Curiosities of Literature, Vol. II | Page 9

nights; and so carefully were they kept up, that these nights had no darkness.
In all their rejoicings the ancients indeed used fires; but they were intended merely to burn their sacrifices, and, as the generality of them were performed at night, the illuminations served to give light to the ceremonies.
Artificial fires were indeed frequently used by them, but not in public rejoicings; like us, they employed them for military purposes; but we use them likewise successfully for our decorations and amusement.
From the latest times of paganism to the early ages of Christianity, we can but rarely quote instances of fire lighted up for other purposes, in a public form, than for the ceremonies of religion; illuminations were made at the baptism of princes, as a symbol of that life of light in which they were going to enter by faith; or at the tombs of martyrs, to light them during the watchings of the night. All these were abolished, from the various abuses they introduced.
We only trace the rise of feux-de-joie, or fireworks, given merely for amusing spectacles to delight the eye, to the epocha of the invention of powder and cannon, at the close of the thirteenth century. It was these two inventions, doubtless, whose effects furnished the ideas of all those machines and artifices which form the charms of these fires.
To the Florentines and the Siennese are we indebted not only for the preparation of powder with other ingredients to amuse the eyes, but also for the invention of elevated machines and decorations adapted to augment the pleasure of the spectacle. They began their attempts at the feasts of Saint John the Baptist and the Assumption, on wooden edifices, which they adorned with painted statues, from whose mouth and eyes issued a beautiful fire. Callot has engraven numerous specimens of the pageants, triumphs, and processions, under a great variety of grotesque forms:--dragons, swans, eagles, &c., which were built up large enough to carry many persons, while they vomited forth the most amusing firework.
This use passed from Florence to Rome, where, at the creation of the popes, they displayed illuminations of hand-grenadoes, thrown from the height of a castle. Pyrotechnics from that time have become an art, which, in the degree the inventors have displayed ability in combining the powers of architecture, sculpture, and painting, have produced a number of beautiful effects, which even give pleasure to those who read the descriptions without having beheld them.[6]
A pleasing account of decorated fireworks is given in the Secret Memoirs of France. In August, 1764, Torré, an Italian artist, obtained permission to exhibit a pyrotechnic operation.--The Parisians admired the variety of the colours, and the ingenious forms of his fire. But his first exhibition was disturbed by the populace, as well as by the apparent danger of the fire, although it was displayed on the Boulevards. In October it was repeated; and proper precautions having been taken, they admired the beauty of the fire, without fearing it. These artificial fires are described as having been rapidly and splendidly executed. The exhibition closed with a transparent triumphal arch, and a curtain illuminated by the same fire, admirably exhibiting the palace of Pluto. Around the columns, stanzas were inscribed, supported by Cupids, with other fanciful embellishments. Among these little pieces of poetry appeared the following one, which ingeniously announced a more perfect exhibition:
Les vents, les frimats, les orages, Eteindront ces FEUX, pour un tems; Mais, ainsi que les FLEURS, avec plus d'avautage, Ils rena?tront dans le printems.
IMITATED.
The icy gale, the falling snow, Extinction to these FIRES shall bring; But, like the FLOWERS, with brighter glow, They shall renew their charms in spring.
The exhibition was greatly improved, according to this promise of the artist. His subject was chosen with much felicity; it was a representation of the forges of Vulcan under Mount ?tna. The interior of the mount discovered Vulcan and his Cyclops. Venus was seen to descend, and demand of her consort armour for ?neas. Opposite to this was seen the palace of Vulcan, which presented a deep and brilliant perspective. The labours of the Cyclops produced numberless very happy combinations of artificial fires. The public with pleasing astonishment beheld the effects of the volcano, so admirably adapted to the nature of these fires. At another entertainment he gratified the public with a representation of Orpheus and Eurydice in hell; many striking circumstances occasioned a marvellous illusion. What subjects indeed could be more analogous to this kind of fire? Such scenical fireworks display more brilliant effects than our stars, wheels, and rockets.

THE BIBLE PROHIBITED AND IMPROVED.
The following are the express words contained in the regulation of the popes to prohibit the use of the Bible.
"As it is manifest, by experience, that if the use of the holy writers is permitted in the vulgar tongue