Delphi Complete Works of Sir Arthur Conan Doyle (Illustrated) (1481 page)
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Authors: SIR ARTHUR CONAN DOYLE
E. FAIRIES AND THEIR SUN-BATH
This contains a feature that was quite unknown to the girls. The sheath or cocoon appearing in the midst of the grasses had never been seen by them before, and they had no idea of what it was. Fairy lovers and observers describe it as a magnetic bath, woven very quickly by the fairies, and used after dull weather and in the autumn especially.
their imagination being filled with exaggerated, if picturesque, nonsense and misplaced sentiment.”
To this Mr. Gardner answered:
“Major Hall-Edwards says ‘no evidence has been put forward to show how they were produced.’ The least a would-be critic should do is surely to read the report of the case. Sir A. Conan Doyle is asserted to have taken it ‘for granted that these photographs are real and genuine.’ It would be difficult to misrepresent the case more completely. The negatives and contact prints were submitted to the most searching tests known to photographic science by experts, many of whom were frankly sceptical. They emerged as being unquestionably single-exposure plates and, further, as bearing no evidence whatever in themselves of any trace of the innumerable faking devices known. This did not clear them entirely, for, as I have always remarked in my description of the investigation, it is held possible by employing highly artistic and skilled processes to produce similar negatives. Personally, should very much like to see this attempted seriously. The few that have been done, though very much better than the crude examples Major Hall-Edwards submits, break down hopelessly on simple analysis.
“The case resolved itself at an early stage into the examination of the personal element and the motive for faked work. It was this that occupied us so strenuously, for we fully realised the imperative need of overwhelmingly satisfying proof of personal integrity before accepting the photographs as genuine. This was carried through, and its thoroughness may be estimated by the fact that, notwithstanding the searching nature of the investigation that has followed the publication of the village, names, etc., nothing even modifies my first report. I need hardly point out that the strength of the case lies in its amazing simplicity and the integrity of the family concerned. It is on the photographic plus the personal evidence that the case stands.
“Into part of the criticism advanced by Major Hall-Edwards it will be kinder, perhaps, not to enter. Seriously to suggest that a visit to a cinema show and the use of an apt illustration implies ‘a very considerable knowledge of photography’ is on a par with the supposition that to be employed as an errand girl and help in a shop indicates a high degree of skill in that profession! We are not quite so credulous as that, nor were we able to believe that two children, alone and unaided, could produce in half an hour a faked photograph of the type of ‘Alice and the Fairies.’”
In addition to this criticism by Major Hall-Edwards there came an attack in
John o’ London
from the distinguished writer Mr. Maurice Hewlett, who raises some objections which were answered in Mr. Gardner’s subsequent reply. Mr. Hewlett’s contention was as follows:
“The stage which Sir A. Conan Doyle has reached at present is one of belief in the genuineness of what one may call the Carpenter photographs, which showed the other day to the readers of the
Strand Magazine
two ordinary girls in familiar intercourse with winged beings, as near as can judge, about eighteen inches high. If he believes in the photographs two inferences can be made, so to speak, to stand up: one, that he must believe also in the existence of the beings; two, that a mechanical operation, where human agency has done nothing but prepare a plate, focus an object, press a button, and print a picture, has rendered visible something which is not otherwise visible to the common naked eye. That is really all Sir Arthur has to tell us. He believes the photographs to be genuine. The rest follows. But why does he believe it? Because the young ladies tell him that they are genuine. Alas!
“Sir Arthur cannot, he tells us, go into Yorkshire himself to cross-examine the young ladies, even if he wishes to cross-examine them, which does not appear. However, he sends in his place a friend, Mr. E. L. Gardner, also of hospitable mind, with settled opinions upon theosophy and kindred subjects, but deficient, it would seem, in logical faculty. Mr. Gardner has himself photographed in the place where the young ladies photographed each other, or thereabouts. No winged beings circled about him, and one wonders why Mr. Gardner (
a
) was photographed, (
b
) reproduced the photograph in the
Strand Magazine
.
“The only answer I can find is suggested to me by the appearance of the Virgin and Child to certain shepherds in a peach-orchard at Verona. The shepherds told their parish priest that the Virgin Mary had indeed appeared to them on a moonlit night, had accepted a bowl of milk from them, had then picked a peach from one of the trees and eaten it. The priest visited the spot in their company, and in due course picked up a peach-stone. That settled it. Obviously the Madonna had been really there, for here was the peach-stone to prove it.
“I am driven to the conclusion that Mr. Gardner had himself photographed on a particular spot in order to prove the genuineness of former photographs taken there. The argument would run: The photographs were taken on a certain spot; but I have been myself photographed on that spot; therefore the photographs were genuine. [paragraph continues] There is a fallacy lurking, but it is a hospitable fallacy; and luckily it doesn’t very much matter.
“The line to take about a question of the sort is undoubtedly that of least resistance. Which is the harder of belief, the faking of a photograph or the objective existence of winged beings eighteen inches high? Undoubtedly, to a plain man, the latter; but assume the former. If such beings exist, if they are occasionally visible, and if a camera is capable of revealing to all the world what is hidden from most people in it, we are not yet able to say that the Carpenter photographs are photographs of such beings. For we, observe, have not seen such beings. True: but we have all seen photographs of beings in rapid motion-horses racing, greyhounds coursing a hare, men running over a field, and so on. We have seen pictures of these things, and we have seen photographs of them; and the odd thing is that never, never by any chance does the photograph of a running object in the least resemble a picture of it.
“The horse, dog, or main, in fact, in the photograph does not look to be in motion at all. And rightly so, because in the instant of being photographed
it was not in motion
. So infinitely rapid is the action of light on the plate that it is possible to isolate a fraction of time in a rapid flight and to record it. Directly you combine a series of photographs in sequence, and set them moving, you have a semblance of motion exactly like that which you have in a picture.
“Now, the beings circling round a girl’s head and shoulders in the Carpenter photograph are in
picture flight
, and not in photographic flight. That is certain. They are in the approved pictorial, or plastic, convention of dancing. They are not well rendered by any means. They are stiff compared with, let us say, the whirling gnomes on the outside wrapper of
Punch
. They have very little of the wild, irresponsible vagary of a butterfly. But they are an attempt to render an aerial dance — pretty enough in a small way. The photographs are too small to enable me to decide whether they are painted on cardboard or modelled in the round;
but the figures are not moving
. “One other point, which may be called a small one — but in a matter of the sort no point is a small one. I regard it as a certainty, as the other plainly is. If the dancing figures had been dancing beings, really there, the child in the photograph would have been looking at them, not at the camera. I know children.
“And knowing children, and knowing that Sir Arthur Conan Doyle has legs, I decide that the Miss Carpenters have pulled one of them. Meantime I suggest to him that epochs are born, not made.”
To which Mr. Gardner replied in the following issue:
“I could have wished that Mr. Maurice Hewlett’s somewhat playful criticism of the genuineness of the photographs of fairies appearing in the
Strand Magazine
Christmas number had been more clearly defined. The only serious point raised is the difference between photographic and pictorial representation of motion — Mr. Hewlett maintaining that the latter is in evidence in the photographs. “With regard to the separate photographs of the sites, surely the reason for their inclusion is obvious. Photographic experts had stated that though the two negatives revealed no trace of any faking process (such as double exposure, painted figures on enlargements rephotographed, set-up models in card or other material), still it could not be held to be impossible to obtain the same class of result by very clever studio work. Also, certain points that needed elucidation were the haze above and at the side of the child’s head, and the blurred appearance of the waterfall as compared with the clarity of the figures, etc. An inspection of the spots and photographs of their surroundings was surely the only way to clear up some of these. As a matter of fact, the waterfall proved to be about twenty feet behind the child, and hence out of focus, and some large rocks at the same distance in the rear, at the side of the fall, were found to be the cause of the haziness. The separate photographs, of which only one is published of each place, confirm entirely the genuineness of the sites — not the genuineness of the fairies.
“In commenting on the photography of a moving object, Mr. Hewlett makes the astonishing statement that at the instant of being photographed
it is not in motion
(Mr. H.’s italics). I wonder when it is, and what would happen if a camera was exposed then! Of course the moving object is in motion during exposure, no matter whether the time be a fiftieth or a millionth part of a second, though Mr. Hewlett is by no means the only one to fall into this error. And each of the fairy figures in the negative discloses signs of movement. This was one of the first points determined.
“I admit at once, of course, that this does not meet the criticism that the fairies display much more grace in action than is to be found in the ordinary snapshot of a moving horse or man. But if we are here dealing with fairies whose bodies must be presumed to be of a purely ethereal and plastic nature, and not with skeleton-framed mammals at all, is it such a very illogical mind that accepts the exquisite grace therein found as a natural quality that is never absent? In view of the overwhelming evidence of genuineness now in hand this seems to be the truth.
“With regard to the last query raised — the child looking at the camera instead of at the fairies — Alice was entirely unsophisticated respecting the proper photographic attitude. For her, cameras were much more novel than fairies, and never before had she seen one used so close to her. Strange to us as it may seem, at the moment it interested her the most. Apropos, would a faker, clever enough to produce such a photograph, commit the elementary blunder of not posing his subject?”
Among other interesting and weighty opinions, which were in general agreement with our contentions, was one by Mr. H. A. Staddon of Goodmayes, a gentleman who had made a particular hobby of fakes in photography. His report is too long and too technical for inclusion, but, under the various headings of composition, dress, development, density, lighting, poise, texture, plate, atmosphere, focus, halation, he goes very completely into the evidence, coming to the final conclusion that when tried by all these tests the chances are not less than 80 per cent. in favour of authenticity.
It may be added that in the course of exhibiting these photographs (in the interests of the Theosophical bodies with which Mr. Gardner is connected), it has sometimes occurred that the plates have been enormously magnified upon the screen. In one instance, at Wakefield, the powerful lantern used threw an exceptionally large picture on a huge sheet. The operator, a very intelligent man who had taken a sceptical attitude, was entirely converted to the truth of the photographs, for, as he pointed out, such an enlargement would show the least trace of a scissors irregularity or of any artificial detail, and would make it absurd to suppose that a dummy figure could remain undetected. The lines were always beautifully fine and unbroken.
THE SECOND SERIE
S
When Mr. Gardner was in Yorkshire in July, he left a good camera with Elsie, for he learned that her cousin Frances was about to visit her again and that there would be a chance of more photographs. One of our difficulties has been that the associated aura of the two girls is needful. This joining of auras to produce a stronger effect than either can get singly is common enough in psychic matters. We wished to make full use of the combined power of the girls in August. My last words to Mr. Gardner, therefore, before starting for Australia were that I should open no letter more eagerly than that which would tell me the result of our new venture. In my heart I hardly expected success, for three years had passed, and I was well aware that the processes of puberty are often fatal to psychic power. I was surprised, therefore, as well as delighted, when I had his letter at Melbourne, informing me of complete success and enclosing three more wonderful prints, all taken in the fairy glen. Any doubts which had remained in my mind as to honesty were completely overcome, for it was clear that these pictures, specially the one of the fairies in the bush, were altogether beyond the possibility of fake. Even now, however, having a wide experience of transference of pictures in psychic photography and the effect of thought upon ectoplasmic images, I feel that there is a possible alternative explanation in this direction, and I have never quite lost sight of the fact that it is a curious coincidence that so unique an event should have happened in a family some members of which were already inclined to occult study, and might be imagined to have formed thought-pictures of occult appearances. Such suppositions, though not to be entirely dismissed, are, as it seems to me, far-fetched and remote.
Here is the joyous letter which reached me at Melbourne:
September
6, 1920.
MY DEAR DOYLE,
Greetings and best wishes! Your last words to me before we parted were that you would open my letter with the greatest interest. You will not be disappointed — for the wonderful thing has happened!
I have received from Elsie three more negatives taken a few days back. I need not describe them, for enclosed are the three prints in a separate envelope. The “Flying Fairy” and the “Fairies’ Bower” are the most amazing that any modern eye has ever seen surely! I received these plates on Friday morning last and have since been thinking furiously.
A nice little letter came with them saying how sorry they were (!) that they couldn’t send more, but the weather had been bad (it has been abominably cold), and on only two afternoons had Elsie and Frances been able to visit the glen. (Frances has now returned to Scarborough at the call of school.) All quite simple and straightforward and concluding with the hope that I might be able to spend another day with them at the end of this month.
I went over to Harrow at once, and Snelling without hesitation pronounced the three as bearing the same proofs of genuineness as the first two, declaring further that at any rate the “bower” one was utterly beyond any possibility of faking! While on this point I might add that to-day I have interviewed Illingworth’s people and somewhat to my surprise they endorsed this view. (Now if you have not yet opened the envelope please do so and I will continue . . . )
I am going to Yorkshire on the 23rd inst. to fill some lecture engagements and shall spend a day at C., and of course take photos of these spots and examine and take away any “spoilt” negatives that will serve as useful accompaniments. The bower negative, by the way, the girls simply could not understand at all. They saw the sedate-looking fairy to the right, and without waiting to get in the picture Elsie pushed the camera close up to the tall grasses and took the snap. . . . To this letter I made answer as follows:
Melbourne
,
October
21, 1920.
DEAR GARDNER,
My heart was gladdened when out here in far Australia I had your note and the three wonderful prints which are confirmatory of our published results. You and I needed no confirmation, but the whole line of thought will be so novel to the ordinary busy man who has not followed psychic inquiry, that he will need that it be repeated again and yet again before he realises that this new order of life is really established and has to be taken into serious account, just as the pigmies of Central Africa.
I felt guilty when I laid a delay-action mine and left the country, leaving you to face the consequences of the explosion. You knew, however, that it was unavoidable. I rejoice now that you should have this complete shield against those attacks which will very likely take the form of a clamour for further pictures, unaware that such pictures actually exist. The matter does not bear directly upon the more vital question of our own fate and that of those we have lost, which has brought me out here. But anything which extends man’s mental horizon, and proves to him that matter as we have known it is not really the limit of our universe, must have a good effect in breaking down materialism and leading human thought to a broader and more spiritual level.
It almost seems to me that those wise entities who are conducting this campaign from the other side, and using some of us as humble instruments, have recoiled before that sullen stupidity against which Goethe said the gods themselves fight in vain, and have opened up an entirely new line of advance, which will turn that so-called “religious,” and essentially irreligious, position, which has helped to bar our way. They can’t destroy fairies by antediluvian texts, and when once fairies are admitted other psychic phenomena will find a more ready acceptance.
Good-bye, my dear Gardner, I am proud to have been associated with you in this epoch-making incident. We have had continued messages at seances for some time that a visible sign was coming through — and perhaps this was what is meant. The human race does not deserve fresh evidence, since it has not troubled, as a rule, to examine that which already exists. However, our friends beyond are very long-suffering and more charitable than I, for I will confess that my soul is filled with a cold contempt for the muddle-headed indifference and the moral cowardice which I see around me.
Yours sincerely,
ARTHUR CONAN DOYLE.
The next letters from Mr. Gardner told me that in September, immediately after this second series was taken, he had gone north again, and came away more convinced than ever of the honesty of the whole Wright family and of the genuine nature of the photographs. From this letter I take the following extracts:
“My visit to Yorkshire was very profitable. I spent the whole day with the family and took photographs of the new sites, which proved to be in close proximity to the others. I enclose a few prints of these. It was beside the pond shown that the ‘cradle’ or bower photograph was taken. The fairy that is in the air was leaping rather than flying. It had leapt up from the bush below five or six times, Elsie said, and seemed to hover at the top of its spring. It was about the fifth time that it did so that she snapped the shutter. Unfortunately, Frances thought the fairy was leaping on to her face, the action was so vigorous, and tossed her head back. The motion can be detected in the print. The fairy who is looking at Elsie in the other photograph is holding a bunch of fairy hare-bells. I thought this one had ‘bobbed’ hair and was altogether quite in the fashion, her dress is so up-to-date! But Elsie says her hair was close-curled, not bobbed. With regard to the ‘cradle’ Elsie tells me they both saw the fairy on the right and the demure-looking sprite on the left, but not the bower. Or rather, she says there was only a wreath of faint mist in between and she could make nothing of it. We have now succeeded in bringing this print out splendidly, and as I can get certificates from experts giving the opinion that this negative could not possibly be ‘faked’ we seem to be on perfectly safe ground. The exposure times in each case were one-fiftieth of a second, the distance about three to four feet, the camera was the selected ‘Cameo’ that I had sent to Elsie, and the plates were of those that I had sent too.
“The colours of dresses and wings, etc., I have complete, but will post these particulars on when writing at length a little later and have the above more fully written out.” . . .
November
27, 1920.
“The photographs:
“When I was in Yorkshire in September investigating the second series, I took photos of the spots, of course, and the full account of the success. The children only had two brief hours or so of decent sunshine during the whole of that fortnight they were together in August. On the Thursday they took two and on the Saturday one. If it had been normal weather we might have obtained a score or more. Possibly, however, it is better to go slowly — though I propose we take the matter further again in May or June. The camera I had sent was the one used, and also the plates (which had all been marked privately by the Illingworth Co., independently of me). The three new fairy negatives proved to be of these and can be certified so to be by the manager. The Cradle or Bower negative is, as I think I told you, declared to be utterly unfakeable, and I can get statements to this effect. . . .”
In a subsequent fuller account Mr. Gardner says:
“On Thursday afternoon, August
“The central ethereal cocoon shape, something between a cocoon and an open chrysalis in appearance, lightly suspended amid the grasses, is the bower or cradle. Seated on the upper left-hand edge with wing well displayed is an undraped fairy apparently considering whether it is time to get up. An earlier riser of more mature age is seen on the right possessing abundant hair and wonderful wings. Her slightly denser body can be glimpsed within her fairy dress. Just beyond, still on the right, is the clear-cut head of a mischievous but smiling elf wearing a close-fitting cap. On the extreme left is a demure-looking sprite, with a pair of very diaphanous wings, while just above, rather badly out of focus, however, is another with wings still widely extended, and with outspread arms, apparently just alighting on the grass tops. The face in half profile can just be traced in a very clear and carefully toned print that I have. Altogether, perhaps, this of the bower is the most astonishing and interesting of the more successful photographs, though some may prefer the marvellous grace of the flying figure.
“The comparative lack of definition in this photograph is probably accounted for by the absence of the much denser human element. To introduce us in this way directly to a charming bower of the fairies was quite an unexpected result on the part of the girls, by the way. They saw the somewhat sedate fairy on the right in the long grasses, and, making no attempt this time to get in the picture themselves, Iris put the camera very close up and obtained the snap. It was simply good fortune that the bower was close by. In showing me the negative, [paragraph continues] Iris only remarked it as being a quaint little picture that she could not make out!”
There the matter stands, and nothing has occurred from that time onwards to shake the validity of the photographs. We were naturally desirous of obtaining more, and in August 1921 the girls were brought together once again, and the very best photographic equipment, including a stereoscopic camera and a cinema camera, were placed at their disposal. The Fates, however, were most unkind, and a combination of circumstances stood in the way of success. There was only a fortnight during which Frances could be at Cottingley, and it was a fortnight of almost incessant rain, the long drought breaking at the end of July in Yorkshire. In addition, a small seam of coal had been found in the Fairy Glen, and it had been greatly polluted by human magnetism. These conditions might perhaps have been overcome, but the chief impediment of all was the change in the girls, the one through womanhood and the other through board-school education. There was one development, however, which is worth recording. Although they were unable to materialise the images to such an extent as to catch them upon a plate, the girls had not lost their clairvoyant powers, and were able, as of old, to see the sprites and elves which still abounded in the glen. The sceptic will naturally say that we have only their own word for that, but this is not so. Mr. Gardner had a friend, whom I will call Mr. Sergeant, who held a commission in the Tank Corps in the war, and is an honourable gentleman with neither the will to deceive nor any conceivable object in doing so. This gentleman has long had the enviable gift of clairvoyance in a very high degree, and it occurred to Mr. Gardner that we might use him as a cheek upon the statements of the girls. With great good humour, he sacrificed a week of his scanty holiday — for he is a hard-worked man — in this curious manner. But the results seem to have amply repaid him. I have before me his reports, which are in the form of notes made as he actually watched the phenomena recorded. The weather was, as stated, bad on the whole, though clearing occasionally. Seated with the girls, he saw all that they saw, and more, for his powers proved to be considerably greater. Having distinguished a psychic object, he would point in the direction and ask them for a description, which he always obtained correctly within the limit of their powers. The whole glen, according to his account, was swarming with many forms of elemental life, and he saw not only wood-elves, gnomes, and goblins, but the rarer undines, floating over the stream. I take a long extract from his rather disjointed notes, which may form a separate chapter.