always, from an early age, had a keen eye for a story with a moral sticking out of it, and gave it a wide berth, though in my later years I have myself written a couple of “medicated novels,” as one of my dearest and pleasantest old friends wickedly called them, when somebody asked her if she had read the last of my printed performances. I forgave the satire for the charming esprit of the epithet. Besides the works I have mentioned, there was an old, old Latin alchemy book, with the manuscript annotations of some ancient Rosicrucian, in the pages of which I had a vague notion that I might find the mighty secret of the Lapis Philosophorum, otherwise called Chaos, the Dragon, the Green Lion, the Quinta Essentia, the Soap of Sages, the Vinegar of Philosophers, the Dew of Heavenly Grace, the Egg, the Old Man, the Sun, the Moon, and by all manner of odd aliases, as I am assured by the plethoric little book before me, in parchment covers browned like a meerschaum with the smoke of furnaces and the thumbing of dead gold seekers, and the fingering of bony-handed book-misers, and the long intervals of dusty slumber on the shelves of the bouquiniste; for next year it will be three centuries old, and it had already seen nine generations of men when I caught its eye (Alchemiae Doctrina) and recognized it at pistol-shot distance as a prize, among the breviaries and Heures and trumpery volumes of the old open-air dealer who exposed his treasures under the shadow of St. Sulpice. I have never lost my taste for alchemy since I first got hold of the Palladium Spagyricum of Peter John Faber, and sought—in vain, it is true—through its pages for a clear, intelligible, and practical statement of how I could turn my lead sinkers and the weights of tall kitchen clock into good yellow gold, specific gravity 19.2, and exchangeable for whatever I then wanted, and for many more things than I was then aware of. One of the greatest pleasures of childhood found in the mysteries which it hides from the skepticism of the elders, and works up into small mythologies of its own. I have seen all this played over again in adult life,—the same delightful bewilderment semi-emotional belief in listening to the gaseous praises of this or that fantastic system, that I found in the pleasing mirages conjured up for me by the ragged old volume I used to pore over in the southeast attic-chamber.     

       The rooms of the second story, the chambers of birth and death, are sacred to silent memories.     

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