BY HERMAN MELVILLE.  
n the South of Europe, nigh a once frescoed capital, now with dank mould cankering its bloom, central in a plain, stands what, at distance, seems the black mossed stump of some immeasurable pine, fallen, in forgotten days, with Anak and the Titan.
As all along where the pine-tree falls its dissolution leaves a mossy mound,—last-flung shadow of the perished trunk, never lengthening, never lessening, unsubject to the fleet falsities of the sun, shade immutable, and true gauge which cometh by prostration,—so westward from what seems the stump, one steadfast spear of lichened ruin veins the plain.
From that tree-top, what birded chimes of silver throats had rung. A stone pine; a metallic aviary in its crown: the Bell-Tower, built by the great mechanician, the unblessed foundling, Bannadonna.
Like Babel’s, its base was laid in a high hour of renovated earth, following the second deluge, when the waters of the Dark Ages had dried up, and once more the[129] green appeared. No wonder that, after so long and deep submersion, the jubilant expectation of the race should, as with Noah’s sons, soar into Shinar aspiration.
In firm resolve, no man in Europe at that period went beyond Bannadonna. Enriched through commerce with the Levant, the state in which he lived voted to have the noblest bell-tower in Italy. His repute assigned him to be architect.
Stone by stone, month by month, the tower rose. Higher, higher; snail-like in pace, but torch or rocket in its pride.
After the masons would depart, the builder, standing alone upon its ever-ascending summit, at close of every day, saw that he overtopped still higher walls and trees. He would tarry till a late hour there, wrapped in schemes of other and still loftier piles. Those who of saints’ days thronged the spot,—hanging to the rude poles of scaffolding, like sailors on yards or bees on boughs, unmindful of lime and dust and falling chips of stone,—their homage not the less inspirited him to self-esteem.
At length the holiday of the Tower came. To the sound of viols, the climax-stone slowly rose in air, and, amid the firing of ordnance, was laid by Bannadonna’s hands upon the final course. Then mounting it, he stood erect, alone, with folded arms, gazing upon the white summits of blue inland Alps, and whiter crests of bluer Alps off-shore,—sights invisible from the plain. Invisible, too, from thence was that eye he turned below, when, like the cannon-booms, came up to him the people’s combustions of applause.
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That which stirred them so was, seeing with what serenity the builder stood three hundred feet in air, upon an unrailed perch. This none but he durst do. But his periodic standing upon the pile, in each stage of its growth,—such discipline had its last result.
Little remained now but the bells. These, in all respects, must correspond with their receptacle.
The minor ones were prosperously cast. A highly enriched one followed, of a singular make, intended for suspension in a manner before unknown. The purpose of this bell, its rotary motion, and connection with the clock-work, also executed at the time, will, in the sequel, receive mention.
In the one erection, bell-tower and clock-tower were united, though before that period such structures had commonly been built distinct; as the Campanile and Torre dell’ Orologio of St. Mark to this day attest.
But it was upon the great state-bell that the founder lavished his more daring skill. In vain did some of the less elated magistrates here caution him, saying that, though truly the tower was Titanic, yet limit should be set to the dependent weight of its swaying masses. But undeterred he prepared his mammoth mould, dented with mythological devices; kindled his fires of balsamic firs; melted his tin and copper, and, throwing in much plate contributed by the public spirit of the nobles, let loose the tide.
The unleashed metals bayed like hounds. The workmen shrunk. Through their fright, fatal harm to the bell was dreaded. Fearless as Shadrach, Bannadonna, rushing through the glow, smote the chief culprit with[131] his ponderous ladle. From the smitten part a splinter was dashed into the seething mass, and at once was melted in.
Next day a portion of the work was heedfully uncovered. All seemed right. Upon the third morning, with equal satisfaction, it was bared still lower. At length, like some old Theban king, the whole cooled casting was disinterred. All was fair except in one strange spot. But as he suffered no one to attend him in these inspections, he concealed the blemish by some preparation which none knew better to devise.
The casting of such a mass was deemed no small triumph for the caster; one, too, in which the state might not scorn to share. The homicide was overlooked. By the charitable that deed was but imputed to sudden transports of ?sthetic passion, not to any flagitious quality,—a kick from an Arabian charger; not sign of vice, but blood. His felony remitted by the judge, absolution given him by the priest, what more could even a sickly conscience have desired?
Honoring the tower and its builder with another holiday, the republic witnessed the hoisting of the bells and clock-work amid shows and pomps superior to the former.
Some months of more than usual solitude on Bannadonna’s part ensued. It was not unknown that he was engaged upon something for the belfry, intended to complete it, and to surpass all that had gone before. Most people imagined that the design would involve a casting like the bells. But those who thought they had some further insight would shake their heads, with hints that[132] not for nothing did the mechanician keep so secret. Meantime, his seclusion failed not to invest his work with more or less of that sort of mystery pertaining to the forbidden.
Erelong he had a heavy object hoisted to the belfry, wrapped in a dark sack or cloak,—a procedure sometimes had in the case of an elaborate piece of sculpture or statue, which, being intended to grace the front of a new edifice, the architect does not desire exposed to critical eyes, till set up, finished, in its appointed place. Such was the impression now. But, as the object rose, a statuary present observed, or thought he did, that it was not entirely rigid, but was, in a manner, pliant. At last, when the hidden thing had attained its final height, and, obscurely seen from below, seemed almost of itself to step into the belfry as if with little assistance from the crane, a shrewd old blacksmith present ventured the suspicion that it was but a living man. This surmise was thought a foolish one, while the general interest failed not to augment.
Not without demur from Bannadonna, the chief magistrate of the town, with an associate,—both elderly men,—followed what seemed the image up the tower. But, arrived at the belfry, they had little recompense. Plausibly intrenching himself behind the conceded mysteries of his art, the mechanician withheld present explanation. The magistrates glanced toward the cloaked object, which, to their surprise, seemed now to have changed its attitude, or else had before been more perplexingly concealed by the violent muffling action of the wind without. It seemed now seated upon some sort of[133] frame or chair contained within the domino. They observed that nigh the top, in a sort of square, the web of the cloth, either from accident or from design, had its warp partly withdrawn, and the cross-threads plucked out here and there, so as to form a sort of woven grating. Whether it were the low wind or no, stealing through the stone lattice-work, or only their own perturbed imaginations, is uncertain, but they thought they discerned a slight sort of fitful, spring-like motion, in the domino. Nothing, however incidental or insignificant, escaped their uneasy eyes. Among other things, they pried out, in a corner, an earthen cup, partly corroded and partly incrusted, and one whispered to the other that this cup was just such a one as might, in mockery, be offered to the lips of some brazen statue, or, perhaps, still worse.
But, being questioned, the mechanician said that the cup was simply used in his founder’s business, and described the purpose; in short, a cup to test the condition of metals in fusion. He added that it had got into the belfry by the merest chance.
Again and again they gazed at the domino, as at some suspicious incognito at a Venetian mask. All sorts of vague apprehensions stirred them. They even dreaded lest, when they should descend, the mechanician, though without a flesh-and-blood companion, for all that, would not be left alone.
Affecting some merriment at their disquietude, he begged to relieve them, by extending a coarse sheet of workman’s canvas between them and the object.
Meantime he sought to interest them in his other[134] work; nor, now that the domino was out of sight, did they long remain insensible to the artistic wonders lying round them; wonders hitherto beheld but in their unfinished state; because, since hoisting the bells, none but the caster had entered within the belfry. It was one trait of his that, even in details, he would not let another do what he could, without too great loss of time, accomplish for himself. So, for several preceding weeks, whatever hours were unemployed in his secret design, had been devoted to elaborating the figures on the bells.
The clock-bell, in particular, now drew attention. Under a patient chisel, the latent beauty of its enrichments, before obscured by the cloudings incident to casting, that beauty in its shiest grace, was now revealed. Round and round the bell, twelve figures of gay girls, garlanded, hand-in-hand, danced in a choral ring,—the embodied hours.
“Bannadonna,” said the chief, “this bell excels all else. No added touch could here improve. Hark!” hearing a sound, “was that the wind?”
“The wind, Eccellenza,” was the light response. “But the figures, they are not yet without their faults. They need some touches yet. When those are given, and the—block yonder,” pointing toward the canvas screen, “when Haman there, as I merrily call him,—him? it, I mean,—when Haman is fixed on this, his lofty tree, then, gentlemen, shall I be most happy to receive you here again.”
The equivocal reference to the object caused some return of restlessness. However, on their part, the visitors forbore further allusion to it, unwilling, perhaps, to[135] let the foundling see how easily it lay within his plebeian art to stir the placid dignity of nobles.
“Well, Bannadonna,” said the chief, “how long ere you are ready to set the clock going, so that the hour shall be sounded? Our interest in you, not less than in the work itself, makes us anxious to be assured of your success. The people, too,—why, they are shouting now. Say the exact hour when you will be ready.”
“To-morrow, Eccellenza, if you listen for it,—or should you not, all the same,—strange music will be heard. The stroke of one shall be the first from yonder bell,” pointing to the bell adorned with girls and garlands; “that stroke shall fall there, where the hand of Una clasps Dua’s. The stroke of one shall sever that loved clasp. To-morrow, then, at one o’clock, as struck here, precisely here,” advancing and placing his finger upon the clasp, “the poor mechanic will be most happy once more to give you liege audience, in this his littered shop. Farewell till then, illustrious magnificoes, and hark ye for your vassal’s stroke.”
His still, Vulcanic face hiding its burning brightness like a forge, he moved with ostentatious deference toward the scuttle, as if so far to escort their exit. But the junior magistrate, a kind-hearted man, troubled at what seemed to him a certain sardonical disdain, lurking beneath the foundling’s humble mien, and in Christian sympathy more distressed at it on his account than on his own, dimly surmising what might be the final fate of such a cynic solitaire, nor perhaps uninfluenced by the general strangeness of surrounding things,—this good magistrate had glanced sadly, sidewise from the speaker,[136] and thereupon his foreboding eye had started at the expression of the unchanging face of the hour Una.
“How is this, Bannadonna?” he lowly asked, “Una looks unlike her sisters.”
“In Christ’s name, Bannadonna,” impulsively broke in the chief, his attention for the first time attracted to the figure by his associate’s remark, “Una’s face looks just like that of Deborah, the prophetess, as painted by the Florentine, Del Fonca.”
“Surely, Bannadonna,” lowly resumed the milder magistrate, “you meant the twelve should wear the same jocundly abandoned air. But see, the smile of Una seems but a fatal one. ’Tis different.”
While his mild associate was speaking, the chief glanced, inquiringly, from him to the caster, as if anxious to mark how the discrepancy would be accounted for. As the chief stood, his advanced foot was on the scuttle’s curb. Bannadonna spoke:—
“Eccellenza, now that, following your keener eye, I glance upon the face of Una, I do, indeed, perceive some little variance. But look all round the bell, and you will find no two faces entirely correspond. Because there is a law in art—But the cold wind is rising more; these lattices are but a poor defence. Suffer me, magnificoes, to conduct you at least partly on your way. Those in whose well-being there is a public stake should be heedfully attended.”
“Touching the look of Una, you were saying, Bannadonna, that there was a certain law in art,” observed the chief, as the three now descended the stone shaft, “pray, tell me, then—”
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“Pardon—another time, Eccellenza; the tower is damp.”
“Nay, I must rest, and hear it now. Here,—here is a wide landing, and through this leeward slit no wind, but ample light. Tell us of your law, and at large.”
“Since, Eccellenza, you insist, know that there is a law in art, which bars the possibility of duplicates. Some years ago, you may remember, I graved a small seal for your republic, bearing, for its chief device, the head of your own ancestor, its illustrious founder. It becoming necessary, for the customs’ use, to have innumerable impressions for bales and boxes, I graved an entire plate, containing one hundred of the seals. Now, though, indeed, my object was to have those hundred heads identical, and though, I dare say, people think them so, yet, upon closely scanning an uncut impression from the plate, no two of those five-score faces, side by side, will be found alike. Gravity is the air of all; but diversified in all. In some, benevolent; in some, ambiguous; in two or three, to a close scrutiny, all but incipiently malign, the variation of less than a hair’s breadth in the linear shadings round the mouth sufficing to all this. Now, Eccellenza, transmute that general gravity into joyousness, and subject it to twelve of those variations I have described, and tell me, will you not have my hours here, and Una one of them? But I like—”
“Hark! is that—a footfall above?”
“Mortar, Eccellenza; sometimes it drops to the belfry-floor from the arch where the stonework was left undressed. I must have it seen to. As I was about to say: for one, I like this law forbidding duplicates. It[138] evokes fine personalities. Yes, Eccellenza, that strange and—to you—uncertain smile, and those fore-looking eyes of Una, suit Bannadonna very well.”
“Hark!—sure, we left no soul above?”
“No soul, Eccellenza; rest assured, no soul. Again the mortar.”
“It fell not while we were there.”
“Ah, in your presence, it better knew its place, Eccellenza,” blandly bowed Bannadonna.
“But Una,” said the milder magistrate, “she seemed intently gazing on you; one would have almost sworn that she picked you out from among us three.”
“If she did, possibly it might have been her finer apprehension, Eccellenza.”
“How, Bannadonna? I do not understand you.”
“No consequence, no consequence, Eccellenza: but the shifted wind is blowing through the slit. Suffer me to escort you on; and then, pardon, but the toiler must to his tools.”
“It may be foolish, Signor,” said the milder magistrate, as, from th............