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.
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 Saturday, 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 prick 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 anticipated, 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 nobody, but thrusts her finger into everybody's affairs. My wife's mother is the principal 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 bott
om 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. . . .
We have tried the spirits by various test questions, on every one of which they have failed egregiously. Here, however, the aforesaid Mary Runnel comes into play. The other spirits have told us that the veracity of this spirit is not to be depended upon; and so, whenever it is possible, poor Mary Runnel is thrust forward to bear the odium of every mistake or falsehood. They have avowed themselves responsible for all statements signed by themselves, and have thereby brought themselves into more than one inextricable dilemma; but it is very funny, where a response or a matter of fact has not been thus certified, how invariably Mary Runnel is made to assume the discredit of it, on its turning out to be false. It is the most ingenious arrangement that could possibly have been contrived; and somehow or other, the pranks of this lying spirit give a reality to the conversations which the more respectable ghosts quite fail in imparting.
The whole matter seems to me a sort of dreaming awake. It resembles a dream, in that the whole material is, from the first, in the dreamer's mind, though concealed at various depths below the surface; the dead appear alive, as they always do in dreams; unexpected combinations occur, as continually in dreams; the mind speaks through the various persons of the drama, and sometimes astonishes itself with its own wit, wisdom, and eloquence, as often in dreams; but, in both cases, the intellectual manifestations are really of a very flimsy texture. Mary Runnel is the only personage who does not come evidently from dream-land; and she, I think, represents that lurking scepticism, that sense of unreality, of which we are often conscious, amid the most vivid phantasmagoria of a dream. I should be glad to believe in the genuineness of these spirits, if I could; but the above is the conclusion to which my soberest thoughts tend. There remains, of course, a great deal for which I cannot account, and I cannot sufficiently wonder at the pigheadedness both of metaphysicians and physiologists, in not accepting the phenomena, so far as to make them the subject of investigation.
In writing the communications, Miss — — — holds the pencil rather loosely between her fingers; it moves rapidly, and with equal facility whether she fixes her eyes on the paper or not. The handwriting has far more freedom than her own. At the conclusion of a sentence, the pencil lays itself down. She sometimes has a perception of each word before it is written; at other times, she is quite unconscious what is to come next. Her integrity is absolutely indubitable, and she herself totally disbelieves in the spiritual authenticity of what is communicated through her medium.
September 3d. — We walked into Florence yesterday, betimes after breakfast, it being comfortably cool, and a gray, English sky; though, indeed, the clouds had a tendency to mass themselves more than they do on an overcast English day. We found it warmer in Florence, but, not inconveniently so, even in the sunniest streets and squares.
We went to the Uffizi gallery, the whole of which with its contents is now familiar to us, except the room containing drawings; and our to-day's visit was especially to them. The door giving admittance to them is the very last in the gallery; and the rooms, three in number, are, I should judge, over the Loggia de' Lanzi, looking on the Grand Ducal Piazza. The drawings hang on the walls, framed and glazed; and number, perhaps, from one to two hundred in each room; but this is only a small portion of the collection, which amounts, it is said, to twenty thousand, and is reposited in portfolios. The sketches on the walls are changed, from time to time, so as to exhibit all the most interesting ones in turn. Their whole charm is artistic, imaginative, and intellectual, and in no degree of the upholstery kind; their outward presentment being, in general, a design hastily shadowed out, by means of colored crayons, on tinted paper, or perhaps scratched rudely in pen and ink; or drawn in pencil or charcoal, and half rubbed out; very rough things, indeed, in many instances, and the more interesting on that account, because it seems as if the artist had bestirred himself to catch the first glimpse of an image that did but reveal itself and vanish. The sheets, or sometimes scraps of paper, on which they are drawn, are discolored with age, creased, soiled; but yet you are magnetized by the hand of Raphael, Michael Angelo, Leonardo, or whoever may have jotted down those rough-looking master-touches. They certainly possess a charm that is lost in the finished picture; and I was more sensible of forecasting thought, skill, and prophetic design, in these sketches than in the most consummate works that have been elaborated from them. There is something more divine in these; for I suppose the first idea of a picture is real inspiration, and all the subsequent elaboration of the master serves but to cover up the celestial germ with something that belongs to himself. At any rate, the first sketch is the more suggestive, and sets the spectator's imagination at work; whereas the picture, if a good one, leaves him nothing to do; if bad, it confuses, stupefies, disenchants, and disheartens him. First thoughts have an aroma and fragrance in them, that they do not lose in three hundred years; for so old, and a good deal more, are some of these sketches.
None interested me more than some drawings, on separate pieces of paper, by Perugino, for his picture of the mother and friends of Jesus round his dead body, now at the Pitti Palace. The attendant figures are distinctly made out, as if the Virgin, and John, and Mary Magdalen had each favored the painter with a sitting; but the body of Jesus lies in the midst, dimly hinted with a few pencil-marks.
There were several designs by Michael Angelo, none of which made much impression on me; the most striking was a very ugly demon, afterwards painted in the Sistine Chapel. Raphael shows several sketches of Madonnas, — one of which has flowered into the Grand Duke's especial Madonna at the Pitti Palace, but with a different face. His sketches were mostly very rough in execution; but there were two or three designs for frescos, I think, in the Vatican, very carefully executed; perhaps because these works were mainly to be done by other hands than his own. It seems to one that the Pre-Raphaelite artists made more careful drawings than the later ones; and it rather surprised me to see how much science they possessed.
We looked at few other things in the gallery; and, indeed, it was not one of the days when works of art find me impressible. We stopped a little while in the Tribune, but the Venus de' Medici seemed to me to-day little more than any other piece of yellowish white marble. How strange that a goddess should stand before us absolutely unrecognized, even when we know by previous revelations that she is nothing short of divine! It is also strange that, unless when one feels the ideal charm of a statue, it becomes one of the most tedious and irksome things in the world. Either it must be a celestial thing or an old lump of stone, dusty and time-soiled, and tiring out your patience with eternally looking just the same. Once in a while you penetrate through the crust of the old sameness, and see the statue forever new and immortally young.
Leaving the gallery we walked towards the Duomo, and on our way stopped to look at the beautiful Gothic niches hollowed into the exterior walls of the Church of San Michele. They are now in the process of being cleaned, and each niche is elaborately inlaid with precious marbles, and some of them magnificently gilded; and they are all surmounted with marble canopies as light and graceful as frost-work. Within stand statues, St. George, and many other saints, by Donatello and others, and all taking a hold upon one's sympathies, even if they be not beautiful. Classic statues escape you with their slippery beauty, as if they were made of ice. Rough and ugly things can be clutched. This is nonsense, and yet it means something. . . . The streets were thronged and vociferative with more life and outcry than usual. It must have been market-day in Florence, for the commerce of the streets was in great vigor, narrow tables being set out in them, and in the squares
, burdened with all kinds of small merchandise, such as cheap jewelry, glistening as brightly as what we had just seen in the gem-room of the Uffizi; crockery ware; toys, books, Italian and French; silks; slippers; old iron; all advertised by the dealers with terribly loud and high voices, that reverberated harshly from side to side of the narrow streets. Italian street-cries go through the head; not that they are so very sharp, but exceedingly hard, like a blunt iron bar.
We stood at the base of the Campanile, and looked at the bas-reliefs which wreathe it round; and, above them, a row of statues; and from bottom to top a marvellous minuteness of inlaid marbles, filling up the vast and beautiful design of this heaven-aspiring tower. Looking upward to its lofty summit, — where angels might alight, lapsing downward from heaven, and gaze curiously at the bustle of men below, — I could not but feel that there is a moral charm in this faithful minuteness of Gothic architecture, filling up its outline with a million of beauties that perhaps may never be studied out by a single spectator. It is the very process of nature, and no doubt produces an effect that we know not of. Classic architecture is nothing but an outline, and affords no little points, no interstices where human feelings may cling and overgrow it like ivy. The charm, as I said, seems to be moral rather than intellectual; for in the gem-room of the Uffizi you may see fifty designs, elaborated on a small scale, that have just as much merit as the design of the Campanile. If it were only five inches long, it might be a case for some article of toilet; being two hundred feet high, its prettiness develops into grandeur as well as beauty, and it becomes really one of the wonders of the world. The design of the Pantheon, on the contrary, would retain its sublimity on whatever scale it might be represented.
Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Page 561
