Michael Dibdin - A Rich Full Death

‘Cecil DeVere, on the other hand, devoted himself not to the inner but the outer man-a fact which did not escape the murderer’s ferocious irony. “Argenti”, he called him, “Silver”-the nickname of one Filippo de’ Cavicciuli, whose ostentatious extravagance was such that he had his horse shod with silver shoes: “equum ferris argenti ferrari fecit”, as the old chronicle says. DeVere, of course, did not go quite so far, but it cannot be denied that he spent a considerable amount of time and money on his appearance. Argenti ended up immersed in the mire of a dead channel in the fifth circle of Dante’s Hell; DeVere in the filthy slime of the Arno.’

‘I was not aware that dandyism was either a mortal sin or a justification for murder,’ I put in tardy.

‘It is of course neither,’ returned Browning, shooting me a look of some surprise. ‘As regards the author of these crimes, it is surely superfluous to state that we are dealing with a totally deranged mind, for whom the merest peccadillo can be used to justify any abomination. In that he is the opposite-or, better, the negative-of his model Dante hated not the sinners but the sin-the wickedness which shuts out that pure love-drenched intellectual light he sings in the Paradiso . He was a great hater because he was a great lover, and knew that a man cannot be one without the other.’

‘A great lover-him!’ I exclaimed contemptuously.

‘His work is full of love.’

‘It is full of the wordy certainly,’ I retorted. ‘But to know what manner of lover a man is, ask his mistress! I think I know what she would say. “He, a great lover? Oh yes, to be sure! One always glowering alone in the corner at a party, with never a word to say for himself; or lurking in the street outside my house, writhing in spiritual ecstasy-ready to swoon if I happen to notice him, and lock himself up in his room half-dead with grief if not. One whose secret wish is just to touch my hair, and kiss my brow-and nothing more! A great lover, him? Yes! Of himself!” That , depend upon it, is what Beatrice would say.’

I had allowed myself to say far more than I had meant to, and had spoken with undue warmth. Browning gave me a long thoughtful look. I knew that he had not yet been to call on Beatrice, and thus could have no notion of what awaited him there, or of how his secret had been betrayed. But however he explained them to himself, my words had plainly struck home.

‘I’m not sure that I am very interested in what Beatrice would say,’ he replied with distaste. ‘Who was she, after all? A vulgar merchant’s daughter who married a banker and died young. It may be that she would have been rash enough to speak of the poet in the fashion you suggest, although give me leave to doubt it. But if he had not singled her out from all the other pretty children, no one today would have the slightest interest in what she had to say about anything. One might hope she would remember that before she opened her mouth to mock her benefactor.’

I judged it expedient to bring these giddy conversational acrobatics down to earth.

‘I’m not sure that I see why Beatrice Portinari would have had any cause to consider Dante her benefactor. But let us leave Literature on one side, Mr Browning, for there at least I am no match for you. Tell me, what of the inscription we found at the Eakins’ villa? Riminese was the word, but who or what is of Rimini?’

‘Francesca,’ replied Browning shortly.

I did not pretend not to understand this reference to the most famous canto in the entire Inferno: the tragic and moving tale of Francesca da Rimini, murdered by her deformed husband when he found her in his brother’s bed. She and her lover appear in the second circle, where

the stormy blast of hell

With restless fury drives the spirits on,

Whirl’d round and dash’d amain with sore annoy.

The reference irresistibly brought to mind the memory of how the long white shape which had proved to be Isabel’s body had been pushed and pulled about by the storm wind in the garden of the villa. She then, had been adjudged one of those carnal sinners ‘in whom reason by lust is swayed’.

I murmured some expression of appreciation for Browning’s achievement in deciphering these enigmatic graffiti which had so sorely perplexed us hitherto. But somehow the triumph was quite gone from my companion’s manner: he did not seem to care about the inscriptions any more, or his cleverness in deciphering them. When I enquired-as I was bound to do-about the fate of the hapless Tinker, knocked down in a slum and stuffed into a baker’s oven to roast, Browning once again contented himself with the briefest possibly reply.

‘Farinata.’

‘Sorry?’

‘One of the heresiarchs tormented in red-hot tombs in Dante’s sixth circle.’

‘And the inscription?’

‘Was written up on the wall of the bakery, in the usual fashion.’

‘It is strange, then, that neither appeared in any reports of the crime. Are the authorities perhaps attempting to conceal the enormity of this murderous conspiracy, to forestall any panic among the foreign community?’

‘No, they are merely ignorant of its existence-just as they were of the marks left by the garden table beneath Mrs Eakin’s body, which no one but I remarked.’

Mrs Eakin? I thought-need you be so formal when speaking of your former mistress?

‘I found them because I was looking for them,’ Browning went on, ‘and I found the inscription in the bakery for the same reason. Among the painted list of items for sale, still visible on the plaster, was the word for flour: farina . Someone had added two letters in white chalk and a circled figure six.’

Browning was visibly regaining confidence as he recounted these further examples of his cleverness. It was time to prick the balloon again.

‘Very well,’ I commented wearily. ‘So we understand the messages this maniac leaves at the scene of his outrages. As an intellectual achievement this is no doubt something upon which you are to be congratulated. But forgive me please if I look at things from a more practical point of view. “The English in Florence are dying too much,” the police official told me. What hope is there of halting this process? Your discovery is very interesting, but what use is it? Where, in other words, does it get us? What are we to do?’

We had all this while been walking up the great central avenue which leads from the lily pond at the south-western end of the gardens, near the Porta Romana, to the famous terrace in front of the fortress of the Belvedere, where we had just arrived. This commands the most striking and extensive view of the city, and thus Browning was able to parry my question with an urbane ‘ “Do”, Mr Booth? Why, with such a prospect as this before us I hope we shall not be vulgar enough to dream of “doing” anything — anything that is but just rest our arms on this railing and our eyes on one of the great achieved miracles of the human spirit’.

It is true that the view is miraculous, and it nothing more than the way it obstinately continues to survive the worst that journalists, diarists, essayists, belletrists, aquarellists, hacks, sketchers and daubers of every nationality and either sex, professional and genteel, have been able to do to render it trite, familiar and hateful. There it was again, as fresh and satisfying and perfect as the first time I set eyes on it-all those tiled roofs catching the light at every conceivable angle, showing up as hard and abrasive as sandpaper here, there as soft and plush as velvet. This warm wash of russet, together with the walls in infinite varieties of umber, buff, fawn and burnt sienna, is then punctuated by the three slim towers of the Badia, the Bargello and the Palazzo Vecchio; by the massive rectangular bulk of the Strozzi and Antinori palaces; by the buxom comfortable domes of Santa Maria Novella, San Lorenzo, Santa Croce; and by half a hundred monuments, antiquities, towers and turrets whose names even now I hardly know. AU this, good as it is (as who should say!), is lifted, made perfect, unique and whole by the presence at its heart: Brunelleschi’s great cupola rising massively weightless over the Cathedral Church of St John, superbly dominating and pulling together the entire composition.