d that the evolutions, twangings of the strings, etc., all
synchronized with the very delicate movements of her fingers.... I
cannot describe the sensation one experiences when seeing an inanimate
object moved, not for a moment merely, but for many minutes in
succession, by a mysterious force.'"

"We observed no such synchronism," repeated Fowler. "We not only
controlled Mrs. Smiley's hands, but nailed her to her chair. In a way,
our test was more rigid than those you are describing. Our results were
not so dramatic, but they were produced under test conditions, and their
significance is as great as that of Bottazzi's lamp-lighting."

"But we did not have as much light on the medium, and, by-the-way,
Miller, the spectral hands that I saw in your study, each larger than
Mrs. Smiley's hands, were as real to me as those Scarpa studied, and the
books deposited on your table form as good a record, in their way, as
the marks on his smoked-glass cylinder."

"Furthermore, we had writing," added Fowler. "All of which Bottazzi
would explain by his theory of an 'astral arm.'"

"Yes, but he secured something still more marvellous. He obtained the
print of human hands in clay and also on smoked glass. He demonstrated
that the invisible limbs of the psychic cannot only move objects at a
distance, _but that they can feel at a distance_. 'Eusapia's attitude
was that of a blindfolded person exploring space with her hands to find
a lost object!' he exclaims, at one point. 'Eusapia opened my right
hand, stretched out my three middle fingers, and, bending them on the
table, tips downward, said, in a whisper: "How hard it is! What is it?"
I did not understand,' says Bottazzi. 'She continued: "There, on the
chair." "It is the clay," I said, quickly; "will you make the impression
of a face?" "No," she replied, "it is too hard; take it away.'" Some one
broke the chain to carry out her desire. He looked at the desk and saw
the imprint of three fingers."

"What I would like to know at this point," Harris quickly interposed,
"is this: were the fingermarks lined like Bottazzi's or like the
medium's?"

"He does not say in this case, but, as I recall it, they found in other
instances that the lines on the impressions made by Eusapia's invisible
fingers were precisely like those of her material fingers, and yet no
mark of flour or lamp-black remained attaching to her hands. In one case
a perfumed clay was used, and, although the impressions sec