and we shall trace, later on, a similar even more extensive a priori modification of her authentic image in the Dialogo. Certainly her Wills show no kind of indifference to her own relations. In that of 1498 she specially and carefully remembered these very three relations; and in proportion as these two brothers’ children grow up and at all require her help, Catherine specially refers to and plans for them,—so for Jacobo’s eldest daughter Maria, in view of getting her married (Wills of 1498, 1503, 1506, 1509); and for Giovanni’s three sons (Wills of 1503, 1506, 1509). Jacobo’s second daughter seems also to have died at this time, as she no more appears after the Will of 1498. We shall see how exactly the same affectionate interest is shown by her towards her still remaining brother and his two sons.[149]
3. The Triptych “Maestà.”
And she evidently still went on increasing the number of the objects of her interest and affection, and the degree of her attachment to such objects as she already loved. For in her Codicil of the next year, January 1503, she gives a careful description of a picture now belonging to herself, “a ‘Majesty,’ representing the Virgin Mary with Saint Joseph, and the Lord Jesus at their feet, with her” (Fieschi-Adorni) “coat-of-arms painted within and without.” The picture evidently represented the Adoration of the Infant Jesus, and was painted on wood,—a triptych: with Catherine’s arms painted both inside and outside the two wings. She again describes it thus fully in her Wills of 1506 and 1509, leaving it, on all those occasions, to a certain Christofero de Clavaro (Christofer of Chiavari?). It is then quite clear both that this picture had been specially painted by some one for Catherine, and that Catherine, for some reason or reasons, greatly treasured it. Who then was the painter and what was the reason? I think both are not difficult to find.
We have seen how Catherine’s much-loved cousin, the widowed Tommasina Fiesca, had in 1497 moved into the Monastero Nuovo in the Aquasola quarter,—close to Catherine’s abode; so that the cousins will have met constantly from that time forward. We have also seen that this distinguished artist painted many a “Pietà” (the dead Christ on His Mother’s lap, possibly with Angels on each side), and executed a piece of needlework again representative of a group,—this time God the Father with many Angels above, and Christ below. Indeed Federico Alizeri has succeeded in rediscovering one of her works, a representation of Christ crowned with thorns and surrounded by the Instruments and Mysteries of His Passion, painted in fine outline upon sheepskin mounted on a wood-panel.[150] And we have seen how much Catherine had, as a child, been affected by a “Pietà,” and shall find her, even after this date, still affected by a religious picture. There can then be no reasonable doubt that Suor Tommasina was the painter and giver of this picture,—again a group, a “Maestà,” instead of the usual “Pietà.”
And the facts of Catherine caring to possess, to preserve, and to transmit something thus specially appropriated to herself, with her family arms upon a religious picture, are all deeply significant touches, and quite unlike what all the secondary, and even some of the primary, parts of the Vita would lead one to expect.
4. Increasing care for Thobia.
And this same Codicil shows us how her care, and no doubt her genuine affection, for Thobia was growing. For she now leaves her the income on two shares of the Bank of St. George (no doubt only a slight gift, about £2 10s. a year; but Catherine possesses but very little that she is free to leave as she likes, the claims upon her are very many, and the young woman is already well provided for, considering her social station), her better silk gown, a skirt, and various veils. The poor girl died in 1504 or 1505, for in Catherine’s Will of 1506 she appears as “the late Thobia.” She must have been about thirty years old at the time.
5. Argentina del Sale; story of Marco del Sale’s death.
But in lieu of poor Thobia, Catherine was now given by Providence a new lowly object of affection and interest. For it was doubtless in the late spring of 1505 that occurred the incident, of which we have the beautifully simple and naïf record in Chapter XLVI of the Vita; a record certainly based upon information supplied by Argentina, but which I take to be the literary work of Vernazza, and to be more or less contemporary with the events described. A humble young friend or acquaintance of Catherine’s, who had perhaps already been her occasional little day-servant, one Argentina de Ripalta, had now been away from her and married, for a year, to a poor navvy working in the Molo (Quay) quarter of the town; and this her husband, Marco del Sale, was now dangerously ill, indeed he was dying of a cancer in the face. And, having tried every kind of remedy, and seeing himself incurable, and being thus in great and hopeless pain, Marco had lost all patience and was as one beside himself. And then Argentina bethought herself of Catherine, and came to the Hospital, and begged her to come and see her husband, and pray to God for him.
And Catherine was at once at Argentina’s disposal, and straightway went off with her. And having come into Marco’s room, she greatly comforted him with her few but homely and fervent words. Then starting off again in company with Argentina, Catherine entered, near to the house and still close to the sea, into the little Church of Santa Maria delle Grazie la Vecchia,—so called to distinguish it from the more recent Chapel of the Augustinianesses, which bore the same general title,—and there, kneeling in a corner, Catherine prayed for Marco. The little seamen’s Church is still in use, with its many mementoes of four centuries and more of ships foundered and of ships safely come to port. And having here finished her prayer, Catherine returned with Argentina to the Hospital. There Argentina left her, and returned to Marco, and found him so changed that from a Devil he seemed turned into an Angel. And with joyous tender feeling he asked: “O Argentina, come, tell me who is that holy soul that you brought me?” But Argentina answered: “Why, that is Madonna Caterinetta Adorna, a woman of most perfect life.” And the sick man replied: “I beg of thee, by the love of God, to take care to bring her here a second time to me.”
And so the next day Argentina returned to the Hospital and told all to Catherine. And Catherine again promptly came back with Argentina. But when Catherine had entered the room and approached the bed, Marco threw his arms round her, and wept for a long space of time. And then, still weeping, but with great relief, he said to her: “Madonna, the reason why I wished you to come is, first to thank you for the kindness you have shown me; and next to ask a favour of you, which I beg you not to refuse me. For when you had left this room, Our Lord Jesus Christ came to me visibly and in the form in which He appeared to the Magdalen in the garden, and gave me His most holy blessing, and pardoned me all my sins, and told me that I should prepare for death, because that I shall go to Him on Ascension-Day. Hence I pray you, most tender Mother, deign to accept Argentina as your spiritual daughter, and to keep her with you constantly. And thou, Argentina, I pray thee, be content with this plan.” They both gladly declared themselves ready and content.
When Catherine had gone away, Marco sent for a certain Augustinian Friar of the Monastery of the Consolation, and carefully confessed his sins and received Holy Communion; and then ordered all his worldly affairs with a notary and with his relations. And he did all this in spite of them all, who thought that his intense pain had driven him off his head, and who kept saying: “Take comfort, Marco, soon you will be well again; there is no occasion as yet for you to attend to these things.”
And the Eve of the Ascension having come round, he again sent for the same Confessor, and again confessed and communicated, and got him this time to add Extreme Unction and the Recommendation of the Dying, and all this with great composure and devotion. But as the night came on, he said to the Friar: “Return to your Monastery; and when the time comes, I will give you notice.” And then, alone with Argentina, he took his crucifix in his hand, and turning towards his wife he said: “Argentina, see, I leave thee Him for thy husband; prepare thyself to suffer, for I declare to thee that suffering is in store for thee.” This did not fail to come about, for she suffered later on, both mentally and physically. And for the rest of the night he continued to comfort her, and to encourage her to give herself to God and to accept suffering as the ladder for mounting up to Heaven. Then when the dawn had come he said: “Argentina, abide with God; the hour has come.” And having finished these words, he expired;