The Mystical Element of Religion. Friedrich von Hügel

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СКАЧАТЬ direction from within her own self. There was the old constitutional keenness and concentration of her highly nervous physical and psychical temperament, and the rarely high pitch and swift pace of her whole inner life, which must, at all times, have rendered suspense of judgment and detachment with regard to her own sensations and quasi-physical impressions specially difficult. And there was now the new intensity and closeness of interaction between soul and body, which must have made such lofty detachment from all but spiritual realities a matter of the rarest grace and of the most heroic self-conquest.

      3. Catherine’s health does not break up completely till 1507.

      The Vita, indeed, as we now have it, tells us that “about nine years before her death,” hence in 1501, “an infirmity came upon her, which neither her attendants nor the doctors knew how to identify”; and that “there was confusion, not on her own part, but on the part of those who served her.”[146] But this whole Chapter XLVII (pp. 127-132) of the present Vita, which opens out thus, is wanting in MSS. “A” and “B”; and is composed of documents which appear, in a fuller and more primitive form and in their right chronological place, in the next three chapters (pp. 132-160), chapters without doubt predominantly due to Marabotto; and of the documents making up the present Chapter XXXVIII (pp. 98, 99), which are earlier again, in both contents and composition, and are very certainly the work of Vernazza. And this means that, though the present Chapter XLVII claims to give a general account of her condition during 1501-1510, it does not, as a matter of fact, give us anything but details belonging without doubt to 1507-1510.

      The manner in which this late compiler insists upon the directly spiritual, indeed supernatural, character of even the clearly secondary and physical phenomena of her state, make it highly probable that, having once exaggerated the quality, he readily snatched at any indications (possibly a slip of the pen in some MS., writing 1501 instead of 1507; we have a similar slip in MS. “A” which on p. 193 twice writes 1506 for 1509), which favoured an early date for the beginning of her last illness. Certainly the legal documents at our disposal show her to us still variously interested and active, right up to 1507.

      It will, then, be better first to describe this activity up to 1507, and to take even the general questions concerning her illness in connection with her last four years, 1507-1510.

      XIV. Catherine’s Social Joys and Sorrows, 1501-1507.

      1. Birth of Ettore’s last two daughters.

      It will have been during these years 1501 to 1507, unless indeed already between 1497 and 1501, that Vernazza’s second and third daughters were born; and if Catherine had stood God-mother to his eldest child, Tommasina, it is inconceivable that she should not have cared for Tommasina’s sisters, Catetta and Ginevrina. Certainly their father, Catherine’s closest friend and disciple, gave detailed attention, right up to the end of his strenuous life, to all three children; and made most thoughtful particular provision, in his still extant remarkable Will of 1517, for the youngest, Ginevrina, who at that time was the only one not yet settled in life.[147] Thus Vernazza knew how to combine all this detailed thought for his own children with the spacious public spirit of which his Dispositions are a still extant, most impressive monument; and Catherine, who was his deepest inspirer, clearly led the way here, right up to the last four years of her life. For we have already seen how she managed to conjoin, in a fashion similar to Ettore’s, a universalist love for Love Transcendent, with a particularism of attachment to individual souls, in which that Love is immanent.

      2. Deaths of Limbania, Jacobo, and Giovanni.

      And if she had joy over souls coming into the world, she had sorrow over souls leaving it. For in the single year 1502 she lost her only sister, Limbania, and her two elder brothers Jacopo and Giovanni. It is true that the Vita says: “There died several of her brothers and sisters; but, owing to the great union which she had with the tender will of God, she felt no pain, as though they had not been of her own blood.”[148] But then we have already often found how subject to caution and rebate are all such general, absolute statements; this passage in particular is, by its vagueness and ambiguity (she had but one sister of her own), stamped as late and more or less secondary; and we shall trace, later on, a similar even more extensive a priori modification of her authentic image in the Dialogo. Certainly her Wills show no kind of indifference to her own relations. In that of 1498 she specially and carefully remembered these very three relations; and in proportion as these two brothers’ children grow up and at all require her help, Catherine specially refers to and plans for them,—so for Jacobo’s eldest daughter Maria, in view of getting her married (Wills of 1498, 1503, 1506, 1509); and for Giovanni’s three sons (Wills of 1503, 1506, 1509). Jacobo’s second daughter seems also to have died at this time, as she no more appears after the Will of 1498. We shall see how exactly the same affectionate interest is shown by her towards her still remaining brother and his two sons.[149]

      3. The Triptych “Maestà.”

      And she evidently still went on increasing the number of the objects of her interest and affection, and the degree of her attachment to such objects as she already loved. For in her Codicil of the next year, January 1503, she gives a careful description of a picture now belonging to herself, “a ‘Majesty,’ representing the Virgin Mary with Saint Joseph, and the Lord Jesus at their feet, with her” (Fieschi-Adorni) “coat-of-arms painted within and without.” The picture evidently represented the Adoration of the Infant Jesus, and was painted on wood,—a triptych: with Catherine’s arms painted both inside and outside the two wings. She again describes it thus fully in her Wills of 1506 and 1509, leaving it, on all those occasions, to a certain Christofero de Clavaro (Christofer of Chiavari?). It is then quite clear both that this picture had been specially painted by some one for Catherine, and that Catherine, for some reason or reasons, greatly treasured it. Who then was the painter and what was the reason? I think both are not difficult to find.

      We have seen how Catherine’s much-loved cousin, the widowed Tommasina Fiesca, had in 1497 moved into the Monastero Nuovo in the Aquasola quarter,—close to Catherine’s abode; so that the cousins will have met constantly from that time forward. We have also seen that this distinguished artist painted many a “Pietà” (the dead Christ on His Mother’s lap, possibly with Angels on each side), and executed a piece of needlework again representative of a group,—this time God the Father with many Angels above, and Christ below. Indeed Federico Alizeri has succeeded in rediscovering one of her works, a representation of Christ crowned with thorns and surrounded by the Instruments and Mysteries of His Passion, painted in fine outline upon sheepskin mounted on a wood-panel.[150] And we have seen how much Catherine had, as a child, been affected by a “Pietà,” and shall find her, even after this date, still affected by a religious picture. There can then be no reasonable doubt that Suor Tommasina was the painter and giver of this picture,—again a group, a “Maestà,” instead of the usual “Pietà.”

      And the facts of Catherine caring to possess, to preserve, and to transmit something thus specially appropriated to herself, with her family arms upon a religious picture, are all deeply significant touches, and quite unlike what all the secondary, and even some of the primary, parts of the Vita would lead one to expect.

      4. Increasing care for Thobia.

      And this same Codicil shows us how her care, and no doubt her genuine affection, for Thobia was growing. For she now leaves her the income on two shares of the Bank of St. George (no doubt only a slight gift, about £2 10s. a year; but Catherine possesses but very little that she is free to leave as she likes, the claims upon her are very many, and the young woman is already well provided for, considering her social station), her better silk gown, a skirt, and various veils. The poor girl died СКАЧАТЬ