CHAPTER III.Literary and Artistic Mattoids.

“In the centre is the dove representing the Holy Spirit, and surrounding it are seven different crosses [St. Andrew, St. Colomba, St. George, St. Michael, The Prophet, St. Evangeli, Royal Priesthood], and a close study will show the seven crosses, most ingeniously worked together. It is probable that in looking at the design closely for the first time one will suddenly see a new cross take shape before his eyes, and this indeed is what the patient says occurs with him. In describing the crosses he will say, for example, that in drawing the cross of St. Andrew the lines suddenly took a new shape andhe found he had also made a cross of St. Michael. This to him is a matter of deep significance, and he feels that, his work is directly controlled by a higher power, and that the work of his fancy is really inspired.

“Outside these central crosses are the names of three ancient deities who were each characterized by some special attribute, and under these the parts of the body that the artist conceives these deities especially to have represented, and then comes the name of the Biblical personage in whom these elements were finally exemplified and embodied. To the left of the dove is Venus, representing Blood, exemplified in Moses; above is Osiris, representing Flesh, embodied in Adam; and to the right Psyche, representing Water, typified in Noah. These three are but the gross and material parts of Man, representing indeed necessary steps in his progress through life, but secondary and subordinate to the higher part of his nature represented by Truth and the Spirit—which receive their ultimate embodiment inChrist.

“The Lion denotes Might, and the Eagle signifies Emulation; but it is uncertain just what symbolism is connected with the serpent twining round the cross, and the open book crossed by a sword and pen, unless indeed this last may mean the Bible with the emblems of peace and war lying quietly within it, and it seems not unlikely that the serpent is emblematic of the Betrayal. For the rest of the design, however, we need make no inferences, as it corresponds closely with his description.

“Outside of the circle enclosing the crosses are the seals, sealing the Holy Spirit. In the large light triangles, or rather rays of the sun, are given the names of the twelve apostles, forming the Seal of the Prophet. Above these, in the same space, are the signs of the zodiac in the extreme points of the triangle, with the names of the parts of the body underneath, that these signs correspond to in the ancient mythology; this forms the Seal of the Zodiac. Between these large light coloured triangles are the twelve holy stones, represented as ovals, and with their names plainly distinguished in the cut, making the Seal of the Holy Stones. In the small triangles directly above the Holy Stones are given the names of the twelvetribes of Israel, but the colour of these in the chart (vermilion) is such that the lettering does not come out in the photographic negative. This gives the Seal of the Twelve Tribes. Directly beneath the Holy Stones, filling in the space between the bottom of each large triangle, is the Seal of the Germ, coloured dark green, and running down on each side of the top of these large triangles are small triangles, coloured dark red and forming the Seal of the Aceldama or Bloody Seal. On the circumference are the names of the constellations of the zodiac, and directly under these the names of the corresponding months of the year, and under these again are the mythological representations of the constellations, Leo (July) being at the top, and then in order to the right come Virgo (August), Libra (September), Scorpio (October), Sagittarius (November), Capricornus (December), Aquarius (January), Pisces (February), Aries (March), Taurus (April), Gemini (May), Cancer (June). This gives the last sealing of the Seed, the Seal of the Sun.

“It will be seen that beginning at the circumference at any point and going toward the centre there is a complete astronomical representation of the season of the year, first the name of the constellation, then in succession the month, the constellation depicted pictorially, the sign of the zodiac and the part of the human body corresponding in the old astronomy to this sign of the zodiac.”

Of the four designs reproduced together, the first, the Shechinah, or Light of Love, represents that miraculous light or visible glory which was to the Jews a symbol of the Divine presence; the second represents the angel Sandalphon with the Holy Grail at the side and the letters Alpha and Omega at top (the design must be inverted to make out the Omega); the third, Sub Rosa, and the fourth, Imp and Frogs, are graceful fancies which sufficiently explain themselves, as does the Witch.

While working on these sketches, he made at the same time the design for a book-plate, representing Cupid learning the alphabet, and the entire design, he says, is full of symbolism—a favourite word with him. Cupid has his finger onAlpha, signifying the beginning of his education; above the book is Cupid’s target, with a heart for

SHECHINAH.SANDALPHONSUB ROSA.IMP AND FROGS.

SHECHINAH.SANDALPHON

SUB ROSA.IMP AND FROGS.

the centre, that he has pierced with an arrow, while the full quiver stands to the right. The curious fish under theVeritasrepresents the ΙΧΘΥΣ of the early Christians, while three crosses, symbolic of the Christian religion, are in the upper left-hand corner, brought out by heavy shading of the cross lines. On the book of knowledge is perched the dove, emblematic of purity, while the olivebranch at the left of the book and the palm under the Fool’s Bauble give still other religious symbols. The lamp of knowledge is burning brightly in front of Cupid, while at his feet are the square, compass, triangle, and pencils, symbolizing the designer’s profession.

Minuteness of Detail.—In some insane artists, especially monomaniacs, we find an opposite characteristic—the exaggeration of particular details—the general effect being lost in obscurity through their excessive efforts after verisimilitude. Thus, in a landscape exhibited among those rejected from the Turinsalon, not only was a general view of the country given, but every separate blade of grass could be distinguished. In another picture, intended to be very imposing, the strokes of the brush produced the effect of pencil shading.

Atavism.—Both minuteness and symbolism are themselves atavistic phenomena; but, in addition to them, there may be noted (in a large number of cases) a

THE WITCH.

ARABESQUES BY PARANOIAC ARTIST.

total absence of perspective, while the rest of the execution shows clearly enough that the author is not wanting in artistic sense. One would take him to be a true artist, but one brought up in China or ancient Egypt. Here we have evidently a kind of atavism explicable by arrested development of some one organ, and a corresponding backwardness in the products of that organ. A French captain, suffering from paralysis, drew figures stiff as Egyptian profiles. A megalomaniac of Reggio executed a coloured bas-relief, in which the disproportionate size of the feet and hands, the extreme smallness of the faces, and the stiffness of the limbs, completely recall the work of the thirteenth century. Another patient, at Genoa, carved bas-reliefs on pipes and on vases, exactly similar to those of the Neolithic Age.

Raggi has sent me some flints carved by a monomaniac entirely ignorant of archæology, which, in the choice of figures and emblems, recall the style of Egyptian and Phœnician amulets. In these instances we see the influence of similar psychical conditions at work.

Arabesques.—In some few patients, M. Toselli has called my attention to a singular predilection for arabesques and ornaments which tend to assume a purely geometric form, without loss of elegance. This is the case with monomaniacs; in cases of dementia and acute mania there prevails a chaotic confusion, which, however, does not always imply absence of taste. I have seen an instance of this in a kind of ship, the work of a dementia patient, composed of an enormous number of little slips of wood, brilliantly coloured, very thin, and intertwined in an infinite variety of ways, the general effect being very graceful.

Obscenity.—In some work done by erotomaniacs, paralytics, and demented patients, the salient characteristic, both of the drawings and of the verses, is the most shameless indecency. Thus a cabinet-maker would carve virile members at every corner of a piece of furniture, or at the summits of trees. This, too, recalls many works of savages and of ancient races, in which the organs of sex are everywhere prominent. A captain at Genoa was fond of drawing scenes in a brothel. In many theobscene character is marked by the most singular pretexts, as though it were demanded by artistic requirements. A monomaniac priest used to sketch his figures nude, and then artfully drape them by means of lines which revealed the generative organs. He defended himself against criticism by saying that his figures could only appear indecent to those who were in search of evil.

M—— illustrated his strange and often beautiful verses with innumerable daubs, representing animals of monstrous forms struggling with men and women, or monks and nuns, naked, in the most shameless attitudes.

In others the indecency is, if possible, still more evident, especially in cases of paralytic dementia. I remember an old man who used to draw a vulva on the address of his letters to his wife, surrounding it with obscene couplets in dialect.

It is a curious coincidence that two artists—one at Turin and the other at Reggio—who were both megalomaniacs, should both have had sodomitic instincts, which they combined with the delusion of being deities, and lords of the world, which they had created and emitted from their bodies. One of them (who, nevertheless, had a real artistic sense) painted a full-length picture of himself, naked, among women, ejecting worlds, and surrounded by all the symbols of power. This repeats, and at the same time explains, the Ithyphallic divinity of the Egyptians.

Criminality and Moral Insanity.—In this connection it is important to notice that the greater number of these artists show, in addition to their other forms of mania, a marked tendency to moral insanity, especially in the form of unnatural vice. The painter who produced the picture of “Delirium” was a pederast. The man who constructed the marvellous model of the Reggio Asylum, already alluded to, was neither draughtsman, sculptor, nor engineer. He was a madman, and, in addition, a thief, with unnatural tendencies. This man, whenever the fancy took him, escaped from the asylum, wandered about for some days, began to steal when he had exhausted the small amount of money he had about him, and when imprisoned declared himself a lunatic, andso got acquitted and sent back to Reggio, when, after a short interval, he would repeat the same line of conduct.

Dr. Tamburini told me that he, too, had been struck by the co-existence of artistic faculty and moral insanity in these patients.

Uselessness.—A characteristic common to many is the complete uselessness of the work to which they devote themselves; and here I recall once more Hécart’s dictum:—

“C’est le travail des fous d’épuiser leurs cervellesSur des riens fatigants, sur quelques bagatelles.”[328]

A Genevan, affected by persecutory monomania, spent years in embroidering on egg-shells and lemons. Though her work was most beautiful, it could be of no advantage to her, for she kept it jealously concealed; and I myself, though she was very fond of me, never saw any of it till after her death.

Here we have, as in the case of artists of genius, the love of truth and beauty for their own sake alone, only that the aim is reversed.

Sometimes the work done, though very useful in itself, is of no advantage to the artist, and has no connection with his profession. Thus a captain, who had become insane, presented me with the model of a bed for violent patients, which, I believe, would be extremely useful in practice. Two other patients, together, made, out of a piece of beef-bone, some very neat match-boxes, ornamented with carvings in relief, which could be of no profit to themselves, since they refused to part with them for money.

There are, however, some exceptions. A melancholiac patient, with homicidal and suicidal tendencies, manufactured himself a very serviceable knife, fork, and spoon—metal ones not being allowed him—out of the bones which remained over from his dinner. A café-keeper at Colligno, a megalomaniac, compounded excellent liqueurs out of the scraps left over from meals, though of the most different kinds of food. A criminal lunatic constructed himself a key out of a number of small pieces of wood joined together. I do not count among theseexamples those who have prepared themselves real cuirasses of iron and stone—a piece of work in relation to the special delusion of persecutions, and implying an amount of labour out of proportion to the advantage obtained.

DELIRIUM.

Insanity as a subject.—Many choose insanity as the subject of their paintings. Professor Virgilio has furnished me with a very curious portrait of an insane patient at the moment of attack—the eyes rolling, the hair on end, the arms extended. Under his feet is the epigraph: “Delira” (“He is raving”). This is the work of an alcoholic pederast.

I think that a sane artist would have some difficulty in painting a closer likeness of delirium. This reminds me how frequently I have found, among the poets of asylums, the tendency to describe insanity; and it has been a favourite theme with great poets who have suffered from ill-health—Tasso, Lenau, Barbara, Musset. Mancini, immediately after his recovery, painted a woman offering for sale the picture executed by a madman; and Gill, in the hospital of Sainte-Anne, painted a raving maniac with terrible truth to nature.[329]

Absurdity.—One of the most salient characteristics of insane art is, as might be expected, absurdity, either in drawing or colouring. This is especially noteworthy in some maniacs, owing to the exaggerated association of ideas, through which the connecting links (which would serve to explain the author’s conception) are totally lost. Thus, an artist painted a “Marriage at Cana,” with all the figures of the apostles exceedingly well drawn; but in place of the figure of Christ was a large bunch of flowers.

Paralytic patients draw objects without any sense of proportion; their hens are the size of horses, and their cherries of melons; or, while striving after perfection in the design, the execution is merely childish. One, who believed himself a second Horace Vernet, drew horses by means of four straight strokes and a tail.[330]Another drew all his figures upside down. Other dementia patients, owing to the same amnesia which is apparent in their speech, leave out the most essential points of their conception, like M—— at Pesaro, who made an excellent drawing of a general, seated, but forgot the chair. (Frigerio.)

Imitation.—There are some who are very successful in imitation, but can produce nothing original; they will, for instance, copy thefaçadeof the asylum, or heads of animals, with the minute accuracy of detail which characterizes primitive art. In this branch I have seen successful work done by cretins and idiots, the latter drawing in exactly the same manner as primitive man.

Uniformity.—Many continually repeat the same idea; thus one, mentioned by Frigerio, filled sheets of paper witha bee gnawing the head of an ant; another, who believed that he had been shot, would paint nothing but fire-arms; a third confined himself to arabesques.

Summary.—These traits explain the instances of partial perfection to be found in dementia patients; for a repetition of the same movement tends to bring it nearer and nearer to perfection. At other times, as we have seen in the extempore poets and authors of the asylum, it is the tenacity and energy of the hallucinations which makes a painter of a man who was never one before. Blake was able to picture to himself, as living and present, persons already dead, angels, &c. This was the case, also, with the strange insane poet, John Clare, who believed himself a spectator of the Battle of the Nile, and the death of Nelson; and was firmly convinced that he had been present at the death of Charles I. In fact, he described these events with such remarkable fidelity and accuracy, that it is scarcely probable he could have done it so well had he been in full possession of his reason—the more so, as he was entirely without culture.[331]This explains why insane painters and poets are so numerous. It is easy to reproduce clearly what one sees clearly. Moreover, the imagination is most unrestrained when reason is least dominant; for the latter, by repressing hallucinations and illusions, deprives the average man of a true source of artistic and literary inspiration.

For the same reason, too, art itself, may, in its turn, encourage the development of mental disease. Vasari relates that one Spinelli, a painter of Arezzo, having attempted to paint the deformity of Lucifer, the latter appeared to him in a dream and reproached him with having made him so ugly. The painter was so affected by this apparition as to fall seriously ill; and it continued to haunt him for years.[332]

Music in the Insane.—Musical ability is often diminished in those who, previous to their illness, cultivated this art with passion. Dr. Adriani observed that musicians, under his care for insanity, almost entirely lost their powers. They could still play any piece, but it was done quite mechanically and without expression. Other dementiapatients would play the same piece, sometimes even a few phrases, over and over again.

Donizetti, in the last stage of dementia, no longer recognized his favourite melodies. His last works show traces of that fatal influence which critics have also observed in Schumann’s symphony of the “Bride of Messina,” composed during his attacks of insanity.[333]

These facts, however, do not contradict our assertion that insanity awakens new artistic qualities in persons not previously gifted in that way; they only show that (as we have seen in the case of professional painters) it can give no additional power or skill to those who already possessed them when attacked by disease.

A megalomaniac—formerly a syphilitic patient—under the care of Dr. Tamburini, sang beautiful airs when under excitement, at the same time, instead of playing an accompaniment, she improvised, on the pianoforte, two distinct motives which had no connection with each other or the air she was singing. This fact confirms the observations of Luys as to the independent action of the cerebral hemispheres.

A young man attacked bypellagra, who recovered in my hospital, composed expressive and original melodies.

M. Raggi told me that he had had under his care a melancholic patient who, during her attacks, played without enthusiasm, and even with repugnance, but, when the fit passed off, would spend whole days at the piano, and execute the most difficultpartitionswith a truly artistic enthusiasm. In the same way, a paralytic showed, through the whole course of his illness, a genuine musical mania, during which he imitated all instruments, and agitated himself, in frantic enthusiasm, at thepianopassages.

Raggi also observed a paralytic dementia patient who, after breaking his thigh-bone by a leap from a window, rendered every bandage which could be devised useless by singing, for days together, motives fromIl Trovatoreat the top of his voice, and accompanying his singing with abrupt rhythmical movements of the pelvis. A fancy for monotonous chanting also showed itself in another paralytic, who believed himself to be a great admiral.

In maniacs, acute and joyous notes predominate, and, still more, the repetition of the rhythm.

Every one who has paid even a short visit to an asylum has noticed the frequency of singing and shouting and “high and thin voices, and with them a sound of hands.”[334]Nor is it hard to understand this, if we remember how Spencer and Ardigò have shown that the law of rhythm is the most general form under which, in the whole of nature, energy is manifested, from the crystal to the star, or to the animal organism. Man, therefore, only follows a general organic law in giving way to this impulse, which he does the more readily the less he is controlled by reason. This explains the number of poets of the new school who are found in asylums. This is the reason why savage nations have a natural inclination for music; and a missionary told Spencer that many to whom he taught the Psalms, with music, in the evening, could repeat them by heart on the following day.

Savages, in speaking, make use of a sort of monotonous chant analogous to our recitative. Primitive poetry was always sung, whence all the different words connected with singing applied to poetry and poets. The mysterious magic formulas and recipes of the ancients[335]were also sung, or chanted, whence the word “enchantment.” Even at the present day, in the neighbourhood of Novi and Oulx, I have heard peasant-women, in making inquiries of one another, modulate their voices in true musical rhythm. ModernImprovvisatorido not seem able to produce their verses except when singing, and agitating all their muscles.

It must be remembered that, according to the observations of Herbert Spencer,[336]“the act of singing employs and exaggerates the signs of the natural language of passion. Mental excitement is transformed into muscular energy. An infant will laugh and bound in its nurse’s arms at the sight of a brilliant colour, or the hearing of a new sound.” Strong sensations or painful emotions cause us to gesticulate; in short, they excite the muscular system, which is acted upon in proportion to the intensity of thesensations. Slight pain calls forth a groan, greater pain a cry: the pitch of the voice varies with the force of the emotion, so that, in the strongest emotions, it rises to the octave, or higher; and singing is always involuntarily accompanied by tremors and agitations of the muscles.

What could be more natural than that, in the conditions in which the emotions are most energetic, and so frequently atavistic, as is the case in insanity, these tendencies should be reproduced on a larger scale?

This, too, explains why so many morbid men of genius should be musicians: Mozart, Schumann, Beethoven, Donizetti, Pergolese, Fenicia, Ricci, Rocchi, Rousseau, Handel, Dussek, Hoffmann, Glück, Petrella.[337]Musical creation is the most subjective manifestation of thought, the one most intimately connected with the affective emotions, and having less relation to the external world than any other, which causes it to stand more in need of the fervent but exhausting emotions of inspiration.

Perhaps the study of these peculiarities of art in the insane, besides showing us a new phase in this mysterious disease, might be useful in æsthetics, or at any rate in art-criticism, by showing that an exaggerated predilection for symbols, and for minuteness of detail (however accurate), the complication of inscriptions, the excessive prominence given to any one colour (it is well known that some of our foremost painters are great sinners in this respect), the choice of licentious subjects, and even an exaggerated degree of originality, are points which belong to the pathology of art.

Definition—Physical and psychical characteristics—Their literary activity—Examples—Lawsuit mania—Mattoids of genius—Bosisio—Thedécadentpoets—Verlaine—Mattoids in art.

WEhave just been considering, in madmen, the substantial character of genius under the appearance of insanity. There is, however, a variety of these, which permits the appearance of genius and the substantial character of the average man; and this variety forms the link between madmen of genius, the sane, and the insane properly so called. These are what I call semi-insane persons or mattoids.

This variety constitutes, in the world of mental pathology, a particular species of a genus distinguished by Maudsley as “odd, queer, strange” persons of insane temperament, and previously by Morel. Legrand du Saulle, and Schüle (Geisteskrankheit, ii., 1880) regard them ashereditary neurotics, Raggi asneuropathics, and now many asparanoiacs—a terminology which produces a hopeless confusion.

The graphomaniac, representing the commonest variety, has true negative characteristics—that is to say, the features and cranial form are nearly always normal (Bosisio, Cianchettini, F——, P——, &c.). His characteristics are not the result of heredity; at most, he is the son of a man of genius (Flourens, Broussais, Spandri, Knester, &c.). This form of aberration is most frequently found in men; I only know of one exception in Europe—Louise Michel—and it appears more especially in great cities, worn out with civilization. The mattoid shows far fewer signs of degeneracy than the insane properly socalled:—Of 33 mattoids only 21 showed degenerative characters, and of these last 12 had 2, 2 were found to have 3, there were 2 with 4, and only 1 with 6.

Another negative characteristic is the survival of family affection, and even of that for the human race in general, sometimes reaching such a point as to become exaggerated altruism; though, in many cases, vanity enters largely into the composition of this virtue. Thus Bosisio thinks of and provides for the well-being of posterity, and even of the dead. Thus D—— loves his wife and grandchildren, and constantly works for his family; Cianchettini supported a deaf and dumb sister; Sbarbaro, Lazzaretti, Coccapieller, adored their wives.

In prison, a few days ago, I had occasion to perform the operation of blood-transfusion, and wasted much time in trying to find a healthy individual from whom to take the blood. All refused; but a consumptive mattoid, as soon as he heard of the matter, volunteered for the operation, and was overwhelmed with shame when I would not make use of him.

They have an exaggerated conviction of their own personal merit and importance, with the peculiar characteristic that this opinion shows itself rather in writing than in words or actions, so that they do not show irritation at the contradictions and evils of practical life.

Cianchettini compares himself to Galileo and to Jesus Christ; but sweeps the barrack-stairs. Passanante proclaims himself President of the Political Society while working as a cook. Mangione classified himself as a martyr to Italy and to his own genius; yet he condescended to act as a broker. Caissant claimed to be a cardinal, but, in the meantime, he was a clever parasite, and made large profits through his very insanity. The shepherd Bluet believed himself to be an apostle and count of Permission, and, like the author ofScottatinge, deigned to address himself to none but royal personages. Yet he did not refuse to carry on the trade of a horse-breaker.

Stewart, the eccentric author of theNew System of Physical Philosophy, who travelled all over the world to discover the polarity of truth, asserted that all the kingsof the earth had entered into an alliance to destroy his works. He therefore gave the latter to his friends, with the request to wrap them up well, and bury them in remote localities,—never revealing the latter, except on their death-beds. Martin Williams—brother of that Jonathan Williams, who, in an attack of insanity, set fire to York Minster, and of John Williams who struck out a new line in painting—published many works to prove the theory of perpetual motion. After having convinced himself by means of thirty-six experiments of the impossibility of demonstrating it scientifically, it was revealed to him in a dream that God had chosen him to discover the great cause of all things, and perpetual motion; and this he made the subject of many works.[338]

These persons would not come under the heading of mattoids, if, in their writings, the earnestness and persistence in one idea which make them resemble the monomaniac and the man of genius, were not often associated with the pursuit of absurdity, continual contradictions, and the prolixity and utility of insanity. One tendency overpowers all others—one which we find predominant in insane genius: viz., personal vanity. Thus, out of 215 mattoids, we find forty-four prophets.

Filopanti, in theDio Liberale, places his father Berillo, a carpenter, and his mother Berilla among the demigods. He discovered three Adams, and gives a minute narrative, year by year, of the actions of each. Cordigliani prepared to insult the Chamber of Deputies in order to obtain an annuity from the Government, and thought this action much to his own credit. Guiteau thought he was saving the Republic by the murder of the President, and had himself called a great lawyer and philosopher. In the same way Passanante, after having preached the abolition of capital punishment, condemns the guilty members of the Assembly to death; and, after having given orders to “respect the forms of government,” insults the monarchy, makes an attempt at regicide, and proposes to “abolish all misers and hypocrites.”

A physician, S——, prints a statement that blood-letting exposes to an excess of light, another announces in two thick volumes, thatdiseases are elliptical.

Critics have said, referring to the works of Démons, that his Dialectic Quintessence and sextessence are a true quintessence of absurdity.[339]Gleizes affirms that flesh is atheistical. Fuzi (a theologian) asserts that the menstrual blood has the property of quenching conflagrations.

Hannequin, who used to write in the air with his fingers, and had anaromal trumpet, by means of which he communicated with the spirits dispersed through the air, declares that in the future age many men shall become women and demigods.

Henrion, at the Académie des Inscriptions, advanced the theory that Adam was forty feet in height, Noah twenty-nine, Moses twenty-five, &c.

Leroux, the celebrated Paris Deputy, who believed in metempsychosis and the cabbala, defined love as “the ideality of the reality of a part of the totality of the Infinite Being,” &c., and wished to insert the principle of thetriadin the preamble of his Constitution.

Asgill maintained that men might live for ever, if only they had faith.

It is true that, here and there, some new and vigorous notion emerges from the chaos of such minds, because the only symptom of genius developed in them by psychosis is a less degree of aversion to novelty, or, to employ my own terminology, of misoneism.[340]Thus, for example, amid the most absurd opinions, Cianchettini has some very fine passages:

“All animals have the instinct of self-preservation, with the minimum of fatigue, of escaping from troublesome thoughts, and of enjoying the delights of life; and to obtain these things, liberty is indispensable to them.

“All animals, except man, gratify and always have gratified these instincts, and perhaps will always continue to do so. Mankind alone, constituted as a society, find themselves fettered, and in such a Way that no one has ever succeeded, not merely in bringing them into a state of peace and liberty, but even in showing how they may attain this end.

“Well—I propose to demonstrate this proposition. And, as a locked door cannot be opened without breaking it, save by means of a key or a pick-lock; so, as man has lost his liberty by means of the tongue, nothing but the tongue, or its equivalents, can set him free without injury to his nature.”

Amid the doggerel jargon of theScottatinge, I find this beautiful line on Italy—

“Padrona e schiava sempre, ai figli tuoi nemica.”[341]

We shall see, in Passanante’s biography, that sometimes, in his writings and still more in his speeches, he struck out vigorous and original ideas which, in fact, led many persons into error as to the nature and reality of his disease. I may mention the sentence, “Where the learned lose themselves, the ignorant man may triumph,”—and another, “History learnt from the people is more instructive than that which is studied in books.” Bluet distinguishes “the maid from the virgin, in that the first has the will for evil without the power, and the second has neither the power nor the will.”

It is natural that mattoids should repeat in their conceptions the ideas of stronger politicians and thinkers, but always in their own way, and always exaggerated. Thus Bosisio exaggerates the delicate consideration of our lovers of animals, and anticipates the ideas of Mlle. Clémence Royer and Comte on the necessity for the application of the Malthusian theory. In the same way, Detomasi, a dishonest broker, discovered a practical application (except for the morbid eroticism which he added to it) of the Darwinian system of natural selection. Cianchettini wishes to put Socialism into practice.

But the stamp of insanity is evident, not so much in the exaggeration of their ideas, as in the disproportion of the latter among themselves; so that, from some well-expressed and even sublime conception, we pass suddenly to one which is more than mediocre and paradoxical, nearly always opposed to the received ideas of the majority,and at variance with the position and education of the author. In short, we have that by means of which Don Quixote, instead of extorting our admiration, makes us smile. Yet his actions, in another age, and even in a different man, would have been admirable and heroic. In any case, among mattoids, traits of genius are rather the exception than the rule.[342]

Most of them show a deficiency rather than an exuberance of inspiration; they fill entire volumes, without sense or savour; they eke out the commonplaceness of their ideas and the poverty of their style with a multitude of points of interrogation and exclamation, with repeated signatures, with special words coined by themselves, as is the habit of monomaniacs; thus Menke already observed that some mattoids contemporary with himself had invented the wordsderapti felisan. Berbiguier created the wordfarfiderism. A monomaniac, Le Bardier, wrote a work entitledDominatmosfheriintended to show farmers how to obtain double harvests, and sailors to avoid storms. He entitled himselfDominatmosfherifateur.[343]Cianchettini invented thetravasoof the idea; Pari inventedcafungaia, andmorbozoo, and we owe to Wahltuch,alitrologiaandanthropomognotologia, and to G——lepidermocriniaandglossostomopatica.

We often find an eccentric handwriting, with vertical lines cut by horizontal ones and transverse furrows, even with unusually-formed letters, as in Cianchettini.

They frequently introduce drawings into their sentences, as if to heighten their force, thus returning (as we have already seen to be the case with megalomaniacs) to theideographic writing of the ancients, in which the figure served as a determining symbol.

Wahltuch published two books on Psychography, a new kind of philosophic system which, however, has found a serious commentator in a sane philosopher—which speaks volumes for the seriousness of some philosophers. According to this system, ideas are represented by so many images impressed on each of the cerebral convolutions. Thus the symbol of Physics is a lighted candle; that of alitrology, or the faculty of judgment, is the nose (or the sense of smell); of ethics, a ring; and of motion, a fishing-hook. The author, despairing (and with good reason) of making himself understood in words, philosophises with his pencil, and has crammed his book with diagrams of brains covered with such figurative signs.

In order to prove the applicability of these principles to literature, he has presented us with a tragedy—Job—in which the characters have their heads covered with similar signs, and chant verses worthy of the system,e.g., “O that I could separate the two united conceptions of myself and impiety. I am just. Satan is impious.”[344]

The Jesuit missionary, Paoletti, wrote a book against St. Thomas, and illustrated it with a drawing of the vessels used in the Tabernacle, so as to determine the future condition of the sons of Adam with regard to predestination. The Divine and human wills are figured as two balls revolving in opposite directions, and finally meeting at a common centre.

The titles of all their works show an exuberance which is really singular. I possess one of eighteen lines, not counting a note included in the title-page itself, and intended to explain it. A socialistic work published in Australia, by an Italian, and in pure Italian, has a title arranged in the shape of a triumphal arch.

It is precisely in the title-page that nearly all of them at once betray the taint of madness. This example—from the work of the mattoid Démons—will suffice: “The demonstration of the fourth part of nothing is something; everything is the quintessence extracted from the quarterof nothing and that which depends on it, containing the precepts of the holy, magic, and devout invocations of Démons, to discover the origin of the evils which afflict France.”

Many have the crotchet of mixing up with their sentences accumulated series of numbers, which is also sometimes done by paralytics. In a mad production of Sovbira’s, entitled “666,” all the verses are accompanied by the number 666. The strange thing is that, at the same time, a certain Porter, in England, had published a work on the number 666, declaring it the most exquisite and perfect of numbers.[345]Lazzaretti, too, had a singular partiality for this number. Spandri, Levron, and C—— have a similar preference for the number 3. A special characteristic found in mattoids, and also, as we have already seen, in the insane, is that of repeating some words or phrases hundreds of times in the same page. Thus, in one of Passanante’s chapters, the wordriprovateoccurs about 143 times.

Some have had special paper manufactured for their works, like Wirgman, who had it made with different colours on the same sheet, at an enormous increase of expense, so that a volume of four hundred pages cost him over £2,200 sterling. Filon had every page of his book of a different colour.

Another characteristic is that of employing an orthography and caligraphy peculiar to themselves, with words in large type or underlined. They will sometimes write even private letters in double column, or with vertical lines traversed by horizontal and sometimes by diagonal ones. They sometimes underline one letter in preference to others in the same word (Passanante), or they write in detached verses like those of the Bible, or introduce points after every two or three words, as in the MS. (in my possession) of a certain Bellone, or parentheses, even one within the other, as Madrolle used to do, or notes upon notes, even in the title-page, as in the case of Cas—— and of La——. The latter (a University professor) in a work of twelve pages has nine consisting of notes alone.

Hepain invented aphysiologicallanguage, which consists in the main of our own letters reversed, and of numbers used in their places.

Many have a caligraphy quite peculiar to themselves, close, continuous, with lengthened letters, and always extremely legible.

Many (like some of the insane, whom they surpass in this point) continually intersperse their conversation with puns and plays on words. A certain Jassio wished to prove the analogy of thehandand theweekin which God created the world, by means of a pun on the wordsmainandsemaine. Hécart, who had himself said that it is the peculiarity of the insane to occupy themselves with useless trifles, wrote the biography of the madmen of Valenciennes, and the strange book entitledAnagrammata, poëme en VII. chants, XCVeédition(as a matter of fact, it was the first),rev. corr. et augmentée; à Anagrammatopolis, l’an XIV. de l’ère anagrammatique(Valenciennes, 1821, 16º). The book is almost entirely composed of inversions of words. The following is an example:

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