Fig. 131a
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The border-line between successes and failures is not easy to determine. Bear in mind that we are not conducting a drawing class, nor making tests of my wife’s eyesight: we are trying to ascertain whether there does pass from my mind to hers, or from my drawing to her mind, a recognizable impulse of some sort. So, if she gets the essential feature of the drawing, we are entitled to call it evidence of telepathy. I think the fan with “crumpled cloth” (Fig. [102]), and the umbrella handle that may be a “snake crawling out of something,” but that “looks like a cat’s tail” (Fig. [122]), and the screw that was called a “tower” (Fig. [126])—all these are really successes. I will append a number of examples, about which there seems to me no room for dispute, and which I have called successes. The first is a sample of architecture (Figs. [132], [132a]):
Fig. 132
Fig. 132a
And here is an hourglass, with sand running through it. Not merely did Craig write “white sand,” but she made the tree the same shape as the glass. I have turned the hourglass upside down so that you can get the effect better. It should be obvious that “upside-downness” has nothing to do with these tests, as Craig is as apt to be holding a drawing one way as another (Figs. [133], [133a]):
