. 'I'he long sides of the slates are towards
the sitter.
2. .Pick up the two slates at the center by the
frrumes and pull them upwards tent-fashion as
shown in Big. 15.
3. Do the maneuvers as shown in Figs. 4, ) and 6
on pages 3 and 4.
4. Replace the slates on the table with the messages
in the inside and place the sitters slates on top.
S. Repe ab the same maneuver vd th the oti18r four slates,
To form two stacks of four slates oach.
o. Add the hiddn slate under the large slate and
then the other four slates as alI'eady learned in
t he previous e f'I'e c t , l( ....ve a.L the mee s are s at' cer-
invoking the unseon forces.
MASTEH SLATE SECRRrS PART I CHAPTER 1 13

LET IT BE WRrrTEN

A message that mysteriously appears where there

shouldn't be any, oan play havoc on the minds of the au-
dience, regardless of what the message says.
In the foregoing effects with a number of slates
and multiple messages, the operator can resort to poetry,
proverbs, predictions, warnings, advise, etc. However no-
thing impresses the sitter more than a message addressed
directly to him and especially a direct answer to his ques-
tion.
In this section, we will consider slate tests un-
der test conditions. That is tests done with the sitter's
own slates where writing appears in answer to questions in
the sitter's mind. '
To discover what the question is, the operator may
resort to an impression method or simply by asking the sit-
ter to state his question.
If the operator has a hidden assistant, then the
problem has a simple solution. The sitter's slates are se-
cretly passed to the assistant, who writes out the answer
and then passes the slate back to the operator, usually
bhr-ougn a hole in the wall which leads under the operator's
seat.
If an assistant is not used, then the operator ml1st
depend on his own abilities. This is where the true art of
the individual comes to the fore.
In the seance circle, the slate-writing medimns ue-
cretly peleased their hands from the others and wrote the
message in total darkness. ~ome did it by holding a piece
of chalk stick in their mouths, others by writing with their
feet. Some had developed the technique of holdin::; the slate
against the under side of the table with their wrists and
writing the message with a finger chalk-gimmick, backwards!
Yet, from ,vi thin the countless grains of sand, only
a f,)w gems shine out.
The next tew pages will contain slate effects on
r-ecor-d that tar excel all others in technique and presenta-
tion.
In "The Spirit \'iorld Unmasked" by Henry Ridgeley
hvans published in 1897, He read the account of a ai tting
by Dr. Richard Hodgson of the Society of Psychical Research,
with a lady medium called Mrs. Gillett. Dr. Hodgson was en
an assignment to investigate all renown mediums. ~'s.
Gillett became famous for her ability to obtain wr:(.ting en
the sitter's own slates, while the slates were in :~ull sight.
MASTER SLATE SECRETS PART I CHAPTER 1 14
LET IT BE WRITTEN •••• cont.
According to the
account, Mrs. Gillett held
the (2) sitter's slates
lion end between her and the
sitter." 'llhis is shown in
Fig. 16. In due time a message
appeared on the inside
surface of one of the slates.
Nei ther E.'vans or
Hodgson gave ~urther de-
tails on the test. Dr.
Hodgson became converted
to Spiritualism in 1898.
It is relatively Fig. 16
easy to conjecture the modus
operandi used by Mrs. Gillett.
One has only to look at the times of the events and the
knowledge and pratice then available.
The key to the secret was then only knOvffi by a gmall
group of sl ate-'..I ri t Ln: mediums and to some magicians that
were convorsant with the habits of mediums •
.:~t the turn of the century, magician Karl Germain,
who had buen exposed to the doings of mediums from child-
hood, unveiled his creation called "Spirit Seanco in Full
Light." Germain presented his creation on the stage as
well as in the drawing roam. Tlw 'Seance' which is today
a dealers' item, utilized the use of a false hand. 'rIds
had been a mediums' tool from time immemorial. It is no
wonder then, that Mrs. Gillett presented a most impressive
slate test. By the use of a false hand, }~s. Gillett's
ot-her- hand was free to do the secret writing on the side
of the slate facing hoI'. She could even make tho message
appear in any color chalk called b;; the sitter • .tI..ftor the
answer 1'JaS written, Mrs. Gillett resorted to the 'simple
slate test' to show all four sides of the two olutes blank
and then maneuver the message to the inside of tile slates,
tie the slates with string and then produce the message in
due time.
Add to the above the peculiar atmosphere of tne
soance room, soft music, burninG incense and subdued light
to crente the perfect illusion. Hany mediums were in the
nabI t of sitting in a 10V! divan type soft chair irhLch
placed their bodies \-Ii th ,~heir head and ahou.Lde n just a
triffle above the table • .Lhis way any movemerrt: of the
shouldor while writini~ Here covered by the slates.
The "Sp Lr-L t .,jeanc 13 in Pull Light" vms written up
in June 1906 in the Sphinx, Vol. ;; :14 by l.W. King who was
as expurt in the secrets of mediums.
I-IAS'l'&~ SLA'fE SECR~'l'S PART I CHAprr~ 1
ThH; ULTIMA.'l'l!; SLNfE 'fEST
The slate test that astounded the world and what
could be called the Ultimate 3late Test of All ibne, was
the private property of Dr. Henry Slade, the supreme slate-
writing medium on record.
For the hard-core skeptics, Slade offered to pro-
duce a spirit message on any slate brought in by anyone
without handling it himself I The slate would never leave
the hands of the owner and the whole thing would be done
in full light I
The challenge and the conditions offered would
gladden the heart of any investigator.
Slade performed the test many times. The repercus-
sions of the effect were heard throughout the civilized
world. It brought fame and fortune to Slade and eventual
ruin. It converted many skeptics. Only the few that saw
the test performed believed it. ~ne rest of the world said
it was impossible.
At the famous Slade trial in Bow Street, London,
held in 1876, Mr. John Nevil Maskelyne, the famous ~glish
magician, in feferring to Slade's challenge slate test,
said:
"--no conjuror could produce Hriting
upon a slate held in the hands, as mediums
had done. I believe that any man who
believed he saw such a thin§ would be
labouring under a delusion.
0avid p. Abbott in his excellent book IIBehind
the Scenes with the Mediums," states on page 68 as
follOl'1S:
"I am acquainted with a gentleman who in
describing a slate performance which
Slade gave him, solemnly tells me that
he purchased and took his own slate with
him, and that it never left his hands or
the light. l"urther he states most posi-
tively that he saw the message in the
process of ~ppearing on the slate letter
by letter. This man is a travelling sales-
man for a big firm, a good business man
and honest. Now neither Slade nor any
other person ever gave such a performance;
and among all the magicians who saw Slade
no one ever witnessed such a trick. 1I
IITruly, not much reliance can be put
in miraculous tales related second-hand
of such performances. II
MAS~IER SLATE SECRE:I':S PART I CHAPTER 1 16
THE ULTIMATE SLATE ~EST •••• oont.
There were ~everal magioians who saw the test
~d were oompletely baffled by it. One was William E•
.t1obinson (Ohung Lin~ Soo). Robinson wrote a book, "Spirit
SJa te Writing and Kindred Phenomena" in whioh he related
the episode. Robinson's book was printed in 1898.
Apparently Mr. Abbott did not read this book as
he was busy writing his own which came out in 1907.
Robinson had two sittings with Slade and although
the solution to the mystery eluded him, he noticed that
Slade used a peculiar looking slate pencil and that Slade
had to test the slates by writing onthem and then erasing
the marks with a wet sponie.
Robinson states, I received a message on the
slate, after it was washed, and saw that there was none
on there after it was oleaned and handed to me. I went
home puzzled, and experimented to no avail."
rlobinson was eventually successful when he ex-
perimented with nitrate of silver.
dlade used a writing pencil which was pointed on
both ends. Half of it was slate pencil and the other half
was a stick of nitrate of silver. The message was written
with the nitrate of silver and then the slate was covered
with chalk ~1l'iting to .rLde the message. The slate was
then :mshed with a solution of salt. When the slate dries
only the message appears as the salt makes the silver
nitrate writing white like slate pencil marks.
H0oinson stated, "I consider this trick as inge-
nious and clevor a one as it has been my good fortune to
witness, and one that caused me much mental effort to
solve. II
'l'his slate secrot is still a baffler today und
is stili practiced occassionaly •
i'he slate should be c ov or-e d with writing on both
sides and then erased witll a Het felt erasor Ln s t o ad of
a sponge. 'IllS vlri ting Lmi.Lemerrt should be kept hf.dd..n as
mush as possible. 'I'he crasor is ofcourse wetted in a so-
lution uf salt.
'llh~ Nitrate of s Ll.ve r stick is kept dry and
handled with care as it may burn the flesh.
MASTER SLATE SECRETS PART I CHAP7ER 1 17
THE 13th VEIL
EFFECT: A message appears on one side or a single
slate arter it has been shown blank on both sides and
cleaned.
Since this chapter is devoted to slate erfects with
ungimmicked slates without flaps, we must stiok to this
requisite.
Throughout the years many solutions have been offered
for this problem. Most of them dealt with chemical methods,
which will be discussed in another chapter. For the moment
we will discuss some ideas that are practioal and that will
appeal to the reader.
Many years ago an idea appeared in print credited to
J. F. Orrin. The method is included in Peter Warlock's
"The Best Tricks with Slates."
It oalled for writing the message on one side of a
slate with white paint. After the paint dried it was made
invisible by covering the letters with slate-color pastel.
In the presentation, some marks with chalk were placed over
the pastel and then the whole thing erased. In ord,r to
remove the pastel it was recommended to clean the slate
Ivigorously! Like Peter Harlock said, "This idea is beau-
tifull."
Unforetunately the method given is not practical. The
author followed directions closely and was unable to remove
the pastel. Perhaps the pastel used 50 years ago was weaker.
Following is a method that does work: Paint the de-
sired message on your slate with diluted white paint OR
write the message in chalk and then spray it with "Fixatif."
Flxatif is a fixing spray that . fixes chalk writing on a
slate. It is sold at Artist's Supply stores. In the States,
it sells under the trademark of "Krylon #1306, \vorkable
Fixatif" and is made by Bordon, Inc. Department CP, Colum-
bUS, Ohio 43215.
The Fixatif method is recommended as the appearing
message is in chalk, but white paint will do if you cannot
g(;t the Fixatif.
After the Fixatif dries, black out the message with
a black-water-color felt-tip marker. These are sold in sta-
tionary stores.
To reveal the message after the slate has been shown
blank on both sides, the slate is washed with a damp sponge.
The wator in the sponge removes any chalk marks and the
black water-color marks and leaves the ne s s age l
NOTE: B~xatif is the ideal fixinc solution to use for fix-
inC'; any slate message to prevent smudging vrh.i Le handling
the slates.
MASTEH SLATE Sli:CRBTS PART I CHAPTER 1 18
'llILt!: 13th VEIL •••• cant ,

In all these effects it is recommended to use a slate made

with rook slate instead of silicate.
STEWART JAMES UNIQUE SLATE TEST: The following test appeared
in the Sphinx Vol. 29, #1 for Maroh 1930.
EPFECT: A slate is shown blank and is passed out for olean-
ing. Marks are then placed on the slate and then erased
with a black silk. The lights are turned off and the slate
is given to anyone who writes a question on the slate and
then erases it in total darkness.
Lights are called for. Performer takes the slate
and writes an answer to the question.
The secret here is that the performer gives the spectator
a pieoe of blue grease pencil in plaoe of the piece of
ohalk. Then after the question is written, the spectator is
given the blaok silk in exchange for the grease penoil.
In the May 1935 Jinx, Dr. L. E. Duncanson revealed a similar
test but done in full light. He called it "Thought Rays."
The spectator is given a piece of chalk and told to write
a word or design eto. He is then told to erase it with a
'soft ootton cloth.' The perfor.mer then takes baok the
slate and duplioates the writing.
The secret here was that the piece of chalk given to the
spectator had been formerly dipped in 3-in-1 household oil.
After the chalk marks were erased the writing could be seen
in 'oil' lines.

Both of the above effects had one flaw in them. Both the
blue grease penoil marks and the oil lines stuck out like
a sore thumb after the slate was cleaned. These marks are
plainly visible to anyone. However if a wet sponge is used
to clean the slates after the messages have been written,
instead of the black silk and the cotton cloth then the
message is made invisible as long as the slate is wet. The
shine of the water on the slate hid8s the shine of the
grease pencil and the oil lines. The performer must retrieve
the slate after it is washed off with the wet sponge and
then place it aside until it dries. The drying takes a few
moments so the performer must do something else in the IIB an
time.
Olive oil works well in place of the 3-in-1 oil. The
chalk is dipped in the oil for about 10 seoonds and then
allowed to dry. Lube oil is also good.
A better impression method is hard to find without the
use of impression-looking gimmicks.
The slates bould be cleaned with ammonia before prepa-
ring them to remove any oil or grease.
MASTER SLATE SECRErS CHAPTER II 19
THE FLAP

Before pr~ceeding farther in our fasoinating

voyage into slate-magie-land, it is well to first consi-
der the key that unlocks many secrets for miracles, "The
Flap~
Aocording to ~Iill Goldston in his book, "Tricks
of the Masters," the flap was introduced to the public in
1870. The flap and the locking flap slate was known by a
small group of magicians and mediums before that. Dr.
Henry Slade was known as a noted medium from 1860 and was
well known in New York. Many of his methods were well
known by other mediums and magicians.
Johan Nepomuk Hofzinser's notes whioh are writ-
ten in German and have not yet been publioly translated
completely probably contain a referrenoe to a looking
slate as it has been rumored. Ottakar Fisoher who had
aocess to these notes owned a locking flap slate. Hofzin-
zer died in 1875.
When the flap, as we know it was first used? will
probably never be known. It is a fair contention to assume
that somewhere along the line some clever pseudo-medium
decided that it would be easier to exchange writing surfa-
ces instead of slates, so the frame from one slate was
diso~~ded and the flap was born.
A lot of thought has been spent in ways to dis-
pose of the flap seoretly after the message has been pro-
duced. One of the most praotical and popular methods for
disposing of the flap is to disguise it to look like a
sheet of newspaper.
In 1877, Carl Willmann, magician, ma6ical inventor
and dealer, wrote a book to expose Slade in Hamberg, Germa-
ny. In his book "Moderne 1,-lunder," Willmann shows how to get
rid of the flap. One side of the flap is covered with news-
paper. A message is written on the slate and then covered
with the flap so that the slate appears unmarked. After ex-
amining the slate, it is wrapped in a sheet of newspaper,
the flap is allowed to drop onto the sheet so that when the
slate is unwrapped, the message appears and the flap is
camouflaged by the newspaper which is discarded.
A looking flap is also mentioned by Wil
is made of paper mache and is 'Hedged into the wooden f'rame
of' the slate in the process of wrapping the slate, by pre-
ssure of the fingers.
Peter Warlock, in The Pentagram Vol. 1 no. 11,
mentions a locking flap slate he received as a gift from
John Gambling. The slate was designed by Gambling and
built for him in 1887.
MASTER SLATE SECRETS PART ,I CHAPTER 2 20
THE FLAP •••• cont.
In "Spirit Slate
Writing -" (1898),
W. E. Robinson men-
tions a slate flap
covered with material
to match the table
covering. •
On page 48 of the A B o
same book, a flap is Fig. 17
shown with a corner cut
off to allow the slate
to be initialed, see Fig. 17A. A version of the locking
flap is described called the Double Slate. These are two
slates that are hinged together that can be pad locked.
David p. Abbott in "Behind the Scenes with the Mediums,"
writes about the amount of trouble, care and work put into
the selection of three slates to mateh. One of the slates
was selected for it's thin slate surface for the making of
a flap with saw and file.
The 3/4 flap shown in Fig. 17B is credited by Annemann
to Bruce Hurling in Jinx ~51. This flap covers only 3/4
of the slate surface and each quarter folds down to mwre the
flap palmable. The uncovered quarter is used for marking
the slate. The three flap quarters are made of card material
and held together with tape.
Fig. 17C shows a flap with an arc cut off which serves
the same purpose as flap 17A. '£his flap was used by Olarence
Hubbard. The flap conceals the message. A spectator is told
to initial both sides of the slate after the performer has
placed a semi-circle with his chalk on one corner on each
side of the slate. One of the semi-circle marks follows the
cut of the flap, which helps in hiding it. Tre flap is dis-
posed off when the slate is placed on the table. When the
message is produced it of course has the spectator's ini-
tials.
The Vanishing Flap: J,(obinson also mentions a flap
made of slate color silk. This flap is covering the message
on the slate proper and held in place by spots of wax. A
thread from the silk leads to a pull up the sleeve. At the
proper time the performer makes the message appear right
before the eyes of the audience simply by activating the
pull. 'The silk flap vanishes up the performer's sleeve.
MASTER SLATE SECRh'TS PART I CHAPTEL1 2 21
THE FLAP •••• cont.
Another Vanishing Flap: stewart Judah used a f'lap made
of' black crepe tissue paper in the same f'ashion as the silk
f'lap mentioned bef'ore. However to remove the f'lap the per-
f'ormer resorted to clewning the slate with a black silk so
that the paper f'lap could be removed unnoticed. A wet sponge
cwn also be used in which case the paper f'lap is rolled up
into a ball and taken away behing the sponge.
THE GYSEL-BAKER FlAP
Here we have a most ingenious way of disguising the
f'lap. Robert Gysel is credited with the introduction of this
flap in the Sphinx Vol. 22
#1 0 f'or Dec. 1923. Tl:e
idea is also credited to
Al Baker. The flap is dis-
guised as a writing pad by
cementing the f'ront of' a
writing pad plus a few
sheets to the f'lap. The
surface of the slate and
the f'lap are just large
enough to cover a writing
pad, approximately 4 by
6 inches. A B
Tre disguised f'lap 8
is shown in Fig. 18A, the Fig. 1
other side of the f'lap is slate
color. The pad is shown in Fig. 18B. The top sheets of both
the writing pad and the f'lap gimmick have a similar mark
such as the performer's initials.
THE HOOK FLAP: This is also credited to Gysel. This
flap has a tiny metal hook in the middle of' one end for
hooking it to the perf'ormer's clothing or elsewhere to dis-
pose of' it. This type f'lap has also been used to convey a
message to the medium on stage by the perf'amer Who is working
in the audience. The performer writes out the message wnd
then hooks it to the clothing of some spectator who goes on
stage. The medium knows where to get the f'lap with the
message.
One side of the f'lap must have the approximate color
of the clothing.
A MAGNRrIC FLAP made by imbeddir:g used razor blades
between two layers of' cardboard and then painting it the
proper color can also be attached to the clothing over a
magnet.
MA~TER SLAT b: SBCREl'S PART I 22
THE CLOAK OF THE UNSEEN
It is possible to camouflage one side of a slate-
flap that is, for al practical purposes, invisible. Dis-
guised as will be described, the flap can be placed right
in front of the spectator without him seeing it. The spec-
tator may even touch it without being aware that he is
touching the slate-flap!
The principle to be described was used by E.J.
Moore in his Daz-E-slate which was very popular in the 40's.
One side of the slate flap is
covered with a chequered material like
the one seen in Fig. 19. This material
is available in the house wares depts.
......
..........
~ the form of contact paper for use ~

• ••••••••
•, •••••••••
in shelves, tables, etc.
When a piece of this material •
•• •• • • ••
•••••••• I
is laid over a larger piece, and the
lines of cheqs are running in about
•,.• •• •• •• •• •• •• •• •r.
the same direction, the top piece can- .. • • • • • r

not be seen as it melds in with the Fig. 19

back piecel
PREPARATIONS: Buy at your local Dept. store the necessary
amount of contact paper or Place Mats which come also in
chequered na terial.
Make a special flap for your slate out of
black art paper and on one side cement a piece of a place
mat and then cut to the right size.
Buy extra place mats as many as you have
chairs on your table where you expect to work.
If you wish to go farther you can prepare
a number of pieces of the Place mat material to the size
of your slate-flap. Then place on top of each place mat
the square pieces. The place mat in front of your seat
can be left without the square piece so that when you
'drop the flap', your place mat will look exactly like the
rest.
For the platform, or drawing room type pre-
sentation you can make a working pad. This will be larger
than a place mat and should be square.
In presenting the effect, the m~ssage is
written on the slate proper and then covered with the flap
which is dropped on your working pad or place mat. You can
actually drop the flap on the place mat right in front of
anyone of your sitters and all the odds are on your side
that the flap will go unnoticed.
MAS'f&{ SLNfE ssonzrs PART I CHAFfEd 2 23

Here is a
$late-flap dis-
guise that serves
two purposes. It
serves as a slate
flap and also as
a switching devise I
This is an
innovation of the
author.
The slate surface B C
is the exact size of
a letter envelope, Fig. 20
3-5/8 by 6~ inches.
The slate flap is of the same size but so that it fits
loosely on the slate.
One side of the flap is of course slate color and the
other side is disguised as a letter envelope by camenting
a letter envelope to the slate flap. This is shown in Fig.
200.
A second letter envelope is now attached to the slate
flap over the first by a spot of wax so that this seoond
envelope may be removed once the flap is added to the
stack of envelopes, 20B. 'l'HIS SECOND ENVELOPE HAY BE LEFT
UNA'f'l'ACHBD.
It is now obvious that the two envelopes attached to
the slate-flap can be used to insert oards or slips of paper
for switching I
It is also quite obvious the amount of brain-busting
feats that oan be aocomplished by this arrangement. Here is
one:
THE TELEPA'l'HIC AH'rIST
EFFECT: Envelopes and slips of paper are passed out to 5
or more members of the audienoe and they are told to draw
simple designs like a square or a oirole.
An assistant picks up the sealed envelopes on a
slate. The performer without touching the envelopes divines
the contents.
P~{bl:'ARATION AND METHOD: PLac e two sealed letter envelopes,
one containing a drawing of a triangle on a slip of paper
and the other containing a. drawing of a. figure eight, under
the slate's letter-flap.
Pass out 5 or more envelopes to the audienoe with
slips of paper and ask them to draw simple geometric designs
MASTER SLAT.t!: SECRETS PART I CHAprrER 2

THE LETTER FLAP •••• oont.

and you must emphasize by saying "like a square or 9irole."
Most of them will probably draw a triangle.
Next have your assistant oolleot the envelopes,
with the flap-side of ~he envelopes down. Only the first
envelope oolleoted must be plaoed squarely on the slate
surfaoe. The rest of the envelopes oan be plaoed haphasard-
lyon the slate.
Your assistant stays in the audienoe and simply
turns the slate over on his hand, gives the slate to some
one in the audienoe together with the first (new top) en-
velope and then passes another envelope to someone else.
Performer states that two tests should be suffioient.
Performer then divines the design held by the
seoond speotator and then tells the first speotator to
draw the design on the slip on the slate whioh of oourse
is duplioated by the performer on the stage.
If an assistant is not used, the whole thing oan
be done by the performer who returns to the stage, disposes
of the rest of the envelopes and then duplioates the two
drawings and retrieves his slate1
The person who gets the slate should get the en-
velope lVith the figure eight plus a stiok of ohalk.
If you can obtain a slate \-lith wooden frames deep-
ly reoessed, then you can hide four or more envelopes under
the slate-flap.
You ~ay have to make your own slate to fit the
letter-flap. ~iberboard or oardboard are good materials to
nake a slate. ~implY out a pieoe of board as large as the
slate needed. lhat is, the board should be as large as the
letter envelope plus the frame. 'l'hen add the frame out from
the same material and oemented onto it on both sides.
Fig. 21A shows the frame for the slate cut out of
cardboard. Two pieoes are needed whioh are then oemented
to the board on both sides.
'I'he inside measur-ene nts of the
frames are large enough to
accomodate the letter enve-
lope. The size of the slate
is represented by Fig. 21B,
which also shows the piece
of board needed to make the
slate which is then painted
slate color.

A B
Pig. 21
1-1AS'l.'BH SLA'l'E SECRETS ~AHT I CHA~'rEH 2 25
THE LOCKiNG .b'LAP
The locking flap slates are known today as the Dr. Q
slates and have become a standard item with most magicians.
Two slates come with one flap which locks into palce by
spring tension in the frrone ends. By squeezing the enda with
the fingers, the flap is either released or locked into
place. The message is \~itten on one side of one slate and
on one side of the flap and then concealed by the flap.
These slates are so well made that they can be passed
out for cleaning. When the flap is transferred from one
slate to the other the message will of course appear.
Why these slates are supplied with only one flap, is
a mystery since the slates can accamodate two flaps each, one
on each side.
~o make additional flaps is very easy. Just take the
exact measurements to your hardware store or carpenter and
have four pieces of plexiglass cut to size. All four pieces
must be exactly cut to the same size. Plexiglass mulce s excel-
lent flaps. The pieces should be cut from plexiglass 3/16
inch thick. These are then covered by cement Inc; black art
paper to both sides or by spraying with flat black paint.
Black art paper is r-ec ommendcd for cov.r-Lng the pieces
of plexiglass with as it can easily be replaced and it takes
chalk well.
TIE Owen Dr. Q Slates which are still available, can
hold two of these flaps easily, one on each side of each slate
for a total of four flapsl More flaps will introduce the
miracle worker to more miracles.
MULTIPLE SLATE \'lRITING WITH THE DR. Q SLATES
For the best effect the Dr. Q slates and the four
flaps should be used in the question answering act. 'l'le ques-
tions are gotten ahead of time by the impression method. The
slates are then prepared by writing on them the answer to
four of the questions and then covered with the flaps. 'I'he
slates must be secretly marked so that the performer knows
which are the correct answers.
During the show the performer offers the slates for
cleaning. ~erformer holds on to one end of the slates and
alloVls anyone in the audience to pass the erasor over the
slates. After the slates are cleaned they are placed into
a stand as shovffi in Fie. 21. One of the flaps is allowed
to fall back over the stand to expose the answer to the
first question.
The flap can be released on one slate while the other
is being cleaned or shown to be unmarked.
MASTER SLATE SECRE.'TS PART I CHAPTER 2 26
MULTIPLE SLATE WRITING •••• oont.
The stand shown in Fig. 22
is not necessary. The performer
may just release the flaps over
the table. However if the per-
former can build or have build
a stand as shown in Fig. 22,
the working is better and looks
more natural. The flap is
simply released as the sTate
is placed on the stand. he
flap falls backwards over the
back of the stand which is
oovered with black cloth to
minimize the noise.
The type of stand shown in Fig. 22
Fig. 22 was originated by Lee
Hemington for use with his THE REMINGTON srrAND
5-in;.1 slate.
The stand must be long enough to aocamodate the two
Dr. Q slates.
In the presentation, one flap is released at a time and
one message is shown in answer to the question. When each slate
is turned over to reveal the answer, the other flap is released.

T}lli ESPirit MESSAGE

EFFECT: An ESP design chosen by the audienoe appears on one
of two slates that have been cleaned and shown blank on all
sides!
V~HOD: Needed are the two Dr. Q slates, the four flaps and
a chart showing four of the ESP designs. In place of the chart
four jumbo ESP cards may be used.
The slates are prepared by drawing the four ESP de-
signs, one on each surface of the slates, and then covering
the designs with the flaps so that both slates appear blank
on both sides.
The audience is given a free choice of one of the de-
signs or the process of elimination may be resorted to.
Before the audience chooses a design, the two slates
are shown to be devoid of markings. The audience is told that
anythinC; thought of by tho audience will appear on the slates.
After the desig,n is Chosen, SllOH the slates again and
place them together but make sure the design chosen will be
on the lower side of the bottom slate. Show the slates to be
blank once more and them drop the flap and maneuver the de-
sign to appear in the inside when the slates are again openned.
MAS'l'BR SLATE SECRErS PART I CHAPTEH 2 27

MINUTE MAN'S LOCKING FLAP SLATE

Here is a fast way of oonverting any pair of slates
into a looking flap slate.
If possible, use a pair of slates with strong WOOq-
en frames whioh are recessed about 1/8th to 1/4 inoh.
PREPARA~ION: Make a cardboard flap to fit snugly but not
tight, into the slates. The cardboard used on the back of
writing tablets is just right.
2. Cover both sides of the cardboard-flap
with blaok art paper (also called construction paper),
by an even coat of rubber-cement.
3. Write t~e ~essage you wish to produoe on
one side of slate "B II (ll Lg , 23) and also on one side of
the flap.
4. Spread a thin ooat of rubber cement on one
side of slate "A", and also on the blank side of the flap.
5. Cover the message on slate "BII with the
flap. The flap is placed blank side out so that the slate
wil+ appear blank from both sides.
Fig. 23 shows the oorreot
way of handling the slates in order to
transfer the flap. Slate "B" is on the
bottom message-side up with the flap in
plaoe message-side down.
Slate IIA" is held with the A
right hand and slate liB" with the left.
Slate IIA II is placed over
II
"B as shown in the Fig. so that their
left rrame edges are first evened, then
slate "AII is lowered onto "B" and held
evenly with both hands. Slate "A" is
treated-side down.
Both slates are now turned
over, which aotion transfers the flap
from slate IIBII to "A" and the flap
becomes 'looked' by the rubber cement. :£i'ig. 23
The slates can actually be
passed out for a cursory examination.
NOTE: After the rubber cement is spread on the slate and .
flap, it will leave a shiny surface. To remove the shine
dust the slate and flap with a dusty blaokboard felt erasor.
Writing will of course be found on both slates after the
flap is transfered.