Peter Whiffle

by Carl Van Vechten

Peter, I wish you wouldn't jest about death and holy things, interjected Mrs. Whiffle, on whose literal mind the tale had evidently clawed as an eagle claws the brain of a cat.

But, mother, Peter tried to mollify her, I am not jesting. I am telling you something that happened.

Something that you thought had happened, Mrs. Whiffle corrected, but we should only think good thoughts. We should keep the dark ones out of our minds, especially when they interfere and conflict with the powerful words of Almighty God, our Creator.

I'm sorry, mother, I won't tell it again, he said, simply. Then, after a nibble or two at a lobster, he turned to me, Mother is going to America tomorrow. I shall be alone. Have you been to the Austrian Tyrol? There's Russia, of course, and Spain, and those islands where Synge used to go. Where are they? And Bucharest. Carlo, will you go with me tomorrow to Buenos Ayres or Helsingfors?

You are not to be told where you are going, I replied, but you are going with me.

Experience has taught me that people with principles are invariably unreasonable. Peter had no principles and therefore he was reasonable. So the next day, he really did drive back with us to Florence, through the pleasant olive groves and vineyards. A jeroboam of chianti enlivened the journey, and Edith adored the story of Peter's encounter with Death, the Devil, and the Angel.

The Villa Allegra is set on the hills of Arcetri, high above the long cypress-bordered avenue called the Stradone del Poggio Imperiale. The villa is so artfully concealed amongst the cunningly-grouped, gnarled olive trees, eucalypti, myrtles, plane-trees, laurels, pepper-trees, and rows of cypresses, that, until you are in the very courtyard, you are unaware of its propinquity, although, by some curious paradox, the view from the loggia commands the surrounding country. The lovely curve of the façade has been attributed to the hand of Raphael, and Brunelleschi is said to have designed the cortile, for the physician of the Medici once inhabited this country house, but the completely successful loggia and the great salone were added by Chester Dale.

Peter had never been in Florence before; no more had I; so the romantic charm of this lovely old house in the mountains served to occupy us for several days. We inspected the sunken Roman bath and were thrilled by the rope-ladder, which, when lowered through a trap-door, connected a chamber on the second storey with a room on the first. We were satisfied to sit in the evening under the red brocaded walls, illuminated by wax tapers set in girandoles of green and rose faience, to stroll in the gardens, to gaze off towards the distant hills from the loggia. Edith entertained us with long accounts of the visits of the spectre, the dame blanche who haunted the house. It was, if the servants who swore they had seen her were to be believed, the spirit of an elderly maiden lady who had died there. In life, it seems, she had been of a jealous disposition and had tried to make the villa uncomfortable for other guests. She was not successful in this effort until she died, and not altogether successful even then, for there were those who refused to be terrified by the persistent presence of this spinster eidolon, which manifested itself in various ways. Others, however, resembled Madame de Staël, who did not believe in ghosts but was afraid of them.

In the mornings, Peter and I breakfasted together in the garden, whither was borne us by the cynical butler a tray with individual coffee percolators, a plate of fresh rolls, and a bowl of honey. The peacocks strutted the terrace and the breeze blew the branches of the fragrant gardenias across our noses. In the distance, the bells of Florence softly tolled. In the afternoon, the distant hills became purple and, in the evening, the atmosphere was tinged with green. The peasants sang in the road below and the nightingales sang in the olive copse. Roman lamps flickered on the tables and Strega, the golden witch-liquid, stood in our tiny crumpled Venetian tumblers, their distorted little bellies flecked with specks of gold. There were occasional callers but no other resident guests than ourselves at the villa and Edith, as was her custom, left us a good deal alone. On the day of our arrival, indeed, she disappeared after luncheon and only returned two days later, when she explained that she had gone to visit a friend at Pisa. We usually met her at dinner when she came out to the garden-table, floating in white crêpe de chine, with a turban of turquoise blue or some vivid brilliant green, but during the day she was seldom visible. She ate her breakfast alone on the balcony above our bedroom, then read for an hour or two. What she did after, one never knew, save as she told of it.

Meanwhile, Peter and I wandered about, inspecting the shops on the Ponte Vecchio, tramping through the old palaces and galleries. Several times Peter paused; he hesitated for the longest time, I think, before the David of Donatello, that exquisite soft bronze of the Biblical lad, nude but for his wreathed helmet, standing in his adolescent slender beauty with one foot on the head of the decapitated giant. He carries a sword and over his face flutters a quizzical expression. Indeed, what Walter Pater said of the face of Monna Lisa might equally well apply to the face of David. So remarked Peter, explaining that the quality of both the David and Leonardo's darling was the same, both possessed a compelling charm, and it was the charm of David which had slain the ugly giant, just as charm always kills ugliness. And he swore that this was the most beautiful object that the hand of man had yet created, an art expression which reached its emotional and intellectual zenith, and then he spoke of the advantage that sculpture enjoyed over painting.