CASANOVA'S ESCAPE FROM THE PIOMBI
Patrician influence from without had procured Casanova's removal in August of that year, 1756, from the loathsome cell he had occupied for thirteen months in the Piombi - so called from the leaded roof immediately above those prisons which are simply the garrets of the Doge's palace.
That cell had been no better than a kennel seldom reached by the light of day, and so shallow that it was impossible for a man of his fine height to stand upright in it. But his present prison was comparatively spacious and it was airy and well-lighted by a barred window, whence he could see the Lido.
Yet he was desperately chagrined at the change, for he had almost completed his arrangements to break out of his former cell. The only ray of hope in his present despair came from the fact that the implement to which he trusted was still in his possession, safely concealed in the upholstery of the armchair that had been moved with him into his present quarters. That implement he had fashioned for himself with infinite pains out of a door-bolt some twenty inches long, which he had found discarded in a rubbish-heap in a corner of the attic where he had been allowed to take his brief daily exercise.
Using as a whetstone a small slab of black marble, similarly acquired, he had shaped that bolt into a sharp octagonal-pointed chisel or spontoon.
It remained in his possession, but he saw no chance of using it now, for the suspicions of Lorenzo, the gaoler, were aroused, and daily a couple of archers came to sound the floors and walls. True they did not sound the ceiling, which was low and within reach. But it was obviously impossible to cut through the ceiling in such a manner as to leave the progress of the work unseen.
Hence his despair of breaking out of a prison where he had spent over a year without trial or prospect of a trial, and where he seemed likely to spend the remainder of his days. He did not even know precisely why he had been arrested. All that Giacomo Casanova knew was that he was accounted a disturber of the public peace. He was notoriously a libertine, a gamester, and heavily in debt: also - and this was more serious - he was accused of practising magic, as indeed he had done, as a means of exploiting to his own profit the credulity of simpletons of all degrees. He would have explained to the Inquisitors of State of the Most Serene Republic that the books of magic found by their apparitors in his possession - "The Clavicula of Solomon," the "Zecor-ben," and other kindred works - had been collected by him as curious instances of human aberration. But the Inquisitors of State would not have believed him, for the Inquisitors were among those who took magic seriously. And, anyhow, they had never asked him to explain, but had left him as if forgotten in that abominable verminous cell under the leads, until his patrician friend had obtained him the mercy of this transfer to better quarters.
This Casanova was a man of iron nerve and iron constitution. Tall and well-made, he was boldly handsome, with fine dark eyes and dark brown hair. In age he was barely one and twenty; but he looked older, as well he might, for in his adventurer's way he had already gathered more experience of life than most men gain in half a century.
The same influence that had obtained him his change of cell had also gained him latterly the privilege - and he esteemed it beyond all else - of procuring himself books. Desiring the works of Maffai, he bade his gaoler purchase them out of the allowance made him by the Inquisitors in accordance with the Venetian custom. This allowance was graduated to the social status of each prisoner. But the books being costly and any monthly surplus from his monthly expenditure being usually the gaoler's perquisite, Lorenzo was reluctant to indulge him. He mentioned that there was a prisoner above who was well equipped with books, and who, no doubt, would be glad to lend in exchange.
Yielding to the suggestion, Casanova handed Lorenzo a copy of Peteau's "Rationarium," and received next morning, in exchange, the first volume of Wolf. Within he found a sheet bearing in six verses a paraphrase of Seneca's epigram, "Calamitosus est animus futuri anxius." Immediately he perceived he had stumbled upon a means of corresponding with one who might be disposed to assist him to break prison.
In reply, being a scholarly rascal (he had been educated for the priesthood), he wrote six verses himself. Having no pen, he cut the long nail of his little finger to a point, and, splitting it, supplied the want. For ink he used the juice of mulberries. In addition to the verses, he wrote a list of the books in his possession, which he placed at the disposal of his fellow-captive.
He concealed the written sheet in the spine of that vellum-bound volume; and on the title-page, in warning of this, he wrote the single Latin word "Latet." Next morning he handed the book to Lorenzo, telling him that he had read it, and requesting the second volume.
That second volume came on the next day, and in the spine of it a long letter, some sheets of paper, pens, and a pencil. The writer announced himself as one Marino Balbi, a patrician and a monk, who had been four years in that prison, where he had since been given a companion in misfortune, Count Andrea Asquino.
Thus began a regular and very full correspondence between the prisoners, and soon Casanova - who had not lived on his wits for nothing - was able to form a shrewd estimate of Balbi's character.
The monk's letters revealed it as compounded of sensuality, stupidity, ingratitude, and indiscretion.
"In the world," says Casanova, "I should have had no commerce with a fellow of his nature. But in the Piombi I was obliged to make capital out of everything that came under my hands."The capital he desired to make in this instance was to ascertain whether Balbi would be disposed to do for him what he could not do for himself. He wrote inquiring, and proposing flight.
