A Stable for Nightmares, by J. Sheridan Le Fanu

The Secret of the Two Plaster Casts.

Years before the accession of her Majesty Queen Victoria, and yet at not so remote a date as to be utterly beyond the period to which the reminiscences of our middle-aged readers extend, it happened that two English gentlemen sat at table on a summer’s evening, after dinner, quietly sipping their wine and engaged in desultory conversation. They were both men known to fame. One of them was a sculptor whose statues adorned the palaces of princes, and whose chiselled busts were the pride of half the nobility of his nation; the other was no less renowned as an anatomist and surgeon. The age of the anatomist might have been guessed at fifty, but the guess would have erred on the side of youth by at least ten years. That of the sculptor could scarcely be more than five-and-thirty. A bust of the anatomist, so admirably executed as to present, although in stone, the perfect similitude of life and flesh, stood upon a pedestal opposite to the table at which sat the pair, and at once explained at least one connecting-link of companionship between them. The anatomist was exhibiting for the criticism of his friend a rare gem which he had just drawn from his cabinet: it was a crucifix magnificently carved in ivory, and incased in a setting of pure gold.

“The carving, my dear sir,” observed Mr. Fiddyes, the sculptor, “is indeed, as you say, exquisite. The muscles are admirably made out, the flesh well modelled, wonderfully so for the size and material; and yet — by the bye, on this point you must know more than I— the more I think upon the matter, the more I regard the artistic conception as utterly false and wrong.”

“You speak in a riddle,” replied Dr. Carnell; “but pray go on, and explain.”

“It is a fancy I first had in my student-days,” replied Fiddyes. “Conventionality, not to say a most proper and becoming reverence, prevents people by no means ignorant from considering the point. But once think upon it, and you at least, of all men, must at once perceive how utterly impossible it would be for a victim nailed upon a cross by hands and feet to preserve the position invariably displayed in figures of the Crucifixion. Those who so portray it fail in what should be their most awful and agonizing effect. Think for one moment, and imagine, if you can, what would be the attitude of a man, living or dead, under this frightful torture.”

“You startle me,” returned the great surgeon, “not only by the truth of your remarks, but by their obviousness. It is strange indeed that such a matter should have so long been overlooked. The more I think upon it the more the bare idea of actual crucifixion seems to horrify me, though heaven knows I am accustomed enough to scenes of suffering. How would you represent such a terrible agony?”

“Indeed I cannot tell,” replied the sculptor; “to guess would be almost vain. The fearful strain upon the muscles, their utter helplessness and inactivity, the frightful swellings, the effect of weight upon the racked and tortured sinews, appal me too much even for speculation.”

“But this,” replied the surgeon, “one might think a matter of importance, not only to art, but, higher still, to religion itself.”

“Maybe so,” returned the sculptor. “But perhaps the appeal to the senses through a true representation might be too horrible for either the one or the other.”

“Still,” persisted the surgeon, “I should like — say for curiosity — though I am weak enough to believe even in my own motive as a higher one — to ascertain the effect from actual observation.”

“So should I, could it be done, and of course without pain to the object, which, as a condition, seems to present at the outset an impossibility.”

“Perhaps not,” mused the anatomist; “I think I have a notion. Stay — we may contrive this matter. I will tell you my plan, and it will be strange indeed if we two cannot manage to carry it out.”

The discourse here, owing to the rapt attention of both speakers, assumed a low and earnest tone, but had perhaps better be narrated by a relation of the events to which it gave rise. Suffice it to say that the Sovereign was more than once mentioned during its progress, and in a manner which plainly told that the two speakers each possessed sufficient influence to obtain the assistance of royalty, and that such assistance would be required in their scheme.

The shades of evening deepened while the two were still conversing. And leaving this scene, let us cast one hurried glimpse at another taking place contemporaneously.

Between Pimlico and Chelsea, and across a canal of which the bed has since been used for the railway terminating at Victoria Station, there was at the time of which we speak a rude timber footway, long since replaced by a more substantial and convenient erection, but then known as the Wooden Bridge. It was named shortly afterward Cutthroat Bridge, and for this reason.

While Mr. Fiddyes and Dr. Carnell were discoursing over their wine, as we have already seen, one Peter Starke, a drunken Chelsea pensioner, was murdering his wife upon the spot we have last indicated. The coincidence was curious.

In those days the punishment of criminals followed closely upon their conviction. The Chelsea pensioner whom we have mentioned was found guilty one Friday and sentenced to die on the following Monday. He was a sad scoundrel, impenitent to the last, glorying in the deeds of slaughter which he had witnessed and acted during the series of campaigns which had ended just previously at Waterloo. He was a tall, well-built fellow enough, of middle age, for his class was not then, as now, composed chiefly of veterans, but comprised many young men, just sufficiently disabled to be unfit for service. Peter Starke, although but slightly wounded, had nearly completed his term of service, and had obtained his pension and presentment to Chelsea Hospital. With his life we have but little to do, save as regards its close, which we shall shortly endeavor to describe far more veraciously, and at some greater length than set forth in the brief account which satisfied the public of his own day, and which, as embodied in the columns of the few journals then appearing, ran thus:

“On Monday last Peter Starke was executed at Newgate for the murder at the Wooden Bridge, Chelsea, with four others for various offences. After he had been hanging only for a few minutes a respite arrived, but although he was promptly cut down, life was pronounced to be extinct. His body was buried within the prison walls.”

Thus far history. But the conciseness of history far more frequently embodies falsehood than truth. Perhaps the following narration may approach more nearly to the facts.

A room within the prison had been, upon that special occasion and by high authority, allotted to the use of Dr. Carnell and Mr. Fiddyes, the famous sculptor, for the purpose of certain investigations connected with art and science. In that room Mr. Fiddyes, while wretched Peter Starke was yet swinging between heaven and earth, was busily engaged in arranging a variety of implements and materials, consisting of a large quantity of plaster-of-Paris, two large pails of water, some tubs, and other necessaries of the moulder’s art. The room contained a large deal table, and a wooden cross, not neatly planed and squared at the angles, but of thick, narrow, rudely-sawn oaken plank, fixed by strong, heavy nails. And while Mr. Fiddyes was thus occupied, the executioner entered, bearing upon his shoulders the body of the wretched Peter, which he flung heavily upon the table.

“You are sure he is dead?” asked Mr. Fiddyes.

“Dead as a herring,” replied the other. “And yet just as warm and limp as if he had only fainted.”

“Then go to work at once,” replied the sculptor, as turning his back upon the hangman, he resumed his occupation.

The “work” was soon done. Peter was stripped and nailed upon the timber, which was instantly propped against the wall.

“As fine a one as ever I see,” exclaimed the executioner, as he regarded the defunct murderer with an expression of admiration, as if at his own handiwork, in having abruptly demolished such a magnificent animal. “Drops a good bit for’ard, though. Shall I tie him up round the waist, sir?”

“Certainly not,” returned the sculptor. “Just rub him well over with this oil, especially his head, and then you can go. Dr. Carnell will settle with you.”

“All right, sir.”

The fellow did as ordered, and retired without another word; leaving this strange couple, the living and the dead, in that dismal chamber.

Mr. Fiddyes was a man of strong nerve in such matters. He had been too much accustomed to taking posthumous casts to trouble himself with any sentiment of repugnance at his approaching task of taking what is called a “piece-mould” from a body. He emptied a number of bags of the white powdery plaster-of-Paris into one of the larger vessels, poured into it a pail of water, and was carefully stirring up the mass, when a sound of dropping arrested his ear.

Drip, drip.

“There’s something leaking,” he muttered, as he took a second pail, and emptying it, again stirred the composition.

Drip, drip, drip.

“It’s strange,” he soliloquized, half aloud. “There is no more water, and yet ——”

The sound was heard again.

He gazed at the ceiling; there was no sign of damp. He turned his eyes to the body, and something suddenly caused him a violent start. The murderer was bleeding.

The sculptor, spite of his command over himself, turned pale. At that moment the head of Starke moved — clearly moved. It raised itself convulsively for a single moment; its eyes rolled, and it gave vent to a subdued moan of intense agony. Mr. Fiddyes fell fainting on the floor as Dr. Carnell entered. It needed but a glance to tell the doctor what had happened, even had not Peter just then given vent to another low cry. The surgeon’s measures were soon taken. Locking the door, he bore a chair to the wall which supported the body of the malefactor. He drew from his pocket a case of glittering instruments, and with one of these, so small and delicate that it scarcely seemed larger than a needle, he rapidly, but dexterously and firmly, touched Peter just at the back of the neck. There was no wound larger than the head of a small pin, and yet the head fell instantly as though the heart had been pierced. The doctor had divided the spinal cord, and Peter Starke was dead indeed.

A few minutes sufficed to recall the sculptor to his senses. He at first gazed wildly upon the still suspended body, so painfully recalled to life by the rough venesection of the hangman and the subsequent friction of anointing his body to prevent the adhesion of the plaster.

“You need not fear now,” said Dr. Carnell; “I assure you he is dead.”

“But he was alive, surely!”

“Only for a moment, and even that scarcely to be called life — mere muscular contraction, my dear sir, mere muscular contraction.”

The sculptor resumed his labor. The body was girt at various circumferences with fine twine, to be afterward withdrawn through a thick coating of plaster, so as to separate the various pieces of the mould, which was at last completed; and after this Dr. Carnell skilfully flayed the body, to enable a second mould to be taken of the entire figure, showing every muscle of the outer layer.

The two moulds were thus taken. It is difficult to conceive more ghastly appearances than they presented. For sculptor’s work they were utterly useless; for no artist except the most daring of realists would have ventured to indicate the horrors which they presented. Fiddyes refused to receive them. Dr. Carnell, hard and cruel as he was, for kindness’ sake, in his profession, was a gentle, genial father of a family of daughters. He received the casts, and at once consigned them to a garret, to which he forbade access. His youngest daughter, one unfortunate day, during her father’s absence, was impelled by feminine curiosity — perhaps a little increased by the prohibition — to enter the mysterious chamber.

Whether she imagined in the pallid figure upon the cross a celestial rebuke for her disobedience, or whether she was overcome by the mere mortal horror of one or both of those dreadful casts, can now never be known. But this is true: she became a maniac.

The writer of this has more than once seen (as, no doubt, have many others) the plaster effigies of Peter Starke, after their removal from Dr. Carnell’s to a famous studio near the Regent’s Park. It was there that he heard whispered the strange story of their origin. Sculptor and surgeon are now both long since dead, and it is no longer necessary to keep the secret of the two plaster casts.

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Last updated Monday, March 17, 2014 at 16:49