"Nothing; but you will see that these later experiments of the Italian scientists are sustaining De Rochas and Aksakof in their claim that the medium is in a sense dematerialized to build up the phantasms. Dr. Encausse goes on to say: '_Moreover, the medium who had produced this phenomenon was preparing for the stage and had been studying Corneille during the whole of the preceding day._ I was thus able to discover the origin of the substance of the materialization of the writing, and also its psychic origin.' In other words, he claims that the message was not from the shade of the great dramatist, but was a precipitation of the blood of the psychic and an exercise of her subconscious mind, all of which accords with Bottazzi's theory. "Now, then," said I, in the tone of one about to conclude, "in the light of these experiments, my own sitting at Miller's, and especially those that I held at Fowler's house, take on the greatest significance. Miller, Mrs. Smiley's _visible limbs_ did not handle the books--of that I am positive--and yet I am equally certain that she governed every movement." "But what about the voices?" asked Fowler. "Does this theory cover the whispering personalities we heard? What about 'Wilbur' and 'Maudie'?" "That's easy," retorted Howard. "Once you explain the manipulation of the cone, the rest is merely clever ventriloquism." "There is nothing 'easy' about any of these phenomena," I answered. "As Richet says, they are absurd, but they are observed facts. It would not be fair to the spiritists to end the account of these sittings without frankly stating that there were many other phenomena very difficult to explain by Bottazzi's theory. There came a time, as he admits, when 'a mysterious entity behind the curtain, among us, almost in contact with us, was felt all the time.' This entity was supposed to be 'John King,' the psychic's control. This being, invisible for the most part, gave roses to those he liked, conversed freely, and in one case threw a bunch of flowers in the face of one of the sitters to whom Eusapia had taken a dislike. A little later 'John' presented a small drum from behind the curtain, and, when Galeotti tried to take it, 'John' pulled it out of his hands. Again he offered it, and Galeotti seized it, and the two fought for its possession with such violence that the drum was nearly torn to pieces." "Where was Paladino meanwhile?" asked Miller. "Seated quietly in the grasp of Bottazzi and Madame Bottazzi. Galeotti then raised the drum in his hand, high above his head and against the curtain, and requested 'John' to beat it. 'John' pushed a hand against the drum and beat a muffled tattoo. All this was utterly out of the psychic's reach. The strife over the drum would seem to argue a complete and powerful figure behind the curtain." "In other words, a spirit," said Brierly.