Nov. 15th. Strange! That idiot of a Prefect's son, who has heard me talk a hundred times of Medea da Carpi, suddenly recollects that, when he was a child at Urbania, his nurse used to threaten him with a visit from Madonna Medea, who rode in the sky on a black he-goat. My Duchess Medea turned into a bogey for naughty little boys!
Nov. 20th. -- I have been going about with a Bavarian Professor of medieval history, showing him all over the country. Among other places we went to Rocca Sant' Elmo, to see the former villa of the Dukes of Urbania, the villa where Medea was confined between the accession of Duke Robert and the conspiracy of Marcantonio Frangipani, which caused her removal to the nunnery immediately outside the town. A long ride up the desolate Apennine valleys, bleak beyond words just now with their thin fringe of oak scrub turned russet, thin patches of grass sered by the frost, the last few yellow leaves of the poplars by the torrents shaking and fluttering about in the chill Tramontana; the mountain-tops are wrapped in thick grey cloud; to-morrow, if the wind continues, we shall see them round masses of snow against the cold blue sky. Sant' Elmo is a wretched hamlet high on the Apennine ridge, where the Italian vegetation is already replaced by that of the North. You ride for miles through leafless chestnut woods, the scent of the soaking brown leaves filling the air, the roar of the torrent, turbid with autumn rains, rising from the precipice below; then suddenly the leafless chestnut woods are replaced, as at Vallombrosa, by a belt of black, dense fir plantations. Emerging from these, you come to an open space, frozen blasted meadows, the rocks of snow clad peak, the newly fallen snow, close above you; and in the midst, on a knoll, with a gnarled larch on either side, the ducal villa of Sant' Elmo, a big black stone box with a stone escutcheon, grated windows, and a double flight of steps in front. It is now let out to the proprietor of the neighboring woods, who uses it for the storage of chestnuts, faggots, and charcoal from the neighboring ovens. We tied our horses to the iron rings and entered: an old woman, with disheveled hair, was alone in the house. The villa is a mere hunting-lodge, built by Ottobuona IV., the father of Dukes Guidalfonso and Robert, about 1530. Some of the rooms have at one time been frescoed and paneled with oak carvings, but all this has disappeared. Only, in one of the big rooms, there remains a large marble fireplace, similar to those in the palace at Urbania, beautifully carved with Cupids on a blue ground; a charming naked boy sustains a jar on either side, one containing clove pinks, the other roses. The room was filled with stacks of faggots.
We returned home late, my companion in excessively bad humor at the fruitlessness of the expedition. We were caught in the skirt of a snowstorm as we got into the chestnut woods. The sight of the snow falling gently, of the earth and bushes whitened all round, made me feel back at Posen, once more a child. I sang and shouted, to my companion's horror. This will be a bad point against me if reported at Berlin. A historian of twenty-four who shouts and sings, and that when another historian is cursing at the snow and the bad roads! All night I lay awake watching the embers of my wood fire, and thinking of Medea da Carpi mewed up, in winter, in that solitude of Sant' Elmo, the firs groaning, the torrent roaring, the snow falling all round; miles and miles away from human creatures. I fancied I saw it all, and that I, somehow, was Marcantonio Frangipani come to liberate her -- or was it Prinzivalle degli Ordelaffi? I suppose it was because of the long ride, the unaccustomed pricking feeling of the snow in the air; or perhaps the punch which my professor insisted on drinking after dinner.
Nov. 23rd. -- Thank goodness, that Bavarian professor has finally departed! Those days he spent here drove me nearly crazy. Talking over my work, I told him one day my views on Medea da Carpi; whereupon he condescended to answer that those were the usual tales due to the mythopœic (old idiot!) tendency of the Renaissance; that research would disprove the greater part of them, as it had disproved the stories current about the Borgias, &c.; that, moreover, such a woman as I made out was psychologically and physiologically impossible. Would that one could say as much of such professors as he and his fellows!
Nov. 24th. -- I cannot get over my pleasure in being rid of that imbecile; I felt as if I could have throttled him every time he spoke of the Lady of my thoughts -- for such she has become -- Metea, as the animal called her!
Nov. 30th. -- I feel quite shaken at what has just happened; I am beginning to fear that that old pedant was right in saying that it was bad for me to live all alone in a strange country, that it would make me morbid. It is ridiculous that I should be put into such a state of excitement merely by the chance discovery of a portrait of a woman dead these three hundred years. With the case of my uncle Ladislas, and other suspicions of insanity in my family, I ought really to guard against such foolish excitement.
Yet the incident was really dramatic, uncanny. I could have sworn that I knew every picture in the palace here; and particularly every picture of Her. Anyhow, this morning, as I was leaving the Archives, I passed through one of the many small rooms -- irregular-shaped closets -- which filled up the ins and outs of this curious palace, turreted like a French château. I must have passed through that closet before, for the view was so familiar out of its window; just the particular bit of round tower in front, the cypress on the other side of the ravine, the belfry beyond, and the piece of the line of Monte Sant' Agata and the Leonessa, covered with snow, against the sky. I suppose there must be twin rooms, and that I had got into the wrong one; or rather, perhaps some shutter had been opened or curtain withdrawn. As I was passing, my eye was caught by a very beautiful old mirror-frame let into the brown and yellow inlaid wall. I approached, and looking at the frame, looked also, mechanically, into the glass. I gave a great start, and almost shrieked, I do believe -- (it's lucky the Munich professor is safe out of Urbania!). Behind my own image stood another, a figure close to my shoulder, a face close to mine; and that figure, that face, hers! Medea da Carpi's! I turned sharp round, as white, I think, as the ghost I expected to see. On the wall opposite the mirror, just a pace or two behind where I had been standing, hung a portrait. And such a portrait! -- Bronzino never painted a grander one. Against a background of harsh, dark blue, there stands out the figure of the Duchess (for it is Medea, the real Medea, a thousand times more real, individual, and powerful than in the other portraits), seated stiffly in a high-backed chair, sustained, as it were, almost rigid, by the stiff brocade of skirts and stomacher, stiffer for plaques of embroidered silver flowers and rows of seed pearl. The dress is, with its mixture of silver and pearl, of a strange dull red, a wicked poppy-juice colour, against which the flesh of the long, narrow hands with fringe-like fingers; of the long slender neck, and the face with bared forehead, looks white and hard, like alabaster. The face is the same as in the other portraits: the same rounded forehead, with the short fleece-like, yellowish-red curls; the same beautifully curved eyebrows, just barely marked; the same eyelids, a little tight across the eyes; the same lips, a little tight across the mouth; but with a purity of line, a dazzling splendor of skin, and intensity of look immeasurably superior to all the other portraits.
She looks out of the frame with a cold, level glance; yet the lips smile. One hand holds a dull red rose; the other, long, narrow, tapering, plays with a thick rope of silk and gold and jewels hanging from the waist; round the throat, white as marble, partially confined in the tight dull-red bodice, hangs a gold collar, with the device on alternate enameled medallions, "AMOUR DURE -- DURE AMOUR."
On reflection, I see that I simply could never have been in that room or closet before; I must have mistaken the door. But, although the explanation is so simple, I still, after several hours, feel terribly shaken in all my being. If I grow so excitable I shall have to go to Rome at Christmas for a holiday. I feel as if some danger pursued me here (can it be fever?); and yet, and yet, I don't see how I shall ever tear myself away.
Dec. 10th. -- I have made an effort, and accepted the Vice-Prefect's son's invitation to see the oil-making at a villa of theirs near the coast. The villa, or farm, is an old
fortified, towered place, standing on a hillside among olive-trees and little osier-bushes, which look like a bright orange flame. The olives are squeezed in a tremendous black cellar, like a prison: you see, by the faint white daylight, and the smoky yellow flare of resin burning in pans, great white bullocks moving round a huge millstone; vague figures working at pulleys and handles: it looks, to my fancy, like some scene of the Inquisition. The Cavaliere regaled me with his best wine and rusks. I took some long walks by the seaside; I had left Urbania wrapped in snow-clouds; down on the coast there was a bright sun; the sunshine, the sea, the bustle of the little port on the Adriatic seemed to do me good. I came back to Urbania another man. Sor Asdrubale, my landlord, poking about in slippers among the gilded chests, the Empire sofas, the old cups and saucers and pictures which no one will buy, congratulated me upon the improvement in my looks. "You work too much," he says; "youth requires amusement, theaters, promenades, amori -- it is time enough to be serious when one is bald" -- and he took off his greasy red cap. Yes, I am better! and, as a result, I take to my work with delight again. I will cut them out still, those wiseacres at Berlin!
Dec. 14th. -- I don't think I have ever felt so happy about my work. I see it all so well, -- that crafty, cowardly Duke Robert; that melancholy Duchess Maddalena; that weak, showy, would-be chivalrous Duke Guidalfonso; and above all, the splendid figure of Medea. I feel as if I were the greatest historian of the age; and, at the same time, as if I were a boy of twelve. It snowed yesterday for the first time in the city, for two good hours. When it had done, I actually went into the square and taught the ragamuffins to make a snow man; no, a snow woman; and I had the fancy to call her Medea. "La pessima Medea!" cried one of the boys -- "the one who used to ride through the air on a goat?" "No, no," I said; "she was a beautiful lady, the Duchess of Urbania, the most beautiful woman that ever lived." I made her a crown of tinsel, and taught the boys to cry "Evviva, Medea!" But one of them said, "She is a witch! She must be burned!" At which they all rushed to fetch burning faggots and tow; in a minute the yelling demons had melted her down.
Dec. 15th. What a goose I am, and to think I am twenty-four, and known in literature! In my long walks I have composed to a tune (I don't know what it is) which all the people are singing and whistling in the street at present, a poem in frightful Italian, beginning "Medea, mia dea," calling on her in the name of her various lovers. I go about humming between my teeth, "Why am I not Marcantonio? or Prinzivalle? or he of Narni? or the good Duke Alfonso? that I might be beloved by thee, Medea, mia dea," &c. &c. Awful rubbish! My landlord, I think, suspects that Medea must be some lady I met while I was staying by the seaside. I am sure Sora Serafina, Sora Lodovica, the Sora Adalgisa -- the three Parcæ or Norns, as I call them -- have some such notion. This afternoon, at dusk, while tidying my room, Sora Lodovica said to me, "How beautifully the Signorino has taken to singing!" I was scarcely aware that I had been vociferating, "Vieni, Medea, mia dea," while the old lady bobbed about making up my fire. I stopped; a nice reputation I shall get! I thought, and all this will somehow get to Rome, and thence to Berlin. Sora Lodovica was leaning out of the window, pulling in the iron hook of the shrine-lamp which marks Sor Asdrubale's house. As she was trimming the lamp previous to swinging it out again, she said in her odd, prudish little way, "You are wrong to stop singing, my son" (she varies between calling me Signor Professore and such terms of affection as "Nino," "Viscere mie," &c.); "you are wrong to stop singing, for there is a young lady there in the street who has actually stopped to listen to you."
I ran to the window. A woman, wrapped in a black shawl, was standing in an archway, looking up to the window.
"Eh, eh! the Signor Professore has admirers," said Sora Lodovica.
"Medea, mia dea!" I burst out as loud as I could, with a boy's pleasure in disconcerting the inquisitive passer-by. She turned suddenly round to go away, waving her hand at me; at that moment Sora Lodovica swung the shrine-lamp back into its place. A stream of light fell across the street. I felt myself grow quite cold; the face of the woman outside was that of Medea da Carpi!
What a fool I am, to be sure!
PART II
Dec. 17th. -- I fear that my craze about Medea da Carpi has become well-known, thanks to my silly talk and idiotic songs. That Vice-Prefect's son -- or the assistant at the Archives, or perhaps some of the company at the Contessa's, is trying to play me a trick! But take care, my good ladies and gentlemen, I shall pay you out in your own coin! Imagine my feelings when, this morning, I found on my desk a folded letter addressed to me in a curious handwriting which seemed strangely familiar to me, and which, after a moment, I recognized as that of the letters of Medea da Carpi at the Archives. It gave me a horrible shock. My next idea was that it must be a present from someone who knew my interest in Medea -- a genuine letter of hers on which some idiot had written my address instead of putting it into an envelope. But it was addressed to me, written to me, no old letter; merely four lines, which ran as follows
"TO SPIRIDION. -- A person who knows the interest you bear her will be at the Church of San Giovanni Decollato this evening at nine. Look out, in the left aisle, for a lady wearing a black mantle, and holding a rose."
By this time I understood that I was the object of a conspiracy, the victim of a hoax. I turned the letter round and round. It was written on paper such as was made in the 16th century, and in an extraordinarily precise imitation of Medea da Carpi's characters. Who had written it? I thought over all the possible people. On the whole, it must be the Vice-Prefect's son, perhaps in combination with his lady-love, the Countess. They must have torn a blank page off some old letter; but that either of them should have had the ingenuity of inventing such a hoax, or the power of committing such a forgery, astounds me beyond measure. There is more in these people than I should have guessed. How pay them off? By taking no notice of the letter? Dignified, but dull. No, I will go; perhaps someone will be there, and I will mystify them in their turn. Or, if no one is there, how I shall crow over them for their imperfectly carried out plot! Perhaps this is some folly of the Cavaliere Muzio's to bring me into the presence of some lady whom he destines to be the flame of my future amori. That is likely enough. And it would be too idiotic and professorial to refuse such an invitation; the lady must be worth knowing who can forge 16th-century letters like this, for I am sure that languid swell Muzio never could. I will go! By Heaven! I'll pay them back in their own coin! It is now five -- how long these days are!
Dec. 18th. -- Am I mad? Or are there really ghosts? That adventure of last night has shaken me to the very depth of my soul.
I went at nine, as the mysterious letter had bid me. It was bitterly cold, and the air full of fog and sleet; not a shop open, not a window unshuttered, not a creature visible; the narrow black streets, precipitous between their high walls and under their lofty archways, were only the blacker for the dull light of an oil-lamp here and there, with its flickering yellow reflection on the wet flags. San Giovanni Decollato is a little church, or rather oratory, which I have always hitherto seen shut up (as so many churches here are shut up except on great festivals); and situate behind the ducal palace, on a sharp ascent, and forming the bifurcation of two steep paved lanes. I have passed by the place a hundred times, and scarcely noticed the little church, except for the marble high relief over the door, showing the grizzly head of the Baptist in the charger, and for the iron cage close by, in which were formerly exposed the heads of criminals; the decapitated, or, as they call him here, decollated, John the Baptist, being apparently the patron of axe and block.
A few strides took me from my lodgings to San Giovanni Decollato. I confess I was excited; one is not twenty-four and a Pole for nothing. On getting to the kind of little platform at the bifurcation of the two precipitous streets, I found, to my surprise, that the windows of the church or oratory were not lighted, and that the door was locked! So this was the precious joke that had been played upon me; to send me on a bitter cold, sleety nigh
t, to a church which was shut up and had perhaps been shut up for years! I don't know what I couldn't have done in that moment of rage; I felt inclined to break open the church door, or to go and pull the Vice-Prefect's son out of bed (for I felt sure that the joke was his). I determined upon the latter course; and was walking towards his door, along the black alley to the left of the church, when I was suddenly stopped by the sound as of an organ close by; an organ, yes, quite plainly, and the voice of choristers and the drone of a litany. So the church was not shut, after all! I retraced my steps to the top of the lane. All was dark and in complete silence. Suddenly there came again a faint gust of organ and voices. I listened; it clearly came from the other lane, the one on the right-hand side. Was there, perhaps, another door there? I passed beneath the archway, and descended a little way in the direction whence the sounds seemed to come. But no door, no light, only the black walls, the black wet flags, with their faint yellow reflections of flickering oil-lamps; moreover, complete silence. I stopped a minute, and then the chant rose again; this time it seemed to me most certainly from the lane I had just left. I went back -- nothing. Thus backwards and forwards, the sounds always beckoning, as it were, one way, only to beckon me back, vainly, to the other.
THE SUPERNATURAL OMNIBUS Page 34
