Having placed a heavy basin filled with modelling-clay upon the large table in the middle of the dining-room, we sat down with Eusapia around the little experiment-table more than a yard distant. After some minutes of waiting, the basin came of itself and stood on our table! Eusapia groaned, writhed, and trembled in all her limbs; yet not for a moment did her hands quit ours. Then she cried, "E fatto" ("It is done"). The candle is lighted again, and we find an irregular hollowed place upon the surface of the clay. This hollow place, afterward filled with plaster, gives us a perfect cast of the contracted fingers of a hand.
We placed upon the table a plate smeared with lampblack. The mysterious hand left there the print of the end of its fingers. The hands of the experimenters, including those of Eusapia, remained white. We next induced the medium to reproduce the impression of her own hand upon another lamp-smoked plate. She did so. The layer of soot removed by her fingers had deeply blackened them. A comparison of the two plates enabled us to prove a striking resemblance,—that is to say (to speak more accurately), the identity of the arrangement of the spiral circles in the epidermis of the two hands; and we know that the arrangement of these circles is unique in every individual. This is a particular which speaks eloquently in favor of the hypothesis of the double personality of the medium.
In order mechanically to control the movements of Eusapia's feet, Dr. Ochorowicz employed the following piece of apparatus. Two deep and narrow cigar-boxes were placed under the table, and Eusapia put her unshod feet into them. The boxes had double bottoms and were provided with an electrical arrangement of such a nature that she could move her feet freely for some inches in every direction; but, if she wished to withdraw them from the box, the electric bell tinkled before she had moved them half way to the top, and only stopped when they were returned to their place. Eusapia cannot remain utterly quiet during the séances. So she was given a certain freedom of movement; but it was impossible for her to make use of her legs for lifting the table. Under these conditions the table, weighing twenty-five pounds, rose up twice without the bell being heard. During the second levitation the table was photographed underneath. (The four feet of the table are seen in the photograph. The left is in contact with Eusapia's dress, as is always the case when the light is strong; but the boxes holding the feet of the medium are in their place.) Then the experimenters verified the fact that the bell was heard, not only when she removed her foot, but when she lifted it too high in the box.
After all these demonstrations, I will not do my readers the wrong of thinking that the levitation of the table is not MORE THAN PROVED for all of them.
Here, now, is a curious observation relative to the inflation of the curtain: Ten persons were seated around the table. Eusapia had her back turned to the curtain; she was controlled by General Starynkiewicz and Dr. Watraszewski.
I was seated (writes M. Glowacki-Prus) opposite Eusapia, near Mlle. X., a very nervous person and easily hypnotized. The séance had lasted for about an hour, with numerous and varied phenomena. Eusapia, as always, was in a semi-conscious state. Suddenly she awoke, and Mlle. X. uttered a cry. Knowing what this cry meant, I grasped her hand with great force and then put my arm about her; for this girl becomes very strong in certain states. The room was well lighted, and this is what we saw (something, be it noted, which I myself experienced by my hands). Every time that the muscles of Mlle. X. became more tense and rigid, the curtain which hung opposite her, at a distance of from seven to ten feet, made a movement. The following table indicates the details of this correlation:
| Feeble tension of the muscles | The curtain is set in motion. | |
| Strong tension | It bellies out like a sail. | |
| Very strong tension, cries | It reaches as far as Eusapia's controllers, and almost wholly covers them. | |
| Repose | Repose. | |
| Tension of the muscles | Movement of the curtain. | |
| Strong tension | Strong inflation of the curtain. |
This tabular view presents the striking proportion which I ascertained between the tension of the medium's muscles (who in this case was Mlle. X.) and the mechanical work of the curtain in movement.
This experiment is so much the more interesting since it was not Eusapia who made it; and, if she had a trick for inflating the portières, it was not employed in this case. We already know that she had none.
Here are the conclusions of M. Ochorowicz: