The Humbugs of the World, P. T. Barnum [suggested reading .txt] 📗

comes into the city in a strange vehicle, drawn by two fine Lombardy ponies, and unharnesses them in the very center 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 offenses; 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 marketplace, 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 debut 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 showpieces, 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