In the phenomena concerned with the movements of objects without contact she always makes a gesture corresponding to the phenomenon. A force darts forth from her and performs the deed. Thus, for example, she strikes with her fist three or four strokes in the air at a distance of ten or twelve inches from the table: the same strokes are heard in the table. And it is positively in the wood of the table. It is not beneath it, nor upon the floor. Her legs are held and she does not move them. She strikes five strokes with the middle finger upon my hand in the air: the five strokes are rapped upon the table (November 19). Nay more, this force can be transmitted by another. I hold her legs with my left hand spread out upon them; M. Sardou holds her left hand; she takes my right wrist in her right hand and says to me, "Strike in the direction of M. Sardou." I do so three or four times. M. Sardou feels upon his body my blows tallying my gesture, with the difference of about a second between my motion and his sensation. The experiment is tried again with the same success. That same evening, not only did we not let go for a single instant of Eusapia's hands, separated from each other by the width of her body and placed near our own, but we did not allow them to be moved from the side of the objects to be displaced. It took considerable time to obtain results. But, all the same, they were wholly successful. She has a tendency to go and take hold of the objects; she must be stopped in a good time. However, she herself does take hold of them, in fact, through the prolongation of her muscular force, and she says so: "I am grasping it, I have hold of it." It is our part to carefully retain her normal hands in ours. We sometimes have good reason to suspect that Eusapia seizes the objects to be moved (such as musical instruments) with one of her hands which she has freed. But there is plenty of proof that she does not always do so. Here is a case, for example. The scene is Naples, 1902, at a seance with Professor von Schrenck-Notzing: [Illustration: FIG. 2.] The seance took place in a little room, by a feeble light, but one sufficient for us to distinguish the personages and their movements. Behind the medium, upon a chair, there was a harmonica, at the distance of about a yard.