And next, we have here her last coherent utterance; and the care and fearless honesty with which it has been chronicled and printed as such—and as the concluding words of a chapter (Chapter L), up to at least the fourth edition, Venice 1601—are truly admirable. The words, “that wants to eat,” appear in MSS. “A” and “B,” and are, I think, authentic. They may mean that the beast was looking about for some unspecified food, or that it was wanting to devour her (the former is, I think, the more likely meaning, for there is no indication of fright, and devorare would, in the latter case, be the more natural word). We have, in any case, a quasi-physical, distinctly maladif impression; one which, as regards at least its apparently sensible embodiment, was the simple projection of her own mind. And indeed there is nothing to show that she had any consciousness of any spiritual significance about it. It has got all the opaque, uninteresting character of mere, given, unrelated, and unsuggestive fact, which all such purely nervous projections always have; and stands thus in complete and instructive contrast to her finely suggestive and transparent, spiritually significant Viste, which contributed so largely to the volitional stimulation and moral and religious witness and truth of her life.
4. Catherine’s death, dawn of September 15, 1510.
During the early night hours of “the 14th, she again lost much blood, and she weakened much in her speech. Yet she once more, and it was the last time, communicated as usual. And throughout this day she lay there, with her pulse so slight as to be unfindable.” And “many devoted friends were present.”
And as the subsequent night ceased to be Saturday and became Sunday, the 15th, “she was asked whether she wished to communicate. But she then pointed with her right index-finger towards the sky.” And her friends understood that she wished to indicate by this that she had to go and communicate in heaven. “And at this moment, this blessed soul gently expired, in great peace and tranquillity, and flew to her tender and much desired Love.”[213]
Here three points are of interest. Catherine undoubtedly died at, or shortly before, dawn on the 15th September, as is clearly required by the older account on page 160c of the Vita. Yet a second account, sufficiently early to appear in all the MSS., is given on page 161c, according to which she died on the 14th. The reason of this latter pragmatic “correction” is obvious: the 15th is but the Octave of the Nativity of the Blessed Virgin, the 14th is the Feast of the Exaltation of the Cross. The temptation to find a final, strikingly appropriate synchronism, when, to do so, her death need only be pushed back some six hours at most, was too great to be resisted to the end; and an untrained, enthusiastic, imaginative mind like Argentina’s would, probably from the very first, have almost unconsciously helped to establish, or perhaps she single-handedly fixed, this date.
And next, the “many friends” present will no doubt have included her sole surviving brother Lorenzo and his son Francesco, who, only three days before, had witnessed her Codicil; one or other of the four “Protectors” of the Hospital; Don Carenzio, the Rector; and Argentina del Sale. But Vernazza, as we already know, was far away; and, as we shall find in a moment, Mariola, and, above all, Marabotto, though both in Genoa, were both absent from her death-bed. Now it is certain that the absence of Marabotto cannot have been accidental, for death had evidently been recognized by all to be imminent, ever since the 12th at least; and he himself would certainly not have put anything in the world before attending Catherine at the moment of her death. Nor, as we shall find, was he ill just now. Yet we must, I think, suppose him to have been (at least off and on) about her person, during the 12th, up to the drawing up of the Codicil, which directly concerns himself together with Carenzio. His own name appears second, no doubt because, as the document itself mentions, Carenzio and not he is now Rector of the Hospital in which the document is being drawn up. Marabotto will have withdrawn after the attack on that night which left Catherine hardly capable of any further distinguishing one person from another; and he will have retired because Carenzio, from some little jealousy or feeling of punctilio, cared to claim the right, as Rector, alone to attend her at the last; or for some other slight reason such as this. In any case, there is here one more indication of a certain friction and rivalry amongst her attendants and chroniclers, which, however painful, will help us in our study of the peculiarities of her biography. There is, however, nothing to show that Marabotto’s final withdrawal took place at the instigation, or even with the knowledge, of Catherine; and the cause of that withdrawal can certainly not have been a grave one.
And finally, there appeared eventually, at earliest in the fifth edition, 1615, but possibly not till the sixth, in 1645, or even later, a gloss which effectually prevents her “unedifying” remark of the 13th from being her last utterance. After the words, “and at this moment, this blessed soul,” there then appears the clause: “saying: ‘Into Thy hands, O Lord, I commend my Spirit.’” The passage occurs in the late and entirely secondary MS. “F,” which contains also other demonstrably legendary “embellishments.”
5. Intimations of her death vouchsafed to friends.
The Vita gives an account of seven intimations or apparitions, vouchsafed at the moment of her death to as many chosen friends and disciples,—so many communications of her passage and instant complete union with God. Although no names are given, it is easy to identify the first six persons as Argentina del Sale, “a spiritual daughter of hers, present at her death”; Mariola Bastarda, “another spiritual daughter of hers, who had an evil spirit upon her (il demonio adosso)”; Maestro Boerio, “a physician, her devotee”; Ettore Vernazza, “a very spiritual man and her devotee”; Tommasa Fiesca, “a holy Religious woman, most devoted to her”; and Benedetta Lombarda, “another Religious woman, who had been a member of her household (sua famigliare).” The seventh and last, “a nun” (una monaca), is so little characterized, as to be incapable of certain identification: possibly Battista Vernazza is meant, who, though but thirteen years old, was already an Augustinian Novice.[214]
The order in which the first six names appear is evidently determined partly by the degree of physical proximity to Catherine—Argentina by her bedside, comes before Boerio in another house in Genoa, and Boerio comes before Vernazza, since the latter is far away (lontano); partly by sex—Boerio and Vernazza, though simple laymen, appear before the three Religious women; and partly by the abnormal spiritual condition, and consequent increase in the value of the testimony, of the souls concerned—Mariola the Possessed comes first among all those not actually present at the death. Even this order, and still more the form of all these little notices, show plainly that the stress is laid, not so much on the intimation of the death, as on that of the immediate entrance into glory. Note that there is no reference anywhere to Don Carenzio, certainly as much present at the death as Argentina; nor, within this particular list, to Don Marabotto, as certainly absent as Ettore Vernazza.