By the time William Crookes began sitting with Florence Cook in 1874, materialisation seances built around a spirit called Katie King had already circulated through the London spiritualist circuit for several years, associated at different points with more than one medium. Cook's version of the phenomenon followed a standard form: she was tied into a curtained cabinet, sometimes with a rope sealed and inspected beforehand, and after a period the figure of Katie King, a young woman in white drapery, would emerge to walk among the sitters, speak, and occasionally be photographed, while Cook herself remained, by report, insensible inside the cabinet throughout.
Crookes brought instruments and his own scientific reputation to the sittings, took a series of photographs using magnesium light, and at points arranged to see Cook and the materialised figure in view at the same time, a test meant to rule out the simplest explanation that Cook herself was simply dressing as Katie King. He published his conclusion that the phenomena were genuine, and the endorsement of a Fellow of the Royal Society lent the case a scientific weight that testimony from less credentialed sitters never achieved.
Critics from the outset pointed to the limits of the test: the conditions were largely set at Crookes's own house, under his own arrangements, with Cook's cooperation throughout, and the moments in which Cook and Katie King were supposedly seen together were brief and dimly lit. Whether the investigation ruled out substitution or simply failed to catch it has been argued ever since, and the atlas records both readings rather than adopting either.