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  "Although, as I have said, I do not attach much importance to photographs appearing of well-known men, I confess that I was rather impressed by one of my most recent experiments. I received a message from a medium in Sheffield, who is unknown to me, saying that Cecil Rhodes, who had then been dead about nine months, had spoken to her clairaudiently, and had told her to ask me to go to the photographer's, and that he would come and be photographed. The medium was a stranger to me, and I confess that I received the message with considerable skepticism. However, when she came up to town I accompanied her to the studio. She declared that she saw Cecil Rhodes, and that he spoke to her, and that he was standing behind me when the plate was exposed. When the plate came to be developed, although there was one well-defined figure standing behind me and several other faces half visible in the background, there was no portrait of Cecil Rhodes. I was not surprised, and went away. A month afterwards I went to have another sitting with the photographer. I chatted with him for a short time, and then he left the room for a moment. When he came back he said to me: 'There is a round-faced well set-up man here with a short moustache and a dimple in his chin. Do you know him?' 'No,' I said, 'I don't know any such man.' 'Well, he seems to be very busy about you.' 'Well,' I said, 'if he comes upstairs, we shall see what we can get.' 'I don't know,' said he. When I was sitting, he said, 'There he is, and I see the letter R. Is it Robert or Richard, do you think?' 'I don't know any Robert or Richard,' I said. He took the picture. He then proceeded with the second plate, and said, 'That man is still here, and I see behind him a country road. I wonder what that means.' He went into the dark room, and presently came out and said, 'I see "road or roads." Do you know any one of that name?' 'Of course,' I said, 'Cecil Rhodes.' 'Do you mean him as died in the Transvaal lately?' said he. I said 'Yes.' 'Well,' he said, 'was he a man like that?' 'Well, he had a moustache,' I said. And sure enough, when the plate was developed, there was Cecil Rhodes looking fifteen years younger than when he died.

  "Some other plates were exposed. One was entirely blank, on two others the mist was formed into a kind of clot of light, but no figure was visible, the fifth had a portrait of an unknown man, and on the sixth, when it came to be developed, there was the same portrait of Cecil Rhodes that had appeared on the first, but without the white drapery round the head.

  "Of course it may be said that it was well known that I was connected with Cecil Rhodes and that the photographer therefore would have no difficulty in faking a portrait. I admit all that, and therefore I would not have introduced this if it had stood alone, as any evidence showing that it was a bona fide photograph of an invisible being. But it does not stand alone, and I have almost every reason to believe in the almost stupid honesty, if I may use such a phrase, of the photographer. I am naturally much interested in these latest portraits of the African Colossus. They are, at any rate, entirely new, no such portraits, to the best of my knowledge—and I have made a collection of all I can lay my hands on—exactly resembling those portraits which I obtained at Mr. B—'s studio.

  "I will conclude the account of my experiments by telling how I secured a portrait under circumstances which preclude any possibility of fake or fraud. One day when I entered the studio, Mr. B— said to me, 'There is a man come with you who has been here before; he came here some days ago when I was by myself; he looked very wild, and he had a gun in his hand, and I did not like the look of him. I don't like guns, so I asked him to go away, for I was frightened of the gun, and he went. But now he has come with you, and he has not got his gun any more, so we will let him stop.' I was rather amused at the old man's story and said, 'Well, see if you can photograph him.' 'I don't know as I can,' he said, 'I never know what I can get,'—which is quite true, for often the photographs which he says he sees clairvoyantly do not come out on the plate. While he was photographing me, I said to him, 'If you can tell this man to go away, you can ask him his name.' 'Yes,' said he. 'Will you do so?' I said. 'Yes,' he said. After seeming to ask the question mentally, he said, 'He says his name is Piet Botha.' 'Piet Botha,' I said, 'I know no such name. There are Louis and Philip, and Chris Botha. I have never heard of Piet; still they are a numerous family and there are plenty of Bothas in South Africa, and it will be interesting to ask General Botha, when he arrives, whether he knows of any Piet Botha.' When the negative was developed, sure enough there appeared behind me a photograph of a stalwart bearded person, who might have been a Boer or a Russian moujik, but who was certainly unknown to me. I had never seen a portrait of any one which bore any resemblance to the photograph.

  "When General Botha arrived I did not get an opportunity of asking him about the photograph, but some time afterwards I asked Mr. Fischer, one of the delegation from the South African Republics, to look at the photograph, and if he got an opportunity to ask General Botha if he knew of such a man as Piet Botha. Mr. Fischer said he thought he had seen the face before, but he could not be certain. He departed with the photograph. Some days afterwards Mr. Wessels, a member of the delegation with Mr. Fischer, came down to my office. He said, 'I want to know about that photograph that you gave Mr. Fischer.' 'Yes,' I said, 'what about it?' 'I want to know where you got it.' I told him. He replied disdainfully, 'I don't believe in such things; it is superstition; besides, that man didn't know Mr. B—; he has never been in London; how could he come there?' 'What,' I said, 'do you know him?' 'Know him!' said Mr. Wessels. 'He is my brother-in-law.' 'Really!' I said. 'What did they call him?' 'Pietrus Johannes Botha, but we always called him Piet for short.' 'Is he dead, then?' I said. 'Yes,' said Mr. Wessels, 'he was the first Boer officer who was killed in the siege of Kimberley; but there is a mystery about this; you didn't know him?' 'No,' I said. 'And never heard of him?' 'No,' I said. 'But,' he said, 'I have the man's portrait in my house in South Africa, how could you get it?' 'But,' I said, 'I never have had it.' 'I don't understand,' he said, moodily, and so departed. I afterwards showed the photograph to another Free-State Boer who knew Piet Botha very well, and he had not the slightest hesitation in declaring that it was an unmistakable likeness of his dead friend.1

  "This is a plain, straightforward narrative of my experiences; they are still going on. But if I continue them forever I don't see how I am going to obtain better results than those which I have already secured. At the same time I must admit that when I have taken my own kodak to the studio and taken a photograph immediately before Mr. B— had exposed his plate, I got no results. The same failure occurred with another photographer whom I took, who took his own camera and his own plates, and took a photograph immediately before and immediately after Mr. B— had exposed his plate, and secured no result. Mr. B—'s explanation of this is that he thinks he does in some way or other magnetize, as he terms it, the plate, and that there is some effluence from his hand which is as necessary for the development of the psychic figure as the developing liquid is for the development of an ordinary photograph. This explanation would no doubt be derided as, I presume, wiseacres would have derided the first photographers when they insisted upon the necessity of darkness whilst developing their plates. What I hold to be established is that in the presence of this particular individual, Mr. B—, who at present is the only person known to me who is able to produce these photographs, it is possible to obtain under test conditions photographs that are unmistakably portraits of deceased persons; the said deceased persons being entirely unknown to him, and in some cases equally unknown to the sitter. Neither was any portrait of such person accessible either to the sitter or the photographer; neither was either the sitter or the photographer conscious of the very existence of these persons, whose identity was subsequently recognized by their friends.2

  "I am willing to admit that no conceivable conditions in the way of marking plates and supervising the actions or the operations of the photographer are of the least use, in so much as an expert conjurer can easily deceive the eye of the unskilled observer. But what I do maintain is that it is impossible for the cleverest trick photographer and the abl
est conjurer in the world to produce a photograph, at a moment's notice, of an unknown relative of an unknown sitter, this portrait to be unmistakably recognizable by all survivors who knew the original in life. This Mr. B— has done again and again. And it seems to me that a great step has been made towards establishing the possibility of verifying by photography the reality of the existence of other intelligences than our own."

  The photographer alluded to in this article is Mr. Boursnell. He died shortly after it was written, and although father experimented with others, he never obtained such convincing and satisfactory results.

  1Referring to this photo elsewhere, he wrote:—"This at least is not a case which telepathy can explain. Nor can the hypothesis of fraud hold water. It was by the merest accident that I asked the photographer to see if the spirit would give his name. No one in England, so far as I have been able to ascertain, knew that any Piet Botha ever existed.

  "As if to render all explanation of fraud or contrivance still more incredible, it may be mentioned that the Daily Graphic of October, 1889, which announced that a Commandant Botha had been killed in the siege of Kimberley, published a portrait alleged to be that of the dead commandant, which not only does not bear the remotest resemblance to the Piet Botha of my photograph, but which was described as Commandant Hans Botha!"

  2 Miss Katharine Bates was present when the Piet Botha photograph was taken under the exact conditions specified by my father.

  The Sin-Eater (Fiona Macleod)

  Table of Content

  Sin.

  Taste this bread, this substance: tell me

  Is it bread or flesh?

  [The Senses approach.]

  The Smell.

  Its smell

  Is the smell of bread.

  Sin.

  Touch, come. Why tremble?

  Say what's this thou touchest?

  The Touch.

  Bread.

  Sin.

  Sight, declare what thou discernest

  In this object.

  The Sight.

  Bread alone.

  —Calderon,

  Los Encantos de la Culpa

  A wet wind out of the south mazed and mooned through the sea-mist that hung over the Ross. In all the bays and creeks was a continuous weary lapping of water. There was no other sound anywhere.

  Thus was it at daybreak; it was thus at noon; thus was it now in the darkening of the day. A confused thrusting and falling of sounds through the silence betokened the hour of the setting. Curlews wailed in the mist; on the seething limpet-covered rocks the skuas and terns screamed, or uttered hoarse, rasping cries. Ever and again the prolonged note of the oyster-catcher shrilled against the air, as an echo flying blindly along a blank wall of cliff. Out of weedy places, wherein the tide sobbed with long, gurgling moans, came at intervals the barking of a seal.

  Inland, by the hamlet of Contullich, there is a reedy tarn called the Loch-a-chaoruinn.1 By the shores of this mournful water a man moved. It was a slow, weary walk that of the man Neil Ross. He had come from Duninch, thirty miles to the eastward, and had not rested foot, nor eaten, nor had word of man or woman, since his going west an hour after dawn.

  At the bend of the loch nearest the clachan he came upon an old woman carrying peat. To his reiterated question as to where he was, and if the tarn were Feur-Lochan above Fionnaphort that is on the strait of Iona on the west side of the Ross of Mull, she did not at first make any answer. The rain trickled down her withered brown face, over which the thin gray locks hung limply. It was only in the deep-set eyes that the flame of life still glimmered, though that dimly.

  The man had used the English when first he spoke, but as though mechanically. Supposing that he had not been understood, he repeated his question in the Gaelic.

  After a minute's silence the old woman answered him in the native tongue, but only to put a question in return.

  "I am thinking it is a long time since you have been in Iona?"

  The man stirred uneasily.

  "And why is that, mother?" he asked, in a weak voice hoarse with damp and fatigue; "how is it you will be knowing that I have been in Iona at all?"

  "Because I knew your kith and kin there, Neil Ross."

  "I have not been hearing that name, mother, for many a long year. And as for the old face o' you, it is unbeknown to me."

  "I was at the naming of you, for all that. Well do I remember the day that Silis Macallum gave you birth; and I was at the house on the croft of Ballyrona when Murtagh Ross—that was your father—laughed. It was an ill laughing that."

  "I am knowing it. The curse of God on him!"

  "'Tis not the first, nor the last, though the grass is on his head three years agone now."

  "You that know who I am will be knowing that I have no kith or kin now on Iona?"

  "Ay; they are all under gray stone or running wave. Donald your brother, and Murtagh your next brother, and little Silis, and your mother Silis herself, and your two brothers of your father, Angus and Ian Macallum, and your father Murtagh Ross, and his lawful childless wife, Dionaid, and his sister Anna—one and all, they lie beneath the green wave or in the brown mould. It is said there is a curse upon all who live at Ballyrona. The owl builds now in the rafters, and it is the big sea-rat that runs across the fireless hearth."

  "It is there I am going."

  "The foolishness is on you, Neil Ross."

  "Now it is that I am knowing who you are. It is old Sheen Macarthur I am speaking to."

  "Tha mise ... it is I."

  "And you will be alone now, too, I am thinking, Sheen?"

  "I am alone. God took my three boys at the one fishing ten years ago; and before there was moonrise in the blackness of my heart my man went. It was after the drowning of Anndra that my croft was taken from me. Then I crossed the Sound, and shared with my widow sister Elsie McVurie till she went; and then the two cows had to go; and I had no rent, and was old."

  In the silence that followed, the rain dribbled from the sodden bracken and dripping loneroid. Big tears rolled slowly down the deep lines on the face of Sheen. Once there was a sob in her throat, but she put her shaking hand to it, and it was still.

  Neil Ross shifted from foot to foot. The ooze in that marshy place squelched with each restless movement he made. Beyond them a plover wheeled, a blurred splatch in the mist, crying its mournful cry over and over and over.

  It was a pitiful thing to hear—ah, bitter loneliness, bitter patience of poor old women. That he knew well. But he was too weary, and his heart was nigh full of its own burthen. The words could not come to his lips. But at last he spoke.

  "Tha mo chridhe goirt," he said, with tears in his voice, as he put his hand on her bent shoulder; "my heart is sore."

  She put up her old face against his.

  "'S tha e ruidhinn mo chridhe," she whispered; "it is touching my heart you are."

  After that they walked on slowly through the dripping mist, each dumb and brooding deep.

  "Where will you be staying this night?" asked Sheen suddenly, when they had traversed a wide boggy stretch of land; adding, as by an afterthought—"Ah, it is asking you were if the tarn there were Feur-Lochan. No; it is Loch-a-chaoruinn, and the clachan that is near is Contullich."

  "Which way?"

  "Yonder, to the right."

  "And you are not going there?"

  "No. I am going to the steading of Andrew Blair. Maybe you are for knowing it? It is called the Baile-na-Chlais-nambuidheag."2

  "I do not remember. But it is remembering a Blair I am. He was Adam, the son of Adam, the son of Robert. He and my father did many an ill deed together."

  "Ay, to the stones be it said. Sure, now, there was, even till this weary day, no man or woman who had a good word for Adam Blair."

  "And why that ... why till this day?"

  "It is not yet the third hour since he went into the silence."

  Neil Ross uttered a sound like a stifled curse. For a time he trudged wearily on.


  "Then I am too late," he said at last, but as though speaking to himself. "I had hoped to see him face to face again, and curse him between the eyes. It was he who made Murtagh Ross break his troth to my mother, and marry that other woman, barren at that, God be praised! And they say ill of him, do they?"

  "Ay, it is evil that is upon him. This crime and that, God knows; and the shadow of murder on his brow and in his eyes. Well, well, 'tis ill to be speaking of a man in corpse, and that near by. 'Tis Himself only that knows, Neil Ross."

  "Maybe ay and maybe no. But where is it that I can be sleeping this night, Sheen Macarthur?"

  "They will not be taking a stranger at the farm this night of the nights, I am thinking. There is no place else for seven miles yet, when there is the clachan, before you will be coming to Fionnaphort. There is the warm byre, Neil, my man; or, if you can bide by my peats, you may rest, and welcome, though there is no bed for you, and no food either save some of the porridge that is over."

  "And that will do well enough for me, Sheen; and Himself bless you for it."

  And so it was.

  After old Sheen Macarthur had given the wayfarer food—poor food at that, but welcome to one nigh starved, and for the heartsome way it was given, and because of the thanks to God that was upon it before even spoon was lifted—she told him a lie. It was the good lie of tender love.

  "Sure now, after all, Neil, my man," she said, "it is sleeping at the farm I ought to be, for Maisie Macdonald, the wise woman, will be sitting by the corpse, and there will be none to keep her company. It is there I must be going; and if I am weary, there is a good bed for me just beyond the dead-board, which I am not minding at all. So, if it is tired you are sitting by the peats, lie down on my bed there, and have the sleep; and God be with you."

  With that she went, and soundlessly, for Neil Ross was already asleep, where he sat on an upturned claar, with his elbows on his knees, and his flame-lit face in his hands.