I found, at this time, that I was placed opposite to the medium,--that is to say, facing her,--at the other end of the table. When I asked the spirit to embrace me and caress me, I immediately felt an icy breath before my face, but yet without experiencing the least sensation of contact.

When the medium announced the materialization of the spirit in these words, "_E venuta, e venuta_" ("She is here, she is here"), I distinguished over the middle of the table a spectral form, dim and confused, but which, little by little, grew brighter, and took the shape of the head of a young girl of the same stature as Rosalie.

When objects, such as the music-box, violin, or the like, were unexpectedly brought before us, I saw very plainly the shape of a little hand emerging from the curtain that hung close by me, and which placed these different objects upon the table.

I ought to declare that, during these inexplicable phenomena, the chain was not broken for a single moment: it would consequently have been materially impossible for one of us to have made use of his hands.

I will now describe the last phenomena in which I was for a little while both actor and spectator. These events closed the seance.

One of the company, M. Boutigny, who was affianced to my daughter, having left the table to give his place to one of the spectators, I saw him approach the curtain of which I have spoken, which at once gaped open by his side. I ascertained this fact very precisely.

M. Boutigny then announced to us aloud that he was being very affectionately caressed. The medium, who was at this moment in an extraordinary state of agitation, kept saying, "_Amore mio, amore mio!_" ("My love, my love!"), and, addressing herself to me, called to me several times in the following words, "_Adesso vieni tu! vieni tu!_" ("Come at once, come!")

I hastened to take the place which M. Boutigny occupied near the curtain, and I was scarcely there when I felt myself kissed several times. I was able for an instant to touch the head which was kissing me, which, however, drew back from the contact of my hands.

I ought to say that, while these events were taking place, my eyes were carefully observing the medium as well as the persons who were by my side. I can therefore, boldly certify that I was not the victim of any illusion or subterfuge, and that the head which I touched was the head of a real and unknown person. I felt myself afterwards gently stroked several times, upon the face and head, the neck and the breast, by a hand which came out from behind the curtain. At last I saw the portiere move aside and a little hand, very moist, very soft, stretched out and placed on my right hand. Quick as thought, I reached my left hand to this place to seize it; but, after having held it closely pressed in mine for several seconds, it seemed to melt away between my fingers.

Before closing, let me say, by way of additional authentication, that M. Flammarion had the extreme kindness to have this seance given for my family and myself, and it therefore took on a very markedly private character.

The seance having lasted from 9.20 to 11.45 P.M., we several times asked the medium if she felt fatigued. Eusapia said no. It was only when the last experiment took place, when we (myself and my family) had been caressed and embraced, that the medium, feeling tired, decided to end the sitting.

My wife is convinced, as I am, that she embraced her daughter, recognizing her hair and the general appearance of her person.

Report of M. Le Bocain

(_The Same Seance_)

The following are some extraordinary phenomena which I observed during the course of this seance and of which I believe I can give a report as exact as it is impartial, having personally taken the most minute precautions to a.s.sure myself of the perfect fairness of the conditions under which these different wonders were produced.

I only speak, be it understood, of circ.u.mstances or actions with which I myself was a.s.sociated both as actor and as spectator.

1. At the opening of the sitting and _during the time_ that the table was engaged in all sorts of noisy pranks, I clearly felt the pressure of a hand clasping me in a friendly way upon the right shoulder. In order to make the matters clear, I ought to depose that--

a) I sat at the left of the medium and held her hand; that, furthermore, during the whole sitting her foot was placed on mine.

b) That, with Eusapia's hand always tightly pressed in mine, I proved, by _suddenly_ placing it upon her knees, _at the very moment that the table was rising from beside us_, that her lower limbs were in a normal position and _absolutely motionless_.

c) For these different reasons, it seems to me, in fact, _impossible_ that Eusapia could have made any use whatever of these two limbs (which happened to be placed by me) to execute a movement, even unconscious, that could give rise to the least suspicion.

2. At a certain point in the proceedings I felt on my right cheek the sensation of a fondling caress. I felt very distinctly that it was a real hand which was touching my skin, and nothing else. The hand in question seemed to me of small size, and the skin was soft and moist.

3. Towards the end of the seance I felt upon my back a gust of cold air, and at the same time _I heard_ the curtain behind me slowly open.

Then, when I turned around, very much puzzled, I perceived standing at the lower end of this kind of alcove a form,--indistinct, it is true, but not so much so that I could not recognize the silhouette of a young girl whose figure was slightly beneath the average. I ought to say here that my sister Rosalie was also of short stature. The head of this apparition was not very distinct. It seemed surrounded by a short of shaded aureole. The whole form of the statue, if I may so express myself, stood out very little from the dim obscurity from which it had emerged; that is to say, it was not very luminous.

4. I addressed myself to the spirit in Arabic, in very nearly the following terms:

"If it is really thou, Rosalie, who art in the midst of us, pull the hair on the back of my head three times in succession."

About ten minutes later, and when I had almost completely forgotten my request, I felt my hair pulled three separate times, just as I had desired. I certify this fact, which, besides, formed for me a most convincing truth of the presence of a familiar spirit close about us.

LE BOCAIN, _Ill.u.s.trator_, _Rire, Pele-Mele, Chronique Amusante, etc._

I have restricted myself to presenting here these different reports,[28]

in spite of certain contradictions, and even because of them. The reports mutually supplement each other and form a complete whole, through the entire independence of each observer.

You see how complex the subject is, and how difficult it is to form a radical conviction, an absolute scientific judgment. Some phenomena are incontestably true: there are others which are doubtful and which we may attribute to fraud, conscious or unconscious, and sometimes also to illusions of the observers. The levitation of the table, for example, its complete detachment from the floor under the action of an unknown force acting in opposition to the law of gravity, is a fact which cannot reasonably be contested.

I may remark, in this connection, that the table almost always rises hesitatingly, after balancings and oscillations, while, on the contrary, when it falls back it goes straight down at one swoop, alighting squarely on its four feet.[29]

On the other hand, since the medium constantly seeks to release one hand (generally her left hand) from the control designed to hinder her from doing so, a certain number of the touches felt and of the displacements of objects may be due to a subst.i.tution of hands. This behavior of hers will be the subject of a special examination in the following chapter.

But it would be impossible by the whole force of the hand to produce the violent movement of the curtain, which seems to be inflated by a tempestuous wind, and projected to the very centre of the table, forming a great hood around the heads of the sitters. To fling out the curtain with such force, it would be necessary for the medium to rise and push on it as hard as she could with her extended arms--not once merely, but again and again. But how can she do this when she is all the while seated tranquilly in her chair?

These experiments place us in a special environment or atmosphere, on the different physical and psychical characters of which it is difficult to form an opinion.

At the time of the last seance, during which M. and Mme. Pallotti are sure of having seen, touched, and embraced their daughter, I saw nothing, at that moment, of this spectral form, although it was only a few yards from me, and although I had perceived, some moments before, the head of a young girl. It is true that, out of respect for their emotion, I did not approach their group. But I kept careful watch, and I perceived no one but the living.

At the seance of November 10 the noise of a sonorous object notified us of a displacement, a movement. We seem to hear the violin strings lightly touched. It is, in fact, the little violin on the round table, which is lifted to a height somewhat above that of the head of the medium, pa.s.ses into the opening between the two curtains, and appears before us with the neck forward. The idea comes into my head to grasp this instrument during its slow pa.s.sage through the air; but I hesitate, because I wish to see what will become of it. It comes as far as the middle of the table, descends, then falls, partly upon the table, partly upon the left hand of M. Brisson and the right hand of Mme. Fourton.

That was one of the most accurate observations that I made at this seance.

I did not let go of Eusapia's right hand for a single instant, and M.

Brisson did not for a moment let go of her left hand.

But in the face of phenomena so incomprehensible we always revert to scepticism. In the seance of November 19 we had thoroughly resolved this time not to leave any loophole for doubt as to the hands, to hinder every attempt at subst.i.tution, and to have the most complete control of each hand, without having our attention withdrawn from this object for a single moment. Eusapia has only two hands. She belongs to the same zoological species that we do, and is neither trimanous nor quadrumanous.

It was enough, then, that there were two of us; that each one took a hand of the medium and kept hold of it between the thumb and the forefinger, that no possible doubt might arise, drew in the elbows, and held the said hand as far removed as possible from the axis of the medium's body and pressed against our own person, so as to remove the objection about the subst.i.tution of hands.

That was the essential object of this seance, as far as concerned M.

Brisson and me. He had charge of the left hand. I had charge of the right. I need not add that I am as sure of the loyalty of M. Brisson as he is sure of mine, and that, forewarned as we were, and holding this seance for the express purpose of this control, we could neither of us be the dupes of any attempt at fraud, so far as regards that occasion, at least.

The famous medium, Home, had several times spoken to me of a curious experiment that he and Crookes made with an accordion held in one of his hands and playing all by itself, without the lower end being held by another hand. Crookes has represented this experiment by a sketch in his memoir upon this subject. The medium is seen holding the accordion with one hand in a kind of open-work cage, and the accordion is playing by itself. I shall give the details of this matter farther on.

I tried the experiment in another way, by holding the accordion myself, and not letting it be touched by the medium. The feats which we had just witnessed, and which were performed while Eusapia had her hands securely held, gave me the hope of succeeding, so much the more because we believed that we had seen fluid hands in action.

I, therefore, take a little new accordion, bought that evening in a bazaar, and, approaching the table and remaining in a standing position, I hold the accordion by one side, resting two fingers upon two keys, in such a way as to permit the air to pa.s.s in case the instrument should begin to play.

So held, it is vertically suspended by the stretching out of my right hand to the height of my head, and above the head of the medium. We make sure that her hands are all the time tightly held and that the chain is unbroken. After a short wait of five or six seconds I feel the accordion drawn by its free end, and the bellows is immediately pushed in several times successively; and at the same time the music is heard. There is not the least doubt that a hand, a pair of pincers, or what-not, has hold of the lower end of the instrument. I perceive very well the resistance of this prehensible organ. All possibility of fraud is eliminated; for the instrument is well above Eusapia's head, her hands are firmly held, and I distinctly see the distention of the curtain as far as the instrument. The accordion continues to make itself heard, and is pulled on so strongly that I say to the invisible power, "Well, since you have such a good hold on it, keep it!" I withdraw my hand, and the instrument remains as if glued to the curtain. It is no longer heard. What has become of it? I propose to light a candle to hunt for it. But the general opinion is that, since things are going so well, it is better to make no changes in the environment. While we are talking, the accordion begins to play,--a slight and rather insignificant air. In order to do that, it must be held by two hands. At the end of fifteen or twenty seconds it is brought to the middle of the table (playing all the while). The certainty that hands are playing it is so complete that I say to the Unknown, "Since you hold the accordion so well, you can doubtless take my hand itself." I reach out my arm at the height of my head, rather a little higher. The curtain inflates, and through the curtain I feel a hand (a pretty strong left hand); that is to say, three fingers and the thumb, and these grasp the end of my right hand.

Let us suppose for an instant that the accordion could have been pulled by one of Eusapia's hands, which she had released, lifted up, and screened behind the curtain. It is a very natural hypothesis. Let us say that the two controllers on the right and on the left respectively were cheated by the dexterity of the medium. That is not impossible. But, then, that the instrument might play, our heroine would have had to release her two hands and leave the two controllers at loggerheads with their own hands. It is something not to be thought of.

Apropos of the existence of a third hand, a fluid hand, created on the spur of the moment, with muscles and bones (an hypothesis so bold that one hardly dares to express it), I relate here what we observed during the sitting of November 19.

M. Guillaume de Fontenay, with whom the experiments at Montfort-l'Amaury were made, in 1897, at the home of the Blech family, had come on purpose from the centre of France, with a great profusion of apparatus and of new processes, to try to get some photographs. The medium appeared to be enchanted with them, and toward the middle of the soiree said to us, "You are going to have, this evening, something that you did not expect, something which has never been accomplished by any other medium, and which can be photographed as an unimpeachable record." She then explains to us that I am to lift my hand up, while firmly holding hers by the wrist; that M. Sardou, while holding her left hand, will keep watch over it above the table, and that then her third hand will appear in the photograph, her fluidic hand, holding the violin near her head, at some distance from her right hand, behind her, and against the curtain.

We wait pretty long before anything happens. At length, the medium trembles, sighs, recommends that we breathe deeply and thus aid her, and we feel, rather than see, the moving of the violin through the air, with a slight vibrating noise of the strings. Eusapia cries, "It is time, take the photograph, quick, don't wait, fire!" But the apparatus does not work: the magnesium won't kindle. The medium grows impatient, still holds out, but cries that she cannot hold out much longer. We all vehemently clamor for the photograph. Nothing moves. In the darkness, which is needed in order that the plate in the camera shall not have to be veiled, M. de Fontenay does not succeed in lighting the magnesium, and the violin is heard to fall to the floor.