The emblematic device he adopted is worth noting: the double C, to which he attached so much importance, representing the first and second Christ, _i.e._, Christ, the son of St. Joseph of Nazareth, and Christ, the son of the late Joseph Lazzaretti of Arcidosso. In truth, it is not in any way comprehensible what relation Christ could hold to Constantine, the latter to David, and all these to Lazzaretti. But the relation exists precisely in those strange contradictions and absurdities, which--amid the persistence of the _Prince_ idea--constantly come to the surface in monomaniacs, so that some have wished to class their disease as dementia. In fact, although they keep up the character, so to speak, far better than general paralytics, and try to give a plausible appearance to their delirium, yet, oftentimes, when overpowered with the necessity of finding a vent for their persistent ambitious idea, they pay no attention to the contradictions they fall into. A Pavia embroideress, believing herself a descendant of the Bonaparte family, modelled her dress, language, and aspect with great success on those of the members of the reigning families. Yet, while she asserted herself to be the daughter of Marie Louise, she at the same time claimed Victor Emmanuel as her father; as, on other occasions, she tried to persuade us that she had found the poison of vipers in the eggs she was eating. Thus, though at first calling on the Pope to liberate Italy, Lazzaretti, when excommunicated, or merely treated with contempt by the Pope, wrote against Papal idolatry. Though he wished to die a member of the Catholic Apostolic Church, he inveighed against auricular confession, which is the very pivot of Catholicism; and, while he called himself the son of David, he also wished to be thought the son of Constantine.