 Senor Formica, in Weird Tales, Volume 1, by E. T. A. Hoffman, translated by J. T. Bielby. This LibriVox recording is in the public domain, recording by Thomas Copeland. Senor Formica, note on title. This tale was written for the Leipzig Taschenbuch, Zumba Seregin, the Ednubian, of the year 1820. Return to text. 1. The celebrated painter Salvatore Rosa comes to Rome and is attacked by a dangerous illness, what befolds him in this illness. Celebrated people commonly have many ill things said of them, whether well-founded or not, and no exception was made in the case of that admirable painter Salvatore Rosa, whose living pictures cannot fail to impart a keen and characteristic delight to those who look upon them. At the time that Salvatore's fame was ringing through Naples, Rome and Tuscany, nay through all Italy, and painters who were desirous of gaining applause were striving to imitate his peculiar and unique style, his malicious and envious rivals were laboring to spread abroad all sorts of evil reports intended to sully with ugly black stains the glorious splendor of his artistic fame. They affirmed that he had, at a former period of his life, belonged to a company of Banditi. Note, respecting the facts of Salvatore Rosa's life, there exists more than one disputed statement, and of these, perhaps the most disputed, is his share of complicity, if any, in the evil doings of Calabrian Banditi. Who, and of a wild and self-will disposition, but with a strong and independent character, he was unable to find a suitable master in Naples, so at the age of 18 he set out to study the limits of nature face to face, and spent some time amidst the grand and savage scenery of Calabria. Here it is certain that he came into contact with the Banditi who haunted those wild regions. He is alleged to have been taken prisoner by a band and to have become a member of the troop. Accepting this is true, we may perhaps charitably believe that he was prompted not so much by a regard for his own safety as by a wish to secure a rare opportunity for studying his art unhindered, and also charitably hope that the accusations of his enemies that he actively participated in the deeds of his companions are unfounded, or at any rate, exaggerations. It may be remarked that the life and times of Salvatore Rosa by Lady Morgan, 1824, is admittedly a romance rather than an accurate and faithful biography. Return to text. They affirm that he had at a former period of his life belonged to the company of Banditi, and that it was to his experiences during this lawless time that he owed all the wild, fierce, fantastically attired figures which he introduced into his pictures. Just as the gloomy, fearful wildernesses of his landscapes, the selves salvage, savage woods, to use Dauntless Expression, were faithful representations of the haunts where they lay hidden. What was worse still, they openly charged him with having been concerned in the atrocious and bloody revolt which had been set on foot by the notorious Masaniello in Naples. Note, Masaniello, a poor fisherman of Naples, was for a week in July 1647 absolute king of his native city. At that time, Naples was subject to the crown of Spain. The people, provoked by the exasperating rapacity and extortion of the viceroy of the king of Spain, rose in rebellion, choosing Masaniello as their captain and leader. Return to text. They even described the share he had taken in it, down to the minutest details. The rumor ran that Aniello Falcone, note, Aniello Falcone, 1600 to 1665, teacher of Salvatore Rosa and founder of the Covannia della Monti, painted battle pieces which bear a high reputation. His works are said to be scarce and much sought after. Return to text. The rumor ran that Aniello Falcone, the painter of battle pieces, one of the best of Salvatore's masters, had been stung into fury and filled with bloodthirsty vengeance because the Spanish soldiers had slain one of his relatives in a hand-to-hand encounter. Without delay, he'd linked together a band of daring spirits, mostly young painters, put arms into their hands and gave them the name of the Company of Death. And in truth, this band inspired all the fear and consternation suggested by its terrible name. At all hours of the day, they traversed the streets of Naples in little companies and cut down without mercy every Spaniard whom they met. They did more. They forced their way into the holy sanctuaries and relentlessly murdered their unfortunate foes whom terror had driven to seek refuge there. At night, they gathered round their chief, the bloody-minded madman Masaniello, and painted him by torchlight. Note, at first the young fisherman administered stern but impartial justice, but afterwards his mind seemed to have reeled under the intense excitement and strain of his position and he began to act the part of an arbitrary and cruel tyrant. Several hundreds of persons are said to have been put to death by his order during the few days he held power. Return to text. They gathered round their chief and painted him by torchlight so that in a short time there were hundreds of these little pictures circulating in Naples and the neighborhood. Note, amongst them, more than one by Salvatore himself. Return to text. This is the ferocious band of which Salvatore Rosso was alleged to have been a member, working hard at butchering his fellow men by day and by night, working just as hard at painting. The truth about him has, however, been stated by a celebrated art critic Théasson, I believe. Note, a French painter and writer in painting was born near Bordeaux in 1746 and died at Paris in 1809. Besides other works, he wrote aux éversions sur quelques grands pantalons 1807. Return to text. His works are characterized by defiant originality and by fantastic energy, both of conception and of execution. He delighted to study nature, not in the lovely attractiveness of green meadows, flourishing fields, sweet-smelling groves, murmuring springs, but in the sublime, as seen in towering masses of rock, in the wild sea shore, in savage inhospitable forests and the voices that he loved to hear were not the whisperings of the evening breeze or the musical rustle of eaves, but the roaring of the hurricane and the thunder of the cataract. To one, viewing his desolate landscapes with the strange, savage figures stealthily moving about in them, here singly there in troops, the uncomfortable thoughts of eyes unbidden, years where a fearful murder took place, there's where the bloody corpse was hurled into the ravine, etc. Admitting all this, and even that Taillasson is further right when he maintains the sel towards Plato, nay, even that his holy Saint John proclaiming the advent of the savior in the wilderness, looked just a little like highway robbers. Admitting this, I say it is nevertheless unjust to argue from the character of the works to the character of the artist himself. And to assume that he who represents with life-like fidelity what is savage and terrible must himself have been a savage, terrible man. He who prates most about the sword is often he who wields it the worst. He who feels in the depths of his soul all the horrors of a bloody jeed so that taking the palette or the pencil or the pen in his hand he is able to give living form to his feelings is often the one least capable of practicing similar deeds. Enough. I don't believe a single word of all those evil reports by which men sought to brand the excellent Salvatore an abandoned murderer and robber, and I hope that you kindly reader will share my opinion. Otherwise I see Browns refaring that you might perhaps entertain some doubts respecting what I am about to tell you of his artist. The Salvatore I wish to put before you in this tale that is according to my conception of him is a man bubbling over with the exuberance of life and fiery energy. But at the same time a man endowed with the noblest and most loyal character. A character which like that of all men who think and feel deeply is able even to control that bitter irony which arises from a clear view of the significance of life. I need scarcely add that Salvatore was no less renowned as a poet and musician than as a painter. His genius was revealed in magnificent refractions. I repeat again, I do not believe that Salvatore had any share in Manasiello's bloody deeds. On the contrary, I think it was the horrors of that fearful time which drove him from Naples to Rome where he arrived a poor poverty stricken fugitive just at the time that Masaniello fell. Note over well dressed and with a scanty purse containing not more than a few bright sequins in his pocket. Note, the sequin was a gold coin of Venice and Tuscany worth about nine Schilling's truffles. It is sometimes used as equivalent to Ducat. See note page 98. Return to text. He crept through the gate just after nightfall. Somehow or other, he didn't exactly know how, he wandered as far as the piazza Navuna. In better times, he had once lived there in a large house near the Pamphili Palace with an ill tempered growl he gazed up at the large play glass windows glistening and glimmering in the moonlight. Hmm, he exclaimed previously, it'll cost me dozens of yards of colored canvas before I can open my studio up there again. But all at once, he felt as if paralyzed in every limb and at the same moment, more weak and feeble than he had ever felt in his life before. But shall I remember between his teeth as he sank down upon the stone steps leading up to the house door? Shall I really be able to finish canvas enough in the way the fools want it done? Hmm. I have a notion that that will be the end of it. A cold, cutting night wind blew down the street. Salvatore recognized the necessity of seeking a shelter. Rising with difficulty, he staggered on into the Corso. Note, the Corso is a wide thoroughfare running almost north and south from the Piazza del Popolo, a square on the north side of Rome, to the center of the city. It is in the Corso that the horse races used to take place during the carnival, returned to text, and then turned into the Via Berconiola. At length, he stopped before a little house with only a couple of windows inhabited by a poor widow and her two daughters. This woman had taken a mien for little pay the first time he came to Rome, an unknown stranger noticed of nobody. And so he hoped again to find a lodging with her such as would be best suited to the sad condition in which he then was. He knocked confidently at the door and several times called out his name, aloud. At last, he heard the old woman slowly and reluctantly wakening up out of her sleeve. She shuffled to the window in her slippers and began to rain down a shower of abuse upon the name who was come to worry her in this way in the middle of the night. Her house was not a wine shop, et cetera, et cetera. Then there ensued a good deal of cross-questioning before she recognized her former larger voice. But on Salvatore's complaining that he had fled from Naples and was unable to find a shelter in Rome, the old dame cried, I hold the blessed saints of heaven. Is that you, senior Salvatore? Well now, your little room up above that looks onto the court is still standing empty and the old fig tree has pushed its branches right through the window and into the room so that you can sit and work like as if you was in a beautiful, cool arbor. I, and how pleased my girls will be that you will come back again, senior Salvatore, but you know, my margarita's grown up big girl and vinyl king. You won't give her any more rides on your knee now and your little pussy just fancy three months ago she choked herself with a fish ball. Oh, well, we all shall come to the grave at last, but you know, my fat neighbor who you so often laughed at and so often painted in such funny ways, do you know, she did marry that young fellow, senior Luigi, after all. Ah, well, not say magistrates don't know that they are destinati, marriages and magistrates are made in heaven. They say, but, quite Salvatore, interrupting the old woman, but senior Catalina, I entreat you by the blessed saints. Do pray, let me in and then tell me all about your fig tree and your daughter's your cat and your pet neighbor. I am perishing of weariness and cold. Bless me how impatient we are, rejoined the old dame. Give a piano, vasano, give a presto, morelesto. More haste, less speed, take things cool and live longer, I tell you, but you are tired, you are cold. Where are the keys? Quick, with the keys. But the old woman still had to wake up her daughters and kindle a fire, but, oh, she was such a long time about it, such a long, long time. At last, she opened the door and let poor Salvatore in, but scarcely had he crossed the threshold and then overcome by fatigued illness, he dropped on the floor as if dead. Happily, the widow's son, who generally lived at Tivoli, chanced to be at his mother's that night. He was at once turned out of his bed to make room for the sick guest, which he willingly submitted to. The old woman was very fond of Salvatore, putting him as far as his artistic powers went above all the painters in the world. And in everything that he did, she also took the greatest pleasure. She was therefore quite beside herself to see him in this lamentable condition and wanted to run off to the neighboring monastery to fetch her father, confessor, that he might come and fight against the adverse power of the disease with consecrated candles or some powerful amulet or other. On the other hand, her son thought it would be almost better to see about getting an experienced physician at once and off he ran there and then to the Spanish square where he knew the distinguished doctor Splendiano Accortamboni dwelt. No sooner did the doctor learn that the painter Salvatore Rosa lay ill in the Villa Berberononato, than he at once declared himself ready to call early and see the patient. Salvatore lay unconscious, struck down by a most severe attack of fever. The old dame had hung up two or three pictures of saints above his bed and was praying fervently. The girls, though bated in tears, exerted themselves from time to time to get the sick man to swallow a few drops of the cooling lemonade which they had made whilst their brother, who had taken his place at the head of the bed, wiped the cold sweat from his brow. And so morning found that when with a loud creep the door opened and the distinguished doctor Splendiano Accortamboni entered the room. If Salvatore had not been so seriously ill that the two girls' hearts were melted in grief, they would, I think, for they were in general frocks and that saucy have enjoyed a hearty laugh at the doctor's extraordinary appearance, instead of retiring shyly as they did into the corner, greatly alarmed. It will indeed be worthwhile to describe the outward appearance of the little man who presented himself at Dene Catervinas in the Villa Becugona in the gray of the morning. In spite of all his excellent capabilities for growth, Dr. Splendiano Accortamboni had not been able to advance beyond the respectable stature of four feet. Moreover, in the days of his youth, he had been distinguished for his elegant figure so that before his head, always indeed somewhat ill-shaped, and his big cheeks and his stately double chin had put on too much fat, before his nose had grown bulky and spread, owing to over much indulgence in Spanish snuff, and before his little belly had assumed the shape of a wine tub from too much fattening on macaroni, the priestly cut of garments which he at that time had affected had suited him down to the ground. He was then, in truth, a pretty little man. And accordingly, the Roman ladies had styled in their caro a pazzetto, sweet little pet. That, however, was now a thing of the past. A German painter, seeing Dr. Spilindiano walking across the Spanish square, said, ha, he was perhaps not far wrong, that it looked as if some strapping fellow of six feet or so had walked away from his own head, which had fallen on the shoulders of a little marionette clown who now had to carry it about as his own. This curious little figure walked about in patchwork, an immense quantity of pieces of Venetian damask of a large flower pattern that had been cut up in making a dressing gown. High up round his waist, he had buckled a broad leather belt from which an excessively long rapier hound browsed his snow-white wig was surmounted by a high conical cap, not unlike the obelisk in St. Peter's Square. Since the said wig, like a piece of texture all tumbled and tangled, spread out thick and wide all over his back, it might very well be taken for the cocoon out of which the fine silkworm had crapped. The worthy Splendiano Cordumboni stared through his big bright spectacles with his eyes wide open, first at his patient, then at Dame Caterina. Holding her aside, he croaked with bated breath. There lies our talented painter, Salvatore Rosa, and he's lost if my skill doesn't save him, Dame Caterina. Pray tell me when he came to lodge with you. Did he bring many beautiful large pictures with him? Ah, my dear doctor, replied Dame Caterina. The poor fellow only came last night, and as for pictures, why, I don't know nothing about them, but there's a big box below, and Salvatore begged me to take very good care of it before it became senseless, like what he now is. I dare say there's a fine picture packed in it as if they didn't enables. What Dame Caterina said was, however, a falsehood, but we shall soon see that she had good reasons for imposing upon the doctor in this way. Good, very good, said the doctor, simpering and stroking his beard. Then with as much solemnity as his long rapier, which kept catching in all the chairs and tables he came near would allow, he approached the sick man and felt his pulse snorting and wheezing so that it had a most curious effect in the midst of the reverential silence which had fallen upon all the rest. Then he ran over in Greek and Latin the names of 120 diseases that Salvatore had not, then almost as many which he might have had and concluded by saying that on the spur of the moment he didn't recollect the name of his disease, but that he would within a short time find a suitable one for it and along therewith the proper remedies as well. Then he took his departure with the same solemnity with which he had entered, leaving them all full of trouble and anxiety. At the bottom of the steps the doctor requested to see Salvatore's box. Dame Cattery now showed him one in which were two or three other deceased husband's cloaks now laid aside and some old worn out shoes. The doctor smilingly tapped the box on this side and on that and remarked in a tone of satisfaction, we shall see, we shall see. Some hours later he returned with a very beautiful name for his patient's disease and brought with him some big bottles of an evil smelling potion which he directed to be given to the patient constantly. This was a work of no little trouble for Salvatore showed the greatest aversion for utter loathing of the stuff which looked and smelt and tasted as if it had been concocted from acre on itself. Whether it was that the disease, since it had now received a name and in consequence really signified something had only just begun to put forth his virulence or whether it was the Splendiano's potion made too much of a disturbance inside the patient. It is at any rate certain that the poor painter grew weaker and weaker from day to day from hour to hour and not withstanding Dr. Splendiano of Curamboni's assurance that after the vital process had reached a state of perfect equilibrium he would give it a new start like the pendulum of a clock. They were all very doubtful as to Salvatore's recovery and thought that the doctor had perhaps already given the pendulum such a violent start that the mechanism was quite impaired. Now it happened one day that when Salvatore seemed scarcely able to move a finger he was suddenly seized with the proxiesm of fever. In a momentary accession of fictitious strength he leapt out of bed seized the full medicine bottles and hurled them fiercely out of the window. Just at this moment Dr. Splendiano of Curamboni was entering the house when two or three bottles came bang upon his head smashing all to pieces whilst the brown liquid ran in streams all down his face and weak and rough. Hastily rushing into the house he screamed like a madman Sr. Salvatore has gone out of his mind he's become insane no skill can save him now he'll be dead in ten minutes. Give me the picture Dame Catarina give me the picture it's mine the scanty reward of all my trouble give me the picture I say but when Dame Catarina opened the box and Dr. Splendiano saw nothing but the old cloaks and torn shoes his eyes spun round and his head like a pair of fire wheels he gnashed his teeth he stamped he consigned poor Salvatore the widow and all the family to the devil then he rushed out of the house like an arrow from a bowl or as if he had been shot from a cannon. After the violence of the paroxysm had spent itself Salvatore again relapsed into a death-like condition Dame Catarina was fully persuaded that his end was really calm and away she sped as fast as she could to the monastery to fetch Father Bonapas that he might come and administer the sacrament to the dying man. Father Bonapas came and looked to the sick man he said he was well acquainted with the peculiar signs which approaching death is once a stamp upon the human countenance but that for the present there were no indications of them on the face of the insensible Salvatore something might still be done and he would procure help at once only Dr. Splendiano Accordomboni with his Greek names and infernal medicines was not to be allowed to cross the threshold again. The good father set out at once and we shall see later that he kept his word about sending the promised help. Salvatore recovered consciousness again. He fancied he was lying in a beautiful flower-centered arbor for green boughs and leaves were interlacing above his head. He felt a salutary warmth glowing in his veins but it seemed to him as if somehow his left arm was bound fast. Where am I? Yes, in a faint voice. Then a handsome young man who had stood at his bedside but whom he had not noticed until just now threw himself upon his knees and grasping Salvatore's right hand kissed it and bathed it with tears. As he cried again and again oh my dear sir my noble master now it's all right you are saved. You'll get better. But do tell me, began Salvatore, when the young man begged him not to exert himself for his too weak to talk he would tell him all that had happened. You see, I esteemed an excellent sir began the young man. You see, you were very ill when you came from Naples but your condition was not abhorrent by any means so dangerous but that a few simple remedies would soon have set you with your strong constitution on your legs again. Had you not through Carlos's well-intentioned blunder in running off for the nearest physician fallen into the hands of the redoubtable Pyramid Doctor who was making all preparations for bringing you to your grave? What do you say? exclaimed Salvatore laughing heartily but standing the feeble state he was in. What do you say, the Pyramid Doctor? I, I, although I was very ill I saw that the little name in Thomas Patchworth who condemned me to drink his horrid lonesome devils drew wore on his head the obelisk through St. Peter's Square and so that's why you call him the Pyramid Doctor? Why good heavens? said the young man likewise laughing Why, Doctor Splendiano accordomboni must have come to see you in his ominous conical nightcap and you know you may see it flashing every morning from his window in the Spanish square like a portentous meteor but it's not by any means owing to this cap that he's called the Pyramid Doctor for that there's quite another reason Doctor Splendiano is a great lover of pictures and possesses in truth quite a choice collection which he has gained by a practice of a peculiar nature with eager cunning he lies in wait for painters and their illnesses more especially he loves to get foreign artists into his toils let them but eat an ounce or two of macaroni too much or drink a glass more of Syracuse than is altogether good for them he will afflict them with first one and then the other disease designating it by a formidable name and proceeding at once to cure them of it he generally bargains for a picture as the price of his attendance and as it is only especially obstinate constitutions which are able to withstand his powerful remedies it generally happens that he gets his picture out of the chattels left by the court foreigner who meanwhile has been carried to the Pyramid of Cestus and buried there it need hardly be said the Signor Splendiano always picks out the best of the pictures the painter has finished and also does not forget to bid the men take several others along with it the cemetery near the Pyramid of Cestus is Doctor Splendiano accordum bonus cornfield which he diligently cultivates and for that reason is called the Pyramid Doctor Dame Catarina had taken great pains of course for the best intentions to make the doctor believe that you had brought a fine picture with you you may imagine therefore with what eagerness he concocted his potions for you it was a fortunate thing that in the peroxidon of fever you threw the doctor's bottles at his head it was also a fortunate thing that he left you in anger and no less fortunate was it that Dame Catarina who believed you were in the agonies of death fetched Father Bonapas to come and administer to you the sacrament Father Bonapas understands something of the art of healing he formed a correct diagnosis of the condition and fetched me then you also are a doctor asks Salator in a faint whining tone a no replied the young man a deep blush mantling his cheeks no my esteemful and worthy sir I am not in the least a doctor like Senor Splendiano a quote in Boney I am however a coverage I felt as if I should sink into the earth with fear with joy when Father Bonapas came and told me that Salator Rosa lay sick unto death in the via bebonona and required my help I hastened here opened a vein in your left arm and you were saved then we brought you up into this cool airy room that you formerly occupied look there's the ease of what you left behind you yonder are a few sketches which Dame Caterina has treasured opposite the relics the virulence of your disease is subdued simple remedies such as Father Bonapas can prepare is all that you want except good nursing to bring back your strength again and now permit me once more to kiss this hand this creative hand the charms from nature are deepest secrets and close them in living form permit poor Antonio Scacciatti to pour out all the gratitude and immeasurable joy of his heart that heaven has granted him to save the life of our greater noble painter Salator Rosa therewith the young surgeon threw himself in his knees again and seizing Salator's hand kissed it and bathed it in tears as before I don't understand said the artist raising himself up a little though with considerable difficulty I don't understand my dear Antonio what it is that is so especially urging you to show me all this respect you all you say a surgeon and we don't in a general way find this trade going hand in hand with art as soon as applied the young man casting down his eyes as soon as you have picked up your strength again my dear sir I have a good deal to tell you that now lies heavy on my heart do so said Salator you may have every confidence in me that you may for I don't know that any man's face has made a more direct appeal to my heart than yours the more I look at you the more plainly I seem to trace in the features of resemblance to that incomparable young painter I mean Sanzio note the great painter Sanzio Rafael returned to text Antonio's eyes were lit up with a proud radiant light he vainly struggled for words with which to express his feelings at this moment Dem Catarina appeared followed by Father Boniface who brought Salvatore medicine which he had mixed scientifically according to prescription and which the patients followed with more relish and felt to have a more beneficial effect upon him than the Aperonian waters of the Pyramid doctor's bandana according to Boniface end of part one of senior Formica recording by Thomas Copeland part two of senior Formica in weird tales volume one by E. T. A. Hoffman translated by J. T. Billby this LibriVox recording is in the public domain recording by Thomas Copeland two by Salvatore Rosas intervention Antonio Scacciati attains to a high honor Antonio discloses the cause of his persistent trouble to Salvatore who consoles him and promises to help him and Antonio's words proved true the simple but salutary remedies of Father Boniface the careful nursing of good Dame Catarina and her daughters the warmer weather which now came all cooperated so well together with Salvatore's naturally robust constitution that he soon felt sufficiently well to think about work again first of all he designed a few sketches which he thought of working out afterwards Antonio is scarcely ever left Salvatore's room he was all eyes when the painter drew out his sketches whilst his judgment in respect to many points showed that he must have been initiated into the secrets of art see here said Salvatore to him one day see here Antonio you understand art matters so well that I believe you have not nearly cultivated your excellent judgment as a critic but must have wielded the brush as well you will remember who joined Antonio how I told you my dear sir when you were just about coming to yourself again after your long unconsciousness that I had several things to tell you which lay heavy on my mind now is the time for me to unfold all my heart to you you must know them that though I am called Antonio Scacciati the Chiragin who opened the vein in your arm for you I belong also entirely to art to the art which after bidding eternal farewell to my hateful trade I intend to devote myself for once and for all Ho ho exclaimed Salvatore Ho ho Antonio way well what you were about to do you are a clever Chiragin and perhaps will never be anything more than a bungling painter all your life long for with your permission as young as you are you are decidedly too old to begin to use the charcoal now believe me a man's whole lifetime is scarce long enough to acquire a knowledge of the true still less the practical ability to represent it ah but my dear sir replied Antonio smiling gladly don't imagine that I should now come to entertain the foolish idea of taking up the difficult art of painting had I not practiced it already on every possible occasion from my very childhood in spite of the fact that my father obstinately kept me away from everything connected with art yet heaven was graciously pleased to throw me in the way of some celebrated artists I must tell you that the great animal interested himself in the orphan boy note Anibal Karachi a painter of Bologna of the latter half of the sixteenth century his most celebrated work is a series of frescoes on mythological subjects in the Farnese Palace of Rome along with his cousin Lotovico and his brother Agostino he founded the so-called eclectic school of painting their maximum was that accurate observation of nature should be combined with judicious imitation of the best masters the Karachi enjoyed the highest reputation amongst their contemporaries as teachers of their art Anibal died in 1609 Masaniello's revolt occurred as already mentioned in 1647 Antonio must therefore have been at least 50 years of age this however is not the only anachronism that Hoffman was guilty of returned to text and also that I may with justice call myself Guido Renius pupil note the well-known painter Guido born in 1575 and died in 1642 he early excited the envy of Anibal Karachi returned to text well then said Salvatore somewhat sharply a way of speaking he sometimes had well then my good Antonio you have indeed had great masters and so it cannot fail but that without detriment to your surgical practice you must have been a great pupil oh now don't understand how you are a faithful disciple of the gentle eloquent Guido who we perhaps how do in eloquence in your own pictures what pupils do do those sort of things in their enthusiasm how you can find any pleasure in my productions and can really regard me as a master in the art at these words which indeed sounded a good deal like derisive mockery the hot blood rushed into the young man's face oh let me lay aside all the diffidence which generally keeps my lips closed he said and let me frankly lay bare the thoughts I have in my mind I tell you Salvatore I have never honored any master from the depths of my soul as I do you what I am amazed at in your works is the sublime greatness of conception which is often revealed you grasp the deepest secrets of nature you comprehend the mysterious hieroglyphics of her rocks of her trees and of her waterfalls you hear her sacred voice you understand her language and possess the power to write down what she has said to you barely I can call your bold freestyle of painting nothing else than writing down man alone in his doings does not suffice you you behold him only in the midst of nature and in so far as his essential character is conditioned by natural phenomena and in these facts I see the reason why you are only truly great in landscape Salvatore with their wonderful figures historical painting and finds you within limits which clog your imagination to the detriment of your genius for reproducing your higher intuitions of nature that's talk you picked up from envious historical painters at Salvatore interrupting his young companion like them Antonio you throw me the choice bone of landscape painting that I may know away at it and so spare their own good flesh perhaps I do understand the human figure and all that is dependent upon it but this senseless repetition of others words don't be angry continued Antonio don't be angry my goods sir I am not blindly repeating anybody's words and I should not for a moment think of trusting to the judgment of our painters here in Rome at any rate who can help greatly admiring the bold draftsmanship the powerful expression but above all the living movement of your fingers it's plain to see that you don't work from a stiff inflexible model or even from a dead skeleton form it is evident that you yourself are your own breathing living model and that when you sketch or paint you have the figure you want to put on your canvas reflected in a great mirror opposite to you the devil Antonio exclaimed Salvatore laughing I believe you must often have had a peep into my studio when I was not aware of it since you have such an accurate knowledge of what goes on within you perhaps I may replied Antonio but let me go on I am not by a long way so anxious to classify the pictures which your powerful mind suggests to you as are those pedantic critics who take such great pains in this line in fact I think that the word landscape as generally employed has but an indifferent application to your productions I should prefer to call them historical representations in the highest sense of the word if we fancy that this or the other rock or this or the other tree is gazing at us like a gigantic being thoughtful earnest eyes so again on the other hand this or the other group of fantastically attired men resemble some remarkable stone which has been endowed with life all nature breathing and moving and harmonious unity lends accents to the sublime thought which left into existence in your mind this is the spirit in which I have studied your pictures and so in this way it is my grand and noble master that I owe to you my truer perceptions in matters of art but pray don't imagine that I have fallen into childish imitation however much I would like to possess the free bold pencil that you possess I do not attempt to conceal the fact that nature's colors appear to me different from what I see than in your pictures although it is useful I think for the sake of acquiring technique for the pupil to imitate the style of this or that master yet so soon as he comes to stand in any sense on his own feet he ought to aim at representing nature as he himself sees her nothing but this true method of perception this unity with one's self can give rise to character and truth Guido shared these sentiments and that fieryman prety who as you are aware is called Il Calabrese note Martia Prety known as Il Calviere Calabrese from his having been born Calabra he was a painter of the Neapolitan school and a pupil of Lon Franco and lived during the greater part of the 17th century owing to his many disputes and quarrels he was more than once compelled to flee for his life return to text Prety a painter who certainly more than any other man has reflected upon his heart also warned me against all imitation now you know Salvatore why I so much respect you without imitating you once the young man had been speaking Salvatore had kept his eyes fixed unchangeably upon him he now clasped him too muturously to his heart Antonio he said then what you're just now said are wise and thoughtful words are nevertheless so far as the true perception of art is concerned a long way ahead of many of our old and much vaunted masters who have a good deal of stupid foolish twaddle about their painting but never get at the true route of the matter body of life man when you were talking about my pictures I then began to understand myself for the first time I believe and because you do not imitate my style do not like a good many others take a tube of black paint in your hand or dab on a few glaring colors or even make two or three crippled fingers with repulsive faces look up from the midst of filth and dirt and then say there's a salvatore for you just for these very reasons I think a good deal of you I tell you my lad you will not find a more faithful friend than I am that I can promise you with all my heart and soul Antonio was beside himself with joy at the kind way in which the great painter thus testified to his interested Salvatore expressed an earnest desire to see his pictures Antonio took him there then to his studio Salvatore had in truth expected to find something fairly good from the young man who spoke so intelligently about art and who it appeared had a good deal in it but nevertheless he was greatly surprised at the sight of Antonio's fine pictures everywhere he found boldness and conception and correctness in drawing and the freshness of the coloring the good taste in the arrangement of the drapery the uncommon delicacy of the extremities the exquisite grace of the heads were all so many evidences that he was no unworthy pupil of the great reigning but Antonio had avoided this master's besetting sin of an endeavor only too conspicuous to sacrifice expression to beauty it was plain that Antonio was aiming to reach animals that succeeded Salvatore spent some considerable time of thoughtful silence in the examination of each of the pictures then he said listen Antonio it is indeed undeniable that you were born to follow the noble art of painting for not only has nature endowed you with the creative spirit in which the finest thoughts pour forth in an inexhaustible stream but she is also granted you the rare ability to surmount in a short space of time the difficulties of technique it would only be false flattery if I were to tell you that you had yet advanced to the level of your masters that you are yet equal to Guido's exquisite grace or to animal strength but certain I am that you excel by a long way all the painters who hold up their heads so proudly in the Academy of St. Luke here Terini Jesse Cementa and all the rest of them not even accepting or he only understands fresco painting Notes St. Luke the Academy of San Luca a school of art found of it wrong about 1595 Federico Zuccaro being its first director Alessandro Terini 1577 to 1668 of Bologna was a pupil of the Paracci Giovanni Francesco Jesse 1588 to 1649 sometimes called the second Guido was a pupil of Guido Cementa or Cementa 1580 to 1638 also a pupil of Guido Giovanni Lanfranco 1581 to 1647 studied first under Augustino Caracci he was the first to encourage the early genius of so the Torosa returned to text and yet Antonio and yet if I were in your place I should deliberate a while before throwing away the Lancet all together and confining myself entirely to the pencil that sounds rather strange but listen to me art seems to be having a bad time of it just now or rather the devil seems to be very busy amongst our painters nowadays bravely setting them together by the ears if you cannot make up your mind to put up with all sorts of annoyances to endure more and more scorn and contumely in proportion as you advance in art and as your fame spreads to meet with malicious scoundrels everywhere who with a friendly face will force themselves upon you in order to ruin you the more surely afterwards if you cannot I say make up your mind to endure all this let painting alone think of the fate of your teacher the great animal from a rascally band of rivals and illignally persecuted in Naples so that he did not receive one single commission for a great work being everywhere rejected with content this is said to have been instrumental in bringing about his early death think of what happened to Domeniquino note Zampieri Domeniquino 1581 to 1641 was a pupil of the Caracci the work here referred to is a series of frescoes which he did not do to quite finish representing the events of the life of St. Januarius in the chapel of the Tesoro of the Cathedral of Naples which he began in 1630 the malicious spite which the text attributes to the rivals of Domeniquino is not at all exaggerated there did really exist a so-called cabal of Naples insisting chiefly of the painters Corancio Rivera and Caracci who lead together to shut out all competition from other artists and their persecution of the Bolognese Domeniquino is well known often on returning to his work in the morning he found that someone had obliterated what he had done on the previous day not only have we a faithful picture of the Italian artist's life in the middle of the 17th century depicted in this tale but the actual facts of the lives of Salvatoroso of Prety of the Caracci as well as the existence of Bolognese Campagna della Morte furnish ample materials and illustrations of the wild lives they did lead of their jealousies and heart-burnings of their quarrelsonness and revengefulness they seem to have been ready on all occasions to exchange the brush for the sword they were filled to overflowing with restless energy the atmosphere of the age they lived in was highly charged with vigor of thought and an irrepressible vitality for artistic production under the conditions which these things suppose the artists of that age could not well have been otherwise than they were returned to text think of what happened to Domenicino when he was painting the dome of the chapel of St. Januaryus didn't the villains of painters I won't mention a single name not even the Rascals Belisario and Rivera didn't they bribed Domenicino's servant to strew ashes in the line notes Belisario Carrencio a Greek 1558 to 1643 called envious jealous cunning treacherous quarrelson he looked upon all other painters as his enemies Giuseppe Rivera called Il Spagnoletto a Spaniard by birth 1589 was a painter of the Neapolitan school and delighted in horrible and gloomy subjects he died in 1656 returned to text didn't they bribed Domenico's servant to strew ashes in the line so the plaster wouldn't stick fast on the walls and the painting had no stability think of all that and examine yourself well whether your spirit is strong enough to endure things like that or if not your artistic power will be broken and along with the resident courage for work you will also lose your ability but salvatore replied Antonio it would hardly be possible for me to have more scorn and continuity to endure supposing I do painting entirely and exclusively then I have already endured whilst merely a character you have been pleased with my pictures you have indeed and at the same time declared from inner conviction that I am capable of doing better things than several of our painters of the academy but these are just the men who turn up their noses at all that I have industriously produced and say contemptuously do look here's our chiragin wants to be a painting and for this very reason my resolve is only the more unshaken I will sever myself from a trade that grows with every day more hateful upon you my honoured master I now stake all my hopes your word is powerful if you would speak a good word for me you might overthrow my envious persecutors at a single blow and put me in the place where I ought to be you repose great confidence in me who joined Salvatore but now that we thoroughly understand each other's views on painting and I have seen your works I don't really know that there is anybody for whom I would rather take up the cudgels than for you Salvatore once more inspected Antonio's pictures and stop before the savior's feet which he especially praised in this magazine he said you have deviated from the usual mode of representation your magazine is not a thoughtful virgin but a lovely art less child rather and yet she is such a marvelous child that hardly anybody else but Guido could have painted her there is a unique charm in her dainty figure you must have painted with inspiration and if I mistake not the original of this magazine is alive to be found in Rome I'm confess Antonio you were in love Antonio's eyes soft the ground whilst he said in a low shy voice nothing escapes your penetration my dear sir perhaps it is as you say but do not blame me for it that picture I set the highest store by and either to I have guarded it as a holy secret from all men's eyes what do you say interrupted Salvatore none of the painters here have seen your picture no not one was Antonio's reply all right then Antonio continued Salvatore his eyes sparkling with delight very well then you may rely upon it I will overwhelm your envious over weaning persecutors and get you the honor you deserve entrust your picture to me bring it to my studio secretly by night and then leave all the rest to me would you do so gladly with all my heart replied Antonio and now I should very much like to talk to you about my love troubles as well but I feel as if I ought not to do so today after we have opened our minds to each other on the subject of heart I also entreat you to grant me your assistance both in word and deed later on in this matter of my love I am at your service at Salvatore for both both when and where then as he was going away he once more turned round and said smiling see here Antonio when you disclosed to me the fact that you were a painter I was very sorry that I had spoken about your resemblance to Sancio I took it for granted that you were as silly as most of our young folk who if they bare but the slightest resemblance in the face to any great master at once trim their beard or hair as he does and from this cause fancy it is their business to imitate the style of the master in their art achievements even though it is a manifest violation of their natural talents to do so neither of us has mentioned Raphael's name but I assure you that I have discerned in your pictures clear indications that you have grasped the full significance of the inimitable thoughts which are reflected in the works of this the greatest of the painters of the age you understand Raphael and would give me a different answer from what Velasquez did when I asked him not long ago what he thought of Sancio note Don Diego Velasquez de Silepa the great Spanish painter born in 1599 died in 1660 he twice visited Italy and Naples in 1629 to 31 and in 1648 to 51 and was for a time intimate with Rivera returned to text Titian he replied is the greatest painter Raphael knows nothing about carnation this banner and thinks understands flesh but not criticism and yet these men in St. Luke elevate him to the clouds because he once painted cherries which the sparrows picked out note this suggests the legend of Quentin Massis of Antwerp at the fly or the still older but perhaps not more historical story of the Greek painters Uxis in the bunch of grapes which the birds came to pack and oraceus whose curtain deceived even Uxis himself returned to text it happened not many days afterwards that the agademissions of St. Luke met together in their church to prove the works which had been announced for exhibition there too Salvatore had sent Scacciati's fine picture in spite of themselves the painters were greatly struck with its grace and power and from all lips there was heard nothing but the most extravagant praise when Salvatore informed them that he had brought the picture with him from Naples as the legacy of a young painter who had been cut off from the pride of his days it was not long before all Rome was crowding to see and admire the picture of a young unknown painter who had died so young it was unanimously agreed that no such work had been done since Guido Reni's time some even went so far in their just enthusiasm as to place this exquisitely lovely lecturing before Guido's creations of a similar time amongst the crowd of people who were always gathered around Scolciati's picture Salvatore one day observed a man who besides presenting a most extraordinary appearance behaved as if you were crazy well advanced in years he was tall thin as a spindle with a pale face a long sharp nose a chin equally long ending moreover in a little pointed beard and with gray gleaming eyes on the top of his light sand-colored wig he had set a high hat with a magnificent feather he wore a short dark red mantel or cape with many bright buttons a sky-blue doublet slashed in the Spanish style immense leather gonplets with silver fringes a long ray pier at his side light gray stockings drawn up above his bony knees and guarded with yellow ribbons whilst he had bows of the same sort of yellow shoes. This remarkable figure will stand before the picture like one and raptured he raised himself on tiptoe he stooped down till he became quite small then he jumped up with both feet at once he'd deep-sized groaned nipped his eyes so close together that the tears began to trickle down his cheeks opened them wide again fixed his gaze immovably upon the charming mantel side again mutilated voice ah carissima mereditissima ah mariana marianina bellissima etc oh dearest most adored ah mariana sweet mariana my most beautiful Salvatore who had a mad fancy for such oddities drew near to the old fellow intending to engage him in conversation about Scacci's work which seemed to afford him so much exquisite delight without paying any particular heed to Salvatore the old gentleman stood cursing his poverty because he could not give a million sequins for the picture and place it under lock and key where nobody could set their infernal eyes upon us then hopping up and down again he blessed the virgin at all the holy saints that the reprobate artist who had painted the heavenly picture which was driving him to despair and madness was dead Salvatore concluded that the man either was out of his mind or was an academician of St. Luke with whom he was unacquainted all Rome was full of Scacci's wonderful picture people could scarcely talk about anything else and this of course was convincing proof of the excellence of the work and when the painters were again assembled in the Church of St. Luke to decide about the admission of certain other pictures which had been announced for exhibition Salvatore Rosa all of once at the Savior's feet was not worthy of being admitted a member of the Academy they all with one accord including even that hair splitter and criticism Baron Joseph Bain note Giuseppe Cesary called Joseph Bain or the Sholier Dach Bain a painter of the Roman school born in 1560 or 1568 died in 1640 He posed as an artistic critic in Rome during the later years of his life and his judgment was claimed by his friends to be authoritative and final in all matters connected with art returned a text they all declared that such a great artist would have been an ornament to the Academy and expressed their sorrow at his death in the choicest phrases although like the crazy old man they were praising heaven in their hearts that he was dead still more they were so far carried away by their enthusiasm that they passed a resolution to the effect that the young painter whom death it snatched away from art so early should be nominated a member of the Academy in his grave and that masses should be read for the benefit of his soul in the Church of St. Lou they therefore begged Salvatore to inform them what was the full name of the deceased the date of his birth the place where he was born etc then Salvatore rose and said in a loud voice to yours the honor your anxious surrender to a dead man you can more easily bestow upon a living man who walks in your midst learn that the Magdalene at the Saviour's feet the picture with you so just the exalt above all other artistic productions that the last few years have given us is not the work of a dead Neapolitan painter as I've pretended this I did simply to get an unbiased judgment from you that painting that masterpiece which all Rome is admiring is from the hand of senior Antonio Sceciotti the Kyrogen the painters sat staring at Salvatore as if suddenly thunderstorm incapable of either moving or uttering a single sound he however after quietly exalting over their embarrassment for some minutes continued well now Seniors you would not tolerate the worthy Antonio amongst you because he is a Kyrogen but I think that the illustrious Academy of St. Luke has great need of a surgeon to set the limbs of the many crippled figures which emerge from the studios of a good many amongst your number but of course you will no longer scruple to do what you ought to have done long ago namely elect that excellent painter Antonio Sceciotti a member of the Academy the academicians swallowing Salvatore's bitter pill feigned to be highly delighted that Antonio had in this way given such and contestable proofs of his talent and with all due ceremony nominated him a member of the Academy as soon as became known in Rome that Antonio was the author of the wonderful picture he was overwhelmed with congratulations and even with commissions for great works which poured in upon him from all sides thus by Salvatore's shrewed and cunning stratagem the young man emerged all at once out of his obscurity and with the first real step he took on his artistic career rose to great honor Antonio reveled in ecstasies of delight so much the more therefore did Salvatore wonder to see him some days later appear with his face pale and distorted out of miserable and will be gone oh Salvatore said Antonio what advantage has it been to me that you have helped me to rise to a level far beyond my expectations that I am now overwhelmed with praise and honor that the prospect of a most successful artistic career is opening out before me oh I am utterly miserable for the picture to which next to you my dear sir I owe my great triumph has proved the source of my lasting misfortune stop replied Salvatore don't sin against either your art or your picture I don't believe a word about the terrible misfortune which you say has befallen you you are in love and I presume you can't get all your wishes gratified at once on the spur of the moment that's all it is lovers are like children they scream and cry if anybody only just touches their doll have done I pray you with that lamentation for I tell you I can't do with it come now sit yourself down there and quietly tell me all about your fair Magdalene and give me the history of your love affair and let me know what are the stones of a fence that we have to remove for I promise you my help beforehand the more adventurous the schemes are which we shall have to undertake the more I shall like them in fact my blood is coursing hotly in my veins again and my regimen requires that I engage in a few wild pranks but go on with your story Antonio and as I said let's have it quietly without any size and lamentations without any o's and o's Antonio took his seat on the stool which Savature had pushed up to the easel at which she was working and began as follows there is a high house in the Via Repeta note in a previous note was stated that the Via del Corse ran from the Piazza del Popolo southwards to the center of the city of Rome besides this street there are two others which run from the same square in almost the same direction the Via de Repeta and the Via del Babuino the former being to the west of the Via del Corso and the ladder to the east and each gradually gets more distant from the Via del Corso the farther it recedes from the square on the opposite side of the Piazza del Popolo is the Porta del Popolo return to text there is a high house in the Via Repeta with a balcony which projects far over the street so is at once to strike the eye of anyone entering through the Porta del Popolo and there dwells perhaps the most whimsical oddity in all room an old bachelor with every fault that belongs to that class of persons a voracious vein anxious to appear young amorous fawlish he is tall as thin as a switch wears a gay Spanish costume a sandy wig a conical hat leather gauntlets a rape here at his side stop stop quite salvatory interrupting him excuse me a minute or two Antonio then turning about the picture at which he was painting he seized his charcoal and in a few free bone strokes sketched on the back side of the canvas the eccentric old gentlemen whom he had seen behaving like a crazed man in front of Antonio's picture while the saints cried Antonio as he leapt to his feet and forgetful of his unhappiness burst out into a loud laugh while the saints that's he that's senior Pasquale Capuzzi whom I was just describing that's he to the very T so you see said Salvatore calmly that I am already acquainted with the worthy gentlemen who most probably is your bitter enemy that go on senior Pasquale Capuzzi continued Antonio is as riches creases but at the same time as I just told you a sordid miser and an incurable coxcomb the best thing about him is that he loves art particularly music and painting but he mixes up so much with it all that even in these things there's no getting on with him he considers himself the greatest musical composer in the world and that there's not a singer in the papal choir who can at all approach him recording he looks down upon our old fresco Baldy with contempt note Churro Mo Fresco Baldy the most distinguished organist of the 17th century born about 15 87 or 15 88 he early won a reputation as a singer and as an organist returned to text and when the Romans talk about the wonderful charm of Ciccarelli's voice he informs them that Ciccarelli knows as much about singing as a pair of top boots and that he capuzzi knows which is the right way to fascinate the public but as the first singer of the pope bares the proud name of senior Oduardo Ciccarelli di Mariana so our capuzzi is greatly delighted when anybody calls him senior Pasquale capuzzi di Senegalia before he was in Senegalia that he was born note Senegalia or Senegalia a town on the Adriatic in the province of Ancona returned to text and the popular rumor goes that his mother being startled at sight of a sea dog seal suddenly rising to the surface gave birth to him in a fisherman's boat and that accounts it is said for a good deal of the C her in his nature several years ago he brought out an opera on the stage which was fearfully hissed but that hasn't cured him of his mania for writing accecrucible music indeed when he heard Francesco Cavalli's opera Linoce Defecti Edipelio note he had told Francesco Cavalli whose real name was Coletti Bruni he was organist at St. Mark at Venice for about 36 years 1640 to 1776 he composed both for the church and for the stage returned to text he swore that the composer had filched the sublimest of the thoughts from his own immortal works for which he was near being thrashed and even stabbed he still has a craze for singing arias and accompanies his hideous squawling on a wretched jarring jangling guitar all out of tune his faithful piloties is an ill-bred dwarfish eunic whom the romans call indiquinaccio there is a third member of the company guess who it is why none other than the pyramid doctor who kicks up a noise like a melancholy ass and yet fancies he's singing an excellent bass quite as good as Martinelli of the papal choir now these three estimable people are in the habit of meeting in the evening on the balcony of Cappuzzi's house where they sing Carissimis motess note attached during the greater part of his life to the church of Senapola Norris of Rome he died in 1674 he did much for musical art perfecting Richard Teeve and advancing the development of the sacred cantata his accompaniments are generally distinguished for lightness and variety return to text until all the dogs and cats in the neighborhood round break out into dirges of meowing and howling and all their neighbors heartily wish the devil would run away with all the blessed three with this whimsical old fellow senior Pasquale Cappuzzi of whom my description will have enabled you to form a terribly adequate idea my father lived on terms of intimacy since he trimmed his wig and beard when my father died I undertook this business and Cappuzzi was in the highest degree satisfied with me because as he once affirmed I knew better than anybody else how to give his moustaches a bold upward twirl but the real reason was because I was satisfied with the few pence with which he rewarded me for my pains but he firmly believed that he more than richly indemnified me since whilst I was trimming his beard he always closed his eyes and croaked through an aria from his own compositions which however almost split my ears and yet the old fellow's crazy gestures afforded me a good deal of amusement so that I continued to attend him one day when I went I quietly ascended the stairs knocked at the door and opened it and low there was a girl an angel of light who came to meet me you know my Magdalen it was she I stood stuck still rooted to the spot knows Alvator you shall have no O's and O's well the first sight of this the most lovely maiden of her sex and kindled in me the most ardent passionate love the old man informed me with a smirk that the young lady was the daughter of his brother Pietro who had died in Senegalia that her name was Mariana and that she was quite an orphan being her uncle and guardian he had taken her into his house we've been easily imagine that hence forward Kapuzi's house was my paradise but no matter what devices I had the course to I could never succeed in getting a tet a tet Mariana even for a single moment her glances however and many a stolen sigh and many a soft pressure of the hand resolved all doubts as to my good fortune the old man divine what I was after which was not a very difficult thing for him to do he informed me that my behavior towards his these was not such as to please him all together and he asked me what was the real purport of my attentions then I frankly confessed that I loved Mariana with all my heart and that the greatest earthly happiness I could conceive was a union with her whereupon Bootsie have to measuring me from top to toe burst out in a guffaw of contempt and declared that he never had any idea that such lofty thoughts could haunt the brain of a paltry barber I was almost boiling with rage I said he knew very well that I was no paltry barber or rather a good surgeon and moreover in so far as concerned the noble art of painting a faithful pupil of the great animal Karachi and of the unrival Guido Reini but the infamous Kapuzzi only replied by a still louder guffaw of laughter and in his horrible falsetto squeaked see here my sweet senior barber my excellent senior surgeon my honored animal Karachi my beloved Guido Reini the after the devil and do never show yourself here again if you don't want your legs broken therewith the cranky knock-kneed old fool laid hold of me with no lesson intention than to kick me out of the room and hurl me down the stairs but that you know was past everything with ungovernable fury I seized the old fellow and tripped him up so that his legs stuck uppermost in the air and there I left him streaming aloud whilst I ran down the stairs and out of the house store which I need hardly say has been closed to me ever since and that's how matters to it when you came to Rome and when Heaven inspired Father Bonifas with the happy idea of bringing me to you then so soon as your clever trick had brought me the success for which I had so long been vainly striving that is when I was accepted by the Academy of St. Lou and all Rome was heaping up praise and honor upon me to a lavish extent I went straight way to the old gentlemen and suddenly presented myself before him in his own room like a threatening apparition such at least he must have thought me for he grew as pale as a corpse and retreated behind a great table trembling in every limb and in a firm and earnest way I've represented to him that it was not now a poultry barber or a surgeon but a celebrated painter and academician of St. Lou Antonio Scacciati to whom he would not I hope refuse the hand of his niece Narayana you should have seen into what a passion the old fellow flew he screamed he flourished his arms about like one possessed of devils he yelled that I a ruffian Lee murderer was seeking his life that I had stolen his Mariana from him since I had portrayed her in my picture and it was driving him mad driving him to despair for all the world all the world were fixing their covetus lustful eyes upon his Mariana his life his hope is all but I had better take care he would burn my house over my head and me and therewith he kicked up such a din shouting fire murder thieves help but I was perfectly confounded and only thought of making the best of my way out of the house the crack-brained old fool is overhead in ears in love with his niece he keeps her under lock and key and as soon as he succeeds in getting dispensation of the hope he will compel her to a shameful alliance with himself all hope for me is lost nay nay not quite said celebratory laughing I am of opinion that things could not be in a better form for you Mariana loves you of that you are convinced and all we have to do is to get her out with the power of that fantastic old gentleman Signor Pasquale Capuzzi I should like to know what there is to hinder a couple of stout enterprising fellows like you and me from accomplishing this look up your courage Antonio instead of be whaling and siging and fainting like a love sick swain it would be better to set to work to think out some plan for rescuing your Mariana you just wait and see Antonio how finally will circumvent the old dotered in such like enterprises the wildest extravagance hardly seems to me wild enough I'll set about it at once and learn what I can about the old man and about his usual habits of life but you must not be seen in this affair Antonio go away quietly home and come back to me early tomorrow morning then we'll consider our first plan of attack here with Salvatore shook the paint out of his brush through on his mantle and hurried the course though whilst Antonio he took himself home as Salvatore had bitten him his heart comforted and full of lusty hope again end of part recording by Thomas Copeland part three of senior for mica in weird tales volume one by E.T.A. Hoffman translated by J.T. Billby this Liber Vox recording is in the public domain recording by Thomas Copeland three senior Pasquale Kaputzi turns up at Salvatore Rosa's studio what takes place there the cunning scheme which Rosa and the consequences of the same next morning Salvatore having in the meantime inquired in Kaputzi's habits of life very greatly surprised Antonio by a description of them even down to the manutus details for Mary Anna said Salvatore leads a sad life of it with the crazy old fellow there he sits sighing and ogling the whole day long and what is worth still in order to soften her heart towards him he sings her all and sundry love duties that he has ever composed or intends to be close at the same time he is so monstrously jealous that he will not even permit the poor young girl to have the usual female attendance for fear of intrigues and amours which the maid might be induced to engage in instead a hideous little apparition with hollow eyes and pale flabby cheeks appears every morning at evening to perform for sweet Mary Anna the surfaces of the tired maid and this little apparition is nobody else but that tiny Tom thumb of a bit of kinocho who has to dawn female attire capuzzi whenever he leaves home carefully locks and bolts every door besides which there is always a confounded fellow keeping watch below who is formerly a bravo and then a gendarm and now lives under capuzzi's rooms it seems therefore a matter almost impossible to effect an entrance into his but nevertheless I promise you Antonio that this very night you shall be in capuzzi's own room and shall see your Mary Anna though this time it will only be in capuzzi's presence what do you say? right Antonio quite excited what do you say? we shall manage it tonight I thought it was impossible there there continued Salvador keeps still Antonio and let us quietly consider how we may with safety carry out the plan which I have conceived but in the first place I must tell you that I have already scraped an acquaintance with senior Pasquale capuzzi without knowing it that a wretched spin it which stands in the corner there belongs to the old fellow and he wants me to pay him the preposterous sum of ten dockets for it note the first silver docket is believed to have been struck in 1140 by Roger the second Norman King of Sicily and dockets have been struck constantly since the 12th century especially at Venice sea merchants of Venice they have varied considerably both in weight and fineness and consequently in value at different times and places dockets have been struck in both gold and silver the early Venetian silver docket was worth about five shillings the name is said according to one account to have been derived from the last word of the Latin legend found on the earliest Venetian gold coins sit to be Christe Datus Quenturegas Ducatos Duchy according to another account it is taken from Il Ducato the name generally applied to the Duchy of Apulia returned to text when I was convalescent I longed for some music which always comforts me and does me a deal of good so I begged my landlady to get me some such an instrument as that Dame Catarina soon ascertained that there was no gentleman living in the Via Repetta who had a fine spinner to sell I got the instrument brought here I did not trouble myself either about the price or about the owner it was only yesterday evening that I learned quite by chance that the gentlemen who intended to cheat me with this rickety old thing was Sr. Pasquale Capuzzi Dame Catarina had enlisted the services of an acquaintance living in the same house and indeed on the same floor as Capuzzi and now you can easily guess whence I've got all my budget of news Yes replied Antonio then the way to get in is found your landlady I know very well Antonio said Salvatore cutting him short I know what you're going to say you think you can find a way to your Mariana through Dame Catarina but you'll find that we can't do anything of that sort the good Dame is far too torpitive she can't keep the least secret and so we can't for a single moment think of employing her in this business now just quietly listen to me every evening when it's dark Sr. Pasquale although it's very hard work for him owing to his being knocked need carries his little friend the eunuch home in his arms as soon as he has finished his duties as made nothing in the world could induce the timid Piti Canacho to set foot on the pavement at that time of night so that when at this moment somebody knocked a selvatore's door and to the consternation of both Sr. Pasquale stepped in in all the splendor of his gala attire on catching Saitos Kachati he stood stock stills if paralyzed and then opening his eyes wide he gasped for air as though he had some difficulty in breathing but selvatore hastily ran to meet him and took him by both hands saying my dear Sr. Pasquale your presence in my humble dwelling I feel a very great honor may I presume that it is your love for art which brings you to me you wish to see the newest things I have done her chance to give me a commission for some work pray in what my dear Sr. Pasquale can I serve you I have a word or two to say to you my dear Sr. Salvatore stammered capuzzi painfully but alone when you are alone with your come again at some more seasonable time by no means said Salvatore holding the old gentleman fast by no means my dear Sr. you need not stir a step you could not have come at a more seasonable time for since you are a great admirer of the noble art of painting and the patron of all good painters I am sure you will be greatly pleased for me to introduce to you Antonio Scacciati here the first painter of our time whose glorious work the wonderful Magdalene of the saviour's feed has excited throughout all Rome the most enthusiastic admiration you too I need hardly say have also formed a high opinion of the work and must be very anxious to know the great artist himself the old man was seized with a violent trembling he shook as if he had a shivering fit of the egg you and shot fiery wrathful looks of poor Antonio he however approached the old gentleman and bowing with polished courtesy assured him that he esteemed himself happy at meeting in such an unexpected way with senior Pasquale Capuzzi whose great learning in music as well as in painting was a theme for wonder not only in Rome but throughout all Italy and he concluded by requesting the honor of his patronage this behavior of Antonio in pretending to meet the old gentleman for the first time in his life and in addressing him soon brought him round again he forced his features into a simpering smile and a Salvatore now let his hands loose gave his mustache an elegant upward curve at the same time stammering out a few unintelligible words then turning to Salvatore he requested payment of the ten tuckets for the spin that he had sold it Oh that trifling little matter we could settle afterwards my good sir for Salvatore's answer was to look at this sketch of a picture which I have drawn and drink a glass of good Syracuse whilst to do so Salvatore meanwhile placed his sketch on the easel and moved up a chair for the old gentleman and then when he had taken his seat he presented him with a large and handsome wine cup full of good Syracuse the little pearl-like bubbles rising gaily to the top Signor Pasquale was very fond of a glass of good wine when he had nothing to pay for it and now he ought to have been in an especially happy frame of mind for besides nourishing his heart with the hope of getting 10 ducats for a rotten worn-out spinot he was sitting before a splendid boldly designed picture the rare beauty of which he was quite capable of estimating at his full worth and that he was in this happy frame of mind he evidenced in diverse ways he simpered most charmingly he have closed his little eyes he assiduously stroked his chin and moustache and lisped time after time splendid delicious but they did not know to which he was referring the picture of the wine when he had thus worked himself rounded to a quiet cheerful humor Salvatore suddenly began they tell me my dear sir that you have a most beautiful and amiable niece named Mariana is it so? all the young men of the city are so smitten with love that they stupidly do nothing but run up and down the Via Ritipetta almost dislocating their necks in their efforts to look up at your balcony for a sight of your sweet Mariana to snatch a single glance from her heavenly eyes suddenly all the charming simpers all the good humor which had been called up into the old gentleman's face by the good wine were gone looking gloomily before him he said sharply ah that's an instance of the corruption of our abandoned young men they fixed their infernal eyes their reprobate seducers upon mere children for I tell you my good sir that my niece Mariana is quite a child quite a child only just outgrown her nurses care Salvatore turned the conversation upon something else the old gentleman recovered himself but just as he his face again radiant with sunshine was on the point of putting the full wine cup to his lips Salvatore began a new but pray tell me my dear sir if it is indeed true that your niece with her 16 summers really has such beautiful Albert hair and eyes so full of heaven's own loveliness and joy as as Antonio is Magdalene it is generally maintained that she has I don't know replied the old gentleman still more sharp with than before I don't know but let us leave my niece in peace rather let us exchange of you instructive words on the noble subject of art as you'll find picture here of itself invites me to do always when Kaputzi raised his wine cup to his lips to take a good draft Salvatore began a new to talk about the beautiful Marianna so that at last the old gentleman left from his chair in a perfect passion banged the cup down upon the table and almost broke it screaming in a high shrill voice by the infernal pit of Pluto by all the furies you will turn my wine into poison into poison I tell you but I see through you you and your fine friends senior Antonio you think to make sport of me that you will find yourselves deceived pay me the ten ducats you owe me immediately and then I will leave you and your associate that Bob a fellow Antonio to make your way to the devil Salvatore shouted as if mastered by the most violent rage what you have the audacity to treat me in this way in my own house do you think I'm going to pay you ten ducats for that rotten box the woodworms have long ago eaten all the goodness and all the music out of it not ten not five not three not one ducat shall you have for it it's scarcely worth a farling away with a tumble down thing and he kicked over the little instrument things were all jarring and jangling together ha screeched capuzzi justice is still to be had in Rome I will have you arrested sir arrested and cast into the deepest dungeon there is and off he was rushing out of the room blustering like a hail storm but Salvatore took fast hold of him with both hands and drew him down into the chair again softly murmuring in his ear my dear senor basquale don't you perceive that I was only jesting with you you shall have for your spirit not 10 but 30 ducats cashed down and he went on repeating 30 bright ducats in ready money until capuzzi said in a faint and feeble voice go what you say my dear sir 30 ducats for the spirit without his being repaired then Salvatore released his hold of the old gentleman and asserted on his honor that within an hour the instrument should be worth 30 nay 40 ducats and that senor basquale should receive as much for it taking in a fresh supply of breath and sighing deeply the old gentleman murmured 30 40 ducats then he began but you have greatly offended me senor Salvatore 30 ducats repeated Salvatore capuzzi simmered but then began again but you have grossly wounded my feelings senor Salvatore 30 ducats exclaimed Salvatore cutting him short and he continued to repeat 30 ducats 30 ducats as long as the old gentleman continued to sell till at length capuzzi said radiant with delight if you will give me 30 I mean 40 ducats for this spinnet all shall be forgiven and forgotten my dear sir Salvatore before I can fulfill my promise I still have one little condition to make which you might honoured senor basquare capuzzi disani caglia can easily grant you are the first musical composer in all Italy besides being the foremost singer of the day when I heard in the opera Linozzi Dittetti Epello the great scene which that shameless Francesco Cavalli has thievishly taken from your works I was raptured if you would only sing me that aria whilst I put the spinnet to rights you would confer upon me a pleasure than which I can conceive of none more enjoyable puckering on his mouth into the most winning of smiles and blinking his little gray eyes the old gentleman replied I perceive my good sir that you are yourself a clever musician for you possess taste and know how to value the deserving better than those ungrateful Romans listen listen to the aria of all arias therewith he rose to his feet and stretching himself up to his full height spread out his arms and closed both eyes so that he looked like a cock preparing to crow and he had once began to screech in such a way that the walls rang again and Dame Catarina under two daughters soon came running in fully under the impression that such lamentable sounds sight of the crowing old gentlemen they stopped on the threshold utterly astonished and thus they formed the audience of the incomparable musician capuzzi meanwhile Salvatore having picked up the spin and thrown back the lid had taken his palette in hand and in bold firm strokes had begun on the lid of the instrument the most remarkable piece of painting that ever was seen the central idea was a scene from Covelli's opera the notes had taken to you but there was a multitude of other personages mixed up with it in the most fantastic way amongst them were the recognizable features of capuzzi Antonio Mariana faithfully reproduced from Antonio's picture Salvatore himself Dame Catarina and her two daughters and even the pyramid doctor was not wanting and all grouped so intelligently judiciously and ingeniously that Antonio could not conceal his astonishment both at the artist's intellectual power as well as at his technique meanwhile old capuzzi had not been content with the aria which Salvatore requested him to give but carried away by his musical madness he went on singing or rather screeching without intermission working his way through the most awful regitatives from one extroperable scene to another he must have been going on for nearly two hours when he sank back in his chair breathless and with his faces red as a cherry and just at this same time also Salvatore had so far worked out his sketch that the figures began to wear a look of vitality and the whole viewed at a little distance had the appearance of a finished word I have kept my word with respect to the spinet my dear Señor Pasquale breathed Salvatore in the old man's ear he started up as if awakening out of a deep sleep immediately his glance fell upon the painted instrument which stood directly opposite then opening his eyes wide as if he saw a miracle and jauntly throwing his conical hat on the top of his wig he took his crutch stick under his arm made one bound to the spinet tore the lid off the hinges and holding it above his head ran like a madman out of the room down the stairs and away away out of the household together followed by the hearty laughter of Dame Caterina and both her daughters the evil miser said Salvatore knows very well that he has only to take your unpainted lid to count Colonna or to my friend Rossi and he will at once get forty ducats for it or even more Salvatore and Antonio then both deliberated how they should carry out the plan of attack which was to be made when night came we shall soon see what the two adventurers resolved upon and what success they had in their adventure as soon as it was dark Signore Pasquale after locking and bolting the door of his house carried the little monster of an eunuch home as usual the whole way the little wretch was whining and growling complaining that not only did he sing Capuzzi's arias till he got guitar in the throat and burn his fingers cooking the macaroni but he had now to lend himself to duties which brought him nothing but sharp boxes on the ear and rough kicks which Mariana lavishly distributed to him as soon as ever he came near her old Capuzzi can sold him as well as he could promising to provide him ample supply of sweetmeats then he had hitherto done indeed as the little man would know how cease his growling and quailess complaining Pasquale even laid himself under the obligation to get a natty abbot's coat made for the little torment out of an old black plush waistcoat which he'd the dwarf had often set cover to size upon he demanded a wig and a sword as well parrying upon these points they arrived at the via Begoniola for that was where Petit Canacho dwelt only four doors from Salvatore the old man set the dwarf cautiously down and open the street door and then the dwarf on in front they both began to climb up the narrow stairs which were more like a rickety ladder for hens and chickens then steps for respectable people but they had hardly mounted halfway up when a terrible racket began up above and the course voices some while drunken fellow was heard cursing and the way out of the damned house Petit Canacho squeezed himself close to the wall and and treated Kaputzi in the name of all the saints to go on first but before Kaputzi had ascended two steps the fellow who was up above came tumbling headlong downstairs got hold of the old man and whisked him away like a whirlwind out through the open door below into the middle of the street there they both lay Kaputzi at bottom and the drunken brute like a heavy sack on top of him the old gentleman screamed piteously for help two men came up at once and with considerable difficulty freed him from the heavy weight lying upon him the other fellow as soon as he was lifted up reeled away cursing good God what's happened to you Sr. Pasquale what are you doing here at this time of night what big quarrel have you been getting mixed up in in that house there thus asked Salvador Antonio but that is who the two men were oh I shall die grown Kaputzi that son of the devil has crushed all my limbs I can't move let me look said Antonio feeling all over the old gentleman's body and suddenly he pinched his right leg so sharply that Kaputzi screamed out aloud by all the saints cried Antonio in consternation by all the saints my dear Sr. Pasquale you've broken your right leg in the most dangerous place if you don't get speedy hell you will within a short time be a dead man or at any rate be lame all your life long a terrible scream escaped the old man's breast calm yourself my dear sir continued Antonio although I'm now a painter I haven't altogether forgotten my surgical practice we will carry you to Salvatore's house and I will at once bind up my dear Sr. Antonio find Kaputzi you nourish hostile feelings towards me I know but broken Salvatore this is now no longer the time to talk about enmity you're in danger that is enough for honest Antonio to exert all his skill on your behalf they hold friend Antonio gently and consciously they lifted up the old man between them him screaming with the unspeakable pain caused by his broken leg and carried him to Salvatore's dwelling Dame Catarina said that she had had a foreboding that something was going to happen and so she had not gone to bed as soon as she caught sight of the old gentlemen and heard whether we've fallen him she began to heap reproaches upon him for his bad conduct I know she said I know very well senior Pasquale who you've been taking home again now that you've got your beautiful niece Marianne in the house with you you think you've no further call to have women folk about you and you treat that poor pitkinacho most shameful and infamous putting him in petty coats but look to it o ne carne a il suo oh so every house has its skeleton why if you have a girl about you don't you need women folk va te il passo secondo la gamma cut your clothes according to your cloth and don't you require anything either more or less from your Marianne than what is right don't lock her up as if you were a prisoner nor make your house a dungeon ass in a punto convient que trotte if you are in the stream you would better swim with it you have a beautiful niece and you must all to your ways that is you must only do what she wants you to do that you are an ungallant and heart hearted man I and even in love and jealous as well they say which I hope that your years is not true you're pardoned for telling you it all straight up but chi an el petto fiele non posto tomiele and there's vile in the heart there can't be honey in the mouth so now if you don't die or a broken leg is not at all unlikely that this be a warning to you and leave your niece free to do what she likes and let her marry the fine young gentleman as I know very well and so the stream went on uninterruptedly while saboteur and Antonio cautiously undress the old gentleman and put him to bed Dame Catarina's words were like knives cutting deeply into his breast but whenever he attempted to intervene Antonio signed to him that all speaking was dangerous and so he had to swallow his bitter gall at length Salvatore sent Dame Catarina away to fetch some ice-cold water that Antonio wanted Salvatore and Antonio satisfied themselves that the fellow who had been sent to Bitica Nacho's house had done his duty well notwithstanding the apparently terrible fall Kabutzi had not received the slightest damage beyond a slight bruise or two Antonio put the old gentleman's right foot in splints and bandage it up so tight that he could not move then they wrapped him up in cloths that had been soaked in ice-cold water as a precaution they alleged against inflammation so that the old gentleman shook as if with the acue my good senior Antonio he grown feebly tell me if it is all over with me must I die? compose yourself replied Antonio if you will only compose yourself senior Pasquale as you have come through the first dressing with so much nerve and without fainting I think we may say that the danger has passed but you will require the most attentive nursing at present we mustn't let you out of the doctor's sight oh Antonio find the old gentleman you know how I like you how highly I esteem you talents don't leave me give me your dear hand so you won't leave me will you my dear good Antonio although I am now no longer a surgeon said Antonio although I've quite given up that hated trade yet I will in your case senior Pasquale make an exception and will undertake to attend you for which I shall ask nothing except that you give me your friendship your confidence again you were a little hard upon me say no more this the old gentleman not another word my dear Antonio your niece will be half dead with anxiety said Antonio again that you are not returning home you are considering your condition brisk and strong enough and so as soon as day dawns will carry you home to your own house there I will again look at her bandage and arrange your bed is it ought to be and give your niece her instructions so that you may soon get well again the old gentleman he'd a deep sigh and closed his eyes remaining some minutes without speaking then stretching out his hand towards him and whispered it was only a jest that you had with Mariana was it not my dear sir one of those Mary conceits that young folks have think no more about that senor Pascuali replied Antonio your niece did it is true strike my fancy but I have now quite different things in my head and to confess honestly to it I am very pleased that you did return a sharp answer to my foolish suit I thought I was in love with your Mariana but what I really saw in her was only a fine model from my Macdonald and this probably explains how it is that now that my picture is finished I feel quite indifferent towards her Antonio cried the old man in a strong voice Antonio you glorious fellow what comfort you give me what help what consolation now that you don't love Mariana I feel as if all my pain had gone why I declare a senor as well as that's how the door if we didn't know you to be a grave and sensible man with a true perception of what is becoming to your years we might easily believe that you were yourself by some infatuation in love with your niece of 16 summers again the old gentleman closed his eyes and groaned and moaned at the horrible pain which now returned with red double violence the first red streaks of morning came shining in through the window Antonio announced to the old gentleman that it was now time to take him to his own house in the Vio ripetta senior Pasquale's reply was a deep and piteous sigh Salvatore Antonio lifted him out of bed and wrapped him in a wide mantle which had belonged to game Caterina's husband and which she lent them for this purpose the old gentleman implored them by all the saints to take off the villainous cold bandages in which his bald head and also if it were possible Antonio was to put his mustache a little in order that Mariana might not be too much frightened at sight of him two porters with a litter were standing already before the door Dame Caterina still storming at the old man and mixing a great many proverbs in her views carry down the bed in which they then carefully packed him and so accompanied by Salvatore and Antonio he was taken home no sooner did Mariana see her uncle in this wretched plight than she began to scream whilst a torrent of tears gushed from her eyes without noticing her lover who had come along with him she grasped the old man's hands and pressed them to her lips bewailing the terrible accident that had befallen him so much pity had the good child for the old man who plagued and tormented her with this amorous folly yet at this same moment the inherent nature of woman asserted itself for it only required a few significant glances from Salvatore to put her in full possession of all the facts of the case now for the first time she stole the glance at the happy Antonio blushing hotly as she did so and a pretty sight it was to see how a roguish smile gradually routed and broke through her tears Salvatore at any rate despite the Magdalene had not expected to find the little maiden half as he now really discovered her to be and whilst almost feeling inclined to envy Antonio is the fortune he felt that it was all the more necessary to get poor Mariana away from her eight full uncle let the cost be what it might senior Pasquale forgot his trouble in being received so affectionately by his lovely niece which was indeed more than he deserved he simpered and pursed up his lips so that his moustache was all of a totter and groaned and whined not with pain but simply and solely with amorous longing Antonio arranged his bed professionally and after capuzzi had been laid on it tightened the bandage still more at the same time so muffling up his left leg as well that he had to lay there seek motionless like a log of wood salvatore withdrew and left the lovers alone with their happiness the old gentleman lay buried in cushions moreover as an extra precaution Antonio had bound a thick piece of cloth well steeped in water around his head so that he might not hear the lovers whispering together this was the first time they unburdened all their hearts to each other swearing eternal fidelity in the midst of tears and rapturous kisses the old gentleman could have no idea of what was going on but Mariana ceased not frequently from time to time to ask him how he felt and even permitted him to press her little white hand to his lips when the morning began to be well advanced Antonio hastened a way to procure as he said all the things that the old gentleman required but in reality to invent some means for putting him at any rate for some hours in a still more helpless condition as well as to consult with Salvador what further steps were to be taken End of Part 3 of Senior from Equal Recording by Thomas Copeland