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This Classic work is now copyright expired and therefore in the public domain. The Vital Message by Arthur Conan DoyleC SPIRIT PHOTOGRAPHY
The Vital Message by Arthur Conan Doyle - home
On this subject I should recommend the reader to consult Coates' "Photographing the Invisible," which states, in a thoughtful and moderate way, the evidence for this most remarkable phase, and illustrates it with many examples. It is pointed out that here, as always, fraud must be carefully guarded against, having been admitted in the case of the French spirit photographer, Buguet.
There are, however, a large number of cases where the photograph, under rigid test conditions in which fraud has been absolutely barred, has reproduced the features of the dead. Here there are limitations and restrictions which call for careful study and observation. These faces of the dead are in some cases as contoured and as recognisable as they were in life, and correspond with no pre-existing picture or photograph. One such case absolutely critic-proof is enough, one would think, to establish survival, and these valid cases are to be counted not in ones, but in hundreds. On the other hand, many of the likenesses, obtained under the same test conditions, are obviously simulacra or pictures built up by some psychic force, not necessarily by the individual spirits themselves, to represent the dead. In some undoubtedly genuine cases it is an exact, or almost exact, reproduction of an existing picture, as if the conscious intelligent force, whatever it might be, had consulted it as to the former appearance of the deceased, and had then built it up in exact accordance with the original. In such cases the spirit face may show as a flat surface instead of a contour. Rigid examination has shown that the existing model was usually outside the ken of the photographer.
Two of the bravest champions whom Spiritualism has ever produced, the late W. T. Stead and the late Archdeacon Colley--names which will bulk large in days to come--attached great importance to spirit photography as a final and incontestable proof of survival. In his recent work, "Proofs of the Truth of Spiritualism" (Kegan Paul), the eminent botanist, Professor Henslow, has given one case which would really appear to be above criticism. He narrates how the inquirer subjected a sealed packet of plates to the Crewe circle without exposure, endeavoring to get a psychograph. Upon being asked on which plate he desired it, he said "the fifth." Upon this plate being developed, there was found on it a copy of a passage from the Codex Alexandrinus of the New Testament in the British Museum. Reproductions, both of the original and of the copy, will be found in Professor Henslow's book.
I have myself been to Crewe and have had results which would be amazing were it not that familiarity blunts the mind to miracles. Three marked plates brought by myself, and handled, developed and fixed by no hand but mine, gave psychic extras. In each case I saw the extra in the negative when it was still wet in the dark room. I reproduce in Plate I a specimen of the results, which is enough in itself to prove the whole case of survival to any reasonable mind. The three sitters are Mr. Oaten, Mr. Walker, and myself, I being obscured by the psychic cloud. In this cloud appears a message of welcome to me from the late Archdeacon Colley. A specimen of the Archdeacon's own handwriting is reproduced in Plate II for the purpose of comparison. Behind, there is an attempt at materialisation obscured by the cloud. The mark on the side of the plate is my identification mark. I trust that I make it clear that no hand but mine ever touched this plate, nor did I ever lose sight of it for a second save when it was in the carrier, which was conveyed straight back to the dark room and there opened. What has any critic to say to that?
By the kindness of those fearless pioneers of the movement, Mr. and Mrs. Hewat Mackenzie, I am allowed to publish another example of spirit photography. The circumstances were very remarkable. The visit of the parents to Crewe was unproductive and their plate a blank save for their own presentment. Returning disappointed, to London they managed, through the mediumship of Mrs. Leonard, to get into touch with their boy, and asked him why they had failed. He replied that the conditions had been bad, but that he had actually succeeded some days later in getting on to the plate of Lady Glenconnor, who had been to Crewe upon a similar errand. The parents communicated with this lady, who replied saying that she had found the image of a stranger upon her plate. On receiving a print they at once recognised their son, and could even see that, as a proof of identity, he had reproduced the bullet wound on his left temple. No. 3 is their gallant son as he appeared in the flesh, No. 4 is his reappearance after death. The opinion of a miniature painter who had done a picture of the young soldier is worth recording as evidence of identity. The artist says: "After painting the miniature of your son Will, I feel I know every turn of his face, and am quite convinced of the likeness of the psychic photograph. All the modelling of the brow, nose and eyes is marked by illness--especially is the mouth slightly contracted--but this does not interfere with the real form. The way the hair grows on the brow and temple is noticeably like the photograph taken before he was wounded."
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