Part 16 (2/2)
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 pa.s.sed. 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 fas.h.i.+on, 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 embarra.s.sed 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 ma.n.u.script 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 b.u.t.terfly flits among flowers and suns.h.i.+ne.
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 doc.u.ments, ent.i.tling him to half of the property.
But Mr. Kirkup declined the gift, as he himself was not dest.i.tute, 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 ma.n.u.script 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 a.s.sa.s.sinate 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.
September 1st.--Few things journalizable have happened during the last month, because Florence and the neighborhood have lost their novelty; and furthermore, I usually spend the whole day at home, having been engaged in planning and sketching out a romance. I have now done with this for the present, and mean to employ the rest of the time we stay here chiefly in revisiting the galleries, and seeing what remains to be seen in Florence.
Last Sat.u.r.day, August 28th, we went to take tea at Miss Blagden's, who has a weekly reception on that evening. We found Mr. Powers there, and by and by Mr. Boott and Mr. Trollope came in. Miss ------ has lately been exercising her faculties as a spiritual writing-medium; and, the conversation turning on that subject, Mr. Powers related some things that he had witnessed through the agency of Mr. Home, who had held a session or two at his house. He described the apparition of two mysterious hands from beneath a table round which the party were seated. These hands purported to belong to the aunt of the Countess Cotterel, who was present, and were a pair of thin, delicate, aged, lady-like hands and arms, appearing at the edge of the table, and terminating at the elbow in a sort of white mist. One of the hands took up a fan and began to use it. The countess then said, ”Fan yourself as you used to do, dear aunt”; and forthwith the hands waved the fan back and forth in a peculiar manner, which the countess recognized as the manner of her dead aunt.
The spirit was then requested to fan each member of the party; and accordingly, each separate individual round the table was fanned in turn, and felt the breeze sensibly upon his face. Finally, the hands sank beneath the table, I believe Mr. Powers said; but I am not quite sure that they did not melt into the air. During this apparition, Mr. Home sat at the table, but not in such a position or within such distance that he could have put out or managed the spectral hands; and of this Mr.
Powers satisfied himself by taking precisely the same position after the party had retired. Mr. Powers did not feel the hands at this time, but he afterwards felt the touch of infant hands, which were at the time invisible. He told of many of the wonders, which seem to have as much right to be set down as facts as anything else that depends on human testimony. For example, Mr. K------, one of the party, gave a sudden start and exclamation. He had felt on his knee a certain token, which could have been given him only by a friend, long ago in his grave. Mr.
Powers inquired what was the last thing that had been given as a present to a deceased child; and suddenly both he and his wife felt a p.r.i.c.k as of some sharp instrument, on their knees. The present had been a penknife.
I have forgotten other incidents quite as striking as these; but, with the exception of the spirit-hands, they seemed to be akin to those that have been produced by mesmerism, returning the inquirer's thoughts and veiled recollections to himself, as answers to his queries. The hands are certainly an inexplicable phenomenon. Of course, they are not portions of a dead body, nor any other kind of substance; they are impressions on the two senses, sight and touch, but how produced I cannot tell. Even admitting their appearance,--and certainly I do admit it as freely and fully as if I had seen them myself,--there is no need of supposing them to come from the world of departed spirits.
Powers seems to put entire faith in the verity of spiritual communications, while acknowledging the difficulty of identifying spirits as being what they pretend to be. He is a Swedenborgian, and so far prepared to put faith in many of these phenomena. As for Home, Powers gives a decided opinion that he is a knave, but thinks him so organized, nevertheless, as to be a particularly good medium for spiritual communications. Spirits, I suppose, like earthly people, are obliged to use such instruments as will answer their purposes; but rather than receive a message from a dead friend through the organism of a rogue or charlatan, methinks I would choose to wait till we meet. But what most astonishes me is the indifference with which I listen to these marvels.
They throw old ghost stories quite into the shade; they bring the whole world of spirits down amongst us, visibly and audibly; they are absolutely proved to be sober facts by evidence that would satisfy us of any other alleged realities; and yet I cannot force my mind to interest myself in them. They are facts to my understanding, which, it might have been antic.i.p.ated, would have been the last to acknowledge them; but they seem not to be facts to my intuitions and deeper perceptions. My inner soul does not in the least admit them; there is a mistake somewhere. So idle and empty do I feel these stories to be, that I hesitated long whether or no to give up a few pages of this not very important journal to the record of them.
We have had written communications through Miss ------ with several spirits; my wife's father, mother, two brothers, and a sister, who died long ago, in infancy; a certain Mary Hall, who announces herself as the guardian spirit of Miss ------; and, queerest of all, a Mary Runnel, who seems to be a wandering spirit, having relations with n.o.body, but thrusts her finger into everybody's affairs. My wife's mother is the princ.i.p.al communicant; she expresses strong affection, and rejoices at the opportunity of conversing with her daughter. She often says very pretty things; for instance, in a dissertation upon heavenly music; but there is a lack of substance in her talk, a want of gripe, a delusive show, a sentimental surface, with no bottom beneath it. The same sort of thing has struck me in all the poetry and prose that I have read from spiritual sources. I should judge that these effusions emanated from earthly minds, but had undergone some process that had deprived them of solidity and warmth. In the communications between my wife and her mother, I cannot help thinking that (Miss ------ being unconsciously in a mesmeric state) all the responses are conveyed to her fingers from my wife's mind. . . . .
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