The Humbugs of the World
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Every visitor to Florence during the last twenty years must have noticed on the grand piazza before the Ducal Palace, the strange genius known as Monsignore Créso, or, in plain English, Mr. Crœsus. He is so called because of his reputed great wealth; but his real name is Christoforo Rischio, which I may again translate, as Christopher Risk. Mrs. Browning refers to him in one of her poems – the “Casa Guidi Windows,” I think – and he has also been the staple of a tale by one of the Trollope brothers.
Twice every week, he comes into the city in a strange vehicle, drawn by two fine Lombardy ponies, and unharnesses them in the very centre of the square. His assistant, a capital vocalist, begins to sing immediately, and a crowd soon collects around the wagon. Then Monsignore takes from the box beneath his seat a splendidly jointed human skeleton, which he suspends from a tall rod and hook, and also a number of human skulls. The latter are carefully arranged on an adjustable shelf, and Créso takes his place behind them, while in his rear a perfect chemist’s shop of flasks, bottles, and pillboxes is disclosed. Very soon his singer ceases, and in the purest Tuscan dialect – the very utterance of which is music – the Florentine quack-doctor proceeds to address the assemblage. Not being conversant with the Italian, I am only able to give the substance of his harangue, and pronounce indifferently upon the merit of his elocution. I am assured, however, that not only the common people, who are his chief patrons, but numbers of the most intelligent citizens, are always entertained by what he has to say; and certainly his gestures and style of expressions seem to betray great excellence of oratory. Having turned the skeleton round and round on its pivot, and minutely explained the various anatomical parts, in order to show his proficiency in the basis of medical science, he next lifts the skulls, one by one, and descants upon their relative perfection, throwing in a shrewd anecdote now and then, as to the life of the original owner of each cranium.
One skull, for example, he asserts to have belonged to a lunatic, who wandered for half a lifetime in the Val d’Ema, subsisting precariously upon entirely vegetable food – roots, herbs, and the like; another is the superior part of a convict, hung in Arezzo for numerous offences; a third is that of a very old man who lived a celibate from his youth up, and by his abstinence and goodness exercised an almost priestly influence upon the borghesa. When, by this miscellaneous lecture, he has both amused and edified his hearers, he ingeniously turns the discourse upon his own life, and finally introduces the subject of the marvellous cures he has effected. The story of his medical preparations alone, their components and method of distillation, is a fine piece of popularized art, and he gives a practical exemplification of his skill and their virtues by calling from the crowd successively, a number of invalid people, whom he examines and prescribes for on the spot. Whether these subjects are provided by himself or not, I am unable to decide; but it is very possible that by long experience, Christoforo – who has no regular diploma – has mastered the simpler elements of Materia Medica, and does in reality effect cures. I class him among what are popularly known as humbugs, however, for he is a pretender to more wisdom than he possesses. It was to me a strange and suggestive scene – the bald, beak-nosed, coal-eyed charlatan, standing in the market-place, so celebrated in history, peering through his gold spectacles at the upturned faces below him, while the bony skeleton at his side swayed in the wind, and the grinning skulls below, made grotesque faces, as if laughing at the gullibility of the people. Behind him loomed up the massive Palazzo Vecchio, with its high tower, sharply cut, and set with deep machicolations; to the left, the splendid Loggia of Orgagna, filled with rare marbles, and the long picture-gallery of the Uffizi, heaped with the rarest art-treasures of the world; to his right, the Giant Fountain of Ammanato, throwing jets of pure water – one drop of which outvalues all the nostrums in the world; and in front, the Post Office, built centuries before, by Pisan captives. If any of these things moved the imperturbable Créso, he showed no feeling of the sort; but for three long hours, two days in the week, held his hideous clinic in the open daylight.
Seeing the man so often, and interested always in his manner – as much so, indeed, as the peasants or contadini, who bought his vials and pillboxes without stint – I became interested to know the main features of his life; and, by the aid of a friend, got some clues which I think reliable enough to publish. I do so the more willingly, because his career is illustrative, after an odd fashion, of contemporary Italian life.
He was the son of a small farmer, not far from Sienna, and grew up in daily contact with vine-dressers and olive-gatherers, living upon the hard Tuscan fare of macaroni and maroon-nuts, with a cutlet of lean mutton once a day, and a pint of sour Tuscan wine. Being tolerably well educated for a peasant-boy, he imbibed a desire for the profession of an actor, and studied Alfieri closely.
Some little notoriety that he gained by recitations led him, in an evil hour, to venture an appearance en grand role, in Florence, at a third-rate theatre. His father had meanwhile deceased and left him the property; but to make the début referred to, he sold almost his entire inheritance. As may be supposed, his failure was signal. However easy he had found it to amuse the rough, untutored peasantry of his neighborhood, the test of a large and polished city was beyond his merit.
So, poor and abashed, he sank to the lower walks of dramatic art, singing in choruses at the opera, playing minor parts in show-pieces, and all the while feeling the sting of disappointed ambition and half-deserved penury.
One day found him, at the beginning of winter, without work, and without a soldo in his pocket. Passing a druggist’s shop, he saw a placard asking for men to sell a certain new preparation. The druggist advanced him a small sum for travelling expenses, and he took to peripatetic lectures at once, going into the country and haranguing at all the villages.
Here he found his dramatic education available. Though not good enough for an actor, he was sufficiently clever for a nomadic eulogizer of a patent-medicine. His vocal abilities were also of service to him in gathering the people together. The great secret of success in anything is to get a hearing. Half the object is gained when the audience is assembled.
Well! poor, vagabond, peddling Christopher Risk, selling so much for another party, conceived the idea of becoming his own capitalist. He resolved to prepare a medicine of his own; and, profiting by the assistance of a young medical student, obtained bona fide prescriptions for the commonest maladies. These he had made up in gross, originated labels for them, and concealing the real essences thereof by certain harmless adulterations, began to advertise himself as the discoverer of a panacea.
To gain no ill-will among the priests, whose influence is paramount with the peasantry, he dexterously threw in a reverent word for them in his nomadic harangues, and now and then made a sounding present to the Church.
He profited also by the superstitions abroad, and to the skill of Hippocrates added the roguery of Simon Magus. By report, he was both a magician and physician, and a knack that he had of slight-of-hand was not the least influential of his virtues.
His bodily prowess was as great as his suppleness. One day, at Fiesole, a foreign doctor presumed to challenge Monsignore to a debate, and the offer was accepted. While the two stood together in Cristoforo’s wagon, and the intruder was haranguing the people, the quack, without a movement of his face or a twitch of his body, jerked his foot against his rival’s leg and threw him to the ground. He had the effrontery to proclaim the feat as magnetic entirely, accomplished without bodily means, and by virtue of his black-art acquirements.
An awe fell upon the listeners, and they refused to hear the checkmated disputant further.
As soon as Cristoforo began to thrive, he indulged his dramatic taste by purchasing a superb wagon, team, and equipments, and hired a servant. Such a turnout had never been seen in Tuscany since the Medician days. It gained for him the name of Créso straightway, and, enabling him to travel more rapidly, enlarged his business sphere, and so vastly increased his profits.
He arranged regular days and hours for each place in Tuscany, and soon became as widely known as the Grand Duke himself. When it was known that he had bought an old castle at Pontassieve on the banks of the Arno, his reputation still further increased. He was now so prosperous that he set the faculty at defiance. He proclaimed that they were jealous of his profounder learning, and threatened to expose the banefulness of their systems.
At the same time, his talk to the common people began to savor of patronage, and this also enhanced his reputation. It is much better, as a rule, to call attention up to you rather than charity down to you. The shrewd impostor became also more absolute now. It was known that the Grand Duke had once asked him to dine, and that Monsignore had the hardihood to refuse. Indeed, he sympathized too greatly with the aroused Italian spirit of unity and progress to compromise himself with the house of Austria. When at last the revolution came, Cristoforo was one of its best champions in Tuscany. His cantante sang only the march of Garibaldi and the victories of Savoy. His own speeches teemed with the gospel of Italy regenerated; and for a whole month he wasted no time in the sale of his bottighias and pillolas, but threw all his vehement, persuasive, and dramatic eloquence into the popular cause.
The end we know. Tuscany is a dukedom no longer, but a component part of a great peninsular kingdom with “Florence the Beautiful” for its capital.
And still before the ducal palace, where the deputies of Italy are to assemble, poor, vain Cristoforo Rischio makes his harangue every Tuesday and Saturday. He is now – or was four years ago – upward of sixty years of age, but spirited and athletic as ever, and so rich that it would be superfluous for him to continue his peripatetic career.
His life is to me noteworthy, as showing what may be gained by concentrating even humble energies upon a paltry thing. Had Créso persevered as well upon the stage, I do not doubt that he would have made a splendid actor. If he did so well with a mere nostrum, why should he not have gained riches and a less grotesque fame by the sale of a better article? He understood human nature, its credulities and incredulities, its superstitions, tastes, changefulness, and love of display and excitement. He has done no harm, and given as much amusement as he has been paid for. Indeed, I consider him more an ornamental and useful character than otherwise. He has brightened many a traveler’s recollections, relieved the tedium of many a weary hour in a foreign city, and, with all his deception, has never severed himself from the popular faith, nor sold out the popular cause. I dare say his death, when it occurs, will cause more sensation and evoke more tears, than that of any better physician in Tuscany.
VI. HOAXES
CHAPTER XXXI
THE TWENTY-SEVENTH STREET GHOST. – SPIRITS ON THE RAMPAGEIn classing the ghost excitement that agitated our good people to such an extent some two years ago among the “humbugs” of the age, I must, at the outset, remind my readers that there was no little accumulation of what is termed “respectable” testimony, as to the reality of his ghostship in Twenty-seventh street.
One fine Sunday morning, in the early part of 1863, my friends of the “Sunday Mercury” astonished their many thousands of patrons with an account that had been brought to them of a fearful spectre that had made its appearance in one of the best houses in Twenty-seventh Street. The narrative was detailed with circumstantial accuracy, and yet with an apparent discreet reserve, that gave the finishing touch of delightful mystery to the story.
The circumstances, as set forth in the opening letter (for many others followed) were briefly these: – A highly respectable family residing on Twenty-seventh Street, one of our handsome up-town thoroughfares, became aware, toward the close of the year 1862, that something extraordinary was taking place in their house, then one of the best in the neighborhood. Sundry mutterings and whisperings began to be heard among the servants employed about the domicile, and, after a little while it became almost impossible to induce them to remain there for love or money. The visitors of the family soon began to notice that their calls, which formerly were so welcome, particularly among the young people of the establishment, seemed to give embarrassment, and that the smiles that greeted them, as early as seven in the evening gradually gave place to uneasy gestures, and, finally to positive hints at the lateness of the hour, or the fatigue of their host by nine o’clock.
The head of the family was a plain, matter-of-fact old gentleman, by no means likely to give way to any superstitious terrors – one of your hard-headed business men who pooh-poohed demons, hobgoblins, and all other kinds of spirits, except the purest Santa Cruz and genuine old Otard; and he fell into a great rage, when upon his repeated gruff demands for an explanation, he was delicately informed that his parlor was “haunted.” He vowed that somebody wanted to drive him from the house; that there was a conspiracy afoot among the women to get him still higher up town, and into a bigger brown-stone front, and refused to believe one word of the ghost-story. At length, one day, while sitting in his “growlery,” as the ladies called it, in the lower story, his attention was aroused by a clatter on the stairs, and looking out into the entry he saw a party of carpenters and painters who had been employed upon the parlor-floor, beating a precipitate retreat toward the front door.
“Stop! – stop! you infernal fools! What’s all this hullabaloo about?” shouted the old gentleman.
No reply – no halt upon the part of the mechanics, but away they went down the steps and along the street, as though Satan himself, or Moseby the guerrilla, was at their heels. They were pursued and ordered back, but absolutely refused to come, swearing that they had seen the Evil One, in propria persona; and threats, persuasions, and bribes alike proved vain to induce them to return. This made the matter look serious, and a family-council was held forthwith. It wouldn’t do to let matters go on in this way, and something must be thought of as a remedy. It was in this half-solemn and half-tragic conclave that the pater-familias was at last put in possession of the mysterious occurrences that had been disturbing the peace of his domestic hearth.
A ghost had been repeatedly seen in his best drawing-room! – a genuine, undeniable, unmitigated ghost!
The spectre was described by the female members of the family as making his appearance at all hours, chiefly, however in the evening, of course. Now the good old orthodox idea of a ghost is, of a very long, cadaverous, ghastly personage, of either sex, appearing in white draperies, with uplifted finger, and attended or preceded by sepulchral sounds – whist! hush! and sometimes the rattling of casements and the jingling of chains. A bluish glare and a strong smell of brimstone seldom failed to enhance the horror of the scene. This ghost, however, came it seems, in more ordinary guise, but none the less terrible for his natural style of approach and costume. He was usually seen in the front parlor, which was on the second story and faced the street. There he would be found seated in a chair near the fire place, his attire the garb of a carman or “carter” and hence the name “Carter’s Ghost” afterward frequently applied to him. There he would sit entirely unmoved by the approach of living denizens of the house, who, at first, would suppose that he was some drunken or insane intruder, and only discover their mistake as they drew near, and saw the fire-light shining through him, and notice the glare of his frightful eyes, which threatened all comers in a most unearthly way. Such was the purport of the first sketch that appeared in the “Sunday Mercury,” stated so distinctly and impressively that the effect could not fail to be tremendous among our sensational public. To help the matter, another brief notice, to the same effect, appeared in the Sunday issue of a leading journal on the same morning. The news dealers and street-carriers caught up the novelty instanter, and before noon not a copy of the “Sunday Mercury” could be bought in any direction. The country issue of the “Sunday Mercury” had still a larger sale.
On Sunday morning, every sheet in town made some allusion to the Ghost, and many even went so far as to give the very (supposed) number of the house favored with his visitations. The result of this enterprising guess was ludicrous enough, bordering a little, too, upon the serious. Indignant house-holders rushed down to the “Sunday Mercury” office with the most amusing wrath, threatening and denouncing the astonished publishers with all sorts of legal action for their presumed trespass, when in reality, their paper had designated no place or person at all. But the grandest demonstration of popular excitement was revealed in Twenty-seventh street itself. Before noon a considerable portion of the thoroughfare below Sixth Avenue was blocked up with a dense mass of people of all ages, sizes, sexes, and nationalities, who had come “to see the Ghost.” A liquor store or two, near by, drove a splendid “spiritual” business; and by evening “the fun” grew so “fast and furious” that a whole squad of police had to be employed to keep the side-walks and even the carriage-way clear. The “Ghost” was shouted for to make a speech, like any other new celebrity, and old ladies and gentlemen peering out of upper-story windows were saluted with playful tokens of regard, such as turnips, eggs of ancient date, and other things too numerous to mention, from the crowd. Nor was the throng composed entirely of Gothamites. The surrounding country sent in its contingent. They came on foot, on horseback, in wagons, and arrayed in all the costumes known about these parts, since the days of Rip Van Winkle. Cruikshanks would have made a fortune from his easy sketches of only a few figures in the scene. And thus the concourse continued for days together, arriving at early morn and staying there in the street until “dewy eve.”
As a matter of course, there were various explanations of the story propounded by various people – all wondrously wise in their own conceit. Some would have it that “the Ghost” was got up by some of the neighbors, who wished, in this manner, to drive away disreputable occupants; others insisted that it was the revenge of an ousted tenant, etc., etc. Everybody offered his own theory, and, as is usual, in such cases, nobody was exactly right.
Meanwhile, the “Sunday Mercury” continued its publications of the further progress of the “mystery,” from week to week, for a space of nearly two months, until the whole country seemed to have gone ghost-mad. Apparitions and goblins dire were seen in Washington, Rochester, Albany, Montreal, and other cities.
The spiritualists took it up and began to discuss “the Carter Ghost” with the utmost zeal. One startling individual – a physician and a philosopher – emerged from his professional shell into full-fledged glory, as the greatest canard of all, and published revelations of his own intermediate intercourse with the terrific “Carter.” In every nook and corner of the land, tremendous posters, in white and yellow, broke out upon the walls and windows of news-depots, with capitals a foot long, and exclamation-points like drumsticks, announcing fresh installments of the “Ghost” story, and it was a regular fight between go-ahead vendors who should get the next batch of horrors in advance of his rivals.
Nor was the effect abroad the least feature of this stupendous “sell.” The English, French, and German press translated some of the articles in epitome, and wrote grave commentaries thereon. The stage soon caught the blaze; and Professor Pepper, at the Royal Polytechnic Institute, in London, invented a most ingenious device for producing ghosts which should walk about upon the stage in such a perfectly-astounding manner as to throw poor Hamlet’s father and the evil genius of Brutus quite into the “shade.” “Pepper’s Ghost” soon crossed the Atlantic, and all our theatres were speedily alive with nocturnal apparitions. The only real ghosts, however – four in number – came out at the Museum, in an appropriate drama, which had an immense run – “all for twenty-five cents,” or only six and a quarter cents per ghost!
But I must not forget to say that, really, the details given in the “Sunday Mercury” were well calculated to lead captive a large class of minds prone to luxuriate in the marvelous when well mixed with plausible reasoning. The most circumstantial accounts were given of sundry “gifted young ladies,” “grave and learned professors,” “reliable gentlemen” – where are those not found? – “lonely watchers,” and others, who had sought interviews with the “ghost,” to their own great enlightenment, indeed, but, likewise, complete discomfiture. Pistols were fired at him, pianos played and songs sung for him, and, finally, his daguerreotype taken on prepared metallic plates set upright in the haunted room. One shrewd artist brought out an “exact photographic likeness” of the distinguished stranger on cartes de visite, and made immense sales. The apparitions, too, multiplied. An old man, a woman, and a child made their appearance in the house of wonders, and, at last, a gory head with distended eyeballs, swimming in a sea of blood, upon a platter – like that of Holofernes – capped the climax.
Certain wiseacres here began to see political allusions in the Ghost, and many actually took the whole affair to be a cunningly devised political satire upon this or that party, according as their sympathies swayed them.
It would have been a remarkable portion of “this strange, eventful history,” of course, if “Barnum” could have escaped the accusation of being its progenitor.
I was continually beset, and frequently, when more than usually busy, thoroughly annoyed by the innuendoes of my visitors, that I was the father of “the Ghost.”
“Come, now, Mr. Barnum – this is going a little too far!” some good old dame or grandfather would say to me. “You oughtn’t to scare people in this way. These ghosts are ugly customers!”
“My dear Sir,” or “Madam,” I would say, as the case might be, “I do assure you I know nothing whatever about the Ghost” – and as for “spirits,” you know I never touch them, and have been preaching against them nearly all my life.”
“Well! well! you will have the last turn,” they’d retort, as they edged away; “but you needn’t tell us. We guess we’ve found the ghost.”
Now, all I can add about this strange hallucination is, that those who came to me to see the original “Carter,” really saw the “Elephant.”
The wonderful apparition disappeared, at length, as suddenly as he had come. The “Bull’s-Eye Brigade,” as the squad of police put on duty to watch the neighborhood, for various reasons, was termed, hung to their work, and flashed the light of their lanterns into the faces of lonely couples, for some time afterward; but quiet, at length, settled down over all: and it has been it seems, reserved for my pen to record briefly the history of “The Twenty-seventh street Ghost.”
CHAPTER XXXII
THE MOON-HOAXThe most stupendous scientific imposition upon the public that the generation with which we are numbered has known, was the so-called “Moon-Hoax,” published in the columns of the “New York Sun,” in the months of August and September, 1835. The sensation created by this immense imposture, not only throughout the United States, but in every part of the civilized world, and the consummate ability with which it was written, will render it interesting so long as our language shall endure; and, indeed, astronomical science has actually been indebted to it for many most valuable hints – a circumstance that gives the production a still higher claim to immortality.