Such in its main outlines and in its “principal links” of evidence is the _Proofs of a Conspiracy against all the Religions and Governments of Europe_. Yet to obtain a just appraisal of the book it must not be overlooked that its author wrote an additional one hundred and fifty pages, not of “proofs” but of argument, partly to defend errors of judgment he may have committed in his treatment of the subject, but chiefly to persuade his fellow countrymen that the principles of Illuminism were false and to urge them to turn a deaf ear to these doctrines. We turn now to consider another and much more elaborate exposition of the Illuminati-French Revolution legend. Almost at the moment of the appearance of Robison’s book, there appeared in French, at London and Hamburg, a far more finished production, devoted to the same thesis and bearing the title, _Mémoires pour servir à l’histoire du Jacobinisme_.[545] Its author, the Abbé Barruel,[546] who had been trained as a Jesuit, enjoying literary talents much superior to those of Robison and relying upon documentary evidence more copious if not more convincing, defined his purpose in the following manner: We shall show that with which it is incumbent on all nations and their chiefs to be acquainted: we shall demonstrate that, even to the most horrid deeds perpetrated during the French Revolution, everything was foreseen and resolved on, was combined and premeditated: that they were the offspring of deep-thought villainy, since they had been prepared and were produced by men, who alone held the clue of those plots and conspiracies, lurking in the secret meetings where they had been conceived, and only watching the favorable moment of bursting forth. Though the events of each day may not appear to have been combined, there nevertheless existed a secret agent and a secret cause, giving rise to each event, and turning each circumstance to the long-sought-for end. Though circumstances may often have afforded the pretense of the occasion, yet the grand cause of the revolution, its leading features, its atrocious crimes, will still remain one continued chain of deep-laid and premeditated villainy.[547] The amazing breadth of Barruel’s canvass, as well as the naiveté of the artist, are immediately disclosed in his foreword respecting the “triple conspiracy” which he proposes to lay bare.[548] To present this “triple conspiracy” in his own words will do more than define the abbé’s conception of his task: its transparent incoordination will make it apparent that much of the work of examination that might otherwise seem to be called for is futile.