To such a degree had the Illuminati carried this favourite and important point that they obtained the direction even of those whose office it was to prevent it. There is at Vienna, as at Berlin, an office for examining and licensing writings before they can have their course in the market. This office publishes annually an index of forbidden books. In this index are included the account of the last _Operations of Spartacus and Philo in the Order of Illuminati_, and a dissertation on _The Final Overthrow of Free Masonry_, a most excellent performance, showing the gradual corruption and final perversion of that society to a seminary of sedition. Also the Vienna _Magazine of Literature and Arts_, which contains many accounts of the interferences of the Illuminati in the disturbances of Europe. The Censor who occasioned this prohibition was an _Illuminatus_ named _Retzer_. He makes a most pitiful and Jesuitical defence, showing himself completely versant in all the chicane of the _Illuminati_, and devoted to their Infidel principles. (See _Rel. Begebenh._ 1795, p. 493.) There are two performances which give us much information respecting the state of moral and political opinions in Germany about this time. One of them is called, _Proofs of a hidden Combination to destroy the Freedom of Thought and Writing in Germany_. These proofs are general, taken from many concurring circumstances in the condition of German literature. They are convincing to a thinking mind, but are too abstracted to be very impressive on ordinary readers. The other is the _Appeal to my Country_, which I mentioned in page 84. This is much more striking, and in each branch of literature, gives a progressive account of the changes of sentiment, all supported by the evidence of the books themselves. The author puts it past contradiction, that in every species of literary composition into which it was possible, without palpable absurdity, to introduce licentious and seditious principles, it was done. Many romances, novels, journeys through Germany and other countries[18], are written on purpose to attach praise or reproach to certain sentiments, characters, and pieces of conduct. The Prince, the nobleman, is made despotic, oppressive, unfeeling or ridiculous--the poor, and the man of talents, are unfortunate and neglected--and here and there a fictitious Graff or Baron is made a divinity, by philanthropy expressed in romantic charity and kindness, or ostentatious indifference for the little honours which are so precious in the eyes of a German.--In short, the system of Weishaupt and Knigge is carried into vigorous effect over all. In both these performances, and indeed in a vast number of other pieces, I see that the influence of Nicholai is much commented on, and considered as having had the chief hand in all those innovations.