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diff --git a/32786-h/32786-h.htm b/32786-h/32786-h.htm new file mode 100644 index 0000000..8d0287f --- /dev/null +++ b/32786-h/32786-h.htm @@ -0,0 +1,11974 @@ +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=US-ASCII" /> +<title>Legends of Florence, by Charles Godfrey Leland</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + margin-bottom: .75em; + } + P.gutsumm { margin-left: 5%;} + P.poetry {margin-left: 3%; } + H1, H2 { + text-align: center; + margin-top: 2em; + margin-bottom: 2em; + } + H3, H4, H5 { + text-align: center; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + } + table { border-collapse: collapse; } +table {margin-left:auto; margin-right:auto;} + td { vertical-align: top; border: 1px solid black;} + td p { margin: 0.2em; } + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + + .smcap {font-variant: small-caps;} + + .pagenum {position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-weight: normal; + color: gray; + } + img { border: none; } + img.dc { float: left; width: 50px; height: 50px; } + div.gapspace { height: 0.8em; } + div.gapline { height: 0.8em; width: 30%; } + div.gapshortdoubleline { height: 0.3em; width: 20%; + margin-left: 40%; border-top: 1px solid; + border-bottom: 1px solid; } + div.gapdoubleline { height: 0.3em; width: 50%; + margin-left: 25%; border-top: 1px solid; + border-bottom: 1px solid;} + div.gapshortline { height: 0.3em; width: 20%; margin-left:40%; + border-top: 1px solid; } + .citation {vertical-align: super; + font-size: .8em; + text-decoration: none;} + img.floatleft { float: left; + margin-right: 1em; + margin-top: 0.5em; margin-bottom: 0.5em; } + img.floatright { float: right; + margin-left: 1em; margin-top: 0.5em; + margin-bottom: 0.5em; } + img.clearcenter {display: block; + margin-left: auto; + margin-right: auto; margin-top: 0.5em; + margin-bottom: 0.5em} + --> + /* XML end ]]>*/ + </style> +</head> +<body> +<pre> + +The Project Gutenberg eBook, Legends of Florence, by Charles Godfrey Leland + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Legends of Florence + Collected from the People, First Series + + +Author: Charles Godfrey Leland + + + +Release Date: June 12, 2010 [eBook #32786] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK LEGENDS OF FLORENCE*** +</pre> +<p>Transcribed from the 1895 David Nutt edition by David Price, +email ccx074@pglaf.org</p> +<h1>Legends of Florence<br /> +Collected from the People</h1> +<p style="text-align: center"><i>And Re-told</i><br /> +<i>by</i><br /> +<i>Charles Godfrey Leland</i><br /> +(<i>Hans Breitmann</i>)</p> +<div class="gapspace"> </div> +<p style="text-align: center">First Series</p> +<div class="gapspace"> </div> +<p style="text-align: center"><i>LONDON</i>: <i>DAVID NUTT</i><br +/> +270–71 <i>STRAND</i><br /> +1895</p> +<p style="text-align: center"><!-- page iv--><a +name="pageiv"></a><span class="pagenum">p. iv</span><i>Printed +by</i> <span class="smcap">Ballantyne</span>, <span +class="smcap">Hanson & Co.</span><br /> +<i>At the Ballantyne Press</i></p> +<h2><!-- page v--><a name="pagev"></a><span class="pagenum">p. +v</span>PREFACE</h2> +<p>This book consists almost entirely of legends or traditions of +a varied character, referring to places and buildings in +Florence, such as the Cathedral and Campanile, the Signoria, the +Bargello, the different city gates, ancient towers and bridges, +palaces, crosses, and fountains, noted corners, odd by-ways, and +many churches. To all of these there are tales, or at least +anecdotes attached, which will be found as entertaining to the +general reader as they will be interesting, not to say valuable, +to the folklorist and the student of social history; but here I +must leave the work to speak for itself.</p> +<p>I originally intended that this should be entirely a +collection of relics of ancient mythology, with superstitions and +sorceries, witchcraft and incantations, or what may be called +occult folk-lore, of which my work on “Etruscan-Roman +Remains in Popular Tradition” consists, and of which I have +enough additional material to make a large volume. But +having resolved to add to it local legends, and give them the +preference, I found that the latter so abounded, and were so +easily collected by an expert, that I was obliged to cast out my +occult folk-lore, piece by piece, if I ever hoped to get into the +port of publication, according to terms with the underwriters, +following the principle laid down by the illustrious Poggio, <!-- +page vi--><a name="pagevi"></a><span class="pagenum">p. +vi</span>that in a storm the heaviest things must go overboard +first, he illustrating the idea with the story of the Florentine, +who, having heard this from the captain when at sea in a tempest, +at once threw his wife into the raging billows—<i>perche +non haveva cosa più grave di lei</i>—because there +was nought on earth which weighed on him so heavily.</p> +<p>There are several very excellent and pleasant works on Old +Florence, such as that portion devoted to it in the “Cities +of Central Italy,” by A. J. C. Hare; the “Walks about +Florence,” by the Sisters Horner; “Florentine +Life,” by Scaife; and the more recent and admirable book by +Leader Scott, which are all—I say it +advisedly—indispensable for those who would really know +something about a place which is unusually opulent in ancient, +adventurous, or artistic associations. My book is, however, +<i>entirely</i> different from these, and all which are +exclusively taken from authentic records and books. My +tales are, with a few exceptions, derived directly or indirectly +from the people themselves—having been recorded in the +local dialect—the exceptions being a few anecdotes racy of +the soil, taken from antique jest-books and such bygone halfpenny +literature as belonged to the multitude, and had its origin among +them. These I could not, indeed, well omit, as they every +one refer to some peculiar place in Florence. To these I +must add several which remained obscurely in my memory, but which +I did not record at the time of hearing or reading, not having +then the intention of publishing such a book.</p> +<p>It has been well observed by Wordsworth that minor local +legends sink more deeply into the soul than greater <!-- page +vii--><a name="pagevii"></a><span class="pagenum">p. +vii</span>histories, as is proved by the fact that romantic +folk-lore spreads far and wide over the world, completely +distancing in the race the records of mighty men and their +deeds. The magic of Washington Irving has cast over the +Catskills and the Hudson, by means of such tales, an +indescribable fascination, even as Scott made of all Scotland a +fairyland; for it is indisputable that a strange story, or one of +wild or quaint adventure, or even of humour, goes further to fix +a place in our memory than anything else can do. Therefore +I have great hope that these fairy-tales of Florence, and strange +fables of its fountains, palaces, and public places—as they +are truly gathered from old wives, and bear in themselves +unmistakable evidences of antiquity—will be of real use in +impressing on many memories much which is worth retaining, and +which would otherwise have been forgotten.</p> +<p>The manner in which these stories were collected was as +follows:—In the year 1886 I made the acquaintance in +Florence of a woman who was not only skilled in fortune-telling, +but who inherited as a family gift from generations, skill in +witchcraft—that is, a knowledge of mystical cures, the +relieving people who were bewitched, the making amulets, and who +had withal a memory stocked with a literally incredible number of +tales and names of spirits, with the invocations to them, and +strange rites and charms. She was a native of the Romagna +Toscana, where there still lurks in the recesses of the mountains +much antique Etrusco-Roman heathenism, though it is disappearing +very rapidly. Maddalena—such was her name—soon +began to communicate to me all her lore. <!-- page +viii--><a name="pageviii"></a><span class="pagenum">p. +viii</span>She could read and write, but beyond this never gave +the least indication of having opened a book of any kind; albeit +she had an immense library of folk-lore in her brain. When +she could not recall a tale or incantation, she would go about +among her extensive number of friends, and being perfectly +familiar with every dialect, whether Neapolitan, Bolognese, +Florentine, or Venetian, and the ways and manners of the poor, +and especially of witches, who are the great repositories of +legends, became in time wonderfully well skilled as a +collector. Now, as the proverb says, “Take a thief to +catch a thief,” so I found that to take a witch to catch +witches, or detect their secrets, was an infallible means to +acquire the arcana of sorcery. It was in this manner that I +gathered a great part of the lore given in my +“Etruscan-Roman Remains.” I however collected +enough, in all conscience, from other sources, and verified it +all sufficiently from classic writers, to fully test the honesty +of my authorities.</p> +<p>The witches in Italy form a class who are the repositories of +all the folk-lore; but, what is not at all generally known, they +also keep as strict secrets an <i>immense</i> number of legends +of their own, which have nothing in common with the nursery or +popular tales, such as are commonly collected and +published. The real witch-story is very often only a frame, +so to speak, the real picture within it being the <i>arcanum</i> +of a long <i>scongiurazione</i> or incantation, and what +ingredients were used to work the charm. I have given +numbers of these real witch-tales in my “Etruscan-Roman +Remains,” and a few, such as “Orpheus and +Eurydice,” “Intialo,” and “Il +Moschone,” in this work.</p> +<p>Lady Vere de Vere, who has investigated witchcraft as <!-- +page ix--><a name="pageix"></a><span class="pagenum">p. +ix</span>it exists in the Italian Tyrol, in an admirable article +in <i>La Rivista</i> of Rome (June 1894)—which article has +the only demerit of being too brief—tells us that +“the Community of Italian Witches is regulated by laws, +traditions, and customs of the most secret kind, possessing +special recipes for sorcery,” which is perfectly +true. Having been free of the community for years, I can +speak from experience. The more occult and singular of +their secrets are naturally not of a nature to be published, any +more than are those of the Voodoos. Some of the milder sort +may be found in the story of the “Moscone, or Great +Fly,” in this work. The great secret for scholars is, +however, that these pagans and heretics, who are the last who +cling to a heathen creed out-worn in Europe—these outcast +children of the Cainites, Ultra-Taborites, and similar ancient +worshippers of the devil, are really the ones who possess the +most valuable stores of folk-lore, that is to say, such as +illustrate the first origins of the religious Idea, its +development, and specially the evolution of the Opposition or +Protestant principle.</p> +<p>As regards the many legends in this book which do not +illustrate such serious research, it is but natural that witches, +who love and live in the Curious, should have preserved more even +of them than other people, and it was accordingly among her +colleagues of the mystic spell that Maddalena found tales which +would have been long sought for elsewhere, of which this book is +a most convincing proof in itself; for while I had resolved on +second thought to make it one of simple local tales, there still +hangs over most—even of these—a dim, unholy air of +sorcery, a witch <i>aura</i>, a lurid light, a something eerie +<!-- page x--><a name="pagex"></a><span class="pagenum">p. +x</span>and uncanny, a restless hankering for the broom and the +supernatural. Those tales are Maddalena’s every +line—I pray thee, reader, not to make them mine. The +spirit will always speak.</p> +<p>Very different, indeed, from these are the contributions of +Marietta Pery, the <i>improvvisatrice</i>, though even she in +good faith, and not for fun, had a horseshoe for luck; which, +however, being of an artistic turn, she had elegantly gilded, and +also, like a true Italian, wore an amulet. She, too, knew +many fairy tales, but they were chiefly such as may be found +among the <i>Racconti delle Fate</i>, and the variants which are +now so liberally published. She had, however, a rare, I may +almost say a refined, taste in these, as the poems which I have +given indicate.</p> +<p>I must also express my obligations to Miss Roma Lister, a lady +born in Italy of English parentage, who is an accomplished +folk-lorist and collector, as was shown by her paper on the +<i>Legends of the Castelli Romani</i>, read at the first meeting +of the Italian Folk-Lore Society, founded by Count Angelo de +Gubernatis, the learned and accomplished Oriental scholar, and +editor of <i>La Rivista</i>. I would here say that her +researches in the vicinity of Rome have gone far to corroborate +what I published in the “Etruscan-Roman +Remains.” I must also thank Miss Teresa Wyndham for +sundry kind assistances, when I was ill in Siena.</p> +<p>There is no city in the world where, within such narrow limit, +Art, Nature, and History have done so much to make a place +beautiful and interesting as Florence. It is one where we +feel that there has been vivid and varied <i>life</i>—life +such as was led by Benvenuto Cellini and a <!-- page xi--><a +name="pagexi"></a><span class="pagenum">p. xi</span>thousand like +him—and we long more than elsewhere to enter into it, and +know how those men in quaint and picturesque garb thought and +felt four hundred years ago. Now, as at the present day +politics and news do not enter into our habits of thought more +than goblins, spirits of fountains and bridges, legends of +palaces and towers, and quaint jests of friar or squire, did into +those of the olden time, I cannot help believing that this book +will be not only entertaining, but useful to all who would study +the spirit of history thoroughly. The folk-lore of the +future has a far higher mission than has as yet been dreamed for +it; it is destined to revive for us the inner sentiment or +habitual and peculiar life of man as he was in the olden time +more perfectly than it has been achieved by fiction. This +will be done by bringing before the reader the facts or +<i>phenomena</i> of that life itself in more vivid and familiar +form. Admitting this, the reader can hardly fail to see +that the writer who gathers up with pains whatever he can collect +of such materials as this book contains does at least some slight +service to Science.</p> +<p>And to conclude—with the thing to which I would +specially call attention—I distinctly state that (as will +be very evident to the critical reader) there are in this book, +especially in the second series, which I hope to bring out later, +certain tales, or anecdotes, or jests, which are either based on +a very slight foundation of tradition—often a mere +hint—or have been so “written up” by a runaway +pen—and mine is an “awful bolter”—that +the second-rate folk-lorist, whose forte consists not in finding +facts but faults, may say in truth, as one of his kind did in +America: “Mr. Leland is throughout <!-- page xii--><a +name="pagexii"></a><span class="pagenum">p. +xii</span>inaccurate.” In these numerous instances, +which are only “folk-lore” run wild, as Rip Van +Winkle, Sleepy Hollow, and Heine’s Gods in Exile are +legend, I have, I hope, preserved a certain <i>spirit</i> of +truth, though I have <i>sans mercy</i> sacrificed the letter, +even as the redcap goblins, which haunt old houses, are said to +be the ghosts of infants sacrificed by witches, or slain by their +mothers, in order to make <i>folletti</i> or imps of them.</p> +<p>Now as for this reconstructing Hercules from a foot, instead +of giving the fragment, at which few would have glanced, the +success consists in the skill attained, and the approbation of +the reader. And with this frank admission, that in a +certain number of these tales the utmost liberty has been taken, +I conclude.</p> +<p style="text-align: right">CHARLES GODFREY LELAND.</p> +<p><span class="smcap">Florence</span>, <i>April</i> 6, 1894.</p> +<h2><!-- page xiii--><a name="pagexiii"></a><span +class="pagenum">p. xiii</span>CONTENTS</h2> +<table> +<tr> +<td><p> </p> +</td> +<td><p style="text-align: right"><span +class="smcap">page</span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Three Horns of Messer +Guicciardini</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page1">1</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Pills of the Medici</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page6">6</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Furicchia</span>, <span +class="smcap">or the Egg-Woman of the Mercato Vecchio</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page11">11</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Lanterns of the Strozzi +Palace</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page17">17</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Goblin of La Via Del +Corno</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page21">21</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Frate Giocondo</span>, <span +class="smcap">the Monk of Santa Maria Novella</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page26">26</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Legend of the Croce al +Trebbio</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page31">31</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Two Fairies of the Well</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page36">36</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Story of the Via Delle Serve +Smarrite</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page41">41</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Bronze Boar of the Mercato +Nuovo</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page47">47</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Fairy of the Campanile</span>, +<span class="smcap">or the Tower of Giotto</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page51">51</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Goblin of the Tower Della +Trinita</span>, <span class="smcap">or the Porta San +Niccolo</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page54">54</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Ghost of Michel Angelo</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page59">59</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Apparition of Dante</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page62">62</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of La Certosa</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page66">66</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of the Bridges in +Florence</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page74">74</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Bashful Lover</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page85">85</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">La Fortuna</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page87">87</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Story of the Unfinished +Palace</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page91">91</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Devil of the Mercato +Vecchio</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page98">98</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Seeing that All was Right</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page107">107</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Enchanted Cow of La Via +Vacchereccia</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page109">109</a></span></p> +</td> +</tr> +<tr> +<td><p><!-- page xiv--><a name="pagexiv"></a><span +class="pagenum">p. xiv</span><span class="smcap">The Witch of the +Porta Alla Croce</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page114">114</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Column of Cosimo</span>, <span +class="smcap">or Della Santa Trinita</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page118">118</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of Or’ San +Michele</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page122">122</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Witch of the Arno</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page132">132</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Stories of San Miniato</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page141">141</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Frair’s Head of Santa Maria +Maggiore—The Lady who Confessed for Everybody—Holy +Relics</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page149">149</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Biancone</span>, <span +class="smcap">the Giant Statue in the Signoria</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page152">152</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Red Goblin of the +Bargello</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page160">160</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of San Lorenzo</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page167">167</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of the Piazza San +Biagio</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page174">174</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Spirit of the Porta San +Gallo</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page176">176</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Story of the Podestà who was +Long on his Journey</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page179">179</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Legends of the Boboli Gardens: the Old +Gardener</span>, <span class="smcap">and the Two Statues and the +Fairy</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page184">184</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">How La Via Della Mosca got its +Name</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page188">188</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Roman Vase</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page194">194</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Unfortunate Priest</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page201">201</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Mysterious Fig-Tree</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page205">205</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Il Palazzo Feroni</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page211">211</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">La Via Delle Belle Donne</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page219">219</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">The Wizard with Red Teeth</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page221">221</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Orpheus and Eurydice</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page225">225</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Intialo: the Spirit of the Haunting +Shadow</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page237">237</a></span></p> +</td> +</tr> +<tr> +<td><p><span class="smcap">Cain and his Worshippers</span></p> +</td> +<td><p style="text-align: right"><span class="indexpageno"><a +href="#page254">254</a></span></p> +</td> +</tr> +</table> +<h2><!-- page 1--><a name="page1"></a><span class="pagenum">p. +1</span>THE THREE HORNS OF MESSER GUICCIARDINI</h2> +<blockquote><p>“More plenty than the fabled horn<br /> +Thrice emptied could pour forth at banqueting.”</p> +<p style="text-align: right">—<span +class="smcap">Keats</span>, <i>The Earlier Version of</i> +“<i>Hyperion</i>.”</p> +<p>“Prosperity is often our worst enemy, making us vicious, +frivolous, and insolent, so that to bear it well is a better test +of a man than to endure adversity.”—<span +class="smcap">Gicciardini</span>, <i>Maxims</i>, No. 64.</p> +</blockquote> +<p>I did not know when I first read and translated the following +story, which was obtained for me and written out by Maddalena, +that it had any reference to the celebrated historian and +moralist, Guicciardini. How I did so forms the subject of a +somewhat singular little incident, which I will subsequently +relate.</p> +<p style="text-align: center"><span class="smcap">Le Tre +Corne</span>.</p> +<p>“There was an elderly man, a very good, kind-hearted, +wise person, who was gentle and gay with every one, and much +beloved by his servants, because they always found him <i>buono +ed allegro</i>—pleasant and jolly. And often when +with them while they were at their work, he would say, +‘<i>Felice voi poveri</i>!’—‘Oh, how +lucky you are to be poor!’ And they would reply to +him, singing in the old Tuscan fashion, because they knew it +pleased him:</p> +<blockquote><p>“‘O caro Signor, you have gold in +store,<br /> + With all to divert yourself;<br /> +Your bees make honey, you’ve plenty of money,<br /> + And victuals upon the shelf:<br /> +A palace you have, and rich attire,<br /> +And everything to your heart’s desire.’</p> +</blockquote> +<p><!-- page 2--><a name="page2"></a><span class="pagenum">p. +2</span>“Then he would reply merrily:</p> +<blockquote><p>“‘My dear good folk, because you are +poor<br /> +You are my friends, and all the more,<br /> +For the poor are polite to all they see,<br /> +And therefore blessed be Poverty!’</p> +</blockquote> +<p>“Then a second servant sang:</p> +<blockquote><p>“‘Oh bello gentile mio +Signor’,<br /> +Your praise of poverty ’d soon be o’er<br /> +If you yourself for a time were poor;<br /> +For nothing to eat, and water to drink,<br /> +Isn’t so nice as you seem to think,<br /> +And a lord who lives in luxury<br /> +Don’t know the pressure of poverty.’</p> +</blockquote> +<p>“Then all would laugh, and the jolly old lord would sing +in his turn:</p> +<blockquote><p>“‘O charo servitor’,<br /> + Tu parli tanto bene,<br /> +Ma il tuo parlar<br /> + A me non mi conviene.’ . . .</p> +<p>“‘My boy, you answer well,<br /> +But with false implication;<br /> +For what to me you tell<br /> +Has no true application;<br /> +How oft I heard you say<br /> +(You know ’tis true, you sinner!)<br /> +“I am half-starved to-day,<br /> +How I’ll enjoy my dinner!”<br /> +Your hunger gives you health<br /> +And causes great delight,<br /> +While I with all my wealth<br /> +Have not an appetite.’</p> +</blockquote> +<p>“Then another servant sang, laughing:</p> +<blockquote><p>“‘Dear master, proverbs say,<br /> + I have heard them from my birth,<br /> +That of all frightful beasts<br /> + Which walk upon the earth,<br /> +Until we reach the bier,<br /> + Wherever man may be,<br /> +There’s nothing which we fear<br /> + So much as poverty.’</p> +</blockquote> +<p>“And so one evening as they were merrily improvising and +throwing <i>stornelli</i> at one another in this fashion, the +Signore went to his street-door, and there beheld three ladies of +stately form; for though they were veiled and dressed in the +plainest black long robes, it was evident that they were of high +rank. Therefore the old lord saluted them courteously, and +seeing <!-- page 3--><a name="page3"></a><span class="pagenum">p. +3</span>that they were strangers, asked them whither they were +going. But he had first of all had them politely escorted +by his servants into his best reception-room. <a +name="citation3a"></a><a href="#footnote3a" +class="citation">[3a]</a></p> +<p>“And the one who appeared to be the chief replied:</p> +<p>“‘Truly we know not where we shall lodge, for in +all Florence there is, I trow, not a soul who, knowing who we are +would receive us.’</p> +<p>“‘And who art thou, lady?’ asked the +Signore. And she replied:</p> +<blockquote><p>“‘Io mi chiamo, e sono,<br /> +La Poverta in persona,<br /> +E queste due donzelle,<br /> +Sono le mie sorelle,<br /> +Chi voi non conoscete<br /> +La Fame e la Sete!’</p> +<p>“‘I am one whom all throw curse on.<br /> +I am Poverty in person;<br /> +Of these ladies here, the younger<br /> +Is my sister, known as Hunger,<br /> +And the third, who’s not the worst,<br /> +Is dreaded still by all as Thirst.’</p> +</blockquote> +<p>“‘Blessed be the hour in which ye entered my +house!’ cried the Signore, delighted. ‘Make +yourselves at home, rest and be at ease as long as you +like—<i>sempre sarei benglieto</i>.’</p> +<p>“‘And why are you so well disposed towards +me?’ inquired Poverty.</p> +<p>“‘Because, lady, I am, I trust, sufficiently wise +with years and experience to know that everything must not be +judged from the surface. Great and good art thou, since but +for thee the devil a beggar in the world would ever move a finger +to do the least work, and we should all be in mouldy green +misery. Well hath it been said that ‘Need makes the +old woman trot,’ <a name="citation3b"></a><a +href="#footnote3b" class="citation">[3b]</a> and likewise that +<i>Poverta non guasta gentilezza</i>—‘Poverty doth +not degrade true nobility,’ as I can perceive by thy +manner, O noble lady. Thou, Poverty, art the mother of +Industry, and grandmother of Wealth, Health, and Art; thou makest +all men work; but for thee there would be no harvests, yea, all +the fine things in the world are due to Want.’</p> +<p><!-- page 4--><a name="page4"></a><span class="pagenum">p. +4</span>“‘And I?’ said Dame Hunger. +‘Dost thou also love me?’</p> +<p>“‘<i>Si</i>, <i>Dio ti benedicha</i>!’ +replied the Signore. ‘<i>La fame ghastiga il +ghiotto</i>’—‘Hunger corrects gluttony.</p> +<blockquote><p>“‘Hunger causes our delight,<br /> +For it gives us appetite;<br /> +For dainties without hunger sent<br /> +Form a double punishment.’</p> +</blockquote> +<p>‘Hunger is the best sauce.’ Thou makest men +bold, for <i>chane affamato non prezza bastone</i>—a hungry +dog fears no stick. Thou makest the happiness of every +feast.’</p> +<p>“‘<i>Ed io</i>, <i>Signore</i>?’ said +Thirst. ‘Hast thou also a good word for +me?’</p> +<p>“‘<i>A Dio</i>, <i>grazie</i>! God be +praised that thou art. For without thee I should have no +wine. Nor do men speak in pity of any one when they say in +a wine-shop, “He is thirsty enough to drink up the +Arno.” I remember a Venetian who once said, coming to +a feast, “I would not take five gold <i>zecchini</i> for +this thirst which I now have.” And to sum it all up, +I find that poverty with want to urge it is better than wealth +without power to enjoy, and, taking one with another, the poor +are honester and have better hearts than the rich.’</p> +<p>“‘Truly thou art great,’ replied +Poverty. ‘<i>Gentile</i>, <i>buono</i>, <i>e +galantuomo a parlare</i>—gentle, good, and noble in thy +speech. In such wise thou wilt ever be rich, for as thou +art rich thou art good and charitable. And thou hast well +said that Plenty comes from us, and it is we who truly own the +horn of plenty; and therefore take from me this horn as a gift, +and while thou livest be as rich as thou art good and +wise!’</p> +<p>“‘And I,’ said Hunger, ‘give thee +another, and while it is thine thou shalt never want either a +good appetite nor the means to gratify it. For thou hast +seen the truth that I was not created to starve men to death, but +to keep them from starving.’</p> +<p>“‘And I,’ said Thirst, ‘give thee a +third horn of plenty; that is, plenty of wine and temperate +desire—<i>e buon pro vi faccia</i>. Much good may it +do you!’</p> +<p>“Saying this they vanished, and he would have thought it +all a dream but for the three horns which they left behind +them. So he had a long life and a happy, and in gratitude +to his benefactresses he placed on his shield three horns, as men +may see them to this day.”</p> +<div class="gapspace"> </div> +<p>When I received this legend, I did not know that the <!-- page +5--><a name="page5"></a><span class="pagenum">p. 5</span>three +horns on a shield form the coat of arms of Messer Guicciardini, +the historian, nor had I ever seen them. It happened by +pure chance I went one day with my wife and Miss Roma Lister, who +is devoted to folk-lore, to make my first visit to Sir John Edgar +at his home, the celebrated old mediæval palazzo, the Villa +Guicciardini, Via Montugli.</p> +<p>On the way we passed the Church of the Annunciata, and while +driving by I remarked that there were on its wall, among many +shields, several which had on them a <i>single</i> hunting-horn, +but that I had never seen three together, but had heard of such a +device, and was very anxious to find it, and learn to what family +it belonged.</p> +<p>What was my astonishment, on arriving at the villa or palazzo, +at beholding on the wall in the court a large shield bearing the +three horns. Sir John Edgar informed me that it was the +shield of the Guicciardini family, who at one time inhabited the +mansion. I related to him the story, and he said, “I +should think that tale had been invented by some one who knew +Guicciardini, the author, very well, for it is perfectly inspired +with the spirit of his writings. It depicts the man himself +as I have conceived him.”</p> +<p>Then we went into the library, where my host showed me +Fenton’s translation of the “History” of +Guicciardini and his “Maxims” in Italian, remarking +that the one which I have placed as motto to this chapter was in +fact an epitome of the whole legend.</p> +<p>I should observe, what did not before occur to me, that the +family palace of the Guicciardini is in the Via Guicciardini, +nearly opposite to the house of Machiavelli, and that it is there +that the fairies probably called, if it was in the +winter-time.</p> +<h2><!-- page 6--><a name="page6"></a><span class="pagenum">p. +6</span>THE PILLS OF THE MEDICI</h2> +<blockquote><p>“When I upon a time was somewhat ill,<br /> +Then every man did press on me a cure;<br /> +And when my wife departed, all of them<br /> +Came crowding round, commending me a spouse;<br /> +But now my ass is dead, not one of them<br /> +Has offered me another—devil a one!”—<i>Spanish +Jests</i>.</p> +<p>“<i>Tu vai cercando il mal</i>, <i>come fanno i +Medici</i>”—“Thou goest about seeking evil, +even as the Medici do, and of thee and of them it may be said, +<i>Anagyram commoves</i>.”—<i>Italian Proverbs</i>, +<span class="smcap">a.d.</span> 1618.</p> +</blockquote> +<p>The higher a tree grows, the more do petty animals burrow into +its roots, and displace the dirt to show how it grew in lowly +earth; and so it is with great families, who never want for such +investigators, as appears by the following tale, which refers to +the origin of the Medicis, yet which is withal rather merry than +malicious.</p> +<p style="text-align: center"><span class="smcap">D’uno +Medico che curava gli Asini</span>.</p> +<p>“It was long ago—so long, Signore Carlo, that the +oldest olive-tree in Tuscany had not been planted, and when +wolves sometimes came across the Ponte Vecchio into the town to +look into the shop-windows, and ghosts and witches were as common +by night as Christians by day, that there was a man in Florence +who hated work, and who had observed, early as the age was, that +those who laboured the least were the best paid. And he was +always repeating to himself:</p> +<blockquote><p>“‘Con arte e con inganno,<br /> +Si vive mezzo l’anno,<br /> +Con inganno, e con arte,<br /> +Si vive l’altra parte.’</p> +</blockquote> +<p>“Or in English:</p> +<blockquote><p>“‘With tricks and cleverness, +’tis clear,<br /> +A man can live six months i’ the year,<br /> +And then with cleverness and tricks<br /> +He’ll live as well the other six.’</p> +</blockquote> +<p><!-- page 7--><a name="page7"></a><span class="pagenum">p. +7</span>“Now having come across a recipe for making pills +which were guaranteed to cure everything, he resolved to set up +for an universal doctor, and that with nothing but the pills to +aid. So he went forth from Florence, wandering from one +village to another, selling his pills, curing some people, and +getting, as often happens, fame far beyond his deserts, so that +the peasants began to believe he could remedy all earthly +ills.</p> +<p>“And at last one day a stupid contadino, who had lost +his ass, went to the doctor and asked him whether by his art and +learning he could recover for him the missing animal. +Whereupon the doctor gave him six pills at a <i>quattrino</i> (a +farthing) each, and bade him wander forth thinking intently all +the time on the delinquent donkey, and, to perfect the spell, to +walk in all the devious ways and little travelled tracks, +solitary by-paths, and lonely <i>sentieri</i>, ever repeating +solemnly, ‘<i>Asino mio</i>! <i>asino mio</i>! <i>Tu +che amo come un zio</i>!’</p> +<blockquote><p>“‘Oh my ass! my ass! my ass!<br /> +Whom I loved like an uncle,<br /> + Alas! alas!’</p> +</blockquote> +<p>“And having done this for three days, it came to pass, +and no great wonder either, that he found Signore Somaro (or Don +Key) comfortably feasting in a dark lane on thistles. After +which he praised to the skies the virtue of the wonderful pills, +by means of which one could find strayed cattle. And from +this dated the doctor’s success, so that he grew rich and +founded the family of the Medici, who, in commemoration of this +their great ancestor, put the six pills into their shield, as you +may see all over Florence to this day.”</p> +<div class="gapspace"> </div> +<p>There is given in the “Facezie” a story which may +be intended as a jest on this family. It is as follows:</p> +<blockquote><p>“It happened once that a certain doctor or +<i>medico</i>, who was by no means wanting in <i>temerita</i> or +bold self-conceit, was sent as ambassador to Giovanna la Superba, +or Joanna the Proud, Queen of Naples. And this Florentine +Medico having heard many tales of the gallantries of the royal +lady, thought he would try the chance, and thereby greatly please +himself, and also the better advance his political aims. +Therefore, at the first interview, he told her that he was +charged with a secret mission, which could only be confided to +her ‘between <!-- page 8--><a name="page8"></a><span +class="pagenum">p. 8</span>four eyes,’ or in private. +So he was taken by her into a room, where he bluntly made a +proposal of love. <a name="citation8"></a><a href="#footnote8" +class="citation">[8]</a></p> +<p>“Then the Queen, not in the least discomposed, looking +straight at him, asked if that was one of the questions or +demands with which he had been charged by the Florentines. +At which he blushed like a beet and had no more to say, having +learned that a bold beggar deserves a stern refusal.”</p> +</blockquote> +<p>The name of the Medici naturally gave rise to many jests, and +one of these is narrated of Gonella, a famous +<i>farceur</i>. It is as follows:</p> +<blockquote><p>“One morning, at the table of the Grand Duke +Lorenzo, there was a discussion as to the number and proportion +of those who followed different trades and callings, one +declaring that there were more clothmakers, another more priests +than any others, till at last the host asked Gonella his +opinion.</p> +<p>“‘I am sure,’ said Gonella, ‘that +there are more doctors than any other kind of people—<i>e +non accade dubitarne</i>—and there is no use in doubting +it.’</p> +<p>“‘Little do you know about it,’ replied the +Duke, ‘if you do not know that in all this city there are +only two or three accredited physicians.’</p> +<p>“‘With how little knowledge,’ answered +Gonella, ‘can a state be governed. It seems, O +Excellency, that you have so much to do that you do not know what +is in your city, nor what the citizens do.’ And the +result of the debate was a bet, and Gonella took every bet +offered, his stakes being small and the others great—<i>A +quattrino e quattrino si fa il fiorino</i>—Farthings to +farthings one by one make a pound when all is done.</p> +<p>“The next morning Gonella, having well wrapped up his +throat and face in woollen stuff, stood, looking pitifully +enough, at the door of the Duomo, and every one who passed asked +him what was the matter, to which he replied, ‘All my teeth +ache terribly.’ And everybody offered him an +infallible remedy, which he noted down, and with it the name of +him who gave it. And then going about town, he made out +during the day a list of three hundred prescribers, with as many +prescriptions.</p> +<p><!-- page 9--><a name="page9"></a><span class="pagenum">p. +9</span>“And last of all he went to the palace at the hour +of supper, and the Grand Duke seeing him so wrapped up, asked the +cause, and hearing that it was toothache, also prescribed a +sovereign remedy, and Gonella put it with the name of the Duke at +the head of the list. And going home, he had the whole +fairly engrossed, and the next day, returning to the palace, was +reminded of his bets. Whereupon he produced the paper, and +great was the laughter which it caused, since it appeared by it +that all the first citizens and nobles of Florence were +physicians, and that the Grand Duke himself was their first +Medico. So it was generally admitted that Gonella had won, +and they paid him the money, with which he made merry for many +days.”</p> +</blockquote> +<p>This tale has been retold by many a writer, but by none better +than by an American feuilletoniste, who improved it by giving a +number of the prescriptions commended. Truly it has been +well said that at forty years of age every man is either a fool +or a physician.</p> +<p>I have another legend of the Medici, in which it is declared +that their armorial symbol is a key, and in which they are spoken +of as wicked and cruel. It is as follows:</p> +<p style="text-align: center"><span class="smcap">I +Medici</span>.</p> +<blockquote><p>“The Palazzo Medici is situated in the Borgo +degli Albizzi, and this palace is called by the people <i>I +Visacchi</i> (<i>i.e.</i>, figures or faces), because there are +to be seen in it many figures of people who were when alive all +witches and wizards, but who now live a life in death in +stone.</p> +<p>“The arms of the Medici bear a great key, and it is said +that this was a sorcerer’s or magic key, which belonged to +the master of all the wizards or to the queen of the witches.</p> +<p>“And being ever evil at heart and cruelly wicked, the +old Medici sought restlessly every opportunity to do wrong, which +was greatly aided by the queen of the witches herself, who +entered the family, and allied herself to one of it; others say +she was its first ancestress. And that being on her +death-bed, she called her husband, or son, or the family, and +said:</p> +<p>“‘Take this key, and when I am dead, open a +certain door in the cellar, which, through secret passages, leads +to an <!-- page 10--><a name="page10"></a><span +class="pagenum">p. 10</span>enchanted garden, in which you will +find all the books and apparatus needed to acquire great skill in +sorcery, and thus thou canst do all the evil and enjoy all the +crime that a great ruler can desire; spare not man in thy +vengeance, nor woman in thy passion; he lives best who wishes for +most and gets what he wants.’</p> +<p>“Thus it came to pass that the Medici became such +villains, and why they bear a key.”</p> +</blockquote> +<p>Villains they may have been, but they were not so deficient in +moral dignity as a friend of mine, who, observing that one of the +pills in their scutcheon is blue, remarked that they were the +first to take a blue pill.</p> +<p>Since the above was written I have collected many more, and +indeed far more interesting and amusing legends of the Medici; +especially several referring to Lorenzo the Magnificent, which +are not given by any writer that I am aware of. These will +appear, I trust, in a second series.</p> +<blockquote><p>“A race which was the reflex of an age<br /> +So strange, so flashed with glory, so bestarred<br /> +With splendid deeds, so flushed with rainbow hues,<br /> +That one forgot the dark abyss of night<br /> +Which covered it at last when all was o’er.<br /> +Take all that’s evil and unto it add<br /> +All that is glorious, and the result<br /> +Will be, in one brief word, the Medici.”</p> +</blockquote> +<h2><!-- page 11--><a name="page11"></a><span class="pagenum">p. +11</span>FURICCHIA, OR THE EGG-WOMAN OF THE MERCATO VECCHIO</h2> +<blockquote><p>“Est anus inferno, vel formidanda +barathro,<br /> +Saga diu magicis usa magisteriis,<br /> +Hæc inhians ova gallina matre creatis.<br /> +Obsipat assueto pharmaca mixta cibo,<br /> +Pharmaca queis quæcunque semel gallina voratis,<br /> +Ova decem pariat bis deciesque decem.”</p> +<p style="text-align: right"><span +class="smcap">Steuccius</span>, <i>cited by</i> <span +class="smcap">P. Goldschmidt</span>,<br /> +<i>Verworffener Hexen und Zauberadvocat</i>. Hamburg, +1705.</p> +<p>“E un figliuolo della gallina +bianca.”—<i>Old Proverb</i>.</p> +</blockquote> +<p>The Mercato Vecchio was fertile in local traditions, and one +of these is as follows:</p> +<p style="text-align: center"><span class="smcap">Legend of the +Lanterns</span>.</p> +<p>“There was in the Old Market of Florence an old house +with a small shop in it, and over the door was the figure or +bas-relief of a pretty hen, to show that eggs were sold +there.</p> +<p>“All the neighbours were puzzled to know how the woman +who kept this shop could sell so many eggs as she did, or whence +she obtained them, for she was never seen in the market buying +any, nor were they brought to her; whence they concluded that she +was a witch and an egg-maker, and this scandal was especially +spread by her rivals in business. But others found her a +very good person, of kindly manner, and it was noted in time that +she not only did a great deal of good in charity, and that her +eggs were not only always fresh and warm, but that many persons +who had drunk them when ill had been at once relieved, and +recovered in consequence. And the name of this egg-wife was +Furicchia.</p> +<p>“Now there was an old lady who had gone down in the +world or become poor, and she too had set up a shop to sell eggs, +but did not succeed, chiefly because everybody went to +Furicchia. And this made the former more intent than ever +to discover the secret, and she at once went to work to find it +out.</p> +<p><!-- page 12--><a name="page12"></a><span class="pagenum">p. +12</span>“Every morning early, when Furicchia rose, she +went out of doors, and then the hen carved over the door came +down as a beautiful white fowl, who told her all the slanders and +gossip which people spread about her, and what effort was being +made to discover her secret. And one day it said:</p> +<p>“‘There is the Signora who was once rich and who +is now poor, and who has sworn to find out thy secret how thou +canst have so many eggs to sell, since no one sees thee buy any, +and how it comes that invalids and bewitched children are at once +cured by the virtue of those eggs. So she hopes to bring +thee to death, and to get all thy trade.</p> +<p>“‘But, dear Furicchia, this shall never be, +because I will save thee. I well remember how, when I was a +little chicken, and the poultry dealer had bought me, and was +about to wring my neck—b’r’r’r!—I +shudder when I think of it!—when thou didst save my life, +and I will ever be grateful to thee, and care for thy +fortune.</p> +<p>“‘Now I will tell thee what to do. Thou +shalt to-morrow take a pot and fill it with good wine and certain +drugs, and boil them well, and leave it all hot in thy room, and +then go forth, and for the rest I will provide. +<i>Addio</i>, Furicchia!’ And saying this, the hen +went back into her accustomed place.</p> +<p>“So the next morning, Furicchia, having left the wine +boiling, went forth at ten o’clock, and she was hardly gone +ere the Signora, her rival, entered the place and called for the +mistress, but got no answer. Then she went into the house, +but saw nothing more than a vast quantity of eggs, and all the +while she heard the hen singing or clucking:</p> +<blockquote><p>“‘<i>Coccodé</i>! Dear +me!<br /> +Where can Furicchia be?<br /> +<i>Coccodé</i>! Furicchia mine!<br /> +Bring me quick some warm red wine!<br /> +<i>Coccodé</i>! Three eggs I have laid!<br /> +<i>Coccodé</i>! Now six for your trade.<br /> +<i>Coccodé</i>! Now there are nine,<br /> +Bring me quickly the warm red wine!<br /> +<i>Coccodé</i>! Take them away;<br /> +Many more for thee will I lay,<br /> +And thou wilt be a lady grand,<br /> +As fine as any in all the land;<br /> +And should it happen that any one<br /> +Drinks of this wine as I have done,<br /> +Eggs like me she will surely lay;<br /> +That is the secret, that is the way.<br /> +<i>Coccodé</i>! <i>Coccodé</i>!’</p> +</blockquote> +<p><!-- page 13--><a name="page13"></a><span class="pagenum">p. +13</span>“Now the Signora heard all this, and knew not +whence the song came, but she found the pot of hot wine and drank +it nearly all, but had not time to finish it nor to escape before +Furicchia returned. And the latter began to scold her +visitor for taking such liberty, to which the Signora replied, +‘Furicchia, I came in here to buy an egg, and being +shivering with cold, and seeing this hot wine, I drank it, +meaning indeed to pay for it.’ But Furicchia replied, +‘Get thee gone; thou hast only come here to spy out my +secret, and much good may it do thee!’</p> +<p>“The Signora went home, when she begun to feel great +pain, and also, in spite of herself, to cluck like a hen, to the +amazement of everybody, and then sang:</p> +<blockquote><p>“‘<i>Coccodé</i>! Che mal +di corpo!<br /> +<i>Coccodé</i>! Voglio fa l’uovo!<br /> +E se l’uova non faro,<br /> +Di dolore moriro.’</p> +<p>“‘<i>Coccodé</i>! What a pain in my +leg!<br /> +<i>Coccodé</i>! I must lay an egg!<br /> +And if my eggs I cannot lay,<br /> +I shall surely die to-day.’</p> +</blockquote> +<p>“Then she began to lay eggs indeed—<i>tante</i>, +<i>tante</i>—till they nearly filled all the room, and +truly her friends were aghast at such a sight, never having heard +of such a thing before; but she replied, ‘Keep quiet; it is +a secret. I have found out how Furicchia gets her eggs, and +we shall be as rich as she.’ And having laid her +eggs, nothing would do but she must needs hatch them, and all the +time for many days she sat and sat, clucking like a +hen—<i>coccodé</i>! <i>coccodé</i>!—and +pecking at crusts like a hen, for she would not eat in any other +way. And so she sat and shrivelled up until she became a +hen indeed, and was never anything else, and died one. But +when the eggs hatched, there came from them not chicks, but mice, +which ran away into the cellar, and so ends the story.”</p> +<div class="gapspace"> </div> +<p>This story greatly resembles one given by Peter Goldschmidt in +“The Witches’ and Sorcerers’ Advocate +Overthrown,” published at Hamburg in 1705, and to the same +as sung in Latin song by a certain Steuccius. The Italian +tale is, however, far better told in every respect, the only +point in common being that a certain witch laid <!-- page 14--><a +name="page14"></a><span class="pagenum">p. 14</span>eggs by means +of a potion, which produced the same effect on a man. It is +the well-managed play of curiosity, gratitude, and character +which make Furicchia so entertaining, and there is nothing in the +heavy German tale like the “Song of the Hen,” or +<i>Coccodé</i>, which is a masterpiece of a juvenile +lyric. The clucking and pecking at crusts of the old woman, +as she gradually passes into a hen, is well imagined, and also +the finale of the chickens turned to mice, who all run +away. One could make of it a play for the nursery or the +stage.</p> +<p>The Mercato Vecchio, in which the egg-wife dwelt, was a place +of common resort in the olden time, “when there was giving +and taking of talk on topics temporal:”</p> +<blockquote><p>“Where the good news fleetly flew,<br /> +And the bad news ever true,<br /> +Softly whispered, loudly told,<br /> +Scalding hot or freezing cold.” <a name="citation14"></a><a +href="#footnote14" class="citation">[14]</a></p> +</blockquote> +<p>This place is recalled by a story which is indeed to be found +in the facetiæ of the Florentine Poggio, yet which holds +its own to this day in popular tale-telling. It is as +follows:</p> +<blockquote><p>“It happened once when Florence was at war +with the Duke of Milan, that a law was passed making it death for +any one to speak in any way of peace. Now there was a +certain Bernardo Manetti, a man <i>di ingegno vivacissimo</i>, or +an extremely ready wit, who being one day in the Mercato Vecchio +to buy something or other (it being the custom of the Florentines +of those times to go in person to purchase their daily food), was +much annoyed by one of those begging friars who go about the +roads, <i>alla questua</i>, collecting alms, and who stand at +street-corners imploring charity. And this brazen beggar, +accosting Bernardo, said to him:</p> +<p><!-- page 15--><a name="page15"></a><span class="pagenum">p. +15</span>“‘<i>Pax vobiscum</i>! Peace be unto +you!’</p> +<p>“‘<i>A chi parlasti di pace</i>?—How darest +thou speak to me of <i>peace</i>, thou traitor and enemy to +Florence?’ cried Bernardo in well-assumed anger. +‘Dost thou not know that by public decree thou may’st +lose thy shaven head for mentioning the word? And thou +darest ask me for alms here in the open market-place, thou +traitor to thy country and thy God! <i>Apage</i>, +<i>Satanas</i>—avaunt!—begone! lest I be seen talking +to thee and taken for a conspirator myself! <i>Pax</i> +indeed—pack off with you, ere I hand you over to the +torturers!’</p> +<p>“And so he rid himself of that importunate +beggar.”</p> +</blockquote> +<p>Apropos of the egg-wife, if chickens are apropos to eggs, +there is a merry tale of a certain priest, which will, I think, +amuse the reader. Like all good folk, the Florentines make +fun of their neighbours, among whom are of course included the +people of Arezzo, and tell of them this story:</p> +<blockquote><p>“Long long ago, a certain Bishop Angelico +convoked a Synod at Arezzo, summoning every priest in his diocese +to be present; and knowing that many had slipped into very +slovenly habits as regarded the sacerdotal uniform, made it a +stern and strict order that every one should appear in <i>cappa e +cotta</i>,’ <a name="citation15"></a><a href="#footnote15" +class="citation">[15]</a> or in cloak and robe.</p> +<p>“Now there was a priest who, though he kept a +well-filled cellar, and a pretty servant-maid, and a fine +poultry-yard, had none of these clerical vestments, and knew not +where to borrow them for the occasion; so he was in great +distress and <i>stavasi molto afflitto in casa sua</i>—sat +in deep affliction in his home. And his maid, who was a +bright and clever girl, seeing him so cast down, asked him the +cause of his grief, to which he replied that the Bishop had +summoned him to appear at the Synod in <i>cappa e cotta</i>.</p> +<p>“‘Oh, nonsense!’ replied the good +girl. ‘Is that all? My dear master, you do not +pronounce the words quite correctly, or else they have been badly +reported to you. It is not <i>cappa e cotta</i> which the +Bishop requires, for assuredly he has plenty of such clothes, but +<i>capponi cotti</i>, ‘good roast capons,’ such as +all bishops love, and which he knows he can get better from <!-- +page 16--><a name="page16"></a><span class="pagenum">p. +16</span>the country priests than from anybody. And +<i>grazie a Dio</i>! there is nobody in all Tuscany has better +poultry than ours, and I will take good care that you give the +Bishop of the very best.’</p> +<p>“Now the priest being persuaded by the maid, really made +his appearance at the Council bearing in a dish well covered with +a napkin four of the finest roasted capons ever seen. And +with these he advanced <i>in pleno concilo</i>, in full assembly +before the Bishop. The great man looked severely at the +priest, and said:</p> +<p>“‘Where are thy <i>cappa e cotta</i>?’</p> +<p>“‘Excellenza, behold them!’ said the good +man, uncovering the dish. ‘And though I say it, no +better <i>capponi cotte</i> can be had in all our +country.’</p> +<p>“The Bishop and all round him gazed with breathless +admiration on the fowls, so plump, so delicious, so exquisitely +roasted, with lemons ranged round them. It was just the +hungry time of day, and, in short, the priest had made a blessed +happy blunder, and one which was greatly admired. There was +general applause.</p> +<p>“‘<i>Figlio mio</i>!’ said the Bishop with a +smile, ‘take my blessing! Thou alone of all the +ministers of our diocese didst rightly understand the spirit and +meaning of an episcopal edict.’”</p> +</blockquote> +<h2><!-- page 17--><a name="page17"></a><span class="pagenum">p. +17</span>THE LANTERNS OF THE STROZZI PALACE</h2> +<blockquote><p>“And what this man did was, as the proverb +says, <i>mostrare altrui lucciole per laterne</i>—made him +believe that fire-flies were lanterns—which means to +deceive any one.”—<i>Italian Proverbs</i>.</p> +</blockquote> +<p>As all visitors to Florence will have their attention called +to the Strozzi Palace, and its rings and lanterns, the following +will probably prove to them to be of interest:</p> +<blockquote><p>“The <i>campanelle</i>, or great iron rings, +which are on the Strozzi Palace, were the result of rivalry with +the Pitti family.</p> +<p>“The Strozzi built their palace first, and then the +Pitti said that it would only fill a corner of their own far +greater building. And when the latter was finished, the +Strozzi, to be even with them, placed those magnificent +<i>campanelle</i> at the four corners, and then the great +lanterns which are so exquisitely worked, and these were made by +Niccolò il Grosso, a very ingenious but also very poor +man, who, having begun the work, could not finish it for want of +money.</p> +<p>“One morning when this Niccolo was sitting on the stone +bench of the palace, there came by an old man who was carrying +some onions, and the artist begged a few of these to eat with his +bread, telling him he had no money. But the old man said, +‘Take them, and welcome, for a free gift, +Niccolò. Truly, it pains me to see an excellent +artist like thee starving for want of proper patronage. Now +I will lend thee a round sum, which thou canst repay me when thou +art in better luck.’</p> +<p>“‘But tell me,’ inquired Niccolò, +greatly amazed, ‘how dost thou know who I am?’</p> +<p>“The old man replied, ‘I know thee, and that thou +hast great genius (<i>una gran testa</i>), and I find thee +utterly poor and unable to finish the Strozzi lanterns.</p> +<p>“‘Now I wish to do thee a service. Go, with +these onions in thine hand, and stand there in the street till +the Lords Strozzi go forth, and see thee with the vegetables, and +then they will <!-- page 18--><a name="page18"></a><span +class="pagenum">p. 18</span>ask thee why thou dost not finish the +lanterns. And then thou shalt reply, “Signori, +because I must sell onions, not being able otherwise to finish +the lanterns, for truly all my art does not give me +bread.” Then they will give thee money, and after +that return to me.’</p> +<p>“So it happened as the old man said: the Signori +Strozzi, when they came forth, found Niccolò their artist +selling onions, and gave him a good sum of money, and with that +he went back to the old man. And they gave him a great sum +indeed, for he was to make the lanterns all of solid gold, so +that the palace might be far finer than the Pitti.</p> +<p>“The old man said, ‘Never mind paying me, but put +an onion in your pocket and study it.’ And this he +did, hence it comes that the tops of the lanterns are like onion +sprouts. And Niccolò seeing that he lived in a hard +and cruel world, in order to be even with it, made the lanterns +of iron, though the work which he put upon it was like jewellery, +so fine was it, and then gilded the iron and passed the lanterns +off on the Signori Strozzi for solid gold, and was soon heard of +as being very far away from Florence, in company with the good +old man who had put him up to the little game (<i>bel +giuoco</i>).</p> +<p>“But people say that after all the Strozzi were not so +badly cheated, for those onion-top lanterns could not have been +bought even in their time for their weight in gold, and that they +are worth much more now.”</p> +</blockquote> +<p>It is needless to say that this ingenious tale owes its origin +to the iron lanterns having been at one time gilt. These +famous works of art have been copied far and wide: had the +Strozzi family taken out and renewed the copyright for design on +them, they might have found that the gold was a very good +investment, especially in these times, when a thing of beauty +brings in cash for ever. One of the latest and prettiest +devices, to be seen in many shops, is a small iron night-lamp in +imitation of these Strozzi lanterns.</p> +<p>The im-moral, or at least the concluding sentence of the tale +is, “<i>E così Niccolò se ne fuggi a tasche +piene</i>—And so Niccolò fled with his pockets full +of money.” I spare the reader reflections on the +history of many bankers in <!-- page 19--><a +name="page19"></a><span class="pagenum">p. 19</span>Florence and +Rome, who during the past two years followed his example.</p> +<p>What is extremely interesting and original in this legend is +the declaration that Niccolò took the idea of the long and +very singular points on the lanterns from an onion. It +recalls the story of the acanthus leaf and the basket which +suggested the Ionic capital. It was understood by the +narrator that the old man who gave “the tips” to +Niccolò was a wizard.</p> +<p>There was much more meaning attached to the lanterns and +rings, such as Niccolò made, than is generally known, as +appears by the following extract:</p> +<blockquote><p>“Among the striking features of the +Florentine palaces are the handsome ornaments of bronze or +wrought-iron which adorn the façades of many of +them. These were called <i>fanali</i> or +<i>lumière</i>, and were not, as one would naturally +suppose, ornaments that a man might place on his house according +to his individual taste, but they were the visible testimony of +the public recognition of great deeds. On festive +occasions, these <i>fanali</i> were provided with great pitch +torches, whose crackling flames gave a merry aspect to the whole +neighbourhood. Amerigo Vespucci addressed the account of +one of his voyages to the Gonfaloniere Piero Soderini, with whom +he had formerly been on intimate terms, and the latter procured a +decree of the Republic, in accordance with which <i>fanali</i> +were sent to the family palace of the Vespucci, and kept burning +day and night for three days.</p> +<p>“The most beautiful of all the Florentine <i>fanali</i> +. . . are those which adorn the corners of the famous Strozzi +Palace. They are of wrought-iron, and were made by a smith +who enjoyed a local celebrity, not only on account of his +masterly work, but also because he carried on his business on a +strictly cash basis; nay, went further, and refused to work for +any one who did not prepay, in part at least, for his +order. Thus he received the name of <i>Caparra</i>, or +Earnest-money.”—<i>Florentine Life</i>, by W. B. +Scaife, p. 58.</p> +</blockquote> +<p>There is one thing in this legend which alone would seem to +guarantee its being an authentic or old tradition. <!-- +page 20--><a name="page20"></a><span class="pagenum">p. +20</span>In it Niccolò appears as a man who is eminently +grasping, and who takes care to get his money in advance. +And he was in reality so noted for this, that, as Scaife +declares, he went further than dealing on a cash basis—and +so got the nickname of Caparra, or the Pledge—so well did +he know the value of cash. <i>Il martel d’argento +rompe le porte di ferro</i>, or—</p> +<blockquote><p>“A hammer of silver, as we see,<br /> +Breaks the iron gates of poverty.”</p> +</blockquote> +<h2><!-- page 21--><a name="page21"></a><span class="pagenum">p. +21</span>THE GOBLIN OF LA VIA DEL CORNO</h2> +<blockquote><p>“Oh for one blast of that dread horn,<br /> +On Fontarabian echoes borne,<br /> +When Roland brave and Olivier,<br /> +And every paladin and peer<br /> + At Roncesvalles died.”—<i>Walter +Scott</i>.</p> +<p>“The Korrigan who ever wears a horn.”</p> +</blockquote> +<p>The Via del Corno is a narrow street passing from the Via del +Leone. I have found the following story in reference to the +origin of its name, which, if not authentic, is at least amusing +and original:</p> +<p style="text-align: center"><span class="smcap">La Via del +Corno</span>.</p> +<p>“There was in what is now known as the Via del Corno an +ancient palace, which a long time ago was inhabited only by a +certain gentleman and a goblin. <a name="citation21"></a><a +href="#footnote21" class="citation">[21]</a></p> +<p>“Nor had he any servants, because of all who came, none +remained more than one day for fear of the <i>folletto</i>. +And as this spread far and wide, people kept away from the Via +del Corno after dark; but as this also kept away thieves, and the +goblin did all the house-work, the master was all the better +pleased. Only on one point did the two differ, and that was +the point of morality. Here the goblin was extremely +strict, and drew the line distinctly. Several times, as was +the custom in those wicked days, the Signore attempted to +introduce a lady-friend to the palazzo, but the goblin all night +long, when not busied in pulling the sheets from the fair sinner, +was industriously occupied in strewing nettles or burrs under +her, or tickling the soles of her feet with a pen; and then anon, +<!-- page 22--><a name="page22"></a><span class="pagenum">p. +22</span>when, sinking to sleep, she hoped for some remission of +the tease, he would begin to play interminable airs on a +horn. It is true that he played beautifully, like no +earthly musician, but even enchanting airs may be annoying when +they prevent sleep.</p> +<p>“Nor did the lord fare the better, even when, inspired +by higher motives, he ‘would a-wooing go.’ For +one lady or another had heard of the goblin, and when they had +not, it always happened that by some mysterious means or other +the match was broken off.</p> +<p>“Meantime the life led by the Signore was rather +peculiar, as he slept nearly all day, sallied forth for an hour +or two to exercise, go to a barber’s, make his small +purchases, or hear the news, supped at a <i>trattoria</i>, and +then returning home, sat all night listening to the goblin as he +played divinely on the horn, or blew it himself, which he did +extremely well, toped and hob-nobbed with his familiar, who was a +great critic of wine, and, as the proverb says, ‘<i>Buon +vino fiaba lunga</i>—Good wine, long +tales’—they told one another no end of merry and +marvellous stories; and as <i>il vin fa cantare</i>, it makes man +sing, they also sang duets, solos, and glees. And when the +weather was ill, or chilly, or rainy, or too hot, they cured it +with Chianti, according to a medical prescription laid down in +sundry rare old works:</p> +<blockquote><p>“Nebbia, nebbia, mattutina,<br /> +Che ti levi la mattina?<br /> +Questa tazza di buon vino,<br /> +Fatta d’una marzamina,<br /> +Contra te sia medecina!’</p> +<p>“‘Cloudy sky i’ the morning early,<br /> +What will make you vanish fairly?<br /> +Ah! this goblet of good wine,<br /> +Essence of the blessed vine,<br /> +Shall be for thee a medicine!’</p> +</blockquote> +<p>“Then they played chess, cards, cribbage, drole, +écarté, Pope Joan, bo, brag, casino, thirty-one, +put, snip-snap-snorem, lift-em-up, tear-the-rag, smoke, +blind-hookey, bless-your-grand-mother, Polish-bank, seven-up, +beggar-my-neighbour, patience, old-maid, fright, baccarat, +<i>belle-en-chemise</i>, bang-up, howling-Moses, bluff, +swindle-Dick, go-it-rags, ombre or keep-dark, morelles, go-bang, +goose, dominoes, loto, <i>morra</i> or push-pin. And when +extra hands were wanted they came, but all that came were only +fairy hands, short at the wrist, the goblin <!-- page 23--><a +name="page23"></a><span class="pagenum">p. 23</span>remarking +that it saved wine not to have mouths, <i>et cetera</i>. +Then they had long and curious and exceedingly weighty debates as +to the laws of the games and fair play, not forgetting meanwhile +to sample all the various wines ever sung by Redi. <a +name="citation23"></a><a href="#footnote23" +class="citation">[23]</a> So they got on, the Signore +realising that one near friend is worth a hundred distant +relations.</p> +<p>“Now it befell one night that the goblin, having seen +the Signore take off a pint of good old strong Barolo very neatly +and carefully, without taking breath or winking, exclaimed with a +long, deep sigh:</p> +<p>“‘Thou art a gallant fellow, a right true boon +companion, and it grieves me to the heart to think that thou art +doomed to be drowned to-morrow.’</p> +<p>“‘Oh you be—doctored!’ replied the +Signore. ‘There isn’t water enough in the Arno +now to drown a duck, unless she held her head under in a +half-pint puddle.’</p> +<p>“The goblin went to the window, took a look at the +stars, whistled and said:</p> +<p>“‘As I expected, it is written that you are to be +drowned to-morrow, unless you carry this horn of mine hung to +your neck all day.</p> +<blockquote><p>“‘Quando ti trovi nel pericolo,<br /> +Suona questo corno piccolo,<br /> +E tu sarai salvato,<br /> +Non sarai affogato!’</p> +<p>“‘If thou find’st thyself forlorn,<br /> +Blow aloud this little horn,<br /> +And thou wilt be safe and sound,<br /> +For with it thou’lt not be drowned.’</p> +</blockquote> +<p>“Saying this, he solemnly handed the horn to the +cavalier, drank off a goblet of muscato, wiped his lips, bowed a +ceremonious good-night, and, as was his wont, vanished with +dignity up the chimney.</p> +<p>“The gentleman was more troubled by this prediction than +he liked to admit. I need not say that the next day he did +not go near the Arno, though it was as dry as a bone; nay, he +kept out of a bath, and was almost afraid to wash his face.</p> +<p>“At last he got the fancy that some enemies or villains +would burst into his lonely house, bind him hand and foot carry +him far away, and drown him in some lonely stream, or <!-- page +24--><a name="page24"></a><span class="pagenum">p. +24</span>perhaps in the sea. He remembered just such a +case. We all remember just such cases when we don’t +want to. That was it, decidedly.</p> +<p>“Then he had a happy thought. There was a little +hiding-chamber, centuries old, in the palazzo, known only to +himself, with a concealed door. He would go and hide +there. He shouted for joy, and when he entered the room, he +leaped with a great bound from the threshold of the door, down +and over three or four steps, into the middle of the little +room.</p> +<p>“Now he did not know that in the <i>cantina</i> or +cellar below this hiding-place there was an immense <i>tino</i>, +or vat, containing hundreds of barrels of wine, such as are used +to hold the rough wine ere it is drawn off and +‘made;’ nor that the floor was extremely decayed, so +that when he came down on it with a bounce, it gave way, and he +found himself in the cellar over head and ears in wine.</p> +<p>“And, truly, for a minute he deemed that he was drowning +in earnest. And the sides of the vat were so high that he +could not climb out. But while swimming and struggling for +life, he caught between his thumb and finger at a nail in the +side, and to this he held, crying as loud as he could shout for +aid. But no one came, and he was just beginning to despair, +when he thought of the horn!</p> +<p>“It still hung from his neck, and pouring out the wine, +he blew on it, and there came forth such a tremendous, appalling, +and unearthly blast as he of himself could never have +blown. It rang far and wide all over Florence, it was heard +beyond Fiesole, it wakened the dead in old Etrurian graves, for +an instant, to think they had been called by Tinia to meet the +eleven gods; it caused all the <i>folletti</i>, <i>fate</i>, +<i>diavoli</i>, <i>strege</i>, and <i>maliardi</i> to stop for an +instant their deviltries or delights. For it was the Great +Blast of the Horn of the Fairies, which only plays second fiddle +to the last trump. <a name="citation24"></a><a href="#footnote24" +class="citation">[24]</a></p> +<p>“And at that sound all Florence came running to see what +was the matter. The Grand Duke and his household came; the +Council of the Eight burst their bonds, and left the Palazzo +Vecchio; everybody came, and they fished out the Signore, and +listened with awe to his tale. The priests said that the +goblin was San Zenobio, the more liberal swore it was Crescenzio, +the people held to plain San Antonino. The Signore became a +great man.</p> +<p><!-- page 25--><a name="page25"></a><span class="pagenum">p. +25</span>“‘My son,’ said the goblin to him in +confidence the following evening, ‘as they sat over their +wine,’ (here I follow the text of Maddalena), ‘this +is our last night together. Thou art saved, and I have +fulfilled my duty to thee. Once I, too, was a man like +thee, and in that life thou didst save mine by rescuing me from +assassins. And I swore to watch over thee in every peril, +and bring thee to a happy end.’</p> +<blockquote><p>“‘Il momenta e arrivato;<br /> +Addio, Via del Corno!<br /> +Addio, palazzo, addio!<br /> +Addio, padrone, nel altro mondo!’</p> +<p>“‘The final hour has come for me;<br /> +Street of the Horn, farewell to thee!<br /> +Farewell, O palace, farewell, O street!<br /> +My lord, in another world we’ll meet.’</p> +</blockquote> +<p>“Then the goblin told the Signore that he would ere long +contract a happy marriage, and that it was for this that he had +hitherto kept him from forming alliances which would have +prevented it; and that if in future he should ever be in great +need of assistance, to sound the horn, and he would come to him, +but that this must always be in the palace alone after +midnight. And having said this he vanished.</p> +<p>“The Signore grieved for a long time at the loss of his +goblin friend, but he married happily, as had been predicted, and +his life was long and prosperous. So he put the horn in his +shield, and you may see it to this day on the Church of Santa +Maria Novella. And so it was that the Via del Corno got its +name.”</p> +<div class="gapspace"> </div> +<p>“From which we may learn,” saith Flaxius, +“that wherever a man is appointed to be on a certain day, +there will the man be found. Therefore do thou, O reader, +so manage it that wherever thou art appointed to be, thou canst +<i>get well out of it</i>. For even Fate smiles when it +desires to do so.”</p> +<h2><!-- page 26--><a name="page26"></a><span class="pagenum">p. +26</span>FRATE GIOCONDO, THE MONK OF SANTA MARIA NOVELLA</h2> +<blockquote><p>“<i>In illo tempore</i>—no—<i>in +diebus illis</i>, che i frati sogliono percorrere il contado +delle terre e delle città per far proviste alla barba +degli scimuniti d’ogni genere pappatorio, vale dir di +grano, formentone, legumi, mosto, cacio, olio, canape, lino, uova +et cetera—un certo fra Zeffiro, se ne gira alla volta +d’un villagio e tenevagli compagnia il suo ciucarello che +carica gia a doppio sacchetto.”—<i>L’Asino e il +suo Frate</i>, <i>Racconti Piacevoli</i>, 1864,</p> +<p>“Und sie war gar sehr erstannet über die Adresse +und List dieses Münchleins.”—<i>Lustige Thaten +des Kloster-bruders Hannes von Lehnin</i>, <span +class="smcap">a.d.</span> 1589.</p> +<p>“Monachus in claustro<br /> +Non valet ova dua,<br /> +Sed extra—bene valet +triginta.”—<i>Rabelais</i>.</p> +</blockquote> +<p>Among the monks of Santa Maria Novella in ancient days was one +known as Frate Giocondo, who was truly of the kind who are of +little use at home, or at any steady or reputable calling, but +who was profitable enough when scouring the country on the loose, +blarneying and begging from the good wives, giving counsel to the +peasants, and profitable advice, while he ate their chickens and +drank their wine, chucking all the pretty girls under their +chins, or <i>sub silentio</i>, and making himself sociable, +edifying, amusing, or holy—according to +circumstances. Of whom it could be truly said:</p> +<blockquote><p>“Monaco in convento<br /> +Non vale niente,<br /> +Ma fuori vale venti.”</p> +<p>“Monk in monastery<br /> +Is not worth a cherry;<br /> +But abroad when sent, he<br /> +Often is worth twenty.”</p> +</blockquote> +<p>As a preaching friar of Saint Dominic, truly Brother Giocondo +was not a success, but as a beggar he beat <!-- page 27--><a +name="page27"></a><span class="pagenum">p. 27</span>all the +Zoccoloni out of Rome, <a name="citation27"></a><a +href="#footnote27" class="citation">[27]</a> and that is saying a +great deal. For there never was a friar with such an oiled +and honeyed tongue, with which he could flatter and wheedle, tell +legends of the saints, witches, or goblins by the hour, give all +the gossip going; nor was he above selling his collections, or +trading donkeys, or taking a hand at a game of cards, or singing +to a lute, or even fiddling to a dance—so that, being a +great, burly, handsome, merry-eyed knave, he got on marvellously +well in the world, his jests being reported even in Siena.</p> +<p>Now one evening he was returning home to Santa Maria Novella +<i>dalla cercha</i>, “from the quest,” and found +himself still a few miles from Florence. And good fortune +had favoured him marvellously that day, for his ass bore two +panniers which were <i>ben carichi d’ogni sorta di grazia +di Dio</i>—“stuffed full with all sorts of mercies of +God,” such as bags of wheat, maize, wheat-meal, chickens, +oil, cheese, butter, wine, truffles, onions, geese, turnips, +sausages, bread, ducks; in short, Signore, as I said, there was +<i>ogni sorta di grazia di Dio</i>, and enough to support a poor +family for a month.</p> +<p>Now, darkness coming on, and rain falling, the Friar stopped +at a lonely house, where he neither knew the people nor was known +to them, and begged for a night’s lodging. The master +of the place was a well-to-do person, but a great knave, and no +sooner had he perceived that the monk had such a plentiful stock +of provisions, than he saw his way to give all his neighbours a +splendid feast at no expense to himself, at which he could not +fail to relieve some of his guests of their money.</p> +<p>Now this rogue had a daughter who was <i>scaltra e bene +affilata</i>—shrewd and sharp as a razor, one who could +teach cats to see in the dark, and who had grown to villainy from +her babyhood, even as a reed shoots upwards. <!-- page +28--><a name="page28"></a><span class="pagenum">p. 28</span>And +she only caught a wink from her good father, which glanced off on +to the load of the friar’s donkey, to understand the whole +game, and what was expected of her.</p> +<p>You must know, Signore Carlo, that the wench was very +good-looking—bad wine in a silver cup, pretty to look at, +but vile to sup—and had all the sweet, innocent, simple +look of a saint, and she made up to Frate Giocondo like a kitten +to a child, which he took in no wise amiss, being used to such +conquests. And who so flattering and fawning as they all +were on Brother Giocondo; how they laughed at his jests, and +seemed to be in the last agonies of delight; but winked at one +another withal, for there were six lusty brothers or cousins in +the family, who, in case of need, did the heavy dragging out, or +advanced the last argument with clubs.</p> +<p>By-and-by, as the night wore on, the black-eyed baggage stole +away and hid herself in the room allotted to the Friar, though +with no intention to break the seventh—but that against +stealing—as you will see. For when the good Giocondo +went to bed, which he did in full dress, he knew not that she was +there. And as soon as he began to snore, she tapped gently +on the wall three times, and then went and laid herself down +softly by the Friar, who did not awake. At which all the +band came bursting in with torches and staves, and began to beat +the victim, reviling and cursing him for having deluded the poor +child, so that there was a fearful <i>fracasso</i>—a great +riot—but they left the door open, through which the pious +Giocondo bolted, and none pursued, as they had already secured +his provisions.</p> +<p>Now Giocondo shrewdly noted this, and at once understood that +he had been as shrewdly robbed, and that by such a trick as left +no door open to return and claim his property. So he +quietly mounted his ass and rode away, and returning to the +convent, thought it all over, till he <!-- page 29--><a +name="page29"></a><span class="pagenum">p. 29</span>came to a +device to revenge himself. For he was one of those who was +never bit by a wolf but what he had his skin.</p> +<p>So he let a long time pass by, and then went to work. +First of all he got two jars, and paid a contadino to catch for +him as many living vipers as would fill them both, saying it was +for the apothecary of his convent to make <i>teriaca</i> or +Venetian treacle, which is a cure for serpents’ +bites. And then he disguised himself like a lord’s +messenger, darkening his face, and putting on long curling locks, +with a bold impudent air, with cloak and feather, sword and +dagger; truly no one would ever have known him. And in this +guise he went again to the <i>Albergo de’ Ladri</i>, or +Thieves’ Den, asking once more for lodging, which was +cheerfully granted.</p> +<p>Now the part which he played, and that to perfection, was that +of a foolish gasconading servant; nor had he been long in the +house ere he informed his host in confidence that he served a +great lord who was in love with a married lady in Florence, and +to win her good graces had sent her two jars full of honey or +conserves, but that there was in each a hundred crowns in gold, +of which he was to privately inform the lady, lest her husband +should suspect the truth; adding artfully, “But i’ +faith, if I were to steal the whole myself and run away, my lord +would never pursue me, so fearful is he lest the thing should be +found out; and even if I were to be robbed, one could do +nothing.”</p> +<p>And as he said this he saw the knave give a wink to his +daughter, and knew very well what it meant, but pretended to take +no notice of it. So all went as before, and the girl stole +into his room and hid herself. But he, who was prepared for +everything, when he retired took from his pocket two or three +large screws and a screwdriver, and closed the great strong door +so that it would resist a hard assault, and left the window open +so that he could easily escape, and so went to bed.</p> +<p><!-- page 30--><a name="page30"></a><span class="pagenum">p. +30</span>Then the girl, when she thought he was asleep, gave the +signal, and the thieves tried to burst in, but could not. +And Friar Giocondo, jumping up, gave the girl such a beating as +she had never heard of, abusing her all the time as a song to the +accompaniment of the thrashing, till at last, when he saw they +were really coming in, he jumped through the window, ran to the +stable, and finding there a fine horse, saddled it in haste and +rode away like the wind.</p> +<p>The thieves were so intent on the jars that they paid no heed +to anything else, not even to the girl, who was raging mad at her +father for having exposed her to such danger. So they got +two deep plates, and opened both jars at once to pour the honey +out, when lo! there came swarming forth the vipers, hissing, and +squirming, and darting out their tongues like so many +devils. At which sight they all fled in fear, the girl +first, nor did she stop till she got to Fiesole, where, in great +terror, she (fearing for her soul) told the whole story to +everybody and the monks.</p> +<p>The thief went to the stable, but found his horse gone, and so +had to content himself with Giocondo’s donkey, on which, +fearing the pursuit of justice, he rode away, to be hanged +somewhere else. And the Abbot of Santa Maria Novella +cheerfully absolved Brother Giocondo for stealing the +horse—and accepted it as a graceful gift, or in recompense +for the load of provisions which had been lost.</p> +<blockquote><p>“Thus ’twas with all of them it +sped,<br /> +And the Abbot came out one horse ahead!”</p> +</blockquote> +<h2><!-- page 31--><a name="page31"></a><span class="pagenum">p. +31</span>THE LEGEND OF THE CROCE AL TREBBIO</h2> +<blockquote><p>“The bell in the Bargello called the +Montanara obtained the name of the <i>Campana delle Arme</i> +because it was the signal for citizens to lay aside their weapons +and retire home.”—<i>Hare’s</i> +“<i>Cities of Central Italy</i>.”</p> +<p>“Where towers are crushed, and temples fair unfold<br /> +A new magnificence that vies with old,<br /> +Firm in its pristine majesty hath stood<br /> +A votive column.”—<i>Wordsworth</i>, “<i>Pillar +of Trajan</i>.”</p> +</blockquote> +<p>Very near to the Church of Santa Maria Novella is the small +piazza or open place of the <i>Croce al Trebbio</i>. This +is a column with a crucifix, the whole being of beautiful +proportions and of a strikingly romantic character. It is +said to have been raised to commemorate a victory of “that +sanguinary fanatic Saint Peter Martyr” over the +Paterini. “The Croce al Trebbio,” says Leader +Scott, “of the year 1244, is a work of the Pisan school, +but whether it is by Niccolò or Giovanni Pisani, who were +in Florence about that epoch, there is nothing to show. +There was <a name="citation31"></a><a href="#footnote31" +class="citation">[31]</a> a curious Latin inscription in Gothic +letters, which began: <i>Sanctus Ambrosius cum Sancto Zenobio +propter grande mysterium hanc crucem</i>—and went on to say +that it was <i>reconstructed</i> by the bishops of Florence and +of Aquileia in August 1308. It is evident that the +connection of the cross with Saint Peter Martyr is mere +conjecture, the Italian authorities say <i>che si crede</i>, +‘<i>believed</i>’ to be erected on the spot where a +victory was gained over the Paterini. If this were so, +where is the mystery referred to in the inscription?”</p> +<p>The legend, which was after long inquiry recovered by my +collector, distinctly describes the <i>reconstruction</i> of the +<!-- page 32--><a name="page32"></a><span class="pagenum">p. +32</span>cross, and as certainly sets forth a <i>mysterium +magnum</i> with an apparition of the Virgin on this very spot, +which would have assuredly caused a pillar, if not a church, to +be erected in the thirteenth century. The story of this +mystery is as follows:</p> +<p style="text-align: center"><span class="smcap">La Croce al +Trebeio</span>.</p> +<p>“Where the <i>Croce al Trebbio</i> now stands, was in +very old times a great palace occupied by one of the most ancient +families of Florence. And when it died out, there came into +the house three families, but none could remain there, being so +terrified with fearful sounds and an apparition.</p> +<p>“It was the custom in those days in Florence to ring a +bell at ten o’clock at night, which was a signal for every +citizen to go home at once; therefore, after that hour no one was +seen in the streets except police guards, military patrols, and +riotous young men, whom the former aimed at arresting. It +often happened that such irregular folk took refuge in the old +palazzo, but if they remained there one night, they had enough of +it, and never returned, so great was the horror which they were +sure to feel.</p> +<p>“The first occurrence which gave the place a bad name +was as follows: Some time after the death of the last of the old +line of Signori who had occupied the palace, and the three +families spoken of had come into it, on the first night at +midnight they heard some one put a key in the house-door, open +the same with great noise, and come storming and swearing up the +stairs into the great dining-hall. Then there entered a +tall and magnificently dressed gentleman, of very handsome and +distinguished appearance, but his face was deadly pale, his eyes +had a terrible gleam, and it seemed as if a light bluish flame +flickered and crept about him, ever rising and vanishing like +small serpents.</p> +<p>“And entering, he began to scold and blaspheme in a +diabolical manner, as if at servants whom he was accustomed to +have promptly at his call, saying, ‘<i>Birbanti di +servitori</i>—you scoundrelly waiters—you have not +got supper ready for me, nor laid the tables.’ Saying +this, he seized on plates and glasses, and dashing them down +violently, broke them in mad rage. Then he entered the best +bedroom in the house, where some one lay asleep, and this man he +maltreated and hurled forth, saying that the bed was his own.</p> +<p><!-- page 33--><a name="page33"></a><span class="pagenum">p. +33</span>“And if after that any one dared to sleep in the +old palazzo, he was found there dead in the morning, or else +lived but a few days. So it came to pass that no one would +inhabit it; nay, all the houses round about began to be deserted, +and the whole neighbourhood regarded it as a pest. And from +all this they were relieved by a marvellously strange occurrence +and a great miracle.</p> +<p>“There was a gentleman who was very pious, honourable, +and brave, a good man at every point, but wretchedly poor, so +that he with his eight children and wife had all been turned into +the street, because he could not pay his rent.</p> +<p>“Then in his distress he went to the city council and +begged for some kind of relief or employment; and they being much +concerned at the time about the haunted palazzo, knowing him to +be a man who would face the devil, with little to fear on account +of his integrity, proposed to him to occupy the building, adding +that he and his family should every day be supplied with food and +wine gratis, and that if, as was generally supposed, there was +hidden treasure in the palace, and he could find it, he should be +welcome to keep it.</p> +<p>“To which this brave man willingly assented, and at once +went his way to the haunted palace. But while on the road +he obtained olive sprigs, salt, and frankincense, also certain +images of saints, and then with much holy water sprinkled all the +rooms, stairs, and cellars, praying withal. <a +name="citation33"></a><a href="#footnote33" +class="citation">[33]</a></p> +<p>“And the first night there was again heard the grating +of the key in the lock, the crash of the door, the rapid heavy +footfall, and the spirit appeared with the waving plume of flame +on his splendid <i>beretta</i> or cap, when suddenly he was +checked and could go no farther, because the hall had been +blessed, yes, and thoroughly. Then the spectre began to +bellow and roar, and utter whistling screams and all horrible +sounds, worse than a wild beast.</p> +<p>“But the new master of the house did not let fear +overcome him in the least, and the next day he renewed the +sprinkling and blessing, and finding there was a chapel in the +palace, he called in a priest, who there read a mass for the soul +of the ghost, so that he might rest in peace.</p> +<p>“Now there was a beautiful little garden attached to the +<!-- page 34--><a name="page34"></a><span class="pagenum">p. +34</span>palace, and the children of the new tenant were +delighted to play in it.</p> +<p>“And in the middle of the garden they found a cross with +a Christ on it, and the cross had been shattered. But the +children took the pieces and carried them one by one into the +chamber where no one dared to sleep, and there they put them +piously together, and dressed a little altar before it, and began +to sing hymns.</p> +<p>“But while they were thus singing in their simple +devotion, wishing to aid their father, there was a knock at the +door, and a lady entered whose face was concealed in a veil, but +who seemed to be weeping as she beheld them, and she said, +‘Children, keep ever as you are; always be good and love +God, and He will love you!’</p> +<p>“Then she continued, ‘The master of this house was +a gambler and a blasphemer; when he lost money at gambling he +would return home and beat this image of Christ, till one night, +being in a mad rage, he broke it and threw it into the +garden.’</p> +<p>“‘But soon after that he fell ill, and knowing +that he was dying, he buried all his treasure in the +garden. Love God, and you shall find it. So he died, +blaspheming and condemned. Love God, and He will love +you!’ And saying this, she vanished.</p> +<p>“The children, all astonished, ran to their father and +mother, and told them that a beautiful lady had visited them, and +what she had said.</p> +<p>“Then they said to the children, ‘You must indeed +be always good, for that Lady who spoke to you was the Holy +Virgin, who will always protect you.’ And then the +father called in a priest to say midnight mass at the time when +the spirit would appear. And he came, and said, ‘I am +he who broke the cross, and for that I was damned!’ +Then the priest began to sprinkle holy water, with exorcisms, +when all at once the accursed one disappeared in a tremendous, +over-whelming crash of thunder, and the whole palace fell to +gravel and dust—there was not left one stone standing on +the other, save the cross which the children had repaired, which +rose alone in the middle of the garden.</p> +<p>“Then the next day the good man dug away the rubbish by +the cross, and when this was removed, they found a mass of +charcoal, and under this the treasure.</p> +<p>“Then the Signore, grown rich, had, to commemorate this, +<!-- page 35--><a name="page35"></a><span class="pagenum">p. +35</span>a beautiful column built, on which he placed the cross, +and this is known to this day as the Croce al Trebbio, or the +Crucifix of the Cross-roads.”</p> +<div class="gapspace"> </div> +<p>If the Croce al Trebbio really commemorates one of the most +iniquitous massacres which ever disgraced even the Church, then +to find this tender and graceful little tale springing up from +it, reminds me of what I once heard of a violet which was found +growing in the Far West, and blooming in an Indian’s +skull. The conception of the children playing at +worshipping, and yet half-worshipping, is very Italian. I +have seen little boys and girls thus rig up a small chapel in the +streets of Rome, and go through the mass and other ceremonies +with intense interest.</p> +<p>It may also be observed that in this, as in many other +legends, charcoal is found over a hidden treasure. The +folk-lore of coal in connection with money is so extensive and +varied, that one could write on it a small book. I believe +that the two are synonyms in all canting jargons or +“slanguages.”</p> +<p>“Hence probably came,” remarks Flaxius, “the +saying, ‘To haul one over the coals,’ meaning to go +over money-accounts with any one who has cause to dread the +ordeal. Truly ’tis but a conjecture, yet I remember +that in my youth it was generally applied to such +investigations.</p> +<blockquote><p>“‘And so ’twas held in early +Christian time<br /> +That glowing coals were a sure test of truth<br /> +And holy innocence, as was full proved<br /> +By Santa Agnatesis of the Franks,<br /> +And fair Lupita of the Irish isle.’”</p> +</blockquote> +<p>Since writing the foregoing I have found the whole of the +ancient inscription of the cross, as it was preserved by two +chroniclers. This will be found in another chapter.</p> +<h2><!-- page 36--><a name="page36"></a><span class="pagenum">p. +36</span>THE TWO FAIRIES OF THE WELL<br /> +<span class="smcap">a legend of the via calzaioli</span></h2> +<blockquote><p>“When looking down into a well,<br /> +You’ll see a fairy, so they tell,<br /> +Although she constantly appears<br /> +With your own face instead of hers;<br /> +And if you cry aloud, you’ll hear<br /> +Her voice in the ringing echo clear;<br /> +Thus every one unto himself<br /> +May be a fairy, or an elf.”</p> +<p>“And truly those nymphs and fairies who inhabit wells, +or are found in springs and fountains, can predict or know what +is to take place, as may be read in Pausanias, and this power +they derive from their <i>habitat</i>, or, as Creuzer declares +(<i>Symbolik</i>, part iv. 72), they are called Muses, inasmuch +as they dwell in Hippocrene and Aganippe, the inspiring springs +of the Muses.”—<i>On the Mysteries of +Water</i>. <span class="smcap">Friedrich</span> +(<i>Symbolik</i>).</p> +</blockquote> +<p>Long after Christianity had come in, there were many places in +the vast edifice of society whence the old heathen deities +refused to go out, and there are even yet nooks and corners in +the mountains where they receive a kind of sorcerer’s +worship as <i>folletti</i>. A trace of this lingering in a +faith outworn, in nymphs, dryads, and <i>fata</i>, is found in +the following story:</p> +<p style="text-align: center"><span class="smcap">Le Due Ninfe +del Pozzo</span>.</p> +<p>“There once lived in Florence a young nobleman, who had +grown up putting great faith in <i>fate</i>, <i>ninfe</i>, and +similar spirits, believing that they were friendly, and brought +good fortune to those who showed them respect. Now there +was in his palazzo in the Via Calzaioli, at the corner of the +Condotta, a very old well or fountain, on which were ancient and +worn images, and in which there was a marvellous echo, and it was +said that two nymphs had their home in it. And the Signore, +<!-- page 37--><a name="page37"></a><span class="pagenum">p. +37</span>believing in them, often cast into the spring wine or +flowers, uttering a prayer to them, and at table he would always +cast a little wine into water, or sprinkle water on the ground to +do them honour.</p> +<p>“One day he had with him at table two friends, who +ridiculed him when he did this, and still more when he sang a +song praising nymphs and fairies, in answer to their +remarks. Whereupon one said to him:</p> +<blockquote><p>“‘Truly, I would like to see<br /> +An example, if ’t may be,<br /> +How a fairy in a fountain,<br /> +Or a goblin of the mountain,<br /> +Or a nymph of stream or wood,<br /> +Ever did one any good;<br /> +For such fays of air or river,<br /> +One might wait, I ween, for ever,<br /> +And if even such things be,<br /> +They are devils all to me.’</p> +</blockquote> +<p>“Then the young Signore, being somewhat angered, +replied:</p> +<blockquote><p>“‘In the wood and by the stream,<br /> +Not in reverie or dream,<br /> +Where the ancient oak-trees blow,<br /> +And the murmuring torrents flow,<br /> +Men whose wisdom none condemn<br /> +Oft have met and talked with them.<br /> +Demons for you they may be,<br /> +But are angels unto me.’</p> +</blockquote> +<p>“To which his friend sang in reply, laughing:</p> +<blockquote><p>“‘Only prove that they exist,<br /> +And we will no more resist;<br /> +Let them come before we go,<br /> +With <i>ha</i>!<i> ha</i>!<i> ha</i>! and <i>ho</i>!<i> +ho</i>!<i> ho</i>!’</p> +</blockquote> +<p>“And as they sang this, they heard a peal of silvery +laughter without, or, as it seemed, actually singing in the hall +and making a chorus with their voices. And at the instant a +servant came and said that two very beautiful ladies were +without, who begged the young Signore to come to them +immediately, and that it was on a matter of life and death.</p> +<p>“So he rose and stepped outside, but he had hardly +crossed the threshold before the stone ceiling of the hall fell +in with a tremendous crash, and just where the young Signore had +sat was a great stone weighing many <i>quintale</i> or +hundredweights, so that it was plain that if he had not been +called away, in <!-- page 38--><a name="page38"></a><span +class="pagenum">p. 38</span>an instant more he would have been +crushed like a fly under a hammer. As for his two friends, +they had broken arms and cut faces, bearing marks in memory of +the day to the end of their lives.</p> +<p>“When the young Signore was without the door and looked +for the ladies, they were gone, and a little boy, who was the +only person present, declared that he had seen them, that they +were wonderfully beautiful, and that, merrily laughing, they had +jumped or gone down into the well.</p> +<p>“Therefore it was generally believed by all who heard +the tale that it was the Fairies of the Well, or <i>Fonte</i>, +who thus saved the life of the young Signore, who from that day +honoured them more devoutly than ever; nor did his friends any +longer doubt that there are spirits of air or earth, who, when +treated with pious reverence, can confer benefits on their +worshippers.</p> +<blockquote><p>“‘For there are fairies all around<br +/> +Everywhere, and elves abound<br /> +Even in our homes unseen:<br /> +They go wherever we have been,<br /> +And often by the fireside sit,<br /> +A-laughing gaily at our wit;<br /> +And when the ringing echo falls<br /> +Back from the ceiling or the walls,<br /> +’Tis not our voices to us thrown<br /> +In a reflection, but their own;<br /> +For they are near at every turn,<br /> +As he who watches soon may learn.’</p> +</blockquote> +<p>“And the young Signore, to do honour to the fairies, +because they had saved his life, put them one on either side of +his coat-of-arms, as you may see by the shield which is on the +house at the corner of the Via Calzaioli.”</p> +<div class="gapspace"> </div> +<p>The authenticity of this legend, is more than doubtful, +because it exists elsewhere, as I have read it, being unable to +give my authority; but unless my memory deceives me, it goes back +to classic times, and may be found in some such work as that of +Philostratus <i>de Vita Apollonii</i> or Grosius. Neither +am I well assured, to judge from the source whence I had it, that +it is current among the people, though no great measure of +credulity is here required, since it may be laid down as a rule, +with <!-- page 39--><a name="page39"></a><span class="pagenum">p. +39</span>rarest exception, that there is no old Roman tale of the +kind which may not be unearthed with pains and patience among old +Tuscan peasant women. However, the <i>shield</i> is still +on the corner of the Via Calzaioli, albeit one of the nymphs on +it has been knocked or worn away. Thus even <i>fates</i> +must yield in time to fate.</p> +<p>I have in a note to another legend spoken of the instinct +which seems to lead children or grown people to associate wells +with indwelling fairies, to hear a voice in the echo, and see a +face in the reflection in the still water. Keats has +beautifully expressed it in “Endymion”:</p> +<blockquote><p>“Some mouldered steps lead into this cool +cell<br /> +Far as the slabbed margin of a well,<br /> +Whose patient level peeps its crystal eye<br /> +Right upward through the bushes to the sky. . . .<br /> +Upon a day when thus I watched . . . behold!<br /> +A wonder fair as any I have told—<br /> +The same bright face I tasted in my sleep<br /> +Smiling in the clear well. My heart did leap<br /> +Through the cool depth. . . .<br /> +Or ’tis the cell of Echo, where she sits<br /> +And babbles thorough silence till her wits<br /> +Are gone in tender madness, and anon<br /> +Faints into sleep, with many a dying tone.”</p> +</blockquote> +<p>“In which tale,” writes the immortal Flaxius, +“there is a pretty allegory. Few there are who know +why truth is said to be at the bottom of a well; but this I can +indeed declare to you. For as a mirror was above all things +an emblem of truth, because it shows all things exactly as they +are, so the water in a well was, as many traditions prove, +considered as a mirror, because looking into it we see our face, +which we of course most commonly see in a glass, and this disk of +shining water resembles in every way a hand-mirror. And for +this reason a mirror was also regarded as expressing life itself, +for which reason people so greatly fear to break them. So +in the Latin, <i>Velut in speculo</i>, and in the Italian, +<i>Vero come un specchio</i>—‘True as a +mirror,’ we have the same idea. And a poet has +written, ‘Mirrored as in a well,’ and many have +re-echoed the same pretty fancy.</p> +<p>“Which reminds me that in the Oberpfalz or Upper +Palatinate maidens were wont to go to a well by moonlight, and if +on looking therein they saw their own faces, they believed <!-- +page 40--><a name="page40"></a><span class="pagenum">p. +40</span>that they would soon be happily married. But if a +cloud darkened the moon and they saw nothing, then they would die +old maids. But luckiest of all was it if they fancied they +saw a man’s face, for this would be the future husband +himself.</p> +<p>“Now it befell that a certain youth near Heidelberg fell +into a well, or put himself there, when a certain maid whom he +loved, came and looked in, and believing that she saw the face of +her destined spouse, went away in full faith that the fairy of +the well had taken his form, and so she married him. Which, +if it be not true, is <i>ben trovato</i>.</p> +<p>“Truth is always represented, be it remembered, as +holding a mirror.</p> +<p>“And note also that the hand-mirror and the well were +strangely connected in ancient times, as appears by Pausanias, +who states that before a certain temple of Ceres hung a +<i>speculum</i>, which, after it had been immersed in a +neighbouring well or spring, showed invalids by reflection +whether they would live or die. And with all this, the +holding a mirror to the mouth of an insensible person to tell +whether the breath was still in the body, seemed also to make it +an indicator of life.”</p> +<blockquote><p>“Thus in life all things do pass,<br /> +As it were, in magic glass.”</p> +</blockquote> +<h2><!-- page 41--><a name="page41"></a><span class="pagenum">p. +41</span>THE STORY OF THE VIA DELLE SERVE SMARRITE</h2> +<blockquote><p>“We all do know the usual way<br /> +In which our handmaids go astray,<br /> +But in this tale the situation<br /> +Has a peculiar variation;<br /> +How an old wizard—strange occurrence!<br /> +Deluded all the girls in Florence,<br /> +(It needs no magic now to do it),<br /> +And how the maidens made him rue it,<br /> +For having seized on him and stripped him,<br /> +They tied him up and soundly whipped him.”</p> +</blockquote> +<p>The author of “The Cities of Central Italy,” +speaking of Siena, says that “In its heart, where its +different hill-promontories unite, is the Piazza del Campo, +lately—with the time-serving which disgraces every town in +Italy—called Vittorio Emanuele.” And with the +stupidity and bad taste which seems to characterise all municipal +governments in this respect all the world over, that of Florence +has changed most of the old names of this kind, and in order to +render the confusion more complete, has put the new names just +over the old ones, with the simple addition of the word +<i>Gia</i> or “formerly.” Whence came the +legend current in the Anglo-American colony, that a newly arrived +young lady, not as yet beyond the second lesson in Ollendorff, +being asked where she lived, answered in <i>Gia</i> Street. +She forgot the rest of the name.</p> +<p>One of these gaping <i>gias</i> is the Via del Parlascio +<i>gia Via delle Serve Smarrite</i>, or the street of the +maidservants strayed away or gone astray. Now Florence is +famous for its pretty servant-girls, and if I may believe a +halfpenny work, entitled “Seven Charming Florentine <!-- +page 42--><a name="page42"></a><span class="pagenum">p. +42</span>Domestics,” now before me, which is racy of the +soil—or dirt—and appears to be written from life [as +accurate portraits of all the fascinating seven are given], I +opine that the damsel of this class who had never been, I do not +say a wife, but a waif and a stray, must be a phenomenal +rarity. Therefore it was suggested to me that it was +formerly in very ancient times the custom to send all such stray +cattle to the pound, that is, to dwell in this street as a kind +of Ghetto. But the folly of this measure soon became +apparent when it was found that one might as well try to get all +the cats in Tuscany into a hand-basket, or all its flies—or +fleas—under one tumbler, as try to make a comprehensive +menagerie of these valuable animals, who were, however, by no +means curiosities. So the attempt was abandoned, and +thenceforth the maidens were allowed to stray wherever they +pleased, but under some slight supervision; whence it was said of +them that they were <i>le lucertole chi cominciano a sentir il +sole</i>—“fireflies which begin to see the +sun”—a proverb which the learned and genial Orlando +Peschetti (1618) explains as being applicable to those who, +having been in prison and then set free, are still watched, but +which appears to me rather to refer to the suspected who are +“shadowed” before they are arrested.</p> +<p>But in due time I received from good authority an ancient +legend of the Via delle Serve Smarrite, in which the origin of +the name is explained as follows:</p> +<p style="text-align: center"><span class="smcap">Via delle Serve +Smarrite</span>.</p> +<p>“There was long ago, in what was afterwards called the +Via delle Serve Smarrite, or Stray Maid-Servants’ Street, a +very ancient and immensely large house, which was generally +supposed to be vacant, and in which no one cared to dwell, or +even approach, since there were dreadful tales of evil deeds done +in it, and reports that it was a gathering-place for witches, +goblins, and <i>diavoli</i>. The clanking of chains and +peals of horrid laughter rung from its chambers at midnight, blue +and <!-- page 43--><a name="page43"></a><span class="pagenum">p. +43</span>green fires gleamed from its windows, and everybody all +around had heard from somebody else that the nightmares had there +their special nest, from which they sailed forth to afflict all +Florence.</p> +<p>“Yet all this was a trick which was often played in +those days, when <i>gente non dabbene</i> or evil folk and +outlaws wanted to keep a house to themselves, and there were no +newspapers to publish every mystery. For there were a great +many who went in there, but few who ever came out, and these were +all young and pretty servant-maids. And the way it was +managed was this. When such girls were sent to the market +to buy provisions, they always met there or elsewhere an old +woman who pretended to be extremely pious, <a +name="citation43"></a><a href="#footnote43" +class="citation">[43]</a> who, by using many arts and making +small gifts, and above all by subtle flatteries, persuaded them +that service was only fit for <i>gentaccia</i> or the dregs of +the people, and that, beautiful and graceful as they were, they +needed only live like ladies for a little time at ease, and they +would soon be fit to marry some Signore, and that she herself +would thus maintain them, hoping they would pay her well for it +all when once married. And I need not say that the trick +generally succeeded.</p> +<p>“The house to which they were led was ugly and repulsive +outside, but within there were beautiful rooms of all kinds, +magnificently furnished, and the new-comers were promptly bathed, +elegantly attired, and jewelled from head to foot, and instead of +serving, had maids given them as attendants, and everything +conceivable was done to make their life as pleasant and +demoralising among themselves as possible. But in due time +they found out that a certain Signore was lord of the house and +of themselves, and that he gradually led them into the strangest +and most terrible orgies, and finally into witchcraft, after +which one disappeared mysteriously after the other, none knew +whither, but as there were always fresh arrivals to take their +places, nobody heeded it.</p> +<p>“However, this mournful disappearance of pretty +servant-maids became at last so frequent and was so mysterious, +that it began to be much talked about. Now there was a +certain gentleman, a man himself of great authority and +intelligence, who had heard of these vanishments and hoped to +find out their cause. And one night at a very late hour, +when he was passing by the mysterious house, he heard from it now +and <!-- page 44--><a name="page44"></a><span class="pagenum">p. +44</span>then sounds like groans mingled with the clanking of +chains, and saw red and blue and green lights at the windows, but +by keeping still he also distinguished the sound of music and +girls’ voices laughing and singing; and stealing near in +the darkness, and fearing no devils, he contrived to climb up to +a window, and pulling aside a curtain, peeped in, when he beheld +plainly enough a great many beautiful women in scant array, or a +real dance of witches, and being marvellously attracted by the +sight of so many charms so liberally displayed, he naturally +desired to enter the gay party.</p> +<p>“And here chance favoured him beyond all hope; for on +going to the door, he found an old woman about to enter, to whom +he gave a gold piece, and begged her to tell him the true story +of the house, and whether he could enter it. But what was +his amazement to find in her his old foster-mother of the +country, whom he had not seen for many years, and who loved him +dearly.</p> +<p>“And she, being pressed, told him the whole story of the +house, wherein she was a servant, but that she had grown deadly +tired of such evil ways, and seeing such sin as went on there, +though she was well paid, and said if he would only give her a +home, she would reveal all to justice. And she added that +for the present he could freely join the girls who were dancing, +as the wizard, their master, was away that night.</p> +<p>“But when he entered, he was amazed at the splendour of +the rooms and the beauty of the women. Now among these he +found one who truly enchanted him, and entering into conversation +with her, found that she would gladly escape with him, and that +many others were inclined to leave, but dare not show it for fear +of the master.</p> +<p>“Then the Signore, addressing all the girls, told them +that in a few hours the guards or police would, by his orders, be +in the house, and advised them to at once seize on all the +valuables on which they could lay their hands, and pack up their +bundles and depart, and that he himself would write for every one +a free pass to let her go with the property. And truly he +had hardly spoken ere there began such a plundering and +pillaging, sacking and spoliation, as it would have done your +heart good to see, and which was like the taking of a rich town, +only that the marauders were all maidens. Here was one +rolling up silver spoons, cups, anything she could get, in a +shawl; there another filling a bag with jewellery, and a silver +ladle sticking out of her bosom or back; anon a couple of Venuses +fighting <!-- page 45--><a name="page45"></a><span +class="pagenum">p. 45</span>for a splendid garment, while a +superb Hebe ravished a golden goblet, and an enchanting Vesta, if +not a vestal, appropriated most appropriately a silver +lamp. Some pulled down the curtains, others rolled up the +costly Venetian rugs; they drank wine when they were thirsty, and +quarrelled and laughed and shrieked, as a parcel of wild +servant-girls in a mad frolic might be expected to do. It +was a fine sight—‘one worthy of a great artist or De +Goncourt,’ notes Flaxius.</p> +<p>“When lo! all at once there was an awful and +simultaneous shriek as the door opened, and the +<i>Domine</i>—I mean the headmaster, wizard, or +sultan—entered, gazing like an astonished demon on the +scene before his eyes. In a voice of thunder he asked the +meaning of the scene, when he found himself confronted by the +intruding Signore, before whom his heart run away like water when +he recognised in him a man having very great authority, with the +police at his back.</p> +<p>“Now, servant-maids, however pretty they may be, are +mostly <i>contadine</i> with powerful muscles and mighty arms, +and with one accord they rushed on their late master, and soon +overpowered him. Then he was securely bound with silken +curtain ropes, and the new Signore, taking his place at a great +table, bade all the damsels range themselves at the sides in +solemn council, for the offender was now to be tried, condemned, +and punished too, should he be found guilty.</p> +<p>“The trial was indeed one of peculiar interest, and the +testimony adduced would have made the fortune of a French +novelist, but space (if nothing else) prohibits my giving +it. Suffice it to say that the wizard was found guilty of +taking unto himself an undue share of pretty hand-maidens, a +great sin considering the number of gallant soldiers and other +bachelors who were thereby defrauded of their dues. But as +he had neither murdered nor stolen, it was decided to let him go +and carry on his games in some less Christian town, on condition +that he would divide what money he had in the house among the +poor girls whom he had so cruelly cajoled.</p> +<p>“And as this last sentence was plaintively pronounced, +there was a deep and beautiful sigh uttered by all the victims, +followed by three cheers. The master’s strong-box was +at once hunted up, and its contents shared, and indeed they were +so considerable that the maidens one and all soon married nobly +and lived happily.”</p> +<div class="gapspace"> </div> +<p>The written story, with a pleasing instinct of Italian <!-- +page 46--><a name="page46"></a><span class="pagenum">p. +46</span>thrift, adds that the conquering Signore purchased the +property, in fact, the whole street, at a very low figure, before +the facts became known, and gave the place the name of the <i>Via +delle Serve Smarrite</i>, as it is still called by the people, +despite its new official christening.</p> +<blockquote><p>“Ye may break, ye may ruin the flask if ye +will,<br /> +But the scent of the brandy will hang round it still.”</p> +</blockquote> +<h2><!-- page 47--><a name="page47"></a><span class="pagenum">p. +47</span>THE BRONZE BOAR OF THE MERCATO NUOVO</h2> +<blockquote><p>“Now among the Greeks, as with the Northern +races, the boar was the special type of male generation, even as +the frog expressed that of the female sex. And therefore +images of the boar were set in public places that fertility might +be developed among women, for which reason they also wear, as +among the Arabs, necklaces of silver frogs.”—<i>Notes +on Symbolism</i>.</p> +</blockquote> +<p>In front of the Mercato Nuovo, built by Cosimo I., stands a +bronze copy of an ancient boar, now in the Uffizzi Gallery. +It was cast by Pietro Tacca, and is now a fountain. The +popular legend in relation to it is as follows:</p> +<p>“In the market-place of Florence, which is called <i>Il +Porcellino</i>, because there is in it a fountain with a swine, +there was anciently only a spring of water and a pool, in which +were many frogs, water-lizards, shell-snails, and slugs. +These were round about, but in the spring itself was a frog who +was confined there because she had revealed that her lover was a +boar.</p> +<p>“This boar was the son of a rich lord, who, being +married for a very long time, had no children, and for this +reason made his wife very unhappy, saying that she was a useless +creature, and that if she could not bear a son she had better +pack up and be off with herself, which she endured despairingly +and weeping continually, praying to the saints and giving alms +withal, all to bring forth an heir, and all in vain.</p> +<p>“One day she saw a drove of pigs go by her palace, and +among them were many sows and many more very little pigs. +Now among these, or at hand, was a <i>fata</i> or witch-spirit. +<a name="citation47"></a><a href="#footnote47" +class="citation">[47]</a> And the lady seeing this said in +the bitterness of her heart, ‘So the very pigs have +offspring and I none. I would I were as <!-- page 48--><a +name="page48"></a><span class="pagenum">p. 48</span>they are, and +could do as they do, and bring forth as they bring forth, and so +escape all this suffering!’</p> +<p>“And the fairy heard this, and took her at her word; +and, as you will see, she cut her cloth without measuring it +first, from which came a sad misfit. And soon after she was +ill, and this being told to her husband, he replied, ‘Good +news, and may she soon be gone!’ but he changed his tone +when he heard that he was to have an heir. Then he flew to +her and begged her pardon, and made great rejoicings.</p> +<p>“Truly there was horror and sorrow when in due time the +lady, instead of a human child, brought forth a boar-pig. +Yet the parents were so possessed with the joy of having any kind +of offspring that they ended by making a great pet of the +creature, who was, however, human in his ways, and could in time +talk with grace and ease. <a name="citation48a"></a><a +href="#footnote48a" class="citation">[48a]</a> And when he +grew older he began to run after the girls, and they to run away +from him, screaming as if the devil had sent him for them.</p> +<p>“There lived near the palace a beautiful but very poor +girl, and with her the young Boar fell desperately in love. +So he asked her parents for her hand; but they, poor as they +were, laughed at him, saying that their daughter should never +marry a swine. But the young lady had well perceived that +this was no common or lazy pig, such as never gets a ripe +pear—<i>porco pigro non mangia pere mature</i>—as he +had shown by wooing her; and, secondly, because she was poor and +ambitious, and daring enough to do anything to become rich and +great. <a name="citation48b"></a><a href="#footnote48b" +class="citation">[48b]</a></p> +<p>“Now she surmised that there were eggs under the chopped +straw in this basket, or more in the youth than people supposed; +and she was quite right, for on the bridal night he not only +unclothed himself of silk and purple and fine linen, but also +doffed his very skin or boar’s hide, and appeared as +beautiful as a Saint Sebastian freshly painted.</p> +<p>“Then he said to her, ‘Be not astonished to find +me good-looking at the rate of thirty sous to a franc, nor deem +thyself over-paid, for if we had not wedded, truly I should have +gone on pigging it to the end of my days, having been +doomed—like many men—to be a beast so long as I was a +bachelor, or <!-- page 49--><a name="page49"></a><span +class="pagenum">p. 49</span>till a beautiful maid would marry +me. Yet there is a condition attached to this, which is, +that I can only be a man as thou seest me by night, for I must be +a boar by day. And shouldst thou ever betray this secret to +any one, or if it be found out, then I shall again be a boar all +the time for life, and thou turn into a frog because of too much +talking.</p> +<p>“Now as surely as that time and straw ripen medlars, as +the saying is, just so surely will it come to pass that a woman +will tell a secret, even to her own shame. And so it befell +this lady, who told it as a great mystery to her mother, who at +once imparted it under oath to all her dear friends, who swore +all their friends on all their salvations not to breathe a word +of it to anybody, who all confessed it to the priests. How +much farther it went God knows, but by the time the whole town +knew it, which was in one day of twenty-four hours, or ere the +next morning, the bride had become a frog who lived in the +spring, and the bridegroom a boar who every day went to drink at +the water, and when there said:</p> +<blockquote><p>“‘Lady Frog! lo, I am here!<br /> +He to whom thou once wert dear.<br /> +We are in this sad condition,<br /> +Not by avarice or ambition,<br /> +Nor by evil or by wrong,<br /> +But ’cause thou could’st not hold thy tongue;<br /> +For be she shallow, be she deep,<br /> +No woman can a secret keep;<br /> +Which all should think upon who see<br /> +The monument which here will be.’</p> +</blockquote> +<p>“So it came to pass either that the boar turned into the +great bronze <i>maiale</i> which now stands in the market-place, +or else the people raised it in remembrance of the +story—<i>chi sa</i>—but there it is to this day.</p> +<p>“As for the Signora Frog, she comforted herself by +making a great noise and telling the tale at the top of her +voice, having her brains in her tongue—<i>il cervello nella +lingua</i>, as they say of those who talk well yet have but small +sense. And that which you hear frogs croaking all night +long is nothing but this story which I have told you of their +ancestress and the bronze boar.”</p> +<div class="gapspace"> </div> +<p>This is, in one form or the other, a widely spread tale. +As the voice of the frog has a strange resemblance to that of +man, there being legends referring to it in every <!-- page +50--><a name="page50"></a><span class="pagenum">p. +50</span>language, and as there is a bold and forward expression +in its eyes, <a name="citation50"></a><a href="#footnote50" +class="citation">[50]</a> it was anciently regarded as a human +being who was metamorphosed for being too impudent and +loquacious, as appears by the legend of “Latona and the +Lycian Boors” (Ovid, <i>Metamorph.</i>, vi. 340). The +general resemblance of the form of a frog to that of man greatly +contributed to create such fables.</p> +<p>The classic ancient original of this boar may be seen in the +Uffizzi Gallery. As the small image of a pig carried by +ladies ensures that they will soon be, as the Germans say, +“in blessed circumstances,” or <i>enceinte</i> (which +was all one with luck in old times), so the image of the boar is +supposed to be favourable to those ladies who desire olive +branches. From all which it appears that in ancient times +swine were more highly honoured than at present, or, as Shelley +sings:</p> + +<blockquote><p> “We +pigs<br /> +Were blest as nightingales on myrtle sprigs,<br /> +Or grasshoppers that live on noon-day dew.”</p> +</blockquote> +<h3><!-- page 51--><a name="page51"></a><span class="pagenum">p. +51</span>THE FAIRY OF THE CAMPANILE, OR THE TOWER OF GIOTTO</h3> +<blockquote><p>“Bella di fronte e infino alle Calcagna,<br +/> +Con un corredo nobile e civile,<br /> +In te risiede una cupola magna<br /> +E superbo di Giotto il Campanile.”—<i>Giuseppe +Moroni</i>.</p> +<p>“Round as the O of Giotto, d’ye see?<br /> +Which means as well done as a thing can +be.”—<i>Proverb</i>.</p> +</blockquote> +<p>Many have wondered how it came to pass that Virgil lived in +tradition not as a poet but as sorcerer. But the reason for +it is clear when we find that in Florence every man who ever had +a genius for anything owed it to magic, or specially to the +favour of some protecting fairy or <i>folletto</i>, spirit or +god. Is a girl musical? Giacinto or Hyacinth, the +favourite of Apollo, has given her music lessons in her +dreams. For the orthodox there are Catholic saints with a +specialty, from venerable Simeon, who looks after luck in +lotteries, to the ever-blessed Antony, who attends to everything, +and Saint Anna, <i>née</i> Lucina, who inspires +nurses. And where the saints fail, the <i>folletti</i>, +according to the witches, take their place and do the work far +better. Therefore, as I shall in another place set forth, +Dante and Michel Angelo have passed into the marvellous mythology +of goblins. With them is included Giotto, as appears by the +following legend of “The Goblin of the Bell-Tower of +Giotto.”</p> +<p style="text-align: center"><span class="smcap">Il Folletto del +Campanile di Giotto</span>.</p> +<p>“Giotto was a shepherd, and every day when he went forth +to pasture his herd there was one little lamb who always kept +<!-- page 52--><a name="page52"></a><span class="pagenum">p. +52</span>near him, and appeared to be longing to talk to him like +a Christian.</p> +<p>“Now this lamb always laid down on a certain stone which +was fast in the ground (<i>masso</i>); and Giotto, who loved the +lamb, to please it, lay down also on the same stone.</p> +<p>“After a short time the lamb died, and when dying +said:</p> +<blockquote><p>“‘Giotto, cosa non far ti<br /> +Se mi senti parlarti,<br /> +Ti voglio tanto bene<br /> +E dove andrai,<br /> +Io ti seguiro sempre<br /> +In forma di folletto,<br /> +E col mio volere<br /> +Tu verrai un bravo scultore<br /> +E insegne disegnatore.’</p> +<p>“‘Giotto, be not astonished<br /> +That I thus speak to thee;<br /> +I have such love for thee,<br /> +Wherever thou shalt go<br /> +I will follow thee always<br /> +In the form of a fairy,<br /> +And through my favour<br /> +Thou shalt become a great sculptor<br /> +And artist.’</p> +</blockquote> +<p>“And so it came to pass that Giotto was an able sculptor +by the aid of the lamb, and all that he did was due to the lamb +which helped him.</p> +<p>“And when he died, the spirit of the lamb remained in +the form of a <i>folletto</i> or fairy in the campanile, and it +is still often seen there, always with the spirit of +Giotto. Even in death their souls could not be +separate.</p> +<p>“When any one desires to ascend the tower, and his or +her heart fails in mounting the steps (<i>e che ha paura di +salire</i>), the fairy below says:</p> +<blockquote><p>“‘Vade, vade, Signora!<br /> +La vade su salgha,<br /> +Non abbia paura,<br /> +Ci sono io sotto.’</p> +<p>“‘Go on, go on, Signora,<br /> +Go up the stairs—oh go!<br /> +Be not afraid, my lady!<br /> +For I am here below.’</p> +</blockquote> +<p>“Then the visitor hearing this believes it is one of the +guides employed (<i>inpiegati</i>), or one of the gentlemen or +ladies <!-- page 53--><a name="page53"></a><span +class="pagenum">p. 53</span>who are ascending after. And +often when half-way up there comes a great puff of wind which +blows up their skirts (<i>fa gonfiare le sottane</i>) which +causes great laughter, and they think that this is only a common +thing, and do not perceive that it does not happen to others.</p> +<p>“And it is said that this fairy appears by night in the +Piazza del Duomo, or Cathedral Square, in different +forms.”</p> +<div class="gapspace"> </div> +<p>The reason why Giotto is so popularly known as having been a +shepherd is that on the central tablet of the tower or campanile, +facing the street, there is a bas-relief of a man seated in a +tent with sheep before him, and this is naturally supposed to +represent the builder or Giotto himself, since it fills the most +prominent place. In a very popular halfpenny chapbook, +entitled “The Statues under the Uffizzi in Florence, +Octaves improvised by Giuseppe Moroni, called <i>Il Niccheri</i> +or the Illiterate,” I find the following:</p> +<blockquote><p style="text-align: center"><span +class="smcap">Giotto</span>.</p> +<p>“Voi di Mugello, nato dell’ interno,<br /> +Giotto felice, la da’ Vespignano<br /> +Prodigiose pitture in ogni esterno<br /> +A Brescia, a Roma, Firenze e Milano,<br /> +Nelle pietre, ne’ marmi nel quaderno,<br /> +L’archittetura al popolo italiano.<br /> +Da non trovare paragone simile,<br /> +Vi basti, per esempio, il campanile.”</p> +<p>“Thou of Mugello, born in Italy,<br /> +Happy Giotto, gav’st to Vespignan<br /> +Great pictures which on every front we see<br /> +At Brescia, Rome, in Florence and Milan,<br /> +In stone, in marble, and in poetry,<br /> +And architecture, all Italian.<br /> +Nothing surpassed thy wondrous art and power,<br /> +Take for example, then, our great bell-tower.”</p> +</blockquote> +<p>The fact that this is taken from a very popular halfpenny work +indicates the remarkable familiarity with such a name as that of +Giotto among the people.</p> +<h2><!-- page 54--><a name="page54"></a><span class="pagenum">p. +54</span>THE GOBLIN OF THE TOWER BELLA TRINITA, OR THE PORTA SAN +NICCOLO</h2> +<blockquote><p>“They do not speak as mortals speak,<br /> +Nor sing as others sing;<br /> +Their words are gleams of starry light,<br /> +Their songs the glow of sunset light,<br /> +Or meteors on the wing.”</p> +</blockquote> +<p>I once begun a book—the ending and publishing of it are +in the dim and remote future, and perhaps in the limbo of all +things unfinished. It was or is “The Experiences of +Flaxius the Immortal,” a sage who dwells for ever in the +world, chiefly to observe the evolution of all things absurd, +grotesque, quaint, illogical—in short, of all that is +strictly human. And on him I bestowed a Florentine legend +which is perhaps of great antiquity, since there is a hint in it +of an ancient Hebrew work by Rabbi ben Mozeltoff or the learned +Gedauler Chamar—I forget which—besides being found in +poetic form in my own great work on Confucius.</p> +<p>That money is the life of man, and that treasure buried in the +earth is a sin to its possessor, forms the subject of one of +Christ’s parables. The same is true of all talent +unemployed, badly directed, or not developed at all. The +turning-point of evolution and of progressive civilisation will +be when public opinion and state interests require that every man +shall employ what talent he has, and every mere idler be treated +as a defaulter or criminal. From this truly Christian point +of view the many tales of ghosts who walk in agony because of +buried gold are strangely instructive.</p> +<p style="text-align: center"><!-- page 55--><a +name="page55"></a><span class="pagenum">p. 55</span><span +class="smcap">Flaxius and the Rose</span>.</p> +<p>“Midnight was ringing from the cloister of San Miniato +in Florence on the hill above, and Flaxius sat by the Arno down +below, on the bank by the square grey tower of other days, known +as the Niccolò, or <i>Torre delta Trinità</i>, +because there are in it three arches. . . .</p> +<p>“It was midnight in mid-winter, and a full moon poured +forth all its light over Florence as if it would fain preserve it +in amber, and over the olive groves as if they had become moss +agates. . . .</p> +<p>[“‘Or I,’ quoth Flaxius, ‘a fly in +hock.’]</p> +<p>“Yes, it was a clear, cold, Tuscan night, and as the +last peal of bells went out into eternity and faded in the +irrevocable, thousands of spirits of the departed began to +appear, thronging like fireflies through the streets, visiting +their ancient haunts and homes, greeting, gossiping, arranging +their affairs just as the peasants do on Friday in the great +place of the Signoria, as they have done for centuries.</p> +<p>“Flaxius looked at the rolling river which went rushing +by at his feet, and said:</p> +<p>“‘<i>Arno mio</i>, you are in a tremendous hurry +to get to the sea, and all the more so because you have just had +an <i>accessit</i>—a remittance of rain from the +mountain-banks. <i>Buon pro vi faccia</i>—much good +may it do you! So every shopman hurries to become a great +merchant when he gets some money, and every farmer a signore, and +every signore a great lord, and every great lord a ruler at court +and over all the land—<i>prorsum et sursum</i>. And +when they get there—or when you get to the sea—then +ye are all swallowed up in greater lives, interests, and actions, +and so the rivers run for ever on, larger yet ever seeming less +unto yourselves. And so—<i>ad altiora tendunt +omnes</i>—the flower-edged torrent and the +Florentine.’ . . .</p> +<p>“When he suddenly heard above his head a spirit voice, +clear, sweet and strange, ringing, not in words, but tones of +unearthly music—of which languages there are many among the +Unearthlies, all being wordless songs or airs suggesting speech, +and yet conveying ideas far more rapidly. It was the Goblin +of the Tower calling to him of the tower next beyond on the +farther hill, and he said:</p> +<p>“‘How many ghosts there are out +to-night!’</p> +<p>“‘Yes; it is a fine night for ghosting. +Moonlight is mid-summer <!-- page 56--><a name="page56"></a><span +class="pagenum">p. 56</span>for them, poor souls! But I +say, brother, who is yonder <i>frate</i>, the dark monk-spectre +who always haunts your tower, lingering here and there about +it? What is the spell upon that <i>spirito</i>?’</p> +<p>“‘He is one to be pitied,’ replied the +Goblin of the Trinità. ‘He was a good fellow +while he lived, but a little too fond of money. He was +afflicted with what doctors called, when I was young in Rome, the +<i>amor sceleratus habendi</i>. So it came to pass that he +died leaving a treasure—<i>mille aureos</i>—a +thousand gold crowns buried in my tower unknown to any one, and +for that he must walk the earth until some one living wins the +money.’</p> +<p>“Flaxius pricked up his ears. He understood all +that the spirits said, but they had no idea that the man in a +scholar’s robe who sat below knew Goblinese.</p> +<p>“‘What must a mortal do to get the gold?’ +inquired the second goblin.</p> +<p>“‘Truly he must do what is well-nigh +impossible,’ replied the Elf of the Tower; ‘for he +must, without magic aid—note that—bring to me here in +this month of January a fresh full-blown rose.’</p> +<p>“The voices were silent; a cloud passed over the face of +the moon; the river rushed and roared on; Flaxius sat in a +Vandyke-brown study, thinking how he could obtain peace and +repose for the ghostly monk, and also get the +<i>pecuniam</i>.</p> +<p>“‘Here is,’ he thought, ‘<i>aliquid +laborare</i>—something to be worked out. Now is the +time, and here is a chance—<i>ingirlandarsi di +lauro</i>—to win the laurel wreath. A rose in +January! What a pity that it is not four hundred years +later, when people will have green-houses, and blue-nosed +vagabonds will be selling red roses all the winter long in the +Tornabuoni! Truly it is sometimes inconvenient to be in +advance of or behind the age.</p> +<p>“‘<i>Eureka</i>! I have it,’ he at +last exclaimed, ‘by the neck and tail. I will +<i>spogliar la tesoria</i>—rob the treasury and spoil the +Egyptian—<i>si non in errore versatus sum</i>—unless +I am stupendously mistaken. Monk! thy weird will soon be +dreed—thy penance prophesied will soon be +o’er.’</p> +<p>“Saying this he went into the city. And there the +next day, going to a fair dame of his acquaintance, who excelled +all the ladies of all Italy in ingenious needlework, he had made +of silk a rose; and so deftly was it done, that had it been put +on a bush, you would have sworn that a nightingale would have +sung to it, or bee have sought to ravish it.</p> +<p><!-- page 57--><a name="page57"></a><span class="pagenum">p. +57</span>“Then going to a Venetian perfumer’s, the +wise Flaxius had his flower well scented with best attar of roses +from Constantinople, and when midnight struck he was at the tower +once more calling to the goblin.</p> +<p>“‘<i>Che vuoi</i>? What dost thou +seek?’ cried the Elf.</p> +<p>“‘The treasure of the monk!’</p> +<p>“‘<i>Bene</i>! Give me a rose.’</p> +<p>“‘<i>Ecco</i>! There it is,’ replied +Flaxius, extending it.</p> +<p>“‘<i>Non facit</i>—it won’t do,’ +answered the goblin (thinking Flaxius to be a monk). +‘It is a sham rose artificially coloured, <i>murice tincta +est</i>.’</p> +<p>“‘Smell it,’ replied Flaxius calmly.</p> +<p>“‘The <i>smell</i> is all right, I admit,’ +answered the guardian of the gold. ‘The perfume is +delicious;’ here he sniffed at it deeply, being, like all +his kind, enraptured with perfume, ‘and that much of it is, +I grant, the real thing.’</p> +<p>“‘Now tell me,’ inquired Flaxius, +‘truly—<i>religiosè testimonium +dicere</i>—by thy great ancestress Diana and her +sister-double Herodias and her Nine Cats, by the Moon and the +eternal Shadow, Endamone, and the word which Bergoia whispered +into the ear of the Ox, and the Lamia whom thou lovest—what +is it makes a man? Is it his soul or his body?’</p> +<p>“‘Man of mystery and master of the hidden +lore,’ replied the awe-struck goblin, ‘it is his +<i>soul</i>.’</p> +<p>“‘And is not the perfume of the rose its +<i>soul</i>—that which breathes its life, in which it +speaks to fairies or to men? Is not the voice in song or +sweetened words the perfume of the spirit, ever true? Is +not—’</p> +<p>“‘I give it up,’ replied the goblin. +‘The priest may turn in now for a long, long nap. +Here, take his gold, and <i>ne gioire tutto +d’allegrezza</i>—may you have a merry time with +it. There is a great deal of good drinking in a thousand +crowns; and if you ever try to <i>ludere latrunculis vel +aleis</i>, or shake the bones or dice, I promise you three +sixes. By the way, I’ll just keep this rose to +remember you by. <i>Addio—a +rivederlei</i>!’</p> +<p>“So the bedesman slept amid his ashes cold, and the good +Flaxius, who was a stout carl for the nonce, with a broad back +and a great beard, returned, bearing a mighty sack of ancient +gold, which stood him in good stead for many a day. And the +goblin is still there in the tower.”</p> +<p>“<i>Hæc fabula docet</i>,” wrote Flaxius as +he revised the proof with a red-lead pencil, for which he had +paid a penny in the Calzolaio. “This tale teaches +that in this life there is naught <!-- page 58--><a +name="page58"></a><span class="pagenum">p. 58</span>which hath +not its ideal side or inner soul, which may raise us to higher +reflection or greater profit, if we will but seek it. The +lower the man the lower he looks, but it is all to his loss in +the end. Now every chapter in this book, O my son—or +daughter—may seem to thee only a rose of silk, yet do not +stop at that, but try to find therein a perfume. For thou +art thyself, I doubt not, such a rose, even if thy threads (as in +most of us) be somewhat worn, torn, or faded, yet with a soul far +better than many deem who see thee only afar off. And this +my book is written for the perfume, not the silk of my +reader. And there is no person who is better than what the +world deems him or her to be who will not find in it marvellous +comfort, solace, and satisfaction.”</p> +<p>Thus wrote Flaxius.</p> +<div class="gapspace"> </div> +<p>Since I penned the foregoing from memory, I have found the +Italian text or original, which had been mislaid for years. +In it the tale is succinctly told within the compass of forty +lines, and ends with these words:</p> +<blockquote><p>“‘Take the treasure, and give me the +rose!’</p> +<p>“And so the spirit gave him the treasure and took the +rose, and the poor man went home enriched, and the priest to +sleep in peace—<i>fra gli eterni</i>—among the +eternals.”</p> +</blockquote> +<p>I ought, of course, to have given scientifically only the text +word for word, but <i>litera scripta manet</i>—what is +written remains, and Flaxius is an old friend of mine, and I +greatly desired to introduce him to my readers. And I doubt +not that the reviewers will tell me if I have sinned!</p> +<blockquote><p>“Do a good deed, or aught that’s +fit,<br /> +You never again may hear of it;<br /> +But make a slip, all will detect it,<br /> +And every friend at once correct it!”</p> +</blockquote> +<h2><!-- page 59--><a name="page59"></a><span class="pagenum">p. +59</span>THE GHOST OF MICHEL ANGELO</h2> +<blockquote><p>“If I believed that spirits ne’er<br +/> +Return to earth once more,<br /> +And that there’s naught unto them dear<br /> +In the life they loved before;<br /> +Then truly it would seem to me,<br /> +However fate has sped,<br /> +For souls there’s no eternity,<br /> +And they and all are dead.”</p> +</blockquote> +<p>It must have struck every one who has read the life of Michel +Angelo, that he was, like King James the First of England, +“nae great gillravager after the girls,” or was far +from being susceptible to love—in which he formed a great +contrast to Raphael, and indeed to most of the Men of his +Time—or any other. This appears to have impressed the +people of Italy as something even more singular than his works, +for which reason he appears in popular tradition as a good enough +goblin, not without cheerfulness and song, but as one given to +tormenting enamoured couples and teasing lady artists, whom he +subsequently compliments with a gift. The legend is as +follows:</p> +<p style="text-align: center"><span class="smcap">Lo Spirito di +Michele Angiolo Buonarotti</span>.</p> +<p>“The spirit of Michel Angelo is seen mostly by night, in +woods or groves. The good man appears as he did in life, +<i>come era prima</i>, ever walking among trees singing +poetry. He amuses himself very much by teasing +lovers—<i>a dare noia agli amoretti</i>—and when he +finds a pair who have hidden themselves under leaves and boughs +to make love, he waits till they think they are well concealed, +and then begins to sing. And the two feel a spell upon them +when they hear his voice, and can neither advance nor +retreat.</p> +<p><!-- page 60--><a name="page60"></a><span class="pagenum">p. +60</span>“Then all at once opening the leafy covert, he +bursts into a peal of laughter; and the charm being broken, they +fly in fear, because they think they are discovered, and it is +all nothing but the spirit of Michel Angelo Buonarotti.</p> +<p>“When some lady-artist goes to sketch or paint, be it +<i>al piazzale</i>, in open places, or among the woods, it is his +delight to get behind, and cause her to blunder, scrawl, and daub +(<i>fare degli scarabocchi</i>). And when the artist is +angered, she will hear a loud peal of laughter; and if this +irritates her still more, she will hear a song, and yet not +perceive the singer. And when at last in alarm she catches +up her sketch, all scrawled and spoiled, and takes to flight, she +will hear the song following her, and yet if she turns her head +she will see no one pursuing. The voice and melody are +always beautiful. But it is marvellously lucky to have this +happen to an artist, for when she gets home and looks at her +sketch, she finds that it is neither scrawled nor daubed, but +most exquisitely executed in the style of Michel +Angelo.”</p> +<div class="gapspace"> </div> +<p>It is marvellous how the teasing faun or Silvanus of the +Romans has survived in Tuscany. I have found him in many +forms, under many names, and this is the last. But why it +should be Michel Angelo, I cannot imagine, unless it be that his +face and stump nose, so familiar to the people, are indeed like +that of the faun. The <i>dii sylvestres</i>, with all their +endless mischief, riotry, and revelry, were good fellows, and the +concluding and rather startling touch that the great artist in +the end always bestows a valuable picture on his victim is really +godlike—in a small way.</p> +<p>It is remarkable as a coincidence, that Michel Angelo was +himself during life terribly annoyed and disturbed by people +prying and speering about him while painting—especially by +Pope Leo—for whom he nevertheless painted very good +pictures. It would almost seem as if there were an echo of +the event in the legend. Legend is the echo of history.</p> +<p>“This legend,” remarks Flaxius, “may give a +valuable hint to collectors. Many people are aware that +there are in existence <!-- page 61--><a name="page61"></a><span +class="pagenum">p. 61</span>great numbers of sketchings and +etchings attributed to Michel Angelo, Dürer, Raphael, Marc +Antonio, and many more, which were certainly executed long since +those brothers of the paint or pencil passed away. May it +not be that the departed still carry on their ancient callings by +the aid of new and marvellous processes to us as yet unknown, or +by what may be called ‘pneumato-gravure’? Who +knows?—’tis a great idea, my masters;—let us +pass on or <i>legit</i> unto another legend!</p> +<blockquote><p>“‘Well I ween it may be true<br /> +That afar in fairyland<br /> +Great artists still pursue<br /> +That which in life they knew,<br /> +And practise still, with ever bettering hand,<br /> +Sculpture and painting, all that charm can bring,<br /> +While by them all departed poets sing.’”</p> +</blockquote> +<h2><!-- page 62--><a name="page62"></a><span class="pagenum">p. +62</span>THE APPARITION OF DANTE</h2> +<blockquote><p>“Musa profonda dei Toscani, il Dante,<br /> +Il nobil cittadin, nostro Alighieri,<br /> +Alla filosofia ricco e brillante<br /> +Purgò il linguaggio e corredò i pensieri;<br /> +E nell’ opera sua fatto gigante<br /> +A Campaldino nei primi guerrieri;<br /> +Lui il Purgatorio, Paradiso e Inferno<br /> +Fenomeno terren, poeta eterno!”</p> +<p style="text-align: right">—<i>Le Statue disotto gli +Ufizi in Fireneze</i>. <i>Ottave improvisate da Giuseppe +Moroni detto Il Nicchieri</i> (<i>Iliterato</i>). Florence, +1892.</p> +</blockquote> +<p>It has been boldly asserted by writers who should know better, +that there are no ghosts in Italy, possibly because the two only +words in the language for such beings are the equivocal ones of +<i>spirito</i> or spirit, and <i>spettro</i> or spectre—or +<i>specter</i>, as the Websterians write it—which is of +itself appalling as a terrific spell. But the truth is that +there is no kind of <i>spuk</i>, goblin, elf, fairy, gnome, or +ouphe known to all the North of Europe which was not at home in +Italy since old Etruscan days, and ghosts, though they do not +make themselves common, are by no means as rare as +eclipses. For, as may be read in my “Etruscan Roman +Legends,” people who will look through a stone with a hole +in it can behold no end of <i>revenants</i>, or returners, in any +churchyard, and on fine nights the seer can see them swarming in +the streets of Florence. Giotto is in the campanile as a +gentle ghost with the fairy lamb, and Dante, ever benevolent, is +all about town, as appears from the following, which was +unexpectedly bestowed on me:</p> +<p style="text-align: center"><!-- page 63--><a +name="page63"></a><span class="pagenum">p. 63</span><span +class="smcap">Lo Spirito di Dante Alighieri</span>.</p> +<p>“When any one is passionately fond of poetry, he should +sit by night on the <i>panchina</i> <a name="citation63"></a><a +href="#footnote63" class="citation">[63]</a> in the piazza or +square of Santa Croce or in other places (<i>i.e.</i>, those +haunted by Dante), and having read his poetry, pronounce the +following:</p> +<blockquote><p>“‘Dante, che eri<br /> +La gran poeta,<br /> +Siei morto, ma vero,<br /> +Il tuo spirito<br /> +E sempre rimasto,<br /> +Sempre per nostro<br /> +Nostro aiuto.</p> +<p>“‘Ti chiamo, ti prego!<br /> +E ti scongiuro!<br /> +A voler aiutarmi.<br /> +Questa poesia<br /> +Voglio imparare;<br /> +Di più ancora,<br /> +Non voglio soltanto<br /> +Imparar la a cantare,<br /> +Ma voglio imparare<br /> +Di mia testa<br /> +Poter le scrivere,<br /> +E cosi venire<br /> +Un bravo poeta.”</p> +<p>“‘Thou Dante, who wert<br /> +Such a great poet,<br /> +Art dead, but thy spirit<br /> +Is truly yet with us,<br /> +Here and to aid us.</p> +<p>“‘I call thee, I pray thee,<br /> +And I conjure thee!<br /> +Give me assistance!<br /> +I would learn perfectly<br /> +All of this poetry.<br /> +And yet, moreover,<br /> +I would not only<br /> +Learn it to sing it,<br /> +But I would learn too<br /> +How I may truly<br /> +From my head write it,<br /> +And become really<br /> +An excellent poet!’</p> +</blockquote> +<p>“And then a form of a man will approach from around the +statue (<i>da canto</i>), advancing +gently—<i>piano-piano</i>—to the <!-- page 64--><a +name="page64"></a><span class="pagenum">p. 64</span>causeway, and +will sit on it like any ordinary person, and begin to read the +book, and the young man who has invoked the poet will not fail to +obtain his wish. And the one who has come from the statue +is no other indeed than Dante himself.</p> +<p>“And it is said that if in any public place of resort or +inn (<i>bettola</i>) any poet sings the poems of Dante, he is +always present among those who listen, appearing as a gentleman +or poor man—<i>secondo il locale</i>—according to the +place.</p> +<p>“Thus the spirit of Dante enters everywhere without +being seen.</p> +<p>“If his poems be in the house of any person who takes no +pleasure in them, the spirit of the poet torments him in his bed +(in dreams) until the works are taken away.”</p> +<div class="gapspace"> </div> +<p>There is a simplicity and directness in this tradition, as +here told, which proves the faith of the narrator. +Washington Irving found that the good people of East Cheap had +become so familiar with Shakespearian comedy as to verily believe +that Falstaff and Prince Hal and Dame Quickly had all lived, and +still haunted the scenes of their former revels; and in like +manner the Florentine has followed the traditions of olden time +so closely and lovingly, that all the magnates of the olden time +live for him literally at the present day. This is in a +great measure due to the fact that statues of all the celebrities +of the past are in the most public places, and that there are +many common traditions to the effect that all statues at certain +times walk about or are animated.</p> +<p>One of the commonest halfpenny or <i>soldo</i> pamphlets to be +found on the stand of all open-air dealers in ballads—as, +for instance, in the Uffizzi—is a collection of poems on +the statues around that building, which of itself indicates the +interest in the past, and the knowledge of poets and artists +possessed by the common people. For the poorest of them are +not only familiar with the names, and more or less with the +works, of Orcagna, Buonarotti, Dante, Giotto, Da Vinci, +Raffaelle, Galileo, Machiavelli, <!-- page 65--><a +name="page65"></a><span class="pagenum">p. 65</span>and many +more, but these by their counterfeit presentments have entered +into their lives and live. Men who are so impressioned make +but one bold step over the border into the fairyland of faith +while the more cultured are discussing it.</p> +<p>I do not, with some writers, believe that a familiarity with a +few names of men whose statues are always before them, and from +whose works the town half lives, indicates an indescribably high +culture or more refined nature in a man, but I think it is very +natural for him to make legends on them. There are three +other incantations given in another chapter, the object of which, +like this to Dante, is to become a poet.</p> +<p>“From which we learn that in the fairy faith,” +writes Flaxius, with ever-ready pen, “that poets risen to +spirits still inspire, even in person, neophytes to song.</p> +<blockquote><p>“‘Life is a slate of action, and the +store<br /> +Of all events is aggregated there<br /> +That variegate the eternal universe;<br /> +Death is a gate of dreariness and gloom,<br /> +That leads to azure isles and beaming skies . . .<br /> +Therefore, O spirit, fearlessly bear on.’”</p> +</blockquote> +<h2><!-- page 66--><a name="page66"></a><span class="pagenum">p. +66</span>LEGENDS OF LA CERTOSA</h2> +<blockquote><p>“‘Now when ye moone like a golden +flowre,<br /> + In ye sky above doth bloome,<br /> +Ile lett doune a basket in that houre,<br /> + And pull ye upp to my roome,<br /> +And give mee a kisse if ’tis yes,’ he cryed;<br /> + Ye mayden would nothing refuse;<br /> +But held upp hir lippes—<br /> + Oh I would I had beene<br /> +Just thenn in that friar’s shoos.”</p> +</blockquote> +<p>If we pass the Porta Romana, and keep on for three miles, we +shall arrive at the old Carthusian convent of La Certosa in Val +d’Ema. Soon after passing “the village of +Galluzzo, where the stream is crossed, we come to an ancient +gateway surmounted by a statue of Saint Laurence, <i>through +which no female could enter</i> except by permission of the +archbishop, and out which no monk could pass.” At +least, it is so stated in a justly famous English guide-book, +though it does not explain how any “female” could +enter the saint, nor whether the female in question belonged to +the human species, or was fish, flesh, or red-herring. I +should, however, incline to believe the latter is meant, as +“herring” is a popular synonym for a loose fish.</p> +<p>The Certosa was designed and built in the old Italian Gothic +style by Andrea Orcagna, it having been founded in the middle of +the fourteenth century by Niccolò Acciajuoli, who was of a +great Florentine family, from whom a portion of the Lung Arno is +named. The building is on a picturesque hill, 400 feet +above the union of the brooks called the Ema and the Greve, the +whole forming <!-- page 67--><a name="page67"></a><span +class="pagenum">p. 67</span>a charming view of a castled +monastery of the Middle Ages.</p> +<p>There is always, among the few monks who have been allowed to +remain, an English or Irish brother, to act as cicerone to +British or American visitors, and show them the interesting tombs +in the crypt or subterranean church, and the beautiful chapels +and celebrated frescoes in the church. These were painted +by Poccetti, and I am told that among them there is one which +commemorates or was suggested by the following legend, which I +leave the reader to verify, not having done so myself, though I +have visited the convent, which institution is, however, +popularly more distinguished—like many other +monasteries—as a distillery of holy cordial than for aught +else:</p> +<p style="text-align: center"><span class="smcap">Al Convento +della Certosa</span>.</p> +<p>“There was in this convent a friar called Il Beato +Dyonisio, who was so holy and such a marvellous doctor of +medicine, that he was known as the Frate Miraculoso or Miraculous +Brother.</p> +<p>“And when any of the fraternity fell ill, this good +medico would go to them and say, ‘Truly thou hast great +need of a powerful remedy, O my brother, and may it heal and +purify thy soul as well as thy body!’ <a +name="citation67"></a><a href="#footnote67" +class="citation">[67]</a> And it always befell that when he +had uttered this conjuration that the patient recovered; and this +was specially the case if after it they confessed their sins with +great devoutness.</p> +<p>“Brother Dyonisio tasted no food save bread and water; +he slept on the bare floor of his cell, in which there was no +object to be seen save a scourge with great knots; he never took +off his garments, and was always ready to attend any one taken +ill.</p> +<p>“The other brothers of the convent were, however, all +jolly monks, being of the kind who wear the tunic as a tonic to +give them a better—or bitter—relish for secular +delights, holding that it is far preferable to have a great deal +of pleasure for a little penitence than <i>per poco piacer gran +penitenza</i>—much <!-- page 68--><a +name="page68"></a><span class="pagenum">p. 68</span>penitence for +very little pleasure. In short, they were just at the other +end of the rope away from Brother Dyonisio, inasmuch as they ate +chickens, <i>bistecche</i> or beef-steaks, and drank the best +wine, even on fast-days—<i>giorni di vigiglia</i>—and +slept in the best of beds; yes, living like lords, and never +bothering themselves with any kind of penance, as all friars +should do.</p> +<p>“Now there was among these monks one who was a great +<i>bestemmiatore</i>, a man of evil words and wicked ways, who +had led a criminal life in the world, and only taken refuge in +the disguise of a monk in the convent to escape the hand of +justice. Brother Dyonisio knew all this, but said nothing; +nay, he even exorcised away a devil whom he saw was always +invisibly at the sinner’s elbow, awaiting a chance to catch +him by the hair; but the Beato Dyonisio was too much for him, and +kept the devil ever far away.</p> +<p>“And this was the way he did it:</p> +<p>“It happened one evening that this <i>finto frate</i>, +or mock monk or feigned friar, took it into his head, out of pure +mischief, and because it was specially forbidden, to introduce a +<i>donna di mala vita</i>, or a girl of no holy life, into the +convent to grace a festival, and so arranged with divers other +scapegraces that the damsel should be drawn up in a basket.</p> +<p>“And sure enough there came next morning to the outer +gate a fresh and jolly black-eyed <i>contadina</i>, who asked the +mock monk whether he would give her anything in charity. +And the <i>finto frate</i> answering sang:</p> +<blockquote><p>“‘You shall have the best of meat,<br +/> +Anything you like to eat,<br /> +Cutlets, macaroni, chickens,<br /> +Every kind of dainty pickings.<br /> +Pasticcie and fegatelli,<br /> +Salamé and mortadelle,<br /> +With good wine, if you are clever,<br /> +For a very trifling favour!’</p> +</blockquote> +<p>“To which the girl replied:</p> +<blockquote><p>“‘Here I am, as here you see!<br /> +What would’st thou, holy man, with me?’</p> +</blockquote> +<p>“The friar answered:</p> +<blockquote><p>“‘When thou hear’st the hoots +and howls<br /> +At midnight of the dogs and owls,<br /> +And when all men are sunk in sleep,<br /> +And only witches watch do keep,<br /> +<!-- page 69--><a name="page69"></a><span class="pagenum">p. +69</span>Come ’neath the window unto me,<br /> +And there thou wilt a basket see<br /> +Hung by a rope as from a shelf,<br /> +And in that basket stow thyself,<br /> +And I alone will draw thee up,<br /> +Then with us thou shalt gaily sup.’</p> +</blockquote> +<p>“But the girl replied, as if in fear:</p> +<blockquote><p>“‘But if the rope should break +away,<br /> +Oh, then there’d be the devil to pay,<br /> +Oh, holy father, first for thee—<br /> +But most especially for me!<br /> +For if by evil luck I’d cracked your<br /> +Connecting cord, my limbs I’d fracture!’</p> +</blockquote> +<p>“The friar sang:</p> +<blockquote><p>“‘The rope is good, as it is long,<br +/> +The basket’s tough, my arms are strong,<br /> +Have thou no fear upon that score,<br /> +T’as hoisted many a maid before;<br /> +For often such a basket-full<br /> +Did I into a convent pull,<br /> +And many more I trust will I<br /> +Draw safely up before I die.’</p> +</blockquote> +<p>“And at midnight the girl was there walking beneath the +windows awaiting the hour to rise—<i>Ascensionem +expectans</i>—truly not to heaven, nor from any great +liking for the monks, but for a great fondness for roast-chickens +and good wine, having in her mind’s eye such a supper as +she had never before enjoyed, and something to carry home with +her.</p> +<p>“So at last there was a rustling sound above, as a +window softly opened, and a great basket came vibrating down +below; and the damsel, well assured, got into it like a hen into +her nest, while the lusty friar above began to draw like an +artist.</p> +<p>“Now the <i>Beato frate</i> Dyonisio, knowing all that +passed round about by virtue of his holy omniscience, determined +to make manifest to the monks that things not adapted to piety +led them into the path of eternal punishment.</p> +<p>“Therefore, just as the basket-full of girl touched the +window of the convent, it happened by the virtue of the holy +Dyonisio that the rope broke and the damsel came with a <i>capi +tombola</i> somerset or first-class tumble into the street; but +as she, poor soul, had only sinned for a supper, which she +greatly needed and seldom got, she was quit for a good fright, +since no other harm happened to her.</p> +<p><!-- page 70--><a name="page70"></a><span class="pagenum">p. +70</span>“But it was far otherwise with the wicked monk, +who had only come into that holy monastery to stir up sin; for +he, leaning too far over at the instant, fell with an awful howl +to the ground, where he roared so with pain that all the other +monks came running to see what was the matter. And they +found him indeed, more dead than alive, terribly bruised, yet in +greater agony of mind than of body, saying that Satan had tempted +him, and that he would fain confess to the Beato Dyonisio, who +alone could save him.</p> +<p>“Then the good monk tended him, and so exhorted him that +he left his evil ways and became a worthy servant of God, and the +devil ceased to tempt him. And in due time Brother Dyonisio +died, and as a saint they interred him in the crypt under the +convent, and the morning after his burial a beautiful flower was +found growing from his tomb, and so they sainted him.</p> +<p>“The fall of the girl was a scandal and cause of +laughter for all Florence, so that from that day the monks never +ventured more to draw up damsels in baskets.”</p> +<div class="gapspace"> </div> +<p>This story is so widely spread in many forms, that the reader +can hardly have failed to have heard it; in fact, there are few +colleges where it has not happened that a basket has not been +used for such smuggling. One of the most amusing instances +is of a damsel in New Haven, or Cambridge, Massachusetts, who was +very forgetful. One day she said to a friend, “You +have no idea how wicked some girls are. The other morning +early—I mean late at night—I was going by the college +when I saw a girl being drawn up in a basket by some students, +when all at once the rope broke—<i>and down I +came</i>.”</p> +<p>In Germany, as in the East, the tale is told of a wooer who is +drawn up half-way in a basket and then let remain for everybody +to behold. In Uhland’s Old Ballads there is one to +this effect of Heinrich Corrade der Schreiber im Korbe. +Tales on this theme at least need not be regarded as strictly +traditional.</p> +<p>There is another little legend attached to La Certosa which +owes its small interest to being told of a man who <!-- page +71--><a name="page71"></a><span class="pagenum">p. 71</span>was +one of the Joe Millers of Italy in the days of the Medici. +It is a curious fact that humorists do most abound and are most +popular in great epochs of culture.</p> +<p>Domenico Barlacchi was a <i>banditore</i>—herald or +public crier—of Florence, commonly known as Il Barlacchia, +who lived in the time of Lorenzo de’ Medici, and who, being +<i>molto piacevole e faceto</i>, or pleasing and facetious, as I +am assured by an ancient yellow jest-book of 1636 now before me, +became, like Piovano Arlotto and Gonella, one of the famous wits +of his time. It is worth noting, though it will be no news +to any folk-lorist, that in these flying leaves, or fleeting +collections of facetiæ, there are many more indications of +familiar old Florentine life than are to be gleaned from the +formal histories which are most cited by writers who endeavour to +illustrate it.</p> +<blockquote><p>“One morning Barlacchia, with other boon +companions, went to La Certosa, three miles distant from +Florence, <a name="citation71"></a><a href="#footnote71" +class="citation">[71]</a> where, having heard mass, they were +taken over the convent by one of the friars, who showed them the +convent and cells. Of which Barlacchia said ’twas all +very fine, but that he would like to see the +wine-cellar—<i>sentendosi egli hauer sete</i>—as he +felt great thirst sadly stealing over him.</p> +<p>“To which the friar replied that he would gladly show +them that part of the convent, but that unfortunately the Decano +who kept the keys was absent. [<i>Decano</i>, dean or +deacon, may be rendered roughly in English as a dog, or literally +of a dog or currish.] To which Barlacchia replied, +‘Truly I am sorry for it, and I wish you were all +<i>de’ cani</i> or dogs!’</p> +</blockquote> +<p>Times have changed, and whether this tale brought about the +reform I cannot say, but it is certain that the good monks at +present, without waiting to be asked, generally offer a glass of +their famous cordial to visitors. Tastes may differ, but to +mine, when it is old, the green Certosa, though far cheaper, is +superior to Chartreuse.</p> +<p><!-- page 72--><a name="page72"></a><span class="pagenum">p. +72</span>Another tale of Barlacchia, which has a certain +theological affinity with this story, is as follows:</p> +<blockquote><p>“A great illness once befell Barlacchia, so +that it was rumoured all over Florence that he was dead, and +great was the grieving thereover. But having recovered, by +the grace of God, he went from his house to the palace of the +Grand Duke, who said to him:</p> +<p>“‘Ha! art thou alive, Barlacchia? We all +heard that thou wert dead.’</p> +<p>“‘Signore, it is true,’ was his reply. +‘I was indeed in the other world, but they sent me back +again, and that for a mere trifle, which you forgot to give +me.’</p> +<p>“‘And what was that?’ asked the Duke.</p> +<p>“‘I knocked,’ resumed Barlacchia, ‘at +the gate of heaven, and they asked me who I was, what I had done +in the world, and whether I had left any landed property. +To which I replied no, never having begged for anything. So +they sent me off, saying that they did not want any such poor +devils about them—<i>non volevano là simile +dapochi</i>. And therefore, illustrious Signore, I make so +bold as to ask that you would kindly give me some small estate, +so that another time I may not be turned away.’</p> +<p>“Which so pleased the magnificent and liberal Lorenzo +that he bestowed on Barlacchia a <i>podere</i> or farm.</p> +<p>“Now for a long time after this illness, Barlacchia was +very pale and haggard, so that everybody who met him (and he was +well known to everybody) said, ‘Barlacchia, <i>mind the +rules</i>’—meaning the rules of health; or else, +‘Barlacchia, look to yourself;’ or <i>regolati</i>! +or <i>guardatevi</i>!—till at last he became tired with +answering them. So he got several small wooden rules or +rulers, such as writers use to draw lines, and hung them by a +cord to his neck, and with them a little mirror, and when any one +said ‘<i>Regolati</i>’—‘mind the +rules,’ he made no reply, but looked at the sticks, and +when they cried ‘<i>Guardatevi</i>!’ he regarded +himself in the mirror, and so they were answered.”</p> +</blockquote> +<p>This agrees with the sketch of Lorenzo as given by Oscar +Browning in his admirable “Age of the Condottieri,” a +short history of Mediæval Italy from 1409 to 1530:</p> +<blockquote><p>“Lorenzo was a bad man of business; he spent +such large sums on himself that he deserved the appellation of +the <!-- page 73--><a name="page73"></a><span class="pagenum">p. +73</span>Magnificent. He reduced himself to poverty by his +extravagance; he alienated his fellow-citizens by his lust . . . +and was shameless in the promotion of his private +favourites.”</p> +</blockquote> +<p>Yet with all this he was popular, and left a legendary fame in +which generosity rivals a love of adventure. I have +collected many traditions never as yet published relating to him, +and in all he appears as a <i>bon prince</i>.</p> +<p>“But verily when I consider that what made a gallant +lord four hundred years ago would be looked after now by the Lord +Chancellor and the law courts with a sharp stick, I must +needs,” writes Flaxius, “exclaim with Spenser +sweet:</p> +<blockquote><p>“‘Me seemes the world is run quite out +of square,<br /> +For that which all men once did Vertue call,<br /> +Is now called Vice, and that which Vice was hight<br /> +Is now hight Vertue, and so used of all;<br /> +Right now is wrong, and wrong that was, is right,<br /> +As all things else in time are changed quight.’”</p> +</blockquote> +<h2><!-- page 74--><a name="page74"></a><span class="pagenum">p. +74</span>LEGENDS OF THE BRIDGES IN FLORENCE</h2> +<blockquote><p>“I stood upon a bridge and heard<br /> + The water rushing by,<br /> +And as I thought, to every word<br /> + The water made reply.</p> +<p>I looked into the deep river,<br /> + I looked so still and long,<br /> +Until I saw the elfin shades<br /> + Pass by in many a throng.</p> +<p>They came and went like starry dreams,<br /> + For ever moving on,<br /> +As darkness takes the starry beams<br /> + Unnoted till they’re gone.”</p> +</blockquote> +<p>There is something in a bridge, and especially in an old one, +which has been time-worn and mossed into harmony with surrounding +nature, which has always seemed peculiarly poetical or strange to +men. Hence so many legends of devil’s bridges, and it +is rather amusing when we reflect how, as Pontifex, he is thus +identified with the head of the Church. Thus I once, when +attending law lectures in Heidelberg in 1847, heard Professor +Mittermaier say, that those who used the saying of “the +divine right of kings” as an argument reminded him of the +peasants who assumed that every old bridge was built by the +devil. It is, however, simply the arch, which in any form +is always graceful, and the stream passing through it like a +living thing, which forms the artistic attraction or charm of +such structures. I have mentioned in my +“Memoirs” that Ralph Waldo Emerson was once impressed +by a remark, the first time I met him, to the effect that a vase +in a room had the effect of a bridge <!-- page 75--><a +name="page75"></a><span class="pagenum">p. 75</span>in a +landscape—at least, he recalled it at once when I met him +twenty years later.</p> +<p>The most distinguished bridge, from a legendary point of view, +in Europe, was that of Saint John Nepomuc in +Prague—recently washed away owing to stupid neglect; the +government of the city probably not supporting, like the king in +the opera-bouffe of “Barbe Bleu,” a commissioner of +bridges. The most picturesque work of the kind which I +recall is that of the Ponte Maddalena—also a devil’s +bridge—at the Bagni di Lucca. That Florence is not +wanting in legends for its bridges appears from the +following:</p> +<p style="text-align: center"><span class="smcap">The Spirit of +the Ponte Vecchio or Old Bridge</span>.</p> +<p>“He who passes after midnight on the Ponte Vecchio can +always see a form which acts as guard, sometimes looking like a +beggar, sometimes like a <i>guardia di sicurezza</i>, or one of +the regular watchmen, and indeed appearing in many varied forms, +but generally as that of a watchman, and always leaning on the +bridge.</p> +<p>“And if the passer-by asks him any such questions as +these: ‘Chi siei?’—‘Cosa +fai?’—‘Dove abiti?’—‘Ma +vien’ con me?’ That is: ‘Who are +you?’—‘What dost thou +do?’—‘Where is your +home?’—‘Wilt with me come?’—he +seems unable to utter anything; but if you ask him, ‘Who am +I?’ it seems to delight him, and he bursts into a peal of +laughter which is marvellously loud and ringing, so that the +people in the shops waking up cry, ‘There is the goblin of +the Ponte Vecchio at his jests again!’ For he is a +merry sprite, and then they go to sleep, feeling peaceably +assured that he will watch over them as of yore.</p> +<p>“And this he really does for those who are faithful unto +him. And those who believe in spirits should say +sincerely:</p> +<blockquote><p>“‘Spirito del Ponte Vecchio,<br /> +Guardami la mia bottega!<br /> +Guardami dagli ladroni!<br /> +Guardami anche dalla strega!’</p> +<p>“‘Spirit of the ancient bridge!<br /> +Guard my shop and all my riches,<br /> +From the thieves who prowl by night,<br /> +And especially from witches!’</p> +</blockquote> +<p><!-- page 76--><a name="page76"></a><span class="pagenum">p. +76</span>“Then the goblin ever keeps guard for them. +And should it ever come to pass that thieves break into a shop +which he protects, he lets them work away till they are about to +leave, when he begins to scream ‘<i>Al ladro</i>!<i> al +ladro</i>!’ and follows them till they are taken.</p> +<p>“But when the police have taken the thief, and he is +brought up to be interrogated, and there is a call for the +individual who was witness (<i>quando le guardie vanno per +interrogare l’individuo che si e trovato presente</i>), lo +and behold he has always disappeared.</p> +<p>“And at times, when the weather is bad, he prowls about +the bridge in the form of a cat or of a he-goat, and should any +very profane, abusive rascal (<i>bestemmiatore</i>) come along, +the spirit as a goat will go before, running nimbly, when all at +once the latter sinks into the earth, from which flames play +forth, to the great terror of the sinner, while the goblin +vanishes laughing.”</p> +<div class="gapspace"> </div> +<p>I have very little doubt that this guardian spirit of the +bridge is the same as Teramo, <i>i.e.</i>, Hermes Mercury, who is +believed in the Toscana Romana to betray thieves when they commit +murder. But Mercury was also a classic guardian of +bridges.</p> +<p>This merry goblin of the Ponte Vecchio has a colleague not far +away in the <i>Spirito del Ponte alla Carraia</i>, the legend of +which is as follows. And here I would note, once for all, +that in almost every case these tales were written out for me in +order to secure the greater accuracy, which did not however +always ensure it, since even Miss Roma Lister, who is to the +manor or manner born, often had with me great trouble in +deciphering the script. For verily it seems to be a decree +of destiny that everything traditional shall be involved, when +not in Egyptian or Himaritic, or Carthaginian or Norse-Runic, at +least in some diabolical dialect, so anxious is the Spirit of the +past to hide from man the things long passed away.</p> +<p style="text-align: center"><!-- page 77--><a +name="page77"></a><span class="pagenum">p. 77</span><span +class="smcap">Al Ponte alla Carraia</span>.</p> +<p>“By the Arno, or under the Bridge alla Carraia, there +lived once a certain Marocchio, <a name="citation77a"></a><a +href="#footnote77a" class="citation">[77a]</a> a +<i>bestemmiatore</i>, or blasphemer, for he cursed bitterly when +he gained but little, being truly a <i>marocchio</i>, much +attached to money. Even in dying he still swore. And +Marocchio had sold himself to the devil, and hidden his money +under a stone in the arch of the bridge. Yet though he had +very poor relations and friends, he confided nothing to them, and +left <i>niente a nessuno</i>, ‘nothing to +nobody.’ Whence it came that after his death he had +no rest or peace, because his treasure remained undiscovered.</p> +<p>“Yet where the money lay concealed there was seen every +night the form of a goat which cast forth flames, and running +along before those who passed by, suddenly sunk into the ground, +disappearing in a great flash of fire.</p> +<p>“And when the <i>renaioli</i> or sand-diggers, <a +name="citation77b"></a><a href="#footnote77b" +class="citation">[77b]</a> thinking it was a real goat, would +catch it by the hair, it cast forth fire, so that many of them +died of fright. And it often overthrew their boats and made +all the mischief possible.</p> +<p>“Then certain people thinking that all this indicated a +hidden treasure, sought to find it, but in vain; till at last one +who was <i>più furbo</i>, or shrewder than the rest, +observed that one day, when the wind was worse than usual, +raising skirts and carrying away caps and hats, there was a goat +in all the hurly-burly, and that this animal vanished at a +certain spot. ‘There I ween,’ he said, +‘lies money hid!’ And knowing that midnight is +the proper time or occasion (<i>cagione di nascosto tesoro</i>) +for buried hoards, he came at the hour, and finding the habitual +goat (<i>il solito chaprone</i>), he addressed him thus:</p> +<p>“‘If thou art a blessed soul, then go thy way in +peace, and God be with thee. But if thou sufferest from +buried treasure, then teach me how I, without any fear, may take +thy store, then thou mayst go in peace! And if thou art in +torment for a treasure, show me the spot, and I will take it +home, and then thou’lt be at peace and grieve no +more.’</p> +<p><!-- page 78--><a name="page78"></a><span class="pagenum">p. +78</span>“Then the goat jumped on the spot where the money +was hidden and sank as usual out of sight in fire.</p> +<p>“So the next day the young man went there and dug till +he discovered the gold, and the spirit of Marocchio was +relieved. But to this hour the goat is seen now and then +walking in his old haunt, where he sinks into the ground at the +same place.”</p> +<div class="gapspace"> </div> +<p>The legend of a goat haunting a bridge is probably derived +from the custom of sacrificing an animal to new buildings or +erections. These were originally human sacrifices, for +which, in later times, the animals were substituted. Hence +the legends of the devil having been defrauded out of a promised +soul by driving a goat or cat over the bridge as a first +crosser. The spirits of the Ponte Vecchio and Ponte alla +Carraia clearly indicate this origin.</p> +<p>The next legend on this subject is that of the Ponte alle +Grazie, which was built by Capo, the fellow-pupil of Arnolfo, +under the direction of Rubaconte, who filled the office of +Podestà in 1235. Five hundred years are quite time +enough to attract traditions in a country where they spring up in +five; and when I inquired whether there was any special story +attached to the Ponte alle Grazie, I was soon supplied with the +following:</p> +<p style="text-align: center"><span class="smcap">Le Ponte alle +Grazie</span>.</p> +<p>“When one passes under a bridge, or in halls of great +palaces, or the vault of a church, or among high rocks, if he +calls aloud, he will hear what is called the <i>echo</i> of his +voice.</p> +<p>“Yet it is really not his own voice which he hears, but +the mocking voices of spirits, the reason being that they are +confined to these places, and therefore we do not hear them in +the open air, where they are free. But we can hear them +clearly in great places enclosed, as, for instance, under vaults, +and far oftener in the country, because in limited spaces their +voices are confined and not lost. And these are the voices +of people who were merry and jovial while on earth, and who now +take delight <i>a rifare il verso</i>, to re-echo a strain.</p> +<p><!-- page 79--><a name="page79"></a><span class="pagenum">p. +79</span>“But under the Ponte alle Grazie we hear the cry +of the spirit of a girl. She was very beautiful, and had +grown up from infancy in constant companionship with a youth of +the neighbourhood, and so from liking as children they went on to +loving at a more advanced age, with greater fondness and with +deeper passion.</p> +<p>“And it went so far that at last the girl found herself +with child, and then she was in great trouble, not knowing how to +hide this from her parents. <i>Sta beccata da una +serpe</i>, as the proverb is; ‘she had been stung by a +serpent,’ and now began to feel the poison. But the +youth was faithful and true, and promised to marry her as soon as +he could possibly arrange matters. So she was quieted for a +time.</p> +<p>“But she had a vilely false friend, and a most intimate +one, in a girl who, being a witch, or of that kind, hated her +bitterly at heart, albeit she knew well <i>portare bene la +maschera</i>, how to wear the mask.</p> +<p>“Now the poor girl told this false friend that she was +<i>enceinte</i>, and that her lover would marry her; and the dear +friend took her, as the saying is, a trip to Volterra, during +which a man was treated like a prince and robbed or murdered at +the end. For she insinuated that the marriage might fail, +and meantime she, the friend, would consult witches and +<i>fate</i>, who would get her out of her troubles and make all +right as sure as the Angelus. And the false friend went to +the witches, but she took them a lock of hair from the head of +the lover to conjure away his love and work harm. And +knowing what the bridal dress would be, she made herself one like +it in every detail. And she so directed that the bride on +the wedding morning shut herself up in a room and see no one till +she should be sent for.</p> +<p>“The bride-to-be passed the morning in great anxiety, +and while waiting there received a large bouquet of +orange-flowers as a gift from her friend. And these she had +perfumed with a witch-powder. And the bride having inhaled +the scent, fell into a deep sleep, or rather trance, during which +she was delivered of a babe, and knew nothing of it. Now +the people in the house hearing the child cry, ran into the room, +and some one ran to the bridegroom, who was just going to be +married to the false friend, who had by aid of the witches put on +a face and a false seeming, the very counterpart of her he +loved.</p> +<p>“Then the unfortunate girl hearing that her betrothed +was <!-- page 80--><a name="page80"></a><span class="pagenum">p. +80</span>being married, and maddened by shame and grief, rushed +in her bride’s dress through the streets, and coming to the +Bridge delle Grazie, the river being high, threw herself into it +and was drowned; still holding the bouquet of orange-blossoms in +her hand, she was carried on the torrent into death.</p> +<p>“Then the young man, who had discovered the cheat, and +whose heart was broken, said, ‘As we were one in life, so +we will be in death,’ and threw himself into the Arno from +the same place whence she had plunged, and like her was +drowned. And the echo from the bridge is the sound of their +voices, or of hers. Perhaps she answers to the girls and he +to the men; anyhow they are always there, like the hymns in a +church.”</p> +<div class="gapspace"> </div> +<p>There is a special interest in the first two paragraphs of +this story, as indicating how a person who believes in spirits, +and is quite ignorant of natural philosophy, explains +phenomena. It is precisely in this manner that most early +science was confused with superstition; and there is more of it +still existing than even the learned are aware of.</p> +<p>I know not whether echoes are more remarkable in and about +Florence than elsewhere, but they are certainly specially noticed +in the local folk-lore, and there are among the witches +invocations to echoes, voices of the wind, and similar +sounds. One of the most remarkable echoes which I ever +heard is in the well of the Villa Guicciardini, now belonging to +Sir John Edgar. It is very accurate in repeating every +sound in a manner so suggestive of a mocking goblin, that one can +easily believe that a peasant would never doubt that it was +caused by another being. It renders laughter again with a +singularly strange and original effect. Even when standing +by or talking near this mystic fount, the echo from time to time +cast back scraps of phrases and murmurs, as if joining in the +conversation. It is worth observing (<i>vide</i> the story +of the Three Horns) that this villa once belonged to—and +is, as a matter of course, haunted by the ghost of—Messer +Guicciardini, the great writer, who <!-- page 81--><a +name="page81"></a><span class="pagenum">p. 81</span>was himself a +faithful echo of the history of his country, and of the wisdom of +the ancients. Thus into things do things repeat themselves, +and souls still live in what surrounded them. I have not +seen this mystic well noticed in any of the Florentine +guide-books of any kind, but its goblin is as well worthy an +interview as many better known characters. Yea, it may be +that he is the soul of Guicciardini himself, but when I was there +I forgot to ask him if it were so?</p> +<p>I can, however, inform the reader as to the incantation which +is needed to call to the spirit of the well to settle this +question. Take a copy of his “Maxims” and read +them through; then drink off one glass of wine to the health of +the author, and, bending over the well, distinctly +cry—“Sei Messer Guicciardini, di +cosi?”—strongly accentuating the last syllable. +And if the reply be in the affirmative, you may draw your own +conclusions. For those who are not Italianate, it will do +quite as well if they cry, “Guicciardini? No or +yes?” For even this echo is not equal to the Irish +one, which to “<i>How do you do</i>?” replied, +“Pretty well, I thank you!”</p> +<p>There is a very good story of the Ponte alle Grazie, anciently +known as the Rubaconte, from the Podestà in whose year of +office it was built, told originally by Sachetti in his +<i>Novelle</i> and Manni, <i>Veglie Piacevoli</i>, who drew it +indeed from Venetian or Neapolitan-Oriental sources, and which is +best told by Leader Scott in “The Echoes of Old +Florence.” It still lives among the people, and is +briefly as follows, in another form:</p> +<p style="text-align: center"><span class="smcap">The Origin of +the Ponte alle Grazie</span>.</p> +<p>“There was once in Florence a Podestà or chief +magistrate named Rubaconte, and he had been chosen in the year +1236, nor had he been long in office when a man called Bagnai, +because he kept a public bath, was brought before him on the +charge of murder.</p> +<p><!-- page 82--><a name="page82"></a><span class="pagenum">p. +82</span>“And Bagnai, telling his tale, said: ‘This +is the very truth—<i>ne favola ne canzone di +tavola</i>—for I was crossing the river on the little +bridge with a hand-rail by the Palazzo Mozzi, when there came +riding over it a company of gentlemen. And it befell that I +was knocked over the bridge, and fell on a man below who was +washing his feet in the Arno, and lo! the man was killed by my +dropping on him.’</p> +<p>“Now to the Podestà this was neither eggs nor +milk, as the saying is, and he could at first no more conclude on +it than if one had asked him, ‘<i>Chi nacque +prima—l’uovo o la gallina</i>?’ +‘Which was born first—the hen or the +egg?’ For on one side the <i>bagnajolo</i> was +innocent, and on the other the dead man’s relations cried +for vengeance. But after going from one side of his brain +to the other for five minutes, he saw ‘from here to the +mountain,’ and said:</p> +<p>“‘Now I have listened to ye both, and this is a +case where one must—</p> +<blockquote><p>“‘Non giudicar per legge ni per +carte,<br /> +Se non ascolti l’un e l’altra parte.’</p> +<p>“‘Judge not by law-books nor by chart,<br /> +But look with care to either part.’</p> +</blockquote> +<p>“‘And as it is said, “Berta must drink from +her own bottle,” so I decree that the <i>bagnaio</i> shall +go and wash his feet in the Arno, sitting in the same place, and +that he who is the first of his accusers shall fall from the +bridge on his neck, and so kill him.’</p> +<p>“And truly this settled the question, and it was agreed +that the Podestà was <i>piu savio de gli +statuti</i>—wiser even than the law itself.</p> +<p>“But then Rubaconte did an even wiser thing, for he +determined to have a new bridge built in place of the old one, +and hence came the Ponte alle Grazie, ‘of which he himself +laid the first foundation-stone, and carried the first basket of +mortar, with all due civic ceremony, in 1236.’ <a +name="citation82"></a><a href="#footnote82" +class="citation">[82]</a></p> +<p>“But as it is said, ‘he who has drunk once will +drink again,’ it came to pass that Bagnai had to appear +once more as accused before the Podestà. One day he +met a man whose donkey had fallen and could not rise. +’Twas on the Ponte Vecchio.</p> +<p>“The owner seized the donkey by the head, Bagnai caught +him by the tail, and pulled so hard that the tail came off!</p> +<p><!-- page 83--><a name="page83"></a><span class="pagenum">p. +83</span>“Then the contadino or <i>asinaio</i> had Bagnai +brought before the Podestà, and claimed damages for his +injured animal. And Rubaconte decided that Bagnai should +keep the ass in his stable, and feed him well—until the +tail had grown again.</p> +<p>“As may be supposed, the <i>asinaio</i> preferred to +keep his ass himself, and go no farther in the case.”</p> +<div class="gapspace"> </div> +<p>This ancient tale recalls that of Zito, the German magician +conjuror, whose leg was pulled off. It is pretty evident +that the donkey’s tail had been glued on for the +occasion.</p> +<p>I may here add something relative to the folk-lore of bridges, +which is not without interest. I once asked a witch in +Florence if such a being as a spirit of the water or one of +bridges and streams existed; and she replied:</p> +<p>“Yes, there is a spirit of the water as there is of +fire, and everything else. They are rarely seen, but you +can make them appear. <i>How</i>? Oh, easily enough, +but you must remember that they are capricious, and appear in +many delusive forms. <a name="citation83"></a><a +href="#footnote83" class="citation">[83]</a></p> +<p>“And this is the way to see them. You must go at +twilight and look over a bridge, or it will do if it be in the +daytime in the woods at a smooth stream or a dark +pool—<i>che sia un poco oscuro</i>—and pronounce the +incantation, and throw a handful or a few drops of its water into +the water itself. And then you must look long and +patiently, always thinking of it for several days, when, <i>poco +à poco</i>, you will see dim shapes passing by in the +water, at first one or two, then more and more, and if you remain +quiet they will come in great numbers, and show you what you want +to know. But if you tell any one what you have seen, they +will never appear again, and it will be well for you should +nothing worse happen.</p> +<p>“There was a young man at Civitella in the Romagna +Toscana, and he was in great need of money. He had lost an +uncle who was believed to have left a treasure buried somewhere, +but no one knew where it was. Now this nephew was a +reserved, solitary youth, always by himself in lone places, <!-- +page 84--><a name="page84"></a><span class="pagenum">p. +84</span>among ruins or in the woods—<i>un poco +streghon</i>—a bit of a wizard, and he learned this secret +of looking into streams or lakes, till at last, whenever he +pleased, he could see swarms of all kinds of figures sweeping +along in the water.</p> +<p>“And one evening he thus saw, as in a glass, the form of +his uncle who had died, and in surprise he called out ‘Zio +mio!’—‘My uncle!’ Then the uncle +stopped, and the youth said, ‘Didst thou but know how I am +suffering from poverty!’ When he at once beheld in +the water his home and the wood near it, and a path, and the form +of his uncle passed along the path to a lonely place where there +was a great stone. Then the uncle pointed to the stone and +vanished. The next day the young man went there, and under +the stone he found a great bag of gold—and I hope that the +same may happen to all of us!</p> +<blockquote><p>“‘He who has sheep has wool in +store;<br /> +He who has mills hath plenty of flour;<br /> +He who hath land hath these at call;<br /> +He who has money has got them all.’”</p> +</blockquote> +<h2><!-- page 85--><a name="page85"></a><span class="pagenum">p. +85</span>THE BASHFUL LOVER<br /> +<span class="smcap">a legend of the chiesa santa lucia in the via +de’ bardi</span></h2> +<blockquote><p>“She never told her love—oh no!<br /> +For she was mild and meek,<br /> +And his for her he dared not show,<br /> +Because he hadn’t the cheek.<br /> +’Tis pity this should e’er be past,<br /> +For, to judge by what all men say,<br /> +’Twere best such difference should last<br /> +Unto our dying day.”</p> +</blockquote> +<p>All who have visited Florence have noticed the Church of Santa +Lucia in the Via de’ Bardi, from the figure of the patron +with two angels over the door in Lucca della Robbia ware. +Of this place of worship there is in a jest-book a droll story, +which the reader may recall when he enters the building.</p> +<blockquote><p>“A young Florentine once fell desperately in +love with a beautiful lady of unsullied character and ready wit, +and so followed her about wherever she went; but he being sadly +lacking in wit and sense, at all four corners, never got the +nearer to her acquaintance, though he told all his friends how +irresistible he would be, and what a conquest he would make, if +he could only once get a chance to speak to her. Yet as +this lady prized ready wit and graceful address in a man above +all things, it will be seen that his chance was thin as a strip +of paper.</p> +<p>“But one <i>festa</i> the lady went to the Church of +Santa Lucia in the Via dei Bardi, and one of the friends of the +slow-witted one said to him, ‘Now is the lucky hour and +blooming chance for you. Go up and speak to her when she +approaches the font to take holy water.’</p> +<p><!-- page 86--><a name="page86"></a><span class="pagenum">p. +86</span>“Now the lover had prepared a fine speech for the +lady, which he had indeed already rehearsed many times to his +friends with great applause; but when it came to utter it to the +lady a great and awful fear fell on him, the words +vanished—vanished from his memory, and he was dumb as a +dead ass. Then his friend poking him in the ribs, whispered +in his ear, ‘But say <i>something</i>, man, no matter +what!’</p> +<p>“So with a gasp he brought out at last, ‘Signora, +I would fain be your humble servant.’</p> +<p>“To which the lady, smiling, replied, ‘Well, I +have already in my house plenty of humble servants, and indeed +only too many to sweep the rooms and wash the dishes, and there +is really no place for another. . . .’</p> +<p>“And the young man turned aside with sickness in his +heart. His wooing for that holiday was +o’er.”</p> +</blockquote> +<p>This may be matched with the story of a bashful New England +lover of the olden time, for there are none such +now-a-days:—</p> +<blockquote><p>“I don’t know how I ever got courage +to do it; but one evening I went courting Miss Almira Chapin.</p> +<p>“And when she came in, I sat for half-an-hour, and dared +not say a word. At last I made a desperate dash and got +out, ‘Things are looking very green out of doors, Miss +Almira.’</p> +<p>“And she answered, ‘Seems to me they’re +looking a great deal greener <i>in</i> doors this +evening.’</p> +<p>“That extinguished me, and I retreated. And when I +was outside I burst into tears.”</p> +</blockquote> +<h2><!-- page 87--><a name="page87"></a><span class="pagenum">p. +87</span>LA FORTUNA<br /> +<span class="smcap">a legend of the via de’ +cerchi</span></h2> +<blockquote><p>“One day Good Luck came to my home,<br /> + I begged of her to stay.<br /> +‘There’s no one loves you more than I,<br /> + Oh, rest with me for aye,’<br /> +‘It may not be; it may not be,<br /> +I rest with no one long,’ said she.”</p> +<p style="text-align: right">—“<i>Witch +Ballads</i>,” by <span class="smcap">C. G. +Leland</span>.</p> +</blockquote> +<p>The manner in which many of the gods in exile still live in +Italy is very fully illustrated by the following story:</p> +<p>“It is a hard thing sometimes now-a-days for a family to +pass for noble if they are poor, or only poor relations. +But it was easy in the old time, Signore Carlo, easy as drinking +good Chianti. A signore had only to put his shield with +something carved on it over his window, and he was all +right. He was noble <i>senza dubbio</i>.</p> +<p>“Now the nobles had their own noble stories as to what +these noble pictures in stone meant, but the ignoble people often +had another story just as good. Coarse woollen cloth wears +as well as silk. Now you may see on an old palazzo in the +Via de’ Cerchi, and indeed in several other places, a +shield with three rings. But people call them three +wheels. And this is the story about the three +wheels.”</p> +<p style="text-align: center"><span class="smcap">La +Fortuna</span>.</p> +<p>“There was a man, <i>tanto buono</i>, as good as could +be, who lived in squalid misery. He had a wife and two +children, one blind and another <i>storpia</i> or crippled, and +so ugly, both—<i>non si dice</i>—beyond telling!</p> +<p>“This poor man in despair often wept, and then he would +repeat:</p> +<blockquote><p><!-- page 88--><a name="page88"></a><span +class="pagenum">p. 88</span>“‘The wheel of Fortune +turns, they say,<br /> +But for me it turns the other way;<br /> +I work with good-will, but do what I may,<br /> +I have only bad luck from day to day.’</p> +</blockquote> +<p>“‘Yes, little to eat and less to wear, and two +poor girls, one blind and one lame. People say that Fortune +is blind herself, and cannot walk, but she does not bless those +who are like her, that is sure!’ And so he wailed and +wept, till it was time to go forth to seek work to gain their +daily bread. And a hard time he had of it.</p> +<p>“Now it happened that very late one night, or very early +one morning, as one may say, between dark and dawn, he went to +the forest to cut wood. When having called to Fortune as +was his wont—<i>Ai</i>! what was his surprise to +see—<i>tutta ad un tratto</i>—all at once, before his +eyes, a gleam of light, and raising his head, he beheld a lady of +enchanting beauty passing along rapidly, and yet not +walking—on a rolling ball—<i>e ciondolava le +gambe</i>—moving her limbs—I cannot say feet, for she +had none. In place of them were two wheels, and these +wheels, as they turned, threw off flowers from which there came +delicious perfume.</p> +<p>“The poor man uttered a sigh of relief seeing this, and +said:</p> +<p>“‘Beautiful lady, believe me when I say that I +have invoked thee every day. Thou art the Lady of the +Wheels of Fortune, and had I known how beautiful thou art, I +would have worshipped thee for thy beauty alone. Even thy +very name is beautiful to utter, though I have never been able to +couple it with mine, for one may see that I am not one of the +fortunate. Yet, though thou art mine enemy, give me, I +pray, just a little of the luck which flies from thy wheel!</p> +<p>“‘Yet do not believe, I pray, that I am envious of +those who are thy favourites, nor that because thou art my enemy +that I am thine, for if thou dost not deem that I am worthy, +assuredly I do not deserve thy grace, nor will I, like many, say +that Fortune is not beautiful, for having seen thee, I can now +praise thee more than ever.’</p> +<p>“‘I do not cast my favours always on those who +deserve them,’ replied Fortune, ‘yet this time my +wheel shall assist thee. But tell me, thou man of honesty +and without envy, which wouldst thou prefer—to be fortunate +in all things thyself alone, or to give instead as much good luck +to <i>two</i> men as miserable as thou art? If thou wilt +gain the prize for <!-- page 89--><a name="page89"></a><span +class="pagenum">p. 89</span>thyself alone, turn and pluck one of +these flowers! If for others, then take two.’</p> +<p>“The poor man replied: ‘It is far better, lady, to +raise two families to prosperity than one. As for me, I can +work, and I thank God and thee that I can do so much good to so +many, although I do not profit by it myself;’ and saying +this, he advanced and plucked two flowers.</p> +<p>“Fortune smiled. ‘Thou must have +heard,’ she said, ‘that where I spend, I am lavish +and extravagant, and assuredly thou knowest the saying that +“Three is the lucky number,” or nine. Now I +make it a rule that when I relieve families, I always do it by +threes—<i>la spando à tre famiglie</i>—so do +thou go and pluck a flower for thyself!’</p> +<p>“Then the poor man, hearing this, went to the wheels, +and let them turn till a very large fine flower came forth, and +seized it, whereat Fortune smiled, and said:</p> +<p>“‘I always favour the bold. Now go and sit +on yonder bench till some one comes.’ And saying +this, she vanished.</p> +<p>“There came two very poor woodcutters whom he knew +well. One had two sons, another a son and a daughter, and +one and all were as poor and miserable as could be.</p> +<p>“‘What has come over thee, that thou art looking +so handsome and young,’ said one amazed, as he came up.</p> +<p>“‘And what fine clothes!’ remarked the +second.</p> +<p>“‘It shall be so anon for ye both,’ replied +the favourite of Fortune; ‘only take these flowers and +guard them well.’</p> +<p>“Si, Signore, they sat down on the bench three beggars, +and they rose three fine cavaliers, in velvet and satin, with +gold-mounted swords, and found their horses and attendants +waiting. And when they got home, they did not know their +wives or children, nor were they known unto them, and it was an +hour before all was got right. Then all went with them as +if it were oiled. The first man found a great treasure the +very first day in his cellar—in fine, they all grew rich, +and the three sons married the three girls, and they all put the +three wheels on their <i>scudi</i>. One of the wheels is +the ball on which Fortune rolled along, and the other two are her +feet; or else the three men each took a wheel to himself. +Anyhow, there they are, pick and choose, Signore—<i>chi ha +piú cervello</i>, <i>l’usi</i>!—let him who +has brains, brain!</p> +<p>“Now, it is a saying that <i>ogni fior non fa +frutto</i>—every blossom doth not bear a fruit—but +the flowers of Fortune bear fruit enough to make up for the short +crop elsewhere.</p> +<p><!-- page 90--><a name="page90"></a><span class="pagenum">p. +90</span>“But there is some sense and use in such stories +as these, Signore, after all; for a poor devil who half +believes—and very often quite believes in them—gets a +great deal of hope and comfort out of them. They make him +trust that luck or fairies or something will give him a good turn +yet some day—<i>chi sa</i>?—and so he hopes, and +truly, as they say that no pretty girl is ever quite poor, so no +man who hopes is ever really broken—<i>grazie</i>, +<i>Signore</i>! I hope to tell you another story before +long.”</p> +<div class="gapspace"> </div> +<p>There is something in the making Fortune with <i>two</i> heels +for feet which suggests a memory of skate-rollers.</p> +<p>I once published an article in the <i>Ethnologische +Monatsheft</i> of Budapest, which set forth more fully the idea +expressed in this tale, that the popular or fairy tale is a +source of comfort, or a Bible to the poor, for it always teaches +the frequently delusive, but always cheering lesson that +good-luck or fortune may turn up some day, even for the most +unfortunate. The Scripture promises happiness for the +poorest, or indeed specially for the poorest in the next life; +the fairy tale teaches that Cinderella, the despised, and the +youngest, humblest of the three, will win fortune while here on +earth. It inspires hope, which is a great secret of +happiness and success.</p> +<p>To which the learned Flaxius annotates:</p> +<p>“It hath escaped the author—as it hath indeed all +mankind—that as the first syllable of Fortuna is +<i>fort</i> (Latin <i>fortis</i>), so the true beginning of luck +is strength; and if we are to understand by <i>una</i>, +‘one’ or ‘only,’ we may even believe that +the name means strength alone or vigorous will, in accordance +with which the ancients declared that ‘Fortune favours the +bold,’ and also <i>Fortuna contentionis studiosa +est</i>—‘Fortune delights in strife.’ +Therefore she is ever fleeting in this world. <i>Fortuna +simul cum moribus immutatur</i>, as Boethius hath it.”</p> +<h2><!-- page 91--><a name="page91"></a><span class="pagenum">p. +91</span>THE STORY OF THE UNFINISHED PALACE<br /> +<span class="smcap">a legend of the via del +proconsolo</span></h2> +<blockquote><p>“‘Yes, you have cheated me,’ +howled the devil to the architect. ‘But I lay a curse +upon your work. It shall never be +finished.’”—<i>Snow and Planche’s</i> +“<i>Legends of the Rhine</i>.”</p> +</blockquote> +<p>All great and ancient buildings which were never finished have +a legend referring to their incompleteness. There was one +relative to the Cathedral of Cologne, which may be found in +Planche’s “Legends of the Rhine,” and as there +is a <i>palazzo non finito</i> in Florence, I at once scented an +old story; nor was I disappointed, it being unearthed in due +time, and written out for me as follows:</p> +<p style="text-align: center"><span class="smcap">Il Palazzo non +Finito</span>.</p> +<p>“On the corner of the Via del Proconsole and the Borgo +degli Albizzi there is an unfinished palace.</p> +<p>“The great Signore Alessandro Strozzi had a friend who, +when dying, confided to him the care of his only son. And +it was a troublesome task, for the youth was of a strange +temper. And a vast property was left to the young man, his +father imploring him not to waste it, and to live in friendship +with his guardian.</p> +<p>“But his father had hardly closed his eyes in death +before this youth began to act wildly, and above all things to +gamble terribly. And as the saying is, <i>Il diavolo ha +parte in ogni giuoco</i>—‘The devil has a hand in +every game,’ so he soon brought himself into company with +the gamester. Now, as you have heard, ’tis <i>la +lingua o la bocca e quella che fa il giuoco</i>.</p> +<blockquote><p>“‘Every game, as it is sung,<br /> +Is won by mouth, or else by tongue.’</p> +</blockquote> +<p>“So this devil or imp by smooth talk succeeded in +deceiving <!-- page 92--><a name="page92"></a><span +class="pagenum">p. 92</span>the young heir, and leading him into +a compact by which he was to achieve for the Signore all the work +which might be required of him for a hundred years, no matter +what it was, and then the heir must forfeit his soul.</p> +<p>“For some time the young man was satisfied with always +winning at gambling. Yes, he ruined scores, hundreds, and +piled up gold till he got sick of the sight of cards. You +know the saying, ‘When the belly is full the eyes are +tired,’ and ‘A crammed dove hates to fly.’</p> +<p>“So for a while he kept the devil busy, bringing him a +girl here, and building him a tower there, sending him to India +for diamonds, or setting him at work to keep off storm and hail +from his vineyards, which the devil found hard work enough, I +promise you, Signore, for then he had to fight other devils and +witches. Then he put him at a harder job. There was a +ghost of a <i>stregone</i> or wizard who haunted his +<i>palazzo</i>. Now such ghosts are the hardest to lay.</p> +<p>“‘<i>E niente</i>, <i>Signore</i>,’ said the +devil. ‘<i>E vi passarebbe un carro di +fieno</i>. ’Tis nothing, my lord; one could drive a +cartload of hay through it.’ <a name="citation92"></a><a +href="#footnote92" class="citation">[92]</a> But the devil +had a devil of a time to lay <i>that</i> ghost! There was +clanking of chains and howling, and <i>il diavolo scatenato</i> +all night long ere it was done.</p> +<p>“‘<i>E finito</i>, <i>Signore</i>,’ said the +devil in the morning. But he looked so worn-out and tired, +that the young man began to <i>think</i>.</p> +<p>“And he thought, ‘This devil of mine is not quite +so clever as I supposed.’ And it is a fact that it +was only a <i>diavolino</i>—a small devil who had thought +the young man was a fool—in which he was mistaken. A +man may have <i>un ramo di pazzo come l’olmo di +Fiesole</i>—‘be a bit of a fool,’ but ‘a +fool and a sage together can beat a clever man,’ as the +saying is, and both were in this boy’s brain, for he came +of wizard blood. So he reflected, ‘Perhaps I can +cheat this devil after all.’ And he did it.</p> +<p>“Moreover, this devil being foolish, had begun to be too +officious and consequential. He was continually annoying +the Signore by asking for more work, even when he did not want +it, as if to make a show of his immense ability and insatiable +activity. Finally, beginning to believe in his own power, +he <!-- page 93--><a name="page93"></a><span class="pagenum">p. +93</span>began to appear far too frequently, uncalled, rising up +from behind chairs abruptly in his own diabolical form, in order +to inspire fear; but the young lad had not been born in Carnival +to be afraid of a mask, as the saying is, and all this only made +him resolve to send his attendant packing.</p> +<blockquote><p>“‘Chi ha pazienza, cugino,<br /> +Ha i tordi grassi a un quattrino.’</p> +<p>“‘He who hath patience, mind me, cousin,<br /> +May buy fat larks a farthing a dozen.’</p> +</blockquote> +<p>“Now, amid all these dealings, the young signore had +contrived to fall in love with the daughter of his guardian, +Alessandro Strozzi, and also to win her affections; but he +observed one day when he went to see her, having the +<i>diavolino</i> invisible by his side, the attendant spirit +suddenly jibbed or balked, like a horse which stops before the +door, and refused to go farther. For there was a Madonna +painted on the outside, and the devil said:</p> +<blockquote><p>“‘I see a virgin form divine,<br /> +And virgins are not in my line;<br /> +I’m not especially devout:<br /> +Go thou within—I’ll wait without!’</p> +</blockquote> +<p>“And the young man observing that his devil was +devilishly afraid of holy water, made a note of it for future +use. And having asked the Signore Alessandro Strozzi for +the hand of his daughter, the great lord consented, but made it a +condition that the youth should build for his bride a palace on +the corner of the Via del Proconsolo and the Borgo degli Albizzi, +and it must be ready within a year. This he said because in +his heart he did not like the match, yet for his daughter’s +love he put this form upon it, and he hoped that ere the time +would be out something might happen to prevent the +marriage. <i>In fin che v’è fiato +v’è speranza</i>—while there is breath, +Signore, there is hope.</p> +<p>“Now the young man having resolved to finish with his +devil for good and all, began to give him great hope in divers +ways. And one day he said to the imp:</p> +<p>“‘Truly thou hast great power, but I have a mind +to make a great final game with thee. <i>Ogni bel giuoco +vuol durar poco</i>—no good game should last long, and let +us play this compact of ours out. If thou canst build for +me a palace at the corner of the Via del Proconsolo and the Borgo +degli Albizzi, and <!-- page 94--><a name="page94"></a><span +class="pagenum">p. 94</span>finish it in every detail exactly as +I shall order it, then will I be thine, and thou need’st do +no more work for me. And if thou canst not complete it to +my taste, then our compact will be all smoke, and we two past +acquaintances.’</p> +<p>“Now it is said that to cook an egg to a turn, make a +dog’s bed to suit him exactly, or teach a Florentine a +trick, <i>sono trè cose difficilé</i>—are +three very difficult things to do, and this contract for building +the palace on time with indefinite ornaments made the devil shake +in his shoes. However, he knew that ‘Pippo found out +how to stand an egg on its end,’ <a +name="citation94"></a><a href="#footnote94" +class="citation">[94]</a> and where there’s a will +there’s a way, especially when you have ‘all hell to +back you up’—<i>tutto l’inferno a +spalleggiarvi</i>.</p> +<p>“So he built and built away, with one gang of devils +disguised as workmen by day, and another, invisible, by night, +and everybody was amazed to see how the palace rose like weeds +after a rain; for, as the saying is, <i>mala herba presto +cresce</i>—‘ill weeds grow apace,’ and this had +the devil to water it.</p> +<p>“Till at last one day, when the six months were nearly +up, the imp said to the master:</p> +<p>“‘<i>Ebbene</i>, Signore, it is getting to the +time for you to tell me how you would like to have the palace +decorated. Thus far everything has been done exactly as you +directed.’</p> +<p>“‘Ah yes, I see—all done but the +finishing. Well, it may be a little hard, but I promise +you, on the word of a gentleman (<i>tra galant’ uomini una +parola e un instrumento</i>), that I will not ask you to do +anything which cannot be executed even by the artists of this +city.’</p> +<p>“Now the devil was delighted to hear this (for he was +afraid he might be called on to work miracles unheard of), and so +replied:</p> +<p>“‘<i>Top</i>! what man has done the devil can +do. I’ll risk the trick if you swear that men can +work it.’</p> +<p>“‘I swear!’</p> +<p>“‘And what is the finish?’</p> +<p>“‘Oh, very easy. My wife who is to be is of +a very pious turn, and I want to please her. Firstly, all +the work must be equal in execution to the best by the greatest +masters—painting, sculpture, and gilding.’</p> +<p><!-- page 95--><a name="page95"></a><span class="pagenum">p. +95</span>“‘Agreed.’</p> +<p>“‘Secondly, the subjects. Over the front +door—<i>bisogna mettermi Gesu Cristo onnipotente unitamente +a Maria e il suo divin figlio</i>, <i>Padre</i>, <i>Figlio e +Spirito Santo</i>—that is, the Holy Family and Trinity, the +Virgin and Child.’</p> +<p>“‘Wha—wha—what’s that?’ +stammered the devil, aghast. ‘It isn’t fair +play—not according to the game.’</p> +<p>“‘On every door,’ continued the young man, +raising his voice, and looking severely at the devil, ‘the +same subject is to be repeated on a thick gold ground, all the +ultramarine to be of the very best quality, washed in holy +water.’</p> +<p>“‘Ugh! ugh! ugh!’ wailed the devil.</p> +<p>“‘The roof is to be covered with the images of +saints as pinnacles, and, by the way, wherever you have a blank +space, outside on the walls or inside, including +ceilings—just cover it with the same subjects—the +Temptation of Saint Antony or Saint—’</p> +<p>“‘Oh, go to the devil with your saints and gold +grounds!’ roared the imp. ‘Truly I have lost +this game; fishing with a golden hook is a fool’s +business. There is the compact!’</p> +<p>“It was night—deep, dark night—there came a +blinding flash of light—an awful crash of indescribable +unearthly sound, like a thunder-voice. The imp, taking the +form of a <i>civetta</i> or small owl, vanished through the +window in the storm-wind and rain, wailing, ‘<i>Mai +finito</i>!’</p> +<p>“And it is said that to this day the small owl still +perches by night on the roof of the palace, wailing +wearily—‘Unfinished! unfinished!’”</p> +<div class="gapspace"> </div> +<p>In no country in the world has unscrupulous vigorous intellect +been so admired as in Italy, the land of the Borgias and +Machiavellis. In the rest of Europe man finds a master in +the devil; in Italy he aims at becoming the devil’s +master. This is developed boldly in the legend of +“Intialo,” to which I have devoted another chapter, +and it appears as markedly in this. The idea of having an +attendant demon, whom the master, in the consciousness of +superior intellect, despises, knowing that he will crush him when +he will, is not to be found, I believe, in a single German, +French, or any other legend not Italian.</p> +<p><!-- page 96--><a name="page96"></a><span class="pagenum">p. +96</span>If this be so, it is a conception well deserving study, +as illustrating the subtle and powerful Italian intellect as it +was first analysed by Macaulay, and is now popularly understood +by such writers as Scaife. <a name="citation96"></a><a +href="#footnote96" class="citation">[96]</a> It is indeed a +most unholy and unchristian conception, since it is quite at war +with the orthodox theology of the Church, as of Calvin and +Luther, which makes the devil the grand master of mankind, and +irresistible except where man is saved by a <i>special</i> +miracle or grace.</p> +<p>And it may also be noted from such traditions that folk-lore, +when it shall have risen to a sense of its true dignity and +power, will not limit itself to collecting variants of fairy +tales to prove the routes of races over the earth, but rise to +illustrating the characteristic, and even the æsthetic, +developments of different stocks. That we are now laying +the basis for this is evident.</p> +<p>Though the devil dared not depict lives and legends of the +saints upon the palace, he did not neglect to put his own ugly +likeness there, repeated above the four front windows in a +perfectly appalling Gothic style, which contrasts oddly with the +later and severe character of the stately building. These +faces are fiendish enough to have suggested the story.</p> +<p>It may here be mentioned that it was in the middle of the +Borgo degli Albizzi, near this palace, that that indefatigable +corpse-reviver and worker of miracles, San Zenobio, raised from +the dead the child of a noble and rich French lady. +“Then in that place there was put a pillar of white marble +in the middle of the street, as a token of a great +miracle.”</p> +<blockquote><p>“<i>Hæc fabula docet</i>—this +fable teaches,” adds Flaxius the immortal, “that +there was never yet anything left incomplete by neglect or +incapacity or poverty, be it in buildings or in that higher +structure, man himself, but what it was attributed <!-- page +97--><a name="page97"></a><span class="pagenum">p. 97</span>to +the devil. If it had not been for the devil, what fine +fellows, what charming creatures, we would all have been to be +sure! The devil alone inspires us to sin; <i>we</i> would +never have dreamed of it. Whence I conclude that the devil +is dearer to man, and a greater benefactor, than all the saints +and several deities thrown in, because he serves as a scudaway +scapegoat, and excellent excuse for the sins of all the orthodox +of all time. How horrible it would be were we all made unto +ourselves distinctly responsible for our sins—our +unfinished palaces, our good resolutions broken; and how very +pleasant it is that it is all the devil’s fault, and not +our own! Oh my friends, did I believe as ye do—which +I don’t—I would long ago have raised altars and +churches to the devil, wherein I would praise him daily as the +one who in spirit and in truth takes upon himself the sins of all +the world, bearing the burden of our iniquities. For saying +which thing, but in other words, the best Christian of his age, +Bishop Agobard, was hunted down well-nigh to death. Thus +endeth a great lesson!”</p> +</blockquote> +<h2><!-- page 98--><a name="page98"></a><span class="pagenum">p. +98</span>THE DEVIL OF THE MERCATO VECCHIO</h2> +<blockquote><p>“Have I not the magic wand, by means of +which, having first invoked the spirit Odeken, one can enter the +elfin castle? Is not this a fine trot on the devil’s +crupper? Here it is—one of the palaces erected by +rivals of the Romans. Let us enter, for I hold a hand of +glory to which all doors open. Let us enter, <i>hic et +nunc</i>, the palace fair. . . . Here it was once on a +Sabato of the Carnival that there entered four graceful youths of +noble air.”—<i>Arlecchino alle Nozze di Cana</i>.</p> +</blockquote> +<p>I very naturally made inquiry as to whether there was not a +legend of the celebrated bronze devil made by Giovanni di +Bologna, which remained until lately in the Mercato Vecchio, and +I obtained the following, which is, from intrinsic evidence, +extremely curious and ancient.</p> +<p style="text-align: center"><span class="smcap">Il Diavolo alla +Cavolaia</span>.</p> +<p>“On the corner of the Palace Cavolaia there were +anciently four devils of iron. <a name="citation98"></a><a +href="#footnote98" class="citation">[98]</a> These were +once four gentlemen who, being wonderfully intimate, had made a +strange compact, swearing fidelity and love among themselves to +death, agreeing also that if they married, their wives and +children and property should be all in common.</p> +<p>“When such vows and oaths are uttered, the saints may +pass them by, but the devils hear them; they hear them in hell, +and they laugh and cry, ‘These are men who will some day be +like us, and here for ever!’ Such sin as that is like +a root which, once planted, may be let alone—the longer it +is in the ground, the more it grows. <i>Terra non avvilisce +oro</i>—earth does not spoil gold, but even virtue, like +friendship, may grow into a great vice when it grows too +much.</p> +<p>“As it happened in this case. Well, the four +friends were invited to a great <i>festa</i> in that fatal palace +of the Cavolaia, and they all went. And they danced and +diverted themselves <!-- page 99--><a name="page99"></a><span +class="pagenum">p. 99</span>with great and beautiful ladies in +splendour and luxury. As the four were all singularly +handsome and greatly admired, the ladies came <i>con grandi +tueletti</i>—in their best array, <i>sfarzose per essere +corteggiate</i>—making themselves magnificent to be courted +by these gentlemen, and so they looked at one another with +jealous eyes, and indeed many a girl there would have gladly been +wife to them all, or wished that the four were one, while the +married dames wished that they could <i>fare i +sposamenti</i>—be loved by one or all. People were +wicked in those days!</p> +<p>“But what was their surprise—and a fearful +surprise it was—when, after all their gaiety, they heard at +three o’clock in the morning the sound of a bell which they +had never heard before, and then divine music and singing, and +there entered a lady of such superhuman beauty as held them +enchanted and speechless. Now it was known that, by the +strict rules of that palace, the <i>festa</i> must soon close, +and there was only time for one more dance, and it was sworn +among these friends that every lady who danced with one of them, +must dance with all in succession. Truly they now repented +of their oath, for she was so beautiful.</p> +<p>“But the lady advancing, pointed out one of the four, +and said, ‘I will dance with him alone.’</p> +<p>“The young signore would have refused, but he felt +himself obliged, despite himself, to obey her, and when they had +danced, she suddenly disappeared, leaving all amazed.</p> +<p>“And when they had recovered from the spell which had +been upon them, they said that as she had come in with the dawn +and vanished with the day, it must have been the Beautiful Alba, +the enchanting queen of the fairies.</p> +<p>“The <i>festa</i> lasted for three days, and every night +at the same hour the beautiful Alba reappeared, enchanting all so +wonderfully, that even the ladies forgot their jealousy, and were +as much fascinated by her as were the men.</p> +<p>“Now of the four friends, three sternly reproached the +other for breaking his oath, they being themselves madly in love; +but he replied, and truly, that he had been compelled by some +power which he could not resist to obey her. But that, as a +man of honour, so far as he could, he would comply with the +common oath which bound them.</p> +<p>“Then they declared that he should ask her if she loved +him, and if she assented, that he should inform her of their +oath, and that she must share her love with all or +none—<i>altrimenti non avrebbe mai potuta sposarla</i>.</p> +<p><!-- page 100--><a name="page100"></a><span class="pagenum">p. +100</span>“Which he did in good faith, and she answered, +‘Hadst thou loved me sincerely and fully, thou wouldst have +broken that vile oath; and yet it is creditable to thee that, as +a man of honour, thou wilt not break thy word. Therefore +thou shalt be mine, but not till after a long and bitter +punishment. Now I ask thy friends and thee, if to be mine +they are willing to take the form of demons and bear it openly +before all men.’</p> +<p>“And when he proposed it to his friends, he found them +so madly in love with the lady that they, thinking she meant some +disguise, declared that to be hers they would willingly wear any +form, however terrible.</p> +<p>“And the fair Alba, having heard them, said, ‘Yes, +ye shall indeed be mine; more than that I do not promise. +Now meet me to-morrow at the Canto dei Diavoli—at the +Devil’s Corner!’</p> +<p>“And they gazed at her astonished, never having heard of +such a place. But she replied, ‘Go into the street +and your feet shall guide you, and truly it will be a great +surprise.’</p> +<p>“And they laughed among themselves, saying, ‘The +surprise will be that she will consent to become a wife to us +all.’</p> +<p>“But when they came to the corner, in the night, what +was their amazement to see on it four figures of devils indeed, +and Alba, who said, ‘Now ye are indeed mine, but as for my +being yours, that is another matter.’</p> +<p>“Then touching each one, she also touched a devil, and +said, ‘This is thy form; enter into it. Three of ye +shall ever remain as such. As for this fourth youth, he +shall be with ye for a year, and then, set free, shall live with +me in human form. And from midnight till three in the +morning ye also may be as ye were, and go to the Palazzo +Cavolaia, and dance and be merry with the rest, but through the +day become devils again.’</p> +<p>“And so it came to pass. After a year the image of +the chosen lover disappeared; and then one of the three was +stolen, and then another, till only one remained.”</p> +<div class="gapspace"> </div> +<p>There is some confusion in the conclusion of this story, which +I have sought to correct. The exact words are, “For +many years all four remained, till <i>one</i> was stolen away, +and that was the image of the young man who pleased the beautiful +Alba, who thus relieved him of the spell.” But as +there has been always only one devil on <!-- page 101--><a +name="page101"></a><span class="pagenum">p. 101</span>the corner, +I cannot otherwise reconcile the story with the fact.</p> +<p>I have said that this tale is ancient from intrinsic +evidence. Such extravagant alliances of friendship as is +here described were actually common in the Middle Ages; they +existed in England even till the time of Queen Elizabeth. +In “Shakespeare and his Friends,” or in the +“Youth of Shakespeare”—I forget which—two +young men are represented as fighting a duel because each +declared that he loved the other most. There was no insane +folly of sentiment which was not developed in those days. +But this is so foreign to modern ideas, that I think it could +only have existed in tradition to these our times.</p> +<p>There were also during the Middle Ages strange heretical +sects, among whom such communism existed, like the polyandria of +the ancient Hindoos. There may be a trace of it in this +story.</p> +<p>Alba, Albina, or Bellaria, appear in several Tuscan +traditions. They are forms of the Etruscan Alpan, the fairy +of the Dawn, a sub-form of Venus, the spirit of Light and +Flowers, described in my work on “Etruscan Roman +Traditions.” It may be remarked as an ingenious touch +in the tale, that she always appears at the first dawn, or at +three o’clock, and vanishes with broad day. This +distinguishes her from the witches and evil spirits, who always +come at midnight and vanish at three o’clock.</p> +<p>The readiness with which the young men consented to assume the +forms of demons is easily explained. They understood that +it meant only a disguise, and it was very common in the Middle +Ages for lovers to wear something strange in honour of their +mistresses. The dress of a devil would only seem a joke to +the habitués of the Cavolaia. It may be also borne +in mind that in other tales of Florence it is distinctly stated +that spirits confined in statues, columns, <i>et cetera</i>, only +inhabit them “as bees live in hives.” They +appear to sleep in them by <!-- page 102--><a +name="page102"></a><span class="pagenum">p. 102</span>day, and +come out at night. So in India the saint or demon only +comes into the relic or image from time to time, or when +invoked.</p> +<p>After I had written the foregoing, I was so fortunate as to +receive from Maddalena yet another legend of the bronze imp of +Giovanni di Bologna, which tale she had unearthed in the purlieus +of the Mercato Vecchio. I have often met her when thus +employed, always in the old part of the town, amid towering old +buildings bearing shields of the Middle Ages, or in dusky +<i>vicoli</i> and <i>chiassi</i>, and when asked what she was +doing, ’twas ever the same reply, “<i>Ma</i>, +<i>Signore Carlo</i>, there’s an old woman—or +somebody—lives here who knows a story.” And +then I knew that there was going to be a long colloquy in dialect +which would appal any one who only knew choice Italian, the end +of which would be the recovery, perhaps from half-a-dozen +<i>vecchie</i>, of a legend like the following, of which I would +premise that it was not translated by me, but by Miss Roma +Lister, who knew Maddalena, having taken lessons from her in the +sublime art of <i>battezare le carte</i>, or telling fortunes by +cards, and other branches of the black art. And having +received the manuscript, which was unusually illegible and +troublesome, I asked Miss Lister to kindly transcribe it, but +with great kindness she translated the whole, only begging me to +mention that it is given with the most scrupulous accuracy, word +for word, from the original, so far as the difference of language +permitted.</p> +<p style="text-align: center"><span class="smcap">Il Diavolino +del Canto de’ Diavoli</span>.<br /> +<i>The Imp of the Devil’s Corner and the Pious +Fairy</i>.</p> +<p>“There was once a pious fairy who employed all her time +in going about the streets of Florence in the shape of a woman, +preaching moral sermons for the good of her hearers, and singing +so sweetly that all who heard her voice fell in love with +her. Even the women forgot to be jealous, so charming was +her <!-- page 103--><a name="page103"></a><span +class="pagenum">p. 103</span>voice, and dames and damsels +followed her about, trying to learn her manner of singing.</p> +<p>“Now the fairy had converted so many folk from their +evil ways, that a certain devil or imp—who also had much +business in Florence about that time—became jealous of the +intruder, and swore to avenge himself; but it appears that there +was as much love as hate in the fiend’s mind, for the +fairy’s beautiful voice had worked its charm even when the +hearer was a devil. Now, besides being an imp of superior +intelligence, he was also an accomplished ventriloquist (or one +who could imitate strange voices as if sounding afar or in any +place); so one day while the pious fairy in the form of a +beautiful maiden held forth to an admiring audience, two voices +were heard in the street, one here, another there, and the first +sang:</p> +<blockquote><p>“‘Senti o bella una parola,<br /> +Te la dico a te sola,<br /> +Qui nessun ci puo’l sentire<br /> +Una cosa ti vuo dire;<br /> +Se la senti la stemperona,<br /> +L’a un voce da buffona<br /> +Tiene in mano la corona. <a name="citation103"></a><a +href="#footnote103" class="citation">[103]</a><br /> +Per fare credere a questo o quella,<br /> +Che l’e sempre una verginella.’</p> +<p>“‘Hear, O lovely maid, a word,<br /> +Only to thyself I’d bear it,<br /> +For it must not be o’erheard,<br /> +Least of all should the preacher hear it.<br /> +’Tis that, while seeming pious, she,<br /> +Holding in hand a rosary,<br /> +Her talk is all hypocrisy,<br /> +To make believe to simple ears,<br /> +That still the maiden wreath she wears.’</p> +</blockquote> +<p>“Then another voice answered:</p> +<blockquote><p>“‘La risposta ti vuo dare,<br /> +Senza farti aspettare;<br /> +Ora di un bell’ affare,<br /> +Te la voglio raccontare,<br /> +Quella donna che sta a cantare,<br /> +E una Strega di queste contrade,<br /> +Che va da questo e quello,<br /> +A cantarle indovinello,<br /> +A chi racconta: Voi siete<br /> +Buona donna affezionata.<br /> +Al vostro marito, ma non sapete,<br /> +Cie’ di voi un ’altra appasionata.’</p> +<p><!-- page 104--><a name="page104"></a><span class="pagenum">p. +104</span>“‘Friends, you’ll not have long to +wait<br /> +For what I’m going to relate;<br /> +And it is a pretty story<br /> +Which I am going to lay before ye.<br /> +That dame who singing there you see<br /> +Is a witch of this our Tuscany,<br /> +Who up and down the city flies,<br /> +Deceiving people with her lies,<br /> +Saying to one: The truth to tell,<br /> +I know you love your husband well;<br /> +But you will find, on close inspection,<br /> +Another has his fond affection.’</p> +</blockquote> +<p>“In short, the imp, by changing his voice artfully, and +singing his ribald songs everywhere, managed in the end to +persuade people that the fairy was no better than she should be, +and a common mischief-maker and disturber of domestic +peace. So the husbands, becoming jealous, began to quarrel +with their wives, and then to swear at the witch who led them +astray or put false suspicion into their minds.</p> +<p>“But it happened that the fairy was in high favour with +a great saint, and going to him, she told all her troubles and +the wicked things which were said of her, and besought him to +free her good name from the slanders which the imp of darkness +had spread abroad (<i>l’aveva chalugnato</i>).</p> +<p>“Then the saint, very angry, changed the devil into a +bronze figure (<i>mascherone</i>, an architectural ornament), but +first compelled him to go about to all who had been influenced by +his slanders, and undo the mischief which he had made, and +finally to make a full confession in public of everything, +including his designs on the beautiful fairy, and how he hoped by +compromising her to lead her to share his fate.</p> +<p>“Truly the imp cut but a sorry figure when compelled to +thus stand up in the Old Market place at the corner of the +Palazzo Cavolaia before a vast multitude and avow all his dirty +little tricks; but he contrived withal to so artfully represent +his passionate love for the fairy, and to turn all his sins to +that account, that many had compassion on him, so that indeed +among the people, in time, no one ever spoke ill of the <i>doppio +povero diavolo</i>, or doubly poor devil, for they said he was to +be pitied since he had no love on earth and was shut out of +heaven.</p> +<p>“Nor did he quite lose his power, for it was said that +after he had been confined in the bronze image, if any one spoke +ill of him or said, ‘This is a devil, and as a devil he can +never enter Paradise,’ then the imp would persecute that +man with <!-- page 105--><a name="page105"></a><span +class="pagenum">p. 105</span>strange voices and sounds until such +time as the offender should betake himself to the Palazzo della +Cavolaia, and there, standing before the bronze image, should ask +his pardon.</p> +<p>“And if it pleased the Diavolino, he forgave them, and +they had peace; but if it did not, they were pursued by the +double mocking voice which made dialogue or sang duets over all +their sins and follies and disgraces. And whether they +stayed at home or went abroad, the voices were ever about them, +crying aloud or tittering and whispering or hissing, so that they +had no rest by day or night; and this is what befell all who +spoke ill of the Diavolino del Canto dei Diavoli.”</p> +<div class="gapspace"> </div> +<p>The saint mentioned in this story was certainly Pietro Martire +or Peter the Martyrer, better deserving the name of murderer, +who, preaching at the very corner where the bronze imp was +afterwards placed, declared that he beheld the devil, and +promptly exorcised him. There can be little doubt that the +image was placed there to commemorate this probably “pious +fraud.”</p> +<p>It is only since I wrote all this that I learned that there +were formerly <i>two</i> of these devils, one having been stolen +not many years ago. This verifies to some extent the +consistency of the author of the legend, “The Devil of the +Mercato Vecchio,” who says there were four.</p> +<p>There is a very amusing and curious trait of character +manifested in the conclusion of this story which might escape the +reader’s attention were it not indicated. It is the +vindication of the “puir deil,” and the very evident +desire to prove that he was led astray by love, and that even the +higher spirit could not take away all his power. Here I +recognise beyond all question the witch, the fortune-teller and +sorceress, who prefers Cain to Abel, and sings invocations to the +former, and to Diana as the dark queen of the <i>Strege</i>, and +always takes sides with the heretic and sinner and magian and +goblin. It is the last working of the true spirit of +ancient heathenism, for the fortune-tellers, and especially those +of the mountains, all come of families who have been regarded as +enemies <!-- page 106--><a name="page106"></a><span +class="pagenum">p. 106</span>by the Church during all the Middle +Ages, and who are probably real and direct descendants of Canidia +and her contemporaries, for where this thing is in a family it +never dies out. I have a great many traditions in which the +hand of the heathen witch and the worship of “him who has +been wronged” and banished to darkness, is as evident as it +is here.</p> +<div class="gapspace"> </div> +<p>“Which indeed seems to show,” comments the learned +Flaxius, “that if the devil is never quite so black as he +is painted, yet, on the other hand, he is so far from being of a +pure white—as the jolly George Sand boys, such as Heine and +Co., thought—that it is hard to make him out of any lighter +hue than mud and verdigris mixed. <i>In medio tutissimus +ibis</i>. ’Tis also to be especially noted, that in +this legend—as in Shelley’s poem—the Devil +appears as a meddling wretch who is interested in small things, +and above all, as given to gossip:</p> +<blockquote><p>“The Devil sat down in London town<br /> +Before earth’s morning ray,<br /> +With a favourite imp he began to chat,<br /> +On religion, and scandal, and this and that,<br /> +Until the dawn of day.”</p> +</blockquote> +<h2><!-- page 107--><a name="page107"></a><span +class="pagenum">p. 107</span>SEEING THAT ALL WAS RIGHT<br /> +<span class="smcap">a legend of the porta a san +nicolò</span></h2> +<blockquote><p>“God keep us from the devil’s +lackies,<br /> +Who are the aggravating jackies,<br /> +Who to the letter execute<br /> +An order and exactly do’t,<br /> +Or else, with fancy free and bold,<br /> +Do twice as much as they are told,<br /> +And when reproved, cry bravely, ‘Oh!<br /> +I <i>thought</i> you’d like it so and so.’<br /> +From all such, wheresoe’er they be,<br /> + <i>Libera nos</i>, +<i>Domine</i>!’</p> +</blockquote> +<p>The Porta a San Nicolò in Florence is, among other +legends, associated with a jest played by the famous Barlacchia +on a friend, the story of which runs as follows:</p> +<p>“It is an old saying that <i>la porta di dietro è +quella che ruba la casa</i> (it is the back gate which robs a +house), and it was going back to the gate of San Nicolò +which robbed a man of all his patience. This man had gone +with Barlacchia the jester from Florence to Val d’Arno, and +on returning they had stopped in the plain of Ripolo, where the +friend was obliged to delay for a time, while Barlacchia went +on. Now it was so late that although Barlacchia was certain +to reach the Porto a San Nicolò in time to enter, it was +doubtful whether the one who came later could do so unless a word +should be spoken in advance to the guard, who for friendship or a +fee would sit up and let the late-comer in. Therefore the +friend said to the jester, ‘<i>Di gratia facesse sostenere +la porta</i>’—‘See that the gate is all +right,’ or that all is right at the bridge—meaning, +of course, that he should make it right with the guardian to let +him in.</p> +<p>“And when Barlacchia came to the gate, he indeed asked +the officer in charge <i>se questi si sostengo</i>—whether +it was all right, and if it stood firmly, and was in no danger of +falling, affirming that he was making special inquiry at request +of a <!-- page 108--><a name="page108"></a><span +class="pagenum">p. 108</span>friend who was commissioner of the +city gates and bridges, and obtained a paper certifying that the +gate was in excellent condition, after which he went home.</p> +<p>“Trotting along on his mule came the friend, who, +believing that Barlacchia had made it all right with the guard, +had not hurried. But he found it was all wrong, and that +‘a great mistake had been made somewhere,’ as the eel +said when he was thrown into boiling hot oil instead of cold +water. For he found the gate locked and nobody to let him +in, so that in a great rage he was obliged to go back to an inn +which was distinguished for nothing but its badness, <i>dove +stette con gran disagio quella notte</i> (where he passed the +night in great discomfort).</p> +<p>“And when morning came, he passed the gate, but stopped +and asked whether Barlacchia had been there the night +before. To which the guard answered, ‘Yes,’ and +that he had been very particular in his inquiries as to whether +the doors were firm on their hinges, and if the foundations were +secure; on hearing which, the man saw that he had been sold, <a +name="citation108"></a><a href="#footnote108" +class="citation">[108]</a> and going to the Piazza Signoria, and +meeting Barlacchia, <i>gli disse rilevata villania</i>, let him +have abuse in bold relief and large proportion, saying that it +was infamous to snipe his equal in all things and better in most, +in such a low-flung manner, unbecoming a half-grown +chimney-sweep, and that if he did not respect himself too much to +use improper or strong language, he would say that Barlacchia was +a dastardly blackguard and a son of a priest. To which +Barlacchia remonstrated that he had performed to perfection +exactly what he had promised to do, yea, <i>a punto</i>, to the +very letter.</p> +<p>“Now by this time half Florence had assembled, and being +delighted beyond all measure at this racy dispute, insisted on +forming a street-court and settling the question <i>alla +fresca</i>. And when the evidence was taken, and all the +facts, which long in darkness lay, were brought full clearly to +the light of day, there was such a roaring of laughter and +clapping of lands that you would have sworn the Guelfs and +Ghibellines had got at it again full swing. But the verdict +was that Barlacchia was acquitted without a stain on his +character.</p> +<p>“<i>Hæc fabula docet</i>,” comments Flaxius, +“that there be others besides Tyll Eulenspiegel who make +mischief by fulfilling laws too literally. And there are no +people in this world who contrive to break the Spirit of +Christianity so much as those who follow it simply to the +Letter.”</p> +<h2><!-- page 109--><a name="page109"></a><span +class="pagenum">p. 109</span>THE ENCHANTED COW OF LA VIA +VACCHERECCIA</h2> +<blockquote><p>“On Dunmore Heath I also slewe<br /> + A monstrous wild and cruell beaste<br /> +Called the Dun Cow of Dunmore plaine,<br /> + Who many people had opprest.”</p> +<p style="text-align: right">—<i>Guy</i>, <i>Earl of +Warwick</i>.</p> +</blockquote> +<p>The Via Vacchereccia is a very short street leading from the +Signoria to the Via Por San Maria. <i>Vaccherricia</i>, +also <i>Vacchereccia</i>, means a cow, and is also applied +scornfully to a bad woman. The following legend was given +to me as accounting for the name of the place. A well-known +Vienna beerhouse-restaurant, Gilli and Letta’s, has +contributed much of late years to make this street known, and it +was on its site that, at some time in “the fabled +past,” the building stood in which dwelt the witch who +figures in the story.</p> +<p style="text-align: center"><span class="smcap">La Via +Vacchereccia</span>.</p> +<p>“There lived long ago in the Via Vacchereccia a poor +girl, who was, however, so beautiful and graceful, and sweet in +her manner, that it seemed to be a marvel that she belonged to +the people, and still more that she was the daughter of the woman +who was believed to be her mother, for the latter was as ugly as +she was wicked, brutal, and cruel before all the world, and a +witch in secret, a creature without heart or humanity.</p> +<p>“Nor was the beautiful Artemisia—such being the +name of the girl—in reality her daughter, for the old woman +had stolen her from her parents, who were noble and wealthy, when +she was a babe, and had brought her up, hoping that when grown +she could make money out of her in some evil way, and live <!-- +page 110--><a name="page110"></a><span class="pagenum">p. +110</span>upon her. But, as sometimes happens, it seemed as +if some benevolent power watched over the poor child, for all the +evil words and worse example of the witch had no effect on her +whatever.</p> +<p>“Now it happened that Artemisia in time attracted the +attention and love of a young gentleman, who, while of moderate +estate, was by no means rich; and he had learned to know her +through his mother, an admirable lady, who had often employed +Artemisia, and been impressed by her beauty and goodness. +So it happened that the mother favoured the son’s suit, and +as Artemisia loved the young man, it seemed as if her sufferings +would soon be at an end, for be it observed that the witch +treated the maid at all times with extraordinary cruelty.</p> +<p>“But it did not suit the views of the old woman at all +that the girl on whom she reckoned to bring in much money from +great protectors, and whom she was wont to call the cow from whom +she would yet draw support, should settle down into the wife of a +small noble of moderate means. So she not only scornfully +rejected the suit, but scolded and beat Artemisia with even +greater wickedness than ever.</p> +<p>“But there are times when the gentlest natures +(especially when supported by good principles and truly good +blood) will not give way to any oppression, however cruel, and +Artemisia, feeling keenly that the marriage was most advantageous +for her, and a great honour, and that her whole heart had been +wisely given, for once turned on the old woman and defied her, +threatening to appeal to the law, and showing that she knew so +much that was wicked in her life that the witch became as much +frightened as she was enraged, well knowing that an investigation +by justice would bring her to the bonfire. So, inspired by +the devil, she turned the girl into a cow, and shut her up in a +stable in the courtyard of the house, where she went every day +two or three times to beat and torture her victim in the most +fiendish manner.</p> +<p>“Meanwhile the disappearance of Artemisia had excited +much talk and suspicion, as it followed immediately after the +refusal of the old woman to give her daughter to the young +gentleman. And he indeed was in sad case and great +suffering, but after a while, recovering himself, he began to +wonder whether the maid was not after all confined in the Via +Vacchereccia. And as love doubles all our senses and makes +the deaf hear, and, according to the proverb, ‘he who finds +it in his heart <!-- page 111--><a name="page111"></a><span +class="pagenum">p. 111</span>will feel spurs in his +flanks,’ so this young man, hearing the old woman spoken of +as a witch, began to wonder whether she might not be one in +truth, and whether Artemisia might not have been <i>confinata</i> +or enchanted into some form of an animal, and so imprisoned.</p> +<p>“And, full of this thought, he went by night to the +house, where there was an opening like a window or portal in the +courtyard, and began to sing:</p> +<blockquote><p>“‘Batte le dodici a una campana,<br /> +Si sente appena dalla lontana.</p> +<p>“‘Se almeno la voce potessi sentire,<br /> +Della mia bella che tanto deve soffrire.’</p> +<p>“‘Midnight is striking, I hear it afar,<br /> +High in the heaven shines many a star.</p> +<p>“‘And oh that the voice of the one I could +hear,<br /> +Who suffers so sadly—the love I hold dear.</p> +<p>“‘Oh stars, if you’re looking with pity on +me,<br /> +I pray you the maid from affliction to free!’</p> +</blockquote> +<p>“As he sang this, he heard a cow lowing in the +courtyard, and as his mind was full of the idea of enchantment, +his attention was attracted to it. Then he sang:</p> +<blockquote><p>“‘If enchanted here you be,<br /> +Low, but gently, <i>one</i>, <i>two</i>, <i>three</i>!<br /> +Low in answer unto me,<br /> +And a rescue soon you’ll see.’</p> +</blockquote> +<p>“Then the cow lowed three times, very softly, and the +young man, delighted, put to her other questions, and being very +shrewd, he so managed it as to extract with only yea and nay all +the story. Having learned all this, he reflected that to +beat a terrier ’tis well to take a bulldog, and after much +inquiry, he found that there dwelt in Arezzo a great sorcerer, +but a man of noble character, and was, moreover, astonished to +learn from his mother that this <i>gran mago</i> had been a +friend of his father.</p> +<p>“And being well received by the wise man, and having +told his story, the sage replied:</p> +<p>“‘Evil indeed is the woman of whom you +speak—a black witch of low degree, who has been allowed, as +all of her kind are, to complete her measure of sin, in order +that she may receive her full measure of punishment. For +all things may <!-- page 112--><a name="page112"></a><span +class="pagenum">p. 112</span>be forgiven, but not cruelty, and +she has lived on the sufferings of others. Yet her power is +of a petty kind, and such as any priest can crush.</p> +<p>“‘Go to the stable when she shall be absent, and I +will provide that she shall be away all to-morrow. Then +bind verbena on the cow’s horns, and hang a crucifix over +the door, and sprinkle all the floor with holy water and incense, +and sing to the cow:</p> +<blockquote><p>“‘The witch is not thy mother in +truth,<br /> +She stole thee in thy early youth,<br /> +She has deserved thy bitterest hate,<br /> +Then fear not to retaliate;<br /> +And when she comes to thee again,<br /> +Then rush at her with might and main;<br /> +She has heaped on thee many a scorn,<br /> +Repay it with thy pointed horn.’</p> +</blockquote> +<p>“‘And note that there is a <i>halter</i> on the +cow’s neck, and this is the charm which gives her the form +of a cow, but it cannot be removed except in a church by the +priest.’</p> +<p>“And to this he added other advice, which was duly +followed.</p> +<p>“Then the next day the young man went to the stable, and +did all that the wise man had bid, and hiding near, awaited the +return of the witch. Nor had he indeed long to wait, for +the witch, who was evidently in a great rage at something, and +bore a cruel-looking stick with an iron goad on the end, rushed +to the courtyard and into the stable, but fell flat on the floor, +being overcome by the holy water. And the cow, whose halter +had been untied from the post, turned on her with fury, and +tossed and gored her, and trampled on her till she was senseless, +and then ran full speed, guided by the young man, to the +Baptistery, into which she entered, and where there was a priest +awaiting her. And the priest sprinkled her with holy water, +and took the halter from her neck, and she was disenchanted, and +became once more the beautiful Artemisia.</p> +<p>“And this done, the young man took the halter, and +hurrying back to the stable, put it about the neck of the witch, +who at once became a cow without horns, or such as are called +‘the devil’s own.’ And as she, maddened +with rage, rushed forth, attacking everybody, all the town was +soon after her with staves, pikes, and all their dogs, and so +they hunted her down through the Uffizzi and along Lung’ +Arno, all roaring and screaming and barking, out into the +country, for she gave them a long run and a good chase, till they +came to a gate of a <!-- page 113--><a name="page113"></a><span +class="pagenum">p. 113</span><i>podere</i>, over which was a +Saint Antony, who, indignant that she dared pass under him, +descended from his niche, and gave her a tremendous blow with his +staff between the horns, or where they would have been if she had +possessed them. Whereupon the earth opened and swallowed +her up, amid a fearful flashing of fire, and a smell which was +even worse than that of the streets of Siena in +summer-time—which is often so fearful that the poorer +natives commonly carry fennel (as people do perfumed vinaigrettes +in other places) to sniff at, as a relief from the horrible +odour.</p> +<p>“And when all this was done, the <i>mago</i> revealed to +the maiden that her parents, who were still living, were very +great and wealthy people, so that there was soon a grand reunion, +a general recognition, and a happy marriage.</p> +<blockquote><p>“‘Maidens, beware lest witches catch +you;<br /> +Think of the Via Vacchereccia;<br /> +And tourists dining in the same,<br /> +Note how the street once got its name.’”</p> +</blockquote> +<h2><!-- page 114--><a name="page114"></a><span +class="pagenum">p. 114</span>THE WITCH OF THE PORTA ALLA +CROCE</h2> +<blockquote><p>“If any secret should sacred be,<br /> +Though it guarded the life of a family,<br /> +And any woman be there about,<br /> +She will die but what she will find it out;<br /> +And though it hurried her soul to—well—<br /> +That secret she <i>must</i> immediately tell.”</p> +<p style="text-align: right">—<i>Sage Stuffing for Young +Ducks</i>.</p> +</blockquote> +<p>There are in Italy, as elsewhere, families to whom a fatality +or tradition is attached. The following is a curious legend +of the kind:</p> +<p style="text-align: center"><span class="smcap">La Fattuchiera +della Porta alla Croce</span>.</p> +<p>“There was a very old Florentine family which lived in a +castle in the country. The elder or head of this family had +always one room in which no one was ever allowed to enter. +There he passed hours alone every day, and woe to any one who +dared disturb him while there. And this had been the case +for generations, and no one had ever found out what the secret +was. This was, of course, a great vexation to the ladies of +the family—<i>perche la donna e sempre +churiosa</i>—women being always inquisitive.</p> +<p>“And most inquisitive of all was a niece of the old man, +who had got it into her head that the secret was simply a great +treasure which she might obtain. Therefore she resolved to +consult with a certain witch, who would tell her what it was, and +how she could enter the mysterious room. This sorceress +lived hard by the Porta alla Croce, for there are always many +witches in that quarter.</p> +<p>“The witch, who was a very large tall woman, made the +niece go with her to an isolated small house, and thence along a +path, the lady in advance. While so doing, the latter +turned her head to look behind her, and at that instant heard the +cry of a <i>civetta</i> or small owl. The witch exclaimed, +‘My dear <!-- page 115--><a name="page115"></a><span +class="pagenum">p. 115</span>lady, what you wish for will hardly +be granted; I fear there is a great disaster awaiting +you.’</p> +<p>“Then they went into a field, and the fortune-teller +produced a goblet of coloured glass, and called to the swallow, +which is a bird of good omen, and to the small owl, which +forebodes evil, and said, ‘Whichever shall alight first on +the edge of this cup will be a sign to you of success or +failure.’</p> +<p>“But the first which came and sat upon the cup was the +owl.</p> +<p>“Then the witch said, ‘What there is in that room +I cannot reveal, for it disturbs my soul far too much. But +I know that the number of that room is thirteen, and you can +infer for yourself what that portends; and more I cannot tell +you, save that you should be extremely careful and keep a +cheerful heart—otherwise there is great trouble awaiting +you.’</p> +<p>“But the lady returned home in a great rage at her +disappointment, and all the more resolved to enter the +room. Then all the family finding this out, reproached her, +and urged her not to be so distracted; and she, being obstinate, +only became the more determined; for she was furious that she +could not force an old man to reveal a secret which had been +handed down for many generations, and which could only be +confided to one, or to the eldest, when the old man should +die.</p> +<p>“And at last her evil will or mania attained such +command over her, that she resolved to kill all the family one by +one, till the succession of the secret should come to her. +And so, after boiling deadly herbs with care, she made a strong +subtle poison. And by this means she put to death her +parents, brothers and sisters, aunts and all the family, without +remorse, so resolved was she to master the secret.</p> +<p>“The last to perish was her grandfather, and calling her +to his bedside he said, ‘We have all died by thy hand; we +who never did thee any harm; and thou hast felt no remorse. +This thou didst to gain a treasure, and bitterly wilt thou be +disappointed. Thy punishment will begin when thou shalt +learn what the thing was so long hidden: truly there was sorrow +enough therein, without the misery which thou hast added to +it. That which thou wilt find in the chamber is a +skull—the skull of our earliest ancestor, which must always +be given to the care of the eldest descendant, and I now give it +to thee. And this thou must do. Go every morning at +seven o clock into the room and close the windows. Then +light <!-- page 116--><a name="page116"></a><span +class="pagenum">p. 116</span>four candles before the skull. +In front of it there lies a great book in which is written the +history of all our family, my life and thine; and see that thou +do this with care, or woe be unto thee!’</p> +<p>“Therewith the old man died, and scarcely had he +departed ere she called an old woman who was allied and devoted +to the family, and in a rage told her all the secret. The +old woman reproved her, saying that she would bring punishment on +herself. But, without heeding this, the lady ran to the +chamber, entered, and seeing the skull, gave it a kick and hurled +it from the window, far below.</p> +<p>“But a minute after she heard a rattling sound, and +looking at the window, there the skull was grinning at her. +Again she threw it down, and again it returned, and was with her +wherever she went; day after day, waking or sleeping, the skull +was always before her eyes.</p> +<p>“At last fear came over her, and then horror, and she +said to the old woman, ‘Let us go to some place far, far +away, and bury the skull. Perhaps it will rest in its +grave.’ The old woman tried to dissuade her, and they +went to a lonely spot at a great distance, and there they dug +long and deep.</p> +<p>“Dug till a great hole was made, and the lady standing +on the edge dropped the skull into it. Then the hole spread +into a great pit, flame rose from it—the edge crumbled +away—the guilty woman fell into the fire, and the earth +closed over it all, and there was no trace left of her.</p> +<p>“The skull returned to the castle and to its room; +people say it is there to this day. The old woman returned +too, and being the last remote relation, entered into possession +of the property.”</p> +<div class="gapspace"> </div> +<p>There is perhaps not one well-educated person in society in +England who has not had the opportunity to remark how very much +any old family can succeed in being notorious if it can only once +make it known that it has an hereditary <i>secret</i>. +Novels will be written on it, every member of it will be pointed +out everywhere, and people who do not know the name of a +sovereign in Europe can tell you all about it and them. And +the number is not small of those who consider themselves +immensely greater because they have in some way mastered +something which <!-- page 117--><a name="page117"></a><span +class="pagenum">p. 117</span>they are expected to keep +concealed. I could almost believe that this +“’orrible tale” was composed as a satire on +family secrets. But I believe that she who told it firmly +believed it. <i>Credo quia absurdum</i> would not be well +understood among humble folk in Italy.</p> +<div class="gapspace"> </div> +<p>“To this I may add,” writes Flaxius, “that +there is an English legend of a certain skull which always +returned to a certain window in a tower. <i>Apropos</i> of +which there is a poem called <i>The Student and the Head</i> in +‘Hans Breitmann in Germany’ (London: T. Fisher Unwin, +1895), prefaced by a remark to the effect that the subject is so +extensive as to deserve a book—instancing the head of the +physician Douban in the ‘Arabian Nights,’ with that +of Orpheus, which spoke to Cyrus, and that of the priest of +Jupiter, and another described by Trallianus, and the +marvellously preserved head of a saint in Olaf Tryggvason’s +Saga, and the Witch’s Head of Rider Haggard, with many +more, not to speak of the talking Teraphim heads, and Friar +Bacon’s bust. With which a thoroughly exhaustive list +should include the <i>caput mortuum</i> of the alchemists</p> +<blockquote><p>“‘And the dead-heads of the +Press.’”</p> +</blockquote> +<h2><!-- page 118--><a name="page118"></a><span +class="pagenum">p. 118</span>THE COLUMN OF COSIMO, OR DELLA SANTA +TRINITA</h2> +<blockquote><p>“<i>Columna Florentina</i>.—Prope +Sanctæ Trinitatis ædem ingens et sublimis columna +erecta, cujus in fastigio extat justitia. Eam erexit Cosmus +Magnus Dux, cui per urbem deambulanti, illic de victoria +renunciatum fuit quam Malignani Marchio in Senarum finibus anno +1555 contra Petrum Strozium obtinuit.”—<i>Templum +Naturæ Historicum</i>, Darmstadt, 1611.</p> +<p>“Vesti una Colonna,<br /> +Le par una donna.”—<i>Italian Proverb</i>.</p> +</blockquote> +<p>The central spot of Florence is the grand column of granite +which stands in the middle of the Piazza di Santa Trinità, +in the Via Tornabuoni, opposite the Palazzo Feroni. It was +brought from the Baths of Caracalla in Rome, and erected in 1564 +by Cosimo I., “in commemoration of the surrender of Siena +in 1554, and of the destruction of the last liberties of Florence +by the victory at Monte Murlo, 1537, over those whom his tyranny +had driven into exile, headed by Filippo and Piero Strozzi. +It is surmounted by a statue of ‘Justice’ in +porphyry, by <i>Ferruci</i>,” says Murray’s +Guide-Book—the Italian declares it to be by <i>Taddi</i>, +adding that the column was from the Baths of Antoninus, and was a +gift to Cosimo I. from Pius IV.</p> +<p>There is a popular legend that once on a time a poor girl was +arrested in Florence for having stolen a chain, a bracelet, or +some such article of jewellery of immense value. She was +thrown into prison, but though there was collateral or indirect +evidence to prove her guilt, the stolen article could not be +found. Gossip and rumour constituted ample grounds for +indictment and trial, and torture did the rest in the pious times +when it was generally taught and believed that Providence would +always rescue the innocent, and that everybody who came to grief +on the gallows had deserved it for something or other at some +time, and that it was all right.</p> +<p>So the girl was executed, and almost forgotten. When a +long time after, some workman or other was sent up to the <!-- +page 119--><a name="page119"></a><span class="pagenum">p. +119</span>top of the column of the Piazza Trinità, and +there found that a jackdaw or magpie had built a nest in the +balance or scales held by Justice, and in it was the missing +jewel.</p> +<p>This is an Italian form of “The Maid and the +Magpie,” known the world over from ancient times. The +scales suggest a droll German story. There was in front of +a certain palace or town-hall, where all criminals were tried, a +statue of Justice holding a pair of scales, and these were not +cast solid, but were a <i>bonâ fide</i> pair of +balances. And certain low thieves having been arrested with +booty—whatever it was—it was discovered that they had +divided it among themselves very accurately, even to the +ounce. At which the magistrate greatly marvelling, asked +them how they could have done it so well, since it had appeared +that they had not been in any house between the period of the +theft and their arrest. Whereupon one replied: “Very +easily, your Honour, for, to be honourable, honest, and just as +possible, we weighed the goods in the scales of Justice itself, +here on the front of the <i>Rath-haus</i>.”</p> +<p>It is for every reason more probable that the bird which stole +the jewel of the column was a jackdaw than a magpie, and it is +certainly fitter that it should have been thus in Florence. +“It is well known,” says Oken in his “Natural +History” (7 B. Part I. 347), “that the jackdaw steals +glittering objects, and carries them to its nest.” +Hence the ancient legend of Arne, who so greatly loved gold, that +she sold her native isle Siphnos to Minos, and was for that +turned by the gods into a daw (Ovid’s +“Metamorphoses,” vii. 466). As a +mischief-making, thieving, and chattering bird of black colour, +the jackdaw was naturally considered evil, and witches, or their +imps, often assumed its form. In fact, the only really good +or pious bird of the kind on record known to me, is the jackdaw +of Rheims sung by Ingoldsby Barham.</p> +<p>According to Kornmannus, the column was placed where it now +stands, because Cosimo was in the Piazza Trinità when he +heard the news of the surrender of Siena.</p> +<div class="gapspace"> </div> +<p>After I had written the foregoing legend, I found the +following:</p> +<p style="text-align: center"><span class="smcap">La Colonna di +Santa Trinità</span>.</p> +<p>“The pillar di Santa Trinità was in times a +meeting-place for fairies (<i>Fate</i>), whither they went afoot +or in their <!-- page 120--><a name="page120"></a><span +class="pagenum">p. 120</span>carriages. At the base of the +column there was a great stone, and there they exchanged +greetings or consulted about their affairs. They were all +great ladies, of kindly disposition. And when it came that +any one was cast into the city prison, they inquired into the +affair, and then a <i>fate</i> would go as a magistrate in +disguise and question the accused. Now they always knew +whether any one spoke the truth, and if the prisoner did so, and +was deserving mercy, they delivered him; but if he lied, they +left him to be hanged, with a <i>buon pro vi +faccia</i>!—Much good may it do you!</p> +<p>“Of evenings they assembled round the rock at the foot +of the column in a great company, and had great merriment and +love-making. Then in the crowd a couple would descend, or +one after another into their vaults below, and then come again, +often taking with them mortals who were their friends or +favourites.</p> +<p>“Their chief was a matron who always held a pair of +scales. Now when they were to judge the fate of any one, +they took with great care the earth from one of his footprints, +and weighed it most scrupulously, for thereby they could tell +whether in his life he had done more good or evil, and it was +thus that they settled the fate of all the accused in the +prisons.</p> +<p>“And it often came to pass that when prisoners were +young and handsome, these <i>fate</i> or fairy-witches took them +from their cells in the prison through subterranean ways to their +vaults under the Trinità, and passed the time merrily +enough, for all was magnificent there.</p> +<p>“But woe unto those, no matter how handsome they might +be, who betrayed the secrets and the love of the +<i>fate</i>. Verily they had their reward, and a fine long +repentance with it, for they were all turned into cats or mice, +and condemned to live in the cellars and subterranean passages of +the old Ghetto, which is now destroyed—and a nasty place it +was. In its time people often wondered that there were so +many cats there, but the truth is that they were all people who +had been enchanted by those who were called in olden time <i>le +Gran Dame di Firenze</i>—the Great Ladies of Florence.</p> +<p>“And the image holding the scales is called <i>la +Giustizia</i>, but it really represents the Matrona, or Queen of +the Fate, who of old exercised such strict justice with her +scales in Florence.”</p> +<div class="gapspace"> </div> +<p>This is, I am confident, a tradition of great antiquity, for +all its elements are of a very ancient or singularly <!-- page +121--><a name="page121"></a><span class="pagenum">p. +121</span>witch-like nature. In it the <i>fate</i> are +found in their most natural form, as <i>fates</i>, weighing +justice and dealing out rewards and punishments. Justice +herself appears naïvely and amusingly to the witches as +Queen of the <i>Fate</i>, who are indeed all spirits who have +been good witches in a previous life.</p> +<p>What is most mystical and peculiarly classic Italian is the +belief that the earth on which a human being has trod can be used +wherewith to conjure him. This subject is treated elsewhere +in my “Etruscan Roman Traditions.”</p> +<p>The great stone at the base of the column was a kind of +palladium of the city of Florence. There are brief notices +of it in many works. It would be curious if it still exists +somewhere and can be identified.</p> +<blockquote><p>“A great palladium, whose virtues lie<br /> +In undefined remote antiquity;<br /> +A god unformed, who sleeps within a stone,<br /> +Which sculptor’s hand as yet has never known;<br /> +Brought in past ages from some unknown shore;<br /> +Our fathers worshipped it—we know no more.”</p> +</blockquote> +<h2><!-- page 122--><a name="page122"></a><span +class="pagenum">p. 122</span>LEGENDS OF OR’ SAN +MICHELE</h2> +<blockquote><p>“The spirit of Antiquity, enshrined<br /> +In sumptuous buildings, vocal in sweet song,<br /> +In pictures speaking with heroic tongue,<br /> +And with devout solemnities entwined.”</p> +<p style="text-align: right">—<span +class="smcap">Wordsworth</span>, “<i>Bruges</i>.”</p> +</blockquote> +<p>Or’ San Michele is a very beautiful church in the +Italian Gothic style in the Via Calzaioli. It was +originally a market or stable below and a barn or granary above, +whence some derive its name from <i>Horreum Sancti Michaelis</i>, +and others from the Italian <i>Orto</i>, a garden, a term also +applied to a church-congregation. “The statues and +decorations on the exterior are among the best productions of the +Florentine school of sculpture.” As that of Saint +Eloy or San Eligio, the blacksmith, with great pincers at an +anvil, in a sculpture representing a horse being shod, is the +most conspicuous on the façade, the people have naturally +concluded that the church was originally a stable or +smithy. The legend of the place is as follows:</p> +<p style="text-align: center"><span class="smcap">La Chiesa +Or’ San Michele</span>.</p> +<p>“This was originally a stable and coach-house +(<i>rimessa</i>), and there was a hayloft above. Every +night the horses were heard to neigh, and in the morning they +were found all curried and well managed, and no one knew who did +it; but none of the grooms ever shed any tears over it that ever +I heard of.</p> +<p>“Now, the master of the place had a son, a priest named +Michele, who was so holy that he worked many miracles, so that +all began to call him a saint. And after he died he +appeared to his parents in a dream, and told them that the stable +and barn should be transformed into a church, and that he would +read mass therein thrice a day.</p> +<p><!-- page 123--><a name="page123"></a><span class="pagenum">p. +123</span>“But his parents wished to have him buried under +the altar of a church which was on their estate in the country, +but the saint did not wish to be buried there.</p> +<p>“One day one of the grooms of the stable found that a +horse could not move a foot, so he ran to call the +<i>manescalco</i>, or blacksmith, who led the horse to his +forge. And when he took the hoof to examine it, lo! it came +off at the joint and remained in his hand. Then the smith +said that the horse should be killed, because he was now +worthless. But the horse struck his stump on the hoof, and +the latter joined itself to his leg as firmly as ever it had +been. But in doing this the old shoe fell off, whence it +comes to this day that whoever finds an old horse-shoe gets luck +with it.</p> +<p>“When the smith had shod the horse anew, he tried to +lead it back into the stable, but it refused to enter. Then +it was plain that this was a miracle worked by San Michele. +So they removed all the horses and hay from the building, and +made of it the fine church which is now called <i>La Chiesa di +Or’ San Michele</i>.”</p> +<div class="gapspace"> </div> +<p>There is a vast mass of tradition extant relative to the +Horse, enough to make a large volume, and in it there is a great +deal which is so nearly allied to this story as to establish its +antiquity. Karl Blind has found an old Norse spell, in +which, by the aid of Balder and Odin, the lameness of a +horse’s ankle or pastern joint can be cured. There is +another version of this story, which runs as follows:</p> +<p style="text-align: center"><span class="smcap">The Smith and +Saint Peter</span>.</p> +<p>“It is a good thing in this world to be bold and have a +good opinion of one’s self; yes, and to hold your head +high—but not so high as to bend over backwards—else +that may happen to you which befell the celebrated cock of +Aspromonte.”</p> +<p>“And what happened to him?”</p> +<p>“Only this, Signore—he was so cocky, and bent his +head so far backwards, that his spurs ran into his eyes and +blinded him. Now, the cock reminds me of Saint Peter, and +too much cheek of the <i>ferrajo spacciato</i>, or the saucy +smith, who wanted to equal him.</p> +<p>“It happened once that the Lord and Saint Peter came to +<!-- page 124--><a name="page124"></a><span class="pagenum">p. +124</span>a forge, and the smith was about to lead a horse from +the stable to the anvil to shoe him. Saint Peter said:</p> +<p>“‘Thou hast boasted that thou art the best smith +in the world, and canst work such wonders in shoeing as man never +beheld. Canst thou not shoe this horse without taking him +to the forge?’</p> +<p>“‘Neither thou, nor I, nor any man can do +it,’ replied the smith.</p> +<p>“Saint Peter took the hoof in his left hand, gave it a +rap with the side of his right across the joint, and the hoof +fell off. Then Saint Peter carried it to the anvil, +fastened a new shoe on it, returned and put it on the horse +again, who stamped with it as if nothing had happened.</p> +<p>“Now the smith, like all boasters, was a great fool, and +he only thought that this was something which he had not learned +before, and so cried boldly, ‘Oh, that is only the +Bolognese manner of taking hoofs off and putting them on—we +do it much better here in Florence!’ So he seized the +horse’s hoof, and with one blow of a hatchet cut it +off.</p> +<p>“‘And now put it on again,’ said Saint +Peter. The smith tried, but it would not stick.</p> +<p>“‘The horse is bleeding to death rapidly,’ +remarked the Saint.</p> +<p>“‘I believe,’ said the smith ruefully, +‘that I am a fool in folio.’</p> +<p>“‘<i>Più matto che un granchio</i>—as +crazy as a crawfish,’ solemnly added one of his +assistants.</p> +<p>“‘<i>Pazzo a bandiera</i>—as wild and +witless as a flapping flag,’ quoth another.</p> +<p>“‘<i>Matto di sette cotte</i>—an idiot seven +times baked,’ chimed in Saint Peter.</p> +<p>“‘A <i>campanile</i>—a church bell-tower of +a fool,’ contributed his wife, who had just come in.</p> +<p>“The poor horse continued to bleed.</p> +<p>“‘You are like the mouse,’ added a +neighbour, ‘who thought because he had dipped the end of +his tail in the meal, that he owned and could run the +mill.’</p> +<p>“‘The Florentine method of shoeing horses,’ +remarked Saint Peter gravely, ‘does not appear to be +invariably successful. I think that we had better recur to +mine.’ And with this he put the hoof to the ankle, +and <i>presto</i>! the miracle was wrought again. That is +the story. In most cases, Signore, <i>un pazzo gitta una +pietra nel pozzo</i>—a fool rolls a rock into a well which +it requires a hundred wise men to get out again. This time +a single sage <!-- page 125--><a name="page125"></a><span +class="pagenum">p. 125</span>sufficed. But for that you +must have the Lord at your back, as Saint Peter had.”</p> +<p>“Why do they say, as foolish as a crawfish or +lobster?” I inquired.</p> +<p>“Because, Signore, the <i>granchio</i>, be he lobster or +crawfish, carries his head in the <i>scarsella</i>, which is a +hole in his belly. Men who have their brains in their +bellies—or gluttons—are generally foolish. But +what is the use of boasting of our wisdom? He who has +neither poor men nor fools among his relations was born of the +lightning or of thunder.”</p> +<div class="gapspace"> </div> +<p>There is another story current among the people, though it is +in print, but as it is a merry one, belonging truly enough to the +folk-lore of Florence, I give it as it runs:</p> +<p>“You have heard of Piovano Arlotto, who made this our +town so lively long ago. It was rich then, indeed. +There are more flowers than florins in Florence now: <i>ogni fior +non fa frutto</i>—all flowers do not bear fruit.</p> +<p>“Well, it happened one day that Piovano, having heard a +good story from Piero di Cosimo de’ Medicis, answered with +another. Now the tale which Messer Piero di Cosimo told was +this:</p> +<p>“Once there lived in Florence a poor shoemaker, who went +every morning to the Church of San Michele Berteldi—some +say it was at San Bartolommeo, and maybe at both, for a good +story or a big lie is at home anywhere.</p> +<p>“Well, he used to pray before a John the Baptist in +wood, or it may have been cast in plaster, or moulded in wax, +which was on the altar. One morning he prayed scalding hot, +and the <i>chierico</i>—a boy who waits on the priest, who +was a young rascal, like all of his kind—overheard him say: +‘Oh, Saint John, I pray thee make known to me two +things. One is whether my wife is good and true to me, and +the other what will become of my only son.’</p> +<p>“Then the mass-boy, who had hidden himself behind the +altar, replied in a soft, slow, strange voice: ‘Know, my +son, that because thou hast long been so devout to me, thou shalt +be listened unto. Return hither to-morrow, and thou wilt be +answered; and now go in peace.’</p> +<p>“And the shoemaker, having heard this, verily believed +that Saint John had spoken to him, and went his way with great +<!-- page 126--><a name="page126"></a><span class="pagenum">p. +126</span>rejoicing. So, bright and early the next morning, +he was in the church, and said: ‘Saint John, I await thy +reply.’</p> +<p>“Then the mass-boy, who was hidden as before, replied: +‘Oh, my son, I am sorry to say that thy wife is no better +than she should be—<i>ha fatto fallo con più +d’uno</i>—and everybody in Florence except thee knows +it.’</p> +<p>“‘And my son?’ gasped the shoemaker.</p> +<p>“‘<i>He will be hung</i>,’ replied the +voice.</p> +<p>“The shoemaker rose and departed abruptly. In the +middle of the church he paused, and, without a sign of the cross, +and putting on his cap, he cried: ‘What sort of a Saint +John are you, anyhow?’</p> +<p>“‘Saint John the Baptist,’ replied the +voice.</p> +<p>“‘<i>Sia col malanno e con la mala Pasque che +Iddio ti dia</i>!—Then may the Lord give you a bad year and +a miserable Easter-tide! You never utter aught save evil, +and it was for thy evil tongue that Herod cut thy head +off—and served thee right! I do not believe a word of +all which thou hast told me. I have been coming here every +day for twenty-five years, and never asked thee for anything +before; but I will make one more vow to thee, and that +is—never to see thy face again.’</p> +<p>“And when Messer Cosimo had ended, Piovano Arlotto +replied:</p> +<p>“‘One good turn deserves another. It is not +many years ago since a poor <i>farsettajo</i>, or doublet-maker, +lived in Florence, his shop being close to the Oratorio di Orto +San Michele, <a name="citation126"></a><a href="#footnote126" +class="citation">[126]</a> and every morning he went to worship +in the church, and lit a candle before a picture representing +Christ as a child disputing with the Doctors, while his mother +enters seeking him.</p> +<p>“‘And after he had done this daily for more than +twenty-five years, it happened that his little son, while looking +on at a game of ball, had a tile fall on his head, which wounded +him terribly. The doctors being called in, despaired.</p> +<p>“‘The next morning the poor tailor went to his +devotions in Or’ San Michele, bearing this time, instead of +a farthing taper, a great wax-candle; and kneeling, he spoke +thus: “<i>Dolce Signor mio Gesù Cristo</i>, I beg +thee to restore my son to health. Thou knowest that I have +worshipped thee here for twenty-five years, and never asked for +anything before, and thou thyself can best bear witness to +it. This my son is all my happiness on earth, and he was +also most devoted to thee. <!-- page 127--><a +name="page127"></a><span class="pagenum">p. 127</span>Should he +be taken away, I would die in despair, and so I commend myself to +three!”</p> +<p>“‘Then he departed, and coming home, learned that +his son had died.</p> +<p>“‘The next morning, in grief and anger, he entered +Orto San Michele, and, without any candle, he went directly to +the picture, and, without kneeling, broke forth in these words: +“<i>Io ti disgrazio</i>—I dislike, disown, and +despise thee, and will return here no more. Five-and-twenty +years have I worshipped thee and never asked for anything before, +and now thou dost refuse me my request. If I had only gone +to the great crucifix there, I daresay I should have got all I +wanted; but this is what comes of trusting to a mere child, for, +as the proverb says, <i>Chi s’impaccia con fanciulli</i>, +<i>con fanciulli si ritrova</i>—he who troubles himself +with children will himself be treated as a +child.’”</p> +<div class="gapspace"> </div> +<p>It is worth remarking, as regards the tone and character of +this tale, that such freedom was commonest when people were most +devout. The most sceptical critics generally agree that +these stories of Piovano Arlotto are authentic, having been +dictated by him, and that he had a very exceptional character in +his age for morality, honesty, and truth. He himself +declared, without being contradicted, that he was the only priest +of whom he knew who did not keep a mistress; and yet this story +is simply an average specimen of the two hundred connected with +his name, and that they in turn are identical in character with +all the popular wit and humour of the time.</p> +<p>Regarding the image of the Holy Blacksmith, Saint Eligius or +Eloi, the authors of “Walks in Florence” say that it +is attributed to Nanni di Banco, and is meagre and stiff, but has +dignity, which accords admirably with the character of most +saints, or their ideals. It is evident that the <i>bon +roi</i> Dagobert was considered as the type of all that was free +and easy—</p> +<blockquote><p>“Le bon roi Dagobert<br /> +Mettait son culotte a l’envers.”</p> +</blockquote> +<p><!-- page 128--><a name="page128"></a><span class="pagenum">p. +128</span>Therefore he is contrasted with the very dignified +Saint Eloy, who was (like the breeches) quite the reverse, +declining to lend the monarch two sous, which Dagobert had +ascertained were in the holy man’s possession. +“The bas-relief below,” continue the critics cited, +“is more certainly by the hand of Nanni. It records a +miracle of Saint Eloy, who one day, when shoeing a restive horse +which was possessed by a demon, and was kicking and plunging, cut +off the animal’s leg to fasten the shoe, and having +completed his task, made the sign of the cross and restored the +severed limb.” I regret to say that this was written +without careful reference to the original. It was not the +<i>leg</i> of the horse which was severed, nor a limb, but only +the hoof at the pastern joint.</p> +<p>There is yet another explanation of this bas-relief, which I +have somewhere read, but cannot now recall—more’s the +pity, because it is the true one, as I remember, and one +accounting for the presence of the female saint who is standing +by, evidently invisibly. Perhaps some reader who knows +Number Four will send it to me for a next edition.</p> +<p>It is worth noting that there is in Innsbruck, on the left +bank of the Inn, a blacksmith’s shop, on the front of which +is a very interesting bas-relief of the fourteenth or fifteenth +century, representing Saint Peter or Eligius with the horse in a +smithy.</p> +<p>There is another statue on the exterior of this church, that +of Saint Philip, by the sculptor Nanni de Banco, concerning which +and whom I find an anecdote in the <i>Facetie Diverse</i>, <span +class="smcap">a.d.</span> 1636:</p> +<blockquote><p>“Now, it befell in adorning the church of +Or’ San Michele in Florence, that <i>I Consoli +d’Arte</i> (Art Directors of Florence) wanting a certain +statue, wished to have it executed by Donatello, a most excellent +sculptor; but as he asked fifty <i>scudi</i>, which was indeed a +very moderate price for such statues as he made, they, thinking +it too dear, refused him, and gave it <!-- page 129--><a +name="page129"></a><span class="pagenum">p. 129</span>to a +sculptor <i>mediocre e mulo</i>—indifferent and +mongrel—who had been a pupil of Donatello; nor did they ask +him the price, supposing it would be, of course, less. Who, +having done his best, asked for the work eighty scudi. Then +the Directors in anger explained to him that Donatello, a +first-class sculptor, had only asked fifty; but as he refused to +abate a single <i>quattrino</i>, saying that he would rather keep +the statue, the question was referred to Donatello himself, who +at once said they should pay the man <i>seventy</i> scudi. +But when they reminded him that he himself had only asked fifty, +he very courteously replied, ‘Certainly, and being a master +of the art, I should have executed it in less than a month, but +that poor fellow, who was hardly fit to be my pupil, has been +more than half a year making it.’</p> +<p>“By which shrewd argument he not only reproached them +for their meanness and his rival for incapacity, but also +vindicated himself as an artist.”</p> +</blockquote> +<p>This is the story as popularly known. In it Nanni is +called Giovanni, and it is not true that he was an unworthy, +inferior sculptor, for he was truly great. There is another +legend of Or’ San Michele, which is thus given by Pascarel, +who, however, like most writers on Florence, is so extravagantly +splendid or “gushing” in his description of +everything, that untravelled readers who peruse his pages in good +faith must needs believe that in every church and palazzo there +is a degree of picturesque magnificence, compared to which the +Pandemonium of Milton, or even the Celestial City itself as seen +by Saint John, is a mere cheap Dissenting chapel. According +to him, Or’ San Michele is by right “a world’s +wonder, and a gift so perfect to the whole world, that, passing +it, one should need say (or be <i>compelled</i> to pronounce) a +prayer for Taddeo’s soul.” Which is like the +dentist in Paris, who proclaimed in 1847 that it was—</p> +<blockquote><p> “Presque +une crime<br /> +De ne pas crier, ‘<i>Vive</i> Fattet!’”</p> +</blockquote> +<p>The legend, as told by this writer, and cited by Hare, is as +follows:</p> +<blockquote><p><!-- page 130--><a name="page130"></a><span +class="pagenum">p. 130</span>“Surely nowhere in the world +is the rugged, changeless, mountain force of hewn stone piled +against the sky, and the luxuriant, dream-like poetic delicacy of +stone carven and shaped into leafage and loveliness, more +perfectly blended and made one than where San Michele rises out +of the dim, many-coloured, twisting streets, in its mass of ebon +darkness and of silvery light.</p> +<p>“The other day, under the walls of it, I stood and +looked at its Saint George, where he leans upon his shield, so +calm, so young, with his bared head and his quiet eyes.</p> +<p>“‘That is our Donatello’s,’ said a +Florentine beside me—a man of the people, who drove a horse +for hire in the public ways, and who paused, cracking his whip, +to tell this tale to me. ‘Donatello did that, and it +killed him. Do you not know? When he had done that +Saint George he showed it to his master. And the master +said, “It wants one thing only.” Now this +saying our Donatello took gravely to heart, chiefly because his +master would never explain where the fault lay; and so much did +it hurt him, that he fell ill of it, and came nigh to +death. Then he called his master to him. “Dear +and great one, do tell me before I die,” he said, +“what is the one thing my statue lacks?” The +master smiled and said: “Only speech.” +“Then I die happy,” said our Donatello. And +he—died—indeed, that hour.’</p> +<p>“Now I cannot say that the pretty story is true—it +is not in the least true; Donatello died when he was +eighty-three, in the Street of the Melon, and it was he himself +who cried, ‘Speak then—speak!’ to his statue, +as it was carried through the city. But whether true or +false, this fact is surely true, that it is well—nobly and +purely well—with a people when the men amongst it who ply +for hire on its public ways think caressingly of a sculptor dead +five hundred years ago, and tell such a tale, standing idly in +the noonday sun, feeling the beauty and the pathos of it +all.”</p> +</blockquote> +<p>Truly, in a town half of whose income is derived from +art-hunting tourists, and where every vagabond offers himself, in +consequence, as a cicerone, it is no sign that “all is +well—nobly and purely well—with a people,” +because a coachman who had been asked which was Donatello’s +Saint George by about five hundred English “fares,” +and nearly as many American young ladies—of <!-- page +131--><a name="page131"></a><span class="pagenum">p. +131</span>whom many of the latter told him all they knew about +it—should have picked up such a tale. In fact, while +I have been amazed at the <i>incredible</i> amount of legend, +superstitious traditions, and incantations existing among the +people, I have been struck by their great ignorance of art, and +all pertaining to it; of which, were it worth while, I could cite +convincing and amusing instances.</p> +<blockquote><p>“But as regards a vast proportion of the +‘sweet and light’ writing on the Renaissance and on +Italy which is at present fashionable,” writes Flaxius, +“I am reminded of the ‘esthetic axe’ems’ +of an American writer, the first of which were:</p> +<p>“‘Art is a big thing. Always bust into teers +wen you see a pictur.’</p> +<p>“‘Bildins and churches arn’t of no account +unless they drive you clean out of your census.’”</p> +</blockquote> +<h2><!-- page 132--><a name="page132"></a><span +class="pagenum">p. 132</span>THE WITCH OF THE ARNO</h2> +<blockquote><p>“Il spirito usci dal fiume a un tratto,<br +/> +E venne come Dio l’aveva fatto,<br /> +E presentando come un cortegiano<br /> +Alla donna gentil la destra mano,<br /> +‘Scusate,’ disse si io vengo avanti<br /> +E se vi do la mano sensa guanti.”—<i>Paranti</i>.</p> +</blockquote> +<p>The following, as a French book of fables says, is “a +poem, or rather prose rhymed:”</p> +<blockquote><p>“Two pretty maids one morning sat by the +rushing stream. It murmured glittering in the sun; it +seemed to sing as on it run, enchanting while a wantoning, as in +a merry dream.</p> +<p>“Said one unto the other: ‘I wish, and all in +truth, that the glorious dancing river were as fine and brave a +youth. Its voice is like an angel’s, its drops of +light like eyes so bright are beautiful I wis. Oh, +ne’er before, on sea or shore, did I love aught like +this.’</p> +<p>“A voice came from the river: ‘For a love thou +hast chosen me; henceforward, sweet, for ever thine own love I +will be. Wherever there is water, of Florence the fairest +daughter, by night or day or far away, thou’lt find me +close by thee.’</p> +<p>“She saw bright eyes a shining in dewdrops on her +path—she returned unto the palace, she entered in a +bath. ‘How the water doth caress me; ’tis +embracing me, I vow! <i>M’abbracia</i>, <i>mi +baccia</i>—my lover has me now. Since fate has really +willed it, then to my fate I bow.’</p> +<p>“Seven years have come and vanished, seven years of +perfect bliss. Whenever she washed in water, she felt her +lover’s kiss. She washed full oft, I ween; +’twas plain to be seen there was no maid in Florence who +kept herself so clean.</p> +<p>“Little by little, as summer makes frogs croak in a +ditch, there spread about a rumour that the damsel was a +witch. They showed her scanty mercies; with cruelty +extreme, with blows and bitter curses, they cast her in the +stream. ‘If she <!-- page 133--><a +name="page133"></a><span class="pagenum">p. 133</span>be +innocent, she’ll sink, so hurl her from the Arno’s +brink; if guilty, she will swim!’</p> +<p>“Up rose from the sparkling river a youth who was fair +to see. ‘I have loved thee, and for ever thine own +I’ll truly be.’ He took her in his arms; she +felt no more alarms. ‘Farewell to you all!’ +sang she; ‘a fish cannot drown in the water; now I am a +fish, you know—the Arno’s loving daughter. +<i>Per sempre addio</i>!’”</p> +</blockquote> +<p>The foregoing is not literal, nor do I know that it is +strictly “traditional;” it is a mere short tale or +anecdote which I met with, and put into irregular metre to suit +the sound of a rushing stream. I take the liberty of adding +to it another water-poem of my own, which has become, if not +“popular,” at least a halfpenny broadside sold at +divers street-stands by old women, the history whereof is as +follows:—I had written several ballads in Italian in +imitation of the simplest old-fashioned lyrics, and was anxious +to know if I had really succeeded in coming down to the level of +the people, for this is a very difficult thing to do in any +language. When I showed them to Marietta Pery, she +expressed it as her candid opinion that they were really very +nice indeed, and that I ought for once in my life to come before +the public as a poet. And as I, fired by literary ambition, +at last consented to appear in this <i>rôle</i>, Marietta +took a ballad, and going to E. Ducci, 32 Via Pilastri, who is the +Catnach of Florence (I advise collectors of the really curious to +buy his <i>soldo</i> publications), made an arrangement whereby +my song should appear as a broadside, the lady strictly +conditioning that from among his blocks Signore Ducci should find +a ship and a flying bird to grace the head and the end of the +lyric. But as he had no bird, she took great credit to +herself that for five francs she not only got a hundred copies, +but also had specially engraved for the work and inserted an +object which appears as flying to the right hand of the +ship. The song was as follows:</p> +<h3><!-- page 134--><a name="page134"></a><span +class="pagenum">p. 134</span>LA BELLA STREGA.<br /> +<i>Nuova Canzonetta di</i> <span class="smcap">Charles Godfrey +Leland</span>.</h3> +<blockquote><p>Era una bella strega<br /> +Che si bagnava alla riva;<br /> +Vennero i pirati<br /> +Lei presero captiva.</p> +<p>Il vento era in poppa<br /> +Sull’ onde la nave ballò<br /> +La donna lacrimante<br /> +Al capitan parlò.</p> +<p>“O Signor capitano!<br /> +O Capitano del mar!<br /> +Darò cento ducati,<br /> +Se tu mi lasci andar.”</p> +<p>“Non prenderò cento ducati,<br /> +Tu costi molto più<br /> +Io ti vendrò al Sultano,”<br /> +Disse il Capitano,<br /> +“Per mille zecchini d’oro<br /> +Vi stimi troppo giù.”</p> +<p>“Non vuoi i cento ducati<br /> +Ebben tu non gli avrai,<br /> +Ho un’ amante amato<br /> +Non mi abbandona mai.”</p> +<p>Essa sedè sul ponte<br /> +Principiò a cantar,<br /> +“Vieni il mio amante,”<br /> +Da lontano il vento<br /> +Si mette a mugghiar.</p> +<p>Forte e più forte<br /> +La tempesta ruggio,<br /> +Gridava il capitano:<br /> +“Io credo che il tuo amante<br /> +E il vento che corre innante,<br /> +Ovvero il diavolo.”</p> +<p><!-- page 135--><a name="page135"></a><span class="pagenum">p. +135</span>Forte e più forte<br /> +La procella urlò,<br /> +“Sono rocce davanti,<br /> +E il vento vien di dietro<br /> +Benvenuto sei tu mio amante!”<br /> +La bella donna cantò.</p> +<p style="text-align: center"> +<a href="images/p135b.jpg"> +<img alt= +"A sailing ship with flying bird" +title= +"A sailing ship with flying bird" +src="images/p135s.jpg" /> +</a></p> +<p>“Vattene al tuo amante<br /> +All’ inferno a cantar!”<br /> +Disse il Capitano<br /> +E gettò la donna fuori,<br /> +Della nave nel mar.</p> +<p>Ma come un gabbiano<br /> +Sull’ onde essa voló.<br /> +“O mio Capitano,<br /> +Non sarai appiccato,<br /> +Ma sarai annegato:<br /> +Per sempre addio!”</p> +</blockquote> +<h3><!-- page 136--><a name="page136"></a><span +class="pagenum">p. 136</span>The Beautiful Witch.</h3> +<blockquote><p>A pretty witch was bathing<br /> +In the sea one summer day;<br /> +There came a ship with pirates,<br /> +Who carried her away.</p> +<p>The ship due course was keeping<br /> +On the waves as they rose and broke;<br /> +The lovely lady, weeping,<br /> +Thus to the captain spoke:</p> +<p>“O Signor Capitano!<br /> +O captain of the sea!<br /> +I’ll give you a hundred ducats<br /> +If you will set me free.”</p> +<p>“I will not take a hundred,<br /> +You’re worth much more, you know;<br /> +I will sell you to the Sultan<br /> +For a hundred gold sequins;<br /> +You set yourself far too low.”</p> +<p>“You will not take a hundred—<br /> +Oh well! then let them be,<br /> +But I have a faithful lover,<br /> +Who, as you may discover,<br /> +Will never abandon me.”</p> +<p>Upon the windlass sitting,<br /> +The lady began to sing:<br /> +“Oh, come to me, my lover!”<br /> +From afar a breeze just rising<br /> +In the rigging began to ring.</p> +<p>Louder and ever louder<br /> +The wind began to blow:<br /> +Said the captain, “I think your lover<br /> +Is the squall which is coming over,<br /> +Or the devil who has us in tow.”</p> +<p>Stronger and ever stronger<br /> +The tempest roared and rang,<br /> +“There are rocks ahead and the wind dead aft,<br /> +Thank you, my love,” the lady laughed;<br /> +And loud to the wind she sang.</p> +<p><!-- page 137--><a name="page137"></a><span class="pagenum">p. +137</span>“Oh, go with your cursèd lover,<br /> +To the devil to sing for me!”<br /> +Thus cried the angry rover,<br /> +And threw the lady over<br /> +Into the raging sea.</p> +<p>But changing to a seagull,<br /> +Over the waves she flew:<br /> +“Oh captain, captain mine,” sung she,<br /> +“You will not swing on the gallows-tree,<br /> +For you shall drown in the foaming sea—<br /> +Oh captain, for ever adieu!”</p> +</blockquote> +<p>I must in honesty admit that this my <i>début</i> as an +Italian poet was not noticed in any of the reviews—possibly +because I did not send it to them—and there were no +indications that anybody considered that a new Dante had arisen +in the land. It is true, as Marietta told me with much +delight, that the printer, or his foreman, had declared it was a +very good song indeed; but then he was an interested party. +And Marietta also kindly praised it to the skies (after she had +corrected it); but then Marietta was herself a far better poet +than I can ever hope to be, and could afford to be generous.</p> +<p>The reader will pardon me if I avail myself of the opportunity +to give another Italian ballad which I wrote on a theme which I +also picked up in Florence.</p> +<h3>Il Giardino d’Amore, o La Figlia del Re, e il Contino +Stregone.</h3> +<blockquote><p>Era un giovine Contino,<br /> +Di tutto il paese il fior,<br /> +Aveva un bel giardino,<br /> +Il bel giardin d’amor.</p> +<p>“Chi batte alla mia porta?”<br /> +Domanda il bel Contin’.<br /> +“Son la figlia del re,<br /> +Vo vedere il tuo giardin’?”</p> +<p><!-- page 138--><a name="page138"></a><span class="pagenum">p. +138</span>“Entra pur nel mio giardino,<br /> +O bella figlia del re,<br /> +Purchè tu non tocchi niente,<br /> +A ciò che dentro v’e!”</p> +<p>Entrata nel giardino,<br /> +La bella figlia del re,<br /> +Non vidde colà niente,<br /> +Che fiori e foglie.</p> +<p>Le foglie eran d’argento,<br /> +Di oro ogni fior,<br /> +I frutti eran’ gemmi,<br /> +Nel bel giardin d’amor.</p> +<p>Sedi sulla panchetta,<br /> +Sotto il frascame la;<br /> +Che vissi nel sentiero?<br /> +Un bell’ anello c’era.</p> +<p>Non seppe che il Contino,<br /> +Fu stregone appostator;<br /> +Non seppe che l’anello,<br /> +Era lo stesso signor.</p> +<p>Ella ando nel suo letto,<br /> +Con l’anello nella man’,<br /> +Non ’n sospetto che la trasse<br /> +Sul dito un giovàn.</p> +<p>Svegliato da un bacino,<br /> +Tra la mezzanotte e tre;<br /> +Si trovò il bel Contino<br /> +Accanto alla figlia del re.</p> +<p>Credo che fu ben contenta<br /> +Con la cosa come era;<br /> +Come molte donne sarebbero<br /> +Con tal stregoneria.</p> +<p>Portar dei gioielli,<br /> +A de’ sposi il fior;<br /> +Il di un di-amante,<br /> +La notte un bel signor.</p> +<p><!-- page 139--><a name="page139"></a><span class="pagenum">p. +139</span>D’avere un bel diamante<br /> +Piace ognuno, si;<br /> +Ma meglio e un amante<br /> +Quando non ha più il <i>di</i>.</p> +<p>Chi scrisse questa canzone<br /> +Un gran Contino è,<br /> +Anch ’egli il stregone<br /> +Ch’ amava la figlia del re.</p> +</blockquote> +<h3>The Garden of Love, or The King’s Daughter and the +Wizard Count.</h3> +<blockquote><p>There was a Count of high degree,<br /> +All others far above;<br /> +He had a garden fair to see,<br /> +’Twas called the Garden of Love.</p> +<p>“Now who is knocking at my gate?<br /> +Who is it that makes so free?”<br /> +“Oh, I am the daughter of the king,<br /> +And your garden I would see!”</p> +<p>“Oh, come into my garden,<br /> +Fair daughter of the king!<br /> +Look well at all that’s growing,<br /> +But touch not anything!”</p> +<p>She entered in the garden,<br /> +The princess young and fair,<br /> +She looked it all well over,<br /> +Yet nothing but trees were there.</p> +<p>But every leaf was of silver,<br /> +The flowers of gold; in the grove<br /> +The fruits were gems and jewels<br /> +In the beautiful Garden of Love.</p> +<p>She sat beneath the foliage,<br /> +The daughter of the king;<br /> +What shone in the path before her?<br /> +A beautiful diamond ring!</p> +<p><!-- page 140--><a name="page140"></a><span class="pagenum">p. +140</span>She knew not that the County<br /> +Was a wizard wondrous wise;<br /> +She did not know that the diamond<br /> +Was the wizard in disguise.</p> +<p>And when at night, fast sleeping,<br /> +The diamond ring she wore,<br /> +She never dreamed that her finger<br /> +Was bearing a young signor.</p> +<p>Awakened by his kisses<br /> +As she heard the midnight ring,<br /> +There was the handsome wizard<br /> +By the daughter of the king.</p> +<p>I ween she was well contented,<br /> +As many dames would be,<br /> +If they could be enchanted<br /> +With just such sorcery.</p> +<p>To have not only a jewel,<br /> +But a husband, which is more,<br /> +All day a dazzling diamond,<br /> +And by night a bright signor!</p> +<p>Who was it wrote this ballad<br /> +About this loving pair?<br /> +He was the Count and wizard<br /> +Who won the princess fair.</p> +</blockquote> +<h2><!-- page 141--><a name="page141"></a><span +class="pagenum">p. 141</span>STORIES OF SAN MINIATO</h2> +<blockquote><p>“The picturesque height of San Miniato, now +the great cemetery of the city which dominates the Arno from the +south, has an especial religious and saintly interest. The +grand Basilica, with its glittering ancient mosaic, shines amid +the cypresses against the sky, and whether it gleams in the +sunlight against the blue, or is cut in black on the primrose sky +of twilight, it is equally +imposing.”—“<i>Echoes of Old +Florence</i>,” <i>by</i> <span class="smcap">Leader +Scott</span>.</p> +</blockquote> +<p>To the old people of Florence, who still see visions and dream +dreams, and behold the wind and the stars at noonday (which +latter thing I have myself beheld), the very ancient convent of +San Miniato, “the only one in Tuscany which has preserved +the ancient form of the Roman basilica,” and the +neighbourhood, are still a kind of Sleepy Hollow, where witches +fly of nights more than elsewhere, where ghosts or +<i>folletti</i> are most commonly seen, and where the <i>orco</i> +and the nightmare and her whole ninefold disturb slumbers <i>a +bel agio</i> at their easiest ease, as appears by the following +narrative:</p> +<p style="text-align: center"><span class="smcap">San Miniato fra +le Torre</span>.</p> +<p>“This is a place which not long ago was surrounded by +towers, which were inhabited by many witches.</p> +<p>“Those who lived in the place often noticed by night in +those towers, serpents, cats, small owls, and similar creatures, +and they were alarmed by frequently seeing their infants die like +candles blown out—<i>struggere i bambini come candele</i>; +nor could they understand it; but those who believed in +witchcraft, seeking in the children’s beds, often found +threads woven together in forms like animals or garlands, and +when mothers had left their children alone with the doors open, +found their infants, on returning, in the fireplace under the +ashes. And <!-- page 142--><a name="page142"></a><span +class="pagenum">p. 142</span>at such times there was always found +a strange cat in the room.</p> +<p>“And believing the cat to be a witch, they took it, and +first tying the two hind-paws, cut off the fore-claws +(<i>zampe</i>, claws or paws), and said:</p> +<blockquote><p>“‘Fammi guarire<br /> +La mia creatura;<br /> +Altrimenti per te saranno<br /> +Pene e guai!’</p> +<p>“‘Cure my child,<br /> +Or there shall be;<br /> +Trouble and sorrow<br /> +Enough for thee!’</p> +</blockquote> +<p>“This happened once, and the next day the mother was +sitting out of doors with her child, when she saw a woman who was +her intimate friend at her window, and asked her if she would not +wash for her her child’s clothes, since she herself was +ill. But the other replied: ‘I cannot, for I have my +hands badly cut.’</p> +<p>“Then the mother in a rage told this to other women +whose children had been bewitched or died.</p> +<p>“Then all together seized the witch, and by beating her, +aided with knives crossed, and whatever injuries they could think +of, subdued her and drenched her under a tower with holy +water. And the witch began to howl, not being able to +endure this, and least of all the holy water!</p> +<p>“When all at once there came a mighty wind, which blew +down the witch-tower, and carried away the witch, and killed all +the uncanny animals which dwelt in the ruins. And +unbelievers say that this was done by an earthquake; but this is +not true, for the witches were really the cause (<i>chagione</i>) +of its overthrow.</p> +<p>“And though many old things are destroyed and rebuilt, +there are many cats still there which are assuredly witches.</p> +<p>“And in the houses thereabout people often perceive and +see spirits, and if any one will go at night in the Piazza San +Miniato fra le Torri, especially where those old things (<i>chose +vecche</i>) were cleared away, he will see sparks of fire +(<i>faville di fuocho</i>) break out, and then flames; and this +signifies that some diabolical creature or animal is still +confined there which needs relief (<i>che a bisogna di bene</i>), +or that in that spot lies a treasure which requires to be +discovered.”</p> +<div class="gapspace"> </div> +<p><!-- page 143--><a name="page143"></a><span class="pagenum">p. +143</span>I consider this as very interesting, because I most +truthfully guarantee that this specimen of witch-lore was written +in good faith and firm belief, and is not at all, like most of +the tales gleaned or gathered now-a-days, taken from people who +got them from others who perhaps only half believed in +them. She who wrote it has no more doubt that witch-cats +prowl, and that wild-fire hisses forth from evil spirits in +durance pent ’neath the soil of San Miniato, than that the +spirit of the Arno appears as “a small white hand pointing +tremulously upwards.”</p> +<p>There is given in the <i>Facetiæ</i> of Piovano Arlotto, +which is considered a truthful record of the adventures of its +subject, a tale relative to San Miniato which cannot here be +deemed out of place. It is as follows:</p> +<p style="text-align: center"><span class="smcap">La Testa di San +Miniato</span>.</p> +<p>“There was in Florence a poor and learned +gentleman—<i>savio e da bene</i>, who was a good friend of +Piovano Arlotto, who was also good to him, since he had often +aided the former with money, meal, and many other things, and +indeed without such help he could hardly have fed his family; for +he had fourteen sons and daughters, and though the proverb says +<i>Figliuoli</i>, <i>mioli</i>, <i>’lenzuoli non sono mai +troppi in una casa</i>—there are never too many children, +glasses, or linen sheets in a house, this good man found indeed +that he had too many of the former.</p> +<p>“Now to help dire need, this gentleman tried to buy on +credit two bales of cloth, one wherewith to clothe his family, +and the other to sell in order to make some money. To do +this, he needed some one to be his security, and he had recourse +to Piovano Arlotto, who willingly agreed to pay the manufacturer +in case the friend who gave his note could not meet it. Now +he found that the manufacturer had sadly cheated the purchaser in +the measure or quantity, fully one-half, as was also evident to +many others; however, as matters stood, he was obliged to let it +pass.</p> +<p>“As things were thus, the poor gentleman died and passed +<!-- page 144--><a name="page144"></a><span class="pagenum">p. +144</span>away from this <i>misera vita</i> or sad life, and +Piovano was in deep grief for his loss, and as much for the poor +orphans.</p> +<p>“When the note fell due, the manufacturer went to +Piovano Arlotto and asked for his money, saying that he only +demanded what was justly due to him.</p> +<p>“And after a few days’ delay, he paid the man +two-thirds of the sum, and ten florins for the time and trouble, +and said he would not give a farthing more. Then the dealer +begun to dun him, but he evaded every demand. Then the +merchant employed a young man, eighteen years of age, who had not +his equal in Florence to collect debts. And this youth set +to work in earnest to get from the priest the sum of about +twenty-eight gold florins, still due from the account.</p> +<p>“In a few days he had attacked Piovano a hundred times +with the utmost impudence, in the market, in the public squares, +on the streets at home, and in the church, without regard to +persons present, at all times, and in every aggravating way, +until the priest conceived a mortal hatred of the dun, and turned +over in his head many ways to get rid of him.</p> +<p>“At last he went one day to the Abbot of San Miniato or +Monte, and said to him: ‘<i>Padre reverendo</i>, I seek +your paternal kindness to relieve a very distressing case in +which I am concerned. I have a nephew who is possessed by +the devil, one into whom an evil spirit has entered, and who has +a monomania that I owe him money, and is always crying to me +everywhere, ‘When are you going to pay me? I want +twenty-eight florins.’ ’Tis a great pity, for +he is a fine young man, and something really ought to be done to +cure him. Now I know that the holy relic which you possess, +the worthy head of the glorious and gracious San Miniato, has +such a virtue, that, if it be once placed on the head of this +poor youth, ’twill certainly cure him. Would you so +contrive, in any way, to put it on him some time this +week?’</p> +<p>“The Abbot answered, ‘Bring him when you +will.’</p> +<p>“Piovano thanked him and said: ‘I will bring him +on Saturday, but when he shall be here, I pray you be at the gate +with seven or eight strong men, that he may not escape; for you +know, holy father, that these demoniacs are accustomed to rage +when they see relics and hear prayers, and it will be specially +so with this poor youth, who is young and vigorous—yea, it +may be that ’twill be necessary to give him sundry cuffs +and kicks, so terrible is the power of Satan—<!-- page +145--><a name="page145"></a><span class="pagenum">p. +145</span><i>lupus esuriens</i>. Do so, I pray, without +fearing to hurt my feelings—nay, it would be a great +pleasure to me, so heartily do I desire to see him +cured.’</p> +<p>“The Abbot answered, ‘Bring him here, my son, and +I will see that all is rightly done.’</p> +<p>“Piovano returned, saying to himself:</p> +<blockquote><p>“‘Chi vuol giusta vendetta,<br /> +In Dio la metta.’</p> +</blockquote> +<p>“‘Leave vengeance to the Lord, or to his +ministers—<i>videlicet</i>, the monks of San Miniato. +Which I will do.’</p> +<p>“On Friday he went to the merchant who had sold the +cloth, and said: ‘As for this which I owe you, it is all +rubbish. You cheated the man who gave you the note out of +half the cloth—you know it, and I can prove it. +However, to avoid further trouble and litigation, I am willing to +pay all, but you must allow time for it. <i>Dura cosa e +l’aspettare</i>—’tis hard to wait, but harder +still to have nothing to wait for. The monks of San Miniato +owe me for forty cords of wood, which is to be paid for at the +end of two years, and then you shall have your money.’</p> +<p>“This sounded like ‘for ever and a day’ to +the creditor, and in a rage he had recourse to his collector, who +on Saturday morning went to San Miniato. When he arrived, +he had to wait till the grand mass was over, to the great +vexation of the young man, and meanwhile eight powerful monks +with long staves had grouped themselves about the door, awaiting +a little healthy exercise.</p> +<p>“And mass being over, the dun hastened up to the Abbot, +who, taking him by the hand, said: ‘Oh, my son, put thy +trust in God and in San Miniato the blessed; pray that he may +take this evil conceit from thy head,’ and with this much +more, till the young man grew impatient and said:</p> +<p>“‘Messer Abbot, to-day is Saturday, and no time +for sermons. I have come to know what you are going to do +about this debt of Piovano of twenty-eight florins, and when it +will be paid?’</p> +<p>“Then the Abbot, hearing, as he expected, the demand for +money, began to exhort and exorcise. And the youth began to +abuse the Abbot with all kind of villanies, and finally turned to +depart; but the Abbot caught him by the cloak, and there was a +fight. Then came the eight monks, who seizing him, +chastised him lustily, and bound him with cords, and <!-- page +146--><a name="page146"></a><span class="pagenum">p. +146</span>bearing him into the sacristy, sprinkled him with holy +water, and incensed him indeed—and then set the holy head +of San Miniato on his head—he thinking they were all mad as +hatters. Then they exorcised the evil spirits in +him—‘<i>Maledicti</i>!<i> excommunicati et +rebelles—sitis in pæna æternali nulla requies +sit in vo-o-o-bis si statim non eritis obedientes</i>, +<i>præceptis me-e-e-e-is</i>!’—until the youth +had to give in, and beg the Abbot’s pardon, and being +released, fled as for dear life.</p> +<p>“But he met outside Piovano Arlotto, who said to him: +‘Thou hast had a dainty drubbing, my son, but there is +plenty more where that came from—<i>non v’e nè +fin</i>, <i>ne fondo</i>—there is neither end nor bottom to +it. Now go to thy master, and say that if he goes further +in this business he will fare worse than thou hast +done.’</p> +<p>“The youth, returning to Florence, told the tale to his +employer, and how Piovano Arlotto had declared if they dunned him +any more he would do his best to have them drubbed to +death. So they dropped the matter—like a hot +shot.</p> +<p>“Everybody in Florence roared with laughter for seven +days—<i>sparsa la piacevolezza per Firenze</i>, <i>vi fu +che ridere per setti giorni</i>—that is to say, everybody +laughed except one clothmaker and his collector, and if they +smiled, ’twas sour and bitterly—the smile which does +not rise above the throat—the merriment like German +mourning grim. And as for the young man, he had to leave +Florence, for all of whom he would collect money told him to go +to—the monks of San Miniato!”</p> +<div class="gapspace"> </div> +<p>There was a curious custom, from which came a proverb, in +reference to this monastery, which is thus narrated in that +singular work, <i>La Zucca del Doni Fiorentino</i> (“The +Pumpkin of Doni the Florentine”):</p> +<blockquote><p>“There is a saying, <i>E non terrebbe un +cocomere all’erta</i>—He could not catch a cucumber +if thrown to him. Well, ye must know, my masters and +gallant signors, that our Florentine youth in the season of +cucumbers go to San Miniato, where there is a steep declivity, +and when there, those who are above toss or roll them down to +those below, while those below throw them up to those above, just +as people play at toss-and-pitching oranges with girls at +windows. So they keep it up, and it is considered a great +shame and sign of feebleness <!-- page 147--><a +name="page147"></a><span class="pagenum">p. +147</span>(<i>dapocaggine</i>) not to be able to catch; and so in +declining the company of a duffer one says: ‘I’ll +have nothing to do with him—he isn’t able to catch a +cucumber.’</p> +<p>“It is one of the popular legends of this place that a +certain painter named Gallo di San Miniato was a terribly severe +critic of the works of others, but was very considerate as +regarded his own. And having this cast at him one day, and +being asked how it was, he frankly replied: ‘I have but two +eyes wherewith to see my own pictures, but I look at those of +others with the hundred of Argus.’”</p> +</blockquote> +<p>And indeed, as I record this, I cannot but think of a certain +famous critic who is so vain and captious that one must needs say +that his head, like a butterfly’s, is all full of little +<i>i’s</i>.</p> +<blockquote><p>“And this tale of two optics reminds me of +the story of Messer Gismondo della Stufa, a Florentine of +Miniato, who once said to some friends: ‘If I had devoted +myself to letters, I should have been twice as learned as others, +and yet ye cannot tell why.’ Then some guessed it +would have been due to a good memory, while others suggested +genius, but Messer Gismondo said: ‘You are not there yet, +my children; it is because I am so confoundedly cross-eyed that I +could have read in two books at once.’”</p> +</blockquote> +<p>In the first legend which I narrated, the fall of the tower is +attributed to witchcraft or evil spirits. In the very +ancient frescoes of San Miniato there is one in which the devil +causes a wall or tower to fall down and crush a young monk. +What confirms the legend, or its antiquity, is that the original +bell-tower of San Miniato actually fell down in 1499. The +other then built was saved from a similar fate by the genius of +Michael Angelo Buonarotti, who built a bank of earth to support +it.</p> +<blockquote><p>“<i>Hæc fabula</i> of the head of San +Miniato,” wrote the immortal Flaxius on the proof, +“teaches that he who would get round a priest in small +trickery must arise uncommonly early—nay, in most cases +’twould be as well not to go to bed at all—especially +when dunning is ‘on the tap.’ Concerning <!-- +page 148--><a name="page148"></a><span class="pagenum">p. +148</span>which word <i>dun</i> it is erroneously believed in +England to have been derived from the name of a certain Joseph +Dunn, who was an indefatigable collecting bailiff. But in +very truth ’tis from the Italian <i>donare</i>, to give +oneself up to anything with ardour—to stick to it; in +accordance with which, <i>donar guanto</i>, or to give the glove, +means to promise to pay or give security. And if any +philologist differs from me in opinion as to this, why +then—<i>let</i> him diff! Which magnanimously +sounding conclusion, when translated according to the spirit of +most who utter it, generally means:</p> +<p>“Let him be maledict, excommunicate, and damnated <i>ad +inferos—in sæcula sæculorum</i>!—twice +over!”</p> +</blockquote> +<h2><!-- page 149--><a name="page149"></a><span +class="pagenum">p. 149</span>THE FRIAR’S HEAD OF SANTA +MARIA MAGGIORE—THE LADY WHO CONFESSED FOR +EVERYBODY—HOLY RELICS</h2> +<blockquote><p>“He who speaks from a window or a pulpit, or +the top of a good name or any high place, should speak wisely, if +he speak at all, unto those who pass.”</p> +</blockquote> +<p>The Church of Santa Maria Maggiore “remounts,” as +the Italians say, or can be traced back to 700 <span +class="smcap">a.d.</span>, but it was enlarged and renewed by the +architect Bueno in the twelfth century, and according to +Pitré it was the germ of a new style of architecture which +we find much refined (<i>ringentilata</i>) in Santa Maria del +Fiore. “There were, regarding its bell-tower, which +no longer exists, many tales and curious anecdotes, which might +form a part of a fine collection of local legends.” +There is still to-day on the wall above the little side-door +facing the Via de’ Conti, a much worn head of stone, coming +out of a round cornice, which is in all probability the one +referred to in the following legend:</p> +<p>“There was once a condemned criminal being carried along +to execution, and on the way passed before the Church of Santa +Maria Maggiore. One of the friars put his head out of a +little round window, which was just large enough for it to pass +through, and this was over the entrance on the lesser side of the +church, facing the Via de’ Conti. As the condemned +passed by the friar said:</p> +<blockquote><p>“‘Date gli da bere, ’un morira +mai.’<br /> +“‘Give him a drink and he never will die.’</p> +</blockquote> +<p>“To which the condemned replied:</p> +<blockquote><p>“‘E la testa di costì tu +’un la levrai’.<br /> +“‘And thy head shall stick where it is for +aye.’</p> +</blockquote> +<p><!-- page 150--><a name="page150"></a><span class="pagenum">p. +150</span>“And so it came to pass that they could not get +the head of the friar back through the hole, so there he +died. And some say that after they got the body out they +carried his likeness in stone and put it there in the little +round window, in remembrance of the event, while others think +that it is the friar himself turned to stone—<i>chi +sa</i>?”</p> +<div class="gapspace"> </div> +<p>The conception of a stone head having been that of a person +petrified for punishment is of the kind which would spring up +anywhere, quite independently of tradition or borrowing; hence it +is found the world over. That ideas of the kind may be +common, yet not in common, nor yet uncommon, is shown by the +resemblance of the remark of the friar:</p> +<blockquote><p>“Give him a drink and he never will +die,”—</p> +</blockquote> +<p>which was as much as to say that inebriation would cause him +to forget his execution—to a verse of a song in “Jack +Sheppard”:</p> +<blockquote><p> “For +nothing so calms,<br /> + Our dolorous qualms,<br /> +And nothing the transit to Tyburn beguiles,<br /> +So well as a drink from the bowl of Saint Giles.”</p> +</blockquote> +<p>There is a merrier tale, however, of Santa Maria Maggiore, and +one which is certainly far more likely to have occurred than this +of the petrified <i>pater</i>. For it is told in the +ancient <i>Facetiæ</i> that a certain Florentine nobleman, +who was a jolly and reckless cavalier, had a wife who, for all +her beauty, was <i>bisbetica e cattiva</i>, capricious and +spiteful, malicious and mischievous, a daughter of the devil, if +there ever was one, who, like all those of her kind, was very +devout, and went every day to confession in Santa Maria Maggiore, +where she confessed not only her own sins, but also those of all +her neighbours. And as she dwelt with vast eloquence on the +great wickedness of her husband—having a tongue which would +serve to sweep out an oven, or even a worse place <a +name="citation150"></a><a href="#footnote150" +class="citation">[150]</a>—the priest <!-- page 151--><a +name="page151"></a><span class="pagenum">p. 151</span>one day +urged the husband to come to confession, thinking that it might +lead to more harmony between the married couple. With which +he complied; but when the priest asked him to tell what sins he +had committed, the cavalier answered, “There is no need of +it, Padre; you have heard them all from my wife many a time and +oft, and with them a hundred times as many which I never dreamed +of committing—including those of all Florence.”</p> +<p>It was in the first Church of Santa Maria Maggiore, which +stood on the site of the present, that San Zenobio in the fourth +century had walled into the high altar an inestimable gift which +he had received from the Pope. This was “the two +bodies of the glorious martyrs Abdon and Sennen, who had been +thrown unto wild beasts, which would not touch them, whereupon +they were put to death by swords in the hands of viler human +beasts.” I may remark by the way, adds the observant +Flaxius, that relics have of late somewhat lost their value in +Florence. I saw not long ago for sale a very large silver +casket, stuffed full of the remains of the holiest saints, and +the certificates of their authenticity, and I was offered the +whole for the value of the silver in the casket—the relics +being generously thrown in! And truly the mass of old +bones, clay, splinters, nails, rags with blood, bits of wood, +dried-up eyes, <i>et cetera</i>, was precisely like the +Voodoo-box or conjuring bag of an old darkey in the United +States. But then the latter was heathen! “That +is a <i>very</i> different matter.”</p> +<h2><!-- page 152--><a name="page152"></a><span +class="pagenum">p. 152</span>BIANCONE, THE GIANT STATUE IN THE +SIGNORIA</h2> +<blockquote><p>“<i>Fons Florentinus</i>.—In foro +lympidas aquas fons effundit marmoreis figuris Neptuni et +Faunorum ab Amanate confectis.”—<i>Templum +Naturæ Historicum</i>. <span class="smcap">Henrici +Kornmanni</span>, <span class="smcap">a.d.</span> 1614.</p> +</blockquote> +<p>The most striking object in the most remarkable part of +Florence is the colossal marble Neptune in the Fountain of the +Signoria, by Ammanati, dating from 1575. He stands in a +kind of car or box, drawn by horses which Murray declares +“are exceedingly spirited.” They are indeed +more so than he imagined, for according to popular belief, when +the spirit seizes them and their driver, and the bronze statues +round them, they all go careering off like mad beings over the +congenial Arno, and even on to the Mediterranean! That is +to say, that they did so on a time, till they were all petrified +with their driver in the instant when they were bounding like the +billows, which are typified by white horses.</p> +<p>Neptune has, however, lost his name for the multitude, who +simply call him the Biancone, or Great White Man; and this is the +legend (given to me in writing by a witch), by which he is +popularly known:</p> +<p style="text-align: center"><span class="smcap">Biancone, the +God of the Arno</span>.</p> +<p>“Biancone was a great and potent man, held in great +respect for his grandeur and manly presence, a being of +tremendous strength, and the true type of a magician, <a +name="citation152"></a><a href="#footnote152" +class="citation">[152]</a> he <!-- page 153--><a +name="page153"></a><span class="pagenum">p. 153</span>being a +wizard indeed. In those days there was much water in the +Arno, <a name="citation153"></a><a href="#footnote153" +class="citation">[153]</a> and Biancone passed over it in his +car.</p> +<p>“There was then in the Arno a witch, a beautiful girl, +the <i>vera dea</i> or true goddess of the river, in the form of +an eel. And Biancone finding this fish every day as he +drove forth in his chariot, spurned it away <i>con cattivo +garbo</i>—with an ill grace. And one day when he had +done this more contemptuously than usual, the eel in a rage +declared she would be revenged, and sent to him a smaller +eel. But Biancone crushed its head (<i>le stiaccio il +chapo</i>).</p> +<p>“Then the eel appeared with a little branch of olive +with berries, and said:</p> +<blockquote><p>“‘Entro in questa carozza,<br /> +Dove si trove l’uomo,<br /> +L’uomo il più potente,<br /> +Che da tutti e temuto;<br /> +Ed e un uomo grande,<br /> +E grande, e ben vero;<br /> +Ma il gran dio del Arno,<br /> +Il potente Biancone,<br /> +Non sara il solo potente;<br /> +Vi sara una piccola pesce,<br /> +Una piccola anguilla;<br /> +Benche piccola la sia;<br /> +Fara vedere la sua potenza<br /> +Tu Bianconé, a mi,<br /> +Le magie, e siei mezzo stregone<br /> +Io una piccola anguillina,<br /> +Sono una vera fata,<br /> +E sono la Fata dell Arno,<br /> +Tu credevi d’essere<br /> +Il solo dio d’Arno,<br /> +Ma ci, no, io che sono<br /> +La regina, e la vera,<br /> +Vera dea qui del Arno.’</p> +<p>“‘Lo, I enter in this chariot!<br /> +Where I find the man of power,<br /> +Who is feared by all before him,<br /> +And he is a mighty being,<br /> +Great he is, there’s no denying;<br /> +But the great god of the Arno,<br /> +The so powerful Biancone,<br /> +Is not all alone in power;<br /> +There’s a little fish or eel, who,<br /> +<!-- page 154--><a name="page154"></a><span class="pagenum">p. +154</span>Though but little, has the power,<br /> +Mighty man, to make thee tremble!<br /> +Biancone, thou art only<br /> +Unto me as half a wizard;<br /> +I, a little eel of the Arno,<br /> +Am the fairy of the river;<br /> +Thou didst deem thyself its ruler;<br /> +I deny it—for I only<br /> +Am the queen and the true goddess—<br /> +The true goddess of the Arno.’</p> +</blockquote> +<p>“Having said this, she touched with the twig of olive +the little eel whom Biancone had killed, and repeated while +touching it:</p> +<blockquote><p>“‘Anguillina che dal Grande<br /> +Siei stata stiacciata,<br /> +Io con questo ramoscello<br /> +Ti faccio in vita tornare,<br /> +E al Grande, io, del Arno<br /> +Tutto il mio pensiero,<br /> +Tutto posso raccontare.’</p> +<p>“‘I, little eel, who by the mighty<br /> +Man hast been to death delivered,<br /> +Do call thee back unto the living!<br /> +Wake thee with this twig of olive!<br /> +Now unto this Biancone,<br /> +Thou who art too of the Arno,<br /> +Shalt speak out thy mind and freely.’</p> +</blockquote> +<p>“Then the little eel, resuscitated and influenced by the +goddess of the Arno, said:</p> +<blockquote><p>“‘Biancone, tu che siei<br /> +Il potente dio dell’ Arno,<br /> +L’anguilla discacciata,<br /> +Che tu ai discacciata,<br /> +E di te inamorata,<br /> +E di te più potente,<br /> +E se tu la discaccerai,<br /> +Ti giura la vendetta,<br /> +E si vendichera. . . .’</p> +<p>“‘Biancone, Biancone!<br /> +Thou great spirit of the Arno,<br /> +Lo, the eel by thee despised<br /> +Turns again with love unto thee:<br /> +She surpasses thee in power;<br /> +If she is by thee rejected,<br /> +She will vow revenge upon thee,<br /> +And will be avengèd truly.’</p> +</blockquote> +<p><!-- page 155--><a name="page155"></a><span class="pagenum">p. +155</span>“Biancone replied:</p> +<blockquote><p>“‘Io non voglio amar donne,<br /> +Sia pure d’una bellezza<br /> +Da fare a cecare,<br /> +Ma per me non mi fa niente,<br /> +Non voglio amare donne,<br /> +Sara per bellezza una<br /> +Gran persona, ma non vero,<br /> +Per potenza, per che più,<br /> +Più potente di me non<br /> +Vi e alcun . . . ’</p> +<p>“‘I seek not the love of women.<br /> +Thou art of a dazzling beauty;<br /> +Unto that I am indifferent;<br /> +I seek not the love of ladies.<br /> +Thou may’st be full great in beauty,<br /> +Not in power, for in power<br /> +I shall ever be the greater.’</p> +</blockquote> +<p>“Then the eel arose <a name="citation155"></a><a +href="#footnote155" class="citation">[155]</a> and said:</p> +<blockquote><p>“‘Biancone, or guardami,<br /> +Guarda mi bene perche più,<br /> +Non mi vedrai vedermi,<br /> +E se mi vedrai,<br /> +Non mi potrai toccare,<br /> +Dici che più potente<br /> +Di te non cé nessuno,<br /> +Ma sa io la prima,<br /> +Mia potenza e quella<br /> +Di vederti inamorato,<br /> +Di me vere inamorato,<br /> +Ma che ora sono io,<br /> +Che ti discaccio per la tua,<br /> +Al te si guardami mi vedi.’</p> +<p>“‘Biancone, now regard me,<br /> +Look well at me now, for never,<br /> +Wilt thou ever more behold me,<br /> +Or if thou behold’st me, touch me,<br /> +And thou say’st that thou hast power,<br /> +And that none can rival with thee.<br /> +Thou shalt learn that I am stronger,<br /> +For I’ve power to make thee love me,<br /> +But ’tis I who now reject thee,<br /> +If thou doubtest—now behold me!’</p> +</blockquote> +<p>“And then, instead of an eel, appeared a maid of +dazzling <!-- page 156--><a name="page156"></a><span +class="pagenum">p. 156</span>beauty, and Biancone sought to +embrace her, but could not, and said:</p> +<blockquote><p>“‘Contentami una volta<br /> +Sola, o dea dell’ Arno;<br /> +Lascia che ti abbraci<br /> +Una volta sola, o dea.’</p> +<p>“‘For a single time content me,<br /> +Lovely goddess of the Arno;<br /> +Let me but for once embrace thee,<br /> +Yield to me I pray, O fairy!’</p> +</blockquote> +<p>“But the goddess of the Arno replied:</p> +<blockquote><p>“‘Una donna più potente<br /> +Di te, non si lascia<br /> +Vincere da uno superbo;<br /> +Tuo pari mi basta di<br /> +Far ti vedere, che c’e<br /> +Persona ancora di te<br /> +Più potente . . . Ora io<br /> +Mi voglio vendi care per che,<br /> +Tu mi ai discacciata,<br /> +Tante volte, ed ora invece<br /> +Tu saresti bene contento<br /> +Di abbraciarmi anche,<br /> +Anche or per una volta,<br /> +Ma no. Addio Biancone!’</p> +<p>“‘A woman who has greater power<br /> +Than thine will surely not be conquered<br /> +Merely by pride in outward seeming,<br /> +But now, in brief, I will content me<br /> +By proving mine the greater power;<br /> +I seek to avenge myself upon thee,<br /> +Since of old thou didst despise me<br /> +Many times, but now wouldst gladly,<br /> +Though it were but for once, embrace me—<br /> +Farewell for ever, Biancone!’</p> +</blockquote> +<p>“And Biancone fled, but he always bore the beautiful +goddess in his mind, and could not forget her, so he too +meditated a vengeance.</p> +<p>“But the vengeance of a woman strikes more powerfully +than that of a man.</p> +<p>“One day when Biancone was passing over the Arno in his +chariot, with all his attendants, he thought he saw the eel +engaged in forming the basin of a fountain (<i>vasca</i>), and +bear it away in a car, she herself being in it, <a +name="citation156"></a><a href="#footnote156" +class="citation">[156]</a> and it was covered <!-- page 157--><a +name="page157"></a><span class="pagenum">p. 157</span>with glass; +but in the time that he thought (or dreamed) that he saw this, +the eel appeared and said:</p> +<blockquote><p>“‘Il momenta della mia vendetta<br /> +E arrivato, e ti giuro<br /> +Giuro che la mia vendetta<br /> +E potente, or Turanna,<br /> +Mia regina delle Fate,<br /> +E dea dell Arno, commanda<br /> +Che questa carroza sprafondi,<br /> +E che tu e la tua servitu,<br /> +Non vi potrete salvare.’</p> +<p>“‘Now the time to wreak my vengeance<br /> +Has arrived, and I swear thee<br /> +That my vengeance shall be fearful,<br /> +Very great, because my sovereign,<br /> +Turanna, queen of all the fairies,<br /> +Orders that thy chariot<br /> +Shall be firmly fixed for ever,<br /> +And that thou and all thy following<br /> +Never more canst hope for rescue.’</p> +</blockquote> +<p>“Then she sang again:</p> +<blockquote><p>“‘Confino i tuoi servitori,<br /> +Quelli che ti aiut avanno<br /> +A discacciar sui, o<br /> +Diventare della forma,<br /> +Mezze bestie, mezzi uomini,<br /> +E tu o Biancone,<br /> +Che tanto grande siei,<br /> +Ti confino a stare sempre,<br /> +Sempre ritto e non potrete<br /> +Mai ragionare, ne camminare<br /> +Solo quando sara luna,<br /> +Luna piena, passero io<br /> +Ti vedro, e mi vedrai,<br /> +Ma parlarmi non potrai.</p> +<p>“‘Quando sara luna piena,<br /> +E che sara una notte,<br /> +Che sara mezza nuvola,<br /> +E mezza serena s’enderai,<br /> +Della tua carozza nei,<br /> +Nei momenti che la Luna<br /> +Resta sotto le nuvole,<br /> +E cosi potrei favellare,<br /> +Con tutte le statue, che ai<br /> +Attorno, allor tua carozza,<br /> +E col mio permesso potrai<br /> +Andare anche dai tuoi amici!’</p> +<p><!-- page 158--><a name="page158"></a><span class="pagenum">p. +158</span>“‘I hereby compel thy servants,<br /> +Those who aided thee, to vanish,<br /> +Or take forms half brute, half human. <a +name="citation158"></a><a href="#footnote158" +class="citation">[158]</a><br /> +As for thee, O Biancone!<br /> +Thou who art so tall and stately,<br /> +Thou shalt stand erect for ever,<br /> +Without power to speak or wander,<br /> +Only when the full moon shining<br /> +Falls upon thee, I will pass thee,<br /> +I shall see thee; thou will see me,<br /> +Without power to address me!</p> +<p>“‘When the moon in full is shining,<br /> +Yet when clouds begin to gather;<br /> +Half in light and half in darkness,<br /> +Thou may’st only in the moment<br /> +When the moon is overclouded,<br /> +Leave thy chariot, and have converse<br /> +With the statues who are round thee,<br /> +Then thou may’st, by my permission,<br /> +Go among thy friends, then only.’”</p> +</blockquote> +<div class="gapspace"> </div> +<p>I may here explain to the reader that this tale with its +elaborate invocations is not current as here given among the +<i>people</i>. Such forms and formulas are confined to the +witches, who, as in all countries, are the keepers of mysterious +traditions. All that is generally heard as regards this +subject is, that when the full moon shines on Biancone at +midnight, he becomes animated, and walks about the Signoria +conversing with the other statues.</p> +<p>The Neptune was, with horses and all, produced by Bartolommeo +Ammanati between 1564 and 1565. It has a certain merit of +grandeur, but in lesser degree is like its neighbour Cacus, by +Baccio Bandinelli, which Benvenuto Cellini justly regarded as +resembling a mere bag of fat. When Michael Angelo saw the +Neptune he exclaimed: “Ammanato! Ammanato! che bel +blocco che hai sciupato!”—“Ammanato, what a +fine block of marble thou hast spoiled!”</p> +<p>The Italians say that the satyr at the corner of the Palazzo +Vecchio is a copy, because the original was stolen <!-- page +159--><a name="page159"></a><span class="pagenum">p. +159</span>one night in January in 1821, “and is now one of +the finest bronzes in the British Museum of London.” +It may be so; there was a great deal of fine stealing in those +days. I suspect, however, that the truth is that as these +images return to life now and then, the satyr availed himself of +his revivification to set forth on his travels, and coming to +London and finding good company in the British Museum, settled +down there. But truly, when I think of the wanton and +heartless destruction of beautiful and valuable old relics which +has gone on of late years in Florence, to no earthly purpose, and +to no profit whatever, I feel as if all the tales of such things +being stolen or sold away to foreign museums were supremely +silly, and as if it were all just so much saved from +ruin—in case the tales are true.</p> +<blockquote><p>“<i>Hæc fabula docet</i>,” wrote +Flaxius, “a strange lesson. For as it was anciently +forbidden to make images, because it was an imitation of +God’s work; and secondly, because men believed that spirits +would enter into them—even so doth it become all +novel-writers, romancers, and poets, to take good heed how they +portray satyrs, free-love nymphs, and all such deviltry, because +they may be sure that into these models or types there will enter +many a youthful soul, who will be led away thereby to madness and +ruin. Which is, I take it, the most practical explanation +for commandment, which hath been as yet set <i>coram +populo</i>.”</p> +</blockquote> +<h2><!-- page 160--><a name="page160"></a><span +class="pagenum">p. 160</span>THE RED GOBLIN OF THE BARGELLO</h2> +<blockquote><p>“Lord Foulis in his castle sat,<br /> +And beside him old Red-cap sly;<br /> +‘Now tell me, thou sprite, who art mickle of might,<br /> +The death which I shall die?’”</p> +<p style="text-align: right">—<span +class="smcap">Scott’s</span> <i>Border Minstrelsy</i>.</p> +</blockquote> +<p>The Bargello has been truly described as one of the most +interesting historical monuments of Florence, and it is a very +picturesque type of a towered mediæval palace. It was +partly burned down in 1322, and rebuilt in its present form by +Neri di Fioravanti, after which it served as a prison. +Restored, or modernised, it is now a museum. As I +conjectured, there was some strange legend connected with it, and +this was given to me as follows:</p> +<p style="text-align: center"><span class="smcap">Il Folletto +Rosso</span>.</p> +<p>“The Red Goblin is a spirit who haunts the Bargello, or +was there of old in the prisons, <i>nelle carceri</i>, and he +always foretold to every prisoner what his sentence would be +before it was pronounced.</p> +<p>“He always appeared in the cell of the condemned, and +first lighting a candle, showed himself all clad in red, and said +to the prisoner:</p> +<blockquote><p>“‘Piangi, piangi, ma piangi forte,<br +/> +E prepararti che e giunta<br /> +L’ora della tua morte.’</p> +<p>“‘Weep, oh weep full many a tear;<br /> +Make ready; thy hour for death is near.’</p> +</blockquote> +<p>“Then if the prisoner replied boldly:</p> +<blockquote><p>“‘Anima chi siei!<br /> +Ti pregò di volermi aiutare<br /> +A liberarmi dalla morte!’</p> +<p><!-- page 161--><a name="page161"></a><span class="pagenum">p. +161</span>“‘Spirit, whoe’er thou be,<br /> +I beg thee now for aid;<br /> +From death pray set me free!’</p> +</blockquote> +<p>Then the goblin would burst into a laugh and say:</p> +<blockquote><p>“‘Non piangere, ridi, ridi!<br /> +Ma ride sempre, e spera<br /> +Che io ti aiutera!’</p> +</blockquote> +<p>“But if the prisoner had replied badly, or cursed, or +said ‘<i>Vai al diavolo</i>!’ or ‘<i>Che il +diavolo ti porti</i>!’—then there were heard dreadful +sounds, such as frightened all the prisoners and assistants, and +the goblin vanished crying:</p> +<blockquote><p>“‘Woe, woe, and woe to thee!<br /> +For thou soon shalt punished be;<br /> +Away be led, to lose your head,<br /> +There is no hope for thee!’</p> +</blockquote> +<p>“And after that the man might well despair. Yet +the Red Goblin was a jolly sprite when not crossed, and made +great sport for the prisoners, who all knew him. He went +into every cell, and would tell wild tales, and relate to every +one all that he, the prisoner, had done since he was a boy, and +how he came to be locked up, and what would be the end of it, and +told all this with such peals of laughter that the most unhappy +were fain to laugh with him.</p> +<p>“Then the assistants and the director hearing such +sounds, thought it was the prisoners rioting, but could not +detect them. <a name="citation161a"></a><a href="#footnote161a" +class="citation">[161a]</a> And the spirit relieved many +innocent men from punishment, and especially visited those +condemned to wear the iron collar or <i>gogna</i>, which was +fastened to a post, but at the Bargello it was on the Campanile +outside, in sight of all the people. <a +name="citation161b"></a><a href="#footnote161b" +class="citation">[161b]</a></p> +<p>“Now there was a young man in the prison who was good at +heart, and deeply repented that he had done wrong, and now feared +that he indeed was in the power of Satan, and destined to be in +prison for all this life and in <i>inferno</i> all the next.</p> +<p>“And when he was thus sunk in misery one night, he heard +him, and was in great alarm, but it said, ‘Fear <!-- page +162--><a name="page162"></a><span class="pagenum">p. +162</span>not, for I am the protecting spirit of the prisoners in +the Bargello, and have come to free thee; put thy trust in me and +I will save thee!’</p> +<p>“Then he told the youth how he was to act, and bade him +say certain things when examined, and follow closely all the +goblin would whisper to him; but whether it was his fault or his +failure, he missed every point and went wrong in his replies, the +end being that he was condemned to prison for life. Truly +it went to his heart to think that while he lived he should +always see the sun looking like a chess-board, <a +name="citation162"></a><a href="#footnote162" +class="citation">[162]</a> and bitterly reflected on the +proverb:</p> +<blockquote><p>“‘Ne a torto nè a ragione,<br +/> +Non ti lasciar metter prigione.’</p> +<p>“‘Whether you’re right or wrong, my man,<br +/> +Keep out of prison as long as you can.’</p> +</blockquote> +<p>“But it went most bitterly to his heart to think that he +had by his own stupidity and want of study lost the chance of +freedom. And for some time the Red Goblin never came near +him. But at last the prisoner heard him call, and then the +spirit said, ‘Now thou see’st to what a pass thy +neglect of my advice has brought thee. Truly <i>il diavolo +non ti tenterebbe</i>—the devil takes no pains to tempt +such a fool as thou, for he knows that he will get him without +the trouble of asking. And yet I will give thee one more +chance, and this time be thou wide awake and remember that <i>a +buona volontà</i>, <i>non manca +facoltá</i>—where there’s a will there’s +a way.’</p> +<p>“Now there was a great lord and mighty man of the state +who had been in the Bargello, and greatly comforted by the Red +Goblin, who now went unto this Signore, speaking so well of the +young man that the latter ere long had a new trial. And +this time, I warrant you, he studied his case like a lawyer; for +<i>asino punto</i>, <i>convien che trottè</i>—when +an ass is goaded he must needs trot—and the end thereof was +that he trotted out of prison, and thence into the world, and +having learned repentance as well as the art of watching his wits +and turning them to account, prospered mightily, and to his dying +day never forgot to pray for the Red Goblin of the +Bargello.”</p> +<div class="gapspace"> </div> +<p>There have been other spirits which haunted prisons; there was +one in the Bastile, and the White Ladies of <!-- page 163--><a +name="page163"></a><span class="pagenum">p. 163</span>Berlin and +Parma are of their kind. This of the Bargello is certainly +the household sprite with the red cap, in a short shirt, who was +very well known to the Etruscans and Romans, and afterwards to +the Germans, the <i>Lutin</i> of the French castles, the Robin +Goodfellow of England, and the Domovoy of the Russians. His +characteristics are reckless good nature mingled with mischief +and revenge; but he is always, when not thwarted, at heart a +<i>bon garçon</i>. Of the Bargello I have also the +following anecdotes or correlative incidents:</p> +<p style="text-align: center"><span +class="smcap">Giorgio</span>.</p> +<p>“Truly I will not swear that this is a story of the +Bargello, for I am very particular as to truth, Signore, but I +will swear that ’tis of a prison in Florence, and that when +it happened the Bargello was the only prison there. And it +runs thus: Giorgio, whoever he was, had killed a man, and as the +law ran in his case, in those strange days, he could not be +executed till he had confessed or owned the deed. And he +would not confess.</p> +<p>“Now there was a lawyer, <i>un notaio</i>, <i>ò +chi che si fosse</i> (or whoever he was), who declared that he +would bring to pass with a trick what justice had not been able +to do with torture. So going to the prison, he called for +wine, and when they had drunk deep he cried heartily:</p> +<p>“‘<i>Orsú</i>, <i>Giorgio</i>, <i>stiamo un +poco allegri</i>, <i>cantiam qualche +cosa</i>’—‘Come now, Giorgio, let’s be +merry and sing something!’</p> +<p>“‘<i>Come ti piace</i>’—‘As you +please,’ quoth Master Giorgio. ‘You sing one +line.’</p> +<p>“So the notary began, touching a lute:</p> +<blockquote><p>“‘Giorgi hà morto +l’huomo.’<br /> +“‘Giorgio once killed a man.’</p> +</blockquote> +<p>“To which Giorgio, who was sharp as a razor, added:</p> +<blockquote><p>“‘Così non canta +Giorgio.’<br /> +“‘But it was not thus that Giorgio sang.’</p> +</blockquote> +<p>“So it passed into a proverb, meaning as much as +<i>Così non dico io</i>—I don’t say that; or +<i>Così non l’intendo io</i>—I don’t see +<!-- page 164--><a name="page164"></a><span class="pagenum">p. +164</span>it in that light. And so the notary found that +you cannot see Verona from the top of every hill.</p> +<p>“And there is another story of a prisoner, who had long +curling hair in the old Florentine style. Hair, Signore, +like charity, may cover much sin. Now this man, after he +had been a while in the Bargello, got his sentence, which was to +have his ears cropped off. But when the <i>boia</i> or +hangman came to do the job, he found that the man had had his +ears cut off smooth long before. Whence came the +proverb:</p> +<blockquote><p>“‘Quel che havea mozzi gli orecchi,<br +/> +E’ci sara de gli arreticati.’</p> +<p>“‘He whose ears had been cut away,<br /> +Fooled another, or so they say.’</p> +</blockquote> +<p>Which is a proverb to this day, when a man finds that somebody +has been before him.</p> +<p>“And it may have been that Donatello, the great +sculptor, was in the Bargello when he said, +‘<i>E’rise a me ed io riso à +lui</i>’—‘He laughs at me, and I do laugh at +him.’ Donatello was <i>in quistione</i>, or in +trouble with the law, and in prison, for having killed one of his +pupils. The Marquis di Ferrara asked him if he was +guilty. But Donatello had already received from the Marquis +a license to slay any one in self-defence, and so he made that +answer.”</p> +<p style="text-align: center"><span class="smcap">A Legend of the +Bargello</span>.</p> +<p>“One day a young man, who had been gaming and lost, +threw some dirt at an image of the Virgin in one of the numerous +shrines in the city, blaming her for his bad luck. He was +observed by a boy, who reported it to the authorities, and was +soon arrested. Having confessed that he did it in a rage at +having lost, he was hanged the same night from one of the windows +of the Bargello.” <a name="citation164"></a><a +href="#footnote164" class="citation">[164]</a></p> +<div class="gapspace"> </div> +<p>Thereby adding another ghost or <i>folletto</i> to those who +already haunt the place. It should be noted that according +to Italian witch-lore a ghost is never simply the spirit of the +departed as he <i>was</i>, but a spirit transformed. A +witch becomes a <i>fata</i>, good or bad, and all men something +more than they were.</p> +<p><!-- page 165--><a name="page165"></a><span class="pagenum">p. +165</span>Among other small legends or tales in which the +Bargello is referred to, I find the following, of which I must +first mention that <i>debito</i> in Italian means not only debt +but duty, and that <i>fare un debito</i> is not only to get into +debt, but to do what is just, upright, and honourable.</p> +<blockquote><p>“It happened once, long ago, that a certain +good fellow was being escorted, truly not by a guard of honour, +but by several bum-bailiffs, to the Bargello, and met a friend +who asked him why he was in custody. To which he replied, +‘Other men are arrested and punished for crime or villainy, +but I am treated thus for having acted honourably, <i>per aver +fatto il debito mio</i>.’</p> +<p>“And it happened to this same man that after he had been +entertained for a time at the public expense in that <i>gran +albergo</i>, or great hotel, the Bargello, that the Council of +Eight, or the public magistracy, gave him a hearing, and told him +that he must promptly pay the debt which he owed, which was one +of fifty <i>scudi</i> or crowns. To which he replied that +he could not. Then the chief of the Eight said, ‘We +will find out a way to make you pay it, be sure of +that.’ To which he answered, ‘<i>De gratia</i>, +<i>Signore</i>, while you are about it, then, make it a hundred, +for I have great need just now of another fifty +crowns.’”</p> +</blockquote> +<p>Prisoners in the Bargello, as elsewhere, were subject to the +most appalling injustice and cruelty. Thus we are told of +Cosimo di Medici, when he was doing all in his power to +assassinate or poison Piero Strozzi, that he was always very +circumspect as regarded the venom, “and did not use it till +he had studied the effects and doses on condemned prisoners in +the Bargello.” But “condemned prisoners” +here means doubtless those who were simply condemned to be made +the subjects of such experiments, as may be supposed, when we +learn that Cosimo obtained the recipe of making up a poison from +Messer Apollino, secretary of Piero Luigi, by <i>torturing</i> +him. It was thus they did in good old pious times. +Poisoning, as a most familiar and frequent thing, even in +England, did not pass <!-- page 166--><a name="page166"></a><span +class="pagenum">p. 166</span>out of practice, even in politics, +until that great beginning of a moral era, the Reformation.</p> +<p>“<i>Hæc fabula docet</i>,” wrote the good +and wise Flaxius on the revise, “that as a <i>Zoccolone</i> +friar is the best priest for a peasant, so even a <i>buon +diavolo</i>, or jolly devil, or a boon blackguard who knows his +men, is, perhaps, generally the best guide for certain kinds of +rough sinners, often setting them aright in life where a holy +saint would be <i>inter sacrem et saxum</i>, or in despair. +As for poisoning, I fear <i>that</i> cup, far from passing away, +is, under another form, passed round far more frequently now than +it ever was. For François Villon declared that lying +gossip, tittle-tattle, and second-hand slander were worse than +poison (which simply kills the body), and this with infinite +refinement prevails far more in modern society (being aided by +newspapers) than it ever did of yore anywhere. <i>This</i> +is the poison of the present day, which has more +<i>veneficæ</i> to spread it than the Locustan or Borgian +venoms ever found. Now for a merrier tale!”</p> +<blockquote><p>“If all that’s written, talked or +sunge<br /> + Must be of the follies of menne,<br /> +’Twere better that no one moved his tongue,<br /> + Or that none could use a penne.</p> +<p>“Jog on, jog on the footpath-waye,<br /> + And cheerily jump the stile;<br /> +A merry heart goes all the daye,<br /> + A sad one tires in a mile!”</p> +</blockquote> +<h3><!-- page 167--><a name="page167"></a><span +class="pagenum">p. 167</span>LEGENDS OF SAN LORENZO<br /> +<span class="smcap">the canon and the debtor, and the cats in the +cloister</span></h3> +<blockquote><p>“Pazienza, paziendum!<br /> +Disse il diavolo a Sant Antonium.”</p> +<p>“A scratching he heard and a horrible groan,<br /> +As of hundreds of cats with mollrowing and moan:<br /> +‘Oh!’ said he to himself, ‘sure the devil is +come.’”</p> +<p style="text-align: right">—<i>Mr. Jones and the +Cats</i>.</p> +</blockquote> +<p>The celebrated Church of San Lorenzo is a grand museum of art, +even among the many of its kind in Florence. It was +originally a Roman Christian basilica, built by the matron +Giuliana, which edifice was consecrated <span +class="smcap">a.d.</span> 373 by Saint Ambrose, and called the +Basilica Ambrosiana. It was partially rebuilt by +Brunelleschi in 1435, and completed with sad alteration, and +finished by Antonio Manetti. As is well known, or has been +made known by many great poets, it contains the grandest statuary +by Michael Angelo in its monuments of Lorenzo de’ Medici +and his uncle Giuliano.</p> +<p>This church served as a sanctuary in the olden time, and of +this there is a tale told in the old collections of +facetiæ, which, though trifling, is worth recalling as +connected with it.</p> +<p style="text-align: center"><span class="smcap">Il +Debitore</span>.</p> +<p>“Messer Paolo dell’ Ottonaio, a Canon of San +Lorenzo in Florence, a cheerful and facetious man, found a +certain citizen one of his friends, who had taken refuge as a +debtor in the church; and the latter stood in sorrowful and +pensive attitude, having in no wise the appearance of one who had +found <!-- page 168--><a name="page168"></a><span +class="pagenum">p. 168</span>a treasure, or who was going to be +married, or to dine with the Duke, or anything of the kind.</p> +<p>“‘Man, what aileth thee?’ cried the +Canon. ‘Has thy wife beaten thee, or the cat broken +thy best crockery, or thy favourite housemaid run +away?’</p> +<p>“‘What I have,’ replied the poor man, +‘is ten times worse than all that put +together.’ And so, <i>havendo caro di sfogarsi</i>, +being glad to relieve himself, he told Messer Paolo all his +sorrows, wailing that his creditors, having taken all his +property, threatened his person, swearing that they would put him +in the <i>Stinche</i>, which was so horrible a prison that it was +infamous even then all the world over as an <i>inferno</i> where +every one confined at once became <i>infermo</i>, or a hell which +made men ill, and that, being in despair, he would have taken his +own life had he not come across a charming book on patience which +had consoled him.</p> +<p>“Messer Paolo asked him whether the creditors had been +paid in full.</p> +<p>“‘Alas, no!’ replied the debtor; ‘not +one half; nor will they ever get the rest, for I have +naught.’</p> +<p>“‘In that case,’ answered the Canon, +‘it seems to me that it is your creditors and not you who +should read that charming book, since it is evident that, as they +are to have nothing till the Greek Kalends, or on Saint +Never’s day, that they must have patience whether they will +or no.’</p> +<p>“Well, as the saying is, <i>Pazienza vince scienza</i> +(Patience beats knowledge), and <i>Chi ha pazienza vede le sue +vendette</i> (Wait long enough and you’ll get your +revenges), the Canon got for the poor man money enough to make a +composition with his creditors, and he, having expectations which +they knew not of, compounded with them for five per cent., on +conditions written, that he should pay all up ‘as he earned +more money.’</p> +<p>“And so he was set free, and it befell on a day that +some relation died and left him a fortune, whereupon his +creditors summoned him to pay his old debts, which he refused to +do. Then they cited him before the Council as a fraudulent +debtor, but he replied by showing his quittance or agreement, and +declared that he was only obliged to pay out of his +<i>earnings</i>, and that he had inherited his money and not +earned it. Whereupon there was great dispute, and one of +the creditors who had shown himself most unfeeling and inhuman +protested that to get money in any way whatever was to +<i>guadagnare</i> (a gain by labour), since it was labour even to +put it in one’s <!-- page 169--><a name="page169"></a><span +class="pagenum">p. 169</span>pocket. Now, this man had a +handsome wife, who, it was generally known, greatly enriched her +husband by dishonouring him, at which he willingly winked.</p> +<p>“Whereupon the debtor asked the magistrate if an ox +carried off a bundle of hay on his horns, which had by chance +been stuck into it, he could be said to have earned it by honest +labour? At which there was such a roar of laughter, and so +many cries of ‘No! no! no!’ that the court went no +further, and acquitted the culprit.”</p> +<div class="gapspace"> </div> +<p>There is an odd bit of folklore attached to this church. +As may be supposed, and as I have frequently verified, “the +idle repetition of vain words,” as the heathen do, or +prayers in a language which people do not understand, generally +lead to most ridiculous perversions of the unknown tongue. +A popular specimen of this is the <i>Salve Regina delle Ciane +Fiorentine di San Lorenzo</i>, or the “<i>Salve Regina</i> +of the Florentine women of the lower class, as given in San +Lorenzo.” <i>Ciana</i> is given by Barretti as a +specially Florentine word.</p> +<p style="text-align: center"><span class="smcap">La Salve +Regina</span>.</p> +<p>“Sarvia della Regina, dreco la Misericordia, vita +d’un cieco, spezia nostra, sarvia tua, te chiamao esule, +fili e vacche!</p> +<p>“Ate sospirao, i’ gemeo fetente in barca e lacrima +la valle.</p> +<p>“L’ la eggo educata nostra, <i>illons in +tus</i>.</p> +<p>“Misericordia se’ cieli e in ossi e coperte, e +lesine benedette, frutti, ventri, tubi, novi, posti cocche, +esilio e tende!</p> +<p>“O crema, o pia, o dorce virgola +Maria!—Ammenne!”</p> +<div class="gapspace"> </div> +<p>This is perfectly in the spirit of the Middle Ages, of which +so much is still found in the cheapest popular Italian +literature. I have elsewhere mentioned that it was long +before the Reformation, when the Church was at the height of her +power, that blasphemies, travesties of religious services, and +scathing sarcasms of monkish life reached their extreme, and were +never equalled afterwards, even by Protestant satirists. +The <i>Epistolæ Obscurorum Virorum</i> of Hütten and +Reuchlin was an <!-- page 170--><a name="page170"></a><span +class="pagenum">p. 170</span>avowed caricature by an enemy. +The revelations of monkish life by Boccaccio, Cintio, Arlotto, +and a hundred other good Catholics, were a thousand times more +damaging than the <i>Epistolæ</i>, because they were the +unconscious betrayals of friends.</p> +<p>Since writing the foregoing, I have obtained the following, +entitled, <i>The Pater Noster of the Country People in the Old +Market</i>, or,</p> +<p style="text-align: center"><span class="smcap">Il Pater Noster +dei Beceri di Mercato</span>.</p> +<p>“Pate nostro quisin celi sanctifice tuore nome tumme; +avvenia regno tumme; fia te volunta stua, in celo en terra.</p> +<p>“Pane nostro cotediano da nobis sodie, e dimitti nobis +debita nostra, sicutte ette nos dimittimus debitori nostri, sette +ananossie in due casse, intenzione sedie nosse e +mulo.—Amenne!”</p> +<div class="gapspace"> </div> +<p>There is, however, this great difference in the two prayers +here given, that the <i>Salve Regina</i> is intended for a jest, +while the paternoster is given as actually taken down from a +<i>ciana</i>, and is rather a specimen of dialect than a <i>jeu +d’esprit</i>. The following <i>Ave Maria</i> is also +serious, and simply a curiosity of language:—</p> +<p style="text-align: center"><span class="smcap">L’Ave +Maria</span>.</p> +<p>“Avemmaria grazia piena, dominò teco beneditta e +frustris, e mulieri busse e benedetti fruttus ventris tui +eiusse!</p> +<p>“Santa Maria Materdei, ora pro nobisse, pecatoribusse, +tinche, tinona, mortis nostrisse.—Ammenne!”</p> +<div class="gapspace"> </div> +<p>These specimens of Italianised Latin are not so grotesque as +some which were written out for me in all seriousness by a poor +woman. A specimen of the latter is given in my work on +“Etruscan-Roman Traditions.”</p> +<p>Last of all, there came to me a small tale of little value, +save that it professes to account for the reason why so many cats +have ever flourished and been nourished in <!-- page 171--><a +name="page171"></a><span class="pagenum">p. 171</span>the +cloister of San Lorenzo, these felines being, indeed, in a small +way among the lions of Florence. It is as +follows:—</p> +<p style="text-align: center"><span class="smcap">I Gatti di San +Lorenzo</span>.</p> +<p>“In the cloisters of San Lorenzo there are many cats, +and every evening people may be seen who go there to feed them, +among whom are many old men and women. But these cats were +long ago themselves human, that is to say, they were once all +wizards and witches, who bear their present form for punishment +of an evil deed.</p> +<p>“There was once a very wealthy and powerful family in +Florence, at the head of which was a gentleman and lady who had +an only daughter, in whom was all their love and hope. +Among their servants in a higher position was an old woman, who +was very vindictive and easily offended, so that she could brood +over deadly revenge for years for the least affront, and she +fancied she had a great many, because when she had neglected her +duty at times she had been scolded by her mistress or master.</p> +<p>“Now this old woman knew that death or disaster to the +daughter would drive the parents mad; and so having recourse to +witchcraft, she put into the drink of the young lady a decoction, +the result of which was that she began to waste away, growing +weaker and paler, without feeling any pain.</p> +<p>“Then her parents, in great fear, consulted the best +physicians, who did no good, for indeed it was a case beyond +their skill. And at last, beginning to believe that there +was something unearthly in it all, they sent for an old woman who +cured by occult art. <a name="citation171"></a><a +href="#footnote171" class="citation">[171]</a> And when she +came she looked steadily at the girl, then frowned and shook her +head, and asked for a ribbon or cord, no matter what, so that it +were one which the young lady had worn about her waist. +With this she measured accurately the height of the patient from +head to foot, and then the width from hand to hand, it being +desirous that the arms be of equal length; but there was the +disproportion of the thickness of a piece of money. Then +the witch said:</p> +<p>“‘This is none of my affair as regards the +cure. Your daughter is bewitched, and I can indeed make the +witch appear, but to beat her and compel her to remove the spell +depends on you alone.’</p> +<p><!-- page 172--><a name="page172"></a><span class="pagenum">p. +172</span>“Now they, suspecting the old servant, sent for +her, but she had disappeared and could not be found. Then +the doctress took a caldron, and put into it hot water and the +undergarments of the girl and certain herbs, and boiled them all +together, singing an incantation, and, taking a knife, sharpened +it on the table, whetting it on the chemise of the young +lady.</p> +<p>“Then the old servant woman appeared at the door, +against her will, forced by the power of the spell, in an agony +of rage and bitterness; but she was at once seized and beaten, +whereupon she consented to unbewitch the girl, who speedily +recovered.</p> +<p>“Now Florence was at that time fearfully afflicted with +evil witches, who defied all authority, and spread disease and +death far and wide; but this affair of the bewitched lady being +made known, both priests and laymen rose up in wrath, and the +sorceress fled for sanctuary to the cloisters of San Lorenzo.</p> +<p>“Then to save their lives the <i>Strege</i> made a +compromise with the priests, and it was agreed that they should +no longer live as witches, or do any harm, but all live and die +as cats in the cloister, where they should be regularly fed, and +exist in peace. Which agreement has been duly carried out +to this day, and among these cats are many who were once witches +in human form hundreds of years ago.”</p> +<div class="gapspace"> </div> +<p>This narrative is not so much a story as an account of the +manner in which bewitchment is undone by another witch. The +reader will find the incantations in the chapter entitled +“The Spell of the Boiling Clothes,” in my work on +“Etruscan-Roman Remains.” One of the most +serious riots which has occurred in Milan for many years took +place March 3, 1891, when the populace tortured terribly and +tried to kill a witch, who had, it was believed, been detected by +this spell.</p> +<div class="gapspace"> </div> +<p>“<i>Hæc fabula docet</i>,” adds the wise +Flaxius, “this story suggests a reason why a certain kind +of ladies of ecclesiastical proclivities are always called +tabbies. And that there is something in it I can well +believe, knowing one who, when she calls her rector or bishop +‘<i>De-ar man</i>!’ does so in a manner <!-- page +173--><a name="page173"></a><span class="pagenum">p. +173</span>which marvellously suggests the purring of a cat. +And the manner in which the tabby pounces on the small birds, +mice, and gold-fish of others—<i>i.e.</i>, their +peccadilloes, and small pets or pleasures, which in good faith do +her no harm—seems like literally copying the +feline—upon line. . . .</p> +<p>“Oh! ye who visit the cloister, and see the cats, think +well on this legend, and especially on the deep identity of +witches with tabbies!</p> +<p>“And for a moral, note that, with all their sins, what +the witches and cats aimed at above all things was <i>food</i>, +with which they have remained content, according to the exquisite +lyric by the divine Shelley, p. 661, Dowden’s +edition:—</p> +<blockquote><p>“‘This poor little cat<br /> + Only wanted a rat,<br /> +To stuff out its own little maw,<br /> + And it were as good<br /> + Some people had such food<br /> +To make them <i>hold their jaw</i>.’”</p> +</blockquote> +<h2><!-- page 174--><a name="page174"></a><span +class="pagenum">p. 174</span>LEGEND OF THE PIAZZA SAN BIAGIO</h2> +<blockquote><p>“For by diabolical art he assumed varied +forms, even the human, and deceived people by many occult +tricks.”—<span class="smcap">Fromann</span>, +<i>Tractatus de Fascinatione</i>, 1675.</p> +</blockquote> +<p>This is a slight tale of light value, and not new, but it has +assumed local colour, and may amuse the reader.</p> +<p>“It was a great art of witches and sorcerers of old to +give a man or woman by art the appearance of another person, and +this they called ‘drawing white lines with charcoal,’ +and there is many a fine tale about it. Now it was about +the time when Berta spun and owls wore silk cloaks that a Signore +Nannincino lived in the old Piazza San Biagio. He had many +small possessions in Florence, but the roast chickens of the +supper, or his great piece, was an estate in the country called +the Mula a Quinto, for which all his relations longed, like +wolves for a fat sheep. And Nannincini, being sharp to a +keen edge, and knowing how to lend water and borrow wine, had +promised this estate in secret to everybody, and got from them +many a gratification, and supped and dined with them for years, +yet after this died without leaving a will.</p> +<p>“Then six of his relations assembled and resolved to +secure the property, though they invoked the devil. And to +aid them they took a certain scamp named Giano di Selva, who +somewhat resembled the departed Nannincino, and he, calling in a +witch of his acquaintance, was made by sorcery to look as much +like the defunct as two beads of the same rosary. So +Nannincino was removed and Giano put in his place, where he lay +still for an hour, and then began to show signs of life. +And after a time he called for a notary and began to make his +will. First he left a house to one, and his sword to +another, and so on, till it came to the Mula a Quinto.</p> +<p>“‘And who shall have the Mula a Quinto, dear good +uncle?’ asked a nephew.</p> +<p><!-- page 175--><a name="page175"></a><span class="pagenum">p. +175</span>“‘That,’ replied the dying man, +‘I leave to my good friend, the only true friend I ever +had, the noblest of men—’</p> +<p>“‘But what is his <i>name</i>?’ asked the +nephew.</p> +<p>“‘Giano di Selva,’ gasped the dying +man. And it was written down by the notary, and the will +was signed, and the signer died immediately after. All +their shaking could not revive him.</p> +<p>“The tale ends with these words: <i>E così +ingannati gli ingannatori</i>, <i>rimase Giano herede del +podere</i>—And thus the biters being bit, d’ye see, +Giano took a handsome property.”</p> +<p>“And does his ghost still promenade the +palace?”</p> +<p>“To oblige you, Signore, for this once—<i>place a +lei il comandare</i>—it does. The ghost +walks—always when the rent fails to come in, and there is +no money in the treasury—<i>cammina</i>, <i>cammina per un +fil di spada</i>—walks as straight as an acrobat on a +rope. But I cannot give you a walking ghost of a rascal to +every house, Signore. If all the knaves who made fortunes +by trickery were to take to haunting our houses in Florence, they +would have to lie ten in a bed, or live one hundred in a room, +and ghosts, as you know, love to be alone. <i>Mille +grazie</i>, Signore Carlo! This will keep <i>our</i> ghost +from walking for a week.”</p> +<p>“Of which remark here made that ‘<i>the ghost doth +walk</i>,’” comments the sage Flaxius, “when +money is forbidden unto man (which is so commonly heard in +theatrical circles when the weekly salary is not paid), I have no +doubt that it comes from the many ancient legends which assign a +jealous guardian sprite to every hoard. And thus in +Spenser’s wondrous ‘Faerie Queene’ the +marvellous stores in Mammon’s treasury, ‘embost with +massy gold of glorious guifte,’ were watched by</p> +<blockquote><p>“‘An ugly feend more fowle than +dismall day;<br /> +The which with monstrous stalk behind him stept,<br /> +And ever as he went dew watch upon him kept.’</p> +</blockquote> +<p>“The which quotation is in its turn otherwise curious +since it gave, I doubt not, the original suggestion to Coleridge +of the verse wherein mention is made in simile of one who walks +in tear and dread, and dares not turn his head—</p> +<blockquote><p>“‘For well he knows a griesly fiend<br +/> +Doth close behind him tread.’</p> +</blockquote> +<p>“‘More or less accurately, my masters, more or +less.’ ‘’Tis sixty years +since’—I read the original.”</p> +<h2><!-- page 176--><a name="page176"></a><span +class="pagenum">p. 176</span>THE SPIRIT OF THE PORTA SAN +GALLO</h2> +<blockquote><p>“And both the undying fish that swim<br /> +Through Bowscale Tarn did wait on him:<br /> +The pair were servants of his eye<br /> +In their immortality;<br /> +They moved about in open sight,<br /> +To and fro, for his delight.”</p> +<p style="text-align: right">—<span +class="smcap">Wordsworth</span>, <i>Poems of the +Imagination</i>.</p> +</blockquote> +<p>The reader should never at once infer that a legend is recent +because it is attached to a new place. Spirits and +traditions are like the goblin of Norse tale, who moved with the +family. The family changed its home to get rid of him, but +on the way the elf popped his head out and remarked, “<i>Wi +flütten</i>” (“We’re flitting” or +moving). The ghost of Benjamin Franklin long haunted the +library which he had founded in Philadelphia, and when the +library or books were transferred to a new building, the ghost +went with them and his statue. And in like manner the +legend of the religious person, male or female, who is also a +<i>fish</i> has travelled over many lands, till it came to the +<i>vasca</i> or basin of the Porto San Gallo. Thus Leonard +Vair, in his charming <i>Trois Livres des Charmes</i>, +<i>Sorcelages ou Enchantemens</i>, Paris, 1583, tells us that +“there is a cloister in Burgundy, by which there is a pond, +and in this pond are as many fish as there be monks in the +cloister. And when one of the fish swims on the surface of +the water and beats with its tail, then one of the monks is ever +ill.” But there is a mass of early Christian or +un-Christian folklore which identifies “Catholic +clergy-women” with fish, even as Quakers are identified in +Philadelphia with shad. In Germany all maids just in <!-- +page 177--><a name="page177"></a><span class="pagenum">p. +177</span>their teens are called <i>Backfisch</i>, that is, +pan-fish or <i>fritures</i>, from their youth and liveliness, or +delicacy. We may read in Friedrich that the fish is a +common Christian symbol of immortality, which fully accounts for +all legends of certain of them living for ever. The story +which I have to tell is as follows:—</p> +<p style="text-align: center"><span class="smcap">Lo Spirito +della Vasca della Porta San Gallo</span>.</p> +<p>“In this fountain-basin is found a pretty little fish, +which is always there, and which no one can catch, because it +always escapes with great <i>lestezza</i> or agility.</p> +<p>“And this is the queen of all the other fish, or else +the Spirit of the Fountain.</p> +<p>“This spirit, while on earth, was a beautiful girl who +loved an official, and he fell ill and was in the military +hospital.</p> +<p>“The parents of the maid opposed her marriage with this +official, though he was so much in love with her that it and +anxiety had made him ill. Then the maid became a nun so +that she might be near him in illness, and nurse him in his last +moments, which indeed came to pass, for he died, nor did she long +survive him.</p> +<p>“Then her mother, who had magic power (<i>essendo stata +una fata</i> <a name="citation177"></a><a href="#footnote177" +class="citation">[177]</a>), regretted having opposed her +daughter’s love and that of the young man, since it had +caused the death of both. And to amend this she so +enchanted them that by night both became <i>folletti</i> or +spirits haunting the hospital, while by day the maid becomes a +little fish living in the fountain. But when seen by night +she appears as a pretty little nun (<i>una bella monachina</i>), +and goes to the hospital to nurse the invalids, for which she +has, indeed, a passion. And if any one of them observes +her, he feels better, but in that instant she vanishes, and is in +the arms of her lover. But sometimes it happens that he +becomes jealous of a patient, and then he vexes the poor man in +every way, twitching off his covering, and playing him all kinds +of spiteful tricks.”</p> +<div class="gapspace"> </div> +<p>It is otherwise narrated, in a more consistent, and certainly +more traditionally truthful manner, that both <!-- page 178--><a +name="page178"></a><span class="pagenum">p. 178</span>the lovers +are fish by day and <i>folletti</i> by night. This brings +the legend to close resemblance with the undying fish of Bowscale +Tarn, recorded in Wordsworth’s beautiful song at the feast +of Brougham Castle in the “Poems of the +Imagination.”</p> +<div class="gapspace"> </div> +<p>“’Tis worth noting,” pens the observant +Flaxius on this, “that in days of yore fish, feminines, and +fascination were considered so inseparable that Dr. Johannes +Christian Fromann wrote a chapter on this mystical trinity, +observing that music was, as an attractor, connected with them, +as shown by dolphins, syrens, Arions, and things of that +sort. And he quoted—yea, in the holy Latin +tongue—many instances of fishers who entice their finny +prey by playing flutes:</p> +<blockquote><p>“‘Which thing I doubted till I saw +that Doubt<br /> + Pursued, its refutation oft begets,<br /> +When in America I once found out<br /> + That shad were caught by means of castin’ +nets!’”</p> +</blockquote> +<h2><!-- page 179--><a name="page179"></a><span +class="pagenum">p. 179</span>STORY OF THE PODESTÀ WHO WAS +LONG ON HIS JOURNEY<br /> +<span class="smcap">a legend of the duomo</span></h2> +<blockquote><p>“Were I ten times as tedious, I would find +it in my heart to bestow it all on +you.”—<i>Dogberry</i>.</p> +</blockquote> +<p>This little tale is told by the Florentine Poggio, who was +born in 1380 and died in 1459, yet lived—in his well-known +<i>Facezie</i>. But as it ever was and is a folk-story, +independently of the great jester, I think it worthy of a place +in this collection.</p> +<p>“There was once a podestà sent from Rome to +govern Florence, and truly he was of that kind who to a +farthing’s worth of sense have ten ducats’ value in +self-conceit; for if vanity could have kept a man warm, he never +would have had need to buy blankets. And this was most +shown in his belief that he was a great orator, though he was so +intolerably stupid and slow that his speeches were like the +post-rider of Giordano, who in good weather sometimes got as far +as five miles a day.</p> +<p>“Now he was to be inducted into office in the Cathedral, +in the presence of the <i>priori</i>, or notables of the city of +Florence, and so begun a discourse in which he first of all +described how great a man he had been as senator in Rome, and +what he had done, and what everybody else connected with him had +done, and all the details of his departure from the Eternal City; +and then depicted a banquet given to him at Sutro, and so went +on, telling everything about everybody, till, after several hours +of terribly tiresome discourse, he had got no farther than +Siena.</p> +<p>“Now by this time, as Poggio words it, ‘This +excessive length of wearisome narration had so exhausted his +auditors that they began to fear that the entire day would be +spent on <!-- page 180--><a name="page180"></a><span +class="pagenum">p. 180</span>the road,’ and at last, as the +shades of night began to fall, one who was present rose and +said:</p> +<p>“‘Monsignore, I beg you to remember that it is +growing late, and you must really get on a little faster in your +journey, for if you are not in Florence to-day, the gates will be +shut, and unless you get here in time you will not be allowed to +enter, and thus you will miss being ordained, and cannot enter on +your office.’</p> +<p>“Which having heard, the man of many words promptly +concluded his speech by saying that he was really in +Florence.”</p> +<div class="gapspace"> </div> +<p>Southey, in “The Doctor,” has narrated a number of +instances of tedious discourse, but none, I think, quite equal to +this.</p> +<p>There is a shadow under every lamp, a devil’s chapel +close by every church, and even of the venerable and holy Duomo +of Florence there are such tales as the following:</p> +<p style="text-align: center"><span class="smcap">La Messa +de’ Villani</span>.</p> +<p>“If there is any faith to be put in old stories and +ancient books, even the ladies and gentleman, to say nothing of +priests, used such language in their ordinary conversation, in +good old Medici times, as would not be heard among any but the +lowest people now-a-days. Well, as the saying is:</p> +<blockquote><p>“‘Ne di tempo, nè di +Signoria,<br /> +Non ti dar malinconia.’</p> +<p>“‘Fret not thyself for time long past away,<br /> +For weather, nor for what the great may say.’</p> +</blockquote> +<p>“Well, it happened one morning in Florence that a +<i>gentil donna</i>, who, I take it, was more <i>donna</i> than +truly <i>gentil</i>, whatever her rank may have been, meeting at +the door of the Duomo a very ordinary and rough figure of her +acquaintance, who had only made himself look more vulgar by new +and gaudy clothes, asked him as he came out:</p> +<p>“‘Is the Cads’ Mass <a +name="citation180"></a><a href="#footnote180" +class="citation">[180]</a> over already?’</p> +<p>“To which he, in nowise put out, promptly replied:</p> +<p>“‘Yes, Madonna, and that of the Demireps is just +going to <!-- page 181--><a name="page181"></a><span +class="pagenum">p. 181</span>begin; <a name="citation181"></a><a +href="#footnote181" class="citation">[181]</a> only hurry, and +you’ll be there in time with the rest of +’em!’</p> +<p>“And that lifted him to celebrity, for in those famous +days a small joke often made a great reputation. Ah! +Signore—a great many of us have been born into this world +four hundred years too late—more’s the pity! +However, the lady learned the truth of the old proverb, +‘<i>Guardati del villan</i>, <i>quando hà la camicia +bianca</i>’—‘Look out for a vulgar fellow when +he has a clean shirt on,’ for then he thinks himself fine +enough to say anything saucy.</p> +<p>“And there is yet another story of the same sort, +Signore; indeed, I think that while the world lasts there will +always be a few of them left for steady customers, under the +counter, like smuggled goods in Venice; and it is this: It befell +once that a Florentine fell in love with a lady, who was like her +mother, <i>come il ramo al tronco +s’assomiglia</i>—‘as the bough to the tree, or +very much worse than she ought to be;’ for the dear mamma +was like the Porta San Niccolò, only not so well +famed.</p> +<p>“However, the gentleman wedded her, never heeding the +proverb:</p> +<blockquote><p>“‘Let every wooer be afraid<br /> +To wed a maiden not a maid;<br /> +For sooner or later, as ’tis said,<br /> +She’ll turn again unto her trade.’</p> +</blockquote> +<p>“However, in this case the proverb got the lie, for the +lady after she was married behaved with great propriety, and yet +was often reminded that she had better have repented before she +sinned than after; for many would not speak to her, for all her +wealth, till she was well convinced that <i>Che profitta +ravedersi dopo il fatto</i>?</p> +<blockquote><p>“‘When the deed has once been done,<br +/> +What is the use of repenting, my son?’</p> +</blockquote> +<p>“So it befell one morning that the poor soul was praying +in the Cathedral or Duomo, as many another poor sinner had done +before her (doubtless on the same spot), when a noble lady, who +had never been found out in any naughtiness (some people are +certainly very lucky in this world, Signore Carlo!), came by, and +seeing the penitent, drew in her robe, turned up her nose, and +retreated as if the other had the plague. To which the +Magdalen replied, in a sad but firm voice, ‘Madonna, <!-- +page 182--><a name="page182"></a><span class="pagenum">p. +182</span>you need not be afraid to touch me, for I assure you +that the malady (of which I have, I trust, been thoroughly cured) +attacks none save those who wish to have it.’”</p> +<div class="gapspace"> </div> +<p>When standing in the Cathedral, the visitor may remember that +here Santo Crescenzio, who died in 424, once wrought a miracle, +thus recorded in his “Life” of the fourteenth +century:</p> +<blockquote><p>“A poor man had come into the Cathedral and +saw no light (<i>i.e.</i>, was blind), and going to where Saint +Crescentius was, implored him with great piety that he would +cause the light to return unto him. And being moved to +pity, he made the sign of the cross in the eyes of the blind man, +and incontinently the light was restored unto him. Saint +Crescentius did not wish this to be made known, and pretended to +know nothing about it, but he could not conceal such +miracles.”</p> +</blockquote> +<p>Of which the immortal Flaxius remarks, that “it is +singular that so many saints who wished to keep their miracles +unknown had not the forethought to make silence a condition of +cure. Also, that of all the wonder-working once effected by +the holy men of the Church, the only gift now remaining to them +is the miraculous power of changing sons and daughters into +nephews and nieces; the which, as I am assured, is still as +flourishing as ever, and permitted as a proof of +transubstantiation.” Thus it is that simple heretics +deride holy men. And Flaxius is, I bid ye note, a sinner, +in whose antique, unsanctified derision I most assuredly do take +no part, “it being in bad form in this our age to believe +or disbelieve in anything,” and therefore in bad style to +laugh at aught.</p> +<p>It may be worth recalling, when looking out on the Cathedral +Square, that it was here that San Zenobio performed another great +miracle, recorded in all his lives, but most briefly in the +poetical one:</p> +<blockquote><p>“Then did he raise an orphan from the +dead,<br /> +The only son of a poor widow, he,<br /> +A cart with oxen passing o’er his head,<br /> +Died in the Duomo Square in misery;<br /> +<!-- page 183--><a name="page183"></a><span class="pagenum">p. +183</span>But though all crushed, the Saint restored his life,<br +/> +And, well and gay and bright as stars do shine,<br /> +He went to his mother, and the pious wife<br /> +Gave thanks to God for mercy all divine.”</p> +</blockquote> +<p>Which being witnessed, says the <i>Vita San Zenobii</i>, all +who were present began to sing, “<i>Gloria tibi Domine qui +mirabilia per servos tuos in nobis operari dignatus es</i>, +<i>gloria sit tibi-i et laus in +sæcu-la—sec-u-lo-o-o-rum</i>, <i>A-men</i>.</p> +<p>Which, if they sung it as I heard it sung yesterday in the +Cathedral of Siena, must have had an extremely soporific effect, +lulling all others to sleep, and causing them to see beatific +visions beyond all belief. I had in my boyhood a teacher +named Professor Sears C. Walker, who was wont to tell how he had +once heard in a rural New England village a church congregation +sing:</p> +<blockquote><p>“Before thy throne the angels +bow-wow-wow-ow!”</p> +</blockquote> +<p>But to hear the <i>bow-wow</i> in perfection, one must go to +Rome. A pack in full cry or a chorus of owls is nothing to +it. But let us pass on to a fresh story.</p> +<h2><!-- page 184--><a name="page184"></a><span +class="pagenum">p. 184</span>LEGENDS OF THE BOBOLI GARDENS: THE +OLD GARDENER, AND THE TWO STATUES AND THE FAIRY</h2> +<blockquote><p>“He found such strange enchantment there,<br +/> +In that garden sweet and rare,<br /> +Where night and day<br /> +The nightingales still sing their roundelay,<br /> +And plashing fountains ’neath the verdure play,<br /> +That for his life he could not thence away;<br /> +And even yet, though he hath long been dead,<br /> +’Tis said his spirit haunts the pleasant shade.”</p> +<p style="text-align: right">—<i>The Ring of +Charlemagne</i>.</p> +</blockquote> +<p>A great showman, as I have heard, once declared that in +establishing a menagerie, one should have the indispensable lion, +an <i>obligato</i> elephant, a requisite tiger, an essential +camel, and imperative monkeys. One of the +“indispensable lions” of Florence is the Boboli +Gardens, joining the Pitti Palace, which, from their careful +preservation in their original condition, give an admirable idea +of what gardens were like in an age when far more was thought of +them than now as places of habitual resort and enjoyment, and +when they entered into all literature and life. Abraham +à Santa Clara once wrote a discourse against gardens, as +making life too happy or simple, basing his idea on the fact that +sin originated in the Garden of Eden.</p> +<p>The Boboli Gardens were planned by Il Tribolo for Cosimo di +Medici. The ground which they occupy is greatly varied, +rising high in some places, from which very beautiful views of +Florence, with its “walls and churches, palaces and +towers,” may be seen. Of their <!-- page 185--><a +name="page185"></a><span class="pagenum">p. 185</span>many +attractions the guide-book remarks poetically in very nearly the +following words:—</p> +<blockquote><p>“Its long-embowered walks, like lengthened +arbours,<br /> +Are well adapted to the summer’s sun;<br /> +While statues, terraces, and vases add<br /> +Still more unto its splendour. All around<br /> +We see attractive statues, and of these<br /> +A number really are restored antiques,<br /> +And many by good artists; best of all<br /> +Are four by mighty Michel Angelo,<br /> +Made for the second Julius, and meant<br /> +To decorate his tomb. You see them at<br /> +The angles of the grotto opposite<br /> +The entrance to the gardens. Of this grot<br /> +The famous Redi sang in verse grotesque:</p> +<p>“Ye satyrs, in a trice<br /> + Leave your low jests and verses rough and hobbly,<br +/> +And bring me a good fragment of the ice<br /> + Kept in the grotto of the Garden Boboli.<br /> + + +With nicks and picks<br /> + + +Of hammers and sticks,<br /> + + +Disintegrate it<br /> + + +And separate it,<br /> + + +Break it and split it,<br /> + + +Splinter and slit it!<br /> +Till at the end ’tis fairly ground and rolled<br /> +Into the finest powder, freezing cold.”</p> +</blockquote> +<p>There are also, among the things worth seeing, the Venus by +Giovanni of Boulogne (called di Bologna); the Apollo and Ceres by +Baccio Bandinelli; the group of Paris carrying off Helen by V. +de’ Rossi, and the old Roman fountain-bath and +obelisk. The trees and flowers, shrubbery and +<i>boschetti</i>, are charming; and if the reader often visits +them, long sitting in the sylvan shade on sunny days, he will not +fail to feel that strange enchantment which seems to haunt +certain places, and people them with dreams, if not with +elves.</p> +<p>The fascination of these dark arbours old, and of the antique +gardens, has been recognised by many authors, and there are, I +suppose, few visitors to Florence who have not felt it and +recalled it years after in distant lands as one recalls a +dream. Therefore, I read with interest <!-- page 186--><a +name="page186"></a><span class="pagenum">p. 186</span>or sympathy +the following, which, though amounting to nothing as a legend, is +still valuable as setting forth the fascination of the place, and +how it dates even from him who gave the Boboli Gardens their +name:</p> +<p style="text-align: center"><span class="smcap">Il Giardino +Boboli</span>.</p> +<p>“The Boboli Garden is the most beautiful in Europe.</p> +<p>“Boboli was the name of the farmer who cultivated the +land before it was bought by Cosimo de’ Medici and his wife +Eleanora.</p> +<p>“After he had sold the property he remained buried in +grief, because he had an attachment for it such as some form for +a dog or a cat. And so great was his love for it that it +never left his mind, nor could he ever say amen to it; for on +whatever subject he might discourse, it always came in like one +who will not be kept out, and his refrain was, ‘Well, +you’ll see that my place will become <i>il nido degli +amori</i> (the nest of loves), and I myself after my death will +never be absent from it.’ His friends tried to +dissuade him from thinking so much of it, saying that he would +end by being lunatic, but he persevered in it till he died.</p> +<p>“And it really came to pass as he said; for soon after +his death, and ever since, many have on moonlight nights seen his +spirit occupied in working in the gardens.”</p> +<div class="gapspace"> </div> +<p>The story is a pretty one, and it is strangely paralleled by +one narrated in my own Memoirs of the old Penington mansion in +Philadelphia, the gardens of which were haunted by a gentle +ghost, a lady who had lived there in her life, and who was, after +her death, often seen watering the flowers in them by +moonlight. And thus do—</p> + +<blockquote><p> “printless +footsteps fall<br /> +By the spots they loved before.”</p> +</blockquote> +<p>The second legend which I recovered, relating to the Boboli +Gardens, is as follows:</p> +<p style="text-align: center"><!-- page 187--><a +name="page187"></a><span class="pagenum">p. 187</span><span +class="smcap">Le Due Statue e la Ninfa</span>.</p> +<p>“There are in the Boboli Gardens two statues of two +imprisoned kings, and it is said that every night a beautiful +fairy of the grotto clad in white rises from the water, emerging +perfectly dry, and converses with the captive kings for one hour, +going alternately from one to the other, as if bearing mutual +messages, and then returns to the grotto, gliding over the ground +without touching the grass with her feet, and after this vanishes +in the water.”</p> +<p>“This tale is, as I conceive,” writes the +observant Flaxius, “an allegory, or, as Petrus Berchorius +would have called it, a <i>moralisation</i>, the marrow whereof +is as follows: The two captive kings are Labour and Capital, who +have, indeed, been long enchained, evil tongues telling each that +the other was his deadly foe, while the fairy is Wise Reform, who +passes her time in consoling and reconciling them. And it +shall come to pass that when the go-betweens or brokering +mischief-makers are silenced, then the kings will be free and +allied.”</p> +<blockquote><p>“Then indeed, as you may see,<br /> +All the world will happy be!”</p> +</blockquote> +<p><i>Vivat Sequenz</i>! Now for the next story.</p> +<h2><!-- page 188--><a name="page188"></a><span +class="pagenum">p. 188</span>HOW LA VIA DELLA MOSCA GOT ITS +NAME</h2> +<p class="poetry">“Puer—abige Muscas!”</p> +<p style="text-align: right" class="poetry">—<i>Cicero de +Orat.</i>, 60.</p> +<p>The following story contains no new or original elements, as +it is only an ordinary tale of transformation by witchcraft, but +as it accounts for the origin of the name of a street in Florence +I give it place:—</p> +<p style="text-align: center"><span class="smcap">La Via della +Mosca</span>.</p> +<p>“This is the way that the Via della Mosca, or the Street +of the Fly, got its name. There once dwelt in it, in a very +old house, a family which, while of rank, were not very wealthy, +and therefore lived in a retired manner. There were father, +mother, and one daughter, who was wonderfully +beautiful—<i>un vero occhio di sole</i>.</p> +<p>“And as the sun hath its shadow, so there was a living +darkness in this family in a <i>donna di servizio</i>, a servant +woman who had been many years with them, who had a daughter of +her own, who was also a beauty of a kind, but as dark as the +other was fair; the two were like day and night, and as they +differed in face, so were they unlike in soul. For the +young signora had not a fault in her; she would not have caused +any one pain even to have her own way or please her vanity, and +they say the devil will drop dead whenever he shall meet with +such a woman as <i>that</i>. However, he never met with +this young lady, I suppose, because he is living yet. And +the young lady was so gentle of heart that she never said an ill +word of any one, while the maid and her mother never opened their +mouths save for gossip and slander. And she was so occupied +with constant charity, and caring for poor children, and finding +work for poor people, that she never thought about her own beauty +at all, and when people told her that <i>chi nasce bella</i>, +<!-- page 189--><a name="page189"></a><span class="pagenum">p. +189</span><i>nasce maritata</i> (Whoever is born pretty is born +to be married), she would reply, ‘Pretty or ugly, there are +things more important in life than weddings.’</p> +<p>“And so far did she carry this, that she gave no heed at +all to a very gallant and handsome yet good-hearted honourable +wealthy young gentleman who lived in a palazzo opposite, and who, +from watching and admiring her, had ended by falling desperately +in love. So he made a proposal of marriage to her through +her parents, but she replied (having had her mind, in truth, on +other things) that she was too much taken up with other duties to +properly care for a husband, and that her dowry was not +sufficient to correspond to his wealth, however generous he might +be in dispensing with one. And as she was as firm and +determined as she was gentle and good, she resolutely kept him at +arm’s length. But firmness is nothing against fate, +and he ‘who runs away with nimble feet, in the war of love +at last will beat.’ <a name="citation189"></a><a +href="#footnote189" class="citation">[189]</a></p> +<p>“Now, if she was indifferent to the young signore, the +dark maid-servant was not, for she had fallen as much in love +with him as an evil, selfish nature would permit her, and she +planned and plotted with her mother by night and by day to bring +about what she desired. Now, the old woman, unknown to all, +was a witch, as all wicked women really are—they rot away +with vanity and self-will and evil feelings till their hearts are +like tinder or gunpowder, and then some day comes a spark of the +devil’s fire, and they flash out into witches of some +kind.</p> +<p>“The young signore had a great love for boating on the +Arno, which was a deeper river in those days; he would often pass +half the night in his boat. Now, the mother and daughter so +contrived it that the young signorina should return very late on +a certain night from visiting the poor, accompanied by the old +woman. And when just in the middle of the Ponte Vecchio the +mother gave a whistle, and lo! there came a sudden and terrible +blast of wind, which lifted up the young lady and whirled her +over the bridge into the rushing river underneath.</p> +<p>“But, as fate would have it, the young man was in his +boat just below, and fortune fell down to him, as it were, from +heaven; for seeing a form float or flit past him in the water and +the darkness, he caught at it and drew it into the boat, <!-- +page 190--><a name="page190"></a><span class="pagenum">p. +190</span>and truly Pilate’s wife was not so astonished +when the roast capon rose up in the dish and crowed as was this +boatman at finding what he had fished up out of the stream.</p> +<p>“There is a saying of a very unlucky contrary sort of +man that <i>casco in Arno ed arse</i> (He fell in the Arno and +burnt himself). But in this case, by luck, the falling of +the young lady into the river caused her heart to burn with love, +for so bravely and courteously and kindly did the young signore +behave, conveying her promptly home without a sign of love-making +or hint of the past, that she began to reconsider her refusal, +and the end thereof was a betrothal, by which the mother and +daughter were maddened to think that they had only hastened and +aided what they had tried to prevent.</p> +<p>“Now, it is true that bad people put ten times as much +strong will and hard work into their evil acts as good folk do +into better deeds, because the latter think their cause will help +itself along, while the sinners know perfectly well that they +must help themselves or lose. So the witch only persevered +the more, and at last she hit on this plan. With much +devilish ado she enchanted a comb of thorns, so that whoever was +combed with it would turn into a fly, and must remain one till +the witch bade the victim assume his or her usual form.</p> +<p>“Then on the bridal morn the old woman offered to comb +out the long golden locks of the young lady, and she did so, no +other person being present, so she began her incantation:</p> +<blockquote><p>“‘Earthly beauty fade away,<br /> +Maiden’s form no longer stay,<br /> +For a fly thou shalt become,<br /> +And as a busy insect hum,<br /> +<i>Hum—hum—brum—brum</i>!<br /> +<i>Buzz-uz-uz</i> about the room!</p> +<p>“‘Ope thine eyes and spread thy wings,<br /> +Pass away to insect things.<br /> +Now the world will hate thee more<br /> +Than it ever loved before<br /> +When it hears thy ceaseless hum,<br /> +<i>Buzz-uz-uz</i> about the room!’</p> +</blockquote> +<p>“And hearing this, the bride sank into a deep sleep, +during which she changed into a fly, and so soared up to the +ceiling and about the room, buzzing indeed.</p> +<p>“Now, with all her cleverness, the witch had missed a +stitch in her sorcery, for she had not combed hard enough to +<i>draw blood</i>, being afraid to wake the maid; hence it came +to pass <!-- page 191--><a name="page191"></a><span +class="pagenum">p. 191</span>that instead of a small common fly +she became a very large and exquisitely beautiful one, with a +head like gold, a silver body, and beautiful blue and silver +wings like her bridal dress. And she was not confined to +buzzing, for she had the power to sing one verse. However, +when the change took place, the old woman rushed from the room +screaming like mad, declaring that her young mistress was a witch +who had turned into a fly as soon as she had touched her with a +consecrated comb which had been dipped in holy water, and to this +she added many lies, as that a witch to avoid the holy sacrament +of marriage always changed her form, and that she had always +suspected the signorina of being a witch ever since she had seen +her fly in the wind over the Arno to the young signore.</p> +<p>“But when they went to look at the fly, and found it so +large and beautiful, they were amazed, nor were they less +astonished when they heard it begin to buzz with a most +entrancing strangely sweet sound, and then sing:—</p> +<blockquote><p>“‘Be ye not amazed that I<br /> +Am enchanted as a fly,<br /> +Evil witchcraft was around me,<br /> +Evil witches’ spells have bound me:<br /> +Now I am a fly I know,<br /> +But woe to her who made me so!’</p> +</blockquote> +<p>“And when the young signore stretched out his hand, the +fly came buzzing with joy and lighted like a bird on his finger, +and this she did with great joy whenever any of the poor whom she +had befriended came to see her, and so she behaved to all whom +she had loved. And when it was observed that the fly had no +fear of holy things, but seemed to love them, all believed in her +song.</p> +<p>“Till one day the young signore, calling all the family +and friends together, said: ‘This is certainly true, that +she who was to have been my wife is here, turned into a +fly. And as for her being a witch, ye can all see that she +fears neither holy water nor a crucifix. But I believe that +these women here, her nurse and daughter, have filled our ears +with lies, and that the nurse herself is the sorceress who hath +done the evil deed. Now, I propose that we take all three, +the fly, the mother, and daughter, and hang the room with +verbena, which I have provided, and sprinkle the three with much +holy water, all of us making the <i>castagna</i> and +<i>jettatura</i>, and see what will come of it.’</p> +<p>“Then the two witches began to scream and protest in a +<!-- page 192--><a name="page192"></a><span class="pagenum">p. +192</span>rage, but as soon as they opened their mouths, holy +water was dashed into their faces, whereat they howled more +horribly than ever, and at last promised, if their lives should +be spared in any manner, to tell the whole truth, and to +disenchant the bride. Which they forthwith did.</p> +<p>“Then those present seized the witches, and said: +‘Your lives shall indeed be spared, but it is only just +that ere ye go ye shall be as nicely combed, according to the +proverb which says, “Comb me and I’ll comb +thee!”’</p> +<p>“Said and done, but the combing this time drew blood, +and the mother and daughter, shrinking smaller and smaller, flew +away at last as two vile carrion-flies through the window.</p> +<p>“And as the story spread about Florence, every one came +to see the house where this had happened, and so it was that the +street got the name of the <i>Via della Mosca</i> or Fly +Lane.”</p> +<div class="gapspace"> </div> +<p>There is a curious point in this story well worth +noting. In it the sorceress lulls the maiden to sleep +before transforming her, that is, causes her death before +reviving her with a comb of thorns. Now, the thorn is a +deep symbol of death—naturally enough from its dagger-like +form—all over the world wherever it grows. As +Schwenck writes:</p> +<blockquote><p>“In the Germanic mythology the thorn is an +emblem of death, as is the nearly allied long and deep +slumber—the idea being that death kills with a sharp +instrument which is called in the Edda the sleep-thorn, which +belongs to Odin the god of death. It also occurs as a +person in the Nibelungen Lied as Högni, Hagen, ‘the +thorn who kills Siegfried.’ The tale of +Dornröschen (the sleeping beauty), owes its origin to the +sleep-thorn, which is, however, derived from the death-thorn, +death being an eternal sleep.”</p> +</blockquote> +<p>This is all true, and sleep is like death. But the +soothing influence of a comb produces sleep quite apart from any +association with death.</p> +<p>Apropos of flies, there is a saying, which is, like all new or +eccentric sayings, or old and odd ones revived, called +“American.” It is, “There are no flies on +him,” or more vulgarly, “I ain’t got no flies +on <i>me</i>,” and signifies <!-- page 193--><a +name="page193"></a><span class="pagenum">p. 193</span>that the +person thus exempt is so brisk and active, and “flies +round” at such a rate, that no insect has an opportunity to +alight on him. The same saying occurs in the <i>Proverbi +Italiani</i> of Orlando Pescetti, Venice, 1618, <i>Non si lascia +posar le mosche addosso</i> (He lets no flies light on him).</p> +<p>When I was a small boy in America, the general teaching to us +was that it was cruel to kill flies, and I have heard it +illustrated with a tale of an utterly depraved little girl of +three years, who, addressing a poor fly which was buzzing in the +window-pane, said:</p> +<p>“Do you love your Dod, ’ittle fy?”</p> +<p>“Do you want to <i>see</i> your Dod, ’ittle +fy?”</p> +<p>“Well” (with a vicious jab of the finger), +“you <span class="smcap">shall</span>!”</p> +<p>And with the last word the soul of the fly had departed to +settle its accounts in another world. Writing here in +Siena, the most fly-accursed or Beelzebubbed town in Italy, on +July 25th, being detained by illness, I love that little angel of +a girl, and think with utter loathing and contempt of dear old +Uncle Toby and his “Go—go, poor fly!” +True, I agree with him to his second “go,” but there +our sentiments diverge—the reader may complete the sentence +for himself—out of Ernulphus!</p> +<p>On which the wise Flaxius comments as follows on the proof +with his red pencil:</p> +<blockquote><p>“It hath been observed by the learned that +the speed of a fly, were he to make even a slight effort to go +directly onwards, would be from seventy to eighty miles an hour, +during which transit he would find far more attractive food, +pleasanter places wherein to buzz about, and more beautiful views +than he meets with in this humble room of mine, wherein I, from +hour to hour, do with a towel rise and slay his kind. Oh, +reader! how many men there are who, to soaring far and wide in +life amid honeyed flowers and pleasant places, prefer to buzz +about in short flights in little rooms where they can tease some +one, and defile all they touch as domestic gossips do—but, +’tis enough! <i>Mutato nomine de te fabula +narratur</i>!”</p> +</blockquote> +<h2><!-- page 194--><a name="page194"></a><span +class="pagenum">p. 194</span>THE ROMAN VASE<br /> +<span class="smcap">a legend of bellosguardo</span></h2> +<blockquote><p>“From Tuscan Bellosguardo<br /> +Where Galileo stood at nights to take<br /> +The vision of the stars, we have found it hard,<br /> +Gazing upon the earth and heavens, to make<br /> +A choice of beauty.”—<span class="smcap">Elizabeth +Barrett Browning</span>.</p> +</blockquote> +<p>Bellosguardo is an eminence on a height, crowned with an +ancient, castle-like monastery, from which there is a magnificent +view of Florence. It is a haunted legendary spot; +<i>fate</i> and witches sweep round its walls by night, while the +cry of the <i>civetta</i> makes music for their aërial +dance, and in the depths of the hill lie buried mystic treasures, +or the relics of mysterious beings of the olden time, and the +gnome of the rocks there has his dwelling in subterranean +caves. Of this place I have the following legend from +Maddalena:</p> +<p style="text-align: center"><span class="smcap">Il Vaso +Romano</span>.</p> +<p>“There was, long ago, in the time of Duke Lorenzo di +Medici, a young gardener, who was handsome, clever, and learned +beyond the other men of his kind, a man given somewhat to +witchcraft and mysteries of ancient days, for he had learned +Latin of the monks and read books of history.</p> +<p>“And one day when he was working with his companions in +the garden of Bellosguardo, taking out stones, they came to an +old Roman vase, which the rest would fain have broken to pieces +as a heathenish and foul thing, because there was carved on it +the figure of a beautiful Pagan goddess, and it was full of the +ashes of some dead person. But the young man suddenly felt +a great passion, a desire to possess it, and <!-- page 195--><a +name="page195"></a><span class="pagenum">p. 195</span>it seemed +as if something said to him, ‘<i>Con questo vaso ciè +un mistero</i>.’</p> +<blockquote><p>“‘Mine own in truth that vase shall +ever be,<br /> +For there is in it some strange mystery.’</p> +</blockquote> +<p>“So he begged for it, and it was readily granted to +him. And looking at it, he perceived that it was carved of +fine marble, and that the figure on it was that of a beautiful +nymph, or a Bellaria flying in the air, and there came from the +ashes which it held a sweet odour of some perfume which was +unknown to him. Now as he had, <i>sentito ragionare tanto +di fate</i>, heard much talk of supernatural beings, so he +reflected: ‘Some <i>fata</i> must have dwelt here in days +of old, and she was here buried, and this vase is now as a body +from which the spirit freely passes, therefore I will show it +respect.’</p> +<p>“And so he hung round the neck of the vase a wreath of +the most beautiful and fragrant roses, and draped a veil over it +to shield it from dust, and set it up under cover in his own +garden, and sang to it as follows:</p> +<blockquote><p>“‘Vaso! o mio bel vaso!<br /> +Di rose ti ho contornato.<br /> +La rosa e un bel fior,<br /> +Più bello e il suo odor.”</p> +<p>“‘Vase, oh lovely vase of mine!<br /> +With roses I thy neck entwine;<br /> +The rose is beautiful in bloom,<br /> +More beautiful its sweet perfume,<br /> +The finest rose above I place,<br /> +To give the whole a crowning grace,<br /> +As thou dost crown my dwelling-place<br /> +Another rose I hide within,<br /> +As thou so long hast hidden been,<br /> +Since Roman life in thee I see,<br /> +Rosa Romana thou shalt be!<br /> +And ever thus be called by me!<br /> +And as the rose in early spring<br /> +Rises to re-awakening,<br /> +Be it in garden, fair, or plain,<br /> +From death to blooming life again,<br /> +So rise, oh fairy of the flowers,<br /> +And seek again these shady bowers!<br /> +Come every morning to command<br /> +My flowers, and with thy tiny hand<br /> +Curve the green leaf and bend the bough,<br /> +And teach the blossoms how to blow;<br /> +But while you give them living care,<br /> +Do not neglect the gardener;<br /> +<!-- page 196--><a name="page196"></a><span class="pagenum">p. +196</span>And as he saved your lovely urn,<br /> +I pray protect him too in turn,<br /> +Even as I this veil have twined,<br /> +To guard thee from the sun and wind:<br /> +Oh, Fairy of the Vase—to you,<br /> +As Queen of all the Fairies too,<br /> +And Goddess of the fairest flowers<br /> +In earthly fields or elfin bowers,<br /> +To thee with earnest heart I pray,<br /> +Grant me such favour as you may.’ <a +name="citation196"></a><a href="#footnote196" +class="citation">[196]</a></p> +</blockquote> +<p>“Then he saw slowly rising from the vase, little by +little, a beautiful woman, who sang:</p> +<blockquote><p>“‘Tell me what is thy desire,<br /> +Oh youth, and what dost thou require?<br /> +From realms afar I come to thee,<br /> +For thou indeed hast summoned me,<br /> +With such sweet love and gentleness,<br /> +That I in turn thy life would bless,<br /> +And aye thy fond protectress be.<br /> +What would’st thou, youth, I ask, of me?’</p> +</blockquote> +<p>“And the young man replied:</p> +<blockquote><p>“‘Fair lady, at a glance I knew,<br /> +Thy urn and felt thy spirit too,<br /> +And straight the yearning through me sped,<br /> +To raise thee from the living dead;<br /> +I felt thy spell upon my brow,<br /> +And loved thee as I love thee now.<br /> +Even as I loved unknown before,<br /> +And so shall love thee evermore,<br /> +And happiness enough ’twould be<br /> +If thou would’st ever live with me!’</p> +</blockquote> +<p>“Then the spirit replied:</p> +<blockquote><p>“‘A debt indeed to thee I owe,<br /> +And full reward will I bestow;<br /> +The roses which thou’st given me<br /> +With laurel well repaid shall be;<br /> +Without thy rose I had not risen<br /> +Again from this my earthly prison,<br /> +And as it raised me to the skies,<br /> +So by the laurel thou shalt rise!’</p> +</blockquote> +<p><!-- page 197--><a name="page197"></a><span class="pagenum">p. +197</span>“The youth answered:</p> +<blockquote><p>“‘Every evening at thy shrine<br /> +Fresh roses, lady, I will twine;<br /> +But tell me next what ’tis for fate<br /> +That I must do, or what await?’</p> +</blockquote> +<p>“The fairy sang:</p> +<blockquote><p>“‘A mighty mission, youth, indeed<br +/> +Hast thou to fill, and that with speed,<br /> +Since it depends on thee to save<br /> +All Florence from a yawning grave,<br /> +From the worst form of blood and fire,<br /> +And sword and conflagration dire.<br /> +Thou dost the Duke Lorenzo know;<br /> +Straight to that mighty leader go!<br /> +The Chieftain of the Medici,<br /> +And tell him what I tell to thee,<br /> +That he is compassed all about<br /> +With armed enemies without,<br /> +Who soon will bold attack begin,<br /> +Linked to conspiracy within;<br /> +And bid him ere the two have crossed,<br /> +To rise in strength or all is lost,<br /> +Ring loud the storm-bell in alarms,<br /> +Summon all Florence straight to arms:<br /> +Lorenzo knows well what to do.<br /> +Take thou thy sword and battle too!<br /> +And in the fray I’ll look to thee:<br /> +Go forth, my friend, to victory.’</p> +</blockquote> +<p>“Then the young man went to the Duke Lorenzo, and told +him, with words of fire which bore conviction, of the great peril +which threatened him. Then there was indeed alarming and +arming, and a terrible battle all night long, in which the young +man fought bravely, having been made captain of a company which +turned the fight. And the Grand Duke, impressed by his +genius and his valour, gave him an immense reward.</p> +<p>“So he rose in life, and became a <i>gran signore</i>, +and one of the Council in Florence, and lord of Bellosguardo, and +never neglected to twine every day a fresh wreath of roses round +the Roman vase, and every evening he was visited by the +fairy. And so it went on well with him till he died, and +after that the spirit was seen no more. The witches say +that the vase is, however, somewhere still in Florence, and that +while it exists the city will prosper; but to call the fairy +again it must be crowned with roses, and he who does so must +pronounce with such faith as the gardener had, the same +incantation.”</p> +<div class="gapspace"> </div> +<p><!-- page 198--><a name="page198"></a><span class="pagenum">p. +198</span>What is remarkable in the original text of this tale is +the rudeness and crudeness of the language in which it is +written, which is indeed so great that its real spirit or meaning +might easily escape any one not familiar with such +composition. But I believe that I have rendered it very +faithfully.</p> +<p>There seems to be that, however, in Bellosguardo which +inspires every poet. Two of the most beautiful passages in +English literature, one by Elizabeth Barrett Browning, and +another by Hawthorne, describe the views seen from it. The +castle itself is deeply impressed on my memory, for during the +past nine months I have never once raised my eyes from the table +where I write without beholding it in full view before me across +the Arno, even as I behold it now.</p> +<p>I cannot help observing that the mysterious sentiment which +seized on the hero of this tale when he found his virgin relic, +was marvellously like that which inspired Keats when he addressed +his Ode to a Grecian Urn:</p> +<blockquote><p>“Thou still unravished bride of +quietness!<br /> +Thou foster-child of Silence and slow Time,<br /> +Sylvan historian who canst thus express<br /> +A flowery tale more sweetly than our rhyme:<br /> +What leaf-fringed legend haunts about thy shape?”</p> +</blockquote> +<p>That which I have here given is truly a leaf-fringed legend, +for it is bordered with the petals of roses and embalmed with +their perfume, and one which in the hands of a great master might +have been made into a really beautiful poem. It came near a +very gay rhymer at least in the Duke Lorenzo de’ Medici, +whose songs, which were a little more than free, and rather more +loose than easy, were the delight and disgrace of his time. +And yet I cannot help rejoicing to meet this magnificent patron +of art and letters at so late a day in a purely popular +tale. There are <i>men</i> of beauty who are also a joy for +ever, as well as things, and Lorenzo was one of them.</p> +<p><!-- page 199--><a name="page199"></a><span class="pagenum">p. +199</span>It is worth noting that just as the fairy in this tale +reveals to Lorenzo that Florence is threatened by enemies, just +so it happened that unto Saint Zenobio, standing rapt in divine +contemplation in his cavern, it was announced that the same city +was about to be assailed by cruel barbarians, who, as Sigbert +relates in his Chronicle of 407 <span class="smcap">a.d.</span>, +were the two hundred thousand Goths led by Radagasio into +Italy. But they were soon driven away by the Saint’s +prayers and penitence. It would be curious if one legend +had here passed into another:</p> +<blockquote><p>“So visions in a vision live again,<br /> +And dreams in dreams are wondrously transfused;<br /> +Gold turning into grey as clouds do change,<br /> +And shifting hues as they assume new forms.”</p> +</blockquote> +<p>Apropos of Saint Zenobio of Florence, I will here give +something which should have been included with the legend of the +Croce al Trebbio, but which I obtained too late for that +purpose. It would appear from the <i>Iscrizioni e Memorie +di Firenze</i>, by F. Bigazzi (1887), that the <i>pillar</i> of +the cross was really erected to commemorate a victory over +heretics, but that the cross itself was added by the Saints +Ambrosio and Zenobio, “on account of a great +mystery”—which mystery is, I believe, fully explained +by the legend which I have given. The inscription when +complete was as follows:</p> +<blockquote><p style="text-align: center"><span +class="smcap">sanctus ambrosius cum sancto zenobio propter grande +misterium</span><br /> +<span class="smcap">hunc crucem hic locaverunt. et in mcccxxxviii +noviter die</span><br /> +<span class="smcap">10 augusti reconsecrata est p. d. m. +francisc. flor.</span><br /> +<span class="smcap">episcopum una cum aliis episcopis +m.</span></p> +</blockquote> +<p>A slightly different reading is given by Brocchi (<i>Vite +de’ Santi fiorentini</i>, 1742).</p> +<p><!-- page 200--><a name="page200"></a><span class="pagenum">p. +200</span>“Of which saint, be it observed,” writes +Flaxius, “that there is in England a very large and widely +extended family, or <i>stirps</i>, named Snobs, who may claim +that by affinity of name to Zenobio they are lineally or +collaterally his descendants, even as the Potts profess +connection with Pozzo del Borgo. But as it is said of this +family or <i>gens</i> that they are famed for laying claim to +every shadow of a shade of gentility, it may be that there is +truly no Zenobility about them. Truly there are a great +many more people in this world who are proud of their ancestors, +than there ever were ancestors who would have been proud of +them. The number of whom is as the sands of the sea, or as +Heine says, ‘more correctly speaking, as the mud on the +shore.’</p> +<blockquote><p>“‘The which, more eath it were for +mortall wight,<br /> +To sell the sands or count the starres on hye;<br /> +Or ought more hard, then thinke to reckon right . . .<br /> +Which—for my Muse herselfe now tyred has,<br /> +Unto another tale I’ll overpas.’”</p> +</blockquote> +<h2><!-- page 201--><a name="page201"></a><span +class="pagenum">p. 201</span>THE UNFORTUNATE PRIEST<br /> +<span class="smcap">a legend of la via dello +scheletro</span></h2> + +<blockquote><p> “Fear +and trembling Hope,<br /> +Silence and Foresight—Death the Skeleton,<br /> +And Time the Shadow.”—<span +class="smcap">Wordsworth</span>.</p> +<p>“If God were half so cruel as His priests,<br /> +It would go hard, I ween, with all of us.”</p> +</blockquote> +<p>I have elsewhere remarked that there is—chiefly about +the Duomo—a group of small streets bearing the dismal names +of Death, Hell, Purgatory, Limbo, Crucifixion, Our Lady of +Coughing (<i>delle Tosse</i>), The (last) Rest of Old Age, +Gallows Lane (<i>Via della Forca</i>), The Tombs, The Way of the +Discontented, <a name="citation201"></a><a href="#footnote201" +class="citation">[201]</a> Dire Need, Small Rags, Fag-End or +Stump, Bad Payers, and finally, the Via dello Scheletro, or +Skeleton Street. To which there belongs, as is appropriate, +a melancholy legend.</p> +<p style="text-align: center"><span class="smcap">La Via dello +Scheletro</span>.</p> +<p>“There once dwelt in what is now called the Street of +the Skeleton a priest attached to the Cathedral, who was in every +respect all that a good man of his calling and a true Christian +should be, as he was pious, kind-hearted, and charitable, passing +his life in seeking out the poor and teaching their children, +often bringing cases of need and suffering to the knowledge of +wealthier friends—which thing, were it more frequently done +by all, would do more to put an end to poverty than anything +else.</p> +<p class="poetry"><!-- page 202--><a name="page202"></a><span +class="pagenum">p. 202</span>“‘But he who is in +everything most human<br /> +May highest rise and yet the lowest fall;<br /> +And when a brave kind heart meets with <i>the</i> woman,<br /> +Our greatest duties seem extremely small,<br /> +And those which were the first became the least:<br /> +Even so it happened to this gentle priest.</p> +<p class="poetry">“‘In the old dwelling where he had +his home,<br /> +Which otherwise had been most drear and dull<br /> +At morn or eve did oft before him come<br /> +A girl as sweet as she was beautiful;<br /> +Full soon they learned that both in head and heart<br /> +Each was to each the very counterpart.</p> +<p class="poetry">“‘There is in every soul of finer +grain<br /> +A soul which is in self a soul apart,<br /> +Which to itself doth oft deep hid remain,<br /> +But leaps to life when Love awakes the heart.<br /> +Then as a vapour rises with the sun,<br /> +And blends with it, two souls pass into one.</p> +<p class="poetry">“‘And so it came that he would +sometimes kiss<br /> +Her lovely face, nor seemed it much to prove<br /> +That they in anything had done amiss.<br /> +Until, one night, there came the kiss of Love, <a +name="citation202"></a><a href="#footnote202" +class="citation">[202]</a><br /> +Disguised in friendly seeming like the rest—<br /> +Alas! he drove an arrow to her breast.</p> +<p class="poetry">“‘Then came the glow of +passion—new to both—<br /> +The honeymoon of utter recklessness,<br /> +When the most righteous casts away his oath,<br /> +And all is lost in sweet forgetfulness,<br /> +And life is steeped in joy, without, within,<br /> +And rapture seems the sweeter for the sin.</p> +<p class="poetry">“‘Then came in its due course the +sad awaking<br /> +To life and its grim claims, and all around<br /> +They found, in cold grim truth, without mistaking,<br /> +These claims for them did terribly abound;<br /> +And the poor priest was brought into despair<br /> +To find at every turn a foe was there.</p> +<p class="poetry">“‘To know our love is pure though +passionate,<br /> +And have it judged as if both foul and base,<br /> +Doth seem to us the bitterness of fate;<br /> +Yet in the world it is the usual case.<br /> +By it all priests are judged—yea, every one—<br /> +Never as Jesus would Himself have done.</p> +<p class="poetry"><!-- page 203--><a name="page203"></a><span +class="pagenum">p. 203</span>“‘Because the noblest +love with passion rings,<br /> +Therefore men cry ’tis <i>all</i> mere sexual sense,<br /> +As if the rose and the dirt from which it springs<br /> +Were one because of the same elements:<br /> +Therefore ’tis true that, of all sins accurst,<br /> +Is Gossip, for it always tells the worst.</p> +<p class="poetry">“‘So Gossip did its worst for these +poor souls.<br /> +The bishop made the priest appear before him,<br /> +And, as a power who destiny controls,<br /> +Informed him clearly he had hell before him,<br /> +And if he would preserve the priestly stole, <a +name="citation203a"></a><a href="#footnote203a" +class="citation">[203a]</a><br /> +Must leave his woman—or else lose his soul!</p> +<p class="poetry">“‘Now had this man had money, or if +he,<br /> +Like many of his calling, had been bold<br /> +With worldly air, then all this misery<br /> +Might have been ’scaped as one escapes the cold<br /> +By putting on a sheepskin, warm and fine;<br /> +But then hypocrisy was not his line.</p> +<p class="poetry">“‘His love was now a mother, and +the truth<br /> +Woke in him such a deep and earnest love,<br /> +That he would not have left her though in sooth<br /> +He had been summoned by the Power above;<br /> +And so the interdict was soon applied,<br /> +But on that day both child and mother died.</p> +<p class="poetry">“‘She, poor weak thing, could not +endure the strain,<br /> +So flickered out, and all within a day;<br /> +And then the priest, without apparent pain,<br /> +Began mysteriously to waste away,<br /> +And, shadow-like and silent as a mouse,<br /> +Men saw him steal into, or from, the house.</p> +<p class="poetry">“‘And thinner still and paler yet +he grew,<br /> +With every day some life from him seemed gone,<br /> +And all aghast, though living, men still knew<br /> +He had become a literal skeleton;<br /> +And so he died—in some world less severe<br /> +Than this to join the one he held so dear. <a +name="citation203b"></a><a href="#footnote203b" +class="citation">[203b]</a></p> +<p class="poetry">“‘Yet no one knew when ’twas +he passed away<br /> +Out of that shadowy form and ’scaped life’s power,<br +/> +For still ’twas seen beneath the moon’s pale ray,<br +/> +Or gliding through the court at twilight hour.<br /> +But there it still is seen—and so it came<br /> +The Via del Scheletro got its name.’”</p> +<p><!-- page 204--><a name="page204"></a><span class="pagenum">p. +204</span>There is not a word of all this which is +“Protestant invention,” for though I have poetised or +written up a very rude text, the narrative is strictly as I +received it. There is one point in it worth noticing, that +it is a matter of very general conviction in Italy that in such +matters of Church discipline as are involved in this story, it is +the small flies who are caught in the web, while the great ones +burst buzzing through it without harm, or that the weak and poor +(who are very often those with the best hearts and principles) +are most cruelly punished, where a bold, sensual, vulgar +<i>frate</i> makes light of and easily escapes all +accusations.</p> +<p>There is something sadly and strangely affecting in the +conception of a simply good and loving nature borne down by the +crush of the world and misapplied morality—or clerical +celibacy—into total wretchedness—a diamond dissolved +to air. One in reading this seems to hear the sad words of +one who thought his own name was written in water:</p> +<blockquote><p>“I am a shadow now, alas! alas!<br /> +Upon the skirts of human nature dwelling<br /> +Alone. I chant alone the holy mass,<br /> +While little signs of life are round me kneeling,<br /> +And glossy bees at noon do fieldward pass,<br /> +And many a chapel bell the hour is telling,<br /> +Paining me through: those sounds grow strange to me,<br /> +And thou art distant in Humanity!”</p> +</blockquote> +<h2><!-- page 205--><a name="page205"></a><span +class="pagenum">p. 205</span>THE MYSTERIOUS FIG-TREE<br /> +<span class="smcap">a legend of the via del fico</span></h2> +<blockquote><p>“In every plant lie marvellous mysteries,<br +/> +In every flower there is a dream divine;<br /> +The fig-tree bears the measure of a life,<br /> +And, as it leaves or fruits, our lives do pass,<br /> +And all things in each other subtly blend.”</p> +<p>“Ha chiappato il fico—<i>ficum +capit</i>.”—<i>Old Proverbs</i>.</p> +<p>“Quidam itidem medium digitum ostendunt, idque in +Hispania adhuc dicitur fieri, et <span class="smcap">Fica</span> +appellator, hic illudendi actus, de quo Eryc. Puteanus, +<i>loc. cit.</i>, p. 70.”—<i>Curiosus Amuletorum +Spectator</i>, D. Wolf, 1692.</p> +</blockquote> +<p>The following tale is, for reasons which I will subsequently +explain, one of the most remarkable which I have collected:</p> +<p style="text-align: center"><span class="smcap">La Via del +Fico</span>.</p> +<p>“There stood formerly in the Via del Fico a very ancient +palace with a garden, in which there grew a fig-tree which was +said to have grown of itself, or without ever having been +planted. This tree bore much fruit of great beauty.</p> +<p>“But however proud the owner of the tree was of its +beauty, or however much he might desire to have its fruit, +something always strangely occurred to prevent its being +enjoyed. For when any one was about to pluck it, there +suddenly appeared a great black dog, who, seizing men or women by +their garments, dragged them away, beginning to howl and bay. <a +name="citation205"></a><a href="#footnote205" +class="citation">[205]</a> And then they hurried away and +let the figs alone, in order to make the dog cease his terrible +unearthly baying; for it is believed to be an omen of death when +a dog utters such sounds, it being <!-- page 206--><a +name="page206"></a><span class="pagenum">p. 206</span>such a +presage of disaster as when a <i>civetta</i> or small owl hoots +on the roof.</p> +<p>“However, it sometimes happened that the dog did not +come, but those who took and ate the figs fared just as badly all +the same. For they soon began to feel ill and suffer dire +pains, and when they had gone into their bedrooms and laid down, +there always entered a beautiful girl clad in white, who began to +whirl round (<i>a girarsi</i>) or spin, making all the time a +great buzzing sound, until horror came over them, which when she +perceived, she vanished.</p> +<p>“And many tried also to lop off boughs from the +fig-tree, but they were found the second night replaced by a +perfect new growth with fully ripe fruit. And it was not +the least marvel of the tree that it was always in full leaf, +with abundance of ripe figs on it, even in winter, when there was +snow on the ground.</p> +<p>“One day men digging in the garden found a tablet of +stone or metal on which was inscribed:</p> +<blockquote><p>“‘Il fico rispettate<br /> +E non la toccate,’<br /> +E non cercate<br /> +Neppure mangiarne.’</p> +<p>“‘Respect the tree, and let it be,<br /> +From branch to root, nor touch its fruit!<br /> +Of itself the tree did grow,<br /> +From a dog who long ago,<br /> +Enchanted by the fairies’ power,<br /> +Was buried here in mystic hour;<br /> +Therefore we bid you let it stand,<br /> +And if you follow the command<br /> +You will be happy all your days,<br /> +But woe to him who disobeys!’</p> +</blockquote> +<p>“Now, the owner of the palazzo and garden was a man who +had no faith in old legends, or love for such mysteries as these, +and so he said, ‘It is time to put an end to all this +superstition, and I am determined to at once see whether all my +prosperity depends on a fig-tree; so do you cut it down and tear +it up, root and branch, utterly.’</p> +<p>“This was at once done by the labourers, but, while +doing so, they heard sounds as of wailing and great lamenting in +the earth beneath them. And when they, astonished, asked +the signore to listen to the voices, he replied, ‘Away with +your superstitions; we will see this time whether the tree will +grow or return again.’</p> +<p><!-- page 207--><a name="page207"></a><span class="pagenum">p. +207</span>“Truly it did not return, but passed away for +ever, and with it all the property and prosperity of the +lord. For in time he had to sell all he had, and, losing +what he got, died in poverty. Then those who had to go in +the street where his palace had been would say, ‘<i>Andiamo +nella Via del Fico</i>,’ just as they say, ‘<i>Andar +per la Via de’ Carri</i>,’ but meaning to ‘go +in the way of what is worthless or poverty-stricken,’ and +so it was that the street came by its name.”</p> +<div class="gapspace"> </div> +<p>This strange tale, which is evidently of great antiquity, and +deeply inspired with real witch tradition, has, indeed, nothing +in common with the pretty fairy stories which are so generally +presented as constituting the whole of popular narrative +folklore. It was not made nor intended to serve as a +pleasing tale for youth, but to embody certain ideas which the +witch-teacher explained to the pupil. The first of these +is, that the <i>fig-tree</i> planted under certain circumstances +became a kind of Luck of Eden Hall to its possessor. This +story comes from the Etruscan-Roman land, where traditions have +been preserved with incredible fidelity. In the olden time +Tarquin the Elder planted a fig-tree in a public place in Rome, +and it was a matter of common faith that this tree would flourish +for ever if undisturbed, and that on it depended the prosperity +and preservation of the city. <a name="citation207"></a><a +href="#footnote207" class="citation">[207]</a> And in +India, the motherland of Greek and Roman mythology, it was +believed that whenever one of certain ancient fig-trees died, +that the reigning family would pass away. The opinion was +widely spread that the fig-tree was above all others the one of +life and destiny. In the Bagvatgeta, Krishna says of +himself: “I am the spirit, the beginning, the middle, and +the end of creation. I am as the <i>Aswatha</i> (<i>pipal +</i>or Indian fig) among trees.” Hence it came that +many Christians believed that the Tree of Life in Eden was not an +apple but a fig-tree. The traditions which establish the +fig-tree as being above all others one on <!-- page 208--><a +name="page208"></a><span class="pagenum">p. 208</span>whose +existence that of individuals, families, and states depended, are +extremely numerous and varied. “It was,” +remarks Alt, “not only a symbol of fertility, but an emblem +of ever-renewed and never-extinguished <i>vitality</i>, and one +of eternity, the resurrection, and of the transmigration of the +soul.” On the celebrated altar in Ghent, the Tree of +Life is represented as a fig-tree (Menzel, <i>Christliche +Symbolik</i>, i. 277). This universal belief explains why +the fig-tree determines the duration and destiny of lives and +families.</p> +<p>It may have struck the reader as singular that those who eat +of the forbidden figs are punished by the visit of a beautiful +girl who whirls around with a buzzing sound till they are +overcome by awe. Here be it noted first of all, that the +fig, like the pear, is exactly the shape of a top, even the stem +representing the peg. Now, in ancient Latin witchlore or +sorcery, extraordinary magic power, or even sanctity, was +attached to everything which made a humming or buzzing +sound. It was supposed, when properly made, with certain +incantations or instruments, to be capable of throwing people +into a trance. Chief among these instruments was the +top. Thus Horace begs Crattidia to stop the enchantment of +the buzzing top (Ode xv. Book v.).</p> +<p>On this subject I find the following in <i>Diavoli e +Streghe</i>, by Dr. A. Zangolini, 1864:</p> +<blockquote><p>“The <i>rombo</i> <a +name="citation208"></a><a href="#footnote208" +class="citation">[208]</a> is an instrument not unlike the +<i>trottola</i> or peg-top of our boys, called in Latin +<i>turbo</i>, and in common language also +<i>paléo</i>. It was believed that with it in +witchcraft a lover could have his head turned with passion, or +that he would be turned at will while it spun. The same +held true of other disks (tee-totums) of wood, iron, or +copper.”</p> +</blockquote> +<p>This idea was extended to the hum of spinning-wheels, which +aided the conception of the Fates, and the thread <!-- page +209--><a name="page209"></a><span class="pagenum">p. 209</span>of +life, to the buzzing of bees and flies, and many other variations +of such sounds. Mr. Andrew Lang has in an admirable paper +shown that the <i>bull-roarer</i> has been regarded as so sacred +among certain savages that women, or the profane, were not +allowed to touch it. A bull-roarer is so easily +constructed, that it is remarkable how few people are familiar +with it. Take a common stick, say six inches in length, tie +a cord three feet long to one end, and, grasping the other, whirl +it round, with the result of astonishing all to whom it is not +familiar by its sound:</p> +<blockquote><p>“First it is but a gentle hum,<br /> + Like bird-song warbling in the trees,<br /> +Then like a torrent it doth foam,<br /> + And then a wild and roaring breeze.”</p> +</blockquote> +<p>When vigorously spun, it may be heard of a calm evening for a +mile, and its effect is then indescribably—I will not say, +as most novelists here would, “<i>weird</i>,” for I +do not know that it prophesies anything, but it is certainly most +suggestive of something mysterious.</p> +<p>Therefore the bayadere, with her spinning <i>pas seul</i> and +buzzing <i>romore</i>, who appears to the eater of the figs, is +the magic top in person, her form being taken from the fig. +The connection of the enchanted dog with the tree is not so +clear, but it may be observed that there is a vast mass of +tradition which makes the black dog a <i>chthonic</i>, that is, a +subterranean or under-earthly symbol, and that in this story he +comes out of the earth. This animal was a special favourite +of Hecate-Diana of the world below, the queen of all the +witches.</p> +<p>There is a vast quantity of folklore in reference to the fig +as an emblem of fertility, reproduction, and sensual affinity, +and, on the other side, of its being an emblem often used in +proverbs to express the very contrary, or trifling value, +worthlessness, and poverty. Thus, the barren fig-tree of +the New Testament had a deep signification to all who were +familiar with these poetic and <!-- page 210--><a +name="page210"></a><span class="pagenum">p. 210</span>mystic +“correspondences.” The reader has probably +observed that in this story there is, as in a parable, a strong +intimation of symbolism, or as if more were meant than meets the +ear.</p> +<p>“Remains to be said,” that the putting the thumb +between the index and middle finger, which was regarded with awe +by the Romans as driving away evil spirits, was called +“making the fig,” or <i>far la castagna</i>, to make +the chestnut—in Latin, <i>medium ostendere +digitum</i>. The same sign as the fig to drive away devils +became a deadly insult when made at any one, as if he were a +wizard and accursed. It had also a jeering and indecent +meaning. It has been said that the fig, as a synonym for +anything worthless, originated from the great abundance and +cheapness of the fruit in Greece, but this is very +unsatisfactory, since it would apply as well to olives or +grain.</p> +<div class="gapspace"> </div> +<p>“This tale doth teach,” notes the learned Flaxius, +“as regards the folklore of the black dog, that in this +life most things are good or bad, as we take them. For the +black dog, Monsieur, of Cornelius Agrippa (like that in Faust) +was a demon, albeit his pupil, Wierus, records that he himself +knew the animal well, but never supposed there was aught of the +goblin in it. And this same Wierus has mentioned (<i>loc. +cit.</i>, p. m. 325), that one of the things which most terrify +the devil and all his gang is the blood of a black dog splashed +on the wall. So in ancient symbolism death meant life, the +two being correlative, and in witchcraft the spell of the frog +and many more are meant to do deadly harm, or great good, +according to the way in which they are worked. Wherein lies +an immense moral lesson for ye all. Remember, +children—</p> +<blockquote><p>“‘There is no passion, vice, or +crime,<br /> + Which truly, closely understood,<br /> +Does not, in the full course of time,<br /> + Do far less harm than good.’”</p> +</blockquote> +<h2><!-- page 211--><a name="page211"></a><span +class="pagenum">p. 211</span>IL PALAZZO FERONI<br /> +<span class="smcap">showing how it got its name from a +fairy</span></h2> +<blockquote><p>“Ah me! what perils do environ<br /> +The man who meddles with cold iron!<br /> +Thus sang great Butler long ago,<br /> +In Hudibras, as all men know;<br /> +But in this story you will see<br /> +How Iron was sold by irony.”</p> +</blockquote> +<p>One of the most picturesque mediæval palaces in Florence +is that of the Feroni, and its architectural beauty is greatly +enhanced by its fine situation at the head of the Tornabuoni on +the Piazza della Trinità, with the magnificent column of +the Medicis just before its gate. According to Italian +authority, “this palace may be called, after those of the +Prætorio (<i>i.e.</i>, Bargello) and the Signoria, the most +characteristic building of its epoch in Florence. It is +said to have been built by Arnolfo di Cambio. It once +belonged to the Spini, from whom it passed to the +Feroni.” When I was in Florence in 1846–47, +this palace was the best hotel in Florence, and the one in which +I lived. There have been great “restorations” +in the city since that time, but very few which have not been +most discreditably and foolishly conducted, even to the utter +destruction of all that was truly interesting in them; as, for +instance, “the house of Dante, torn down within a few years +to be rebuilt, so that now not one stone rests upon another of +the original;” and “Santa Maria Novella, where the +usual monkish hatred of everything not <i>rococo</i> and trashy +has shown itself by destroying beautiful work of earlier times, +or selling it to the Kensington Museum, <!-- page 212--><a +name="page212"></a><span class="pagenum">p. 212</span>setting up +a barbarously gilt gingerbread high altar, and daubing the +handsome Gothic sacristy with gaudy colours.” To +which the author of Murray’s “Guide-Book for Central +Italy” adds, that “perhaps on the whole list of +ecclesiastical restorations there does not exist a more +deplorable instance of monastic vandalism than has been +perpetrated here by the architect Romoli”—a remark +which falls unfortunately very far short of the truth. Such +ruin is wrought <i>everywhere</i> at present; witness the +beautiful Fonte Gaja, “the masterpiece of Jacopo della +Quercia in Siena (1402), which, since the change of Government, +was not ‘restored,’ but <i>totally destroyed and +carted away</i>, a miserable modern copy having been recently set +up in its place” (Hare, “Cities of Central +Italy”), all of which was probably done to “make a +job” for a favoured builder. “But what can you +expect,” adds a friend, “in a country where it is +common to cover a beautiful dry stone wall with plaster, and then +paint it over to resemble the original stone,” because, as +I was naïvely told, “the rough stone itself looks +<i>too cheap</i>”? Anybody who has lived long in +Italy can add infinitely to such instances. The Palazzo +Feroni has, however, suffered so little, for a wonder, from +restoration, and still really looks so genuinely old, that it +deserves special mention, and may serve as an excuse for my +remarks on the manner in which ancient works are destroyed so +<i>con amore</i> by monks and modern municipalities. I may +here note that this building is, in a sense, the common +rendezvous for all the visitors to Florence, chiefly English and +Americans, since in it are the very large circulating library and +reading-rooms of Vieusseux. <a name="citation212"></a><a +href="#footnote212" class="citation">[212]</a></p> +<p>There is, of course, a legend attached to the Palazzo Feroni, +and it is as follows:</p> +<p style="text-align: center"><!-- page 213--><a +name="page213"></a><span class="pagenum">p. 213</span><span +class="smcap">Il Palazzo Feroni</span>.</p> +<p>“The Signore Pietro, who afterwards received the name +Feroni, was a very rich man, and yet hated by the poor, on whom +he bestowed nothing, and not much liked by his equals, though he +gave them costly entertainments; for there was in all the man and +in his character something inconsistent and contradictory, or of +<i>corna contra croce</i>—‘the horns against the +cross,’ as the proverb hath it, which made it so that one +never knew where to have him:</p> +<blockquote><p>“‘Un, al monte, e l’altro al +pian,<br /> +Quel che, è oggi, non è doman.’</p> +<p>“‘On the hill in joy, in the dale in +sorrow—<br /> +One thing to-day, and another to-morrow.’</p> +</blockquote> +<p>“For to take him at every point, there was something to +count off. Thus in all the city there was no +one—according to his own declaration—who was</p> +<p>Richer or more prosperous,</p> +<p>Or who had enjoyed a better education,</p> +<p>Or who had such remarkable general knowledge of everything +taking place,</p> +<p>Or more of a distinguished courtier,</p> +<p>Or one with such a train of dependants, and people of all +kinds running after him,</p> +<p>Or more generally accomplished,</p> +<p>Or better looking—</p> +<p>“And finally, no one so physically strong, as he was +accustomed to boast to everybody on first acquaintance, and give +them proofs of it—he having heard somewhere that +‘physical force makes a deeper impression than +courtesy.’ But all these fine gifts failed to inspire +respect (and here was another puzzle in his nature), either +because he was so tremendously vain that he looked down on all +mortals as so many insects, and all pretty much alike as compared +to himself, or else from a foolish carelessness and want of +respect, he made himself quite as familiar with trivial people as +with anybody. <a name="citation213"></a><a href="#footnote213" +class="citation">[213]</a></p> +<p>“One evening the Signore Pietro gave a grand ball in his +palace, and as the guests came in—the beauty and grace and +<!-- page 214--><a name="page214"></a><span class="pagenum">p. +214</span>courtly style of all Italy in its golden time—he +half closed his eyes, lazily looking at the brilliant swarm of +human butterflies and walking flowers, despising while admiring +them, though if he had been asked to give a reason for his +contempt he would have been puzzled, not having any great amount +of self-respect for himself. And they spun round and round +in the dance. . . .</p> +<p>“When all at once he saw among the guests a lady, +unknown to him, of such striking and singular appearance as to +rouse him promptly from his idle thought. She was indeed +wonderfully beautiful, but what was very noticeable was her +absolutely ivory white complexion, which hardly seemed human, her +profuse black silken hair; and most of all her unearthly large +jet-black eyes, of incredible brilliancy, with such a strange +expression as neither the Signore Pietro nor any one else present +had ever seen before. There was a power in them, a kind of +basilisk-fascination allied to angelic sweetness—fire and +ice . . . <i>ostra e tramontan</i>—a hot and cold wind.</p> +<p>“The Signore Pietro, with his prompt tact, made the +lady’s paleness a pretence for addressing her. +‘Did she feel ill—everything in the house was at her +disposition—</p> +<blockquote><p>“‘Servants, carpets, chairs and +tables,<br /> +Kitchen, pantry, hall and stables,<br /> +Everything above or under;<br /> +All my present earthly plunder,<br /> +All too small for such a wonder.’</p> +</blockquote> +<p>“The lady, with a smile and a glance in which there was +not the slightest trace of being startled or abashed, +replied:</p> +<blockquote><p>“‘’Tis not worth while your +house to rifle,<br /> +<i>O mio Signor</i>, for such a trifle.<br /> +’Tis but a slight indisposition,<br /> +For which I’ll rest, by your permission.’</p> +</blockquote> +<p>“The Signore Pietro, as an improvisatore, was delighted +with such a ready answer, and remarking that he was something of +a doctor, begged permission to bring a soothing cordial, +admirable for the nerves, which he hoped to have the honour of +placing directly in that fairy-like hand. . . . The Signore +vanished to seek the <i>calmante</i>.</p> +<p>“The guests had begun by this time to notice this lady, +and from her extremely strange appearance they gathered round +her, expecting at first to have some sport in listening to, <!-- +page 215--><a name="page215"></a><span class="pagenum">p. +215</span>or quizzing, an eccentric or a character. But +they changed their mind as they came to consider her—some +feeling an awe as if she were a <i>fata</i>, and all being +finally convinced that whoever she was she had come there to +<i>sell</i> somebody amazingly cheap, nor did they feel quite +assured that they themselves were not included in the +bargain.</p> +<p>“The Signore Pietro returned with the soothing cordial; +he had evidently not drunk any of it himself while on the errand, +for there was a massive chased iron table inlaid with gold and +silver in his way, and the mighty lord with an angry blow from +his giant arm, like one from a blacksmith’s No. 1 hammer, +broke it, adding an artisan-like oath, and knocked it over. +Flirtation had begun.</p> +<p>“‘Did you hurt yourself, Signore?’ asked the +lady amiably.</p> +<p>“‘Not I, indeed,’ he replied proudly. +‘A Stone is my name, but it ought to have been Iron, lady, +for I am hard as nails, a regular Ferrone or big man of iron, and +all my ancestors were Ferroni too; ah! we are a strong +lot—at your service!’ Saying this he handed the +cup to the lady, who drank the potion, and then, instead of +giving the goblet back to the Signore Pietro, as he expected, +meaning to gallantly drink off <i>les doux restes</i>, she +beckoned with her finger and an upward scoop of her hand to the +table, which was lying disconsolately on its back with its legs +upwards, like a trussed chicken waiting to be carved, when lo! at +the signal it jumped up and came walking to her like a Christian, +its legs moving most humanly, and yet all present were appalled +at the sight, and the Signore gasped—</p> +<p>“‘I believe the devil’s in it!’</p> +<p>“The lady composedly placed the draught on the table and +smiled benevolently. There was something in that angelic +smile which made the Signore feel as if he had been made game +of. In a rage he rushed at the table, which reared up on +its hind legs and showed fight with its forepaws, on which there +were massy round iron balls, as on the other extremities. +Truly it was a desperate battle, and both combatants covered +themselves with dust and glory. Now the table would put a +ball well in, and the Signore would counter, or, as I may say, +cannon or cannon-ball it off; and then they would grapple and +roll over and over till the Signora called them to time. At +last the lord wrenched all the cannon-balls off from the table, +which first, making a jump to the ceiling, came down in its usual +position, while the balls began dancing on it like mad.</p> +<p><!-- page 216--><a name="page216"></a><span class="pagenum">p. +216</span>“At such a sight all present roared with +laughter, and it was observed that the lady, no longer pale, +flushed with merriment like a rose. As for Signore Pietro +he was red as a beet, and heaved out that he had been +<i>canzonato</i> or quizzed.</p> +<p>“‘Truly yes,’ replied the lady; ‘but +henceforth you shall have a name, for to do you justice you are +as hard as iron, and Iron you shall be called—Big Iron +Ferrone—and cannon-balls shall be your coat-of-arms, <i>in +sæcula sæculorum</i>. By edict of the Queen of +the Fairies!’</p> +<p>“Now at this all the love in the Signore Pietro +concentrated itself in his heart, passed into his tongue, and +caused him to burst forth in song in the following <i>ottava</i>, +while the music accompanied:</p> +<blockquote><p>“‘Quando vedo le femmine rammone,<br +/> +Mi sento andare il cuore in convulsione,<br /> +Hanno certe facette vispe e sane,<br /> +Da fare entrare in sen la tentazione,<br /> +Oh donnina! Non siate disumana!<br /> +Di Pietro abbiate compassione!<br /> +Scusante la modestia se l’e troppo<br /> +Di questi personali non sene poppo.’</p> +<p>“‘When I behold thy all too lovely features,<br /> +I feel my heart in soft convulsions heaving,<br /> +Thou art the most entrancing of all creatures,<br /> +I tell you so in sooth, without deceiving,<br /> +In fact there is no beauty which can beat yours;<br /> +And Pietro loves you, lady, past believing;<br /> +In breasts like cannon-balls there’s naught to blame;<br /> +But oh! I hope your heart’s not like the +same!’</p> +</blockquote> +<p>“But as this exquisite poem concluded with an immense +sigh, there appeared before them a golden and pearl car, in which +the fairy entered, and rising sailed away through a great hole in +the ceiling, which opened before and closed behind her, Signore +Pietro remaining <i>a bocca aperta</i>, gaping with opened jaws, +till all was o’er.</p> +<p>“‘Well!’ exclaimed the master, ‘she +gave me the slip, but we have had a jolly evening of it, and +I’m the first man who ever fought an iron table, and +I’ve got a good idea. My name is now Feroni—the +Big Iron Man—ladies and gentlemen, please remember, and +cannon-balls are in my coat-of-arms!’”</p> +<div class="gapspace"> </div> +<p>I have naturally taken some liberty as regards mere text in +translating this tale, in order to render the <!-- page 217--><a +name="page217"></a><span class="pagenum">p. 217</span>better the +spirit of the original; but not so much as may be supposed, and +spirit and words are, on the whole, accurately rendered.</p> +<p>The reader is not to suppose that there are any traces of true +history in this fairy tale. I am very greatly indebted to +Miss Wyndham of Florence (who has herself made collections in +folk-lore), for investigating this subject of the Feroni family, +with the following result—it being premised that it had +occurred to the lady that the “cannon-balls” or +Medicean pills, or pawnbroker’s sign, whatever it was, had +been attributed by mistake to the Feroni. Miss Wyndham, +after consulting with authority, found that the Feroni themselves +had not the balls, but, owing probably to transfer of property, +there is found on their palaces the Alessandri shield, on which +the upper half and lower left quarter contain the Medici +spheres. She also sent me this extract from the old work, +<i>Marietta di Ricci</i>:</p> +<blockquote><p>“The Feroni family, originally named from +Balducci da Vinci, and of peasant origin, owes its fortune to +Francesco, son of Baldo di Paolo di Ferone, a dyer of +Empoli. Going as a merchant to Holland, he accumulated a +large fortune. Made known to Cosimo III. (just called to +the Grand Duchy) by his travels, he was called to Florence. +In 1673 he was made citizen of Florence, in 1674 he was elected +senator, and in 1681 appointed Marquis of Bellavista. He +left a colossal fortune, which has been kept up by his heirs to +the present day. His grandson Guiseppe was made cardinal in +1753.</p> +<p>“Their arms are an arm mailed in iron, holding a sword, +and above it a golden lily in a blue field.”</p> +</blockquote> +<p>This extract is interesting, as showing how a family could +rise by industry and wealth, even in one generation, by the work +of a single man, to the highest honours in Florence. And it +is very remarkable that some impression of the origin of this +vigorous artisan and merchant, of peasant stock, is evident in +the tale. He is there clever <!-- page 218--><a +name="page218"></a><span class="pagenum">p. 218</span>and strong, +but vulgar and familiar, so that he was not personally +liked. He remains standing open-mouthed, like a comic +actor, when the fairy vanishes. In fact the whole tale +suggests the elements of a humorous melodrama or operetta, a +<i>bourgeois gentilhomme</i>.</p> +<blockquote><p>“And should it come to pass that any read<br +/> +This tale in Viesseux, his library,<br /> +In the Feroni palace, let them think<br /> +That, even in the rooms where they do read,<br /> +The things which I have told once came to pass—<br /> +Even so the echo ever haunts the shrine!”</p> +</blockquote> +<h2><!-- page 219--><a name="page219"></a><span +class="pagenum">p. 219</span>LA VIA DELLE BELLE DONNE</h2> +<blockquote><p>“The church of San Gaetano, on the left of +the Via Tornabuoni, faces the Palazzo Antinori, built by Giuliano +di San Gallo. Opposite is the Via delle Belle Donne, a +name, says Leigh Hunt, which it is a sort of tune to +pronounce.”—<span class="smcap">Hare</span>, +<i>Cities of Central Italy</i>.</p> +</blockquote> +<p>The name of this place is suggestive of a story of some kind, +but it was a long time before I obtained the following relative +to the Street of Pretty Women:</p> +<p>“In the Via delle Belle Donne there was a very large old +house in which were many lodgers, male and female, who, according +to their slender means, had two rooms for a family. Among +these were many very pretty girls, some of them seamstresses, +others corset-makers, some milliners, all employed in shops, who +worked all day and then went out in the evening to carry their +sewing to the <i>maggazini</i>. And it was from them that +the street got its name, for it became so much the fashion to go +and look at them that young men would say, ‘<i>Andiamo +nella Via delle Belle Donne</i>,’—‘Let us go to +the Street of the Pretty Women;’ so it has been so-called +to this day.</p> +<p>“And when they sallied forth they were at once +surrounded or joined by young men, who sought their company with +views more or less honourable, as is usual. Among these +there was a very handsome and wealthy signore named Adolfo, who +was so much admired that he might have had his choice of all +these belles, but he had fixed his mind on one, a beautiful +blonde, who was, indeed, the fairest among them all. She +had large black eyes, with quick glances, beautiful light hair in +masses, and was always dressed simply, yet with natural +elegance. She had long avoided making acquaintance among +men, and she now shunned Adolfo; but at last he succeeded, after +many difficulties, in becoming acquainted, and finally won her +heart—the end of it all being the old story of a poor girl +ruined by a gay and great signor, left a mother, and then +abandoned.</p> +<p><!-- page 220--><a name="page220"></a><span class="pagenum">p. +220</span>“For four years she lived alone, by her work, +with her child, who grew up to be a very beautiful boy. +Then he, noting that other children had parents, asked her +continually, ‘Mamma, where is my papa?’</p> +<p>“He gave her no rest, and at last she went to Adolfo and +asked him what he would do for their child.</p> +<p>“He laughed at her, and said, ‘Nothing. That +folly is all over. Begone!’</p> +<p>“Then, in a wild passion of rage at seeing her child so +despised, she stabbed him to the heart, and escaped unseen and +undiscovered.</p> +<p>“Then, when the boy asked her again:</p> +<blockquote><p>“‘Cara madre, cara madre,<br /> +Dove e lo mio padre?’</p> +<p>“‘Mother dear, tell to me<br /> +Where may my father be?’</p> +</blockquote> +<p>“She replied:</p> +<blockquote><p>“‘Darling son, thy sire is dead,<br /> +Lying in an earthen bed;<br /> +Dead he ever will remain,<br /> +By my dagger he was slain.<br /> +Had he but been kind to thee,<br /> +Living still he yet would be;<br /> +Other sorrows I forgave,<br /> +With my dirk I dug his grave. <a name="citation220"></a><a +href="#footnote220" class="citation">[220]</a></p> +</blockquote> +<p>This is but a commonplace story, yet it is such as finds more +currency among the people, and particularly among girls, than +many a better one. There is a strong touch of nature, and +especially of Italian nature, in the concluding lines.</p> +<h2><!-- page 221--><a name="page221"></a><span +class="pagenum">p. 221</span>THE WIZARD WITH RED TEETH</h2> + +<blockquote><p> “And +dost thou fear to greet<br /> +The Dead with me. They graced our wedding sweet.”</p> +<p style="text-align: right">—<span +class="smcap">Moore</span>, <i>The Veiled Prophet of +Khorassan</i>.</p> +</blockquote> +<p>The following ballad may be classed as Florentine, since it +was in Florence that I heard it sung, but it is not attached to +any particular place. It is one of those compositions which +are either sung or simply recited, and quite as often intoned in +a manner which is neither singing nor speaking. In such +chant, when a rhyme happens to fall in by chance, the utmost is +made of it by dwelling on the word or drawling it out. +Sometimes, as in the following, there are verses of four lines +each, but only the concluding line of every verse rhymes, +<i>i.e.</i>, with the preceding last line of the previous +stanza:</p> +<p style="text-align: center"><span class="smcap">Il Streghone +coi Denti Rossi</span>.</p> +<p class="poetry">“C’era un gran signore<br /> +Che una bella figlia aveva,<br /> +Far la felice lo credeva,<br /> +Col far la maritar.</p> +<p class="poetry">“‘Babbo, no’voglio marito,<br +/> +Prendo uno soltanto,<br /> +Se si uomo coi dente rossi,<br /> +Di famelo trovar.’</p> +<p class="poetry">“‘Figlia, non e possibile<br /> +A me mi strazzi il cuor<br /> +Avanti di morire<br /> +Vo farti tranquillo il cuor.’</p> +<p class="poetry"><!-- page 222--><a name="page222"></a><span +class="pagenum">p. 222</span>“Un giorno allor comparvi,<br +/> +Un giovane assai bello,<br /> +E denti rossi li teneva,<br /> +La sua figlia, Amelia,<br /> +‘Mi dica dove ella.’</p> +<p class="poetry">“‘Io lo vo sposare,<br /> +E con me la vo’ portare.’<br /> +‘Dimmi dove la porti,<br /> +Giovane sconosciuto,<br /> +La mia figlia no ti rifiuto,<br /> +Coi denti rossi lo vuol sposar?’</p> +<p class="poetry">“Sposa la siora Amelia,<br /> +E se la porta via.<br /> +La casa dove sia,<br /> +Questo poi non lo sa.</p> +<p class="poetry">“La porta in una capanna,<br /> +Di foglie, legno, e fieno,<br /> +‘Ortello fa sapere,<br /> +Se vuoi saper chi sono.</p> +<p class="poetry">“‘Io sono un’ streghone,<br +/> +Te’l giuro in verita,<br /> +La notte a mezzanotte<br /> +Io ti faccio levar.</p> +<p class="poetry">“‘Ti porto al camposanto,<br /> +A sotterar i morti;<br /> +E se tu vuoi mangiar,<br /> +Quel sangue, bella mia,<br /> +Tu l’ai da succiar.’</p> +<p class="poetry">“La giovana disperata,<br /> +Piange, grida e si dispera,<br /> +Ma rimedio più non v’era<br /> +Anche lei una strega,<br /> +Toccava diventar.”</p> +<p style="text-align: center"><span +class="smcap">Translation</span>.</p> +<p class="poetry">“There was a grand signore<br /> +Who had a daughter fair;<br /> +He longed to see her happy,<br /> +And wished that she were wed.</p> +<p class="poetry"><!-- page 223--><a name="page223"></a><span +class="pagenum">p. 223</span>“‘Oh, father! I would +not marry,<br /> +I have vowed to have for my husband<br /> +One with teeth as red as coral.<br /> +Oh! find him for me,’ she said.</p> +<p class="poetry">“‘My daughter, it is not +possible,<br /> +You wring and pain my heart.<br /> +Ere I die and pass away<br /> +I would fain be at peace,’ said he.</p> +<p class="poetry">“One day there appeared before her<br /> +A knight of goodly seeming,<br /> +His teeth were red as coral.<br /> +Said the beautiful Amelia,<br /> +‘There is the spouse for me.’</p> +<p class="poetry">“‘I will marry her,’ said the +knight,<br /> +‘And bear her with me away.’<br /> +‘Tell me where wilt thou take her,<br /> +Thou strange and unknown man.<br /> +I do not refuse her to thee,<br /> +But whither wilt thou roam?’</p> +<p class="poetry">“He married fair Amelia,<br /> +And carried her far away.<br /> +“Where is the house thou dwell’st in?<br /> +And say where is thy home?’</p> +<p class="poetry">“He took her to a cabin,<br /> +All leaves and sticks and hay,<br /> +‘My true name is Ortello.<br /> +To-night, at the hour of midnight,<br /> +I will carry thee away.</p> +<p class="poetry">“‘I will bear thee to the +graveyard<br /> +To dig up the newly dead;<br /> +Then if thou hast thirst or hunger<br /> +Thou mayst suck the blood of the corpses,’<br /> +To her the Sorcerer said.</p> +<p class="poetry">“She wept in desperate sorrow,<br /> +She wrung her lily hand,<br /> +But she was lost for ever,<br /> +And in the witches’ band.”</p> +<p><!-- page 224--><a name="page224"></a><span class="pagenum">p. +224</span>This was, and is, a very rude ballad; its moral appears +to be that feminine caprice and disregard of parental love must +be punished. It is very remarkable as having to perfection +that Northern or German element which Goethe detected in a +Neapolitan witch-song given in his Italian journey. <a +name="citation224"></a><a href="#footnote224" +class="citation">[224]</a> It has also in spirit, and +somewhat strangely in form, that which characterises one of +Heine’s most singular songs. It impresses me, as I +was only yesterday impressed in the Duomo of Siena at finding, +among the wood-carvings in the choir, Lombard grotesques which +were markedly Teutonic, having in them no trace of anything +Italian.</p> +<blockquote><p>“Quaint mysteries of goblins and strange +things,<br /> +We scarce know what—half animal half vine,<br /> +And beauteous face upon a toad, from which<br /> +Outshoots a serpent’s tail—the Manicore,<br /> +A mixture grim of all things odd and wild,<br /> +The fairy-witch-like song of German eld.”</p> +</blockquote> +<h2><!-- page 225--><a name="page225"></a><span +class="pagenum">p. 225</span>ORPHEUS AND EURYDICE</h2> + +<blockquote><p> “Wherever +beauty dwells,<br /> +In gulf or aerie mountains or deep dells,<br /> +Thou pointest out the way, and straight ’tis won,<br /> +Thou leddest Orpheus through the gleams of death.”</p> +<p style="text-align: right">—<span +class="smcap">Keats</span>.</p> +<p>“Silvestres homines sacer interpres que Deorum<br /> +Cædibus et victu deterruit <span +class="smcap">Orpheus</span>.<br /> +Dictus ob hoc lenire tigres, rabidosque Leones.”</p> +<p style="text-align: right">—<span +class="smcap">Horace</span>.</p> +</blockquote> +<p>It may have happened to the reader, in his travels, to trace +in some majestic mountain-land, amid rocky ravines, that which +was, perhaps, in prehistoric times a terrible torrent or a +roaring river. I mean, indeed, such a furious flood as is +now unknown on earth, one which tore away the highest hills like +trifles, melting them in a minute to broad alluvials, and ground +up the grandest granite cliffs to gravel-dust, even as a mighty +mill grates grain to flour.</p> +<p>You trace the course of the ancient river which when young +vaulted the valley, which it had made, on either side with +overhanging precipices, which now bend like silent mourners over +its grave. And it seems to be dead and buried for ever.</p> +<p>Yet it may chance that, looking more deeply into its course to +see if, perhaps, some flakes of antique gold are not to be found +in the bed of the old water-course, you hear deep in some rocky +crevice far below, and out of sight, the merry gurgle or +voice-like murmur of a spring or unseen rivulet which indicates +that the river of ancient days is not quite lost in the +land. Unsuspected, like the <!-- page 226--><a +name="page226"></a><span class="pagenum">p. 226</span>sapphire +serpent of Eastern legend, that diamond-clear rivulet has wound +its mysterious course deep in the earth for ages, and, following +its sound, you may come to some place where it again leaps forth +into sunlight—little, indeed, yet ever beautiful. It +is almost touching to see that diminished rill creeping timidly +round the feet of giant boulders which it once rent in sport from +the mighty rocks, and rolled into what were for it in its whilom +power, mere marbles. It is small now, and very obscure, yet +it lives and is ever beautiful.</p> +<p>Such a stream, which I traced yesterday in an ancient gorge in +the heart of the Apennines, where the grey tower of Rocca looks +down on the mysterious Ponte del Diavolo of the twelfth +century—the most picturesque bridge in Italy—forcibly +reminds me of the human stream of old tradition which once, as +marvellous mythology or grand religion, roared and often raged +over all this region, driving before it, and rending away, all +the mighty rocks of human will, now tearing down and anon forming +stupendous cliffs of observances, and vast monoliths of legend +and faith. Such were the Etruscan and early Roman cults, +which drove before them and engulfed irresistibly all the +institutions of their time, and then disappeared so utterly that +men now believe that the only remaining record of their existence +is in their tombs or rocky relics of strange monuments.</p> +<p>But by bending low to earth, or seeking among the people, we +may hear the murmur of a hidden stream of legend and song which, +small and shrunken as it may be, is still the veritable river of +the olden time. Many such streams are running in many +lands, and that full openly on the earth’s surface, but +this to which I specially refer is strangely occult and deeply +hidden, for to find it we must seek among the <i>strege</i> and +<i>stregoni</i>, or witches and sorcerers, who retain as dark +secrets of their own, marvellous relics of the myths of the early +ages. These are, <!-- page 227--><a +name="page227"></a><span class="pagenum">p. 227</span>in many +cases, so strangely quaint and beautiful that they would seem to +have kept something of an original perfume which has utterly +perished in the dried flowers of tradition preserved in books, or +even by poets.</p> +<p>This seems to me to be the case with the incantation to +Orpheus, which is now before me, written in rude dialect, which +indicates, so to speak, the depth of the earth from which it was +taken. I had asked the woman who gave it to me whether she +knew such a name as that of Orpheus or Orfeo, as connected with +music. This was the reply which I received:</p> +<p style="text-align: center"><span +class="smcap">Orfeo</span>.</p> +<p><i>Scongiurazione a Orfeo per suonare bene uno +Zuffolo</i>. This is the invocation to Orpheus for him who +would fain become a good player on the shepherd’s pipe. <a +name="citation227"></a><a href="#footnote227" +class="citation">[227]</a></p> +<p style="text-align: center"><span +class="smcap">Scongiurazione</span>.</p> +<p class="poetry">“Ogni giorno io mi metto<br /> +Questo zuffolo a suonare,<br /> +Per poterlo bene inparare,<br /> +E a preso dei maestri<br /> +Per potermi fare insegnare,<br /> +Ma non so come mi fare,<br /> +Nella testa non mi vuole entrare,<br /> +A che partito mi devo apigliare:<br /> +Io non so come mi fare;<br /> +Ma tu Orfeo che siei tanto chapace<br /> +Per lo zuffolo, e il violino,<br /> +Suoni bene pur lo organino,<br /> +La chitarra e il mandolino,<br /> +La gran cassa, il trombone,<br /> +Suoni bene lo clarino,<br /> +E non ’ce uno strumento<br /> +Che tu Orfeo tu non sia<br /> +<!-- page 228--><a name="page228"></a><span class="pagenum">p. +228</span>Chapace di bene suonare,<br /> +Per la musicha siei molto bravo,<br /> +E tu ai ogni potenza,<br /> +Che da diavoli siei protetto,<br /> +Dunque insegnami come fare,<br /> +Questo zuffolo va scongiurare,<br /> +Per poter bene suonare,<br /> +Questo zuffolo lo prendo,<br /> +Sotto terra io lo metto,<br /> +E tre giorni ce lo fo stare,<br /> +A fine che tu Orfeo,<br /> +Bene tu me lo facci a suonare;<br /> +Che tanto siei amante<br /> +Di suonare sarai amante,<br /> +Pur d’insegnare per quanto<br /> +Ai soferto la tua <i>Auradice</i>,<br /> +Dal inferno non potere levare,<br /> +Ma vollo lei a preghare,<br /> +Che ti aiuti questo zuffolo volere suonare,<br /> +E tu che sempre e di musicha,<br /> +Siei chapace che fino<br /> +Le bestie ti vengono ascoltare,<br /> +Orfeo! Orfeo! ti prego;<br /> +Orfeo! volermi insegnare<br /> +Questo zuffolo bene suonare,<br /> +E appena suonero,<br /> +Il maestro musicho Orfeo ringraziero,<br /> +E a tutti sempre faro,<br /> +Sapere a chi mi a dato,<br /> +Questo talento che le stato,<br /> +Orfeo dal inferno lo scongiurato,<br /> +E per la musicha o tanto,<br /> +Pasione al mio zuffolo a dato,<br /> +Lezione e lo zuffolo e un strumento<br /> +Che ne son tanto inamorato<br /> +Che dai miei vecchi era molto ramentato,<br /> +E sempre mi dicevano,<br /> +Se dinparar lo non siei chapace,<br /> +Orfeo devi scongiurare;<br /> +E cosi io faro,<br /> +E Orfeo preghero!”</p> +<p style="text-align: center"><!-- page 229--><a +name="page229"></a><span class="pagenum">p. 229</span><span +class="smcap">Translation</span>.</p> +<p class="poetry">“Every day I try, and yet<br /> +I cannot play the flageolet;<br /> +Many masters I have sought,<br /> +Naught I learned from all they taught;<br /> +I am dull, ’tis very true,<br /> +And I know not what to do<br /> +In this strait, unless it be,<br /> +Great Orpheus, to come to thee;<br /> +Thou who the greatest skill didst win,<br /> +On flageolet and violin,<br /> +Who play’st the organ, pealing far,<br /> +The mandolin and the guitar,<br /> +Thou wak’st the clarion’s stirring tone,<br /> +The rattling drum and loud trombone;<br /> +On earth there is no instrument,<br /> +Whate’er it be, to mortals sent,<br /> +Enchanting every sense away,<br /> +Which thou, O Orpheus! canst not play;<br /> +Great must thy skill in music be,<br /> +Since even the demons favour thee;<br /> +And since on this my heart is set,<br /> +Enchant, I pray, this flageolet,<br /> +And that its tones may sweetly sound,<br /> +I bury it beneath the ground;<br /> +Three days shall it lie hidden thus,<br /> +Till thou, O mighty Orpheus!<br /> +Shalt wake in it by magic spell<br /> +The music which thou lov’st so well.<br /> +I conjure thee by all the woe<br /> +Which grieved thy soul so long ago!<br /> +And pain, when thy <i>Auradice</i><br /> +From the dark realm thou couldst not free,<br /> +To grant me of thy mighty will<br /> +That I may play this pipe with skill,<br /> +Even as thou hast played before;<br /> +For, as the story runs, of yore,<br /> +Whenever thou didst wake its sound,<br /> +The forest beasts came raptured round.<br /> +Orpheus! Orpheus! I pray,<br /> +Orpheus! teach me how to play!<br /> +<!-- page 230--><a name="page230"></a><span class="pagenum">p. +230</span>And when sweet music forth I bring,<br /> +On every chord thy name shall ring,<br /> +And every air which charms shall be<br /> +A hymn of thanks, great lord, to thee!<br /> +And unto all I’ll make it known,<br /> +I owe it all to thee alone,<br /> +And of the wondrous skill I’ll tell,<br /> +Which mighty Orpheus won from hell.<br /> +And by the music, and the power,<br /> +Of passion in me, from this hour<br /> +Henceforth in this sweet instrument<br /> +I shall be ever well content;<br /> +For now, I do remember well,<br /> +What ’twas my father oft would tell,<br /> +That all who would learn music thus<br /> +Must conjure mighty Orpheus,<br /> +Even as I have done to-day,<br /> +So I to him will ever pray.”</p> +<p>To which the manuscript adds in prose:</p> +<blockquote><p>“Thus the peasants do when they do not +succeed in playing the shepherd’s pipe, which they esteem +beyond any other instrument.”</p> +</blockquote> +<p>To any one who fully feels and understands what is meant to be +conveyed by this incantation—and a great deal is expressed +by passionate singing and a deep thrilling intonation which the +text does not give—my translation will appear to be quite +accurate. But, in any case, no scholar or poet can deny +that there is in it a strange depth of classic feeling, or of old +Roman romance, not strained at second-hand through books, but +evidently drawn from rude antiquity, which is as fresh in its +ring as it is marvellous.</p> +<p>It may be observed as exquisitely curious that in this +incantation the peasant who wishes to become a skilled performer +on the flageolet <i>buries it for three days in the ground</i>, +invoking Orpheus by what the spirit suffered in losing Eurydice, +and subsequently distinctly declaring <!-- page 231--><a +name="page231"></a><span class="pagenum">p. 231</span>that he won +or conjured his great musical power from Hades, which means that +by the penance and loss, and his braving the terrors of the +Inferno, he gained <i>skill</i>. This is a mighty element +of the myth in all its forms, in all ages, in every +country. The burying the instrument for three days probably +typifies the three days during which Orpheus was in hell.</p> +<p>It may be observed that Eurydice has become <i>Auradice</i> in +the incantation, in which there is probably an intimation of +<i>Aura</i>, a light wind or zephyr. Air is so naturally +associated with music. This, by a very singular +coincidence, yet certainly due to mere chance, recalls the +invocation to the Spirit of the Air, given by Bulwer in +“The Last Days of Pompeii”:</p> +<blockquote><p>“Spectre of the viewless air,<br /> +Hear the blind Thessalian’s prayer,<br /> +By Erichtho’s art that shed<br /> +Dews of life when life was fled,<br /> +By lone Ithaca’s wise king,<br /> +Who could wake the crystal spring<br /> +To the voice of prophecy<br /> +<i>By the lost Eurydice</i>!<br /> +Summoned from the shadowy throng,<br /> +At the muse-son’s magic song:<br /> +Come, wild Demon of the Air,<br /> +Answer to thy votary’s prayer.”</p> +</blockquote> +<p>It is indeed very remarkable that in the call to the God of +Music, who is in certain wise a spirit of the air, as in that to +the Spirit of the Air himself, both are invoked:</p> +<blockquote><p>“By the lost Eurydice!”</p> +</blockquote> +<p>If it could be shown that Bulwer owed this poem and allusion +to any ancient work or tradition, I should be tempted to believe +that the popular invocation was derived from some source in +common with the latter. There is indeed a quaint naïve +drollery in the word +<i>Aura</i>dice—“Air-tell!” or +“Air-declare!” which adapts it better to the spirit +of Bulwer’s poem, in which the air is begged to <!-- page +232--><a name="page232"></a><span class="pagenum">p. +232</span>tell something, than to the Orphean or Orphic +spell. It may be that the Orphic oracles were heard in the +voice of the wind, apropos of which latter there is a strange +Italian legend and an incantation to be addressed to all such +mystic voices of the night, which almost seems re-echoed in +“Lucia”:</p> +<blockquote><p>“Verrano a te sull’ aure,<br /> +I miei sospiri ardenti,<br /> +Udrai nell mar che mormora<br /> +L’eco de miei lamenti!”</p> +</blockquote> +<p>It is worth observing that this tradition, though derived from +the Romagna, was given to me in Florence, and that one of the +sculptures on the Campanile represents Orpheus playing the pipe +to wild beasts. It is said that in the Middle Ages the +walls of churches were the picture-books of the people, where +they learned all they knew of Bible legends, but not unfrequently +gathered many strange tales from other sources. The +sculptors frequently chose of their own will scenes or subjects +which were well known to the multitude, who would naturally be +pleased with the picturing what they liked, and it may be that +Orpheus was familiar then to all. In any case, the finding +him in a witch incantation is singularly in accordance with the +bas-relief of the Cathedral of Florence, which again fits in +marvellously well with Byron’s verse:</p> +<blockquote><p>“Florence! whom I will love as well<br /> +As ever yet was said or sung,<br /> +Since Orpheus sang his spouse from hell,<br /> +Whilst thou art fair and I am young.</p> +<p>“Sweet Florence! those were pleasant times,<br /> +When worlds were staked for ladies’ eyes.<br /> +Had bards as many realms as rhymes,<br /> +Thy charms might raise new Antonies!”</p> +</blockquote> +<p>True it is that <i>this</i> Florence seems to have had +dazzling eyes and ringlets curled; and it is on the other hand +not true that Orpheus sang his spouse from hell—he only +<!-- page 233--><a name="page233"></a><span class="pagenum">p. +233</span>tried to do it. And it is worth noting that one +of the commonest halfpenny pamphlets sold in Florence, which is +to be found at every public stand, is a poem called +“Orpheus and Eurydice.” This fact alone renders +it less singular that such classical incantations should +exist.</p> +<p>The early Christians, notwithstanding their antipathy to +heathen symbols, retained with love that of Orpheus. +Orpheus was represented as a gentle youth, charming-wild beasts +with the music of the pipe, or as surrounded by them and sheep; +hence he was, like the Good Shepherd, the favourite type of +Christ. He had also gone down into shadowy Hades, and +returned to be sacrificed by the heathen, unto whose rites he +would not conform.</p> +<p>Miss Roma Lister found traces of Orpheus among the peasantry +about Rome, in a pretty tradition. They say that there is a +spirit who, when he plays the <i>zufolo</i> or flageolet to +flocks, attracts them by his music and keeps them quiet.</p> +<blockquote><p>“Now there were certain shepherd families +and their flocks together in a place, and it was agreed that +every night by turns, each family should guard the flocks of all +the rest. But it was observed that one mysterious family +all turned in and went to sleep when their turn came to watch, +and yet every morning every sheep was in its place. Then it +was found that this family had a spirit who played the +<i>zufolo</i>, and herded the flock by means of his +music.”</p> +</blockquote> +<p>The name is wanting, but Orpheus was there. The survival +of the soul of Orpheus in the <i>zufolo</i> or pipe, and in the +sprite, reveals the mystic legend which indicates his existing to +other times. In this it is said that his head after death +predicted to Cyrus the Persian monarch that he too would be +killed by a woman (<i>Consule Leonic</i>, <i>de var. histor.</i>, +lib. i. cap. 17; <i>de Orphei Tumulo in monte Olympo</i>, +&c., cited by <i>Kornmann de Miraculis Mortuorum</i>, cap. +19). The legend of Orpheus, or of a living wife returning +from another world to visit an afflicted <!-- page 234--><a +name="page234"></a><span class="pagenum">p. 234</span>husband, +passed to other lands, as may be seen in a book by Georgius +Sabinus, <i>in Notis ad Metamorp</i>. <i>Ovidii</i>, lib. +x. <i>de descensu Orphei ad Inferos</i>, in which he tells how a +Bavarian lady, after being buried, was so moved by her +husband’s grief that she came to life again, and lived with +him for many years, <i>semper tamen fuisse tristem ac +pallidem</i>—but was always sad and pale. However, +they got on very well together for a long time, till one evening +<i>post vesperi potum</i>—after he had taken his evening +drink—being somewhat angry at the housemaid, he scolded her +with unseemly words. Now it was the condition of his +wife’s coming back to life and remaining with him that he +was never to utter an improper expression (<i>ut que deinceps +ipse abstineret blasphemis conviciandi verbis</i>). And +when the wife heard her husband swear, she disappeared, soul and +body, and that in such a hurry that her dress (which was +certainly of fine old stiff brocade) was found standing up, and +her shoes under it. A similar legend, equally authentic, +may be found in the “Breitmann Ballads,” a work, I +believe, by an American author. On which subject the +learned Flaxius remarks that “if all the men who swear +after their evening refreshments were to lose their wives, +widowers would become a drug in the market.”</p> +<p>Of the connection between <i>aura</i> as air, and as an +<i>air</i> in music, I have something curious to note. +Since the foregoing was written I bought in Florence a large +wooden cup, it may be of the eleventh century or earlier, known +as a <i>misura</i>, or measure for grain, formerly called a +<i>modio</i>, in Latin <i>modus</i>, which word has the double +meaning of measure for objects solid or liquid, and also for +music. Therefore there are on the wooden measure four +female figures, each holding a musical instrument, and all with +their garments blowing in one direction, as in a high wind, +doubtless to signify <i>aura</i>, Italian <i>aria</i>, air or +melody. These madonnas of the four <i>modes</i> are rudely +but very <!-- page 235--><a name="page235"></a><span +class="pagenum">p. 235</span>gracefully sketched by a bold +master-hand. They represent, in fact, Eurydice +quadrupled.</p> +<p>There is a spirit known in the Toscana Romagna as +<i>Turabug</i>. He is the guardian of the reeds or canes, +or belongs to them like the ancient Syrinx. There is a +curious ceremony and two invocations referring to him. Ivy +and rue are specially sacred to him. One of these two +invocations is solely in reference to playing the <i>zufolo</i>, +partly that the applicant may be inspired to play well, and +secondly, because the spirit is supposed to be attracted by the +sound of the instrument. The very ancient and beautiful +idea that divinities are invoked or attracted by music, is still +found in the use of the organ in churches.</p> +<p>A large portion of the foregoing on Orpheus formed, with +“Intialo,” the subject of a paper by me in Italian, +which was read in the Collegio Romana at Rome at the first +meeting of the Italian <i>Societa Nazionale per le Tradizioni +Popolari Italiani</i>, in November 1893. Of which society I +may here mention that it is under the special patronage of her +Majesty Margherita the Queen of Italy, who is herself a zealous +and accomplished folklorist and collector—“special +patronage” meaning here not being a mere figurehead, but +first officer—and that the president is Count Angelo de +Gubernatis.</p> +<p>I believe that the establishment of this society will +contribute vastly to shake in Italy the old-fashioned belief that +to be a person of the <i>most</i> respectable learning it is +quite sufficient to be thoroughly acquainted with a few +“classic” writers, be they Latin, French, or Italian, +and that it is almost a crime to read anything which does not +directly serve as a model or a copy whereby to “refine our +style.” As regards which the whole world is now +entering on a new renaissance, the conflict between the stylists +and the more liberally enlightened having already begun.</p> +<p><!-- page 236--><a name="page236"></a><span class="pagenum">p. +236</span>But Orpheus, with the ecclesiastical witch-doctors, was +soon turned into a diabolical sorcerer; and Leloyer writes of +him: “He was the greatest wizard who ever lived, and his +writings boil over with praises of devils and filthy loves of +gods and mortals, . . . who were all only devils and +witches.”</p> +<p>That Eve brought death and sin into the world by eating one +apple, or a fig, or orange, or Chinese nectarine, or the fruit of +the banana tree, or a pear, a peach, or everything pomological, +if we are to believe all translators of the Bible, coincides +strongly with the fact that Eurydice was lost for tasting a +pomegranate. “Of the precise graft of the espalier of +Eden,” says the author of the ‘Ingoldsby +Legends,’ “Sanchoniathon, Manetho, and Berosus are +undecided; the best informed Talmudists have, however . . . +pronounced it a Ribstone pippin,” Eve being a rib. +The ancients were happy in being certain that their apple was one +of Granada.</p> +<blockquote><p>“<i>Hæc fabula docet</i>,” +writes our Flaxius, “that mysteries abound in every +myth. Now, whether Orpheus was literally the first man who +ever went to hell for a woman I know not, but well I ween that he +was not the last, as the majority of French novelists of the +present day are chiefly busy in proving, very little, as it seems +to me, either to the credit of their country or of +themselves. But there are others who read in this tale a +dark and mysterious forewarning to the effect that ladies +<i>à la mode</i> who fall in love with Italian musicians +or music-masters, and especially those who let themselves and +their fortunes be <i>sifflées</i> (especially the +fortunes), should not be astonished when the fate of Eurydice +befalls them. Pass on, beloved, to another tale!</p> +<p>“‘Walk on, amid these mysteries strange and +old,<br /> + The strangest of them all is yet +to come!’”</p> +</blockquote> +<h2><!-- page 237--><a name="page237"></a><span +class="pagenum">p. 237</span>INTIALO<br /> +<span class="smcap">the spirit of the haunting shadow</span></h2> +<blockquote><p>“O ombra che dalla luce siei uscita,<br /> +Misuri il passo al Sole, all’uom la vita.”</p> +<p>“Umbram suam mètuere.”</p> + +<p> “Badate.<br +/> +La vostra ombra vi avrà fatto paura.”</p> +<p style="text-align: right">—<i>Filippo Pananti</i>.</p> +<p>“There is a feeling which, perhaps, all have felt at +times; . . . it is a strong and shuddering impression which +Coleridge has embodied in his own dark and supernatural verse +that Something not of earth is behind us—that if we turned +our gaze backward we should behold that which would make the +heart as a bolt of ice, and the eye shrivel and parch within its +socket. And so intense is the fancy, that <i>when</i> we +turn, and all is void, from that very void we could shape a +spectre as fearful as the image our terror had +foredrawn.”—<span class="smcap">Bulwer</span>, <i>The +Disowned</i>.</p> +</blockquote> +<p>The resemblance and the relation of the shadow to the body is +so strangely like that of the body to the soul, that it is very +possible that it first suggested the latter. It is born of +light, yet is in itself a portion of the mystery of darkness; it +is the facsimile of man in every outline, but in outline alone; +filled in with uniform sombre tint, it imitates our every action +as if in mockery, which of itself suggests a goblin or sprite, +while in it all there is something of self, darkling and +dream-like, yet never leaving us. It is only evident in +brightest hours, like a skeleton at an Egyptian feast, and it has +neither more nor less resemblance to man than the latter. +Hence it came that the strange “dwellers by the Nile” +actually <!-- page 238--><a name="page238"></a><span +class="pagenum">p. 238</span>loved both shade and death by +association, and so it happened that</p> + +<blockquote><p> “Full +many a time<br /> +They seemed half in love with easeful Death;<br /> +Called him soft names in many a mused rhyme,”</p> +</blockquote> +<p>while they made of the cool shadow a portion of the soul +itself, or rather one of the seven or eight entities of which man +consisted, these being—<i>Khat</i>, a body; <i>Ba</i>, the +spirit; <i>Khon</i>, the intelligence; <i>Khaïbit</i>, +<i>the shadow</i>; <i>Ren</i>, the name; <i>Ka</i>, eternal +vitality; <i>Ab</i>, the heart; and <i>Sahn</i>, the mask or +mummy.</p> +<p>It is extremely interesting to consider, in connection with +this Egyptian doctrine, the fact, illustrated by every writer on +Etruscan antiquity, that these ancient dwellers in Italy, when +they represented the departed, or the dead, as living again on a +tomb, added to the name of the deceased the word +<i>Hinthial</i>. This I once believed meant simply a ghost +or spirit. I had no other association with the name.</p> +<p>I inquired for a long time if there was any such name as +<i>Hintial</i> for a ghost among the people, and could not find +it. At last my chief agent succeeded in getting from +sources to me unknown, but, as in all cases, partly from natives +of the Toscana Romagna, or Volterra, and at different times, very +full information regarding this mysterious being, which I combine +as follows:</p> +<p style="text-align: center"><span +class="smcap">Intialo</span>.</p> +<p>“This is a spirit in human form who shows himself in any +shadow, <a name="citation238"></a><a href="#footnote238" +class="citation">[238]</a> and diverts himself by inspiring +terror in a sorcerer, or in any one who has committed a +crime. He causes a fearful shadow to be ever present to the +man, and addresses him thus:</p> +<p style="text-align: center" class="poetry"><!-- page 239--><a +name="page239"></a><span class="pagenum">p. 239</span><i>Il +domone al Stregone</i>.</p> +<p class="poetry">“Vile—tu non potrai<br /> +Avere mai bene—avrai<br /> +Sempre la mia ombra<br /> +In tua presenza, e saro<br /> +Vendicato . . . <a name="citation239"></a><a href="#footnote239" +class="citation">[239]</a></p> +<p class="poetry">“Tu non potrai giammai<br /> +Essere solo, che l’ombra<br /> +Mia ovunque andrai<br /> +Ti seguira: tu non potrai<br /> +Essere mai solo, tu sarai<br /> +Sempre in mio potere!</p> +<p class="poetry">“Al mio incantesimo non avrai<br /> +Ne pace ne bene, al mio<br /> +Incanto tu tremerai,<br /> +Te e tutta la casa dove ti troverai,<br /> +Se sei in mezzo alla strada,<br /> +Tu tremerai—<br /> +Te e tutta la terra!</p> +<p class="poetry">“Al mio volere tu andrai<br /> +Come cane alla pagliaio,<br /> +Alla voce del suo maestro;<br /> +Tu me vorrai<br /> +Vedere, e non mi vedrai,<br /> +Mi sentirai—<br /> +Vedrai sola la tua ombra.</p> +<p class="poetry">“Tu sei cattivo e scelerato,<br /> +Tu sei avelenato,<br /> +Nel cuore e nell anima,<br /> +E più bene non avrai,<br /> +Sei avelenato nel cuore,<br /> +E nell anima, vai,<br /> +Tu siei maladetto;<br /> +E il spirito sempre ti seguira<br /> +Ovunque tu vada!”</p> +<p style="text-align: center"><!-- page 240--><a +name="page240"></a><span class="pagenum">p. 240</span><span +class="smcap">Translation</span>.</p> +<p style="text-align: center"><i>The Demon to the +Sorcerer</i>.</p> +<p class="poetry">“Wretch! long lost in wickedness,<br /> +Thou shalt ne’er have happiness;<br /> +Though to distant lands thou’lt flee,<br /> +Still my shadow thou shalt see,<br /> +And I will revengèd be.</p> +<p class="poetry">“Solitude thou ne’er shalt know,<br +/> +Where thou goest my shade shall go,<br /> +And wherever thou mayst fly<br /> +Still the shadow will be by—<br /> +Ne’er alone at any hour,<br /> +And for ever in my power.</p> +<p class="poetry">“By my spell thou ne’er shalt +know<br /> +Peace or joy on earth below,<br /> +At my charm a deadly fear<br /> +Shall seize on all men standing near;<br /> +Thou shalt tremble in thy home,<br /> +Or if thou abroad shouldst roam,<br /> +Shivering with fear thou’lt be,<br /> +And the earth shall shake with thee.</p> +<p class="poetry">“At my bidding thou must stir,<br /> +And hasten as the vilest cur<br /> +Must hasten when his master calls,<br /> +And leave his straw amid the stalls;<br /> +And if thou wouldst gaze on me,<br /> +Still my form thou shalt not see;<br /> +Thou shalt feel when I am here,<br /> +Feel me in thy deadly fear,<br /> +Yet only see thy shadow near.</p> +<p class="poetry">“Thou art vile and wicked too,<br /> +Thou art poisoned through and through;<br /> +In thy heart and in thy soul,<br /> +Cursedness is in the whole,<br /> +<!-- page 241--><a name="page241"></a><span class="pagenum">p. +241</span>In thy soul and in thy heart,<br /> +Poison steeped in every part.<br /> +Cursed ever! now, depart!<br /> +Yet wherever thou shalt flee<br /> +I will ever follow thee!</p> +<p>“Then this man will be in terror, and he will ever see +the shadow before him by day and by night, and thus he will have +no peace, and yet this is all the time the spirit of Intialo.</p> +<p>“Now, when he is thus tormented for some past misdeed, +and he feels himself haunted, as it were, by the shadow of the +one whom he has wronged, when he finds at last that he is not +pursued, indeed, by it, but by Intialo, then he shall repeat the +Exorcism:</p> +<p style="text-align: center"><i>Scongiurazione di +Intialo</i>.</p> +<p class="poetry">“Intialo! Intialo! che quando<br /> +Una persona ai preso,<br /> +O per seguitare le ingombri<br /> +Le ingombri sempre la cammina.</p> +<p class="poetry">“Intialo! Intialo! se libero<br /> +Il passo mi lascerai meglio<br /> +Per te sara, se non mi verrai<br /> +Lasciare ti faccio sapere<br /> +Tu sarai sempre in mio potere.</p> +<p class="poetry">“Intialo! Intialo! ti faccio sapere,<br +/> +Se metto in opera<br /> +La mia scongiurazione,<br /> +Non ti lasciero più bene avere,<br /> +E ogni mi a chiamata<br /> +Ti faro correre<br /> +Come chane al pagliaio.</p> +<p class="poetry">“Intialo! Intialo!<br /> +Ti faccio sapere<br /> +Che tu pensi a fare<br /> +Il tuo dovere,<br /> +Se ancora mi viene a tormentare<br /> +Muso di porco tu possa diventare.</p> +<p class="poetry"><!-- page 242--><a name="page242"></a><span +class="pagenum">p. 242</span>“Intialo! Intialo!<br /> +Tu siei furbo e maligno,<br /> +Ma io me ne infischio,<br /> +Perche io sono di te,<br /> +Molto più maligno.</p> +<p class="poetry">“Intialo! Intialo! ti prego<br /> +Di non mi più tormentare<br /> +Se vuoi aver bene,<br /> +Se no ti acquisterai<br /> +Delle pene—e questo sara<br /> +Il tuo guadagno.</p> +<p class="poetry">“Intialo! Intialo!<br /> +Con tutta la tua furberia,<br /> +Non sai ancora<br /> +Che io son protetto<br /> +Da una bella stregha<br /> +Che mi adora.</p> +<p class="poetry">“Intialo! Intialo!<br /> +Se più ne vuoi sapere<br /> +Vieni sta sera,<br /> +Vièni a mezza notte,<br /> +Viene di dove sei,<br /> +Te lo faro vedere,<br /> +Vieno sotto ’quel noce<br /> +E tu lo vedrai.</p> +<p class="poetry">“Intialo! Intialo!<br /> +La mezza notte in punto,<br /> +Noi l’abbiamo,<br /> +E ti vedo (vedro) appogiato<br /> +Al noce che credi di vedere,<br /> +Vedere l’ombra mia,<br /> +E vedi l’ombra tua stessa!</p> +<p class="poetry">“Intialo! Intialo!<br /> +Dentro al mio seno<br /> +Quattro cose tengo,<br /> +Che mi fanno vedere,<br /> +E non son veduto,<br /> +Ellera, pane,<br /> +Sale e ruta,<br /> +E la mia buona fortuna.</p> +<p class="poetry"><!-- page 243--><a name="page243"></a><span +class="pagenum">p. 243</span>“Intialo! Intialo!<br /> +Non ti voglio dire,<br /> +Perche io voglio<br /> +Andare a dormire;<br /> +Ma solo ti ho fatto<br /> +Ti ho fatto vedere<br /> +Che non son’ in poter tuo,<br /> +Ma tu siei in mio potere.”</p> +<p style="text-align: center"><i>The Exorcism of Intialo</i>.</p> +<p class="poetry">“Intialo! it is known<br /> +When thou followest any one,<br /> +Be the victim whom he may,<br /> +Thou art ever in his way.</p> +<p class="poetry">“Intialo—hear! if free<br /> +Thou wilt leave the road to me,<br /> +Better for thee shall it be;<br /> +If thou wilt not, from this hour<br /> +I will hold thee in <i>my</i> power.</p> +<p class="poetry">“Intialo! thou shalt learn<br /> +That I’m wizard in my turn;<br /> +All the power of sorcery<br /> +So about thee I will throw—<br /> +All around, above, below—<br /> +That thou shalt accursed be,<br /> +Held in fear and agony,<br /> +And as a dog shalt follow me.</p> +<p class="poetry">“Intialo! thou shalt know<br /> +What thou art ere thou canst go;<br /> +If thou comest here again<br /> +To torment or give me pain,<br /> +As thou’dst make a dog of me,<br /> +I will make a swine of thee.</p> +<p class="poetry">“Intialo! sorry cheat,<br /> +Filled with hate from head to feet,<br /> +Be malignant if you will,<br /> +I am more malignant still.</p> +<p class="poetry"><!-- page 244--><a name="page244"></a><span +class="pagenum">p. 244</span>“Intialo! for thy sake<br /> +I pray thee no more trouble take<br /> +To torment me, for thy gain<br /> +Will only be thy greater pain,<br /> +For so cursed thou shalt be<br /> +That I needs must pity thee.</p> +<p class="poetry">“Intialo! now, confess<br /> +That with all thy craftiness<br /> +Thou didst not know what now I tell,<br /> +That I am protected well<br /> +By a lovely witch, and she<br /> +Is mightier far, O fiend! than thee.</p> +<p class="poetry">“Intialo! ere we go,<br /> +If thou more of me wouldst know,<br /> +Come at midnight—I shall be<br /> +’Neath the witches’ walnut tree,<br /> +And what I shall make thee see<br /> +I trow will be enough for thee.</p> +<p class="poetry">“Intialo! in that hour<br /> +Thou shalt truly feel my power,<br /> +And when thou at last shalt ween<br /> +That on the witches’ tree I lean,<br /> +Then to thee it shall be known<br /> +That my shadow is thine own.</p> +<p class="poetry">“Intialo! everywhere<br /> +With me magic charms I bear,<br /> +Ivy, bread and salt and rue,<br /> +And with them my fortune too.</p> +<p class="poetry">“Intialo! hence away,<br /> +Unto thee no more I’ll say;<br /> +Now I fain would go to sleep,<br /> +See that thou this warning keep.<br /> +I am not in power of thine,<br /> +But thou truly art in mine.”</p> +<p>I had the belief, derived from several writers, that +<i>Hinthial</i> in Etruscan meant simply a ghost or +<i>revenant</i>—the apparition of some one dead. But +on mentioning my <!-- page 245--><a name="page245"></a><span +class="pagenum">p. 245</span>discovery of this legend to +Professor Milani, the Director of the Archæological Museum +in Florence, and the first of Etruscan scholars, he astonished me +by declaring that he believed the word signified a <i>shadow</i>, +and that its real meaning in its full significance had apparently +been marvellously preserved in this witch-tradition. Too +little is known as yet of the old Etruscan language to decide +with certainty as to anything in it, but should this opinion of +Professor Milani be sustained, it will appear that at least one +word of the mysterious tongue has existed till now in popular +tradition.</p> +<p>There will be very few of my readers who will not be struck, +as I was, with the remarkable resemblance of the terrible curse +uttered by Intialo to the invocation in Byron’s tragedy of +“Manfred.” It is like it in form, spirit, and, +in many places, even in the very words. That there was, +however, no knowledge of the English poem by the Italian +witch-poet, and therefore no imitation, is plain from intrinsic +evidence. As the question is interesting, I will here give +the Incantation from “Manfred”:</p> +<p style="text-align: center"><span +class="smcap">Incantation</span>.</p> +<p class="poetry">“When the moon is on the wave,<br /> + And the glow-worm in the grass,<br /> +And the meteor on the grave,<br /> + And the wisp on the morass;<br /> +When the falling stars are shooting,<br /> +And the answered owls are hooting,<br /> +And the silent leaves are still<br /> +In the shadow of the hill,<br /> +Shall my soul be upon thine<br /> +With a power and with a sign.</p> +<p class="poetry">“Though thy slumber may be deep,<br /> +Yet thy spirit shall not sleep;<br /> +There are shades which shall not vanish,<br /> +There are thoughts thou canst not banish;<br /> +<!-- page 246--><a name="page246"></a><span class="pagenum">p. +246</span>By a power to thee unknown<br /> +Thou canst never be alone;<br /> +Thou art wrapt as with a shroud,<br /> +Thou art gathered in a cloud,<br /> +And for ever shalt thou dwell<br /> +In the spirit of this spell.</p> +<p class="poetry">“Though thou see’st me not pass +by,<br /> +Thou shalt feel me with thine eye,<br /> +As a thing that, though unseen,<br /> +Must be near thee, and hath been;<br /> +And when in that secret dread<br /> +Thou hast turned around thy head,<br /> +Thou shalt marvel I am not<br /> +As thy shadow on the spot,<br /> +And the power which thou dost feel<br /> +Shall be what thou must conceal.</p> +<p class="poetry">“And a magic voice and verse<br /> +Hath baptized thee with a curse,<br /> +And a spirit of the air<br /> +Hath begirt thee with a snare;<br /> +In the wind there is a voice<br /> +Shall forbid thee to rejoice;<br /> +And to thee shall night deny<br /> +All the quiet of her sky;<br /> +And the day shall have a sun<br /> +Which shall make thee wish it done.</p> +<p class="poetry">“From thy false tears I did distil<br /> +An essence which hath strength to kill;<br /> +From thy own heart I then did wring<br /> +The black blood in its blackest spring;<br /> +From thy own smile I snatched the snake,<br /> +For there it coiled as in a brake;<br /> +From thy own lip I drew the charm<br /> +Which gave all these their chiefest harm;<br /> +In proving every poison known,<br /> +I found the strongest was thine own.</p> +<p class="poetry">“By thy cold breast and serpent smile,<br +/> +By thy unfathomed depths of guile,<br /> +By that most seeming virtuous eye,<br /> +By thy shut soul’s hypocrisy,<br /> +<!-- page 247--><a name="page247"></a><span class="pagenum">p. +247</span>By the perfection of thine art,<br /> +Which passed for human thine own heart;<br /> +By thy delight in others’ pain,<br /> +And by thy brotherhood of Cain,<br /> +I call upon thee, and compel<br /> +Thyself to be thy proper hell!</p> +<p class="poetry">“And on thy head I pour the vial<br /> +Which doth devote thee to this trial;<br /> +Not to slumber, nor to die,<br /> +Shall be in thy destiny,<br /> +Though thy death shall still seem near<br /> +To thy wish, but as a fear;<br /> +Lo! the spell now works around thee,<br /> +And the clankless chain hath bound thee:<br /> +O’er thy heart and brain together<br /> +Hath the word been passed—now wither!”</p> +<p>The Italian poem forms, in its first and second parts, a drama +as complete as that of “Manfred,” and, as I hope to +render clear, one more consistent to the leading idea, or, as +critics were wont to say, “more coherent in the +unities.” This idea in the one, as in the other, is +that of a powerful <i>sorcerer</i> assailed by a fiend in the +form of remorse, and that with the most aggravating and insulting +terms of contempt. In “Manfred” the persecutor +tells his victim that he shall be his own hell, for that of all +poisons his own evil heart is the worst. The Italian, more +direct and less metaphysical still, alludes, in the accusation by +the spirit, to no other punishment save that of conscience, and +declares the magician to be poisoned through and through in +himself:</p> +<blockquote><p>“Tu sei cattivo e scelerato,<br /> +Tu sei avvelenato<br /> +Nel cuore e nell anima,”</p> +</blockquote> +<p>and bids him go forth to be for ever pursued by the +avenger.</p> +<p>Byron’s poem is entirely based on sorcery, and is +intended to set forth the tremendous mental struggles of a <!-- +page 248--><a name="page248"></a><span class="pagenum">p. +248</span>mind which has risen above mankind with supernatural +power, which assails him with remorse. In the first place +he simply goes to sleep; in the grand finale he resists, like Don +Juan, or, as the saying is, “dies +game”—“only this, and nothing +more”—leaving all idea of an end, object, moral, or +system, entirely in the dark. “Manfred” is +merely dramatic for the sake of <i>stage effect</i>, and only +excellent in impressing us with the artistic skill of the +author. Its key is art for the sake of art, and effect on +anybody, no matter who. Within this limit it is most +admirable.</p> +<p>In both the Italian and English poems the one persecuted makes +his strong point of departure from the discovery or knowledge +that the persecuted is not one whom he has injured, but simply a +mocking and tormenting sprite. Thus the former text +declares that when he finds he is pursued simply by Intialo, the +shadow, which we may here translate “his own +imagination,” he rallies with a tremendous counter-curse in +which far more is meant than meets the eye. The grand +mission of the <i>magus</i> or sorcerer in all the occult lore of +all antiquity, whether he appear as Buddha or any other man of +men, is to conquer all enemies by tremendous power won by penance +or by iron <i>will</i>. A favourite means of tormenting the +enemy or fiend is to awaken the conscience of the magician, or, +what is the same thing, to tempt him to sin, as Satan did +Christ. But even conscience loses its power when we feel +that the foe is exaggerating our sins, and only urging them for +torment’s sake, and especially when these sins are of a +kind which from a <i>certain</i> standpoint or code, are not sins +at all.</p> +<p>And here we are brought to a subject so strange and witch-like +that it is difficult to discuss or make clear. It is +evident enough in “Manfred” that the great crime was +the hero’s forbidden love for his sister Astarte. +This it is which crushes him. But it does not appear from +the <!-- page 249--><a name="page249"></a><span +class="pagenum">p. 249</span>Italian (save to those deeply +learned in the darker secrets of sorcery) why or how it is that +the one persecuted so suddenly revives and defies the spirit, +turning, as it were, his own power against him. In +explaining this, I do not in the least conjecture, guess, or +infer anything; I give the explanation as it was understood by +the narrator, and as confirmed by other legends and +traditions. It is this:</p> +<p>Michelet, in <i>La Sorciére</i>, which amid much lunacy +or folly contains many truths and ingenious perceptions, has +explained that the witchcraft of the Middle Ages was a kind of +mad despairing revolt against the wrongs of society, of +feudalism, and the Church. It was in very truth the +precursor of Protestantism. Under the name of religion +conscience had been abused, and artificial sins, dooming to hell, +been created out of every trifle, and out of almost every form of +natural instincts. The reaction from this (which was a kind +of nihilism or anarchy), was to declare the antithetic +<i>excess</i> of free will. One of the forms of this revolt +was the belief that the greatest sorcerers were born (<i>ex filio +et matre</i>) from the nearest relations, and that to dare and +violate all such ties was to conquer by daring will the greatest +power. It was the strongest defiance of the morality taught +by the Church, therefore one of the highest qualifications for an +iron-willed magician. It is specially pointed out in the +legend of Diana that she began by such a sin, and so came to be +queen of the witches; and the same idea of entire emancipation or +illumination, or freedom from all ties, is the first step to the +absolute free will which constitutes the very basis of all +magic. This, which is repugnant to humanity, was actually +exalted by the Persian Magi to a duty or religious principle, and +it was the same in Egypt as regarded “first +families.” The sorcerer pursued by Intialo bases all +his power to resist on the mere fact that he is beloved by a +beautiful witch. This is the Astarte of the <!-- page +250--><a name="page250"></a><span class="pagenum">p. +250</span>Italian drama, or a sister—the terrible tie which +shows that a man is above conscience, and free from all fear of +the powers that be, whether of earth or air. By it his +triumph is complete. He surmounts the accusation of being +without morals by utterly denying their existence from a higher +or illuminated point of view. The <i>magus</i> claims to +rank with the gods, and if a divinity <i>creates</i> mankind as +his children, and then has a child by a woman, he is in the same +state as the sorcerer, according to wizards.</p> +<p>If any reproach attaches to the employment of such an element +in poetry, then Byron and Shelley are far more to blame than the +Italian witch-poet, who veiled his allusion with much greater +care than they did, and who had the vast excuse of <i>sincere +belief</i>, while their highest aim was mere art. The +wizard-poet has his heart in this faith, as in a religion, and he +is one with his hero. Manfred is at best only a broken-down +magician who presents a few boldly dramatic daring +traits—the Italian sorcerer, who is far more defiant and +fearless, conquers. “I am more malignant than thou +art,” is a terrible utterance; so is the tone of affected +pity for the baffled tormentor, in which we detect a shade of +sarcasm based on overwhelming triumph. This feeling, be it +observed, progresses, <i>crescendo forte</i>, gradually and very +artistically, from the first verse to the last. Intialo has +threatened to make the victim a sorry cur who comes at a call; +the sorcerer replies that he will make “a swine’s +snout” of Intialo. Finally, he dares the fiend to +meet him at midnight at the great Witches’ Sabbat, at the +dread walnut-tree of Benevento. Here the threats reach an +ingenious and terrible climax, though the form in which they are +expressed is only quite clear to the initiated. The +sorcerer says, “When thou thinkest that thou see’st +my shadow thou wilt behold thine own,” or in other words, +“You who have sought to torment me by a <i>shadow</i> shall +<!-- page 251--><a name="page251"></a><span class="pagenum">p. +251</span>yourself be mocked by finding that you are only +mine.” This climax of daring the fiend to meet him at +Benevento, at the tremendous and terrible rendezvous of all the +devils, witches, and sorcerers, and then and there trying +conclusions with him in delusion and magic, or a strife of +shadows, while leaning against the awful tree itself, which is +the central point of the Italian Domdaniel, is magnificently +imagined.</p> +<p>In Goethe’s “Faust,” as in Byron’s +“Manfred,” the hero is a magician, but he is not in +either true to the name or character. The great +<i>magus</i> of early ages, even like the black Voodoo of +America, had it clearly before him all the time that his mission +or business, above all things, was to develop an indomitable +<i>will</i> superior to that of men or spirits. Every point +is gained by <i>force</i>, or by will and penance. In real +sorcery there is no such thing as a pact with a devil, and +becoming his slave after a time. This is a purely +later-Roman invention, a result of the adoption of the mixture of +Jewish monotheism and Persian dualism, which formed the Catholic +Church. In Goethe’s “Faust” we have the +greatest weakness, and an extreme confusion of character. +The conclusion of the tale is contradictory or absurd, and the +difficulty is solved with the aid of a <i>Deus ex +machina</i>. The hero is a sorcerer, and <i>there is not a +trace of true sorcery or magianism or tremendous will and work in +the whole drama</i>. Beautiful things are said and done, +but, take it for all in all, it is a grand promenade which leads +to nothing. <a name="citation251"></a><a href="#footnote251" +class="citation">[251]</a></p> +<p>In the Italian legend, brief and rude as it is, there appears +a tremendous power worked out with great consistency. The +demon or spirit, intent on causing remorse or despair (<i>ad +affretare il rimorso</i>), threatens the sorcerer with terrible +maledictions. And these words, if we regard <!-- page +252--><a name="page252"></a><span class="pagenum">p. +252</span>their real meaning and spirit, have never been +surpassed in any poem.</p> +<p>And we should note here that the Italian sorcerer who subdues +the devil by simple will and pluck is no Manfred or Faust drawn +from the religious spirit of the Middle Ages. He belongs to +the Etruscan age, or to that of the ancient Magi; he meets +malediction with malediction, spell with spell, curse with curse, +injury with injury, sarcasm and jeer with the same; he insults +the devil, calling him his slave:</p> +<blockquote><p>“Perche io sono di te—molto più +maligno.”</p> +</blockquote> +<p>Until in the end they change parts, and the demon becomes the +one tormented. Therefore there is in this legend, with all +its rudeness, a conception which is so grand, as regards setting +forth the possible power of man, and the <i>eritis sicut deus</i> +of modern science, that it is in unity and fulness far beyond any +variant of the same subject.</p> +<p>That this is of great antiquity is clear, for out of this +enchanted forest of Italian witchcraft and mystical sorcery there +never yet came anything, great or small, which was not at least +of the bronze, if not of the neolithic age.</p> +<p>Truly, when the chief character in a tradition of the old +Etruscan land bears an Etruscan name, or that of a shadow called +a shadow, we may well conclude that it is not of yesterday. +So all things rise and bloom and pass away here on this earth to +winter and decay, and are as phantoms which</p> +<blockquote><p>“Come like shadows, so depart.”</p> +</blockquote> +<p>For a last word, “Manfred” and “Faust” +are only works of art, intended to “interest” or +amuse or charm the reader, and as such they are great. They +are simply dramas or show-pieces, which also give a high idea of +the artistic skill of their writers. “Intialo” +sets forth the great idea of the true sorcerer, in which they +both <i>fail</i>, and carries <!-- page 253--><a +name="page253"></a><span class="pagenum">p. 253</span>it out +logically to a tremendous triumph. It is the very +quintessence of all heresies, and of the first great heresy, +<i>eritis sicut deus</i>.</p> +<p>There will not be wanting one or two critics of the low kind +who take their hints from the disavowals of the author to declare +that his book is just what it is not, who will write that I think +I have discovered a better poet than Keats in Marietta Pery, and +a far greater than Goethe or Byron in the unknown author of the +invocation to “Intialo.” But all that I +<i>truly mean</i> is that the former is nearer to old tradition, +and more succinct than the English bard—“only this +and nothing more”—while in “Intialo” we +have given, as no one ever expressed it, the true ideal of the +magician who, overcoming all qualms of conscience, whether innate +or suggested, and trampling under foot all moral human +conventions, rises to <i>will</i>, and victory over all enemies, +especially the demons of the threshold. As a poem, I no +more claim special merit for it than I would for +Marietta’s; <a name="citation253"></a><a +href="#footnote253" class="citation">[253]</a> indeed, to the +very considerable number of “highly cultivated” +people who only perceive poetry in form and style, and cannot +find it in the grandest conceptions unless they are elegantly +expressed, what I have given in this connection will not appear +as poetry at all.</p> +<h2><!-- page 254--><a name="page254"></a><span +class="pagenum">p. 254</span>CAIN AND HIS WORSHIPPERS<br /> +<span class="smcap">the spell of the mirror—the invocation +to cain—the witch-history of cain and abel</span></h2> +<blockquote><p>“Rusticus in Luna<br /> +Quem sarcina deprimit una,<br /> +Monstrat per spinas<br /> +Nulli prodesse rapinas.”</p> +<p style="text-align: right">—<span class="smcap">Alexander +Neckham</span>, <span class="smcap">a.d.</span> 1157.</p> +</blockquote> +<p>This is, for reasons which I will explain anon, one of the +most curious traditions which have been preserved by the Tuscan +peasantry. I had made inquiry whether any conjuring by the +aid of a mirror existed—“only this and nothing +more”—when, some time after, I received the +following:</p> +<p style="text-align: center"><span class="smcap">La +Scongiurazione dello Specchio</span>.<br /> +<i>When one wishes to enchant a lover</i>.</p> +<p>“Go at midnight when there is a fine full moon, and take +a small mirror, which must be kept in a box of a fine red colour, +and at each of the four corners of the box put a candle with a +pin, or with a pin in its point, and observe that two of the pins +must have red heads, and two black, and form a cross, and note +that every candle must have two tassels hanging from it, one red +and one black.</p> +<p>“And within the box first of all put a good layer of +coarse salt, and form on the salt a ring or wreath of incense, +and in the middle of this a cross of cummin, and above all put +the small mirror. Then take the photograph of your lover, +but not the real photograph but the negative, because it must be +on a plate of glass (<i>lastra di vetro</i>). Then take +some hairs of <!-- page 255--><a name="page255"></a><span +class="pagenum">p. 255</span>the lover and join them to the +photograph (<i>sono uniti dalla parte del quore</i>), and then +take a fine sprig of rue.</p> +<p>“And with all this nicely arranged in the box, take a +boat and sail out to sea; and if a woman works the spell she must +take three men with her only, and if a man three women and no +other person. And they must go forth at an instant when the +moon shines brightly (<i>risplende bene</i>) on the mirror. +Then hold the left hand over the mirror, and hold up the rue with +the right. Then repeat the following: <a +name="citation255"></a><a href="#footnote255" +class="citation">[255]</a></p> +<p style="text-align: center"><span +class="smcap">Incantesimo</span>.</p> +<p class="poetry">“Luna! Luna! Luna!<br /> +Tu che siei tanto bella!<br /> +E nel tuo cerchio rachiude<br /> +Un si pessimo sogetto<br /> +Rachiude Chaino che per gelosia<br /> +Uccise il proprio fratello.</p> +<p class="poetry">“Ed io che per la gelosia<br /> +Del mio amante non ho potuto<br /> +Ne bere e ne mangiare,<br /> +Ne colle amiche<br /> +Non posso conversare,<br /> +Io l’amo tanto, tanto,<br /> +E non sono corrisposta,<br /> +Quanto lo vorrei e per la sua<br /> +La sua fredezza io ne sono<br /> +Tanto gelosa non so qual’ malarono<br /> +Quale malarono io commetterei,<br /> +Vado a letto non passo riposare,<br /> +Mi viene visioni che<br /> +Il mio amante mi debba ingannare.</p> +<p class="poetry">“Luna, Luna, mia bella Luna!<br /> +Che tanto bella siei e ben’ risplende,<br /> +Ti prego volere pregare per me<br /> +<i>Chaino</i> che per gelosia<br /> +<!-- page 256--><a name="page256"></a><span class="pagenum">p. +256</span>Uccise il proprio fratello,<br /> +Ed io vorrei punire il mio amante,<br /> +Ma non farlo morire<br /> +Ma pero farlo soffrire,<br /> +Che non abbia mai bene<br /> +Ne giorno, ne notte,<br /> +Non possa ne bene ne mangiare.<br /> +E la notte non possa riposare,<br /> +E Chaino col suo fascio,<br /> +Suo fascio, di pruini,<br /> +Il mio amante dal su’letto<br /> +Puo le fare, alzare<br /> +E alla casa mia<br /> +Farlo presto ritornare!</p> +<p class="poetry">“Chaino! Chaino! Chaino!<br /> +Per tre volte io ti chiamo.<br /> +Ti chiamo ad alta voce,<br /> +In un punto dove si trova,<br /> +Soltanto che cielo e aqua,<br /> +E le due mie compagne.</p> +<p class="poetry">“Chaino! per la gelosia<br /> +Che provarti tu per il tuo fratello!<br /> +Provo io per il mio amante,<br /> +E vorrei a me farlo ritornare,<br /> +Per non allontanarsi mai più.</p> +<p class="poetry">“Tu che dal alto del cielo<br /> +Tutto vedi—questa scatola<br /> +E bene preparata e tutte e quattro<br /> +Le candele o accese, tu puoi guardare,<br /> +Puoi guardare questo specchio,<br /> +E se tre parole pronunzierai<br /> +Tutti i pruini che ai<br /> +Nell’ fascio delle legne che adosso,<br /> +Sempre porti potrai,<br /> +Potrai farli passare<br /> +Nel corpo, e nel cuore<br /> +Del mio amante,<br /> +Che non possa dormire e sia<br /> +Costretto a vestirsi,<br /> +E venire a casa mia,<br /> +Per non andarsene mai più.</p> +<p class="poetry"><!-- page 257--><a name="page257"></a><span +class="pagenum">p. 257</span>“Con questo ramo di ruta<br /> +Lo bagno nel mare,<br /> +E bagno le mie due compagne<br /> +Che pronunzierrano queste parole<br /> +Tale [secondo il nome] colla ai uta<br /> +Di Chaino vai dalla tua amante<br /> +Per non lasciarla mai più.</p> +<p class="poetry">“Se questa grazia mi fai<br /> +Fai alzare un forte vento,<br /> +E poi spengere le candele.<br /> +Chaino! Chaino! Chaino!”</p> +<p style="text-align: center"><span class="smcap">The +Invocation</span>.</p> +<p class="poetry">“Moon! O moon! O moon!<br /> +Thou who art always fair,<br /> +Yet holdest in thy ring<br /> +One of such evil name,<br /> +Because thou holdest Cain;<br /> +Cain who from jealousy<br /> +His own born brother slew.</p> +<p class="poetry">“I too through jealousy<br /> +Of one whom I still love<br /> +Can neither drink nor eat,<br /> +Nor even talk with friends,<br /> +I love so much—so much—<br /> +Yet am not loved again<br /> +As I would fain be loved.<br /> +Through his indifference I<br /> +So jealous have become,<br /> +I do not know what sin<br /> +I would not now commit;<br /> +I cannot sleep at night<br /> +For dreams in which I see<br /> +Him faithless unto me.</p> +<p class="poetry">“Moon, moon, O beauteous moon!<br /> +As thou art fair and bright,<br /> +I pray thee, pray for me;<br /> +<i>Cain</i> who from jealousy<br /> +<!-- page 258--><a name="page258"></a><span class="pagenum">p. +258</span>Slew his own brother born,<br /> +As I would punish well<br /> +The one whom I yet love,<br /> +Yet would not cause his death,<br /> +So may he suffer thus:<br /> +May suffering be his lot<br /> +By day as in the night,<br /> +May he not eat or drink,<br /> +Nor may he sleep at night!</p> +<p class="poetry">“May Cain who bears the bunch<br /> +Upon his back, of thorns,<br /> +Stand by my lover’s bed,<br /> +And make him rise from sleep<br /> +And hasten to my home.</p> +<p class="poetry">“O Cain! O Cain! O Cain!<br /> +Three times I call to thee,<br /> +Call with my loudest voice,<br /> +Just as I find myself<br /> +Between the sea and sky,<br /> +And my two friends with me.</p> +<p class="poetry">“Cain, by the jealousy<br /> +Which once thy brother caused,<br /> +And which I now endure,<br /> +For him whom still I love,<br /> +Make love return to me<br /> +And never leave me more.</p> +<p class="poetry">“Thou who from heaven on high<br /> +Seest all things, here behold<br /> +This casket well prepared!<br /> +The mystic tapers four<br /> +All lighted, look on them!<br /> +Then in this mirror look.<br /> +Then if thou wilt but speak<br /> +<i>Three words</i>—then all the thorns<br /> +Which on thy back thou bear’st,<br /> +All in a bundle bound,<br /> +Will pass into the life,<br /> +The body and the heart<br /> +Of him whom yet I love,<br /> +So that he sleep no more,<br /> +<!-- page 259--><a name="page259"></a><span class="pagenum">p. +259</span>And be compelled to rise,<br /> +Compelled to clothe himself,<br /> +And hasten to my home,<br /> +Never to leave me more.</p> +<p class="poetry">“Now, with this branch of rue,<br /> +Which I dip in the sea,<br /> +I sprinkle both my friends,<br /> +That they may speak these words:<br /> +That ---, <a name="citation259a"></a><a href="#footnote259a" +class="citation">[259a]</a> by the aid<br /> +Of Cain shalt seek thy love,<br /> +And never leave her more.</p> +<p class="poetry">“If thou wilt grant me this,<br /> +Cause a high wind to blow,<br /> +Extinguishing the lights.<br /> +O Cain! O Cain! O Cain!”</p> +<p>Before proceeding further, I would explain that the use of a +photograph, which must be a negative on glass, instead of being, +as was suggested to me, a modern interpolation, is, strangely +enough, a proof of the antiquity of the rite. In the old +time, a picture or portrait painted in transparent colour on +glass was held up to the moon that its rays might pass through it +and enchant the subject. And among the Romans, when one had +a portrait of any one cut on diaphanous stone, it was used in the +same way. I had in my possession once such a portrait-gem, +<a name="citation259b"></a><a href="#footnote259b" +class="citation">[259b]</a> and a fine needle-hole had been bored +through the right eye so as to blind the original of the +likeness. And I had a friend who lived in Russia, who +discovered that a person who hated him had obtained his +photograph, and pricked holes with a very fine needle in the eyes +to blind him. The negative of a photograph on glass would +very naturally occur as a substitute for a picture. But +what is most important is that this mention of the translucent +negative proves fully that the whole ceremony, in its <!-- page +260--><a name="page260"></a><span class="pagenum">p. +260</span>minutest detail, has actually been preserved to this +day, and that the incantation, long as it is, exists as I have +given it, since every line in it corresponds to the rite. +And as I know that it was gathered by a witch and fortune-teller +among others, and carefully compared and collated, I am sure that +it is authentic and traditional.</p> +<p>Fifty pages are devoted by the Rev. T. Harley in his +“Moon Lore” to the subject of the Man in the Moon, +and since the book appeared in 1885 there have been great +additions to the subject. This human being is declared by +myths found in India, and especially among the Oriental gypsies, +in Ireland, Borneo, Greenland, and South America, to be a man who +is punished by imprisonment above for incest with his sister the +sun. As he wanders for ever over the heavens, just as +gypsies wander on earth, they claim him for their ancestor, and +declare that Zin-gan (or gypsy) is derived from two words meaning +sun and moon. <i>Kam</i>, the sun, has been varied to +<i>kan</i>, and in gypsy the moon is called <i>chone</i>, which +is also <i>t-chen</i>, <i>chin</i>, or <i>sin</i>. But the +point lies in this, that Cain was condemned to be a “a +fugitive and a vagabond in the earth,” which gives much +apparent strength to the idea that Cain, whether Shemitic or +Aryan, was, for a great crime, or as chief of sinners, imprisoned +in the moon.</p> +<p>This sufferer, in different legends, has been represented as a +Sabbath-breaker, as Judas Iscariot, as Isaac, and many more +transgressors, almost always with a <i>bunch</i> or <i>bush</i> +of <i>thorns</i>, for which there has been literally no real +explanation whatever. This I will now investigate, and, I +think, clearly explain.</p> +<p>Dante in two places speaks of the Man in the Moon as Cain, and +as if it were a very popular legend (<i>Inferno</i>, xx. +123):</p> +<blockquote><p>“Ma vienne omai che già tiene +’l confine<br /> + D’ambedue gli emisperi, e tocca +l’onda<br /> +Sotto Sibilia, Caino e le spine<br /> + E gia iernotte fu la Luna tonda.”</p> +<p><!-- page 261--><a name="page261"></a><span class="pagenum">p. +261</span>“But now he comes who doth the borders hold<br /> +Of the two hemispheres, and drive the waves<br /> +Under the sibyl, Cain, with many thorns.<br /> +And yesternight the moon was round and full;<br /> +Take care that it may never do thee harm<br /> +At any time when in the gloomy wood.”</p> +</blockquote> +<p>This twentieth canto is devoted to the sorcerers in hell, and +ends with allusion to the full moon, the sibyl, and Cain, as +allied to witchcraft, prediction, and sin. When the moon is +full it is also “high tides” with the witches, now as +of yore:</p> +<blockquote><p>“Full moon, high sea,<br /> +Great man shalt thou be:<br /> +Red dawning, cloudy sky,<br /> +Bloody death shalt thou die.”</p> +</blockquote> +<p>Dante again mentions Cain in the moon, in the <i>Paradiso</i>, +ii. 50:</p> +<blockquote><p>“Ma ditemi, che con li segni lui<br /> +Dio questo corpo, che laggiuso in terra<br /> +Fan di <i>Cain</i> favoleggiare altrui?”</p> +<p>“But tell me now what are the gloomy marks<br /> +Upon this body, which down there on earth<br /> +Make people tell so many tales of Cain?”</p> +</blockquote> +<p>To which Beatrice replies by a mysterious physical explanation +of the phenomenon, advising him to take three <i>mirrors</i> and +observe how the moon is reflected from one to the other, and that +in this manner the <i>formal principio</i>, or first creative +power, passes from light to darkness. The reader will here +remember that with the witches the <i>mirror</i> is specially +devoted to conjuring Cain.</p> +<p>It is worth noting that a <i>spechietto</i>, or small +looking-glass, was specially (Barretti) “a little mirror +placed at the bottom of a jewel casket.”</p> +<p>I would now note that the <i>thorns</i> which Cain carries +signify, not only in modern Italian, but in old Roman sorcery, +the sting of hatred and of jealousy. It is a most apparent +and natural simile, and is found from the crown of thorns on +Christ to the Voodoo sorcery in Western <!-- page 262--><a +name="page262"></a><span class="pagenum">p. +262</span>America. Miss Mary Owen knew a black girl in +Missouri who, as a proof of being Christianised, threw away the +thorn which she kept as a fetish to injure an enemy. But in +early times the thorn was universally known as symbolical of sin, +just as Cain was regarded as the first real sinner. +Therefore the two were united. Menzel tells us in his +<i>Christliche Symbolik</i> (Part I. p. 206) that it is a legend +that “there were no thorns before the Fall; they first grew +with sin, therefore thorns are a symbol of the sorrow or pain +which came from sin.” Of all of which there is a mass +of old German myths and legends, which I spare the reader, for I +have endeavoured in this comment to avoid useless myth-mongering +in order to clearly set forth the connection between Cain, his +thorns, and the moon.</p> +<p>That the conjuring the moon with a mirror is very ancient +indeed appears from the legend drawn from classic sources, which +is thus set forth in “A Pleasant Comedie called +Summer’s Last Will and Testament. Written by Thomas +Nash. London, 1600”:</p> +<blockquote><p>“In laying thus the blame upon the Moone<br +/> +Thou imitat’st subtill Pythagoras,<br /> +Who what he would the People should beleeve,<br /> +The same he wrote with blood upon a Glasse,<br /> +And turned it opposite ’gainst the New Moone,<br /> +Whose Beames, reflecting on it with full force,<br /> +Shew’d all those lines to them that stood behinde,<br /> +Most pleynly writ in circle of the Moone,<br /> +And then he said: ‘Not I, but the newe Moone<br /> +Fair Cynthia persuades you this and that.’”</p> +</blockquote> +<p>In the “Clouds” of Aristophanes the same idea is +made into a jest, in which Strepsiades thus addresses +Socrates:</p> +<blockquote><p>“<i>Strepsiades</i>. If I were to buy +a Thessalian witch, and then draw down the moon by night, and +then shut her up in a round helmet-case <i>like a mirror</i>, and +then keep watching her—</p> +<p><i>Socrates</i>. What good would that do you, then?</p> +<p><i>Strepsiades</i>. What! If the moon were not to +rise any more anywhere, I should not pay the interest.</p> +<p><i>Socrates</i>. Because what?</p> +<p><i>Strepsiades</i>. Because the money is lent on +interest.” <a name="citation262"></a><a href="#footnote262" +class="citation">[262]</a></p> +</blockquote> +<p><!-- page 263--><a name="page263"></a><span class="pagenum">p. +263</span>These instances could be multiplied. What I have +given are enough to show the antiquity of the conjuration; and I +also venture to declare that any Italian scholar who is familiar +with these formulas of sorcery will admit that, making all due +allowance for transmission among peasants, the language, or +words, or turns of expression in this incantation denote great +antiquity.</p> +<p>The next paper or tradition on the subject of Cain, which, as +every phrase in it indicates, was taken down from an old dame who +at first slowly recalled forgotten sentences, will be to many +more interesting, and to all much more amusing than the +first. It once happened that an old gypsy in England began +to tell me the story of the ghostly baker of Stonehenge and the +seven loaves, but, suddenly pausing, he said: “What’s +the use of telling that to <i>you</i> who have <i>read</i> it all +in the Bible?” There is, however, this trifling +difference, that I am not sure that my Italian witch friends knew +that Cain and Abel are in the Bible at all. The Red Indian +doctor, whose knowledge of the Old Testament was limited to its +being good to cure neuralgia, was far beyond the <i>contadini</i> +as regards familiarity with “the efficacy of the +Scripture.”</p> +<p>This is the witch-tale as written word by word:</p> +<p style="text-align: center"><span class="smcap">Abele e +Chaino</span>.</p> +<p>“They were two brothers. Abel greatly loved Cain, +but Cain did not love so much the brother Abel.</p> +<p>“Cain had no great will to work.</p> +<p>“Abel, however, on the contrary, was greatly disposed +(<i>si ingegnava</i>) to labour, because he had found it +profitable. He was industrious in all, and at last became a +grazier (<i>mercante di manzi</i>).</p> +<p>“And Cain also, being moved by jealousy (<i>per +astia</i>), wished to become a grazier, but the wheel did not +turn for him as it did for Abel.</p> +<p><!-- page 264--><a name="page264"></a><span class="pagenum">p. +264</span>“And Cain also was a good man, and set himself +contentedly to work, believing that he could become as rich as +his brother, but he did not succeed in this, for which reason he +became so envious of Abel that it resulted in tremendous hate, +and he swore to be revenged.</p> +<p>“Cain often visited his brother, and once said to him, +‘Abel, thou art rich and I am poor; give me the half of thy +wealth, since thou wishest me so well!’</p> +<p>“Then Abel replied: ‘If I give thee a sum which +thou thyself couldst gain by industry, thou shouldst still labour +as I do, and I will give thee nothing, since, if thou wilt work +as I do, thou wilt become as rich.’</p> +<p>“One day there were together Cain, Abel, and a merchant, +whose name I forget. And one told that he had seen in a +dream seven fat oxen and seven lean. And the merchant, who +was an astrologer or wizard, explained that the seven fat oxen +meant seven years of abundance, and the seven lean as many years +of famine.</p> +<p>“And so it came to pass as he foretold—seven years +of plenty and seven of famine.</p> +<p>“And Cain, hearing this, thought: ‘During the +seven years of plenty Abel will lay by a great store, and then I +will slay him, and possess myself of all his goods, and thus I +will take care of myself, and my brother will be dead.’</p> +<p>“Now, Cain greatly loved God; he was good towards God, +more so than Abel, because Abel, having become rich, never spoke +more unto the Lord; and Abel would gladly have become a wizard +himself.</p> +<p>“Then Cain began to think how he could slay Abel and +become a merchant in his place, and so went forth to cut +wood.</p> +<p>“One day he called his brother Abel, and said to him: +‘Thou art so rich, while I am poor, and all my work avails +me little.’ And with that he gave Abel a blow with a +knife, and dressed himself in his garments, and took a bundle of +thorns on his back, and thus clad he took Abel’s place as +merchant, believing that no one would recognise him as Cain.</p> +<p>“And while thus buying and selling he met the +merchant-wizard who had foretold the seven years of famine and of +abundance. And he said, ‘Oh, good day, Abel,’ +to make Cain believe that he was not discovered. But the +oxen who were present all began to chant in chorus:</p> +<p class="poetry"><!-- page 265--><a name="page265"></a><span +class="pagenum">p. 265</span>“‘Non chiamate questo, +Abele!<br /> +E Chaino, non lo vedete,<br /> +Per la gola della monete<br /> +Il fratello ammazato,<br /> +E dei suoi panni e vestito.<br /> +O Chaino or siei chiamato<br /> +Alla presenza del gran Dio,<br /> +Che a morte ti ’a condannato<br /> +Che di richezza eri assetato.’</p> +<p class="poetry">“‘Do not call that person Abel;<br +/> +It is Cain, do you not see it?<br /> +Cain who, for the greed of money,<br /> +Treacherously slew his brother,<br /> +And then clad him in his garments.<br /> +Now, O Cain! thou wilt be summoned<br /> +Speedily unto the presence<br /> +Of the Lord, who has condemned thee<br /> +Unto death for thy great avarice.’</p> +<p>“Cain came before God.</p> +<p class="poetry">“‘O gran Dio di clemenza<br /> +Voi che siete grande, buono,<br /> +Velo chiedo a voi perdone,<br /> +Per il bene vi ho valuto,<br /> +Un instante vi ho dimenticato<br /> +Ma ne sono molto pentito,<br /> +Di aver ammazato<br /> +Abele il fratello mio.’</p> +<p class="poetry">“‘O great God of endless mercy,<br +/> +Thou who art so good and mighty,<br /> +Grant, I pray thee, grant me pardon<br /> +For the good I did while living!<br /> +Truly once, but for an instant,<br /> +I forgot myself, but deeply<br /> +I since then have long repented<br /> +That I slew my brother Abel.’</p> +<p>“But God replied: <a name="citation265"></a><a +href="#footnote265" class="citation">[265]</a></p> +<p>“A punishment thou shalt have because thou didst slay +thy brother from a desire to become rich. Likewise thou +didst meddle with witchcraft and sorceries, as did thy +brother. And Abel made much money and was very rich, +because he did not love God, but sorcerers. Albeit, ever +good he never <!-- page 266--><a name="page266"></a><span +class="pagenum">p. 266</span>did evil things, and many good, +wherefore God pardoned him. But thou shalt not be pardoned +because thou didst imbrue thy lands in human blood, and, what is +worse, in thy own brother’s blood.</p> +<p>“The punishment which I inflict is this:</p> +<p>“The thorns <a name="citation266"></a><a +href="#footnote266" class="citation">[266]</a> which thou didst +put upon thy brother are now for thee.</p> +<p>“Thou shalt be imprisoned in the moon, and from that +place shalt behold the good and the evil of all mankind.</p> +<p>“And the bundle of thorns shall never leave thee, and +every time when any one shall conjure thee, the thorns shall +sting thee cruelly; they shall draw thy blood.</p> +<p>“And thus shalt thou be compelled to do that which shall +be required of thee by the sorcerers or by conjuring, and if they +ask of thee that which thou wilt not give, then the thorns shall +goad thee until the sorceries shall cease.”</p> +<div class="gapspace"> </div> +<p>This is clearly enough no common popular nursery tale, such as +make up collections of Tuscan tales or popular legends, gathered +from pious or picturesque peasants. Through it all runs a +deep current of dark heresy, the deliberate contravention of +accepted Scripture, and chiefly the spell of sorcery and deadly +witchcraft. It is a perfect and curious specimen of a kind +of forbidden literature which was common during the Middle Ages, +and which is now extremely rare. This literature or lore +was the predecessor of Protestantism, and was the rock on which +it was based.</p> +<p>There have always been in the world since time began certain +good people whose taste or fate it was to be invariably on the +wrong side, or in the opposition; like the Irishman just landed +from a ship in America, who, being asked how he would vote, +replied, “Against the Government, of course, whatever it +is,” they are always at war with the powers that be. +With Jupiter they would have opposed the Titans; with Prometheus, +Jupiter; <!-- page 267--><a name="page267"></a><span +class="pagenum">p. 267</span>as early Christians they would have +rebelled against the Pagans, and as heretics, Orientalised +Templars, Vaudois, illuminati, sorcerers, and witches, they would +have undermined the Church, never perceiving that its system or +doctrine was, <i>au fond</i>, fetish, like their own. Among +these rebels it was long the rule to regard those gods or men who +were specially reviled by their foes or oppressors as +calumniated. Even Satan was to them “the puir +deil;” according to the Taborites, an oppressed elder +brother of Christ, or a kind of Man in an Iron Mask kept out of +his rights by Jehovah the XIV. These discontented ones +deified all who had been devilled, found out that Jezebel had +been a <i>femme incomprise</i>, and the Scarlet Woman only an +interesting highly-coloured variant of the ancient hoary myth of +Mademoiselle or Miss Salina the Innocent. When Judas was +mentioned, they solemnly remarked that there was a great deal to +be said on both sides of <i>that</i> question; while others +believed that Ananias and Sapphira had been badly sat upon, and +deserved to be worshipped as saints of appropriation—a +cult, by the way, the secret observance of which has by no means +died out at the present day—several great men being +regarded in Paris as its last great high priests.</p> +<p>The Cainites, as known by that name to the Church, were a +Gnostic sect of the second century, and are first mentioned by +Irenæus, who connects them with the Valentinians, of whom I +thought but yesterday when I saw in a church a sarcophagus +warranted to contain the corpse of St. Valentine. They +believed that Cain derived his existence from the supreme power, +but Abel from the inferior, and that in this respect he was the +first of a line which included Esau, Korah, the dwellers in Sodom +and Gomorrah, the worshippers of Ashtoreth-Mylitta, or the +boundless sensualists, the sorcerers, and witches.</p> +<p>Considering what human nature is, and its instincts to +opposition, we can see that there must have been naturally <!-- +page 268--><a name="page268"></a><span class="pagenum">p. +268</span>a sect who regarded Cain as a misjudged martyr. +Abel appeared to them as the prosperous well-to-do bourgeois, +high in favour with the Lord, a man with flocks, while Cain was a +tiller of the ground, a poor peasant out of favour. It must +be admitted that in the Book of Genesis, in the history of the +first murder, we are much reminded of the high priest Chalcas in +<i>La Belle Helene</i>, where he exclaims, “<i>Trop de +fleurs</i>!” and expresses a preference for cattle. +It is the old story of the socialists and anarchists, which is +ever new.</p> +<p>The witches and sorcerers of early times were a widely spread +class who had retained the beliefs and traditions of heathenism +with all its license and romance and charm of the +forbidden. At their head were the Promethean Templars, at +their tail all the ignorance and superstition of the time, and in +their ranks every one who was oppressed or injured either by the +nobility or the Church. They were treated with +indescribable cruelty, in most cases worse than beasts of burden, +for they were outraged in all their feelings, not at intervals +for punishment, but habitually by custom, and they revenged +themselves by secret orgies and fancied devil-worship, and occult +ties, and stupendous sins, or what they fancied were such. +I can seriously conceive—what no writer seems to have +considered—that there must have been an immense +satisfaction in selling or giving one’s self to the devil, +or to any power which was at war with their oppressors. So +they went by night, at the full moon, and sacrificed to Diana, or +“later on” to Satan, and danced and rebelled. +It is very well worth noting that we have <i>all</i> our accounts +of sorcerers and heretics from Catholic priests, who had every +earthly reason for misrepresenting them, and did so. In the +vast amount of ancient witchcraft still surviving in Italy there +is not much anti-Christianity, but a great deal of early +heathenism. Diana, not Satan, is still the real head of the +witches. The Italian witch, as the priest Grillandus said, +<!-- page 269--><a name="page269"></a><span class="pagenum">p. +269</span>stole oil to make a love-charm. <a +name="citation269"></a><a href="#footnote269" +class="citation">[269]</a> But she did not, and does not +say, as he declared, in doing so, “I renounce +Christ.” There the priest plainly lied. The +whole history of the witch mania is an ecclesiastical falsehood, +in which such lies were subtly grafted on the truth. But in +due time the Church, and the Protestants with them, created a +Satanic witchcraft of their own, and it is this after-growth +which is now regarded as witchcraft in truth.</p> +<p>Cain-worshippers and witches seem to have been all in the same +boat. I think it very likely that in these two traditions +which I have given we have a remnant of the actual literature of +the Cainites, that Gnostic-revived and mystical sect of the +Middle Ages. But I doubt not that its true origin is far +older than Christianity, and lost in earliest time.</p> +<p>One last remark. We are told in the tale that Abel, +having become rich, “cut” the Lord, or would speak to +him no longer. I suppose that he dropped the synagogue and +<i>Yom kippur</i>, and became a <i>Reformirter</i>, and his +children in due time <i>Goyim</i>. Also that he wanted to +become a wizard, which may be a hint that he was “no +conjuror.” But it is seriously a proof of the +naïveté, and consequent probable antiquity of the +tale, that these details are not “wrote sarcastic,” +nor intended for humour. And it is also interesting to +observe how impartially the narrator declares that Cain was +“a good man,” and how he, in pleading his own cause +before the Lord, insists that in killing Abel he only +inadvertently forgot himself for an instant. One almost +expects to hear him promise that he will not do it again.</p> +<p>It is a striking proof of the antiquity of this tradition <!-- +page 270--><a name="page270"></a><span class="pagenum">p. +270</span>of Cain, as I have given it, that the witch or wizard +sympathy for the first murderer is in it unmistakable. The +sending Cain to the moon, instead of hell, is understood to be a +mitigation of his sentence. In his work on magicians and +witches, <span class="smcap">a.d.</span> 1707, Goldschmidt +devotes many pages to set forth what was believed by all the +learned of his time, that Cain was the father of all the wizards, +and his children, the Cainites, the creators of the <i>Gaber</i>, +fire-idolators, Cabiri, magic soothsaying, and so forth. So +the tradition lived on, utterly forgotten by all good people, and +yet it is to me so quaint as to be almost touching to find it +still existing, a fragment of an old creed outworn here among +poor witches in Florence.</p> +<p>“Sacher Masoch,” a Galician novelist, informs us +in a romance, “The Legacy of Cain,” that the Cainites +still exist in Russia, and that their religion is represented by +the following charming creed:</p> +<blockquote><p>“Satan is the master of the world; therefore +it is a sin to belong to Church or State, and marriage is also a +capital sin. Six things constitute the legacy of Cain: +Love, Property, Government, War, and Death. Such was the +legacy of Cain, who was condemned to be a wanderer and a fugitive +on earth.”</p> +</blockquote> +<p>I have another apparently very ancient conjuration of a +mirror, in two parts. It is of the blackest witchcraft, of +the most secret kind, and is only intended to injure an +enemy.</p> +<p>From an article in <i>La Rivista delle Tradizione Popolare</i> +of July 1894, by F. Montuori, I learn that in a little work by +San Prato on “Cain and the Thorns according to Dante and +Popular Tradition,” Ancona, 1881, which I have not seen, +the history of Cain is given much as told by Maddalena. +What is <i>chiefly</i> interesting in the version of Maddalena +is, however, wanting in all the folklore on the subject collected +by others; it is the manifest trace of Cainism, of sympathy with +the first murder, and in its heresy. This opens for us a +far wider field of research <!-- page 271--><a +name="page271"></a><span class="pagenum">p. 271</span>and +valuable historical information than the rather trivial fact that +Cain is simply the Man in the Moon.</p> +<p>Merk in <i>Die Sitten und Gebräuche der Deutschen</i>, +gives (p. 644), from Wolf, a strange legend which is nearly +allied to Moon worship by witches, and the mirror:</p> +<blockquote><p>“There was a man in Kortryk who was called +Klare Mone (bright moon), and he got his name from this. +One night when sleeping on his balcony he heard many +women’s voices sweetly singing. They held goblets +[there is some confusion here with <i>gläserne Pfannen</i> +or glass panes in the roof from which the man looked; I infer +that the witches drank from “glass pans,” +<i>i.e.</i>, metallic mirrors], and as they drank they sang:</p> +<p>“‘We are drinking the sweetest of earthly wine,<br +/> +For we drink of the clear and bright moonshine.’</p> +<p>“But as the man approached them, ‘with a club to +beat or kill them, all vanished.’”</p> +</blockquote> +<p>“Which fable teaches,” as the wise Flaxius notes, +“what indeed this whole book tends to show—that few +people know or heed what witches ever really were. Now, +that this boor wished to slay the sorceresses with a club, for +drinking moonshine, is only what the whole world is doing to all +who have <i>different ideas from ours</i> as to what constitutes +enjoyment. So in all history, under all creeds, even unto +this day, people have been clubbed, hung, tortured, and baked +alive, or sent to Coventry for the crime of drinking +<i>moonshine</i>!”</p> +<p>And so this volume ends, oh reader mine!</p> +<blockquote><p>“So the visions flee,<br /> +So the dreams depart;<br /> +And the sad reality,<br /> +Now must act its part.”<br /> +<i>Ite</i>, <i>lector benevole</i>,<br /> +<i>Ite</i>, <i>missa est</i>.</p> +</blockquote> +<div class="gapspace"> </div> +<p style="text-align: center"><!-- page 272--><a +name="page272"></a><span class="pagenum">p. 272</span><i>Printed +by</i> <span class="smcap">Ballantyne</span>, <span +class="smcap">Hanson & Co.</span><br /> +<i>Edinburgh and London</i></p> +<h2>Footnotes:</h2> +<p><a name="footnote3a"></a><a href="#citation3a" +class="footnote">[3a]</a> <i>Nel miglio salotto di +recevimento</i>. This is all an accurate picture of old +Florentine customs.</p> +<p><a name="footnote3b"></a><a href="#citation3b" +class="footnote">[3b]</a> <i>Necessità fa la vecchia +trottare</i>. On which proverb Matteo Villani comments as +follows: “And thus he truly verified the saying of Valerius +Maximus, that ‘the wants caused by human weakness are a +common bond of security,’ all of which is briefly expressed +in the French proverb, ‘Need makes the old woman (or old +age) bestir herself.’” Valerius Maximus was the +prototype of Guicciardini.</p> +<p><a name="footnote8"></a><a href="#citation8" +class="footnote">[8]</a> “Chiese alla regina di dormir +seco.” Which was certainly very plain blunt speaking, +even for the time.</p> +<p><a name="footnote14"></a><a href="#citation14" +class="footnote">[14]</a> “Le cattive nove volano,<br /> +Le male son sempre vere;<br /> +Prima l’annunzio, poi malanno,<br /> +Chi me ne da una calda, e chi una fredda.”</p> +<p style="text-align: right">—<i>Italian Proverb</i>.</p> +<p><a name="footnote15"></a><a href="#citation15" +class="footnote">[15]</a> The<i> cappa</i> is a cloak with +a hood or “capuchin;” a <i>cotta</i> is the stole +worn by Catholic priests.</p> +<p><a name="footnote21"></a><a href="#citation21" +class="footnote">[21]</a> <i>Folletto</i>. This, +which meant originally an airy tricksy sprite, is now applied not +only to fairies and goblins in general, but also to every kind of +supernatural apparition. I have a book in which even comets +are described as <i>folletti</i>.</p> +<p><a name="footnote23"></a><a href="#citation23" +class="footnote">[23]</a> Redi’s <i>Bacco in +Toscana</i> is known to the most ignorant in Florence, there +being very cheap editions of it constantly sold.</p> +<p><a name="footnote24"></a><a href="#citation24" +class="footnote">[24]</a> “Can a <i>horn</i> play +second fiddle?” inquires Flaxius. “This comes +of trying to improve on the simple Italian text.”</p> +<p><a name="footnote27"></a><a href="#citation27" +class="footnote">[27]</a> <i>Zoccoloni</i> or +<i>Zoccolanti</i>, sandalled friars of the lowest order, who are +indeed common beggars.</p> +<p><a name="footnote31"></a><a href="#citation31" +class="footnote">[31]</a> The partial inscription referred to is +still on the column.</p> +<p><a name="footnote33"></a><a href="#citation33" +class="footnote">[33]</a> This is strikingly like the +ceremony for the same purpose used by the ancient Romans, the +object in both being to frighten away evil spirits. +<i>Vide</i> “Etruscan Roman Remains,” by C. G. +Leland, p. 305.</p> +<p><a name="footnote43"></a><a href="#citation43" +class="footnote">[43]</a> Una vecchietta, tutta Gesù +e Maria.</p> +<p><a name="footnote47"></a><a href="#citation47" +class="footnote">[47]</a> I have elsewhere explained that +the <i>fata</i> in these traditions is a witch or sorcerer become +a spirit.</p> +<p><a name="footnote48a"></a><a href="#citation48a" +class="footnote">[48a]</a> It may be conjectured from this +context that the child was partly human in form, perhaps like the +Pig-faced Lady, or not more swinish than William of Ardennes in +face.</p> +<p><a name="footnote48b"></a><a href="#citation48b" +class="footnote">[48b]</a> Truly she was, to use a really +ancient phrase, “ready to go the whole hog.” It +is said that Mahomet told his disciples that there was one part +of a pig which they must not touch; but as he did not specify +what it was, they among them devoured the entire animal.</p> +<p><a name="footnote50"></a><a href="#citation50" +class="footnote">[50]</a> “Symbola Heroica,” +Antwerp, 1583.</p> +<p><a name="footnote63"></a><a href="#citation63" +class="footnote">[63]</a> Raised footway, high curbstone, +causeway, bench.</p> +<p><a name="footnote67"></a><a href="#citation67" +class="footnote">[67]</a> “D’una gran purga +bisogna avete,<br /> +E questa purga davero dovete<br /> +Farla all’ anima, cosi guarirete!”</p> +<p><a name="footnote71"></a><a href="#citation71" +class="footnote">[71]</a> It appears from this story that +La Certosa was “even then as now” visited by +strangers as one of the lions of Florence.</p> +<p><a name="footnote77a"></a><a href="#citation77a" +class="footnote">[77a]</a> This word is apparently allied +to <i>Marráno</i>, an infidel Moor, miscreant, traitor, or +to <i>amaro</i>, bitter or painful.</p> +<p><a name="footnote77b"></a><a href="#citation77b" +class="footnote">[77b]</a> A peculiarly Florentine +word. <i>Renajo</i>, sand-pit, a place so called near the +Arno in Florence (Barretti’s Dictionary). I can see +several of these <i>renaioli</i> with their boats from the window +at work before me as I write. <i>Vide</i> “The Spirit +of the Arno.”</p> +<p><a name="footnote82"></a><a href="#citation82" +class="footnote">[82]</a> “Echoes of Old +Florence,” by Temple Leader.</p> +<p><a name="footnote83"></a><a href="#citation83" +class="footnote">[83]</a> Like Proteus, the evasive +slippery nature of water and the light which plays on it accounts +for this.</p> +<p><a name="footnote92"></a><a href="#citation92" +class="footnote">[92]</a> “Well, yes, I think you +might;<br /> +A cart of hay went through this afternoon.”</p> +<p>I believe this is by Peter Pindar. The Italian proverb +probably suggested it.</p> +<p><a name="footnote94"></a><a href="#citation94" +class="footnote">[94]</a> <i>Rizzar l’uovo di Pippo +sù un píano</i>. “To do a difficult +thing, or achieve it by tact and skill.” This hints +at the egg of Columbus. But Columbus set the egg upright by +breaking its end, which was not a fair game. Any egg can be +set on end on a marble table (I have done it), by patient +balancing, without breaking.</p> +<p><a name="footnote96"></a><a href="#citation96" +class="footnote">[96]</a> “Florentine Life during the +Renaissance,” by Walter B. Scaife. Baltimore, +1893.</p> +<p><a name="footnote98"></a><a href="#citation98" +class="footnote">[98]</a> The diavolino of Gian di Bologna +is of bronze, but popular tradition makes light of accuracy.</p> +<p><a name="footnote103"></a><a href="#citation103" +class="footnote">[103]</a> This is supposed to be addressed +to another, not to the fairy.</p> +<p><a name="footnote108"></a><a href="#citation108" +class="footnote">[108]</a> <i>Ucellato</i>, caught like a +bird, or, as they say on the Mississippi, +“sniped.”</p> +<p><a name="footnote126"></a><a href="#citation126" +class="footnote">[126]</a> The reader may observe that +these popular names of Oratorio and Orto are most likely to have +given the prefix <i>Or’</i>.</p> +<p><a name="footnote150"></a><a href="#citation150" +class="footnote">[150]</a> <i>Ha tanta lingua che +spazzarebbe un forno</i>, <i>ò un cesso</i>. Said of +virulent gossips.</p> +<p><a name="footnote152"></a><a href="#citation152" +class="footnote">[152]</a> <i>Mago</i>, which, like +<i>magus</i>, implies more dignity than magician or sorcerer.</p> +<p><a name="footnote153"></a><a href="#citation153" +class="footnote">[153]</a> “The Mugnone, whose course +has been shifted to the west, formerly flowed into the Arno, +through the heart of the city.”—<i>Murray’s +Handbook for Travellers in Central Italy</i>.</p> +<p><a name="footnote155"></a><a href="#citation155" +class="footnote">[155]</a> <i>L’anguilla si rizzo in +piedi</i>—“The eel rose upon her feet.” +This will remind the reader of some of the difficulties +experienced by Gothic artists in depicting Eve and the +Serpent.</p> +<p><a name="footnote156"></a><a href="#citation156" +class="footnote">[156]</a> There is much confusion +here. It appears that the fairy made the fountain now in +the Signoria, and that Biancone saw this in a vision.</p> +<p><a name="footnote158"></a><a href="#citation158" +class="footnote">[158]</a> This refers to the satyrs who +are among the bronze figures below Neptune.</p> +<p><a name="footnote161a"></a><a href="#citation161a" +class="footnote">[161a]</a> I here omit a long, detailed, +and wearisome account of the research, which, however, indicates +the accuracy with which the tradition had been preserved, and the +full belief in it of the narrator.</p> +<p><a name="footnote161b"></a><a href="#citation161b" +class="footnote">[161b]</a> A kind of cruel pillory.</p> +<p><a name="footnote162"></a><a href="#citation162" +class="footnote">[162]</a> In allusion to seeing it from +behind the squares formed by the grates of iron before prison +windows.</p> +<p><a name="footnote164"></a><a href="#citation164" +class="footnote">[164]</a> Landucci, 233, cited by +Scaife.</p> +<p><a name="footnote171"></a><a href="#citation171" +class="footnote">[171]</a> Una medichessa.</p> +<p><a name="footnote177"></a><a href="#citation177" +class="footnote">[177]</a> Not a fairy here, but a witch of +a certain degree.</p> +<p><a name="footnote180"></a><a href="#citation180" +class="footnote">[180]</a> Si la Messa de Villani era +finito.</p> +<p><a name="footnote181"></a><a href="#citation181" +class="footnote">[181]</a> E appunto hora comincia quella +delle puttane, pero caminate, che farete a tempo con +l’altre.</p> +<p><a name="footnote189"></a><a href="#citation189" +class="footnote">[189]</a> Nella guerra d’amor, che +fugge vince.</p> +<p><a name="footnote196"></a><a href="#citation196" +class="footnote">[196]</a> Viene tutte le mattine<br /> +Colle sue belle manine.</p> +<p>Though very rude, even to illiteracy in <i>form</i>, the train +of thought is here very gracefully managed in the original.</p> +<p><a name="footnote201"></a><a href="#citation201" +class="footnote">[201]</a> So called because criminals +passed through it on their way to execution.</p> +<p><a name="footnote202"></a><a href="#citation202" +class="footnote">[202]</a> “Da qualche bacio<br /> +Vi chascha il <i>vero</i> bacio d’amor.”</p> +<p style="text-align: right">—<i>Original</i>.</p> +<p><a name="footnote203a"></a><a href="#citation203a" +class="footnote">[203a]</a> “Altrimenti<br /> +L’avrebbero levato il +collare.”—<i>Original</i>.</p> +<p><a name="footnote203b"></a><a href="#citation203b" +class="footnote">[203b]</a> “In una altra stella<br +/> +Per raggiungere la sua bella.”—<i>Original</i>.</p> +<p><a name="footnote205"></a><a href="#citation205" +class="footnote">[205]</a> <i>Faceva il verso del lupo</i>, +the deep baying which is a subject of superstition in all +countries.</p> +<p><a name="footnote207"></a><a href="#citation207" +class="footnote">[207]</a> Friedrich, “Symbolik der +Natur.”</p> +<p><a name="footnote208"></a><a href="#citation208" +class="footnote">[208]</a> A humming-top.</p> +<p><a name="footnote212"></a><a href="#citation212" +class="footnote">[212]</a> The Philological Society +(<i>Circolo</i>), has also its rooms in this building.</p> +<p><a name="footnote213"></a><a href="#citation213" +class="footnote">[213]</a> Perche si rendeva alle persone +troppo triviale—A graphic sketch of a character who would +be peculiarly offensive in a highly patrician community.</p> +<p><a name="footnote220"></a><a href="#citation220" +class="footnote">[220]</a> “Col mio pugnale +ammazato,<br /> +Col pugnale e sotterato.”</p> +<p><a name="footnote224"></a><a href="#citation224" +class="footnote">[224]</a> Since writing the foregoing, I +have found in <i>Am Urquelle</i>, vol. vi. 3, May 1895, a legend +credited to a book by A. Bondeson, <i>Historic Gulbar på +Dal</i> (Stockholm, 1886), or a story entitled “The Lover +with a Green Beard,” which is much the same in incident as +this. The editor, H. Feilberg, notices the affinity of this +and other tales to the Vampyre and Burger’s +“Leonora.”</p> +<p><a name="footnote227"></a><a href="#citation227" +class="footnote">[227]</a> <i>Zufolo</i>—a rude +flageolet, such as is still commonly played by the shepherds all +over Italy.</p> +<p><a name="footnote238"></a><a href="#citation238" +class="footnote">[238]</a> <i>Il suo spirito lo fa +presentare qualunque ombra</i>, that is, in any or varied shadow; +a <i>haunting</i> shade, and not strictly the mere shadow of the +one who is haunted.</p> +<p><a name="footnote239"></a><a href="#citation239" +class="footnote">[239]</a> That which here follows of the +invocation was obtained subsequently by my agent, I think, from +another source. What precedes is evidently only a +fragment.</p> +<p><a name="footnote251"></a><a href="#citation251" +class="footnote">[251]</a> The concluding portion of this +chapter is taken from the Italian original paper read by me at +the first meeting of the Italian Folklore Society in the Collegio +Romano, Rome, November 20, 1894.</p> +<p><a name="footnote253"></a><a href="#citation253" +class="footnote">[253]</a> These references to Marietta +Pery are in regard to a certain Italian poetess, of whose work I +originally intended to give specimens in this book, but which +were omitted as want of space did not permit their +insertion. I hope to include them in another volume of +legends.—<span class="smcap">C. G. Leland</span>.</p> +<p><a name="footnote255"></a><a href="#citation255" +class="footnote">[255]</a> Such incantations are +<i>intoned</i> or chanted in a very peculiar style, so that those +who can only hear the sound know that it is a magic spell. +Therefore they must be expressed very accurately to the +letter. It may be observed that there is a contradiction in +the original MS., which here speaks of <i>three</i> companions, +and subsequently of two. I believe the latter to be +correct.</p> +<p><a name="footnote259a"></a><a href="#citation259a" +class="footnote">[259a]</a> Here the name of the lover is +pronounced by the friends.</p> +<p><a name="footnote259b"></a><a href="#citation259b" +class="footnote">[259b]</a> Now in possession of Mrs. January of +St. Louis, Missouri.</p> +<p><a name="footnote262"></a><a href="#citation262" +class="footnote">[262]</a> “Moon Lore,” p. +152.</p> +<p><a name="footnote265"></a><a href="#citation265" +class="footnote">[265]</a> I have no doubt that originally all +the spoken parts of this narrative were sung.</p> +<p><a name="footnote266"></a><a href="#citation266" +class="footnote">[266]</a> Thorns here plainly mean +suffering, <i>Fasio di pruini che ai messo al tuo +fratello</i>.</p> +<p><a name="footnote269"></a><a href="#citation269" +class="footnote">[269]</a> It is amusing that this stealing +oil wherewith to make love-charms, which was denounced so +bitterly as damnable sorcery at one time, and frequently punished +by death, <i>i.e.</i>, by burning alive, is now tacitly +encouraged by the priests. There are churches about Rome in +which the oil is placed where it may be stolen or taken, it being +understood that a <i>soldo</i> or two shall be left to pay for +it.</p> +<p>***END OF THE PROJECT GUTENBERG EBOOK LEGENDS OF FLORENCE***</p> +<pre> + + +***** This file should be named 32786-h.htm or 32786-h.zip****** + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/2/7/8/32786 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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