16 THE POPULAR SCIENCE MONTHLY. 



all. A man of the highest character, in view of what he sup- 

 posed the teachings of Scripture and the principles laid down by 

 the great English judges, he had unhesitatingly condemned the 

 accused ; but reason now dawned upon him. He looked back and 

 saw the baselessness of the whole proceedings, and made a public 

 statement of his errors. His diary contains many passages show- 

 ing deep contrition, and ever afterward, to the end of his life, he 

 was wont, on one day in the year, to enter into solitude, and there 

 remain all the day long in fasting, prayer, and penitence. 



Chief -Justice Stoughton never yielded. To the last he lamented 

 the "evil spirit of unbelief" which was thwarting the glorious 

 work of freeing New England from demons. 



The church of Salem solemnly revoked the excommunications 

 of the condemned and drove Mr. Parris from their pastorate. 

 Cotton Mather passed his last years in groaning over the decline 

 of the faith and the ingratitude of a people for whom he had done 

 so much. Very significant is one of his complaints, since it shows 

 the evolution of a more scientific mode of thought abroad as 

 well as at home : he laments in his diary that English publishers 

 gladly printed Calef's book against witchcraft and possession, 

 but would no longer publish his own, and he declares this " an 

 attack upon the glory of the Lord." 



■♦»» 



GLASS-MAKING. 



By C. HANFORD HENDEESON, 



PBOFE8SOE OF PHYSICS AND CHEMISTEY EN THE PHILADELPHIA MANUAL TRAINING SCHOOL. 



II. — THE HISTORY OF A PICTURE-WINDOW. 



IN the reproduction of the beautiful, Art has occupied itself 

 chiefly with form and color, and has seldom made more 

 serious demands upon light than to ask enough of it to reflect 

 its achievements in these two directions to the eye of the beholder. 

 So keen is the pleasure derived from well-adjusted proportions 

 that our statuary and architecture please by their appeal to this 

 one sentiment alone. When color joins with represented form, 

 our delight in these harmonies is sufficiently complete to exclude 

 for the time any sense of deficiency. We believe ourselves to be 

 quite satisfied. 



And yet, when we turn from these clever reproductions to the 

 veritable nature of the outward world, or of our own unmaterial- 

 ized fancies, our copies seem poor things after all. At best, they 

 are so inadequate that one almost feels that the attempt is a mis- 

 take. The marble figure lacks the divine life that suffused and 

 made adorable the human original. The painted atmosphere has 



