"That is precisely his inference. 'Mysterious hands,' Bottazzi calls them."
"But how will he account for the difference in size between Eusapia's hands and the large black hand that she saw and felt?" asked Fowler.
"Bottazzi himself remarks upon this discrepancy. 'To whom does this hand belong?' he asked—'this hand, a half a yard away from the medium's head, seen while her visible hands are rigorously controlled by her two neighbors? Is it the hand of a monstrous long arm which liberates itself from the medium's body, then dissolves, to afterward "materialize" afresh? Is it something analogous to the pteropod of an amœba, which projects itself from the body, then retreats into it only to reappear in another place? Mystery!' But this is not the most grewsome sight; one of the professors, stealing a glance behind the medium, saw remnants of legs and arms lying about the cabinet."
"Horrible!" exclaimed Mrs. Cameron. "I'd rather believe in spirits. What does he mean to infer?"
"Apparently he would have us believe that materialization is a process due to the medium—or at least dependent on her will—and that these partially completed forms represent fragmentary impulses. But I'm not so much concerned just now with that as with the course of schooling through which he drove Eusapia. He stuck to his plan. He put into his cabinet each time certain sounders, markers, and lamps, which could be moved, ticked, or lighted only by hands in the cabinet, and he kept the same rigid control of his medium outside the cabinet. For the most part she was in the light. By means of a series of lamps the séance-room could be lighted dimly or brightly at a touch, and, while many of the phenomena in the cabinet were being performed by 'John,' Eusapia's hands could be plainly seen in the grasp of her inquisitors. After seeing a mandolin move and play of itself, after having the metronome set in motion, stopped, and set going again, after having the registrations he most desired, Bottazzi concludes his third sitting by saying: 'An invisible hand or foot must therefore have forced down the disk, must have leaned on the membrane of the receiving-drum of my apparatus, because I assured myself next day that to obtain the highest lines registered the disk had to be pressed to the extreme point. This was no ordinary case of pushing or pulling. The mysterious hand had to push the disk, and push it in a certain way. In short, the "spirit hand" was becoming educated to its task.'"
Miller asked: "Did these performances take place, as in the case of Mrs. Smiley, within the reach of her ordinary limbs?"
"Yes, many of them took place within a yard of her head; but some of them, and the most marvellous of them, not merely took place out of her reach, but under conditions of unexampled rigor. 'Eusapia's mediumistic limbs penetrated into the cabinet,' says Bottazzi. 'I begged my friends not to distract the medium's attention by requests for touches, apparitions, etc., but to concentrate their desires and their wills on the things I asked for....' What he wanted her to do was very simple, but conclusive. He wished 'the spirit hand' to press an electric button and light a red lamp within the cabinet. The coil and the switch had been dragged out of the cabinet and thrown on the table. Bottazzi begged them all not to touch it. No one but Scarpa, Galeotti, and Bottazzi knew what it was for. 'At a certain moment Eusapia took hold of the first finger of my right hand and squeezed it with her fingers. A ray of light from the interior of the cabinet lit up the room'—she had pressed the contact-breaker with her invisible fingers at the precise time when she had squeezed with her visible hand the forefinger of Bottazzi. She repeatedly did this. 'If one of us, be it observed, had lit the lamp, she would have screamed with pain and indignation.'"
"Was this the climax of his series? Is this all he is willing to affirm?" queried Harris, with ironic inflection.
"Oh no, indeed. The greatest is yet to come. At the fourth sitting a new person, Professor Cardarelli, was introduced, and this new sitter disturbed conditions. Nevertheless, the inexplicable took place. Small twirling violet flames were seen to drift across the cabinet curtains, and hands and closed fists appeared over Paladino's head. These have been photographed, by-the-way. Some of them were of ordinary size, and others at least three times larger than the psychic's hand and fist. These flames interest me very much, for I have seen them on several occasions, but could not believe in them, even though Crookes spoke of handling them. I must admit their objective reality now. It is absurd to suppose they were fraudulently produced in this laboratory.
"A stethoscope was taken from Cardarelli's pocket and put together—a movement requiring the action of two hands. The noise of fingers running over the keys of a typewriter in the cabinet was plainly heard, although no writing came. At the fifth sitting the mandolin again moved as if alive (no one touching it), in a light that made all its movements observable; and as it did so Eusapia's hand (tightly controlled by Bottazzi) made little movements as if to help the instrument to move. Each movement, though it ended in the air, seemed to affect the mandolin. Bottazzi says: 'It would be necessary to have Paladino's fingers in the palm of one's hand, as I had that evening, in order to be convinced 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.'"