Kircher ended his entire book by saying that it was published “not for income or glory but for the common good.” In his Latin autobiography Kircher made only one passing reference to his _Ars Magna Lucis et Umbrae_, “The Great Art of Light and Shadow.” Let Kircher speak: At this time (around 1645) three more books were published, the first on the magnetic art, _On Magnetism_; another _On the Great Art of Light and Shadow_ and a third written in the name of _Musurgia_, “Music.” These are not insignificant works, praise be God. They occasioned applause but this applause soon brought me another form of tribulation; new accusations piled up and for this reason my critics said I should devote my whole life to developing mathematics. So with desperate hope on account of this impenetrable difficulty I gave up my work on hieroglyphics and my heart and mind were discouraged. At one point in the discussion of the magic lantern in _Ars Magna Lucis et Umbrae_ Kircher interrupted the thread of the story long enough to point out that charges of the use of the black arts had been made against him and others who knew the use of mirrors and lenses by some who had no knowledge of philosophy and science. He told how Roger Bacon was charged with necromancy because he could show a recognizable shadow of himself in a dark room where his friends were assembled. Kircher noted that certainly a talented philosopher and scientist could accomplish all these effects through skill in the use of mirrors and lenses and without any trace of the suspect black art. The charge of necromantic art was the source of much of Kircher’s unhappiness. Some considered him in league with the devil because he could make images and shadows and objects appear where none had been before. It was the age-old story that some in the audience or among the readers did not understand how an effect was produced so its validity and legitimacy were denied. Praise and blame always have been the lot of discoverers and inventors. Kircher had, however, better fortune than many others. He was able to write in his autobiography, “Divine Providence, which never fails us, took care of my trouble in this wonderful way--my appointed work was restored to me and by the occasion of this good fortune I escaped the traps of my adversaries.” Adversaries on even scientific matters in those days battled to the death. What happened was this: A commission established by Innocent X, who had been elected Pope in 1644, ordered that Kircher be allowed to continue his beloved antiquarian studies. It seemed that the Obelisk of Caracalla had been partially destroyed and Kircher was given the task of directing the restoration. Kircher’s original patron, Cardinal Barberini, continued to have influence, being Pope Innocent’s legate or ambassador to the Emperor.