"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 identity 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.