5. Agt., a fishhook; Per., no drawing but script: “Dog wagging tail—see tail in air busy wagging—jolly doggie—tail curled in the air.” Well, a fishhook is somewhat like a tail curled in the air. But script followed: “Now I see a cow. I fear the elephant and chicken got me too sure of animals. But I see these.” A tail curled in the air—a dog or a cow! Wait for No. 7.
6. Agt., a sun represented by a large circle surrounded by rays; Per., “Setting sun and bird in the sky. Big bird on wing—sea gull or wild goose.” Obviously this is a partial success.
7. Agt., what was intended for the rear half of a cow, with tail curled almost exactly like a fishhook. Remember that in No. 5 Per. had an impression of a dog with “tail curled in the air” and a later impression of a cow. As a matter of fact, Mr. Sinclair’s cow does not have a cow’s tail but one made in the fashion of a hound’s tail. Per. in this No. 7 experiment makes a drawing like that of No. 4, except that the central spike is not so long, and writes “This is a real flower. I’ve seen it before. It’s vivid and returns. Century plant. Now it turns into a candlestick. See a candle.” And she drew what she probably meant for a five-armed candlestick, with one candle in the center. But it is much like the plant called “cat-tail,” except that the leaves diverge too widely. (See Fig. [69a].)
8. Agt., a long line with seven short evenly-spaced lines running from it at right angles—probably meant for a rake-head; Per., what is probably intended for two sticks of wood, fire proceeding from one of them, and smoke above. Script: “Fire and smoke—flame.” Also, “Must be campfire as I now see an Indian warrior near it in a war dress—feathered headpiece, etc.” There is a certain amount of resemblance between the rake-head and the stick of wood with the more or less straight lines springing from one side of it. (See Fig. [43a].) And one remembers that an Indian headdress, of the type which hangs down the back, consists of feathers on one side and directed outwardly from the band to which they are attached. But these are only suggested possibilities of connection, and are doubtful. There is even another possible connection, for it may be that “Fire and smoke” was influenced by the cannon of the following original.
9. Agt., the forward part of an old-style cannon, a double-line ellipse marking its mouth seen in perspective; Per., the half of a double-line ellipse with a curving tangle as of smoke, labeled “Fire,” and outside the script: “Half circle, double lines—light inside—light is fire busy whirling or flaming.” Partly right and very suggestive. (See Fig. [44a].)
10. Agt., three concentric triangles; Per., two wheels and over them the suggestion of some vehicle-body—only a line and two angles. Failure.
11. Agt., a “cat-tail,” its leaves by no means correctly drawn, but there is no doubt of its identity; Per., a drawing doubtfully marked “Dog’s head,” its ears, if such they are, also its muzzle, long and pointed, much resembling the upper halves of Mr. Sinclair’s cat-tail leaves. But remember Mrs. Sinclair’s “century plant” of No. 2 with its somewhat similar leaves and its central spike; remember especially the “candlestick” of No. 7, which so much resembles a cat-tail. (See Figs. 69a, 70, 70a.)
12. Agt., ten small circles arranged in rows, pyramidal fashion; Per. wrote only “Nothing except all the preceding ones come—too many at once—all past ones crowding in memory.” I wish she had stated which past one, if any, crowded most, and which came first. For it happens that her drawing for No. 2, so different from the impressions “a rooster” and “an elephant,” set down at the same time, also consisted of little circles, also in rows, but more in number and enclosed within an elliptical line.
13. Agt., a drinking-glass with double elliptic line at the top and small ellipse indicating the bottom; Per., double elliptic line above, same below with indefinite lines rising from the latter. The script is more significant: “Think of a saucer, then of a cup. It’s something in the kitchen. Too tired to see.” Pretty close. (See Figs. 72, 72a.)
The occurrence of so many correspondences, direct and oblique, among thirteen consecutive experiments constituting the entire series performed at one time, and these by mere accidental coincidence, is practically unthinkable.