ery side, knew not which to prefer. As these wretches
uttered religious maxims in the same breath with the most stimulant
descriptions of voluptuousness, Faustus imagined himself authorised in
believing that they merely made use of religion to appease the cravings
of passion, revolted by their shameful deeds and wickedness.

The next day after their arrival, Faustus and the Devil were invited to
dinner by the Cardinal Caesar Borgia, one of the many illegitimates of
the Pope. He received them in the most splendid manner, and promised to
introduce them to his holiness. They went on horseback, attended by a
retinue of servants, to the Vatican, and Faustus and the Devil kissed the
toe of the Pope: the German performed this act of devotion with all the
fervour of a good Christian Catholic; but the Devil muttered to himself,
"If Alexander knew who I am, I should, most probably, see him at my own
feet." After the usual ceremonies were over, the Pope invited them into
his private apartments, where he spoke to them very freely, and made them
acquainted with his other illegitimates, the famous Lucretia; Francisco
Borgia, Duke of Candia, &c.

The Pope found the society of the handsome and well-made Leviathan so
much to his liking, that, from the first interview, he showed him
particular favour, which grew at length, as we shall see, to the closest
intimacy. Faustus attached himself to Cardinal Borgia, who gave him such
a glowing description of the pleasures and temptations of Rome, that he
hardly knew whether he was in the Vatican or in the Temple of Venus. The
Cardinal made him more nearly acquainted with his sister, who was married
to Alphonso of Arragon. This siren displayed voluptuousness and
sensuality in a form and face so attractive and charming, that Faustus
stood before her like one enchanted.

Faustus and the Devil went one evening to the Vatican to see a play,
which astonished the young German more than any thing he had yet seen at
the papal court. It was the _Mandragola_ which was represented. The
noble Machiavel had composed this licentious and satirical piece, in
order to lay before the eyes of the court of Rome a striking picture of
the boundless corruption of the clergy, and to prove that to be the sole
cause of the dissolute lives of the laity. But he deceived himself in
his honourable design: the _Mandragola_ was applauded, not on account of
its morality, which was not understood, but of its licentious