2. The pestiferous woman.
And “on one occasion, she found” here, “a very devout woman, a Tertiary of St. Francis, dying of” this “pestilential fever. The woman lay there in her agony, speechless for eight days. And Catherine constantly visited her, and would say to her, ‘Call Jesus.’ Unable to articulate, the woman would move her lips; and it was conjectured that she was calling Him as well as she could. And Catherine, when she saw the woman’s mouth thus filled, as it were, with Jesus, could not restrain herself from kissing it with great and tender affection. And in this way she herself took this pestilential fever, and very nearly died of it. But, as soon as ever she had recovered, she was back again at her work, with the same great attention and diligence.”[119]
How much there is in this little scene! Beautiful, utterly self-oblivious impulsiveness; a sleepless sense of the omnipresence of Christ as Love, and of this Love filling all things that aspire and thirst after it, as spontaneously as the liberal air and the overflowing mother’s breast fill and feed even the but slightly aspiring or the painfully labouring lungs and the eager, helpless infant mouth; swift, tender, warm, whole-hearted affection for this outwardly poor and disfigured, but inwardly rich and beautiful fellow-creature and twin-vessel of election; an underlying virile elasticity of perseverance and strenuous, cheerful, methodical laboriousness; all these things are clearly there.
Only when everything had again returned to its normal condition did she once more restrict herself to the administrative work of the Hospital.[120]
VIII. Catherine and Ettore Vernazza, 1493-1495.
It must have been during this epidemic of 1493 that Catherine first got to know, or at least first to work with, a man hardly less remarkable than herself.
1. Ettore’s family, marriage, and philanthropic work.
The Genoese notary Ettore Vernazza, Catherine’s junior by some twenty-three years, (as in the cases of his still greater contemporaries and compatriots, Columbus, Pope Julius II, and Andrea Doria, the year of his birth remains uncertain, but is probably 1470,) was a scion of the ancient house of Vernaccia, which derived its name from a wine-producing village on the Eastern Riviera. A Riccobono Vernaccia had been Chancellor of Genoa, as far back as 1345. Ettore, the first of the family to write his name Vernazza, was the son of the Notary Pietro Vernaccia and of Battistina Spinola, his wife. A sister of his, Marietta, married into the Fieschi family.[121] And if Catherine really did go among the pestiferous sick, she can hardly have failed to meet Ettore, now twenty-three years old. For his eldest daughter, the Augustinian Canoness, the Venerable Battista Vernazza, a most careful writer and one full of a life-long vivid remembrance of her father, in an account of Ettore, written by her in Genoa in 1581 (she was born in 1497, four years after the event she describes), tells of “a great compassion which he had conceived when still very young, at the time that the pestilence raged in Genoa, and when he used to go around to aid the poor, and when he found that, by means of a preparation of cassia, he could bring them back from (certain) death to life.”[122]
2. Ettore’s character; Catherine’s chief biographer.
Ettore was, and he kept and made himself, and rare graces fashioned him ever increasingly into, a man of fine and keen, deep and world-embracing mind and heart, of an overflowing, ceaseless activity, and of a will of steel. To him, the earliest and perhaps up to the end the most intimate, certainly the most perceptive, of Catherine’s disciples and chroniclers, we owe the transmission of many of the reminiscences of her conversion and early strivings (no doubt primarily derived from her own self), and of probably more than half of such authentic sayings and discourses of hers, as were recorded contemporaneously with their utterance. Indeed all that remains to us of written testimony, contemporaneous in this strict sense of the word, and that is other than legal documents, can, up to 1499, be safely attributed to him. And all such constituents of the now sadly mixed up, and most varyingly valuable, materials and successive layers of the Vita ed Opere as can with probability be assigned to his composition, are characterized by a remarkable clearness and consistency, restraint and refinement, elasticity and freshness of spiritual apprehension and sympathy. Thus Ettore’s influence back upon the formation of Catherine’s literary image and of our entire, especially of our authentic, conception of her, was predominant, and her influence upon his whole life was decisive; and hence his life can be rightly taken as an indefinite extension and new application and necessary supplementation of her own life and doctrine. I shall then, for both these reasons, try and work up what we can recover concerning the successive stages of his intercourse with Catherine and of the growth of his own life up to her death, into the corresponding vicissitudes of her remaining years.