by Sam Stall
The first contingent of felines arrived shortly thereafter. They must have done their work well, because they remained through the reign of every czar. They also survived the communist revolution intact, though the descendants of the original band were decimated during World War II. Saint Petersburg (then called Leningrad) was blockaded for months by German troops. Food became very scarce, and many of the Hermitage cats became entrées.
After the war, their numbers were replenished. While the cats the czars kept were said to be Persians, today’s collection is a somewhat motley assortment of former strays domiciled in the building’s basement. Donations by employees and proceeds from an annual sale of paintings made by the children of Hermitage workers are used to pay for the cats’ medical care, shelter, and food to supplement whatever they catch on their own.
Though the felines regularly patrol outdoors, they’re no longer allowed in the galleries and exhibit halls. On rare occasions, however, some do find their way in. But since they usually trigger the museum’s elaborate electronic security system in the process, they’re promptly escorted right back out.
SELIMA
THE CAT WHO DIED
FOR ART’S SAKE
Many cats enjoy posthumous honors, but few have been commemorated so artfully, or in such varied mediums, as Selima, the companion of eighteenth-century British author, politician, and aristocrat Horace Walpole, fourth Earl of Orford. Perhaps she received so much attention because she died so colorfully. While attempting to reach some goldfish in a porcelain vase, Selima fell in and drowned.
Walpole was bereft. He had an inscription about the cat carved on the offending vase (which can still be seen at his mansion, Strawberry Fields), and asked a poet friend, Thomas Gray, to author an epitaph. Gray went him one better, composing Ode on the Death of a Favourite Cat. It advises the reader against striving blindly for unworthy goals, and it ends with the line that has made it immortal: “Not all that tempts your wand’ring eyes / And heedless hearts is lawful prize. / Nor all that glitters, gold.”
As if this weren’t enough of a monument, in 1776 the artist Stephen Elmer executed a painting called Horace Walpole’s Favourite Cat, showing Selima perched precariously over the goldfish bowl. Nearby sits a book, opened to Gray’s Ode.
BEERBOHM
THE CAT WHO UPSTAGED
BRITAIN’S FINEST THESPIANS
For centuries no self-respecting English theater—at least, none that wished to be free of vermin—could do without a cat. But besides hunting mice, these felines came to serve other functions. Actors considered them good luck charms, and their calming presence cured many a bout of stage fright. They grew so useful that even the most egotistical performers overlooked the fact that the cats occasionally wandered onstage during productions, upstaging their human associates.
No modern theater cat served as ably, as famously, or as long as Beerbohm, who handled vermin suppression duties at the Gielgud Theatre (formerly the Globe) in London’s West End from the 1970s to the early 1990s. The regal-looking tabby often picked certain actors to fawn over, and he wandered onto the boards at least once during the run of every show. Named after British stage veteran Herbert Beerbohm Tree, he worked in show business for twenty years before retiring to Kent to live with the company’s carpenter. He died in March 1995—a sad passing that was honored with a front-page obituary in the theater newspaper The Stage. His portrait still hangs in the Gielgud.
HODGE
THE CAT WHO HELPED
WRITE A DICTIONARY
Many a famous poet or novelist has written under the languid gaze of a feline. But few such four-legged muses can match the grit and staying power of a black cat named Hodge. He provided companionship to lexicographer Samuel Johnson (1709–1784) as he single-handedly composed the first truly authoritative dictionary of the English language.
Johnson gave eleven years to the work, churning out definition after definition at his home at 17 Gough Square in London. As the great lexicographer labored at his desk, Hodge was often at his elbow, amusing and diverting his owner from what must have been an unimaginable grind. The project was finally completed in 1775. It won universal acclaim, became the literary world’s reference of choice for more than a century, and earned its author the nickname “Dictionary Johnson.”
However, the world knows about Hodge (and his master) not because of the dictionary, but because of a young Scotsman named James Boswell. Boswell befriended Johnson in 1763 and spent the next few decades following him around, scribbling down the sage’s comments and making no secret of his desire to write the great man’s biography. In 1799, he duly produced The Life of Samuel Johnson, considered the first truly well-rounded, sympathetic, modern biography. It made Johnson, who might have merited no more than a footnote in the history books, into an immortal literary character.
Boswell also turned Hodge into a famous literary cat, despite being pathologically afraid of him. “I never shall forget the indulgence with which he treated Hodge, his cat: for whom he himself used to go out and buy oysters, lest the servants having that trouble should take a dislike to the poor creature,” Boswell wrote in The Life of Johnson. “I am, unluckily, one of those who have an antipathy to a cat, so that I am uneasy when in the room with one; and I own, I frequently suffered a good deal from the presence of this same Hodge. I recollect him one day scrambling up Dr. Johnson’s breast, apparently with much satisfaction, while my friend smiling and half-whistling, rubbed down his back, and pulled him by the tail; and when I observed he was a fine cat, saying, ‘Why yes, Sir, but I have had cats whom I liked better than this’; and then as if perceiving Hodge to be out of countenance, adding, ‘but he is a very fine cat, a very fine cat indeed.’ ”
Johnson supported his four-legged companion to the bitter end. Boswell notes how the great lexicographer, as his cat’s final hours approached, went off to purchase some valerian (a relative of catnip) to ease his suffering. Upon his death the poet Percival Stockdale wrote An Elegy on the Death of Dr Johnson’s Favourite Cat, which reads in part, “Who, by his master when caressed / Warmly his gratitude expressed / And never failed his thanks to purr / Whene’er he stroked his sable fur.”
Today, across the street from the building where Johnson composed his masterwork, stands a statue of Hodge perched atop a copy of his owner’s book. In his dictionary, Johnson defined cats in general as “a domestic animal that catches mice, commonly reckoned by naturalists the lowest order of the leonine species.” But it is his more gracious assessment of Hodge, as “a very fine cat indeed,” that adorns the statue of his literary soul mate.
CATTARINA
THE CAT WHO TOUCHED
THE DARK HEART OF POE
During his short literary career, Edgar Allan Poe wrote great poems, penned some of the world’s most terrifying horror stories, and invented the detective novel. But his achievements brought him neither happiness nor material success. Quite the contrary. Before his death from alcohol abuse in 1849 at age forty, he suffered more than a lifetime’s worth of disappointment, rejection, and grief.
In 1842, his wife, Virginia, was diagnosed with tuberculosis. For the next five years, until her death in 1847, her health deteriorated. The couple’s poverty exacerbated her suffering. Poe, though intermittently employed at various magazines, was never well off. And his personal demons, chiefly his inability to stop drinking, brought turmoil to his home. His problem grew so severe that he feared he might actually hurt Virginia during one of his drunken fits.
Throughout these years the couple’s most devoted companion was a feline named Cattarina. The Poes, who didn’t stand on ceremony, sometimes called their tortoiseshell cat Kate (Poe himself was often referred to as “Eddie”). The cat would sit on her master’s shoulder as he wrote and would cuddle next to Virginia, sometimes providing the only warmth that their freezing cottage had to offer.
Poe never physically harmed his wife, who by all accounts he loved deeply. But the fear was always there, along with what
must have been searing guilt over his inability to give her a better life. He shared those feelings of inadequacy and self-loathing in his story The Black Cat—a tale of unparalleled gruesomeness inspired in part by Cattarina’s devotion to Virginia and by Poe’s anxiety about his own dark side.
The story, written in 1842, tells the tale of a drunk who, in a fit of alcoholic rage, hangs his cat, who Poe describes as a “beautiful animal, entirely black, and sagacious to an astonishing degree.” Not long afterward he’s followed home by another feline that looks almost exactly like the one he killed—except for an unnerving ring of white fur around the creature’s neck.
The man’s wife takes an immediate liking to the newcomer, and they become inseparable. The man, however, comes to believe that his new pet wants to avenge his earlier crime. During yet another drunken rage he tries to kill it with an ax, only to murder his wife instead. He quickly walls up her body in the basement and is relieved to find that the cat has disappeared.
Later, he brazenly shows the basement to searchers sent to investigate his wife’s disappearance. But suddenly, a terrible wail erupts from behind the masonry. The wall is pulled down, revealing the dead woman with the black cat perched on her head, screeching. In his haste the man had sealed up the animal with his wife.
The story’s finale is one of the most unforgettable scenes in horror literature—and one of the most psychologically revealing. In the real world, Poe tried his best to care for his wife, and never gave so much as a dirty look to his dark muse, Cattarina. But it probably crossed his mind that this tortoiseshell feline served his wife better and more faithfully than he ever managed to. If so, then perhaps The Black Cat accomplished two things: It cast the fears and inadequacies of its author into sharp relief, and it honored the memory of the selfless Cattarina, whose literary incarnation has outlived both herself, her mistress, and her master.
PANGUR BAN
IRELAND’S MOST FAMOUS FELINE
For most of history, the only way to create a new copy of an old book was to obtain a stack of fresh parchment, pull up a chair, break out a pot of ink, and laboriously copy every line by hand. During the Middle Ages this mind-numbing task was raised to an art form by Catholic monks, legions of whom spent their lives huddled over tables in stone cells all over Europe, copying everything from Greek and Roman classics to the latest papal pronouncements. Much of the knowledge that survived from ancient times did so only because of their unceasing efforts.
Working as a scribe was important, but not very creative. That’s why so few of these human photocopy machines made any sort of mark on history. One of that handful was a young man who, sometime in the ninth century, perhaps trained as a student copyist at the Monastery of St Paul in Carinthia, Austria. We don’t know his name, but thanks to a short poem he scribbled on the back of a copy of St Paul’s Epistles, we do know the name of his cat—Pangur Ban.
That feline, apparently, was the medieval manuscript copier’s bosom friend. The young Irishman (his origin is known because the poem was written in Gaelic) traveled all the way from the Emerald Isle to Austria to acquire the skills of a scribe. There he must have spent endless days and nights in relative isolation, his only company the manuscript he was working on and his faithful white cat, Pangur Ban. Again, scholars can guess at the feline’s color because in Gaelic ban means “white.” This man, who was obviously a long way from home, decided, for reasons unknown, to slip among the monastery’s weighty manuscripts a short poem about his relationship with his cat. Reading it now (in a translation by Robin Flower), one can almost hear the feline frisking around the lonely monk’s cell as he works:
I and Pangur Ban, my cat,
’Tis a like task we are at;
Hunting mice is his delight,
Hunting words I sit all night.
Better far than praise of men
’Tis to sit with book and pen;
Pangur bears me no ill will,
He too plies his simple skill.
’Tis a merry thing to see
At our tasks how glad are we,
When at home we sit and find
Entertainment to our mind.
Oftentimes a mouse will stray
In the hero Pangur’s way;
Oftentimes my keen thought set
Takes a meaning in its net.
’Gainst the wall he sets his eye
Full and fierce and sharp and sly;
’Gainst the wall of knowledge I
All my little wisdom try.
When a mouse darts from its den,
O how glad is Pangur then!
O what gladness do I prove
When I solve the doubts I love!
So in peace our tasks we ply,
Pangur Ban, my cat, and I;
In our arts we find our bliss,
I have mine and he has his.
Practice every day has made
Pangur perfect in his trade;
I get wisdom day and night
Turning darkness into light.
No one will ever learn the ultimate fate of either the poetic monk or his cat. And of course, he can never know that his poem, authored perhaps in a moment of fatigue or whimsy, would leave its mark on history. Found centuries later, the little ditty became one of the greatest examples of early Irish poetry.
PETER
THE CAT WHO DROVE
HIS MASTER NUTS
One of the most famous illustrators of the late nineteenth and early twentieth centuries was an Englishman named Louis Wain. He made his fortune drawing fanciful pictures of anthropomorphized cats doing everything from playing golf to having tea. This feline version of the dogs-playing-poker franchise was inspired by Wain’s own pet, Peter.
Sadly, Wain’s cat pictures provide a riveting visual record of his eventual descent into madness. Born August 5, 1860, Wain began his artistic career as a teen. During his early twenties he worked as a freelancer of modest reputation. Then his wife, Emily, began a long struggle with cancer, which would eventually claim her life. Since she took great solace from their black and white cat, Peter, Wain taught him tricks, such as wearing spectacles. Then he started drawing the cat in more fanciful situations, and a new career was born. “To him properly belongs the foundation of my career, the developments of my initial efforts, and the establishing of my work,” he wrote.
For years thereafter, Peter would be seen again and again in his master’s renderings. In 1886, Wain drew a massive piece called A Kitten’s Christmas Party for the Illustrated London News. It won him wide acclaim, and soon his pictures of upright-walking, clothes-wearing cats were everywhere. It’s hard to overestimate Wain’s popularity. His felines graced everything from greeting cards to children’s books to the Louis Wain Annual, a magazine devoted to his caricatures. He was to cats what Thomas Kinkade is to cottages.
Sadly, though the artist’s work is still remembered today, it is for a darker reason. Late in life Wain developed schizophrenia and spent almost two decades confined to mental hospitals before his death in 1939. He painted until the end, unwittingly creating a disturbing record of his descent into madness. As his schizophrenia took hold, the clothes-wearing cats disappeared. Instead Wain created ever more abstract-looking feline portraits, with the subjects rendered in bright, almost psychedelic colors and sporting surprised, even terrified, expressions. In his final works—basically collections of small, geometric shapes—the “cats” are merely complex kaleidoscopic patterns. And yet, even toward the end, the poor mad artist occasionally created portraits that looked like Peter, the cat who started it all.
MASTER’S CAT
THE CAT WHO CHARMED
THE DICKENS OUT OF DICKENS
English novelist Charles Dickens was a great fan of dogs and birds—so fond, in fact, that for years cats were banned from his London household, lest they make off with his feathered friends. But all that changed when Dickens’s daughter, Mamie, received a white kitten as a gift. The cat was christened William. Shortly the
reafter, after giving birth to kittens, she was rechristened Williamina.
The feline family was supposed to stay in a box in the kitchen. But Williamina had other plans. One by one she carried her kittens into Dickens’s study and deposited them in a corner. Dickens told his daughter that they couldn’t stay and had her take them back to the kitchen. But Williamina brought them back. Mamie removed them again, only to have the mother once more laboriously haul them into the study. Only this time she laid them directly at the great man’s feet and then stared at him imploringly, as if begging permission to stay.
It was finally granted, and the kittens enjoyed the privilege of climbing up the curtains and scampering across Dickens’s desk as he tried to work. When they were old enough, all were found good homes—except for a single deaf kitten. Because it could never hear its name, it was never given one. Instead he was known simply as “the master’s cat.” And indeed he was. He followed Dickens like a dog throughout the house and would sit by him at his desk as he wrote.
Not that the master’s cat didn’t demand a certain level of attention from the master. One night, when the rest of his family went out to attend a ball, Dickens sat in his study by a candle, engrossed in a book. The cat, as usual, was at his side. Suddenly the candle flickered out. Dickens, too engrossed in his reading to notice the cause, relit the candle and continued. He also gave a passing pat on the head to his cat, who stared at him longingly.