BY J. H. BROWN. FOURTH EDITION. —————— First Series. WITH SIXTEEN ILLUSTRATIONS. —————— LONDON: GRIFFITH AND FARRAN, SUCCESSORS TO NEWBERY AND HARRIS, CORNER OF ST. PAUL’S CHURCHYARD. H. & C. TREACHER, BRIGHTON. MDCCCLXV. [ Entered at Stationers’ Hall. ]    ...

The following Illusions are founded on two well-known facts; namely, the persistency of impressions, and the production of complementary colours, on the retina. The explanations are divided into two Parts. The FIRST consists of directions for seeing the spectres. The SECOND , a brief and popular, as well as a scientific, description of the manner in which the spectres are produced, and is intended for the use of those who may wish to know more of this subject than is contained in the first Part.

To see the spectres, it is only necessary to look steadily at the dot, or asterisk, which is to be found on each of the plates, for about a quarter of a minute, or while counting about twenty, the plate being well illuminated by either artificial or day light. Then turning the eyes to the ceiling, the wall, the sky, or better still to a white sheet hung on the wall of a darkened room (not totally dark), and looking rather steadily at any one point, the spectre will soon begin to make its appeara

PLATE I This winged figure of Victory will give a white spectre by artificial light (rather green by daylight), the red wreaths green, the green roses red, and the orange stars blue. PLATE II This black figure will give a white spectre. PLATE III This will give a dark spectre. PLATE IV This green figure will give a red spectre. PLATE V And this red figure will give a green spectre. PLATE VI This orange figure will give a blue spectre. PLATE VII And this blue figure an orange spectre. PLATE VIII

It is a curious fact that, in this age of scientific research, the absurd follies of spiritualism should find an increase of supporters; but mental epidemics seem at certain seasons to affect our minds, and one of the oldest of these moral afflictions—witchcraft—is once more prevalent in this nineteenth century, under the contemptible forms of spirit-rapping and table-turning. The modern professor of these impostures, like his predecessors in all such disreputable arts, is bent only on raising t