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Great Moments of Modern Mediumship Vol.2

A second amazing collection of more than 190 of interesting and intriguing cases in the history of psychical research and mediumship over the last 160 years.

Great Moments of Modern Mediumship Volume 2

Great Moments of Modern Mediumship Volume II

By Maxine Meilleur (edited by Ann Harrison)

PRICE: £14.00

If you are not in the UK, please contact info@snppbooks.com before you place your order.



Description

A second amazing collection of more than 190 interesting and intriguing cases in the history of psychical research and mediumship over the last 160 years. This is another easy reference book by this author on the subject of communication with the Spirit World, whether through mediums speaking while entranced, spirit healing, paintings precipitated on to canvases, photography with long-dead family appearing on the negatives, table tipping or other forms of phenomena. The author has categorized each type into what amounts to something of an encyclopaedia on the subject. This book is an excellent resource for further investigation. Complete with bibliography and index this is another 'must have' for anyone interested in, or just curious about, the subject.

Product Details
  • Paperback: 284 pages
  • Publisher: Saturday Night Press Publications (4 October 2018)
  • Language: English
  • ISBN-13: 978-1908421180
  • Product Dimensions: 14 x 21.6
Back Cover

Great Moments of Modern Mediumship: Volume 2 follows on where Great Moments of Modern Mediumship: Volume I left off.  Categorized by subject (such as Apports, Absent Healing, Private Trance Sittings, etc.), this book records a further 190 moments and references the sources.

Here you will find the only recorded case of Direct Voice mediumship in a prison in which a mother talks to her son on Death Row, through the mediumship of Rev. Florence Harwood Becker; the return of Mary Eddy Baker through the automatic writing of Ursula Roberts; and the eminent researcher, Dr Funk, speaking through the trance mediumship of Emily French.

She includes more about Cora Scott-Richmond's phenomenal trance speaking as well as new sections on Andrew Jackson Davis, Sir Arthur Conan Doyle, Precipitated Spirit Painting and Psychic Photography! And so much more!

Maxine Meilleur, a former Officer in the U.S. Army and veteran of Operation Desert Storm, holds a Master's degree in Religion from Harvard and is the author/compiler of both these books Great Moments of Modern Mediumship: Volume I & II. She is a classically trained evidential medium, and considers what she does a sacred service, and her life's duty, using the tools she has acquired to enhance life and unfold the spirit of those who come to her.

This Spiritualism is worthy of careful investigation, as I have evidence that there is reality behind it.
Psychical Researcher Vice Admiral William Usborne Moore
True mediumship if completely honest is very unpredictable. No one can command the spirits to communicate.
Ena Twigg (Medium)
Introduction

As explained in Great Moments of Modern Mediumship: Volume I, mediumship is communication between those in the physical world and those who have transitioned through the change we call 'death' into the spiritual world. However, mediumship has the wonderful potential to transcend mere communication between the physical and spiritual worlds and go into the realm of communion between souls as seen in this passage from H. Dennis Bradley (Wisdom of the Gods,1925: 4):

"Then the silence (of the séance) was broken by the gentle accents of a woman’s voice. I recognized the voice of my favorite sister, Annie, who had passed over ten years since, and between whom and myself there had been a bond of affection, and an intimacy in thought and outlook that was rare indeed. She announced herself by her name and spoke to me at length with great emotion and tenderness.

For over fifteen minutes we talked with each other, as only two persons of great affection and complete understanding can talk. ….."

Séance in an airplane a mile above New York (medium unknown)

Sir Arthur Conan DoyleOne of the most dramatic returns of Conan Doyle occurred in an aeroplane whilst it flew a mile above the lights of New York City. This story really began with a lecture given by Doyle in Washington in one of his tours in the United States of America where Sir Arthur was interviewed by a newspaper man who put this question to him, "Why is darkness necessary to the production through a medium of some psychic phenomena?"

Doyle replied, "It strengthens the psychic vibrations through which the communications come by reducing earthly distractions and thus aiding concentration by the medium." That answer produced a question which made Doyle wonder.

The journalist asked, "Have you ever considered experimentation with a séance in the cabin of an aeroplane, high above earthly distractions?" Doyle paused, then he said he had not thought of such an experiment, but the suggestion was interesting.

This report by Maurice Barbanell of what followed was republished in the Two Worlds magazine in 1994:
Years later, this journalist was invited to attend a séance at which the voice of Doyle addressed him. There was no mistaking the tone, for it had the famous author's distinctive intonation and diction which once heard could not be forgotten. Doyle reminded him of the conversation at their last meeting in Washington.

Thereupon the journalist repeated the suggestion of attempting a séance in an aeroplane. Would Doyle try to speak if it were arranged? he asked. Sir Arthur promised to do his best.

After many difficulties, the newspaper man succeeded in inducing American Air Lines to let him charter an aeroplane for his purpose. The only preparation made for the séance was the darkening of the windows to exclude moonlight and starlight.

Besides the medium, some friends were invited to be present. Soon spirit voices were heard speaking through trumpets that had been placed in the darkened cabin.

The climax was reached when they heard the unmistakable voice of Doyle declare: "I want to congratulate you on having arranged this experiment. This is an epoch-making flight. This is an adventure more fantastic than death itself! To think that we are all together here flying high above the night lights of your great New York City. It is quite wonderful." The voice trailed off. Soon Doyle was heard again. "Is Ford here?" he asked.

Arthur Ford, the well-known American medium, was one of the passengers. "Yes, Sir Arthur, I am here," he responded.

“Good evening, Ford,” said Doyle. “This is a marvellous experience, isn’t it?”

Ford recognised Doyle’s characteristic voice, but inquired whether he could put a test question. "Where did I last speak to you and who was present?" he asked. The reply came without hesitation. "I remember very well," declared Doyle. "At lunch the last day of the Cantlon trial at my hotel. David Gow was among those present."

"That is quite right," Ford replied. "Thank you, Sir Arthur."

The last time he had met Doyle was at his hotel on the last day of a trial which had aroused interest among Spiritualists. The man mentioned, David Gow, was present.

Death could not silence the greatest champion Spiritualism ever had.

Birthday present from daughter in spirit (Arthur Colman)

Florence MarryattFlorence Marryatt (1938: 79-80) writes in There is no death:

"On July 9, my birthday, Arthur Colman walked in quite unexpectedly to pay me a visit, and as I had some friends with me, we agreed to have a séance. It was impossible to make the room dark, as the windows were only shaded by Venetian blinds, but we lowered them, and sat in the twilight. The first thing we heard was the voice of 'Florence' whispering - "A present for dear mother’s birthday," when something was put into my hand.

Then she crossed to the side of a lady present and dropped something into her hand, saying, "And a present for dear mother's friend!" I knew at once by the feel of it that what 'Florence' had given me was a chaplet of beads, and knowing how often, under similar circumstances, articles are merely carried about a room, I concluded it was one which lay upon my drawing-room mantel-piece, and said as much. I was answered by the voice of 'Aimee', the medium's nearest control. "You are mistaken," she said, "Florence has given you a chaplet you have never seen before. She was exceedingly anxious to give you a present on your birthday, so I gave her the beads which were buried with me. They came from my coffin. I held them in my hand. All I ask is, that you will not show them to Arthur until I give you leave. He is not well at present, and the sight of them will upset him."

I was greatly astonished, but, of course, I followed her instructions, and when I had an opportunity to examine the beads, I found that they really were strangers to me, and had not been in the house before. The present my lady friend had received was a large, unset topaz. The chaplet was made of carved wood and steel. It was not till months had elapsed that I was given permission to show it to Arthur Colman. He immediately recognized it as the one he had himself placed in the hands of 'Aimee' as she lay in her coffin, and when I saw how the sight affected him, I regretted I had told him anything about it. I offered to give the beads up to him, but he refused to receive them, and they remain in my possession to this day."

Precipitated Paintings

May & Lizzie BangsThe Bangs sisters ….lived in Chicago, America in the late 1800s and early 1900s.

On paper-mounted canvases held against the light near the windows, they produced spirit portraits in plain sight of the sitter, often in as little as eight minutes! The sitter was usually advised to keep about his person a photograph of the departed friend whose spirit picture he desired to obtain.

Sitters would randomly select a blank canvas out of a group of many supplied by the sisters. The precipitated painting was then produced when these two identical, paper-mounted canvases were placed face-to-face between the Bangs sisters with each sister holding one edge. It was reported that after fifteen minutes, sketches could begin to be seen through the canvas and then the full painting grew, at times at a feverish pace. Sitters often observed a silver mist "like steam from a kettle" gradually envelope the canvas and in the mist, there appeared and quickly disappeared small flecks of a darker and more solid substance. Other sitters described it as a "vapor-like cloud which passed across the canvas." From the book, Dawn of the Awakened Mind, written by John S. King, M.D., the founder and President of the Canadian Society of Psychical Research, we read where he observed the process of precipitation as follows:

"….slight evidence of waves of color, mixing with shadow and all in motion, like small wavelets, or ripples on an almost placid lake; and creeping, or rather rolling upwards, one after another, in orderly succession, as if striving slowly to attain the top; and then a portion in one place would deepen in shade, making form; and this with other delineations came into view, and slowly filling in with light, or darkness here and there, and colors more and more in evidence, along with apparent movement, and eyes forming, as if closed in sleep, and as the picture finished, the eyes opened."

Iola Precip paintingAdmiral Usborne Moore often witnessed the phenomenon and describes this incident in Glimpses of the Next State (1911):
"We had to wait some time. After a few minutes the canvas assumed various hues, rosy, blue and brown; it would become dark and light independently of the sun being clouded or not. Dim outlines of faces occasionally appeared in different parts of the canvas. . . . We had been sitting forty minutes when the right and left edges of the canvas began to darken, and the face and bust suddenly appeared. It was finished in thirty-five minutes— i.e., one hour and fifteen minutes from the time we first sat down.

On separating the two canvases it was found that the picture was on the further side of the one nearest to me, and the material was quite damp; the other canvas, which had been pressing against it all the time, was unsoiled. The stuff comes off on the finger, a smutty, oily substance. . . . The actual picture therefore, took thirty-five minutes to precipitate. It is richer in tone now than it was when put on a sofa after the sitting."

"This is the way we make ladies' dresses" (William Eglinton)

William EglintonThis great moment is not only a great materialization, but it also shows us how the spirit world utilizes ectoplasm for physical phenomena. Florence Marryatt (1938: 120) writes in There is No Death:

"After this the figures of two or three Englishmen came, friends of others of the audience—then "Joey" said he would teach us how to "make muslin". He walked right outside the cabinet, a quaint little figure, not much bigger than a boy of twelve or thirteen, with a young, old face, and dressed in the white suit I have described. He sat down by me and commenced to toss his hands in the air, as though he were juggling with balls, saying the while, "This is the way we make ladies' dresses." As he did so, a small quantity of muslin appeared in his hands, which he kept on moving in the same manner, whilst the flimsy fabric increased and increased before our eyes, until it rose in billows of muslin above Joey's head and fell over his body to his feet, and enveloped him until he was completely hidden from view. He kept on chattering till the last moment from under the heap of snowy muslin, telling us to be sure and "remember how he made ladies' dresses"—when, all of a sudden, in the twinkling of an eye, the heap of muslin rose into the air, and before us stood the tall figure of "Abdullah", Mr Eglinton's Eastern guide.

There had been no darkness, no pause to effect this change. The muslin had remained on the spot where it was fabricated until Joey evaporated, and Abdullah rose up from beneath it."

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