The guitar took its flight twice around the room, coming to a stand-still (between the two times) in the middle of the table, where finally it came to a rest. In a final supreme effort, Eusapia turns toward the left, where upon a table is a typewriting machine weighing fifteen pounds. During the effort the medium falls exhausted and nervous upon the floor; but the machine rises from its place and betakes itself to the middle of our table, near the guitar. In full light, Eusapia calls M. Morselli, and, controlled by the two persons next her, brings him with her toward the table, upon which is placed a mass of modelling-plaster. She takes his open hand and pushes it three times toward the plaster, as if to sink the hand into it and leave upon it an impression. M. Morselli's hand remains at a distance of more than four inches from the mass: nevertheless, at the end of the seance, the experimenters ascertain that the lump of plaster contains the impression of three fingers,--deeper prints than it is possible to obtain directly by means of voluntary pressure. The medium lifts her two hands, all the time clasped in mine and in those of No. 5 (Morselli), and uttering groans, cries, exhortations, _she rises with her chair_, so far as to place its two feet and the ends of its two front cross-bars upon the top of the table. It was a moment of great anxiety. The levitation was accomplished rapidly, but without any jarring or jolting or jerking. In other words, if, in an effort of extreme distrust you insisted on supposing that she employed some artifice to obtain the result, you would rather have to think of a pulling up, by means of a cord and pulley, rather than of a pushing from beneath. But neither of these hypotheses can stand the most elementary examination of the facts.... There is more to follow. Eusapia was lifted up still farther with her chair, from the upper part of the table, in such a way that No. 11 on one side and I on the other were able to pass our hands under her feet and under those of the chair. Moreover, the fact that the posterior feet of the chair were entirely off of the table, without any visible support makes this levitation still more irreconcilable with the supposition that Eusapia could have made her body and the chair take an upward leap. M. Porro judges that this phenomenon is one of those which are less easily explained if we decline to have recourse to the Spiritualistic hypothesis. It is a little like the man who fell into the water and thought he could pull himself out by his own hair. Eusapia [adds M. Porro] descended without any jolting, little by little, No. 5 and I never letting go her hands. The chair, having risen up a little higher, turned over and placed itself on my head, whence it spontaneously returned to the floor.