Third: While certain lines in Nos. 2, 3 and 4 were heavier than others, no such distinction was observable in the characters forming No. 1. Fourth: This distinction was even more marked in the longer specimen written by another hand, viz.: No. 5. Fifth: This distinction, which we will call shading, occurred intermittently, sometimes in two consecutive characters, but never in three. Sixth: This shading was to be seen now on one limb of the character it apparently emphasized and now on another. Seventh: In the three specimens of the seven similar characters commencing Nos. 2, 3 and 4, the exact part shaded was not always the same as for instance, it was the left arm of the second character in No. 2 which showed the heavy line, while the shading was on the right-hand arm of the corresponding character in No. 3. Eighth: These variations of emphasis in No. 4 coincided sometimes with those seen in No. 2 and again with those in No. 3. Ninth: Each one of these specimens, saving the first, ended in a shaded character. Tenth: While some of the characters were squares or parts of a square, others were in the shape of a Y turned now this way and now that. Eleventh: These characters were varied by the introduction of dots, and, in some cases, by the insertion of minute sketches of animals, birds, arrows, signs of the zodiac, etc., with here and there one of a humorous, possibly sarcastic, nature. Twelfth: Dots and dots only were to be found in the specimen emanating from Mrs. Packard’s hand; birds, arrows, skipping boys and hanging men, etc., being confined to No. 5, the product of another brain and hand, at present unknown. Now what conclusions could I draw from these? I shall give them to you as they came to me that night. Others with wits superior to my own may draw additional and more suggestive ones: First: Division into words was not considered necessary or was made in some other way than by breaks. Second: The fact of the shading being omitted from No. 1 meant nothing--that specimen being my own memory of lines, the shading or non-shading of which would hardly have attracted my attention. Third: The similarity observable in the seven opening characters of the first four specimens being taken as a proof of their standing for the same word or phrase, it was safe to consider this word or phrase as a complete one to which she had tried to fit others, and always to her dissatisfaction, till she had finally rejected all but the simple one with which she had started. Fourth: No. 1, short as it was, was, therefore, a communication in itself. Fifth: The shading of a character was in some way essential to its proper understanding, but not the exact place where that shading fell. Sixth: The dots were necessarily modifications, but not their shape or nature. Seventh: This shading might indicate the end of a word.