The Best Psychic Stories Part 11

"He had always been slightly clairvoyant and clairaudient. He told me that a few days before I had written asking for the appointment, my deceased friend had appeared in the studio and told him that I was coming. This reminded me of her promise, and I said at once that I hoped he would be able to photograph her. He said he didn't know; he was rather frightened of her, for reasons into which I need not enter, but if she came he would see what he could do. My friend and I sat together.

The first plate was exposed, nothing appeared in the background. When the second plate was placed in the camera Mr. B-- nodded with a quick look of recognition. We saw nothing. After he had exposed the second plate and before he developed it he asked us to change seats. We did this, and as he was exposing the third plate he said, 'I am told to ask you to do this,' and then when he closed the shutter he said, 'it is Mrs. M--.' On the fourth plate there appeared a picture of a woman whom I had never seen before, and whom my friend had never seen, neither had Mr. B--. When the plates came to be developed I found the second and third plates contained unmistakable likenesses of my friend Mrs. M--.

These portraits were immediately recognized by my friend as unmistakable likenesses of the deceased Mrs. M--. It will be objected that she had frequently been photographed by the same photographer, and that he had simply faked a photograph from one of his old negatives. I don't believe that this is possible, for these portraits, although recognized immediately by every one who knew her, including her nearest relative, are quite different from any photograph she ever had taken in life. She certainly never was photographed enveloped in white drapery, nor do I believe that Mr. B-- had any negative of any of her portraits in his possession. But I fully admit that from the point of view of one who wishes to exclude every possibility of error, the fact that Mrs. M-- had been frequently photographed in her lifetime by the same photographer renders it impossible to regard these photographs as conclusive testimony as to their authenticity as a photograph of a form a.s.sumed by a disembodied spirit. I have mentioned that on the fourth plate there appeared a portrait of an unknown female. On my return I was showing the print of this shadow picture to a friend when she startled me by declaring that the shrouded form which appeared behind me in the photograph was a portrait of her mother who had died some months before in Dublin. I had never seen her mother, my friend did not know of her existence, neither did the photographer, nor does he to this day. It was only many months afterwards that I was able to obtain a photograph of my friend's mother, but it was taken when she was a comparatively young woman and bore no manner of resemblance to the portrait of the lady who appeared behind me. Her daughter, however, had not the slightest hesitation in a.s.serting that it was her mother, that she had recognized her instantly, and that it was a very good portrait of her as she appeared in the later years of her life. This startled me not a little, and convinced me that I had a good prospect of attaining some definite results as an outcome of my experiments.

"Mr. B--, encouraged by this success, was willing to continue his experiments, and this time I insisted upon paying him for his work.

"From this time onward the occurrence of photographs that were recognizable on the background of the photographs taken by Mr. B-- became frequent. Sometimes the plates were marked; but not invariably.

For my part I attach comparatively no importance to the marking of plates and the close supervision of the operator. The test of the genuineness of a photograph that is obtained when the unknown relative of an unknown sitter appears in the background of the photograph, is immeasurably superior to precautions any expert conjurer or trick photographer might evade. Again and again I sent friends to Mr. B--, giving him no information as to who they were, nor telling him anything as to the ident.i.ty of the persons' deceased friend or relative whose portrait they wished to secure; and time and again when the negative was developed the portrait would appear in the background, or sometimes in front of the sitter. This occurred so frequently that I am quite convinced of the impossibility of any fraud. One time it was a French editor, who finding the portrait of his deceased wife appear on the negative when developed, was so transported with delight that he insisted on kissing the photographer, Mr. B--, much to the old man's embarra.s.sment. On another occasion it was a Lancashire engineer, himself a photographer, who took marked plates and all possible precautions. He obtained portraits of two of his relatives and another of an eminent personage with whom he had been in close relations. Or again, it was a near neighbor, who, going as a total stranger to the studio, obtained the portrait of her deceased daughter.

"I attach no importance whatever to the appearance of portraits of well-known personages, which might easily be copied from existing pictures, but I attach immense importance to the production of the spirit photographs of unknown relatives of sitters who are unknown to the photographer, who receives them solely as a lady or gentleman who is one of my friends.

"Although, as I have said, I do not attach much importance to photographs appearing of well-known men, I confess that I was rather impressed by one of my most recent experiments. I received a message from a medium in Sheffield, who is unknown to me, saying that Cecil Rhodes, who had then been dead about nine months, had spoken to her clairaudiently, and had told her to ask me to go to the photographer's, and that he would come and be photographed. The medium was a stranger to me, and I confess that I received the message with considerable skepticism. However, when she came up to town I accompanied her to the studio. She declared that she saw Cecil Rhodes, and that he spoke to her, and that he was standing behind me when the plate was exposed. When the plate came to be developed, although there was one well-defined figure standing behind me and several other faces half visible in the background, there was no portrait of Cecil Rhodes. I was not surprised, and went away. A month afterwards I went to have another sitting with the photographer. I chatted with him for a short time, and then he left the room for a moment. When he came back he said to me: 'There is a round-faced well set-up man here with a short moustache and a dimple in his chin. Do you know him?' 'No,' I said, 'I don't know any such man.'

'Well, he seems to be very busy about you.' 'Well,' I said, 'if he comes upstairs, we shall see what we can get.' 'I don't know,' said he. When I was sitting, he said, 'There he is, and I see the letter R. Is it Robert or Richard, do you think?' 'I don't know any Robert or Richard,' I said.

He took the picture. He then proceeded with the second plate, and said, 'That man is still here, and I see behind him a country road. I wonder what that means.' He went into the dark room, and presently came out and said, 'I see "road or roads." Do you know any one of that name?' 'Of course,' I said, 'Cecil Rhodes.' 'Do you mean him as died in the Transvaal lately?' said he. I said 'Yes.' 'Well,' he said, 'was he a man like that?' 'Well, he had a moustache,' I said. And sure enough, when the plate was developed, there was Cecil Rhodes looking fifteen years younger than when he died.

"Some other plates were exposed. One was entirely blank, on two others the mist was formed into a kind of clot of light, but no figure was visible, the fifth had a portrait of an unknown man, and on the sixth, when it came to be developed, there was the same portrait of Cecil Rhodes that had appeared on the first, but without the white drapery round the head.

"Of course it may be said that it was well known that I was connected with Cecil Rhodes and that the photographer therefore would have no difficulty in faking a portrait. I admit all that, and therefore I would not have introduced this if it had stood alone, as any evidence showing that it was a _bona fide_ photograph of an invisible being. But it does not stand alone, and I have almost every reason to believe in the almost stupid honesty, if I may use such a phrase, of the photographer. I am naturally much interested in these latest portraits of the African Colossus. They are, at any rate, entirely new, no such portraits, to the best of my knowledge--and I have made a collection of all I can lay my hands on--exactly resembling those portraits which I obtained at Mr.

B--'s studio.

"I will conclude the account of my experiments by telling how I secured a portrait under circ.u.mstances which preclude any possibility of fake or fraud. One day when I entered the studio, Mr. B-- said to me, 'There is a man come with you who has been here before; he came here some days ago when I was by myself; he looked very wild, and he had a gun in his hand, and I did not like the look of him. I don't like guns, so I asked him to go away, for I was frightened of the gun, and he went. But now he has come with you, and he has not got his gun any more, so we will let him stop.' I was rather amused at the old man's story and said, 'Well, see if you can photograph him.' 'I don't know as I can,' he said, 'I never know what I can get,'--which is quite true, for often the photographs which he says he sees clairvoyantly do not come out on the plate. While he was photographing me, I said to him, 'If you can tell this man to go away, you can ask him his name.' 'Yes,' said he. 'Will you do so?' I said. 'Yes,' he said. After seeming to ask the question mentally, he said, 'He says his name is Piet Botha.' 'Piet Botha,' I said, 'I know no such name. There are Louis and Philip, and Chris Botha. I have never heard of Piet; still they are a numerous family and there are plenty of Bothas in South Africa, and it will be interesting to ask General Botha, when he arrives, whether he knows of any Piet Botha.' When the negative was developed, sure enough there appeared behind me a photograph of a stalwart bearded person, who might have been a Boer or a Russian moujik, but who was certainly unknown to me. I had never seen a portrait of any one which bore any resemblance to the photograph.

"When General Botha arrived I did not get an opportunity of asking him about the photograph, but some time afterwards I asked Mr. Fischer, one of the delegation from the South African Republics, to look at the photograph, and if he got an opportunity to ask General Botha if he knew of such a man as Piet Botha. Mr. Fischer said he thought he had seen the face before, but he could not be certain. He departed with the photograph. Some days afterwards Mr. Wessels, a member of the delegation with Mr. Fischer, came down to my office. He said, 'I want to know about that photograph that you gave Mr. Fischer.' 'Yes,' I said, 'what about it?' 'I want to know where you got it.' I told him. He replied disdainfully, 'I don't believe in such things; it is superst.i.tion; besides, that man didn't know Mr. B--; he has never been in London; how could he come there?' 'What,' I said, 'do you know him?' 'Know him!'

said Mr. Wessels. 'He is my brother-in-law.' 'Really!' I said. 'What did they call him?' 'Pietrus Johannes Botha, but we always called him Piet for short.' 'Is he dead, then?' I said. 'Yes,' said Mr. Wessels, 'he was the first Boer officer who was killed in the siege of Kimberley; but there is a mystery about this; you didn't know him?' 'No,' I said. 'And never heard of him?' 'No,' I said. 'But,' he said, 'I have the man's portrait in my house in South Africa, how could you get it?' 'But,' I said, 'I never have had it.' 'I don't understand,' he said, moodily, and so departed. I afterwards showed the photograph to another Free-State Boer who knew Piet Botha very well, and he had not the slightest hesitation in declaring that it was an unmistakable likeness of his dead friend.[8]

[Footnote 8: Referring to this photo elsewhere, he wrote:--"This at least is not a case which telepathy can explain. Nor can the hypothesis of fraud hold water. It was by the merest accident that I asked the photographer to see if the spirit would give his name. No one in England, so far as I have been able to ascertain, knew that any Piet Botha ever existed.

"As if to render all explanation of fraud or contrivance still more incredible, it may be mentioned that the _Daily Graphic_ of October, 1889, which announced that a Commandant Botha had been killed in the siege of Kimberley, published a portrait alleged to be that of the dead commandant, which not only does not bear the remotest resemblance to the Piet Botha of my photograph, but which was described as Commandant Hans Botha!"]

"This is a plain, straightforward narrative of my experiences; they are still going on. But if I continue them forever I don't see how I am going to obtain better results than those which I have already secured.

At the same time I must admit that when I have taken my own kodak to the studio and taken a photograph immediately before Mr. B-- had exposed his plate, I got no results. The same failure occurred with another photographer whom I took, who took his own camera and his own plates, and took a photograph immediately before and immediately after Mr. B-- had exposed his plate, and secured no result. Mr. B--'s explanation of this is that he thinks he does in some way or other magnetize, as he terms it, the plate, and that there is some effluence from his hand which is as necessary for the development of the psychic figure as the developing liquid is for the development of an ordinary photograph. This explanation would no doubt be derided as, I presume, wiseacres would have derided the first photographers when they insisted upon the necessity of darkness whilst developing their plates. What I hold to be established is that in the presence of this particular individual, Mr.

B--, who at present is the only person known to me who is able to produce these photographs, it is possible to obtain under test conditions photographs that are unmistakably portraits of deceased persons; the said deceased persons being entirely unknown to him, and in some cases equally unknown to the sitter. Neither was any portrait of such person accessible either to the sitter or the photographer; neither was either the sitter or the photographer conscious of the very existence of these persons, whose ident.i.ty was subsequently recognized by their friends.[9]

[Footnote 9: Miss Katharine Bates was present when the Piet Botha photograph was taken under the exact conditions specified by my father.]

"I am willing to admit that no conceivable conditions in the way of marking plates and supervising the actions or the operations of the photographer are of the least use, in so much as an expert conjurer can easily deceive the eye of the unskilled observer. But what I do maintain is that it is impossible for the cleverest trick photographer and the ablest conjurer in the world to produce a photograph, at a moment's notice, of an unknown relative of an unknown sitter, this portrait to be unmistakably recognizable by all survivors who knew the original in life. This Mr. B-- has done again and again. And it seems to me that a great step has been made towards establishing the possibility of verifying by photography the reality of the existence of other intelligences than our own."

The photographer alluded to in this article is Mr. Boursnell. He died shortly after it was written, and although father experimented with others, he never obtained such convincing and satisfactory results.

THE SIN-EATER

By Fiona Macleod

SIN.

_Taste this bread, this substance: tell me Is it bread or flesh?_

[_The Senses approach._]

THE SMELL.

_Its smell Is the smell of bread._

SIN.

_Touch, come. Why tremble?

Say what's this thou touchest?_

THE TOUCH.

_Bread._

SIN.

_Sight, declare what thou discernest In this object._

THE SIGHT.

_Bread alone._

--CALDERON, _Los Encantos de la Culpa_

A wet wind out of the south mazed and mooned through the sea-mist that hung over the Ross. In all the bays and creeks was a continuous weary lapping of water. There was no other sound anywhere.

Thus was it at daybreak; it was thus at noon; thus was it now in the darkening of the day. A confused thrusting and falling of sounds through the silence betokened the hour of the setting. Curlews wailed in the mist; on the seething limpet-covered rocks the skuas and terns screamed, or uttered hoa.r.s.e, rasping cries. Ever and again the prolonged note of the oyster-catcher shrilled against the air, as an echo flying blindly along a blank wall of cliff. Out of weedy places, wherein the tide sobbed with long, gurgling moans, came at intervals the barking of a seal.

Inland, by the hamlet of Contullich, there is a reedy tarn called the Loch-a-chaoruinn.[10] By the sh.o.r.es of this mournful water a man moved.

It was a slow, weary walk that of the man Neil Ross. He had come from Duninch, thirty miles to the eastward, and had not rested foot, nor eaten, nor had word of man or woman, since his going west an hour after dawn.

[Footnote 10: Contullich: i.e. Ceann-nan-tulaich, "the end of the hillocks." Loch a chaoruinn means the loch of the rowan-trees.]

At the bend of the loch nearest the clachan he came upon an old woman carrying peat. To his reiterated question as to where he was, and if the tarn were Feur-Lochan above Fionnaphort that is on the strait of Iona on the west side of the Ross of Mull, she did not at first make any answer.

The rain trickled down her withered brown face, over which the thin gray locks hung limply. It was only in the deep-set eyes that the flame of life still glimmered, though that dimly.

The man had used the English when first he spoke, but as though mechanically. Supposing that he had not been understood, he repeated his question in the Gaelic.

After a minute's silence the old woman answered him in the native tongue, but only to put a question in return.

"I am thinking it is a long time since you have been in Iona?"

The man stirred uneasily.

"And why is that, mother?" he asked, in a weak voice hoa.r.s.e with damp and fatigue; "how is it you will be knowing that I have been in Iona at all?"

"Because I knew your kith and kin there, Neil Ross."