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the devil. Voltaire has not inaptly designated him “De l’or encrouté de toutes les ordures de son siècle;” but the crust of superstition that enveloped his powerful mind, though it may have dimmed, could not obscure the brightness of his genius. To him, and apparently to him only, among all the inquiring spirits of the time, were known the properties of the concave and convex lens. He also invented the magic lantern; that pretty plaything of modern days, which acquired for him a reputation that embittered his life. In a history of alchymy, the name of this great man cannot be omitted, although unlike many others of whom we shall have occasion to speak, he only made it secondary to other pursuits. The love of universal knowledge that filled his mind, would not allow him to neglect one branch of science, of which neither he nor the world could yet see the absurdity. He made ample amends for his time lost in this pursuit by his knowledge in physics and his acquaintance with astronomy. The telescope, burning-glasses, and gunpowder, are discoveries which may well carry his fame to the remotest time, and make the world blind to the one spot of folly—the diagnosis of the age in which he lived, and the circumstances by which he was surrounded. His treatise on the Admirable Power of Art and Nature in the Production of the Philosopher’s Stone was translated into French by Girard de Tormes, and published at Lyons in 1557. His Mirror of Alchymy was also published in French in the same year, and in Paris in 1612, with some additions from the works of Raymond Lulli. A complete list of all the published treatises upon the subject may be seen in Lenglet du Fresnoy. Pope John XXII.

This prelate is said to have been the friend and pupil of Arnold de Villeneuve, by whom he was instructed in all the secrets of alchymy. Tradition asserts of him, that he made great quantities of gold, and died as rich as Crœsus. He was born at Cahors, in the province of Guienne, in the year 1244. He was a very eloquent preacher, and soon reached high dignity in the Church. He wrote a work on the transmutation of metals, and had a famous laboratory at Avignon. He issued two bulls against the numerous pretenders to the art, who had sprung up in every part of Christendom; from which it might be inferred that he was himself free from the delusion. The alchymists claim him, however, as one of the most distinguished and successful professors of their art, and say that his bulls were not directed against the real adepts, but the false pretenders. They lay particular stress upon these words in his bull, “Spondent, quas non exhibent, divitias, pauperes alchymistæ.” These, it is clear, they say, relate only to poor alchymists, and therefore false ones. He died in the year 1344, leaving in his coffers a sum of eighteen millions of florins. Popular belief alleged that he had made, and not amassed, this treasure; and alchymists complacently cite this as a proof that the philosopher’s stone was not such a chimera as the incredulous pretended. They take it for granted that John really left this money, and ask by what possible means he could have accumulated it. Replying to their own question, they say triumphantly, “His book shews it was by alchymy, the secrets of which he learned from Arnold de Villeneuve and Raymond Lulli. But he was as prudent as all other hermetic philosophers. Whoever would read his book to find out his secret, would employ all his labour in vain; the pope took good care not to divulge it.” Unluckily for their own credit, all these gold-makers are in the same predicament; their great secret loses its worth most wonderfully in the telling, and therefore they keep it snugly to themselves. Perhaps they thought that, if everybody could transmute metals, gold would be so plentiful that it would be no longer valuable, and that some new art would be requisite to transmute it back again into steel and iron. If so, society is much indebted to them for their forbearance.

Jean de Meung.

All classes of men dabbled in the art at this time; the last mentioned was a pope, the one of whom we now speak was a poet. Jean de Meung, the celebrated author of the Roman de la Rose, was born in the year 1279 or 1280, and was a great personage at the courts of Louis X., Philip the Long, Charles IV., and Philip de Valois. His famous poem of the Roman de la Rose, which treats of every subject in vogue at that day, necessarily makes great mention of alchymy. Jean was a firm believer in the art, and wrote, besides his Roman, two shorter poems, the one entitled The Remonstrance of Nature to the wandering Alchymist and The Reply of the Alchymist to Nature. Poetry and alchymy were his delight, and priests and women were his abomination. A pleasant story is related of him and the ladies of the court of Charles IV. He had written the following libellous couplet upon the fair sex:

“Toutes êtes, serez, ou fûtes,

De fait ou de volonté, putains;

Et qui très bien vous chercherait,

Toutes putains vous trouverait.”36

This naturally gave great offence; and being perceived one day in the king’s antechamber, by some ladies who were waiting for an audience, they resolved to punish him. To the number of ten or twelve, they armed themselves with canes and rods, and surrounding the unlucky poet, called upon the gentlemen present to strip him naked, that they might wreak just vengeance upon him, and lash him through the streets of the town. Some of the lords present were in no wise loath, and promised themselves great sport from his punishment. But Jean de Meung was unmoved by their threats, and stood up calmly in the midst of them, begging them to hear him first, and then, if not satisfied, they might do as they liked with him. Silence being restored, he stood upon a chair, and entered on his defence. He acknowledged that he was the author of the obnoxious verses, but denied that they bore reference to all womankind. He only meant to speak of the vicious and abandoned, whereas those whom he saw around him were patterns of virtue, loveliness, and modesty. If, however, any lady present thought herself aggrieved, he would consent to be stripped, and she might lash him till her arms were wearied. It is added, that by this means Jean escaped his flogging, and that the wrath of the fair ones immediately subsided. The gentlemen present were, however, of opinion, that if every lady in the room whose character corresponded with the verses had taken him at his word; the poet would in all probability have been beaten to death. All his life long he evinced a great animosity towards the priesthood, and his famous poem abounds with passages reflecting upon their avarice, cruelty, and immorality. At his death he left a large box, filled with some weighty material, which he bequeathed to the Cordeliers, as a peace-offering, for the abuse he had lavished upon them. As his practice of alchymy was well known, it was thought the box was filled with gold and silver, and the Cordeliers congratulated each other on their rich acquisition. When it came to be opened, they found to their horror that it was filled only with slates, scratched with hieroglyphic and cabalistic characters. Indignant at the insult, they determined to refuse him Christian burial, on pretence that he was a sorcerer. He was, however, honourably buried in Paris, the whole court attending his funeral.

Nicholas Flamel.

The story of this alchymist, as handed down by tradition, and enshrined in the pages of Lenglet da Fresnoy, is not a little marvellous. He was born at Pontoise, of a poor but respectable family, at the end of the thirteenth, or beginning of the fourteenth century. Having no patrimony, he set out for Paris at an early age, to try his fortune as a public scribe. He had received a good education, was well skilled in the learned languages, and was an excellent penman. He soon procured occupation as a letter-writer and copyist, and used to sit at the corner of the Rue de Marivaux, and practise his calling; but he hardly made profit enough to keep body and soul together. To mend his fortunes he tried poetry; but this was a more wretched occupation still. As a transcriber he had at least gained bread and cheese; but his rhymes were not worth a crust. He then tried painting with as little success; and as a last resource, began to search for the philosopher’s stone and tell fortunes. This was a happier idea; he soon increased in substance, and had wherewithal to live comfortably. He therefore took unto himself his wife Petronella, and began to save money; but continued to all outward appearance as poor and miserable as before. In the course of a few years, he became desperately addicted to the study of alchymy, and thought of nothing but the philosopher’s stone, the elixir of life, and the universal alkahest. In the year 1257, he bought by chance an old book for two florins, which soon became his sole study. It was written with a steel instrument upon the bark of trees, and contained twenty-one, or as he himself always expressed it, three times seven, leaves. The writing was very elegant and in the Latin language. Each seventh leaf contained a picture and no writing. On the first of these was a serpent swallowing rods; on the second, a cross with a serpent crucified; and on the third, the representation of a desert, in the midst of which was a fountain, with serpents crawling from side to side. It purported to be written by no less a personage than “Abraham, patriarch, Jew, prince, philosopher, priest, Levite, and astrologer;” and invoked curses upon any one who should cast eyes upon it, without being “a sacrificer or a scribe.” Nicholas Flamel never thought it extraordinary that Abraham should have known Latin, and was convinced that the characters on his book had been traced by the hands of that great patriarch himself. He was at first afraid to read it, after he became aware of the curse it contained; but he got over that difficulty by recollecting that, although he was not a sacrificer, he had practised as a scribe. As he read he was filled with admiration, and found that it was a perfect treatise upon the transmutation of metals. All the processes were clearly explained; the vessels, the retorts, the mixtures, and the proper times and seasons for experiment. But as ill-luck would have it, the possession of the philosopher’s stone, or prime agent in the work, was presupposed. This was a difficulty which was not to be got over. It was like telling a starving man how to cook a beef-steak, instead of giving him the money to buy one. But Nicholas did not despair, and set about studying the hieroglyphics and allegorical representations with which the book abounded. He soon convinced himself that it had been one of the sacred books of the Jews, and that it was taken from the temple of Jerusalem on its destruction by Titus. The process of reasoning by which he arrived at this conclusion is not stated.

From some expression in the treatise, he learned that the allegorical drawings on the fourth and fifth leaves enshrined the secret of the philosopher’s stone, without which all the fine Latin of the directions was utterly unavailing. He invited all the alchymists and learned men of Paris to come and examine them,

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