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