Thunder and Lightning Part 26

In these cases the a.n.a.logy with galvano electro-metallurgy is evident.

But in the earlier cases this was not so; the trees contained no metallic element. It was not a case of transference. They seem to have been photographed by the ceraunic rays.

On October 9, 1836, a young man was killed by lightning. The corpse bore in the middle of the right shoulder six rings of flesh-colour, which seemed the more distinct in that the rest of the man's own skin was very dark. These rings, overlapping each other, were of different sizes, corresponding exactly with those of the gold coins which he had on him on the right side of his belt, as the public official who examined his body and all the witnesses were able to testify.

This makes us think of radiography.

A correspondent of Poey, the astronomer, told him that he had known a Trinidad lady who had been struck by lightning in her youth and on whose stomach the lightning had imprinted a metallic comb which she carried in her ap.r.o.n.

In these instances there was some kind of contact of the objects with the persons struck. Here are others in which the objects reproduced are further removed, but still of metallic substance and still reminding us therefore of electro-metallurgy.

In September, 1825, the brigantine _Le Buon-Servo_, at anchor in the Bay of Armiro, was struck by lightning. A sailor seated at the foot of the mizzen-mast was killed. On his back was found a light yellow and black mark, beginning at his neck and going down to his loins, where there was discovered an exact reproduction, in facsimile, of a horseshoe nailed to the mast.

The mizzen-mast of another brigantine was struck by lightning in the roadstead of Zaube. Under the left breast of a sailor who was killed was found imprinted the number 44, which his mates all declared was not there before. These two figures, large and well formed, with a full stop between them, were identical with the same numbers in metal affixed to the rigging of the s.h.i.+p, and placed between the mast and the sailor's bunk, in which he was lying asleep when struck.

May it not have been a tattoo-mark in spite of what his companions declared?

M. Jose Maria Dau, of Havana, records that in 1838, in the province of Candaleria, in Cuba, there was found on the right ear and on the right side of the neck of a young man struck by lightning, the reproduction of a horseshoe, which had been nailed up at a short distance from him against a window.

These various records lead us to the reflection: first, that ceraunography should form a new branch of physics, well meriting study; secondly, that the facts set forth are sufficiently inverse in their nature to show us that we have before us several quite distinct specimens of phenomena.

However, these matters have been a subject for study long before our day.

A priest, P. Lamy, of the Congregation of Saint Maur, published in 1696 an excellent little work,[2] informed by the most lucid common sense upon the curious effects of lightning--then a text for the most superst.i.tious commentaries. Voltaire could not have reasoned the thing out better. He deals with two very extraordinary cases among others.

The first had for scene the Abbey of Saint Medard, at Soissons, on April 26, 1676. A flash of lightning struck the tower of the abbey, went into the clock, penetrated a wall eight feet thick, by a hole conducting an iron rod _a l'aiguille de cadran_, detached two planks, four feet high, and threw them to the extreme end of the dormitory, followed a bra.s.s wire stretched along the whole length of the wall, setting fire to it and spreading it out like a ribbon painted to represent a furrow of flames. Here is the author's own description:--

"The most surprising effect, and one which has aroused the curiosity of an immense number of people, is a kind of frieze of all kinds of colours extending along the wall of the dormitory and just above the doors.

"The depth of this frieze is about two feet; its length is almost equal to that of the dormitory; the designs upon it are of flames darting up and down from a kind of wide band which occupies the centre of the frieze throughout its length.

"I have had a portion of this frieze copied, so as to give the reader an idea of it, but it must be admitted that it is difficult to suggest the variety of _nuances_ in the original. Some people declare that in the midst of all the colours in the flames, faces of men may be descried as well as of marmosets and demons; but those who are less richly endowed with imagination can see nothing of all this."

On p. 274 is a copy of the design by P. Lamy.

At this period, physicists were of the belief that lightning was "an exhalation of nitre and sulphur," acting something after the fas.h.i.+on of powder, and able to burn up or throw over everything encountered on its route. In this girdle traced by the lightning, the author sees a scattering of all the const.i.tuents of the bra.s.s wire, transformed into all kinds of colours due to the dilation of the copper, melted and vaporized over the width of two feet, the colours, in which yellow predominates, varying according to the thickness and the inequalities of the "projection."

[Ill.u.s.tration]

The second case examined into by P. Lamy, was that of what happened in the church of Sauveur at Lagny, when it was struck by lightning on July 18, 1689. This is one of the most astounding in the entire history of the subject. Let us see what our author has to tell us:--

"If we were to look for some excuse for the strangeness and diversity of the people's sayings and doings in connection with the Lagny case of lightning, we should a.s.suredly find it in the extraordinary nature of the case itself.

"For what would naturally be the effect upon minds accustomed to see mysteries in the most transparently natural events, minds whose philosophy never goes beyond the senses, when they learn--

"1. That the lightning had not only descended upon the clock-tower of the church, and carried off the slates from its roof, but had struck and overthrown nearly fifty persons inside the edifice, and wrought great havoc on the high altar.

"2. That it knocked over and broke the pedestal on which the figure of Christ was raised to the level of the altar-screen, though this figure remained miraculously suspended in the same place--for this is what is reported.

"3. That it carried off the curtain covering the panels of the altar and threw it to the ground without breaking or melting any of its rings, which were made only of copper, and without displacing the rod above the ring-bolts on which they hung.

"4. That it upset the oil-lamp burning before the high altar.

"5. That it broke into two pieces the stone upon which the priest consecrates the Host.

"6. That it tore into four pieces the card on which the canon of the Ma.s.s was printed.

"7. That it tore the altar-cloth and the cloth which was over it--both of them in an extraordinary way, namely, in the form of a cross of St.

Anthony.

"8. That the high altar was seen to be burning.

"9. That it burnt a part of the communion-cloth and of the tabernacle, upon which it formed several black waves.

"10. Finally that it imprinted upon the altar-cloth the sacred words of the consecration, beginning with _Qui pridie quam pateretur_, and going down to _Haec quotiesc.u.mque feceretis in mei memoriam facietis_, inclusive; only omitting those which are usually set forth in special characters, namely, _Hoc est Corpus meum_; _et Hic est Sanguis meus_.

"What, I repeat, can you expect unphilosophical minds to make of so astonis.h.i.+ng an affair as this? How account for the choice, the discernment, and the mysterious preference for some words over others.

Which shall we consider the privileged words--those taken or those left? What is one to think of the extraordinary way in which the figure of the Saviour was left hanging? And of that strange imprint of the cross? How resist all the thousand delusions and uncertainties and fears the entire thing calls forth?

"I wonder whether the unfortunate Balthasar, when his eyes beheld the terrible sight of the unknown hand inscribing upon the walls of his banqueting-room the announcement of his doom, can have been a prey to a greater variety of fears and tremors than those who witnessed or who even heard of the effects of the lightning at Lagny. For no doubt was felt that they were the outcome of supernatural forces--spirits alone could have worked these marvels; it was a question only whether they were the work of evil spirits or good. Some believed them to be the work of good spirits, deducing this from the omission of the words, _Hoc est Corpus_, etc., which they set down to a spirit of reverence for the sacred mystery.

"Others believed them to be the work of evil spirits, but here again there were different theories. Some held that bad spirits had perpetrated these things out of sheer wickedness, wilfully profaning the holy objects and suppressing out of contempt, or some other evil design, the words so essential to the mystery; others held that mere imps had been at work, actuated more by mischief than sinfulness, and wis.h.i.+ng only to give amus.e.m.e.nt to themselves and others by the quaintness of their pranks. I myself do not share any of those theories."

Lamy's narrative proceeds to an examination of all the effects recorded, which he explains in the simplest way in the world, without having to have recourse to any occult causes. He comes, finally, to the last of all and the most extraordinary.

"Not wis.h.i.+ng to put trust in anything but my own eyes, I went to the church myself, and the effects of the lightning I saw there repaid me for the trouble.

"I examined carefully the new imprint on the cloth. I found it very clear and fine, the letters well finished, but the ink a little indistinct, perhaps I should say faded. As M. le Cure de Saint-Sauveur (who was kind enough to show me everything) a.s.sured me that at the moment of the lightning the three-leaved card which contains the canon of the Ma.s.s lay between the altar-cloth and the small mat upon the stone on which the consecration takes place, folded in such a way that the printed side was next to the altar-cloth, I compared the characters printed by the lightning with the original lettering, and found that they corresponded exactly, except that they went from right to left, backwards, so that they had to be read with the help of a mirror, or else through the cloth from behind.

"I observed that the words which the lightning had not printed on the cloth, but had omitted, were done in red letters on the card, and were no more favoured nor ill-used than certain other marks without any significance also printed in red upon the card, and leaving no trace upon the altar-cloth."

The author proceeds to explain the so-called mystery, ascribing it to the difference between the two inks--the thick black ink and the thin red ink. He examines also into the other phenomena, explaining them in the same way, like the sagacious and enlightened observer he was.

It is clear, then, that the study of the phenomena of lightning is no new thing, and that it has been followed conscientiously for many centuries.

In the case of the canon of the Ma.s.s printed by the lightning at Lagny, the reproduction was by contact and pressure--it was not a case of reproducing distant objects as though by photography. Here is another case hardly less remarkable. The narrative is from the pen of Isaac Casaubon, in his _Adversaria_:--

"On a summer's day, about 1595, while divine service was in progress in the Cathedral at Wells, two or three thunderclaps were heard, of so terrible a nature that the whole congregation threw themselves down on the ground. Lightning followed at once, but no one was hurt. The astonis.h.i.+ng thing about the affair lies in the fact that crosses were afterwards found to have been imprinted upon the bodies of some of those present at the service. The Bishop of Wells a.s.sured the Bishop of Ely that his wife told him she had a cross thus imprinted upon her; and that on his being incredulous, she had shown it to him, and that he himself found afterwards that he, too, was thus adorned--on his arm, if I remember right. Some had it on their breast, some on their shoulders. It is from the Bishop of Ely I have these facts, which he tells me are well authenticated."

What shall we say now of the photographing of a landscape on the inside of the skin of sheep which had been struck by lightning? The record of this seems well authenticated.

In 1812, near the village of Combe-Hay, four miles from Bath, there was a wood composed largely of oaks and nut trees. In the middle of it was a field, about fifty yards long, in which six sheep were struck dead by lightning. When skinned, there was discovered on them, on the inside of the skin, a facsimile of part of the adjacent landscape.

These skins were exhibited at Bath.

This record was communicated by James Shaw to the Meteorological Society of London at its session of March, 1857. Here are his own words:--

"I may add that the small field and its surrounding wood were familiar to me and my schoolmates, and that when the skins were shown to us we at once identified the local scenery so wonderfully represented."

Andres Poey tells us of these other curious cases:--