Their incompatibility of character was too great. One fine morning Adam found that his erstwhile angelical wife had deserted him and run away with Lucifer, whom she had formerly known in heaven. The King-Devil apparently always succeeded somehow or other in breaking the chains with which, according to legend, he had repeatedly been bound and sealed in the lowest depths of hell. From antediluvian times the demons appear to have been attracted by the daughters of men and to have come frequently up to earth to pay court to them. The only devil who must always remain in hell is the stoker, Brendli by name. The fires of hell must not be allowed to go out. The anatomically melancholic Burton also tells of a devil who was in love with a mortal maiden. Jacques Cazotte tells the story of Beelzebub as a woman in love with an earth-born man. LUCIFER BY ANATOLE FRANCE This writer has a great sympathy for devil-lore, and many of his characters show the cloven hoof. An analyst of illusions, he has a profound interest in the greatest of illusions. An assailant of every form of superstition, he has a tender affection for the greatest of superstitions. An exponent of the radical and ironical spirit in French literature, he feels irresistibly drawn to the eternal Denier and Mocker. The story of the Florentine painter Spinello Spinelli, to whom Lucifer appeared in a dream to ask him in what place he had beheld him under so brutish a form as he had painted him, is told in Giorgio Vasari’s _Vite de’ più eccellenti Pittori, Scultori, ed Architteti_ (1550), which is the basis of the history of Italian art. It was treated by Barrili in his novel _The Devil’s Portrait_ (1882; Engl. tr. 1885), from whom Anatole France may have got the idea for his story. But there is also a mediaeval French legend about a monk (_Du moine qui contrefyt l’ymage du Diable, qui s’en corouça_), who was forced by the indignant devil to paint him in a less ugly manner.