Part 5

Before doing so it may be as well to clear away a popular misconception. Mr. Lewes advised the Dialectical Committee to distinguish carefully between “facts and inferences from facts.” This is especially necessary in the case of what are called spirit photographs. The figures which occur in these, when not produced by any human agency, may be of “spiritual” origin, without being figures “of spirits.” There is much evidence to show that they are, in some cases, forms produced by invisible intelligences, but distinct from them. In other cases the intelligence appears to clothe itself with matter capable of being perceived by us; but even then it does not follow that the form produced is the actual image of the spiritual form. It may be but a reproduction of the former mortal form with its terrestrial accompaniments, _for purposes of recognition_.

Most persons have heard of these “ghost-pictures,” and how easily they can be made to order by any photographer, and are therefore disposed to think they can be of no use as evidence. But a little consideration will show them that the means by which sham ghosts can be manufactured being so well known to all photographers, it becomes easy to apply tests or arrange conditions so as to prevent imposition. The following are some of the more obvious:

1. If a person with a knowledge of photography takes his own glass plates, examines the camera used and all the accessories, and watches the whole process of taking a picture, then, if any definite form appears on the negative besides the sitter, it is a proof that some object was present capable of reflecting or emitting the actinic rays, although invisible to those present. 2. If an unmistakable likeness appears of a deceased person totally unknown to the photographer. 3. If figures appear on the negative having a definite relation to the figure of the sitter, who chooses his own position, attitude and accompaniments, it is a proof that invisible figures were really there. 4. If a figure appears draped in white, and partly behind the dark body of the sitter without in the least showing through, it is a proof that the white figure was there at the same time, because the dark parts of the negative are transparent, and any white picture in any way superposed would show through. 5. Even should none of these tests be applied, yet if a medium, quite independent of the photographer, sees and describes a figure during the sitting and an exactly corresponding figure appears on the plate, it is a proof that such a figure was there.

Every one of these tests have now been successfully applied in our own country, as the following outline of the facts will show:

The accounts of spirit-photography in several parts of the United States caused many Spiritualists in this country to make experiments; but for a long time without success. Mr. and Mrs. Guppy, who are both amateur photographers, tried at their own house, and failed. In March, 1872, they went one day to Mr. Hudson’s, a photographer living near them (not a Spiritualist), to get some _cartes de visite_ of Mrs. Guppy. After the sitting the idea suddenly struck Mr. Guppy that he would try for a spirit-photograph. He sat down, told Mrs. G. to go behind the background, and had a picture taken. There came out behind him a large, indefinite, oval white patch, somewhat resembling the outline of a draped figure. Mrs. Guppy, behind the background, was dressed in black.

This is the first spirit-photograph taken in England, and it’s perhaps more satisfactory on account of the suddenness of the impulse under which it was taken, and the great white patch which no impostor would have attempted to produce, and which, taken by itself, utterly spoils the picture. A few days afterwards, Mr. and Mrs. Guppy and their little boy went without any notice. Mrs. Guppy sat on the ground holding the boy on a stool. Her husband stood behind looking on. The picture thus produced is most remarkable. A tall female figure, finely draped in white, gauzy robes, stands directly behind and above the sitters, looking down on them and holding its open hands over their heads, as if giving a benediction. The face is somewhat Eastern, and, with the hands, is beautifully defined. The white robes pass behind the sitters’ dark figures without in the least showing through. A second picture was then taken as soon as a plate could be prepared; and it was fortunate it was so, for it resulted in a most remarkable test. Mrs. Guppy again knelt with the boy; but this time she did not stoop so much, and her head was higher. The same white figure comes out equally well defined, but _it has changed its position in a manner exactly corresponding to the slight change of Mrs. Guppy’s position_. The hands were before on a level; now one is raised considerably higher than the other, so as to keep it about the same distance from Mrs. Guppy’s head as it was before. The folds of the drapery all correspondingly differ, and the head is slightly turned. Here, then, one of two things is absolutely certain. Either there was a living, intelligent, but invisible being present, or Mr. and Mrs. Guppy, the photographer, and some fourth person, planned a wicked imposture, and have maintained it ever since. Knowing Mr. and Mrs. Guppy so well as I do, I feel an absolute conviction that they are as incapable of an imposture of this kind as any earnest inquirer after truth in the department of natural science.

The report of these pictures soon spread. Spiritualists in great numbers came to try for similar results, with varying degrees of success; till after a time rumor of imposture arose, and it is now firmly believed by many, from suspicious appearances on the pictures and from other circumstances, that a large number of shams have been produced. It is certainly not to be wondered at if it be so. The photographer, remember, was not a Spiritualist, and was utterly puzzled at the pictures above described. Scores of persons came to him, and he saw that they were satisfied if they got a second figure with themselves, and dissatisfied if they did not. He _may_ have made arrangements by which to satisfy everybody. One thing is clear: that if there has been imposture, it was at once detected by Spiritualists themselves; if not, then Spiritualists have been quick in noticing what appeared to indicate it. Those, however, who most strongly assert imposture, allow that a large number of genuine pictures have been taken. But, true or not, the cry of imposture did good, since it showed the necessity for tests and for independent confirmation of the facts.

The test of clearly recognizable likenesses of deceased friends has often been obtained. Mr. William Howitt, who went without previous notice, obtained likenesses of two sons, many years dead, and of the very existence of one of which even the friend who accompanied Mr. Howitt was ignorant. The likenesses were instantly recognized by Mrs. Howitt; and Mr. Howitt declares them to be “perfect and unmistakable.” (Spiritual Magazine, Oct., 1872.) Dr. Thomson, of Clifton, obtained a photograph of himself, accompanied by that of a lady he did not know. He sent it to his uncle in Scotland, simply asking if he recognized a resemblance to any of the family deceased. The reply was that it was the likeness of Dr. Thomson’s own mother, who died at his birth; and there being no picture of her in existence, he had no idea what she was like. The uncle very naturally remarked, that he “could not understand how it was done.” (Spiritual Magazine, Oct., 1873.) Many other instances of recognition have occurred, but I will only add my personal testimony. A few weeks back I myself went to the same photographer’s for the first time, and obtained a most unmistakable likeness of a deceased relative. We will now pass to a better class of evidence, the private experiments of amateurs.

Mr. Thomas Slater, an old-established optician in the Euston Road, and an amateur photographer, took with him to Mr. Hudson’s a new camera of his own manufacture and his own glasses, saw everything done, and obtained a portrait with a second figure on it. He then began experimenting in his own private house, and during last summer obtained some remarkable results. The first of his successes contains two heads by the side of a portrait of his sister. One of these heads is unmistakably the late Lord Brougham’s; the other, much less distinct, is recognized by Mr. Slater as that of Robert Owen, whom he knew intimately up to the time of his death. He has since obtained several excellent pictures of the same class. One in particular shows a female in black and white flowing robes, standing by the side of Mr. Slater. In another the head and bust appears, leaning over his shoulder. The faces of these two are much alike, and other members of the family recognize them as likenesses of Mr. Slater’s mother, who died when he was an infant. In another a pretty child-figure, also draped, stands beside Mr. Slater’s little boy. Now, whether these figures are correctly identified or not, is not the essential point. The fact that _any_ figures, so clear and unmistakably human in appearance as these, should appear on plates taken in his own private studio by an experienced optician and amateur photographer, who makes all his apparatus himself, and with no one present but the members of his own family, is the real marvel. In one case a second figure appeared on a plate with himself, taken by Mr. Slater when he was absolutely alone—by the simple process of occupying the sitter’s chair after uncapping the camera. He and his family being themselves mediums, they require no extraneous assistance; and this may perhaps be the reason why he has succeeded so well. One of the most extraordinary pictures obtained by Mr. Slater is a full-length portrait of his sister, in which there is no second figure, but the sitter appears covered all over with a kind of transparent lace drapery, which on examination is seen to be wholly made up of shaded circles of different sizes, quite unlike any material fabric I have seen or heard of.

Mr. Slater has himself shown me all these pictures and explained the conditions under which they were produced. That they are not impostures is certain; and as the first independent confirmations of what had been previously obtained only through professional photographers, their value is inestimable.

A less successful but not perhaps on that account less satisfactory confirmation has been obtained by another amateur, who, after eighteen months of experiment, obtained a partial success. Mr. R. Williams, M. A., Ph. D., of Hayward’s Heath, succeeded last summer in obtaining three photographs, each with part of a human form besides the sitter, one having the features distinctly marked. Subsequently another was obtained, with a well-formed figure of a man standing at the side of the sitter, but while being developed, this figure faded away entirely. Mr. Williams assures me (in a letter) that in these experiments there was “no room for trick or for the production of these figures by any known means.”

The editor of the British Journal of Photography has made experiments at Mr. Hudson’s studio, taking his own collodion and new plates, and doing everything himself, yet there were “abnormal appearances” on the pictures, although no distinct figures.

We now come to the valuable and conclusive experiments of Mr. John Beattie, of Clifton, a retired photographer of twenty years’ experience, and of whom the above-mentioned editor says: “Every one who knows Mr. Beattie will give him credit for being a thoughtful, skillful, and intelligent photographer, one of the last men in the world to be easily deceived, at least in matters relating to photography, and one quite incapable of deceiving others.”

Mr. Beattie has been assisted in his researches by Dr. Thomson, an Edinburgh M. D., who has practiced photography, as an amateur, for twenty-five years. They experimented at the studio of a friend, who was not a Spiritualist (but who became a medium during the experiments), and had the services of a tradesman—with whom they were well acquainted—as a medium. The whole of the photographic work was done by Messrs. Beattie and Thomson, the other two sitting at a small table. The pictures were taken in series of three, within a few seconds of each other, and several of these series were taken at each sitting. The figures produced are, for the most part, not human, but variously-formed and shaded white patches, which in successive pictures change their form, and develop, as it were, into a more perfect or complete type. Thus, one set of five begins with two white somewhat angular patches over the middle sitter, and ends with a rude but unmistakable white female figure, covering the larger part of the plate. The other three show intermediate states, indicating a continuous change of form from the first figure to the last. Another set (of four pictures) begins with a white vertical cylinder over the body of the medium, and a shorter one on his head. These change their form in the second and third, and in the last become laterally spread out into luminous masses resembling nebulæ. Another set of three is very curious. The first has an oblique flowing luminous patch from the table to the ground; in the second, this has changed to a white serpentine column, ending in a point above the medium’s head; in the third, the column has become broader and somewhat double, with the curve in an opposite direction, and with a head-like termination. The change of the curvature may have some connection with a change in the position of the sitters, which is seen to have taken place between the second and the third of this set. There are two others, taken, like all the preceding, in 1872, but which the medium described during the exposure. The first, he said, was a thick white fog; and the picture came out all shaded white, with not a trace of any of the sitters. The other was described as a fog with a figure standing in it; and here a white human figure is alone seen in the almost uniform foggy surface. During the experiments made in 1873, the medium, _in every case_, minutely and correctly described the appearances which afterwards came out on the plate. In one there is a luminous-rayed star of large size, with a human face faintly visible in the centre. This is the last of three in which the star developed, and the whole were accurately described by the medium. In another set of three, the medium first described “a light behind him, coming from the floor.” The next, “a light rising over another person’s arms, coming from his own boot.” The third, “there is the same light, but now a column comes up through the table, and it is hot to my hands.” Then he suddenly exclaimed, “What a bright light up there! Can you not see it?” pointing to it with his hand. All this most accurately describes the three pictures, and in the last, the medium’s hand is seen pointing to a white patch which appears overhead. There are other curious developments, the nature of which is already sufficiently indicated; but one very startling single picture must be mentioned. During the exposure one medium said he saw on the background a black figure, the other medium saw a light figure by the side of the black one. In the picture both these figures appear, the light one very faintly, the black one much more distinctly, of a gigantic size, with a massive coarse-featured face and long hair.—(_Spiritual Magazine, January and August, 1873_; _Photographic News, June 28th, 1872_.)

Mr. Beattie has been so good as to send me for examination a complete set of these most extraordinary photographs, thirty-two in number, and has furnished me with any particulars I desired. I have described them as correctly as I am able; and Dr. Thomson has authorized me to use his name as confirming Mr. Beattie’s account of the conditions under which they appeared. These experiments were not made without labor and perseverance. Sometimes twenty consecutive pictures produced absolutely nothing unusual. Hundreds have been taken, and more than half have been complete failures. But the successes have been well worth the labor. They demonstrate the fact that what a medium or sensitive sees (even where no one else sees anything) may often have an objective existence. They teach us that perhaps the bookseller, Nicolai, of Berlin—whose case has been quoted _ad nauseam_ as the type of a “spectral illusion”—saw real beings after all; and that, had photography been then discovered and properly applied, we might now have the portraits of the invisible men and women who crowded his room. They give us hints of a process by which the figures seen at séances may have to be gradually formed or developed, and enable us better to understand the statements repeatedly made by the communicating intelligences, that it is very difficult to produce definite, visible and tangible forms, and that it can only be done under a rare combination of favorable conditions.

We find, then, that three amateur photographers, working independently in different parts of England, separately confirm the fact of spirit-photography—already demonstrated to the satisfaction of many who had tested it through professional photographers. The experiments of Mr. Beattie and Dr. Thomson are alone absolutely conclusive; and, taken in connection with those of Mr. Slater and Dr. Williams, and the test photographs, like those of Mrs. Guppy, establish as a scientific fact the objective existence of invisible human forms and definite invisible actinic images. Before leaving the photographic phenomena we have to notice two curious points in connection with them. The actinic action of the spirit-forms is peculiar, and much more rapid than that of the light reflected from ordinary material forms; for the figures start out the moment the developing fluid touches them, while the figure of the sitter appears much later. Mr. Beattie noticed this throughout his experiments, and I was myself much struck with it when watching the development of three pictures recently taken at Mr. Hudson’s. The second figure, though by no means bright, always came out long before any other part of the picture. The other singular thing is, the copious drapery in which these forms are almost always enveloped, so as to show only just what is necessary for recognition of the face and figure. The explanation given of this is, that the human form is more difficult to materialize than drapery. The conventional “white-sheeted ghost” was not then all fancy, but had a foundation in fact—a fact, too, of deep significance, dependent on the laws of a yet unknown chemistry.

SUMMARY OF THE MORE IMPORTANT MANIFESTATIONS, PHYSICAL AND MENTAL.

As we have not been able to give an account of many curious facts which occur with the various classes of mediums, the following catalogue of the more important and well-characterized phenomena may be useful. They may be grouped provisionally, as, Physical, or those in which material objects are acted on, or apparently material bodies produced; and Mental, or those which consist in the exhibition, by the medium, of powers or faculties not possessed in the normal state.

The principal physical phenomena are the following:

1. _Simple Physical Phenomena._—Producing sounds of all kinds, from a delicate tick to blows like those of a heavy sledge-hammer. Altering the weight of bodies. Moving bodies without human agency. Raising bodies into the air. Conveying bodies to a distance out of and into closed rooms. Releasing mediums from every description of bonds, even from welded iron rings, as has happened in America.

2. _Chemical._—Preserving from the effects of fire, as already detailed.

3. _Direct Writing and Drawing._—Producing writing or drawing on marked papers, placed in such positions that no human hand (or foot) can touch them. Sometimes, visibly to the spectators, a pencil rising up and writing or drawing apparently by itself. Some of the drawings in many colors have been produced on marked paper in from ten to twenty seconds, and the colors found wet. (See Mr. Coleman’s evidence in “Dialectical Report,” p. 143, confirmed by Lord Borthwick, p. 150.) Mr. Thomas Slater, of 136 Euston Road, is now obtaining communication in the following manner: A bit of slate pencil an eighth of an inch long is laid on a table; a clean slate is laid over this, in a well-lighted room; the sound of writing is then heard, and in a few minutes a communication of considerable length is found distinctly written. At other times the slate is held between himself and another person, their other hands being joined. Some of these communications are philosophical discussions on the nature of spirit and matter, supporting the usual Spiritual theory on this subject.

4. _Musical Phenomena._—Musical instruments, of various kinds, played without human agency, from a hand-bell to a closed piano. With some mediums, and where the conditions are favorable, original musical compositions of a very high character are produced. This occurs with Mr. Home.

5. _Spiritual Forms._—These are either luminous appearances, sparks, stars, globes of light, luminous clouds, &c.; or, hands, faces, or entire human figures, usually covered with flowing drapery, except a portion of the face and hands. The human forms are often capable of moving solid objects, and are both visible and tangible to all present. In other cases they are only visible to seers, but when this is the case it sometimes happens that the seer describes the figure as lifting a flower or a pen, and others present see the flower or the pen apparently move by itself. In some cases they speak distinctly; in others the voice is heard by all, the form only seen by the medium. The flowing robes of these forms have in some cases been examined, and pieces cut off, which have in a short time melted away. Flowers are also brought, some of which fade away and vanish; others are real, and can be kept indefinitely. It must not be concluded that any of these forms are actual spirits; they are probably only temporary forms produced by spirits for purposes of test, or of recognition by their friends. This is the account invariably given of them by communications obtained in various ways; so that the objection once thought to be so crushing—that there can be no “ghosts” of clothes, armor, or walking-sticks—ceases to have any weight.

6. _Spiritual Photographs._—These, as just detailed, demonstrate by a purely physical experiment the trustworthiness of the preceding class of observations.

We now come to the mental phenomena, of which the following are the chief:

1. _Automatic Writing._—The medium writes involuntarily; often matter which he is not thinking about, does not expect, and does not like. Occasionally definite and correct information is given of facts of which the medium has not, nor ever had, any knowledge. Sometimes future events are accurately predicted. The writing takes place either by the hand or through a planchette. Often the handwriting changes. Sometimes it is written backwards; sometimes in languages the medium does not understand.

2. _Seeing, or Clairvoyance and Clairaudience._—This is of various kinds. Some mediums see the forms of deceased persons unknown to them, and describe their peculiarities so minutely that their friends at once recognize them. They often hear voices, through which they obtain names, date, and place, connected with the individuals so described. Others read sealed letters in any language, and write appropriate answers.