Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (667 page)

August 3d. — Yesterday afternoon William Story called on me, he being on a day or two's excursion from Siena, where he is spending the summer with his family. He was very entertaining and conversative, as usual, and said, in reply to my question whether he were not anxious to return to Cleopatra, that he had already sketched out another subject for sculpture, which would employ him during next winter. He told me, what I was glad to hear, that his sketches of Italian life, intended for the “Atlantic Monthly,” and supposed to be lost, have been recovered. Speaking of the superstitiousness of the Italians, he said that they universally believe in the influence of the evil eye. The evil influence is supposed not to be dependent on the will of the possessor of the evil eye; on the contrary, the persons to whom he wishes well are the very ones to suffer by it. It is oftener found in monks than in any other class of people; and on meeting a monk, and encountering his eye, an Italian usually makes a defensive sign by putting both hands behind him, with the forefingers and little fingers extended, although it is a controverted point whether it be not more efficacious to extend the hand with its outspread fingers towards the suspected person. It is considered an evil omen to meet a monk on first going out for the day. The evil eye may be classified with the phenomena of mesmerism. The Italians, especially the Neapolitans, very generally wear amulets. Pio Nono, perhaps as being the chief of all monks and other religious people, is supposed to have an evil eye of tenfold malignancy; and its effect has been seen in the ruin of all schemes for the public good so soon as they are favored by him. When the pillar in the Piazza de' Spagna, commemorative of his dogma of the Immaculate Conception, was to be erected, the people of Rome refused to be present, or to have anything to do with it, unless the pope promised to abstain from interference. His Holiness did promise, but so far broke his word as to be present one day while it was being erected, and on that day a man was killed. A little while ago there was a Lord Clifford, an English Catholic nobleman, residing in Italy, and, happening to come to Rome, he sent his compliments to Pio Nono, and requested the favor of an interview. The pope, as it happened, was indisposed, or for some reason could not see his lordship, but very kindly sent him his blessing. Those who knew of it shook their heads, and intimated that it would go ill with his lordship now that he had been blessed by Pio Nono, and the very next day poor Lord Clifford was dead! His Holiness had better construe the scriptural injunction literally, and take to blessing his enemies.

I walked into town with J —
 
—
 
— this morning, and, meeting a monk in the Via Furnace, I thought it no more than reasonable, as the good father fixed his eyes on me, to provide against the worst by putting both hands behind me, with the forefingers and little fingers stuck out.

In speaking of the little oratory connected with U —
 
— 's chamber, I forgot to mention the most remarkable object in it. It is a skull, the size of life (or death). . . . This part of the house must be very old, probably coeval with the tower. The ceiling of U —
 
— 's apartment is vaulted with intersecting arches; and adjoining it is a very large saloon, likewise with a vaulted and groined ceiling, and having a cushioned divan running all round the walls. The windows of these rooms look out on the Val d' Arno.

The apartment above this saloon is of the same size, and hung with engraved portraits, printed on large sheets by the score and hundred together, and enclosed in wooden frames. They comprise the whole series of Roman emperors, the succession of popes, the kings of Europe, the doges of Venice, and the sultans of Turkey. The engravings bear different dates between 1685 and thirty years later, and were executed at Rome.

August 4th. — We ascended our tower yesterday afternoon to see the sunset. In my first sketch of the Val d' Arno I said that the Arno seemed to hold its course near the bases of the hills. I now observe that the line of trees which marks its current divides the valley into two pretty equal parts, and the river runs nearly east and west. . . . At last, when it was growing dark, we went down, groping our way over the shaky staircases, and peeping into each dark chamber as we passed. I gratified J —
 
— - exceedingly by hitting my nose against the wall. Reaching the bottom, I went into the great saloon, and stood at a window watching the lights twinkle forth, near and far, in the valley, and listening to the convent bells that sounded from Monte Olivetto, and more remotely still. The stars came out, and the constellation of the Dipper hung exactly over the Val d' Arno, pointing to the North Star above the hills on my right.

August 12th. — We drove into town yesterday afternoon, with Miss Blagden, to call on Mr. Kirkup, an old Englishman who has resided a great many years in Florence. He is noted as an antiquarian, and has the reputation of being a necromancer, not undeservedly, as he is deeply interested in spirit-rappings, and holds converse, through a medium, with dead poets and emperors. He lives in an old house, formerly a residence of the Knights Templars, hanging over the Arno, just as you come upon the Ponte Vecchio; and, going up a dark staircase and knocking at a door on one side of the landing-place, we were received by Mr. Kirkup. He had had notice of our visit, and was prepared for it, being dressed in a blue frock-coat of rather an old fashion, with a velvet collar, and in a thin waistcoat and pantaloons fresh from the drawer; looking very sprucely, in short, and unlike his customary guise, for Miss Blagden hinted to us that the poor gentleman is generally so untidy that it is not quite pleasant to take him by the hand. He is rather low of stature, with a pale, shrivelled face, and hair and beard perfectly white, and the hair of a particularly soft and silken texture. He has a high, thin nose, of the English aristocratic type; his eyes have a queer, rather wild look, and the eyebrows are arched above them, so that he seems all the time to be seeing something that strikes him with surprise. I judged him to be a little crack-brained, chiefly on the strength of this expression. His whole make is delicate, his hands white and small, and his appearance and manners those of a gentleman, with rather more embroidery of courtesy than belongs to an Englishman. He appeared to be very nervous, tremulous, indeed, to his fingers' ends, without being in any degree disturbed or embarrassed by our presence. Finally, he is very deaf; an infirmity that quite took away my pleasure in the interview, because it is impossible to say anything worth while when one is compelled to raise one's voice above its ordinary level.

He ushered us through two or three large rooms, dark, dusty, hung with antique-looking pictures, and lined with bookcases containing, I doubt not, a very curious library. Indeed, he directed my attention to one case, and said that he had collected those works, in former days, merely for the sake of laughing at them. They were books of magic and occult sciences. What he seemed really to value, however, were some manuscript copies of Dante, of which he showed us two: one, a folio on parchment, beautifully written in German text, the letters as clear and accurately cut as printed type; the other a small volume, fit, as Mr. Kirkup said, to be carried in a capacious mediaeval sleeve. This also was on vellum, and as elegantly executed as the larger one; but the larger had beautiful illuminations, the vermilion and gold of which looked as brilliant now as they did five centuries ago. Both of these books were written early in the fourteenth century. Mr. Kirkup has also a plaster cast of Dante's face, which he believes to be the original one taken from his face after death; and he has likewise his own accurate tracing from Giotto's fresco of Dante in the chapel of the Bargello. This fresco was discovered through Mr. Kirkup's means, and the tracing is particularly valuable, because the original has been almost destroyed by rough usage in drawing out a nail that had been driven into the eye. It represents the profile of a youthful but melancholy face, and has the general outline of Dante's features in other portraits.

Dante has held frequent communications with Mr. Kirkup through a medium, the poet being described by the medium as wearing the same dress seen in the youthful portrait, but as hearing more resemblance to the cast taken from his dead face than to the picture from his youthful one.

There was a very good picture of Savonarola in one of the rooms, and many other portraits, paintings, and drawings, some of them ancient, and others the work of Mr. Kirkup himself. He has the torn fragment of an exquisite drawing of a nude figure by Rubens, and a portfolio of other curious drawings. And besides books and works of art, he has no end of antique knick-knackeries, none of which we had any time to look at; among others some instruments with which nuns used to torture themselves in their convents by way of penance. But the greatest curiosity of all, and no antiquity, was a pale, large-eyed little girl, about four years old, who followed the conjurer's footsteps wherever he went. She was the brightest and merriest little thing in the world, and frisked through those shadowy old chambers, among the dead people's trumpery, as gayly as a butterfly flits among flowers and sunshine.

The child's mother was a beautiful girl named Regina, whose portrait Mr. Kirkup showed us on the wall. I never saw a more beautiful and striking face claiming to be a real one. She was a Florentine, of low birth, and she lived with the old necromancer as his spiritual medium. He showed us a journal, kept during her lifetime, and read from it his notes of an interview with the Czar Alexander, when that potentate communicated to Mr. Kirkup that he had been poisoned. The necromancer set a great value upon Regina, . . . . and when she died he received her poor baby into his heart, and now considers it absolutely his own. At any rate, it is a happy belief for him, since he has nothing else in the world to love, and loves the child entirely, and enjoys all the bliss of fatherhood, though he must have lived as much as seventy years before he began to taste it.

The child inherits her mother's gift of communication with the spiritual world, so that the conjurer can still talk with Regina through the baby which she left, and not only with her, but with Dante, and any other great spirit that may choose to visit him. It is a very strange story, and this child might be put at once into a romance, with all her history and environment; the ancient Knight Templar palace, with the Arno flowing under the iron-barred windows, and the Ponte Vecchio, covered with its jewellers' shops, close at hand; the dark, lofty chambers with faded frescos on the ceilings, black pictures hanging on the walls, old books on the shelves, and hundreds of musty antiquities, emitting an odor of past centuries; the shrivelled, white-bearded old man, thinking all the time of ghosts, and looking into the child's eyes to seek them; and the child herself, springing so freshly out of the soil, so pretty, so intelligent, so playful, with never a playmate save the conjurer and a kitten. It is a Persian kitten, and lay asleep in a window; but when I touched it, it started up at once in as gamesome a mood as the child herself.

The child looks pale, and no wonder, seldom or never stirring out of that old palace, or away from the river atmosphere. Miss Blagden advised Mr. Kirkup to go with her to the seaside or into the country, and he did not deny that it might do her good, but seemed to be hampered by an old man's sluggishness and dislike of change. I think he will not live a great while, for he seems very frail. When he dies the little girl will inherit what property he may leave. A lady, Catharine Fleeting, an Englishwoman, and a friend of Mr. Kirkup, has engaged to take her in charge. She followed us merrily to the door, and so did the Persian kitten, and Mr. Kirkup shook hands with us, over and over again, with vivacious courtesy, his manner having been characterized by a great deal of briskness throughout the interview. He expressed himself delighted to have met one (whose books he had read), and said that the day would be a memorable one to him, — which I did not in the least believe.

Mr. Kirkup is an intimate friend of Trelawny, author of “Adventures of a Younger Son,” and, long ago, the latter promised him that, if he ever came into possession of the family estate, he would divide it with him. Trelawny did really succeed to the estate, and lost no time in forwarding to his friend the legal documents, entitling him to half of the property. But Mr. Kirkup declined the gift, as he himself was not destitute, and Trelawny had a brother. There were two pictures of Trelawny in the saloons, one a slight sketch on the wall, the other a half-length portrait in a Turkish dress; both handsome, but indicating no very amiable character. It is not easy to forgive Trelawny for uncovering dead Byron's limbs, and telling that terrible story about them, — equally disgraceful to himself, be it truth or a lie.

It seems that Regina had a lover, and a sister who was very disreputable It rather adds than otherwise to the romance of the affair, — the idea that this pretty little elf has no right whatever to the asylum which she has found. Her name is Imogen.

The small manuscript copy of Dante which he showed me was written by a Florentine gentleman of the fourteenth century, one of whose ancestors the poet had met and talked with in Paradise.

August 19th. — Here is a good Italian incident, which I find in Valery. Andrea del Castagno was a painter in Florence in the fifteenth century; and he had a friend, likewise a painter, Domenico of Venice. The latter had the secret of painting in oils, and yielded to Castagno's entreaties to impart it to him. Desirous of being the sole possessor of this great secret, Castagno waited only the night to assassinate Domenico, who so little suspected his treachery, that he besought those who found him bleeding and dying to take him to his friend Castagno, that he might die in his arms. The murderer lived to be seventy-four years old, and his crime was never suspected till he himself revealed it on his death-bed. Domenico did actually die in Castagno's arms. The death scene would have been a good one for the latter to paint in oils.