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stating that his intention was only to prohibit deadly and malignant magic; that he had no intention of prohibiting magic used to cure diseases and to protect the crops from hail and tempests. But as new emperors came to the throne who had not in them that old leaven of paganism which to the last influenced Constantine, and as theology obtained a firmer hold, severity against magic increased. Toleration of it, even in its milder forms, was more and more denied. Black magic and white were classed together. This severity went on increasing and threatened the simplest efforts in physics and chemistry; even the science of mathematics was looked upon with dread. By the twelfth and thirteenth centuries, the older theology having arrived at the climax of its development in Europe, terror of magic and witchcraft took complete possession of the popular mind. In sculpture, painting, and literature it appeared in forms ever more and more striking. The lives of saints were filled with it. The cathedral sculpture embodied it in every part. The storied windows made it all the more impressive. The missal painters wrought it not only into prayer books, but, despite the fact that hardly a trace of the belief appears in the Psalms, they illustrated it in the great illuminated psalters from which the noblest part of the service was sung before the high altar. The service books showed every form of agonizing petition for delivery from this dire influence, and every form of exorcism for thwarting it. All the great theologians of the Church entered into this belief and aided to develop it. The fathers of the early Church were full and explicit, and the medieval doctors became more and more minute in describing the operations of the black art and in denouncing them.