revealed to him; and he might, if it pleased him, excel Homer in
poetry, Apelles in painting, or Pythagoras himself in philosophy.
Although he could make gold out of brass, it was said of him, that he
was very sparing of his powers in that respect, and kept himself
constantly supplied with money by other and less creditable means.
Whenever he disbursed gold, he muttered a certain charm, known only to
himself; and next morning the gold was safe again in his own
possession. The trader to whom he gave it, might lock it in his strong
box, and have it guarded by a troop of soldiers; but the charmed metal
flew back to its old master. Even if it were buried in the earth, or
thrown into the sea, the dawn of the next morning would behold it in
the pockets of Pietro. Few people, in consequence, liked to have
dealings with such a personage, especially for gold. Some, bolder than
the rest, thought that his power did not extend over silver; but, when
they made the experiment, they found themselves mistaken. Bolts and
bars could not restrain it, and it sometimes became invisible in their
very hands, and was whisked through the air to the purse of the
magician. He necessarily acquired a very bad character; and, having
given utterance to some sentiments regarding religion which were the
very reverse of orthodox, he was summoned before the tribunals of the
Inquisition to answer for his crimes as a heretic and a sorcerer. He
loudly protested his innocence, even upon the rack, where he suffered
more torture than nature could support. He died in prison ere his
trial was concluded, but was afterwards found guilty. His bones were
ordered to be dug up, and publicly burned. He was also burned in
effigy in the streets of Padua.

RAYMOND LULLI.

While Arnold de Villeneuve and Pietro d'Apone flourished in France