Hauntings Part 1

Hauntings.

by Vernon Lee.

_Preface_

We were talking last evening--as the blue moon-mist poured in through the old-fas.h.i.+oned grated window, and mingled with our yellow lamplight at table--we were talking of a certain castle whose heir is initiated (as folk tell) on his twenty-first birthday to the knowledge of a secret so terrible as to overshadow his subsequent life.

It struck us, discussing idly the various mysteries and terrors that may lie behind this fact or this fable, that no doom or horror conceivable and to be defined in words could ever adequately solve this riddle; that no reality of dreadfulness could seem caught but paltry, bearable, and easy to face in comparison with this vague we know not what.

And this leads me to say, that it seems to me that the supernatural, in order to call forth those sensations, terrible to our ancestors and terrible but delicious to ourselves, skeptical posterity, must necessarily, and with but a few exceptions, remain enwrapped in mystery. Indeed, 'tis the mystery that touches us, the vague shroud of moonbeams that hangs about the haunting lady, the glint on the warrior's breastplate, the click of his unseen spurs, while the figure itself wanders forth, scarcely outlined, scarcely separated from the surrounding trees; or walks, and sucked back, ever and anon, into the flickering shadows.

A number of ingenious persons of our day, desirous of a pocket-superst.i.tion, as men of yore were greedy of a pocket-saint to carry about in gold and enamel, a number of highly reasoning men of semi-science have returned to the notion of our fathers, that ghosts have an existence outside our own fancy and emotion; and have culled from the experience of some Jemima Jackson, who fifty years ago, being nine years of age, saw her maiden aunt appear six months after decease, abundant proof of this fact. One feels glad to think the maiden aunt should have walked about after death, if it afforded her any satisfaction, poor soul! but one is struck by the extreme uninterestingness of this lady's appearance in the spirit, corresponding perhaps to her want of charm while in the flesh.

Altogether one quite agrees, having duly perused the collection of evidence on the subject, with the wisdom of these modern ghost-experts, when they affirm that you can always tell a genuine ghost-story by the circ.u.mstance of its being about a n.o.body, its having no point or picturesqueness, and being, generally speaking, flat, stale, and unprofitable.

A genuine ghost-story! But then they are not genuine ghost-stories, those tales that tingle through our additional sense, the sense of the supernatural, and fill places, nay whole epochs, with their strange perfume of witchgarden flowers.

No, alas! neither the story of the murdered King of Denmark (murdered people, I am told, usually stay quiet, as a scientific fact), nor of that weird woman who saw King James the Poet three times with his shroud wrapped ever higher; nor the tale of the finger of the bronze Venus closing over the wedding-ring, whether told by Morris in verse patterned like some tapestry, or by Merimee in terror of cynical reality, or droned by the original mediaeval professional story-teller, none of these are genuine ghost-stories. They exist, these ghosts, only in our minds, in the minds of those dead folk; they have never stumbled and fumbled about, with Jemima Jackson's maiden aunt, among the armchairs and rep sofas of reality.

They are things of the imagination, born there, bred there, sprung from the strange confused heaps, half-rubbish, half-treasure, which lie in our fancy, heaps of half-faded recollections, of fragmentary vivid impressions, litter of multi-colored tatters, and faded herbs and flowers, whence arises that odor (we all know it), musty and damp, but penetratingly sweet and intoxicatingly heady, which hangs in the air when the ghost has swept through the unopened door, and the flickering flames of candle and fire start up once more after waning.

The genuine ghost? And is not this he, or she, this one born of ourselves, of the weird places we have seen, the strange stories we have heard--this one, and not the aunt of Miss Jemima Jackson? For what use, I entreat you to tell me, is that respectable spinster's vision?

Was she worth seeing, that aunt of hers, or would she, if followed, have led the way to any interesting brimstone or any endurable beat.i.tude?

The supernatural can open the caves of Jamschid and scale the ladder of Jacob: what use has it got if it land us in Islington or Shepherd's Bush? It is well known that Dr. Faustus, having been offered any ghost he chose, boldly selected, for Mephistopheles to convey, no less a person than Helena of Troy. Imagine if the familiar fiend had summoned up some Miss Jemima Jackson's Aunt of Antiquity!

That is the thing--the Past, the more or less remote Past, of which the prose is clean obliterated by distance--that is the place to get our ghosts from. Indeed we live ourselves, we educated folk of modern times, on the borderland of the Past, in houses looking down on its troubadours' orchards and Greek folks' pillared courtyards; and a legion of ghosts, very vague and changeful, are perpetually to and fro, fetching and carrying for us between it and the Present.

Hence, my four little tales are of no genuine ghosts in the scientific sense; they tell of no hauntings such as could be contributed by the Society for Psychical Research, of no specters that can be caught in definite places and made to dictate judicial evidence. My ghosts are what you call spurious ghosts (according to me the only genuine ones), of whom I can affirm only one thing, that they haunted certain brains, and have haunted, among others, my own and my friends'--yours, dear Arthur Lemon, along the dim twilit tracks, among the high growing bracken and the spectral pines, of the south country; and yours, amidst the mist of moonbeams and olive-branches, dear Flora Priestley, while the moonlit sea moaned and rattled against the moldering walls of the house whence Sh.e.l.ley set sail for eternity.

VERNON LEE

_MAIANO, near FLORENCE, June 1889._

_Amour Dure:_

Pa.s.sAGES FROM THE DIARY OF SPIRIDION TREPKA.

_Part I_

_Urbania, August 20th, 1885.--_

I had longed, these years and years, to be in Italy, to come face to face with the Past; and was this Italy, was this the Past? I could have cried, yes cried, for disappointment when I first wandered about Rome, with an invitation to dine at the German Emba.s.sy in my pocket, and three or four Berlin and Munich Vandals at my heels, telling me where the best beer and sauerkraut could be had, and what the last article by Grimm or Mommsen was about.

Is this folly? Is it falsehood? Am I not myself a product of modern, northern civilization; is not my coming to Italy due to this very modern scientific vandalism, which has given me a traveling scholars.h.i.+p because I have written a book like all those other atrocious books of erudition and art-criticism? Nay, am I not here at Urbania on the express understanding that, in a certain number of months, I shall produce just another such book? Dost thou imagine, thou miserable Spiridion, thou Pole grown into the semblance of a German pedant, doctor of philosophy, professor even, author of a prize essay on the despots of the fifteenth century, dost thou imagine that thou, with thy ministerial letters and proof-sheets in thy black professorial coat-pocket, canst ever come in spirit into the presence of the Past?

Too true, alas! But let me forget it, at least, every now and then; as I forgot it this afternoon, while the white bullocks dragged my gig slowly winding along interminable valleys, crawling along interminable hill-sides, with the invisible droning torrent far below, and only the bare grey and reddish peaks all around, up to this town of Urbania, forgotten of mankind, towered and battlemented on the high Apennine ridge. Sigillo, Penna, Fos...o...b..one, Mercatello, Montemurlo--each single village name, as the driver pointed it out, brought to my mind the recollection of some battle or some great act of treachery of former days. And as the huge mountains shut out the setting sun, and the valleys filled with bluish shadow and mist, only a band of threatening smoke-red remaining behind the towers and cupolas of the city on its mountain-top, and the sound of church bells floated across the precipice from Urbania, I almost expected, at every turning of the road, that a troop of hors.e.m.e.n, with beaked helmets and clawed shoes, would emerge, with armor glittering and pennons waving in the sunset.

And then, not two hours ago, entering the town at dusk, pa.s.sing along the deserted streets, with only a smoky light here and there under a shrine or in front of a fruit-stall, or a fire reddening the blackness of a smithy; pa.s.sing beneath the battlements and turrets of the palace.... Ah, that was Italy, it was the Past!

_August 21st.--_

And this is the Present! Four letters of introduction to deliver, and an hour's polite conversation to endure with the Vice-Prefect, the Syndic, the Director of the Archives, and the good man to whom my friend Max had sent me for lodgings....

_August 22nd-27th.--_

Spent the greater part of the day in the Archives, and the greater part of my time there in being bored to extinction by the Director thereof, who today spouted Aeneas Sylvius' Commentaries for three-quarters of an hour without taking breath. From this sort of martyrdom (what are the sensations of a former racehorse being driven in a cab? If you can conceive them, they are those of a Pole turned Prussian professor) I take refuge in long rambles through the town. This town is a handful of tall black houses huddled on to the top of an Alp, long narrow lanes trickling down its sides, like the slides we made on hillocks in our boyhood, and in the middle the superb red brick structure, turreted and battlemented, of Duke Ottobuono's palace, from whose windows you look down upon a sea, a kind of whirlpool, of melancholy grey mountains.

Then there are the people, dark, bushy-bearded men, riding about like brigands, wrapped in green-lined cloaks upon their s.h.a.ggy pack-mules; or loitering about, great, brawny, low-headed youngsters, like the parti-colored bravos in Signorelli's frescoes; the beautiful boys, like so many young Raphaels, with eyes like the eyes of bullocks, and the huge women, Madonnas or St. Elizabeths, as the case may be, with their clogs firmly poised on their toes and their bra.s.s pitchers on their heads, as they go up and down the steep black alleys. I do not talk much to these people; I fear my illusions being dispelled. At the corner of a street, opposite Francesco di Giorgio's beautiful little portico, is a great blue and red advertis.e.m.e.nt, representing an angel descending to crown Elias Howe, on account of his sewing-machines; and the clerks of the Vice-Prefecture, who dine at the place where I get my dinner, yell politics, Minghetti, Cairoli, Tunis, ironclads, &c., at each other, and sing s.n.a.t.c.hes of _La Fille de Mme. Angot,_ which I imagine they have been performing here recently.

No; talking to the natives is evidently a dangerous experiment. Except indeed, perhaps, to my good landlord, Signor Notaro Porri, who is just as learned, and takes considerably less snuff (or rather brushes it off his coat more often) than the Director of the Archives. I forgot to jot down (and I feel I must jot down, in the vain belief that some day these sc.r.a.ps will help, like a withered twig of olive or a three-wicked Tuscan lamp on my table, to bring to my mind, in that hateful Babylon of Berlin, these happy Italian days)--I forgot to record that I am lodging in the house of a dealer in antiquities. My window looks up the princ.i.p.al street to where the little column with Mercury on the top rises in the midst of the awnings and porticoes of the market-place.

Bending over the chipped ewers and tubs full of sweet basil, clove pinks, and marigolds, I can just see a corner of the palace turret, and the vague ultramarine of the hills beyond. The house, whose back goes sharp down into the ravine, is a queer up-and-down black place, whitewashed rooms, hung with the Raphaels and Francias and Peruginos, whom mine host regularly carries to the chief inn whenever a stranger is expected; and surrounded by old carved chairs, sofas of the Empire, embossed and gilded wedding-chests, and the cupboards which contain bits of old damask and embroidered altar-cloths scenting the place with the smell of old incense and mustiness; all of which are presided over by Signor Porri's three maiden sisters--Sora Serafina, Sora Lodovica, and Sora Adalgisa--the three Fates in person, even to the distaffs and their black cats.

Sor Asdrubale, as they call my landlord, is also a notary. He regrets the Pontifical Government, having had a cousin who was a Cardinal's train-bearer, and believes that if only you lay a table for two, light four candles made of dead men's fat, and perform certain rites about which he is not very precise, you can, on Christmas Eve and similar nights, summon up San Pasquale Baylon, who will write you the winning numbers of the lottery upon the smoked back of a plate, if you have previously slapped him on both cheeks and repeated three Ave Marias.

The difficulty consists in obtaining the dead men's fat for the candles, and also in slapping the saint before he have time to vanish.

"If it were not for that," says Sor Asdrubale, "the Government would have had to suppress the lottery ages ago--eh!"

_Sept. 9th._--This history of Urbania is not without its romance, although that romance (as usual) has been overlooked by our Dryasdusts.

Even before coming here I felt attracted by the strange figure of a woman, which appeared from out of the dry pages of Gualterio's and Padre de Sanctis' histories of this place. This woman is Medea, daughter of Galeazzo IV. Malatesta, Lord of Carpi, wife first of Pierluigi Orsini, Duke of Stimigliano, and subsequently of Guidalfonso II., Duke of Urbania, predecessor of the great Duke Robert II.

This woman's history and character remind one of that of Bianca Cappello, and at the same time of Lucrezia Borgia. Born in 1556, she was affianced at the age of twelve to a cousin, a Malatesta of the Rimini family. This family having greatly gone down in the world, her engagement was broken, and she was betrothed a year later to a member of the Pico family, and married to him by proxy at the age of fourteen.

But this match not satisfying her own or her father's ambition, the marriage by proxy was, upon some pretext, declared null, and the suit encouraged of the Duke of Stimigliano, a great Umbrian feudatory of the Orsini family. But the bridegroom, Giovanfrancesco Pico, refused to submit, pleaded his case before the Pope, and tried to carry off by force his bride, with whom he was madly in love, as the lady was most lovely and of most cheerful and amiable manner, says an old anonymous chronicle. Pico waylaid her litter as she was going to a villa of her father's, and carried her to his castle near Mirandola, where he respectfully pressed his suit; insisting that he had a right to consider her as his wife. But the lady escaped by letting herself into the moat by a rope of sheets, and Giovanfrancesco Pico was discovered stabbed in the chest, by the hand of Madonna Medea da Carpi. He was a handsome youth only eighteen years old.

The Pico having been settled, and the marriage with him declared null by the Pope, Medea da Carpi was solemnly married to the Duke of Stimigliano, and went to live upon his domains near Rome.

Two years later, Pierluigi Orsini was stabbed by one of his grooms at his castle of Stimigliano, near Orvieto; and suspicion fell upon his widow, more especially as, immediately after the event, she caused the murderer to be cut down by two servants in her own chamber; but not before he had declared that she had induced him to a.s.sa.s.sinate his master by a promise of her love. Things became so hot for Medea da Carpi that she fled to Urbania and threw herself at the feet of Duke Guidalfonso II., declaring that she had caused the groom to be killed merely to avenge her good fame, which he had slandered, and that she was absolutely guiltless of the death of her husband. The marvelous beauty of the widowed d.u.c.h.ess of Stimigliano, who was only nineteen, entirely turned the head of the Duke of Urbania. He affected implicit belief in her innocence, refused to give her up to the Orsinis, kinsmen of her late husband, and a.s.signed to her magnificent apartments in the left wing of the palace, among which the room containing the famous fireplace ornamented with marble Cupids on a blue ground. Guidalfonso fell madly in love with his beautiful guest. Hitherto timid and domestic in character, he began publicly to neglect his wife, Maddalena Varano of Camerino, with whom, although childless, he had hitherto lived on excellent terms; he not only treated with contempt the admonitions of his advisers and of his suzerain the Pope, but went so far as to take measures to repudiate his wife, on the score of quite imaginary ill-conduct. The d.u.c.h.ess Maddalena, unable to bear this treatment, fled to the convent of the barefooted sisters at Pesaro, where she pined away, while Medea da Carpi reigned in her place at Urbania, embroiling Duke Guidalfonso in quarrels both with the powerful Orsinis, who continued to accuse her of Stimigliano's murder, and with the Varanos, kinsmen of the injured d.u.c.h.ess Maddalena; until at length, in the year 1576, the Duke of Urbania, having become suddenly, and not without suspicious circ.u.mstances, a widower, publicly married Medea da Carpi two days after the decease of his unhappy wife. No child was born of this marriage; but such was the infatuation of Duke Guidalfonso, that the new d.u.c.h.ess induced him to settle the inheritance of the Duchy (having, with great difficulty, obtained the consent of the Pope) on the boy Bartolommeo, her son by Stimigliano, but whom the Orsinis refused to acknowledge as such, declaring him to be the child of that Giovanfrancesco Pico to whom Medea had been married by proxy, and whom, in defense, as she had said, of her honor, she had a.s.sa.s.sinated; and this invest.i.ture of the Duchy of Urbania on to a stranger and a b.a.s.t.a.r.d was at the expense of the obvious rights of the Cardinal Robert, Guidalfonso's younger brother.

In May 1579 Duke Guidalfonso died suddenly and mysteriously, Medea having forbidden all access to his chamber, lest, on his deathbed, he might repent and reinstate his brother in his rights. The d.u.c.h.ess immediately caused her son, Bartolommeo Orsini, to be proclaimed Duke of Urbania, and herself regent; and, with the help of two or three unscrupulous young men, particularly a certain Captain Oliverotto da Narni, who was rumored to be her lover, seized the reins of government with extraordinary and terrible vigor, marching an army against the Varanos and Orsinis, who were defeated at Sigillo, and ruthlessly exterminating every person who dared question the lawfulness of the succession; while, all the time, Cardinal Robert, who had flung aside his priest's garb and vows, went about in Rome, Tuscany, Venice--nay, even to the Emperor and the King of Spain, imploring help against the usurper. In a few months he had turned the tide of sympathy against the d.u.c.h.ess-Regent; the Pope solemnly declared the invest.i.ture of Bartolommeo Orsini worthless, and published the accession of Robert II., Duke of Urbania and Count of Montemurlo; the Grand Duke of Tuscany and the Venetians secretly promised a.s.sistance, but only if Robert were able to a.s.sert his rights by main force. Little by little, one town after the other of the Duchy went over to Robert, and Medea da Carpi found herself surrounded in the mountain citadel of Urbania like a scorpion surrounded by flames. (This simile is not mine, but belongs to Raffaello Gualterio, historiographer to Robert II.) But, unlike the scorpion, Medea refused to commit suicide. It is perfectly marvelous how, without money or allies, she could so long keep her enemies at bay; and Gualterio attributes this to those fatal fascinations which had brought Pico and Stimigliano to their deaths, which had turned the once honest Guidalfonso into a villain, and which were such that, of all her lovers, not one but preferred dying for her, even after he had been treated with ingrat.i.tude and ousted by a rival; a faculty which Messer Raffaello Gualterio clearly attributed to h.e.l.lish connivance.

At last the ex-Cardinal Robert succeeded, and triumphantly entered Urbania in November 1579. His accession was marked by moderation and clemency. Not a man was put to death, save Oliverotto da Narni, who threw himself on the new Duke, tried to stab him as he alighted at the palace, and who was cut down by the Duke's men, crying, "Orsini, Orsini! Medea, Medea! Long live Duke Bartolommeo!" with his dying breath, although it is said that the d.u.c.h.ess had treated him with ignominy. The little Bartolommeo was sent to Rome to the Orsinis; the d.u.c.h.ess, respectfully confined in the left wing of the palace.

It is said that she haughtily requested to see the new Duke, but that he shook his head, and, in his priest's fas.h.i.+on, quoted a verse about Ulysses and the Sirens; and it is remarkable that he persistently refused to see her, abruptly leaving his chamber one day that she had entered it by stealth. After a few months a conspiracy was discovered to murder Duke Robert, which had obviously been set on foot by Medea.

But the young man, one Marcantonio Frangipani of Rome, denied, even under the severest torture, any complicity of hers; so that Duke Robert, who wished to do nothing violent, merely transferred the d.u.c.h.ess from his villa at Sant' Elmo to the convent of the Clarisse in town, where she was guarded and watched in the closest manner. It seemed impossible that Medea should intrigue any further, for she certainly saw and could be seen by no one. Yet she contrived to send a letter and her portrait to one Prinzivalle degli Ordelaffi, a youth, only nineteen years old, of n.o.ble Romagnole family, and who was betrothed to one of the most beautiful girls of Urbania. He immediately broke off his engagement, and, shortly afterwards, attempted to shoot Duke Robert with a holster-pistol as he knelt at ma.s.s on the festival of Easter Day. This time Duke Robert was determined to obtain proofs against Medea. Prinzivalle degli Ordelaffi was kept some days without food, then submitted to the most violent tortures, and finally condemned. When he was going to be flayed with red-hot pincers and quartered by horses, he was told that he might obtain the grace of immediate death by confessing the complicity of the d.u.c.h.ess; and the confessor and nuns of the convent, which stood in the place of execution outside Porta San Romano, pressed Medea to save the wretch, whose screams reached her, by confessing her own guilt. Medea asked permission to go to a balcony, where she could see Prinzivalle and be seen by him. She looked on coldly, then threw down her embroidered kerchief to the poor mangled creature. He asked the executioner to wipe his mouth with it, kissed it, and cried out that Medea was innocent.

Then, after several hours of torments, he died. This was too much for the patience even of Duke Robert. Seeing that as long as Medea lived his life would be in perpetual danger, but unwilling to cause a scandal (somewhat of the priest-nature remaining), he had Medea strangled in the convent, and, what is remarkable, insisted that only women--two infanticides to whom he remitted their sentence--should be employed for the deed.

"This clement prince," writes Don Arcangelo Zappi in his life of him, published in 1725, "can be blamed only for one act of cruelty, the more odious as he had himself, until released from his vows by the Pope, been in holy orders. It is said that when he caused the death of the infamous Medea da Carpi, his fear lest her extraordinary charms should seduce any man was such, that he not only employed women as executioners, but refused to permit her a priest or monk, thus forcing her to die unshriven, and refusing her the benefit of any penitence that may have lurked in her adamantine heart."

Such is the story of Medea da Carpi, d.u.c.h.ess of Stimigliano Orsini, and then wife of Duke Guidalfonso II. of Urbania. She was put to death just two hundred and ninety-seven years ago, December 1582, at the age of barely seven-and twenty, and having, in the course of her short life, brought to a violent end five of her lovers, from Giovanfrancesco Pico to Prinzivalle degli Ordelaffi.

_Sept. 20th._--

A grand illumination of the town in honor of the taking of Rome fifteen years ago. Except Sor Asdrubale, my landlord, who shakes his head at the Piedmontese, as he calls them, the people here are all Italianissimi. The Popes kept them very much down since Urbania lapsed to the Holy See in 1645.

_Sept. 28th._--

I have for some time been hunting for portraits of the d.u.c.h.ess Medea.

Most of them, I imagine, must have been destroyed, perhaps by Duke Robert II.'s fear lest even after her death this terrible beauty should play him a trick. Three or four I have, however, been able to find--one a miniature in the Archives, said to be that which she sent to poor Prinzivalle degli Ordelaffi in order to turn his head; one a marble bust in the palace lumber-room; one in a large composition, possibly by Baroccio, representing Cleopatra at the feet of Augustus. Augustus is the idealized portrait of Robert II., round cropped head, nose a little awry, clipped beard and scar as usual, but in Roman dress. Cleopatra seems to me, for all her Oriental dress, and although she wears a black wig, to be meant for Medea da Carpi; she is kneeling, baring her breast for the victor to strike, but in reality to captivate him, and he turns away with an awkward gesture of loathing. None of these portraits seem very good, save the miniature, but that is an exquisite work, and with it, and the suggestions of the bust, it is easy to reconstruct the beauty of this terrible being. The type is that most admired by the late Renaissance, and, in some measure, immortalized by Jean Goujon and the French. The face is a perfect oval, the forehead somewhat over-round, with minute curls, like a fleece, of bright auburn hair; the nose a trifle over-aquiline, and the cheek-bones a trifle too low; the eyes grey, large, prominent, beneath exquisitely curved brows and lids just a little too tight at the corners; the mouth also, brilliantly red and most delicately designed, is a little too tight, the lips strained a trifle over the teeth. Tight eyelids and tight lips give a strange refinement, and, at the same time, an air of mystery, a somewhat sinister seductiveness; they seem to take, but not to give.