Gaspar Schott was the best known of Kircher’s pupils who helped to awaken scientific interest in Europe. He was born at Königshofen, Bohemia, in 1608. He entered the Jesuit Order at the age of 19. Like Kircher, his senior by six years, Schott was compelled to flee the disorders in Germany and continue his studies abroad. For his courses in philosophy and theology Schott went to Sicily. Later he studied under Kircher at the Roman College. From his contact with Kircher, Schott had developed a great interest in scientific matters and mathematics. He conducted research and wrote at Augsburg until his death in 1666. Schott’s books were once very popular. Their subjects ranged from extracts of the diaries kept by Kircher on his various scientific travels to mathematical text books and even a study on the source of the river Nile. So far as the story of magic shadows goes, Schott’s most valuable book was the _Magia Universalis Naturæ et Artis_. “Wonders of Universal Nature and Art,” published at Würzburg in 1658, with a second edition in 1674. Schott described every type of magic lantern, basing his remarks, of course, on the work of Kircher. The projection apparatus described by him was better than that of the master, Kircher. Schott described lanterns with and without lenses, and covered points of practical use as well as the theory. The age-old Burning Glasses of Archimedes were studied by Schott, who knew about the various kinds of images, mirrors, and the focal length and its importance in producing sharp pictures on the screen. A refinement in the telescope was also explained. Schott was probably the first man to write about, and study with the magic lantern, optical illusions caused by a rapidly revolving wheel, including the appearance of distorted figures. It was this same study, carried on almost two hundred years later in England, France and Belgium, that was to result in the first real motion pictures. In ideas Schott outran the limitations of the physical apparatus available at the time, as did Kircher himself. Kircher had been asked by Schott to write the foreword to his book. But Kircher was too busy with other works. (It is barely possible that he was jealous of the growing fame of his former pupil; or, more likely, that he was unwilling to appear in print at that time on the subject which had so much contributed to his troubles.) Nicholas Mohr, who did write the introduction, pointed out that Schott had been carrying on the work of Kircher.