"A stethoscope was taken from Cardarelli's pocket and put together--a movement requiring the action of two hands. The noise of fingers running over the keys of a typewriter in the cabinet was plainly heard, although no writing came. At the fifth sitting the mandolin again moved as if alive (no one touching it), in a light that made all its movements observable; and as it did so _Eusapia's hand_ (tightly controlled by Bottazzi) _made little movements as if to help the instrument to move_. _Each movement, though it ended in the air, seemed to affect the mandolin._ Bottazzi says: 'It would be necessary to have Paladino's fingers in the palm of one's hand, as I had that evening, in order to be convinced that the evolutions, twangings of the strings, etc., all synchronized with the very delicate movements of her fingers.... I cannot describe the sensation one experiences when seeing an inanimate object moved, not for a moment merely, but for many minutes in succession, by a mysterious force.'" "We observed no such synchronism," repeated Fowler. "We not only controlled Mrs. Smiley's hands, but nailed her to her chair. In a way, our test was more rigid than those you are describing. Our results were not so dramatic, but they were produced under test conditions, and their significance is as great as that of Bottazzi's lamp-lighting." "But we did not have as much light on the medium, and, by-the-way, Miller, the spectral hands that I saw in your study, each larger than Mrs. Smiley's hands, were as real to me as those Scarpa studied, and the books deposited on your table form as good a record, in their way, as the marks on his smoked-glass cylinder." "Furthermore, we had writing," added Fowler. "All of which Bottazzi would explain by his theory of an 'astral arm.'" "Yes, but he secured something still more marvellous. He obtained the print of human hands in clay and also on smoked glass. He demonstrated that the invisible limbs of the psychic cannot only move objects at a distance, _but that they can feel at a distance_. 'Eusapia's attitude was that of a blindfolded person exploring space with her hands to find a lost object!' he exclaims, at one point. 'Eusapia opened my right hand, stretched out my three middle fingers, and, bending them on the table, tips downward, said, in a whisper: "How hard it is! What is it?" I did not understand,' says Bottazzi. 'She continued: "There, on the chair." "It is the clay," I said, quickly; "will you make the impression of a face?" "No," she replied, "it is too hard; take it away.'" Some one broke the chain to carry out her desire. He looked at the desk and saw the imprint of three fingers." "What I would like to know at this point," Harris quickly interposed, "is this: were the fingermarks lined like Bottazzi's or like the medium's?"