Blackwood's Edinburgh Magazine - Volume 62, No. 384, October 1847

"'What capital clothes they must be!' thought the Emperor. 'If I had but such a suit, I could directly find out what people in my empire were not equal to their office; and besides, I should be able to distinguish the clever from the stupid. By Jove, I must have some of this stuff made directly for me!' And so he ordered large sums of money to be given to the two swindlers, that they might set to work immediately.

"The men erected two looms, and did as if they worked very diligently; but in reality they had got nothing on the loom. They boldly demanded the finest silk, and gold thread, put it all in their own pockets, and worked away at the empty loom till quite late at night.

"'I should like to know how the two weavers are getting on with my stuff,' said the Emperor one day to himself; 'but he was rather embarrassed when he remembered that a silly fellow, or one unfitted for his office, would not be able to see the stuff. 'Tis true, he thought, as far as regarded himself, there was no risk whatever; but yet he preferred sending some one else, to bring him intelligence of the two weavers, and how they were getting on, before he went himself; for every body in the whole town had heard of the wonderful property that this stuff was said to possess.

"'I will send my worthy old minister,' said the Emperor at last, after much consideration; 'he will be able to say how the stuff looks better than anybody.'

"So the worthy old minister went to the room where the two swindlers were' working away with all their might and main. 'Lord help me!' thought the old man, opening his eyes as wide as possible—'Why, I can't see the least thing whatever on the loom.' But he took care not to say so.

"The swindlers, pointing to the empty frame, asked him most politely if the colours were not of great beauty. And the poor old minister looked and looked, and could see nothing whatever. 'Bless me!' thought he to himself, 'Am I, then, really a simpleton? Well, I never thought so. Nobody knows it. I not fit for office! No, nothing on earth shall make me say that I have not seen the stuff!'

"'Well, sir,' said one of the swindlers, still working busily at the empty loom, 'you don't say if the stuff pleases you or not.'

"'Oh beautiful! beautiful! the work is admirable!' said the old minister looking hard through his spectacles. 'This pattern, and these colours! Well, well, I shall not fail to tell the Emperor that they are most beautiful!'

"The swindlers then asked for more money, and silk, and gold thread; but they put as before all that was given them into their own pocket, and still continued to work with apparent diligence at the empty loom.

"Some time after, the Emperor sent another officer to see how the work was getting on. But he fared like the other; he stared at the loom from every side; but as there was nothing there, of course he could see nothing. 'Does the stuff not please you as much as it did the minister?' asked the men, making the same gestures as before, and talking of splendid colours and patterns, which did not exist.

"'Stupid I certainly am not!' thought the new commissioner; 'then it must be that I am not fitted for my lucrative office—that were a good joke! However, no one dare even suspect such a thing.' And so he began praising the stuff that he could not see, and told the two swindlers how pleased he was to behold such beautiful colours, and such charming patterns. 'Indeed, your majesty,' said he to the Emperor on his return, 'the stuff which the weavers are making, is extraordinarily fine.'

"It was the talk of the whole town.

"The Emperor could no longer restrain his curiosity to see this costly stuff; so, accompanied by a chosen train of courtiers, among whom were the two trusty men who had so admired the work, off he went to the two cunning cheats. As soon as they heard of the Emperor's approach they began working with all diligence, although there was still not a single thread on the loom.

"'Is it not magnificent?' said the two officers of the crown, who had been there before. 'Will your majesty only look? What a charming pattern! What beautiful colours!' said they, pointing to the empty frames, for they thought the others really could see the stuff.

"'What's the meaning of this?' said the Emperor to himself, 'I see nothing! Am I a simpleton! I not fit to be Emperor? Oh,' he cried aloud, 'charming! The stuff is really charming! I approve of it highly;' and he smiled graciously, and examined the empty looms minutely. And the whole suite strained their eyes and cried 'Beautiful!' and counselled his Majesty to have new robes made out of this magnificent stuff for the grand procession that was about to take place. And so it was ordered.

"The day on which the procession was to take place, the two men brought the Emperor's new suit to the palace; they held up their arms as though they had something in their hands, and said, 'Here are your Majesty's knee-breeches; here is the coat, and here the mantle. The whole suit is as light as a cobweb; and when one is dressed, one would almost fancy one had nothing on: but that is just the beauty of this stuff!'

"'Of course!' said all the courtiers, although not a single one of them could see any thing of the clothes.

"'Will your imperial Majesty most graciously be pleased to undress? We will then try on the new things before the glass.'

"The Emperor allowed himself to be undressed, and then the two cheats did exactly as if each one helped him on with an article of dress, while his Majesty turned himself round on all sides before the mirror.

"'The canopy which is to be borne above your Majesty in the procession, is in readiness without,' announced the chief master of the ceremonies.

"'I am quite ready,' replied the Emperor, turning round once more before the looking-glass.

"So the Emperor walked on, under the high canopy, through the streets of the metropolis, and all the people in the streets and at the windows cried out, 'Oh, how beautiful the Emperor's new dress is!' In short there was nobody but wished to cheat himself into the belief that he saw the Emperor's new clothes.

"'But he has nothing on!' said a little child.'

"And then all the people cried out, 'He has nothing on!'

"But the Emperor and the courtiers—they retained their seeming faith, and walked on with great dignity to the close of the procession."

THE VISION OF CAGLIOSTRO

"In the horror of a vision by night, when deep sleep is wont to hold men, fear seized upon me, and trembling, and all my bones were affrighted; and when a spirit passed before me, the hair of my flesh stood up."

    —The Book of Job.

The last, and perhaps the most renowned of the Rosicrucians, was, according to a historical insinuation, implicated in that notorious juggle of the Diamond Necklace, which tended so much to increase the popular hatred towards the evil-doomed and beautiful Marie Antoinette. Whether this imputation were correct, or whether the Cardinal Duc de Rohan was the only distinguished person deluded by the artifices of the Countess de la Motte, it is certain that Joseph Balsamo, commonly called Alexandre, Count de Cagliostro, was capable of any knavery, however infamous. Guile was his element; audacity was his breastplate; delusion was his profession; immorality was his creed; debauchery was his consolation; his own genius—the genius of cunning—was the god of his idolatry. Had Cagliostro been sustained by the principles of rectitude, he must have become the idol as well as the wonder of his contemporaries; his accomplishments must have dazzled them into admiration, for he possessed all the attributes of a Crichton. Beautiful in aspect, symmetrical in proportions, graceful in carriage, capacious in intellect, erudite as a Benedictine, agile as an Acrobat, daring as Scævola, persuasive as Alcibiades, skilled in all manly pastimes, familiar with the philosophies of the scholar and the worldling, an orator, a musician, a courtier, a linguist,—such was the celebrated Cagliostro. In his abilities, he was as capricious as Leonardo, and as subtle as Macchiavelli; but he was without the magnanimity of the one, or the crafty prudence of the other. Lucretius so darkened the glories of nature by the glooms of his blasphemous imagination, that he might have described this earth as a golden globe animated by a demon. Fashioned in a mould as marvellous as that golden orb, and animated in like manner by a devilish and wily spirit, was Balsamo the Rosicrucian.

Between the period of his birth in 1743, and that of his dissolution in 1795, when incarcerated in a dungeon of San Leo, at Rome, Cagliostro, rendered himself in a manner illustrious by practising upon the credulity of his fellow-creatures. Holstein had witnessed his pretended successes in alchemy. Strasburg had received him with admiration, as the evangelist of a mystic religion. Paris had resounded with the marvels revealed by his performances in Egyptian free-masonry. Molten gold was said to stream at pleasure over the rim of his crucibles; divination by astrology was as familiar to him as it had been of yore to Zoroaster or Nostradamus; graves yawned at the beck of his potent finger; their ghostly habitants, appeared at his preternatural bidding. The necromantic achievements of Doctor Dee and William Lilly dwindled into insignificance before those attributed to a man who, although apparently in the bloom of manhood, was believed to have survived a thousand winters.

Accident had supplied Cagliostro with an accomplice of suitable depravity. In the course of his eccentric peregrinations among the continental cities, he had formed the acquaintance of a female, remarkable for her consummate loveliness and her boundless sensuality. Married to this Circe, the adventurer began to thrive beyond his most sanguine anticipations. It must be remembered, however, that in his nefarious proceedings, Balsamo was aided by a faculty of invention almost miraculous in its fruitfulness, and occasionally almost sublime in its audacity. By these means, he ultimately became the most astonishing impostor the world had ever beheld, with the solitary exception of Mohammed.

As a forerunner of a disastrous revolution, the appearance of this fantastic personage in the capital of civilisation was at once dismal and prophetic. Unconsciously, he was the prophet of disaster. Unconsciously, he was the prelude—half-solemn, half-grotesque—of a bloody and diabolical saturnalia. History, both profane and inspired, tells us that when the Euphrates forsook its natural channel, and the hostile legions trampled under its gates at nightfall; when the revellers of Belshazzar, drunk with prolonged orgies and haggard with the shadow of an impending doom, staggered through the marble vestibules and out upon the marble causeways, rending their purple vestures in the moonlight, there was weeping among the lords of Chaldea,—"Wo! wo! wo!" was walled in the streets of Babylon. A similar destiny awaited Paris, but as yet a different spectacle was visible; as yet the carousals of the metropolis were at their zenith; as yet the current flowed in its ancient channel; as yet the woes of the empire were not written on the wall of the palace. Festivities were never conducted with more magnificence than immediately before the downfall of the monarchy and the general desolation of the kingdom. The pomps of the religion, the pageantries of the court, and the munificence of the nobility, were never before characterised by so much grandeur and profusion. The church, the sovereign, and the oligarchy, were crowning themselves for the sacrifice.

Opposite the Rue de Luxembourg, and parallel with the Rue de Caumartin, there stood, in the year 1782, a little villa-cottage or rustic pavilion. It was separated from the Boulevard de la Madeleine by a green paddock, and was concealed in a nest of laurustinus and clematis. Autumn, that generous season, which seems in its bounty to impart a smell of ripeness to the very leaves, had already scattered dyes of gold and vermilion over the verdure of this shrubbery. A night-breeze, impregnated with vegetable perfumes, and wafting before it one of these leaves, stole between the branches—over the fragrant mould—across a grass-plot—through an open window of the cottage. The leaf tinkled. It had fallen upon the pages of a volume from which a man was reading by a lamp. At that moment the clock of the Capuchins tolled out a doleful two; it was answered by the numerous bells of Paris. Solemn, querulous, sepulchral, quavering, silvery, close at hand, or modulated into a dim echo by the distance, the voice of the inexorable hours vibrated over the capital, and then ceased.

Alas, for the heart of Cagliostro!

The solitary watcher shuddered as the metallic sounds floated in from the belfries. Although startled by the dropping of the leaf, he closed the volume, leisurely placing it between the pages as a marker—it, so brittle! so yellow! so typical of decay and mortality! The book comprised the writings of Sir Cornelius Agrippa. Having tossed the old alchemist from him with an air of overwhelming dejection, the student abandoned himself to the most sorrowful reflections.

He had but recently returned from a masked ball, and a domino of salmon-coloured satin still hung loosely over his shoulders. As the feeble light of the lamp glimmered upon the jet-bugles and steel-spangles of his costume, there was visible the perpetual contrast of his destiny,—a mingling of the most abstruse researches and the most extravagant frivolities. Jewels sparkled upon his hands and bosom; the varicose veins on his temples throbbed with a feverish precision; the fumes of the wine-cup flushed his cheek and disordered his imagination.

"Death," thought the Rosicrucian, "fills me with abhorrence; and yet life is totally devoid of happiness. Happiness! O delusive phantom of humanity, how art thou attainable? Through Fame? Fame is mine, and I am wretched. Over the realms of civilisation my name is noised abroad; in the populous cities the glory of my art resounds; when my barge glided among the palaces of Venice, the blue Adriatic was purpled with blossoms in my honour.—Fame? Fame brings not happiness to Cagliostro. Wealth? Not so. Ducats, pistoles, louis-d'or, have brought no panacea to the sorrows of Balsamo. Beauty? Nay; for, in the profligate experience of capitals, the sage is saddened with the knowledge that comeliness, at best, is but an exquisite hypocrisy. I have striven also, vainly, for contentment in the luxuries of voluptuous living. The talisman of Epicurus has evaded my grasp—the glittering bauble![5 - Béranger has already conveyed this truth through the melody of his delicious verse:—"Le vois-tu bien, là-bas, là-bas,Là-bas, là-bas? dit l'Espérance;Bourgeois, manants, rois et prelatsLui font de loin la révérence.C'est le Bonheur, dit l'Espérance.Courons, courons; doublons le pas,Pour le trouver là-bas, là-bas,Là-bas, là-bas."] The ravishing ideal Joy, has been to me not as the statue to Pygmalion: I have grovelled down in adoration at its feet, and have found it the same immobile, relentless, unresponsive image. Youth is yet mine, but it is a youth hoary in desolation. Centuries of anguish have flooded through my bosom, even in the heyday of existence. The tangible and the intangible, the visible and the invisible, the material and the immaterial, have been at deadly strife in my conjectures. The present has been to me an evasion, the future an enigma; the earth a delusion, the heavens a doubt. Even the pomp of those inexplicable stars is a new agony of indecision to my recoiling fancy[6 - "I did not dare to breathe aloud the unhallowed anguish of my mind to the majesty of the unsympathising stars."—See Falkland.]—so impassive in their unchangeableness, so awful in the quiescence of their eternal grandeur. Supreme, too, in my bewilderment, remains the problem of their revolutions—the cause of their impulsion[7 - "Motus autem siderum," such is the reverent and sententious remark of Grotius, "qui eccentrici, quique epicyclici dicuntur, manifeste ostendunt non vim materiæ, sed liberi agentis ordinationem."—See De Veritate Rel. Christ. Lib. i. § 7.] as well as of their creation. Baffled in my scrutiny of the sublime puzzle which is domed over the globe at nightfall, dizzy with the contemplation of such abysses of mystery, my thoughts have reverted to this earth, in which pleasure sparkles but to evaporate. No solace in the investigation of those infinitudes, which are only fathomable by a system revolting to my judgment—the system of a theocratic philosophy; no consolation in the dreamings evoked by the lore of the stupendous skies: my heart throbs still for the detection and the possession of happiness. Nature has endowed me with senses—five delicate and susceptible instruments—for the realisation of bodily delight. Sights of unutterable loveliness, tones of surpassing melody, perfumes of delicious fragrance, marvellous sensibilities of touch and palate, afford me so many channels for enjoyment. Still the insufficiency of the palpable and appreciable is paramount; still the everlasting dolor interposes: the appetite is satiated, the aroma palls upon the nostrils, the nerves are affected by irritability, the harmony merges into dissonance; even the beautiful becomes so far an abomination that man is 'mad for the sight of his eyes that he did see.' Such is the sterile and repulsive penalty of the searcher after happiness. Happiness! O delusive phantom of humanity, how art thou attainable?"

A thrill pervaded the frame of the visionary as he paused in his meditations. Subtle as the birth of an emotion—solemn as the presage of a disaster—terrible as the throes of dissolution, was the pang that agonised the Rosicrucian. His flesh crept upon his bones at the consciousness of a preternatural but invisible presence—the presence of an unseen visitant in the dead of the midnight! His heart quaked as it drank in, like Eliphaz, "the veins of ITS whisper."[8 - "Now, there was a word spoken to me in private, and my ears, by stealth as it were, received the veins of its whisper."—Job, chap. iv. verse 12.] There was no sound or reverberation, and yet the language streamed upon the knowledge of the listener with a distinctness beyond that of human articulation. The stillness of his solitude was only broken by the rustling of the night-breeze among the laurustines, and yet in the ears of Cagliostro there was the utterance as of unsubstantial lips—the sense as of a divine symphony—"the thunder, and the music, and the pomp" of an unearthly Voice.[9 - "There is a roaring in the bleak-grown pinesWhen Winter lifts his voice; there is a noiseAmong immortals when a god gives signWith hushing finger, how he means to loadHis tongue with the full weight of utterless thought,With thunder, and with music, and with pomp."Such are the majestic syllables which preface the speech of Saturn in Hyperion. Keats was ridding himself of the puerilities of Cockaigne when he wrote that fragment of an epic—a fragment which is unsurpassed by any modern attempt at heroic composition. In reading it, the very earth seems shaking with the footsteps of fallen divinities. Even Byron, who, like ourselves, had no great predilection for the school in which the poetic genius of John Keats was germinated, has emphatically said of Hyperion that "it seems actually inspired by the Titans, and is as sublime as Æschylus."—See Byron's Works, vol. xv., p. 92.]

"Balsamo!" it cried, "thy thoughts are blasphemy; thy lamentations are foolishness; thy mind is darkened by the glooms of a most barren dejection. Away! vain Sceptic, with the syllogisms of infidelity. The glory of the immortal will evades thy comprehension in the depths of infinitude. When in its natural brightness, the spiritual being of man reflects that glory as in a mirror. Thine is blurred by sensuality. Tranquillity is denied thee, because of the concupiscence of thy ambition. A profligate and venal career has troubled thy soul with misgivings. Thou hast scorned even the five senses—those golden portals of humanity! Know, O dreamer, that in them alone consists the enjoyment of a finite existence: know that through the virtuous use of those five senses, earthly happiness is attainable! Dost thou still tremble in thy unbelief? Arise, Balsamo, and behold the teachings of eternity!"

As the last sentence resounded in the heart of Cagliostro, up into the air floated the Rosicrucian and the Voice.

TIBERIUS

Time and distance seemed to be conquered in that mysterious ascension, and an impenetrable darkness enveloped the impostor as he felt himself carried swiftly through the atmosphere. When he had somewhat recovered, however, from his astonishment, the motion ceased, and the light of an Italian evening beamed upon him from the heavens. A scene then revealed itself around Cagliostro, the like of which his eyes had never before beheld, or his imagination, in its wildest mood, conceived.

He was standing in a secluded grove in the island of Capreæ. Fountains sparkled under the branches; blossoms of the gaudiest colours flaunted on the brambles, or enamelled the turf; laughter and music filled the air with a confusion of sweet sounds; and among the intricacies of the trees, bands of revellers flitted to and fro, clad in the antique costumes of Rome. Under the shadow of a gigantic orange-bush, upon a couch of luxurious softness and embroidered in gorgeous arabesques, there reclined the figure of an old man. His countenance was hideous with age and debauchery. Sin glimmered in the evil light of his eyes—those enormous and bloodshot eyes with which (prægrandibus oculis) the historian tells us he could see even in the night-time.[10 - Thus writes Suetonius—"prægrandibus oculis, qui, quod mirum esset, noctu etiam et in tenebris, viderent, sed ad breve, et quum primum a somno patuissent; deinde rursum hebescebant."—Tib. cap. lxviii.] Habitual intemperance had inflamed his complexion, and disfigured his skin with disgusting eruptions; while his body, naturally robust in its proportions, had become bloated with the indolence of confirmed gluttony. A garment (the toga virilis) of virgin whiteness covered his limbs; along the edge of the garment was the broad hem of Tyrian purple indicative of the imperial dignity; and around the hoary brow of the epicurean, was woven a chaplet of roses and aloe-leaves.

Cagliostro recoiled in abhorrence before a spectacle at once so austere and lascivious. His spirit quailed at the sight of a visage in which appeared to be concentrated the infamy of many centuries. His soul revolted at the sinister and ferocious expression pervading every lineament, and lurking in every wrinkle. As he gazed, however, a blithe sound startled him from the umbrage of the boughs. Quick, lively, jocund, to the clashing of her cymbals, there bounded forth an Italian maiden in the garb of a Bacchante. Her feet agile as the roe's, her eyes lustrous and defiant, her hair dishevelled, her bosom heaving, her arms symmetrical as sculpture, but glowing with the roseate warmth of youth, the virgin still rejoiced, as it were, in the tumult of the dance. Grapes of a golden-green relieved by the ruddy-brown of their foliage, clustered in a garland about her temples, and leaped in unison with her movements. Around! with her raven tresses streaming abroad in ringlets—around! with her sandals clinking on the gravel to the capricious beat of her cymbals—around! with her light robes flowing back from a jewelled brooch above the knee—singing, sparkling, undulating, circling, rustling, the Bacchante entranced the heart of the Rosicrucian. She gleamed before him like the embodiment of enthusiasm. She was the genius of motion, the divinity of the dance; she was Terpsichore in the grace of her movements, Euterpe in the ravishing sweetness of her voice. A thrill of admiration suffused with a deeper tint even the abhorred cheek of the voluptuary.

By an almost imperceptible degree, the damsel abated the ardour of her gyrations, her cymbals clashed less frequently, the song faded from her lip, the flutter of her garments ceased, the vine-fruit drooped upon her forehead. She stood before the couch palpitating with emotion, and radiant with a divine beauty. In another instant, she had prostrated herself upon the earth, for in the decrepit monster of Capreæ, she recognised the lord of the whole world—Tiberius.

"Arise, maiden of Apulia," he said, with an immediate sense that he beheld another of those innocent damsels, who were stolen from their pastoral homes on the Peninsula to become the victims of his depravity. "Arise, and slake my thirst from yonder goblet. The tongue of Tiberius is dry with the avidity of his passion."

An indescribable loathing entered into the imagination of the Bacchante even as she lay upon the grass; yet she rose with precipitation and filled a chalice to the brim with Falernian. Tiberius grasped it with an eager hand, and his mouth pressed the lip of the cup as if to drain its ruby vintage to the bottom. Suddenly, however, the eyes of the old man blazed with a raging light; the scowl of lust was forgotten; the vindictiveness of a fiend shone in his dilated eyeballs, and, with a yell of fury, he cast the goblet into the air, crying out that the wine boiled like the bowl of Pluto. He was writhing in one of those paroxysms of rage, which justified posterity in regarding him as a madman. The howling of Tiberius resounded among the verdure, as the rattle of a snake might do when it raises its deadly crest from its lair among the flowers. Quick as thought at the first sound of those inexorable accents, the grove was thronged with the revellers. They jostled each other in their solicitude to minister to the cruelty of the despot; and that cruelty was as ruthless, and as hell-born, as it was ingenious and appalling.

Obedient to a gesture of Tiberius, the Bacchante was placed upon a pedestal. For a moment, she stood before them an exquisite statue Of despair—exquisite even in the excess of her bewilderment. For a moment, she stood there stunned by the suddenness of the commotion, and frantic with the consciousness of her peril. For a moment she gazed about her for aid, wildly but, alas! vainly. No pity beamed upon her in that more horrible Gomorrah. The marble trembled under her feet—a sulphurous stench shot through its crevices—the virgin shrieked and fell forwards, scorched and blackened to a cinder. She was blasted, as if by a thunderbolt.[11 - Those who are familiar with the classic historians, will see in this description no exaggeration whatever. Instruments for the destruction of life yet more awful and mysterious, were employed by many of the predecessors, and many of the successors of Tiberius, as well as by Tiberius himself: and modern science has shown that these devices, instead of being, as was originally conjectured, the result of black-magic, were, in reality, the effect of hydraulic, pneumatic, and mechanical contrivances. Even the most marvellous feats of the Egyptian sorcerers have been latterly explained by the revelations of natural philosophy, and a multitude of these explanations may be found by the reader in the learned work "Des Sciences Occultes," &c. written by M. Eusebe Salverte, and published in Paris as recently as 1843. In that remarkable volume, M. Salverte proves that natural phenomena are more startling than necromantic tricks, and that, in the words of Roger Bacon, "non igitur oportet nos magicis illusionibus uti, cum potestas philosophica doceat operari quod sufficit." That Tiberius was capable of atrocities yet more terrific, and that murders of the most inhuman kind were the consequence of almost every one of his diabolical whims, those acquainted with the picturesque narrative of Suetonius already know. They will remember not only how he caused his nephew Germanicus to be poisoned by the governor of Syria, but how he ordered a fisherman to be torn in pieces by the claws of a crab, simply because he met him, in one of his suspicious moods, when strolling in a sequestered garden of Capreæ.—Sue. Tib. c. lx.] Cagliostro looked with horror upon the ashes of the Bacchante. He had seen youth stricken down by age; he had seen virtue annihilated, so to speak, at the mandate of vice; he had seen—and even his callous heart exulted at the thought—he had seen innocence snatched from pollution, when upon the very threshold of an earthly hell. While rejoicing in this reflection, he was aroused by the stertorous breathing of the emperor. The crowned demon of the island was being borne away to his palace upon the shoulders of his attendants. Although maddened by an insatiable thirst, and by a gloom that was becoming habitual, the monster lay upon his cushions as impotent as a child, in the midst of his diseases and iniquities.[12 - Suetonius assures us (cap. lxviii.), that the muscular strength of Tiberius Claudius Nero was, in the prime of his manhood, almost as supernatural as his crimes; that he could with his outstretched finger bore a hole through a sound apple (integrum malum digito terebraret), and wound the head of a child or even a youth with a fillip, (caput pueri, vel etiam adolescentis, talitro vulneraret.) His excesses must, however, have enervated his frame long before his death by suffocation.]

At the feet of the Rosicrucian were huddled the bones of the virgin of Apulia; and the babbling of the fountains was alone audible in the solitude.

"Such," said the mournful Voice, as Cagliostro again felt himself carried through the darkness—"such, Balsamo, are the miseries of a debauched appetite."