elation, from which I have here given extracts
only, Montgeron's work, Tom. III. pp. 24-26. Montgeron, though he
vouches for the narrator as a gentleman worthy of all credit, does not
give his name, nor that, of the physician, except as Dr. M----. The
occurrence took place in 1732.

[15] Montgeron, Tom. III. pp. 107-111.

[16] _Ibid._ p. 688.

[17] "As murderous blows must either wound or kill, but for a miracle,
there ought to be a promise or a revelation to warrant their infliction.
But God has given no such promise, no such revelation, to justify the
demanding or the granting of the succors. It is, therefore, a tempting
of God to do so."--_Vains Efforts des Discernans_, p. 133.

[18] _Chenet_ is the French expression, an andiron, or dog-iron, as it
is sometimes called. Montgeron thus describes it: "The andiron in
question was a thick, roughly shaped bar of iron, bent at both ends, but
the front end divided in two, to serve for feet, and furnished with a
thick, short knob. This andiron weighed between twenty-nine and thirty
pounds."--Montgeron, Tom. III. p. 693.

[19] _Vains Efforts des Discernans_, p. 134.

[20] _Memoire Theologique_, p. 41. This is admitted also by the Abbe,
see _Vains Efforts_, p. 127, and by M. Poncet, _Reponse_, etc., p. 15.

[21] Montgeron, Tom. III. pp. 693, 694. The author takes great pains to
disprove a theory which few persons, in our day, will think worth
refuting. In this connection, he quotes from a memoir drawn up by a
gentleman who had spent much time in examining these phenomena, as
follows:--"The force of the action and movement of the instruments
employed is not broken or arrested or turned aside. Experience
conclusively proves this. One sees the bodies of the convulsionists bend
and sink beneath the blows. One can perceive that the parts assailed are
twisted, and receive all the movements which such weapons as those
employed are calculated to communicate. And the violence of the blows is
often such that not only are they heard from the lowest story of a house
to the highest, but they actually communicate to the floor and to the
walls of the apartment a shock, which is sensibly felt, and which causes
the spectators to start."--p. 686.

Montgeron adds his own personal experience. He says,--"That has happened
frequently to myself. I have often been so much impressed with the
strong motion communicated to the floor by the terrible blows dealt with
stones or billets of wood with