We had never witnessed a Beatification: so, when the Pope, in his character of umpire, had pronounced his fiat in favour of "good sister Frances," and all that remained to be done was the church ceremonial necessary to admit her to piety's peerage, we procured one of the many thousand tickets printed for the occasion, and followed the crowd to St Peter's. Here all was prepared to give due effect to the scene: the interior was studiously darkened, that the rich upholstery might be set off by a grove of countless wax lights, thick and tall as young pine trees. The workmen, after a whole fortnight of bustle and activity, had done their part well. Curtains had been hung and carpets spread; organs wheeled up towards the throne of St Peter; and a whole gallery of villanously painted historical pictures, blasphemous and absurd, were suspended round, representing the miracles for which the new "beatified" was to receive her first degree towards sainthood; and showing amongst other wonders, how in one case her blood, in another her image, restored a blind man to sight, and so completely cured the palsy of one Salvator di Sales, that he is dancing a hornpipe on his recovery, while a priest is looking on approvingly. We were too early for the ceremony; and after curiously scanning these preparations, our attention was attracted to a group near, eagerly listening to the recital of a bare-footed Capuchin. On approaching, we found that he was discoursing on the virtues of a picture of the Virgin, known by the name of Sta Maria del Pianto, a fresco daub, painted in a very dirty back street. He was affirming that it had lately taken to winking, and had also been seen to shed tears over the body of a man recently found murdered under the lamp. "Who saw her weep?" inquired one of his hearers. "Do you doubt the miracle, my son?" said the friar. "No indeed, father," returned he; "but why did she not call out to the assassin; and what is the use of weeping over a dead man?" "It was owing to the gentleness of her sex," said another, who appeared interested in proclaiming the notoriety of the shrine: he proceeded, therefore, to inform the attentive listeners, that he had the face newly painted some months back, since which operation there was no end to the miracles performed by it. Several persons round hereon testified to having heard repeatedly of these wonders. "Ah!" said a sceptical craftsman, "I dare say you live in another quarter of the city, for it is well known that those at a distance see these things more clearly than the neighbours, unless, like our friend here," nodding to the restorer of the shrine, "they hope to attract customers to the shop by drawing votaries to the shrine." "I don't believe a word of it," said we, taking part in the colloquy. "Caro lei—who can help that? we can only pity your unbelief," said the good-humoured Capuchin, offering us, however, a pinch out of his snuff-box. "You," continued he, "should call to mind 'in dubiis fides;' and we, in compassion to your being a heretic, will remember 'in omnibus caritas.'" We accepted the good man's courtesy, albeit no snuff-taker; and he was resuming the interrupted narrative, when a stir among the crowd outside announced the near approach of the procession, and every one hastened to secure a good seat. Presently the Swiss guards enter, the choristers take their places, in come priests, bishops, cardinals, all sumptuously arrayed; at length the Pope himself arrives and assumes his throne. Mass commences.
And here the reader doubtless expects, if not a full description of the ceremony of canonisation, at least an accurate detail of the various steps of the process by which it was effected; but, as we have stated above, the incubation had been completed six weeks before in a private Eccaleiobion, and the pageant to-day was merely to give publicity to the metamorphosis—to read in, and to enrol among the saints the Beata Francesca. As we cannot give a particular account of the funzione, we give a general one of all masses:—
High mass! The stall'd and banner'd quire—
White canons—priests in quaint attire—
The unfamiliar prayer:
The fumes that practised hands dispense,
The tinkling bells, the jingling pence,
The tax'd but welcome chair:
The beams from ruby panes that glow,
Of rhythmal chant the ebb and flow:
The organ, that from boundless stores
Its trembling inspiration pours
O'er all the sons of care;
Now joyous as the festal lyre,
When torch and song and wine inspire;
Now tender as Cremona's shell,
When hush'd orchestras own the spell
And watch the ductile bow—
Now rolling from its thunder-cloud,
Dark peals o'er that retiring crowd,
And now has ceased to blow.
CRIMES AND REMARKABLE TRIALS IN SCOTLAND.
INCIDENTS OF THE EARLIER REIGNS—AN INQUIRY INTO THE CHARACTER OF MACBETH.
The sunshine and the green leaves embrace not all that we should know of physical nature. Storm and darkness have their signs, which we do well to study; and in the tempests of the tropics, or the long winter darkness of the poles, we have types of the character of different sections of the globe, more marked than the varying warmth of the sun, or the character of the vegetation—but not perhaps so pleasing. Even so, the storm and darkness of the human soul—the criminal nature of man, provide their peculiar food for the thinker and inquirer. The annals of virtue have their own elevations and delights; but those of vice are no more to be passed over than the dark and stormy hours in the history of each revolution round the sun. "While some affect the sun, and some the shade," there may even be those whose most deeply cherished associations are with these unlit hours—who prefer the night thoughts to the day dreams. But to all, the crimes peculiar to different nations are a large part of the knowledge which man may profitably have of his race. In the history of its great criminals, a nation's character is drawn, as it were, colossally, with the broadest brush, and in the deepest shadows. National virtues have delicate and subtle tints, and exquisitely minute shadings, inviting to a nearer view—like Carlo Dolci's Madonnas, or Constable's forest landscapes: the crimes of a nation present the character of its people, as they rise from the dead in Michael Angelo's Last Judgment. The ordinary vices of men have a certain vulgar air of uniformity; but each great crime is a broad dash of the national character of the people among whom it was committed. The Cenci, and Joanna of Naples were of Italy. It was in Holland that two great and virtuous statesmen were torn to pieces by the mob. The dirk, long buried beyond the Grampians, has re-appeared across the Atlantic in the shape of the bowie-knife. The country of Woldemar and the sorrows of Werther produced that most amiable and sentimental of murderesses, Madame Zwanziger, who loved and was beloved wherever she went; so sensitive, so sympathising, so sedulous, so studious of the wants of those by whom she was surrounded, so disinterestedly patient; she had but one peculiarity to distinguish her from an angel of light—it was an unfortunate propensity to poison people! We read in the Causes Célèbres, of a Bluebeard who slew a succession of wives by tickling them till they died in convulsions; and at once we are reminded of that populace who are said to partake of the natures of the ape and the tiger. The people who, for more centuries than are included in the events of European history, have been resolved into the mysterious classification of castes, produced those equally mysterious criminals the Thugs, for whose deeds our so utterly different habits and ideas are quite incapable of finding or conceiving a motive. Our own country produced the assassinations of Rizzio, Regent Murray, and Archbishop Sharpe—all pregnant with marked national characteristics; aristocratic pride, revenge of wrong, and fanatical fury. We propose to offer for the amusement or instruction—which he pleases—of our reader, a few more records of Scottish crimes, not probably all so conspicuously known to the general reader as the three we have just alluded to, yet not, we trust, without something to commend them to notice, as characteristic of the country and the age in which they were respectively enacted.
The raw materials from which we propose to work out our little groups, are the records of our criminal trials; and yet we feel an insuperable inclination to begin with a name not certainly unknown, yet not to be found in the proceedings of the Court of Justiciary—Macbeth, King of Scotland. Perhaps we might consider it a sufficient reason for holding his case equivalent to a trial, that before a tribunal called the Public Opinion, he has been tried, and that at the instance of such a public prosecutor as never opened his lips in any court of law—one whose accusation has carried a conviction deep into the very heart of literature, whence no archæological evidence, and no critical pleading will ever eradicate it. Nor would we desire to touch it: let Macbeth the murderer remain to all time the most powerful picture of temptation, leading its victim through crime into the hideous shadows of remorse, that human pen has ever drawn. But there was an actual prose Macbeth, as different from the ideal as the canvass bought by Raphael of some respectable dealer in the soft line, was from the Transfiguration which he afterwards painted on it. With him, being but a simple historical king, we may take liberties; and the liberty we propose to take on the present occasion is that of vindicating his character. Vindications are fashionable; and since Catiline and Machiavelli, Richard III., and Philip II. have been vindicated, why not Macbeth? We shall say 'tis our humour to whiten him, and no man can say it is a criminal or mischievous one.
The main question is, did Macbeth murder Duncan? It was an older story in Shakspeare's time than the murder of Darnley is now, and he may have taken a false view of it. We shall approach the question by an inquiry who Duncan and Macbeth were, and in what relation they stood to each other. About the end of the eleventh century, there reigned in Scotland a king called Kenneth III. Like all the other Scottish monarchs of the period, the chroniclers have given him his own peculiar tragic history, in this wise: he was induced to poison the young prince Malcolm Duff, who might possibly show a title to the throne enabling him to compete with Kenneth's own offspring. This troubled his conscience. He "ever dreaded in his mind," in the expressive words of old Bellenden, that it "should come some time to light: and was so full of suspicion, that he believed when any man rounded to his fellow, that they spake evil of him; for it is given by nature to ilk creature, when he is guilty of any horrible crime, by impulsion of his conscience, to interpret every thing that he sees to some terror of himself." He was one night appalled by a terrific vision, and next morning making his confession, he was sentenced to a pilgrimage to the tomb of St Palladius at Fordun. When the pilgrimage was over, he was invited to partake of the hospitalities of a lady named Fenella—a very neat name for a romance—at her fortalice of Fettercairn. In the civil conflicts or the administration of justice during his reign, some of the relations of this lady had been slain; among the rest her son. Having got the king into her toils, she resolved to put him to death; and the method which the chroniclers make her adopt, shows a superfluous ingenuity ridiculous enough to strip a murder of all its horrors. Kenneth was taken to see a tower of the castle "quhilk was theeket with copper, and hewn with maist subtle mouldry of sundry flowers and imageries, the werk so curious, that it exceeded all the stuff thereof." In the middle of this tower stood an image of Kenneth himself, in brass, holding in his hand a golden apple studded with costly gems. "That image," said the lady, "is set up in honour of thee, to show the world how much I honour my king; the precious apple is intended for a gift for the king, who will honour his poor subject by taking it from the hand of the image." Now matters were so arranged, that the removal of the apple caused certain springs to touch the triggers of a series of bent cross-bows pointed to the spot, and so, when the unsuspecting monarch went to take the gift, a whole sheaf of arrows penetrated to his heart. On the death of this king, though he left a son called Malcolm, the succession went to a rival line. His immediate successor was Constantine, who was killed by another Kenneth, called IV., who in his turn was killed by Malcolm, who thus regained the throne his father had filled. "The gracious Duncan" was the son of a daughter of this Malcolm. His father, strangely enough, appears to have been a priest; he is called in the old dry chronicles, which are the only ones to be depended on, Duncan the son of Trini, or Trivi, abbot of Dunkeld. Now the Kenneth IV. of the rival line, who had been slain by Duncan's grandfather, left behind him a son, and that son left a daughter, whose name was Gruach, and in whom the reader, though certainly in an unusual shape, must welcome Lady Macbeth herself. There being thus two rival races, alternately seizing the throne: while Duncan was the son of a daughter of one king, she was the daughter of the son of another. This gave her no contemptible title to the throne, and when she married Macbeth, or Machaboedth, as he is called by the chroniclers, she had a husband who, possessing the almost independent principality of Ross, might be able to fight her battles. It is somewhat remarkable that, in an ecclesiastical record still preserved, in which a royal grant is made to a religious house, dedicated to St Servanus, Macbeth's wife appears along with himself, as granter of the deed; and they are called, "Machabet filius Finlach, et Gruach filia Bodhae—Rex et Regina Scotorum;"[L] an equal juxtaposition, only to be accounted for by the supposition that Macbeth was king in right of his wife. As to Macbeth himself, his origin, save in the supernatural legend we shall hereafter notice, appears not to have been known; but Fordun seems to intimate, that he was a descendant of that same Fenella who had so curiously murdered Duncan's great-grandfather. If we were disposed, indeed, to take a proper antiquarian partisanship of the one dynasty against the other, we might speak of Duncan as a treacherous usurper, and Lady Macbeth as an injured and insulted queen, whose cause is heroically adopted and vindicated by a true knight, who, while redressing her wrongs, wins her heart and hand.