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'Twixt two worlds : a narrative of the life and work of William Eglinton

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CHAPTER<br />

CONTENTS.<br />

PAGE<br />

I. Early Life <strong>and</strong> Development as a Psychic i<br />

II. Early Pr<strong>of</strong>essional Mediumship 5<br />

III. The "Blackburn Seances" 8<br />

IV. Work in London, <strong>the</strong> Provinces, <strong>and</strong> Abroad . 14<br />

V. Remarkable Seances at Malvern 21<br />

VI. Private Seances <strong>and</strong> Spiritualism at Home 30<br />

VII. South African Experiences 42<br />

VIII. The Story <strong>of</strong> a Haunting Spirit 50<br />

IX. Scientific Investigation on <strong>the</strong> Continent 58<br />

X. Drawings <strong>and</strong> Writings Produced by Abnormal Means. Casts from Materialised H<strong>and</strong>s . 69<br />

XI. American Experiences S5<br />

XII. Visit to India 89<br />

. . .<br />

XIII. The Royal Family <strong>and</strong> Spiritualism— Psychography Explained 9S<br />

XIV. General Testimony to Psychography no<br />

XV. " Brought to Book" 139<br />

XVI. Evidence for Independent Mind-action in Psychography 154<br />

XVII. On Materialisations <strong>and</strong> Apparitions Formed with <strong>the</strong> Medium in Full View .163<br />

XVIII. Phases <strong>of</strong> Opposition. Spiritualism <strong>and</strong> Art. A Problem for Conjurers 184<br />

XIX. Conclusion 192<br />

ILLUSTRATIONS.<br />

Portrait Etching <strong>of</strong> Mr. <strong>Eglinton</strong> . . Frontispiece<br />

-39<br />

1. Knots Tied in an Endless Cord .... 34<br />

2. A Novel Test 38<br />

3. Plan <strong>of</strong> <strong>the</strong> Garden Seance. . 4. Dr. Hutchinson's Dial ...... 44<br />

5. A Direct Drawing ....... 70<br />

6. Writing with Ink on a Card inside a Closed <strong>and</strong><br />

Weighted Book .<br />

71<br />

7. Specimens <strong>of</strong> Direct Writing 73<br />

8. Direct Drawing <strong>and</strong> Writing ..... 74<br />

9. A Direct Drawing Executed in Total Darkness . .<br />

75<br />

10. Writing produced under an Inverted Tumbler . . 91<br />

11. Plan <strong>of</strong> Seance Room in Calcutta .... 96<br />

12. A Direct Drawing ....... 100<br />

13. Ground Plan <strong>of</strong> Mr. <strong>Eglinton</strong>'s Seance Room at Old<br />

Quebec Street 103<br />

14. Table used by Mr. <strong>Eglinton</strong>, <strong>and</strong> Mode <strong>of</strong> Holding<br />

<strong>the</strong> Slate for Simple Experiments .... 104<br />

15. Method <strong>of</strong> Obtaining <strong>the</strong> Writing when <strong>the</strong> Slate is<br />

held by Mr. <strong>Eglinton</strong> <strong>and</strong> <strong>the</strong> Sitter . . . 105<br />

16. Method <strong>of</strong> Obtaining <strong>the</strong> Writing between <strong>two</strong> Slates<br />

held over <strong>the</strong> Table . . . . . .106<br />

Method <strong>of</strong> Obtaining Writing when <strong>the</strong> Slates are<br />

tied <strong>and</strong> held over <strong>the</strong> Head <strong>of</strong> one <strong>of</strong> <strong>the</strong> Sitters<br />

Obtaining Writing under an Inverted Tumbler .<br />

Reduced Facsimile <strong>of</strong> Recognised Psychographi.<br />

Writing<br />

H<strong>and</strong>writing <strong>of</strong> Mr. <strong>Eglinton</strong> ....<br />

H<strong>and</strong>writing <strong>of</strong> Dr. Nichols' Daughter<br />

Facsimile <strong>of</strong> Direct Writing, reduced one-fourth<br />

Facsimile <strong>of</strong> Direct Slate Writing obtained in Mr<br />

Adshead's presence .....<br />

Exact Reproduction <strong>of</strong> Direct Writing on a Card<br />

Exact Reproduction <strong>of</strong> Direct Drawing on a Card<br />

Direct Writing on a Slate<br />

Message Written between <strong>the</strong> Slates when Resting on<br />

<strong>the</strong> Shoulder <strong>of</strong> <strong>the</strong> Sitter ....<br />

Facsimile <strong>of</strong> Direct Writing obtained in Broad Day<br />

light<br />

Direct Writing obtained under an Inverted Tumbler<br />

Dr. Herschell's Fenestrated Slate<br />

Plan <strong>of</strong> Seance Koom<br />

Plan <strong>of</strong> Seance Room .....<br />

Portrait <strong>of</strong> Mr. W. <strong>Eglinton</strong> ....<br />

107<br />

10S<br />

114<br />

"5<br />

"5<br />

120<br />

149<br />

150<br />

152<br />

170<br />

177<br />

188<br />

CHROMO LITHOGRAPHS.<br />

PAGE<br />

Plate I. Spirit Lights .... To face 25 Plate V.<br />

,, II. A Materialised H<strong>and</strong> .<br />

,, III. A Miniature H<strong>and</strong> ....<br />

Materialisation, 1st Stage . . T<strong>of</strong>ace 121<br />

,, VI. Materialisation, 2nd Stage . .<br />

,, 144<br />

,, VII. Materialisation, 3rd Stage . . ,, 169<br />

,, IV. Facsimile <strong>of</strong> Direct Writing in Four Colours<br />

,, VIII. An Apparition Formed in Full View<br />

,, 192

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