By this time the temperature of the mass has cooled down, and it becomes necessary to reheat it, which is done as before. The artificer next seats himself on a stool with elevated arms, upon which he rests the pontil, which he grasps and twirls with his left hand, having thus a command over the red-hot glass with his right hand, in which he holds a small iron instrument called a procello, consisting of two blades with an elastic bow, similar to a sugar-tongs. With this little instrument the whole work of fashioning is performed, and as it must be completed while the glass is yet ductile (having always, however, the power of reheating it when necessary), the process is effected with wondrous celerity. By the aid of the procello he enlarges or contracts the mass, which he adapts to its motions with his left hand, and where any shapeless excrescences appear he instantly cuts them off with a pair of scissors as easily as if they were so much lace or cotton. And thus, almost in less time than it has occupied us in the description, articles of the most exquisite form and delicacy are created by the art-magic of these Vulcans of the glass-furnace. That which chiefly excites astonishment and admiration in the spectator is the ease and security with which a material so fragile is cut, joined, twirled, pressed out and contracted, by the hands of the workmen. Long practice alone can insure the requisite certainty and quickness of manipulation, and the eye must be highly educated to its work before it can achieve off-hand, and, by a sort of accomplished instinct, the beautiful shapes which are thus rapidly produced. The moment the article is finished it is detached from the pontil and dropped into a bed of ashes, from whence it is removed while it is yet hot, by a pronged stick or wooden shovel, to the tray to be deposited in the annealing oven where it is gradually cooled. HOW CROWN, PLATE, AND WATCH GLASSES ARE MADE.