"You know that Edward is a Theosophist, has been for years, and now he is mostly engaged with lecturing and other work for the Society—and although for years I have[16] regarded him as bathed in error and almost past praying for, I now find a talk with him an inspiring privilege. I am so very thankful that I happened to be in Willesden when his bereavement took place, for it was so wonderful to watch him, and to see how marvellously his faith and beliefs upheld and comforted him. He will probably devote more and more of his time and strength to going about the country lecturing, etc.

"I wish you could see a photo he has. He believes in fairies, pixies, goblins, etc.—children, in many cases, really see them and play with them. He has got into touch with a family in Bradford where the little girl, Elsie, and her cousin, Frances, constantly go into woods and play with the fairies. The father and mother are sceptical and have no sympathy with their nonsense, as they call it, but an aunt, whom Edward has interviewed, is quite sympathetic with the girls. Some little time ago, Elsie said she wanted to photograph them, and begged her father to lend his camera. For long he refused, but at last she managed to get the loan of it and one plate. Off she and Frances[17] went into the woods near a waterfall. Frances ''ticed' them, as they call it, and Elsie stood ready with the camera. Soon the three fairies appeared, and one pixie dancing in Frances' aura. Elsie snapped and hoped for the best. It was a long time before the father would develop the photo, but at last he did, and to his utter amazement the four sweet little figures came out beautifully!

"Edward got the negative and took it to a specialist in photography who would know a fake at once. Sceptical as he was before he tested it, afterwards he offered £100 down for it. He pronounced it absolutely genuine and a perfectly remarkable photograph. Edward has it enlarged and hanging in his hall. He is very interested in it and as soon as possible he is going to Bradford to see the children. What do you think of this? Edward says the fairies are on the same line of evolution as the winged insects, etc., etc. I fear I cannot follow all his reasonings, but I knew you would be keenly interested. I wish you could see that photo and[18] another one of the girls playing with the quaintest goblin imaginable!"

The Myrtles, Beckenham, June 21, 1920.

Dear Sir,

I am sending the two fairy pictures; they are interesting, are they not?

I am sure my cousin would be pleased for you to see them. But he said (and wrote it to me afterwards) that he did not want them to be used in any way at present. I believe he has plans in regard to them, and the pictures are being copyrighted. I don't think the copyright will be his. He has not yet finished his investigations. I asked him if I might photograph them myself so as to have a few prints to give to friends interested,[19] but he wrote that he would rather nothing was done at present.

I think my cousin is away from home just now. But his name is Edward L. Gardner, and he is President of one of the branches of the Theosophical Society (Blavatsky Lodge), and he lectures fairly often at their Hall (Mortimer Hall, Mortimer Square, W.). He lectured there a few weeks ago, and showed the fairies on the screen and told what he knew about them.

Yours sincerely,
E. Blomfield.

The Myrtles, Beckenham, June 23, 1920.

Dear Sir Arthur,

I am so glad you like the fairies! I should be only too glad to help in any way if I could, but there is so little I can do. Had the photographs been mine (I mean the negatives), I should have been most pleased that anything so lovely in the way of information should have been introduced to the public under such auspices. But it would, as things are, be necessary to ask my cousin. I believe he wants people to know, but, as I wrote before, I do not know his plans, and I'm not sure if he is ready.

It has occurred to me since writing to you that it would have been better had I given you his sister's address. She is a most sensible and practical person, much engaged in social work, with which her sympathetic nature and general efficiency make her very successful.

[21]

She believes the fairy photographs to be quite genuine. Edward is a clever man—and a good one. His evidence on any of the affairs of life would, I am sure, be considered most reliable by all who knew him, both for veracity and sound judgment. I hope these details will not bore you, but I thought perhaps some knowledge of the people who, so to say, "discovered" the photographs would help in taking you one step nearer the source. I do not see any opening for fraud or hoax, though at first when I saw the prints I thought there must be some other explanation than the simple one that they were what they seemed. They appeared too good to be true! But every little detail I have since heard has added to my conviction that they are genuine; though I have only what Edward tells me to go upon. He is hoping to obtain more from the same girls.

Yours sincerely,
E. Blomfield.

29 Croftdown Road, Highgate Road, N.W., June 24, 1920.

Dear Sir Arthur,

I am glad to hear that you are interested in the fairies. If they were really taken, as there seems good reason to believe, the event is no less than the discovery of a new world. It may not be out of place to mention that when I examined them with a magnifying glass I noticed, as an artist, that the hands do not appear to be quite the same as ours. Though the little figures look otherwise so human, the hands seemed to me something like this. (There followed a sketch of a sort of fin.) The beard in the little gnome seems to me to be some sort of insect-like appendage, though it would, no doubt, be called a beard by a clairvoyant seeing him. Also it occurs to me that the whiteness of the fairies may be due to their lack of shadow, which may also explain their somewhat artificial-looking flatness.

Yours sincerely,
May Bowley.

5 Craven Road, Harlesden, N.W.10., June 25, 1920.

Dear Sir,

Your interesting letter of the 22nd has just reached me, and very willingly I will assist you in any way that may be possible.

With regard to the photographs, the story is rather a long one and I have only gathered it by going very carefully. The children who were concerned are very shy and reserved indeed.... They are of a mechanic's family of Yorkshire, and the children are said to have played with fairies and elves in the woods near their village since babyhood. I will not attempt to narrate the story here, however—perhaps we[24] may meet for that—but when I at length obtained a view of the rather poor prints it so impressed me I begged for the actual negatives. These I submitted to two first-class photographic experts, one in London and one in Leeds. The first, who was unfamiliar with such matters, declared the plates to be perfectly genuine and unfaked, but inexplicable! The second, who did know something of the subject and had been instrumental in exposing several "psychic" fakes, was also entirely satisfied. Hence I proceeded.

I am hopeful of getting more photographs, but the immediate difficulty is to arrange for the two girls to be together. They are 16 or 17 years old and beginning to work and are separated by a few miles. It may be we can manage it and thus secure photographs of the other varieties besides those obtained. These nature spirits are of the non-individualized order and I should greatly like to secure some of the higher. But two children such as these are, are rare, and I fear now that we are late because almost certainly the inevitable will shortly happen, one of[25] them will "fall in love" and then—hey presto!!

By the way, I am anxious to avoid the money consideration. I may not succeed, but would far rather not introduce it. We are out for Truth, and nothing soils the way so quickly. So far as I am concerned you shall have everything I can properly give you.

Sincerely yours,
(Sgd.) Edw. L. Gardner.

"Re Photographs: The more I think of it the less I like it (I mean the one with the Parisian-coiffed fairies). My own guide says it was taken by a fair man, short, with his hair brushed back; he has a studio with a lot of cameras, some of which are 'turned by a handle.' He did not make it to sell Spiritualists a 'pup,' but did it to please the[28] little girl in the picture who wrote fairy stories which he illustrated in this fashion. He is not a Spiritualist, but would laugh very much if anyone was taken in by it. He does not live near where we were, and the place is all different, i.e. the houses, instead of being in straight lines, are dropped about all over the place. Apparently he was not English. I should think it was either Denmark or Los Angeles by the description, which I give you for what it is worth.

"I should very much like the lens which would take persons in rapid motion with the clarity of the photo in question, it must work at F 4.5 and cost fifty guineas if a penny, and not the sort of lens one would imagine the children in an artisan's household would possess in a hand camera. And yet with the speed with which it was taken the waterfall in the background is blurred sufficiently to justify a one second's exposure at least. What a doubting Thomas! I was told the other day that, in the unlikely event of my ever reaching heaven, I should (a) Insist on starting a card file index of the angels, and (b) Starting a rifle range to[29] guard against the possibility of invasion from Hell. This being my unfortunate reputation at the hands of the people who claim to know me must discount my criticisms as carping—to a certain extent, at all events."

5 Craven Road, Harlesden, N.W.10, July 12, 1920.

Dear Sir Arthur,

Just a line to report progress and acknowledge your kind letters and enclosure from Kodak's.

A week back, after your reference to Mr. Lancaster's opinion, I thought I would get a more careful examination of the negatives made than before, though that was searching enough. So I went over to Mr. Snelling's at Harrow and had a long interview with him, again impressing him with the importance of being utterly certain. I told you, I think, that this Mr. Snelling has had a varied and expert connection of over thirty years with the Autotype Company and Illingworth's large photographic factory and has himself turned out some beautiful work in natural and artificial studio studies. He recently started for himself at Wealdstone (Harrow) and is doing well.

Mr. Snelling's report on the two negatives is positive and most decisive. He says he is perfectly certain of two things connected with these photos, namely:

• 1. One exposure only;
• 2. All the figures of the fairies moved during exposure, which was "instantaneous."

As I put all sorts of pressing questions to him, relating to paper or cardboard figures, and backgrounds and paintings, and all the artifices of the modern studio, he proceeded to demonstrate by showing me other negatives and prints that certainly supported his view. He added that anyone of considerable experience could detect the dark background and double exposure in the negative at once. Movement was as easy, as he pointed out in a crowd of aeroplane photos he had by him. I do not pretend to follow all his points, but I am bound to say he thoroughly convinced me of the above two, which seem to me to dispose of all the objections hitherto advanced when they are taken together! Mr. S. is willing to make[32] any declaration embodying the above and stakes his reputation unhesitatingly on their truth.

I am away from London from Wednesday next till the 28th when I go on to Bingley for one or two days' investigation on the spot. I propose that you have the two negatives, which are carefully packed and can be posted safely, for this fortnight or so. If you would rather not handle them I will send them to Mr. West of Kodak's, or have them taken to him for his opinion, for I think, as you say, it would be worth having, if he has had direct and extensive practical experience.

I am very anxious now to see this right through, as, though I felt pretty sure before, I am more than ever satisfied now after that interview the other day.

Yours sincerely,
Edw. L. Gardner.

31 Main Street, Cottingley, Bingley, July 12, 1920.

Dear Sir,

I hope you will forgive us for not answering your letter sooner and thanking you for the beautiful book you so kindly sent to Elsie. She is delighted with it. I can assure you we do appreciate the honour you have done her. The book came last Saturday morning an hour after we had left for the seaside for our holidays, so we did not receive it until last night. We received a letter from Mr. Gardner at the same time, and he proposes coming to see us at the end of July. Would it be too long to wait until then, when we could explain what we know about it?

Yours very gratefully,
Arthur Wright.

5 Craven Road, Harlesden, N.W.10, July 31, 1920.

My dear Conan Doyle,

Yours just to hand, and as I have now had an hour to sort things out I write at once so that you have the enclosed before you at the earliest moment. You must be very pressed, so I put the statement as simply as possible, leaving you to use just what you think fit. Prepared negatives, prints of quarter, half-plate, and enlarged sizes, and lantern slides, I have all here.

Also on Tuesday I shall have my own photographs of the valley scenery including the two spots shown in the fairy prints, and also prints of the two children taken in 1917 with their shoes and stockings off, just as they played in the beck at the rear of their house. I also have a print of Elsie showing her hand.

With regard to the points you raise:

[36]

1. I have definite leave and permission to act as regards the use made of these photographs in any way I think best.

Publication may be made of them, the only reserve being that full names and addresses shall be withheld.

2. Copies are ready here for England and U.S.A.

3. ... The Kodak people and also the Illingworth Co. are unwilling to testify. The former, of course, you know of. Illingworths claim that they could produce, by means of clever studio painting and modelling, a similar negative. Another Company's expert made assertions concerning the construction of the "model" that I found were entirely erroneous directly I saw the real ground! They, however, barred any publication. The net result, besides Snelling's views, is that the photograph could be produced by studio work, but there is no evidence positively of such work in the negatives. (I might add that Snelling, whom I saw again yesterday evening, scouts the claim that such negatives could be produced.[37] He states that he would pick such a one out without hesitation!)

4. My report is enclosed and you are at perfect liberty to use this just as you please.

The father, Mr. Arthur Wright, impressed me favourably. He was perfectly open and free about the whole matter. He explained his position—he simply did not understand the business, but is quite clear and positive that the plate he took out of the Midg camera was the one he put in the same day. His work is that of electrician to an estate in the neighbourhood near. He is clear-headed and very intelligent, and gives one the impression of being open and honest. I learnt the reason of the family's cordial treatment of myself. Mrs. Wright, a few years back, came into touch with theosophical teachings and speaks of these as having done her good. My own connection with the Theosophical Society she knew of and this gave them confidence. Hence the very cordial reception I have met with, which somewhat had puzzled me.

By the way, I think "L.'s" guide ran up against innocent little Snelling! He matches[38] the description quite well, as I realized last night. And he did prepare the new negatives from which the prints you have were made, and he has a room full up with weird machines with handles and devices used in photography....

Sincerely yours,
Edw. L. Gardner.

5 Craven Road, Harlesden, N.W.10, July 29, 1920.

It was early in this year, 1920, that I heard from a friend of photographs of fairies having been successfully taken in the[46] North of England. I made some inquiries, and these led to prints being sent to me with the names and address of the children who were said to have taken them. The correspondence that followed seemed so innocent and promising that I begged the loan of the actual negatives—and two quarter-plates came by post a few days after. One was a fairly clear one, the other much under-exposed.

The negatives proved to be truly astonishing photographs indeed, for there was no sign of double exposure nor anything other than ordinary straightforward work. I cycled over to Harrow to consult an expert photographer of thirty years' practical experience whom I knew I could trust for a sound opinion. Without any explanation I passed the plates over and asked what he thought of them. After examining the "fairies" negative carefully, exclamations began: "This is the most extraordinary thing I've ever seen!" "Single exposure!" "Figures have moved!" "Why, it's a genuine photograph! Wherever did it come from?"

[47]

I need hardly add that enlargements were made and subjected to searching examination—without any modification of opinion. The immediate upshot was that a "positive" was taken from each negative, that the originals might be preserved carefully untouched, and then new negatives were prepared and intensified to serve as better printing mediums. The originals are just as received and in my keeping now. Some good prints and lantern slides were soon prepared.

In May I used the slides, with others, to illustrate a lecture given in the Mortimer Hall, London, and this aroused considerable interest, largely because of these pictures and their story. A week or so later I received a letter from Sir A. Conan Doyle asking for information concerning them, some report, I understood, having reached him from a mutual friend. A meeting with Sir Arthur followed, and the outcome was that I agreed to hasten my proposed personal investigation into the origin of the photographs, and carry this through at once instead[48] of waiting till September, when I should be in the North on other matters.

In consequence, to-day, July 29, I am just back in London from one of the most interesting and surprising excursions that it has ever been my fortune to make!

We had time, before I went, to obtain opinions on the original negatives from other expert photographers, and one or two of these were adverse rather than favourable. Not that any would say positively that the photographs were faked, but two did claim that they could produce the same class of negative by studio work involving painted models, etc., and it was suggested further that the little girl in the first picture was standing behind a table heaped up with fern and moss, that the toad-stool was unnatural, that in the gnome photo the girl's hand was not her own, that uniform shading was questionable, and so on. All of this had its weight, and though I went North with as little bias one way or the other as possible, I felt quite prepared to find that a personal investigation would disclose some evidence of falsity.

The lengthy journey completed, I reached[49] a quaint, old-world village in Yorkshire, found the house, and was cordially received. Mrs. C. and her daughter I. (the girl as shown playing with the gnome) were both at home to meet me, and Mr. C., the father, came in shortly afterwards.

Several of the objections raised by the professionals were disposed of almost at once, as, a half-hour after reaching the house, I was exploring a charming little valley, directly at the rear, with a stream of water running through, where the children had been accustomed to see and play with the fairies. I found the bank behind which the child, with her shoes and stockings off, is shown as standing; toad-stools exactly as in the photograph were about in plenty, quite as big and hearty-looking. And the girl's hand? Well, she laughingly made me promise not to say much about it, it is so very long! I stood on the spots shown and easily identified every feature. Then, in course of eliciting all that one could learn about the affair, I gathered the following, which, for the sake of conciseness, I set out below:

[50]

Camera used: "The Midg" quarter-plate. Plates: Imperial Rapid.

Fairies photo: July 1917. Day brilliantly hot and sunny. About 3 p.m. Distance: 4 feet. Time: 1-50th second.

Gnome photo: September 1917. Day bright, but not as above. About 4 o'clock. Distance: 8 feet. Time: 1-50th second.

I. was sixteen years old; her cousin A. was ten years. Other photographs were attempted but proved partial failures, and plates were not kept.

Colouring: The palest of green, pink, mauve. Much more in the wings than in the bodies, which are very pale to white. The gnome is described as seeming to be in black tights, reddish-brown jersey, and red pointed cap. He was swinging his pipes, holding them in his left hand and was just stepping up on to I.'s knee when A. snapped him.

A., the visiting cousin, went away soon after, and I. says they must be together to "take photographs." Fortunately they will meet in a few weeks' time, and they promise[51] me to try to get some more. I. added she would very much like to send me one of a fairy flying.

Mr. C.'s testimony was clear and decisive. His daughter had pleaded to be allowed to use the camera. At first he demurred, but ultimately, after dinner one Saturday, he put just one plate in the Midg and gave it to the girls. They returned in less than an hour and begged him to develop the plate as I. had "taken a photograph." He did so, with, to him, the bewildering result shown in the print of the fairies!

Mrs. C. says she remembers quite well that the girls were only away from the house a short time before they brought the camera back.

Extraordinary and amazing as these photographs may appear, I am now quite convinced of their entire genuineness, as indeed would everyone else be who had the same evidence of transparent honesty and simplicity that I had. I am adding nothing by way of explanations or theories of my own, though the need for two people, preferably children, is fairly obvious for photography,[52] in order to assist in the strengthening of the etheric bodies. Beyond this I prefer to leave the above statement as a plain, unvarnished narrative of my connection with the incidents.

I need only add that no attempt appears ever to have been made by the family to make these photographs public, and whatever has been done in that direction locally has not been pressed by any of them, nor has there been any money payment in connection with them.

Edward L. Gardner.

DO FAIRIES EXIST?
INVESTIGATION IN A YORKSHIRE VALLEY
COTTINGLEY'S MYSTERY
STORY OF THE GIRL WHO TOOK THE SNAPSHOT

The publication of photographs of fairies—or, to be more explicit, one photograph of fairies and another of a gnome—playing round children has aroused considerable interest, not only in Yorkshire, where the beings are said to exist, but throughout the country.

[61]

The story, mysterious as it was when first told, became even more enigmatical by reason of the fact that Sir A. Conan Doyle made use of fictitious names in his narrative in the Strand Magazine in order, as he says, to prevent the lives of the people concerned being interrupted by callers and correspondence. That he has failed to do. I am afraid Sir Conan does not know Yorkshire people, particularly those of the dales, because any attempt to hide identity immediately arouses their suspicions, if it does not go so far as to condemn the writer for his lack of frankness.

It is not surprising, therefore, that his story is accepted with reserve. Each person to whom I spoke of the subject during my brief sojourn in Yorkshire dismissed the matter curtly as being untrue. It has been the principal topic of conversation for weeks, mainly because identity had been discovered.

My mission to Yorkshire was to secure evidence, if possible, which would prove or disprove the claim that fairies existed. I frankly confess that I failed.

[62]

The particular fairyland is a picturesque little spot off the beaten track, two or three miles from Bingley. Here is a small village called Cottingley, almost hidden in a break in the upland, through which tumbles a tiny stream, known as Cottingley Beck, on its way to the Aire, less than a mile away. The "heroine" of Sir Conan Doyle's story is Miss Elsie Wright,[1] who resides with her parents at 31 Lynwood Terrace. The little stream runs past the back of the house, and the photographs were taken not more than a hundred yards away. When Miss Wright made the acquaintance of the fairies she was accompanied by her cousin, Frances Griffiths, who resides at Dean Road, Scarborough.

One photograph, taken by Miss Wright in the summer of 1917, when she was sixteen, shows her cousin, then a child of ten, with a group of four fairies dancing in the air before her, and in the other, taken some months afterwards, Elsie, seated on the[63] grass, has a quaint gnome dancing beside her.

There are certain facts which stand out clearly and which none of the evidence I was able to obtain could shake. No other people have seen the fairies, though everybody in the little village knew of their alleged existence; when Elsie took the photograph she was unacquainted with the use of a camera, and succeeded at the first attempt; the girls did not invite a third person to see the wonderful visitors, and no attempt was made to make the discovery public.

First I interviewed Mrs. Wright, who, without hesitation, narrated the whole of the circumstances without adding any comment. The girls, she said, would spend the whole of the day in the narrow valley, even taking their lunch with them, though they were within a stone's throw of the house. Elsie was not robust, and did not work during the summer months, so that she could derive as much benefit as possible from playing in the open. She had often talked about seeing the fairies, but her parents considered it was[64] nothing more than childish fancy, and let it pass. Mr. Wright came into possession of a small camera in 1917, and one Saturday afternoon yielded to the persistent entreaties of his daughter and allowed her to take it out. He placed one plate in position, and explained to her how to take a "snap." The children went away in high glee and returned in less than an hour, requesting Mr. Wright to develop the plate. While this was being done Elsie noticed that the fairies were beginning to show, and exclaimed in an excited tone to her cousin, "Oh, Frances, the fairies are on the plate!" The second photograph was equally successful, and a few prints from each plate were given to friends as curiosities about a year ago. They evidently attracted little notice until one was shown to some of the delegates at a Theosophical Congress in Harrogate last summer.

Mrs. Wright certainly gave me the impression that she had no desire to keep anything back, and answered my questions quite frankly. She told me that Elsie had always been a truthful girl, and there were[65] neighbours who accepted the story of the fairies simply on the strength of their knowledge of her. I asked about Elsie's career, and her mother said that after she left school she worked a few months for a photographer in Manningham Lane, Bradford, but did not care for running errands most of the day. The only other work she did there was "spotting." Neither occupation was likely to teach a fourteen-year-old girl how to "fake" a plate. From there she went to a jeweller's shop, but her stay there was not prolonged. For many months immediately prior to taking the first photograph she was at home and did not associate with anyone who possessed a camera.

At that time her father knew little of photography, "only what he had picked up by dodging about with the camera," as he put it, and any suggestion that he had faked the plate must be dismissed.

When he came home from the neighbouring mill, and was told the nature of my errand, he said he was "fed up" with the whole business, and had nothing else to tell. However, he detailed the story I had already[66] heard from his wife, agreeing in every particular, and Elsie's account, given to me in Bradford, added nothing. Thus I had the information from the three members of the family at different times, and without variation. The parents confessed they had some difficulty in accepting the photographs as genuine and even questioned the girls as to how they faked them. The children persisted in their story, and denied any act of dishonesty. Then they "let it go at that." Even now their belief in the existence of the fairies is merely an acceptance of the statements of their daughter and her cousin.

I ascertained that Elsie was described by her late schoolmaster as being "dreamy," and her mother said that anything imaginative appealed to her. As to whether she could have drawn the fairies when she was sixteen I am doubtful. Lately she has taken up water-colour drawing, and her work, which I carefully examined, does not reveal that ability in a marked degree, though she possesses a remarkable knowledge of colour for an untrained artist.

Sir A. Conan Doyle says that at first he[67] was not convinced that the fairies were not thought-forms conjured up by the imagination or expectation of the seers. Mr. E. L. Gardner, a member of the Executive Committee of the Theosophical Society, who made an investigation on the spot and also interviewed all the members of the family, records his opinion that the photographs are genuine.

Later in the day I went to Bradford, and at Sharpe's Christmas Card Manufactory saw Miss Wright. She was working in an upper room, and at first refused to see me, sending a message to the effect that she did not desire to be interviewed. A second request was successful, and she appeared at a small counter at the entrance to the works.

She is a tall, slim girl, with a wealth of auburn hair, through which a narrow gold band, circling her head, was entwined.

Like her parents, she just said she had nothing to say about the photographs, and, singularly enough, used the same expression as her father and mother—"I am 'fed up' with the thing."

She gradually became communicative, and[68] told me how she came to take the first photograph.

Asked where the fairies came from, she replied that she did not know.

"Did you see them come?" I asked; and on receiving an affirmative reply, suggested that she must have noticed where they came from.

Miss Wright hesitated, and laughingly answered, "I can't say." She was equally at a loss to explain where they went after dancing near her, and was embarrassed when I pressed for a fuller explanation. Two or three questions went unanswered, and my suggestion that they must have "simply vanished into the air" drew the monosyllabic reply, "Yes." They did not speak to her, she said, nor did she speak to them.

When she had been with her cousin she had often seen them before. They were only kiddies when they first saw them, she remarked, and did not tell anybody.

"But," I went on, "it is natural to expect that a child, seeing fairies for the first time, would tell its mother." Her answer was to[69] repeat that she did not tell anybody. The first occasion on which fairies were seen, it transpired, was in 1915.

In reply to further questions, Miss Wright said she had seen them since, and had photographed them, and the plates were in the possession of Mr. Gardner. Even after several prints of the first lot of fairies had been given to friends, she did not inform anybody that she had seen them again. The fact that nobody else in the village had seen them gave her no surprise. She firmly believed that she and her cousin were the only persons who had been so fortunate, and was equally convinced that nobody else would be. "If anybody else were there," she said, "the fairies would not come out."

Further questions put with the object of eliciting a reason for that statement were only answered with smiles and a final significant remark, "You don't understand."

Miss Wright still believes in the existence of the fairies, and is looking forward to seeing them again in the coming summer.

The fairies of Cottingley, as they appeared to the two girls, are fine-weather[70] elves, as Miss Wright said they appeared only when it was bright and sunny; never when the weather was dull or wet.

The strangest part of the girl's story was her statement that in their more recent appearances the fairies were more "transparent" than in 1916 and 1917, when they were "rather hard." Then she added the qualification, "You see, we were young then." This she did not amplify, though pressed to do so.

The hitherto obscure village promises to be the scene of many pilgrimages during the coming summer. There is an old saying in Yorkshire: "Ah'll believe what Ah see," which is still maintained as a valuable maxim.

"Are there real fairies in the land to-day? The question has been raised by Sir Arthur Conan Doyle, and there have been submitted photographs which purport to be those of actual 'little people.'

"Experiences which have come within my own knowledge may help to throw a little light on this question as to whether there are real fairies, actual elves and gnomes, yet to be met with in the dales of Yorkshire, where the photographs are asserted to have been taken.

"Whilst spending a day last year with my friend, Mr. Halliwell Sutcliffe, the well-known novelist, who lives in that district, he told me, to my intense surprise, that he personally knew a schoolmaster not far from his home who had again and again insisted that he had seen, talked with, and had played with real fairies in some meadows not far away! The novelist mentioned this to me as an actual curious fact, for which he, himself, had no explanation. But he said that the man was one whose education, personality, and character made him worthy of credence—a man not likely to harbour a delusion or to wish to deceive others.

[75]

"Whilst in the same district I was informed by a man whom I knew to be thoroughly reliable that a young lady living in Skipton had mentioned to him more than once that she often went up to —— (a spot in the dales the name of which he gave) to 'play and dance with the fairies!' When he expressed astonishment at the statement she repeated it, and averred that it was really true!

"In chatting about the matter with my friend, Mr. William Riley, the author of Windyridge, Netherleigh, and Jerry and Ben, a writer who knows the Yorkshire moors and dales intimately, Mr. Riley asserted that though he had never seen actual fairies there, yet he knew several trustworthy moorland people whose belief in them was unshakable and who persisted against all contradiction that they themselves had many times seen pixies at certain favoured spots in Upper Airedale and Wharfedale.

"When some time later an article of mine anent these things was published in a Yorkshire newspaper, there came a letter from a[76] lady at a distance who stated that the account confirmed a strange experience which she had when on holiday in the same dale up above Skipton.

"She stated that one evening, when walking alone on the higher portion of a slope of the hills, to her intense astonishment she saw in a meadow close below her fairies and sprites playing and dancing in large numbers. She imagined that she must be dreaming, or under some hallucination, so she pinched herself and rubbed her eyes to make sure that she was really awake. Convinced of this, she looked again, and still unmistakably saw the 'little people.' She gave a full account of how they played, of the long time she watched them, and how at length they vanished. Without a doubt she was convinced of the truth of her statement.

"What can we make of it all? My own mind is open, but it is difficult to believe that so many persons, unknown to one another, should have conspired to state what is false. It is a remarkable coincidence, if nothing more, that the girls in Sir Arthur Conan Doyle's account, the schoolmaster mentioned[77] by Mr. Sutcliffe, the young woman who came from Skipton, and the lady who wrote to the Yorkshire newspaper should all put the spot where the fairies are to be seen almost within a mile or two of one another.

"Are there real fairies to be met with there?"

"Sir Arthur Conan Doyle takes it for granted that these photographs are real photographs of fairies, notwithstanding the fact that no evidence has so far been put forward to show exactly how they were produced. Anyone who has studied the extraordinary effects which have from time to time been obtained by cinema operators must be aware that it is possible, given time and opportunity, to produce by means of faked photographs almost anything that can be imagined.

[78]

"It is well to point out that the elder of the two girls has been described by her mother as a most imaginative child, who has been in the habit of drawing fairies for years, and who for a time was apprenticed to a firm of photographers. In addition to this she has access to some of the most beautiful dales and valleys, where the imagination of a young person is easily quickened.

"One of the pictures represents the younger child leaning on her elbow upon a bank, while a number of fairies are shown dancing around her. The child does not look at the fairies, but is posing for the photograph in the ordinary way. The reason given for her apparent disinterestedness in the frolicsome elves is that she is used to the fairies, and was merely interested in the camera.

"The picture in question could be 'faked' in two ways. Either the little figures of the fairies were stuck upon a cardboard, cut out and placed close to the sitter, when, of course, she would not be able to see them, and the whole photograph produced on a marked plate; or the original photograph,[79] without 'fairies,' may have had stuck on it the figures of fairies cut from some publication. This would then be rephotographed, and, if well done, no photographer could swear that the second negative was not the original one.

"Major Hall-Edwards went on to remark that great weight had been placed upon the fact that the fairies in the photograph had transparent wings, but that a tricky photographer could very easily reproduce such an effect.

"'It is quite possible,' he observed, 'to cut off the transparent wings of insects and paste them on a picture of fairies. It is easy to add the transparent wings of large flies and so arrange them that portions of the photograph can be viewed through the wings and thus obtain a very realistic effect.'

"It has been pointed out that although the 'fairies' are represented as if they were dancing—in fact they are definitely stated to be dancing—there is no evidence of movement in the photographs. An explanation of this has been given by the photographer[80] herself, who has told us that the movements of the fairies are exceedingly slow and might be compared to the retarded-movement films shown in the cinemas. This proves that the young lady possesses a very considerable knowledge of photography.

"Millions of photographs have been taken by operators of different ages—children and grown-ups—of country scenes and places which, we have been taught, are the habitats of nymphs and elves; yet until the arrival upon the scene of these two wonderful children the image of a fairy has never been produced on a photographic plate. On the evidence I have no hesitation in saying that these photographs could have been 'faked.' I criticize the attitude of those who declared there is something supernatural in the circumstances attending the taking of these pictures because, as a medical man, I believe that the inculcation of such absurd ideas into the minds of children will result in later life in manifestations of nervous disorder and mental disturbances. Surely young children can be brought up to appreciate the beauties of Nature without[81] their imagination being filled with exaggerated, if picturesque, nonsense and misplaced sentiment."

"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, I[82] 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 realized 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[83] 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.'"

"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[84] with winged beings, as near as I 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[85] 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.[86] 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 man, in fact, in the[87] 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."

"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.

[89]

"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[90] 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[91] 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?"

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[96] 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....

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 realizes 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.

[98]

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[99] 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.

"My visit to Yorkshire was very profitable. I spent the whole day with the family[100] 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 harebells. 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[101] 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[102] 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...."

"On Thursday afternoon, August 26, a fairly bright and sunny day, fortunately (for the unseasonably cold weather experienced generally could hardly have been worse for the task), a number of photographs were taken, and again on Saturday, August 28. The three reproduced here are the most striking and amazing of the number. I only wish every reader could see the[103] superlatively beautiful enlargements made directly from the actual negatives. The exquisite grace of the flying fairy baffles description—all fairies, indeed, seem to be super-Pavlovas in miniature. The next, of the fairy offering a flower—an etheric harebell—to Iris, is a model of gentle and dignified pose, but it is to the third that I would draw special and detailed attention. Never before, or otherwhere, surely, has a fairy's bower been photographed!

"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[104] 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,[105] Iris only remarked it as being a quaint little picture that she could not make out!"

"Personally I should describe fairies as being about 2 feet 6 inches to 3 feet in height, and dressed in duffle brown clothes. The nearest approach I can get to them is to say that they are spiritual monkeys. They have the active brains of monkeys, and their general instinct is to avoid mankind, but they are capable individually of becoming extremely attached to humans—or a human—but at any time they may bite you, like a monkey, and repent immediately afterwards. They have thousands of years of collective experience, call it 'inherited memory' if you like, but no reasoning faculties. They are just Peter Pans—children who never grow up.

"I remember asking one of our spirit group how one could get into touch with the brownies. He replied that when you could go into the woods and call the brown rabbits to you the other brownies will also come to you. Speaking generally, I should imagine that anyone who has had any truck with fairies must have obeyed the scriptural injunction to 'become as a little child,' i.e. he or she must be either simple or a Buddha."

"Being brought up in the Isle of Man one breathed the atmosphere of superstition (if you like to call it), the simple, beautiful faith of the Manx fisher folk, the childlike trust of the Manx girls, who to this day will not forget the bit of wood and coal put ready at the side of the fireplace in case[156] the 'little people' call and need a fire. A good husband is the ultimate reward, and neglect in this respect a bad husband or no husband at all. The startling phenomena occurred on my journey home from Peel Town at night to St. Mark's (where I was Incumbent).

"After passing Sir Hall Caine's beautiful residence, Greeba Castle, my horse—a spirited one—suddenly stopped dead, and looking ahead I saw amid the obscure light and misty moonbeams what appeared to be a small army of indistinct figures—very small, clad in gossamer garments. They appeared to be perfectly happy, scampering and tripping along the road, having come from the direction of the beautiful sylvan glen of Greeba and St. Trinian's Roofless Church. The legend is that it has ever been the fairies' haunt, and when an attempt has been made on two occasions to put a roof on, the fairies have removed all the work during the night, and for a century no further attempts have been made. It has therefore been left to the 'little people' who claimed it as their own.

[157]

"I watched spellbound, my horse half mad with fear. The little happy army then turned in the direction of Witch's Hill, and mounted a mossy bank; one 'little man' of larger stature than the rest, about 14 inches high, stood at attention until all had passed him dancing, singing, with happy abandon, across the Valley fields towards St. John's Mount."

"After reading about what others have seen I am encouraged to give you an experience of my own, which happened about five years ago. Will you please excuse my mentioning a few domestic details connected with the story? Our home is built on the top of a ridge. The ground was levelled for some distance to allow for sites for the house, buildings, lawns, etc. The ground on either side slopes steeply down to an orchard on the left, and shrubbery and paddock on the[158] right, bounded by the main road. One evening when it was getting dusk I went into the yard to hang the tea-towels on the clothes-line. As I stepped off the verandah, I heard a sound of soft galloping coming from the direction of the orchard. I thought I must be mistaken, and that the sound came from the road, where the Maoris often gallop their horses. I crossed the yard to get the pegs, and heard the galloping coming nearer. I walked to the clothes-line, and stood under it with my arms uplifted to peg the towel on the line, when I was aware of the galloping close behind me, and suddenly a little figure, riding a tiny pony, rode right under my uplifted arms. I looked round, to see that I was surrounded by eight or ten tiny figures on tiny ponies like dwarf Shetlands. The little figure who came so close to me stood out quite clearly in the light that came from the window, but he had his back to it, and I could not see his face. The faces of the others were quite brown, also the ponies were brown. If they wore clothes they were close-fitting like a child's jersey suit. They were like tiny dwarfs, or children[159] of about two years of age. I was very startled, and called out, 'Goodness! what is this?' I think I must have frightened them, for at the sound of my voice they all rode through the rose trellis across the drive, and down the shrubbery. I heard the soft galloping dying away into the distance, and listened until the sound was gone, then went into the house. My daughter, who has had several psychic experiences, said to me: 'Mother, how white and startled you look! What have you seen? And who were you speaking to just now in the yard?' I said, 'I have seen the fairies ride!'"

"The enclosed photograph was taken this summer at Waterville, New Hampshire, with a 2A Brownie camera (portrait lens attached) by Alverda, eleven years old. The father is able, clear-headed, enthusiastic on golf and billiards; the mother on Japanese art; neither interested in psychic matters much. The child has been frail and imaginative, but sweet and incapable of deceit.

"The mother tells me she was with the child when the picture was taken. The mushrooms pleased the little girl, and she knelt down and photographed them. As an indication of their ordinary size, they are Amainta muscaria.

"There was no such figure to be seen as appears in the picture.

"There was no double exposure. The picture astonished them when developed. The parents guarantee its honesty, but are mystified.

"Do you think shadows, etc., can explain it? I think the line of the right shoulder and arm especially are too decisive to be thus brushed away."

"I have seen fairies in all parts of New Zealand, but especially in the fern-clad gullies of the North Island. Most of my unfoldment for mediumship was carried out in Auckland, and during that time I spent hours in my garden, and saw the fairies most often in the evening just after sunset. From observation I notice they usually lived or else appeared about the perennial plants. I saw brown fairies and green fairies, and they all had wings of a filmy[162] appearance. I used to talk to them and ask them to make special pet plants and cuttings I put in the garden grow well, and I am sure they did, by the results I got. Since I came to Sydney, I have also seen the green fairies. I tried an experiment last spring. I had some pheasant-eye narcissus growing in the garden. I saw the green fairies about them. I transplanted one of the bulbs to a pot when half-grown, and took it with me when I went away for a short holiday. I asked the fairies to keep it growing. I watched it closely every evening—a green-clad fairy, sometimes two or three of them, would appear on the pot under the plant and whatever they did to it during the night I do not know, but next morning it was very much bigger, and, although transplanted, etc., it flowered three weeks before those in the garden. I am now living at Rochdale, Sydney, with friends both Australians and Spiritualists, and they also have seen the fairies from childhood up. I am sure animals see them. The fairies appear every evening in a little wild corner of the garden we leave for them, and our cat sits and[163] watches them intently, but never attempts to spring at them as he does at other moving objects. If you care to make use of the information contained in this letter, you are welcome to do so."

"We received communications from a fairy named Bebel several times, one of them lasting nearly an hour. The communication[164] was as decided and swift as from the most powerful spirit. He told us that he was a Leprechaun (male), but that in a ruined fort near us dwelt the Pixies. Our demesne had been the habitation of Leprechauns always, and they with their Queen Picel, mounted on her gorgeous dragon-fly, found all they required in our grounds.

"He asked most lovingly about my little grandchildren, who visit us frequently, and since then he has been in the habit of communicating with them, when we have yielded the table to them entirely, and just listened to the pure fun he and they were having together. He told them that the fairies find it quite easy to talk to the rabbits, and that they disliked the dogs because they chased them. They have great fun with the hens, on whose backs they ride, but they do not like them because they 'jeer' at them. When he mentioned the old fort, I thought he referred to Blarney Castle, not far away, but on relating the incident to a farmer's daughter, whose family has been in the neighbourhood for a very long time, she informed me that a labourer's cottage at the entrance to[165] our avenue is built on the site of an old fort, information absolutely new to us."

"I, too, have seen fairies, but never until now have I dared to mention it for fear of ridicule. It was many years ago. I was quite a child of six or seven years, and then, as now, passionately fond of all flowers, which always seem to me living creatures. I was seated in the middle of a road in some cornfields, playing with a group of poppies, and never shall I forget my utter astonishment at seeing a funny little man playing hide-and-seek among these flowers to amuse me, as I thought. He was quick as a dart. I watched him for quite a long time, then he disappeared. He seemed a merry little fellow, but I cannot ever remember his face. In colour he was a sage-green, his limbs were round and had the appearance of geranium stalks. He did not seem to be clothed, and was about three inches high and slender. I[166] often looked for him again, but without success."

"Some years ago I was one of a party invited to spend the afternoon on the lovely slopes of Oxeford Hill, in the county of Dorset. The absence of both trees and hedges in this locality enables one to see without obstruction for long distances. I was walking with my companion, who lives in the locality, some little distance from the main party, when to my astonishment I saw a number of what I thought to be very small children, about a score in number, and all dressed in little gaily-coloured short skirts, their legs being bare. Their hands were joined, and all held up, as they merrily danced round in a perfect circle. We stood watching them, when in an instant they all vanished from our sight. My companion told me they were fairies, and that they often came to that particular part to hold their revels. It may be our presence disturbed them."

"I quite believe in fairies. Of course, they are really nature spirits. I have often seen them on fine sunny days playing in the sea, and riding on the waves, but no one I have ever been with at the time has been able to see them, excepting once my little nephews and nieces saw them too. They were like little dolls, quite small, with beautiful bright hair, and they were constantly moving and dancing about."

"I think I have always seen fairies. I see them constantly here in the shrubbery by the sea. They congregate under the trees and float around about the trees, and gnomes come around to protect them. The gnomes are like little old men, with little green caps, and their clothes are generally neutral green. The fairies themselves are in light draperies. I have also seen them in the conservatory of my house, floating about among[168] the flowers and plants. The fairies appear to be perpetually playing, excepting when they go to rest on the turf or in a tree, and I once saw a group of gnomes standing on each others' shoulders, like gymnasts on the stage. They seemed to be living as much as I am. It is not imagination. I have seen the gnomes arranging a sort of moss bed for the fairies, just like a mother-bird putting her chicks to bed. I don't hear any sounds from the gnomes or fairies, but they always look happy, as if they were having a real good time."

"I have seen many fairies with my mind's eyes (that is, clairvoyantly). They are of various kinds, the ones I see. The music fairies are very beautiful. 'Argent' describes them, for they make you think of silver, and they have dulcet silvery voices. They speak and sing, but more in sound than in distinct words—a language of their own,[169] a fairy tongue. Their music is a thing we cannot translate. It exists in itself. I don't think Mendelssohn has truly caught it, but Mr. Coleridge-Taylor's music reminds me of the music I have heard from the fairies themselves; his fairy ballads are very charming.

"Then there are dancing fairies. Their dancing is dainty and full of grace, a sweet old style of dance, without any tangles in it. I am generally alone when I see them, not necessarily in a woodland, but wherever the atmosphere is poetical. They are quite real.

"Another kind is the poem fairies. They are more ethereal, and of a violet shade. If you could imagine Perdita in the Midsummer Night's Dream, translated from the stage into a real fairy, you would have a good idea of the poem fairy. She has a very beautiful girlish character. The same might be said of Miranda, but she is more sentimental.

"The colour fairies are also most interesting. If you can imagine each colour transformed into a fairy you may get an idea of what they are like. They are in airy forms[170] and dance and sing in the tone of their colours. I have not seen any brownies, as I do not take so much interest in the domestic side of the fairies' life.

"When I was young I had it so much impressed on me that fairies were imaginary beings that I would not believe in them, but when I was about fourteen I began to realize them, and now I love them. Perhaps it was the deeper study of the arts that brought them to me. I have felt a sympathetic vibration for them and they have made me feel that we were friends. I have had a great deal of happiness and good fortune in my life, and perhaps I can attribute some of that to the fairies."

"For the most part," he writes, "amid the busy commercialism of modern times,[172] the fact of their existence has faded to a shadow, and a most delightful and charming field of nature study has too long been veiled. In this twentieth century there is promise of the world stepping out of some of its darker shadows. Maybe it is an indication that we are reaching the silver lining of the clouds when we find ourselves suddenly presented with actual photographs of these enchanting little creatures—relegated long since to the realm of the imaginary and fanciful.

"Now, what are the fairies?

"First, it must be clearly understood that all that can be photographed must of necessity be physical. Nothing of a subtler order could in the nature of things affect the sensitive plate. So-called spirit photographs, for instance, imply necessarily a certain degree of materialization before the 'form' could come within the range even of the most sensitive of films. But well within our physical octave there are degrees of density that elude ordinary vision. Just as there are many stars in the heavens recorded by the camera that no human eye has ever seen directly,[173] so there is a vast array of living creatures whose bodies are of that rare tenuity and subtlety from our point of view that they lie beyond the range of our normal senses. Many children and sensitives see them, and hence our fairy lore—all founded on actual and now demonstrable fact!

"Fairies use bodies of a density that we should describe, in non-technical language, as of a lighter than gaseous nature, but we should be entirely wrong if we thought them in consequence unsubstantial. In their own way they are as real as we are, and perform functions in connection with plant life of an important and most fascinating character. To hint at one phase—many a reader will have remarked on the lasting freshness and beauty of flowers cut and tended by one person, and, on the other hand, their comparatively short life when in the care of another. The explanation is to be found in the kindly devotion of the one person and the comparative indifference of the other, which emotions affect keenly the nature spirits in whose immediate care the flowers are.[174] Their response to love and tenderness is quickly evidenced in their charges.

"Fairies are not born and do not die as we do, though they have their periods of outer activity and retirement. Allied to the lepidoptera, or butterfly genus, of our familiar acquaintance rather than to the mammalian line, they partake of certain characteristics that are obvious. There is little or no mentality awake—simply a gladsome, irresponsible joyousness of life that is abundantly in evidence in their enchanting abandon. The diminutive human form, so widely assumed, is doubtless due, at least in a great measure, to the powerful influence of human thought, the strongest creative power in our cycle.

"In the investigations I have pursued in Yorkshire, the New Forest, and Scotland, many fairy lovers and observers have been interviewed and their accounts compared. In most cases I was interested to note that my share in making public the photographs of Cottingley was the worst sort of introduction imaginable. Few fairy lovers have looked with favour on that. Reproaches[175] have been frequent and couched in no measured terms, for the photographs have been resented as an unwarranted intrusion and desecration. Only after earnest assurances as to my own attitude could I get farther and obtain those intimate confidences that I have compared and checked and pieced together and am at liberty to narrate here.

"The function of the nature spirit of woodland, meadow, and garden, indeed in connection with vegetation generally, is to furnish the vital connecting link between the stimulating energy of the sun and the raw material of the form. That growth of a plant which we regard as the customary and inevitable result of associating the three factors of sun, seed, and soil would never take place if the fairy builders were absent. We do not obtain music from an organ by associating the wind, a composer's score, and the instrument—the vital link supplied by the organist, though he may be unseen, is needed—and similarly the nature spirits are essential to the production of the plant.

"The Fairy Body.—The normal working body of the gnome and fairy is not of human[176] nor of any other definite form, and herein lies the explanation of much that has been puzzling concerning the nature-spirit kingdom generally. They have no clean-cut shape normally, and one can only describe them as small, hazy, and somewhat luminous clouds of colour with a brighter spark-like nucleus. As such they cannot be defined in terms of form any more than one can so describe a tongue of flame. In such a body they fill their office, working inside the plant structure. 'Magnetic' is the only word that can describe their method. Instantly responsive to stimulus, they appear to be influenced from two directions—the physical outer conditions prevailing and an inner intelligent urge. These two influences determine their working activity. Some, and these are by far the most numerous, work on cell construction and organization, and are comparatively small when assuming the human form, being two to three inches high. Others are concerned exclusively with root development below ground, while others are apparently specialists in colour and 'paint' the flowers by means of the streaming motion[177] of their cloud-like bodies. There appears to be little trace of any selective or discriminating work done individually. They all seem actuated by a common influence that affects them continuously, and which strongly suggests the same type of instinctive prompting that marks the bee and ant.

"The Human Form.—Though the nature spirit must be regarded as practically irresponsible, living a gladsome, joyous, and delightfully untrammelled life, each member appears to possess at least a temporary definite individuality at times, and to rejoice in it. The diminutive human form—sometimes grotesque, as in the case of brownie and gnome, sometimes beautifully graceful, as in the surface-fairy variety—if conditions allow, is assumed in a flash. For a while it is retained, and it seems clear that the definite and comparatively concrete shape affords pleasure above the ordinary. There is no organization perceptible, as one might perhaps hastily infer. The content of the body still appears homogeneous, though somewhat denser, and the shape of 'human' is usually only seen when not at work. The[178] nature spirit so clothed indulges in active movement in skipping and dancing gestures and exhibits a gay abandon suggestive of the keenest delight in the experience. It is evidently 'time off' and play for it, though its work seems charming enough. If disturbed or alarmed the change back to the slightly subtler vehicle, the magnetic cloud, is as sudden as the birth. What determines the shape assumed and how the transformation is effected is not clear. One may speculate as to the influence of human thought, individual or in the mass, and quite probably the explanation when found will include this influence as a factor—but I am intent here not on theorizing, but on a narrative of observed happenings. One thing is clear—the nature-spirit form is objective—objective, that is, in the sense in which we apply that term to a stone, a tree, and a human body.

"Fairy Wings.—The wings are a feature that one would hardly expect to find in conjunction with arms. In this respect the insect type, with its several limbs and two or more wings, is a nearer model. But there is[179] no articulation and no venation, and moreover the wings are not used for flying. 'Streaming emanations' is the only description one can apply. In some varieties, particularly the sylphs, the streamers surround the body, as by a luminous aura sprayed to a feathery mist. I was told that the earlier and more elaborate Red Indian headdresses must have been inspired from this source, so suggestive are they, though the best of them are but poor copies of the originals.

"Food.—There is no food taken, as we should regard it. Nourishment, usually abundant and ample for sustenance, is absorbed directly by a rhythmic breathing or pulse. Resource to the magnetic bath on occasion appears to be their only special restorative. The perfume of flowers is delighted in, and, reversely, disagreeable odours repel. This is one of many reasons, besides timidity, why human society is usually avoided, there being little that is inviting in that connection for them, and much that is obnoxious.

"Birth, Death, and Sex.—Any estimate of length of life is misleading, because comparison[180] with ourselves cannot be made. There is no real birth nor death, as we understand the terms—simply a gradual emergence from, and a return to, a subtler state of being. This process takes some time, probably years in certain varieties, and their life on the denser level, corresponding to our adult period, may be as long as the average human. There is nothing definite in all this, however, except the fact of the gradual emergence and return. There is no sex, as we should regard it, though, so far as I can gather, there is division and sub-division of 'body' at a much subtler and earlier level than that usually sensed. This process seems to correspond to the fission and budding of our familiar simple animalcules, with the addition, towards the end of the cycle, of fusion or reassembly into the larger unit.

"Speech and Gesture.—Below the sylph there appears to be nothing, or very little, in the way of a language of words. Communication is possible by inflexion and gesture, much as the same can be exercised with domestic animals. Indeed, the relation of[181] human with the lower nature spirits seems to be about on a par with that of kittens, puppies, and birds. Yet there is abundant evidence of a tone language among them. Music by pipe and flute is common, though to the human ear of the quaintest character—but whether the instrument or the voice is the real source I cannot yet determine. The higher orders of nature spirits are adding mentality to the emotional development, and speech with them is possible. Their attitude to ordinary humanity is unfriendly rather than well disposed, and often hostile, arising probably from our utter disregard of the amenities. I am beginning to see sense and reason in the 'burnt-offerings' of yore. Pollution of the atmosphere is a horror to the sylphs and deeply resented. An ancient saying I had seen somewhere came to mind when discussing the beautiful air-spirits and their work: 'Agni (Fire) is the mouth of the gods!' Our sanitary and burial customs are doubtless still capable of improvement! One fairy lover said to me gleefully, 'Ah, well! you will never be able to get photographs of the sylphs—they know too much for you!'[182] If we can establish friendly relations with them, though, the weather may be ours, if that be desirable!

"Cause and Effect.—The dissection and examination of vegetable forms, however exhaustive, is but an analysis of effects. No adequate cause is therein to be found any more than a dissection of a sculpture will disclose the craftsman. The amazing skill in evidence in the plant kingdom in construction, adaptation, and adornment demand the labour of workman, mechanic, and artist. Their recognition in the nature spirits fills the vague hiatus between the sun's energy and the material wrought. On our own human side of the line the finding of two pieces of wood nailed together would unmistakably point to a workman of sorts, yet we are accustomed to gaze with wonder and admiration on the exquisitely built forms of a whole kingdom, and murmur 'evolutionary processes,' or 'the hand of God,' according to our temperament. An agent is necessary on the one side and no less on the other.

"Mode of Working.—The feature that will appeal to every nature lover interested[183] in the vital processes of plant life is the craftsmanship of the nature-spirit agent. An inference, if it be simple enough, often escapes us, though in this case the experiences gathered of our own human labour suggest the analogy vividly. An analogy with a difference, however, for the hidden manner of work of the nature spirit is in most respects the exact opposite in character to our own. In this physical world we labour with hands and tools, and work consistently on exteriors, always indeed handling and applying our material from the outside. Addition, accretion, is our constructive method. We find ourselves made that way, and it is our characteristic mode of approach. The nature spirits operate from the interior, working from a centre outwards. Their aim appears to be to achieve an ever-closer touch with the environment, and to that end the driving urge of their activity is how best to adapt the means to their hand. It is easy to perceive the cause of variety in nature in view of this striving endeavour to organize the vehicle that the nature spirits use, and so gain in endless ways[184] a closer touch. Flower colouring, mimicry, seed protection and distribution, defensive and aggressive measures, all the thousand-and-one devices employed to attain an end, point to an intelligence working through agents who, at their own level, are often in more or less antagonistic relation with each other. Variety and difference is as much in evidence as among humanity, and makes for that diversity of form and custom that we find on our side so fruitful of experience. In the tilling of the soil and the culture of plant life for our own purposes we have worked intimately together—though unconsciously. The efforts of nature spirits working by themselves without our assistance produce the wild flowers and berries of our woodlands and meadows, while partnership with the human yields a record of cultivated cereal, flower, and fruit, immensely richer.

"Plant Consciousness.—The relation of the nature spirit to the consciousness functioning through the vegetable kingdom generally is an interesting study too, for the twain appear quite separate. This might perhaps be likened to the rôle respectively of[185] crew and passenger in a ship. The slumbering, or at best slowly awakening, consciousness of the plant, makes of it little more than an idle traveller, whereas the nature spirits, alert and active, attend to the upkeep and navigation of the craft, and the voyage through the kingdom means a growth and development for both.

"The Future.—What might follow an intelligent understanding of the 'little people,' and the establishment of mutual good feeling, opens up a prospect alluring in the extreme. It would be for us a working in the light instead of in darkness. A foretaste of such co-operation may be gathered by noting the effect of a devoted lover of flowers on his or her charges. The nature spirit responds to emotion and appears keenly appreciative of kindly attention and affection. Whether this applies with any force to any but the varieties concerned with flowers and fruits I cannot say, but it certainly does to them, and the intelligent direction of effort in place of empirical incident tempts one's speculation to run riot as to future possibilities.

"The awakened self-consciousness of the human kingdom, with a vigorous mentality linked to kindly emotion and physical action, may enable an ages-old debt to be adjusted. We have served the nature-spirit line of evolution consciously not at all, but by understanding the situation we can co-operate together intelligently and helpfully, and the service of both to mutual advantage can take the place of blind experiment and groping self-interest."—E. L. G.

"The little creatures that look after flowers may be divided into two great classes, though of course there are many varieties of each kind. The first class may properly be called elementals, for, beautiful though they are, they are in reality only thought-forms, and therefore they are not really living creatures at all. Perhaps I should rather say that they are only temporary living creatures, for, though they are very active and busy during their little lives, they have no real evolving, reincarnating life in them, and when they have done their work they just go to pieces and dissolve into the surrounding atmosphere, precisely as our own thought-forms do. They are the thought-forms of the Great Beings, or angels, who are in charge of the evolution of the vegetable kingdom.

"When one of these Great Ones has a new idea connected with one of the kinds of plants or flowers which are under his charge, he often creates a thought-form for the special purpose of carrying out that idea. It usually takes the form either of an etheric model of the flower itself or of a little creature which hangs round the plant or the[188] flower all through the time that the buds are forming, and gradually builds them into the shape and colour of which the angel has thought. But as soon as the plant has fully grown, or the flower has opened, its work is over and its power is exhausted, and, as I have said, it just simply dissolves, because the will to do that piece of work was the only soul that it had.

"But there is quite another kind of little creature which is very frequently seen playing about with flowers, and this time it is a real nature spirit. There are many varieties of these also. One of the commonest forms is, as I have said, something very much like a humming-bird, and it may often be seen buzzing round the flowers much in the same way as a humming-bird or a bee does. These beautiful little creatures will never become human, because they are not in the same line of evolution as we are. The life which is now animating them has come up through grasses and cereals, such as wheat and oats, when it was in the vegetable kingdom, afterwards through ants and bees when it was in the animal kingdom. Now it[189] has reached the level of these tiny nature spirits, and its next stage will be to ensoul some of the beautiful fairies with etheric bodies who live upon the surface of the earth. Later on they will become salamanders, or fire spirits, and later still they will become sylphs, or air spirits, having only astral bodies instead of etheric. Later still they will pass through the different stages of the great kingdom of the angels."

"No contrast could well be more marked than that between the vivacious, rollicking, orange-and-purple or scarlet-and-gold mannikins who dance among the vineyards of Sicily and the almost wistful grey-and-green creatures who move so much more sedately amidst the oaks and furze-covered heaths in Brittany, or the golden-brown 'good people' who haunt the hillsides of Scotland.

"In England the emerald-green kind is probably the commonest, and I have seen it also in the woods in France and Belgium, in[190] far-away Massachusetts, and on the banks of the Niagara River. The vast plains of the Dakotas are inhabited by a black-and-white kind which I have not seen elsewhere, and California rejoices in a lovely white-and-gold species which also appears to be unique.

"In Australia the most frequent type is a very distinctive creature of a wonderful luminous sky-blue colour; but there is a wide diversity between the etheric inhabitants of New South Wales or Victoria and those of tropical Northern Queensland. These latter approximate closely to those of the Dutch Indies. Java seems specially prolific in these graceful creatures, and the kinds most common there are two distinct types, both monochromatic—one indigo blue with faint metallic gleamings, and the other a study in all known shades of yellow—quaint, but wonderfully effective and attractive.

"A striking local variety is gaudily ringed with alternate bars of green and yellow, like a football jersey. This ringed type is possibly a race peculiar to that part of the world, for I saw red and yellow similarly[191] arranged in the Malay Peninsula, and green and white on the other side of the Straits in Sumatra. That huge island also rejoices in the possession of a lovely pale heliotrope tribe which I have seen before only in the hills of Ceylon. Down in New Zealand their speciality is a deep blue shot with silver, while in the South Sea Islands one meets with a silvery-white variety, which coruscates with all the colours of the rainbow, like a figure of mother-of-pearl.

"In India we find all sorts, from the delicate rose-and-pale-green, or pale-blue-and-primrose of the hill-country to the rich medley of gorgeously gleaming colours, almost barbaric in their intensity and profusion, which is characteristic of the plains. In some parts of that marvellous country I have seen the black-and-gold type which is more usually associated with the African desert, and also a species which resembles a statuette made out of a gleaming crimson metal, such as was the orichalcum of the Atlanteans.

"Somewhat akin to this last is a curious variety which looks as though cast out of[192] bronze and burnished; it appears to make its home in the immediate neighbourhood of volcanic disturbances, since the only places in which it has been seen so far are the slopes of Vesuvius and Etna, the interior of Java, the Sandwich Islands, the Yellowstone Park in North America, and a certain part of the North Island of New Zealand. Several indications seem to point to the conclusion that this is a survival of a primitive type, and represents a sort of intermediate stage between the gnome and the fairy.

"In some cases, districts close together are found to be inhabited by quite different classes of nature spirits; for example, as has already been mentioned, the emerald-green elves are common in Belgium, yet a hundred miles away in Holland hardly one of them is to be seen, and their place is taken by a sober-looking dark-purple species."

"A curious fact is that altitude above the sea-level seems to affect their distribution,[193] those who belong to the mountains scarcely ever intermingling with those of the plains. I well remember, when climbing Slieve-na-mon, one of the traditionally sacred hills of Ireland, noticing the very definite lines of demarcation between the different types. The lower slopes, like the surrounding plains, were alive with the intensely active and mischievous little red-and-black race which swarms all over the south and west of Ireland, being especially attracted to the magnetic centres established nearly two thousand years ago by the magic-working priests of the old Milesian race to ensure and perpetuate their domination over the people by keeping them under the influence of the great illusion. After half an hour's climbing, however, not one of these red-and-black gentry was to be seen, but instead the hill-side was populous with the gentler blue-and-brown type which long ago owed special allegiance to the Tuatha-de-Danaan.

"These also had their zone and their well-defined limits, and no nature spirit of either type ever ventured to trespass upon the space round the summit, sacred to the great[194] green angels who have watched there for more than two thousand years, guarding one of the centres of living force that link the past to the future of that mystic land of Erin. Taller far than the height of man, these giant forms, in colour like the first new leaves of spring, soft, luminous, shimmering, indescribable, look forth over the world with wondrous eyes that shine like stars, full of the peace of those who live in the eternal, waiting with the calm certainty of knowledge until the appointed time shall come. One realizes very fully the power and importance of the hidden side of things when one beholds such a spectacle as that."