Seats are taken, the medium asks for rest, and a little light is turned on. The sitting is soon resumed as before, by the extremely feeble light of the red lantern. John is spoken of as if he existed, as if it was he whose head we perceived in silhouette; he is asked to continue his manifestations, and to show the impression of his head in the putty, as he has already several times done. Eusapia replies that it is a difficult thing and asks us not to think of it for a moment, but to go on speaking. These suggestions of hers are always disquieting, and we redouble our attention, though without speaking much. The medium pants, groans, writhes. The chair in the cabinet on which the putty is placed is heard to move. The chair comes forward and places itself by the side of the medium, then it is lifted and placed upon the head of Mme. Z. Blech, while the tray is lightly placed in the hands of M. Blech, at the other end of the table. Eusapia cries that she sees before her a head and a bust, and says, "_E fatto_" ("It is done"). We do not believe her, because M. Blech has not felt any pressure on the dish. Three violent blows as of a mallet are struck upon the table. The light is turned on, and a human profile is found imprinted upon the putty. Mme. Z. Blech kisses Eusapia upon both cheeks, for the purpose of finding out whether her face has not some odor (glazier's putty having a very strong odor of linseed oil which remains for some time upon the fingers). She discovers nothing abnormal. This discovery of a "spirit head" in the putty is so astonishing, so impossible to admit without sufficient verification, that it is really still more incredible than all the rest. It is not the head of the man whose profile I perceived, and the beard I felt on my hand is not there. The imprint has a resemblance to Eusapia's face. If we supposed she produced it herself, that she was able to bury her nose up to the cheeks and up to the eyes in that thick putty, we should still have to explain how that large and heavy tray was transported from the other end of the table and gently placed in the hands of M. Blech. The resemblance of the imprint to Eusapia was undeniable. I reproduce both the print and the portrait of the medium.[21] Every one can assure himself of it. The simplest thing, evidently, is to suppose the Italian woman imprinted her face in the putty. But how?