copyist, and used to sit at the corner of the Rue de Marivaux, and practise his calling: but he hardly made profits 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 the sole study and object of his life. 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 process was clearly explained; the vessels, the retorts, the mixtures, and the proper times and seasons for the 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 beefsteak, 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, but they all departed as wise as they came. Nobody could make anything either of Nicholas or his pictures; and some even went so far as to say that his invaluable book was not worth a farthing. This was not to be borne; and Nicholas resolved to discover the great secret by himself, without troubling the philosophers. He found on the first page, of the fourth leaf, the picture of Mercury, attacked by an old man resembling Saturn or Time. The latter had an hourglass on his head, and in his hand a scythe, with which he aimed a blow at Mercury’s feet. The reverse of the leaf represented a flower growing on a mountain top, shaken rudely by the wind, with a blue stalk, red and white blossoms, and leaves of pure gold. Around it were a great number of dragons and griffins. On the first page of the fifth leaf was a fine garden, in the midst of which was a rose tree in full bloom, supported against the trunk of a gigantic oak. At the foot of this there bubbled up a fountain of milk-white water, which forming a small stream, flowed through the garden, and was afterwards lost in the sands. On the second page was a King, with a sword in his hand, superintending a number of soldiers, who, in execution of his orders, were killing a great multitude of young children, spurning the prayers and tears of their mothers, who tried to save them from destruction. The blood of the children was carefully collected by another party of soldiers, and put into a large vessel, in which two allegorical figures of the Sun and Moon were bathing themselves.

For twenty-one years poor Nicholas wearied himself with the study of these pictures, but still he could make nothing of them. His wife Petronella at last persuaded him to find out some learned Rabbi; but there was no Rabbi in Paris learned enough to be of any service to him. The Jews met but small encouragement to fix their abode in France, and all the chiefs of that people were located in Spain. To Spain accordingly