The Evil Eye, Thanatology, and Other Essays

by Roswell Park

In England during the horrible times when the Black Death raged it was supposed that the disease was communicated by a glance from the distorted eyes of a sick man. In 1603 Delrio, a Jesuit, published a large six-volume folio work entitled "A Disquisition on Magic," in which he takes it for granted that the calamities of mortals are the work of evil spirits. He says, "Fascination is a power derived by contact with the devil, who, when the so-called fascinator looks at another with evil intent, or praises by means known to himself, infects with evil the person at whom he looks." Those familiar with the history of so-called animal magnetism, mesmerism or hypnotism, will see a close connection between these beliefs and the practice of this peculiar form of influence. Mesmerism, in fact, as ordinarily practiced, was more or less dependent upon the influence of touch, or actual contact, whose importance has always been by the credulous rated high. In fact, it will be remembered that many of the miracles of the New Testament were performed by the aid of touch, and in the Old Testament it is recorded how disappointed Naaman was when he went to be cured of his leprosy in that the prophet did not touch him. The influence of the royal touch for the cure of scrofula, known for centuries as the King's Evil, will also not be forgotten. In fact, our word to "bless" signifies to touch by making the sign of the cross on the diseased part, as, for instance, in the West of England, where goitre is rather common, it is believed that the best cure is that the swelling should be touched by the hand of a corpse of the opposite sex.

The more we deal with the superstitions now under consideration the more evident it becomes that the principal thought among the simpler peoples, or even among some of the religious sects of to-day, has been the propitiation of angry deities, or of destructive influences, rather than the worship and exaltation of beneficent attributes. As Elworthy says, "We find that fear and dread have in all human history been more potent factors in men's conduct than hope and gratitude or love." Take for example the propitiatory sacrifices of Abel and Cain, or the sacrifice which Abraham proposed to make of his own son, or the very words which have crept into our language such as atonement, etc. With this personification of an evil power or attribute in nature came also belief in transformation, or metamorphosis, of which the Greek and Roman mythology is full. How many of the Christian symbols of to-day, nearly all of which are of pagan origin, convey to the initiated instances of this belief, can hardly be mentioned in this place. Suffice it to say that their number is very great. But I find too many temptations to wander from my subject, which is essentially the evil eye.

In mediaeval symbolism, as in ancient, the intent often was to represent either on some amulet, charm or picture a figure of the thing against which it was most desired that a protective influence should be exercised, hence the general prevalence of the eye in some pictorial representation. The ancient Egyptians, as well as the Etruscans, used to paint a huge eye on the bows of their vessels, which was supposed to be a charm against the evil eye. Even to-day in the Orient I have seen Greek boats with eyes painted on either side of their prows. The eye was a common adornment of Egyptian pottery, usually in combination with various other pictures, but as a symbol it seems during the past century or two to have passed out of common employ, except perhaps in Malta, and among the Free-masons, who simply are perpetuating its use. Nevertheless, wax or silver eyes are seen hung up in some foreign churches. A curious feature of these superstitions has been this, that any feature of indecency or obscenity when attaching to these symbols, amulets, etc., has been supposed to make them much more potent. This probably was because anything strange or unusual was more likely to attract the eye, and therefore divert its influence from the individual to the inanimate object, hence the prevalence of phallic emblems in connection with these fancied protections. Many objects of this kind can be to-day picked up in the jewelry stores of Rome and of Naples.

Another of the most efficacious of these amulets takes the general form of a hideous mask, often called the Gorgoneion. In all probability this was largely for the reason given above—that it was most likely to attract attention. Symbols of this kind are in very general use among people who know nothing of the reason therefore. Thus, we see them on seals, coins, etc. The gargoyles of mediaeval architecture are frequently given this fantastic appearance and for this same purpose.

In Roman times the dolphin was a favorite device for a potent charm against the evil eye, and was pictured on many a soldier's shield. Ulysses adopted it as his especial choice, both on his signet and his shield, perhaps because it was supposed to have been through the agency of the dolphin that Telemachus was saved from drowning.

To us in the medical profession it is of no little interest that in Rome, according to Varro, there stood three temples on the Esquiline dedicated to the goddess of Fever and one to Mephitis. Tacitus relates that a temple to Mephitis was the only building left standing after the destruction of Cremona, where there was also an altar dedicated to the Evil Eye. We know, also, that in the very centre of the Forum there stood an altar to Cloacina, the Goddess of Typhoid. What complete sway this goddess has held from ancient times to the present I need scarcely tell you. "When Rome, after the fall of the empire, relapsed into its most insanitary condition this old worship reappeared in another shape, and a chapel arose near the Vatican to the Madonna della Febre, the most popular in Rome in times of sickness or epidemic." This simply shows a transfer of ideas, the attributes of Diana being conveyed over to her Christian successor, the virgin, whose cult became equally supreme.

The principal symbol of this cult was the horned moon or crescent, and, in consequence, horns in one form or another became the most common of objects as amulets against the Evil Eye. So comprehensive and persistent is this belief in Naples that, in the absence of a horn in some shape, the mere utterance of the name corno was supposed to be an effectual protection. Even more than this, the name Un Corno became applicable to any and every charm or amulet against the Evil Eye. We may find many references to the Horn in Scripture, where it served both as an emblem of dignity and as an amulet. Most curious it is that the phylactery with which the Pharisees adorned their garments, and which called forth the most scathing denunciation by the Master, was undoubtedly an emblem of a horn, and worn as an amulet against the Evil Eye. At the beginning of the Christian era it had become fashionable to wear these, and how they were enlarged and made not only badges of sanctity but marks of worldly honor, we may read in the New Testament.

The horn has been an important feature of Christian symbolism, as of pagan, and we constantly see the ram's horn, which was the successor of the bull's horn, made such from economical reasons, all over the ruins of ancient Rome. The married women of Lebanon wear silver horns upon their heads to distinguish them from the single women. The Jewesses of Northern Africa wear them as a part of their regular costume, and even to-day curious spiral ornaments are worn on either side of the head by the Dutch women. In Naples horns in all shapes are exceedingly common upon the trappings of the cab horses. Indeed the heavy trappings and harness of these overloaded animals are usually protected with a perfect battery of potent charms, so that any evil glance must be fully extinguished before it can light upon the animal itself. Thus, we may frequently see upon the backs of these animals two little brazen flags, said to be typical of the flaming sword which turned every way, and which are supposed to be an unfailing attraction to the eye. The high pommel ends usually in a piece of the inevitable wolf's skin, and many colored ribbons or worsteds are wound about portions of the harness in such a way as completely to protect all that it encloses.

But the most numerous of all these emblems is a hand in various positions or gestures. Probably every other cab horse in Naples carries the hand about him in some form. In Rome these things are not seen so much on horses' backs, although wolf skins, horns and crescents are common enough, but we see large numbers of silver rings for human fingers, to each of which a little pendant horn is attached. These may be seen in the shop windows strung upon rods and plainly marked Annelli contra la Jettatura. Those who have seen Naples thoroughly have noted how cows' horns, often painted blue, are fixed against the walls, especially at an angle, about the height of the first floor. But one of the most remarkable amulets which I have ever seen hangs outside one of the entries to the Cathedral in Seville, where over a door is hung by a chain the tusk of an elephant, and further out, over the same doorway, swung by another chain, an enormous crocodile, sent as a present or charm of special power to Alfonso, in 1260, by the Sultan of Egypt. These two strange charms hang over the doorway of a Christian church of to-day, indicating the acceptance by a Christian people of a Moslem emblem and amulet.

Again, in Rome it is very common to see a small cow's horn on the framework of the Roman wine carts or dangling beneath the axle. Much more common and better known among the Anglo-Saxon peoples is the horse-shoe emblem, which with us has lost all of its original signification, as an emblem of fecundity, and has become a charm against evil. It is hung up over doorways, is nailed up in houses, it guards stable doors and protects fields against malign influences. Even in the Paris Exhibition of 1889, where there was a representation of a street from old Cairo, there hung over several of the doors a crocodile with a horse-shoe on his snout.