The Witching Hour (71 page)

Whatever the case, Katherine and Darcy Monahan fell deeply in love, and Julien proved to be insanely jealous of his sister and would not permit her to marry so young. An enormous family squabble ensued. Julien moved out of the family home at Riverbend and spent some time in a fiat in the French Quarter with a male companion of whom we know little except that he was from New York and rumored to be very handsome and devoted to Julien in a way that caused people to whisper that the pair were lovers.

The gossip further relates that Katherine stole away to New Orleans to be alone with Darcy Monahan in the unfinished house at First Street, and there the two lovers pledged their fealty in roofless rooms, or in the wild unfinished garden. Julien became increasingly miserable in his anger and disapproval, and implored his mother, Marguerite, to interfere, but Marguerite would take no interest in the matter.

At last Katherine threatened to run away if her wishes were not granted; and Marguerite gave her official consent to a small
church wedding. In a daguerreotype taken after the ceremony, Katherine is wearing the Mayfair emerald.

Katherine and Darcy moved into the house on First Street in 1858, and Monahan became the most fashionable architect and builder in uptown New Orleans. Many witnesses of the period mention Katherine’s beauty and Darcy’s charm, and what fun it was to attend the balls given by the two in their new home. The Mayfair emerald is mentioned any number of times.

It was no secret that Julien. Mayfair was so bitter about the marriage, however, that he would not even visit his sister. He did go back to Riverbend, but spent much time in his French Quarter flat. At Riverbend, in 1863, Julien and Darcy and Katherine had a violent quarrel. Before the servants and some guests, Darcy begged Julien to accept him, to be affectionate to Katherine, and to be “reasonable.”

Julien threatened to kill Darcy. And Katherine and Darcy left, never returning as a couple to Riverbend.

Katherine gave birth to a boy named Clay in 1859 and thereafter to three children who all died in babyhood. Then in 1865, she gave birth to another boy named Vincent, and to two more children who died in babyhood.

It was said that these lost children broke her heart, that she took their deaths as a judgment from God, and that she changed somewhat from the gay, high-spirited girl she had been to a diffident and confused woman. Nevertheless her life with Darcy seems to have been rich and full. She loved him very much, and did everything to support him in his various building enterprises.

We should mention here that the Civil War had brought no harm whatever to the Mayfair family or fortune. New Orleans was captured and occupied very early on, with the result that it was never shelled or burned. And the Mayfairs had much too much money invested in Europe to be affected by the occupation or subsequent boom-and-bust cycles in Louisiana.

Union troops were never quartered on their property, and they were in business with “the Yanquees” almost as soon as the occupation of New Orleans began. Indeed Katherine and Darcy Monahan entertained Yanquees at First Street much to the bitter disgust of Julien and Rémy, and other members of the family.

This happy life came to an end when Darcy himself died in 1871 of yellow fever. Katherine, broken-hearted and half mad, pleaded with her brother Julien to come to her. He was in his French Quarter flat at the time, and came to her immediately, setting foot in the First Street house for the first time since its completion.

Julien then remained with Katherine night and day while the
servants took care of the forgotten children. He slept with her in the master bedroom over the library on the north side of the house, and even people passing in the street below could hear Katherine’s continued crying and miserable exclamations of grief over Darcy and her dead babies.

Twice, Katherine tried to take her life through poison. The servants told stories of doctors rushing to the house, of Katherine being given antidotes and made to walk about though she was only semiconscious and ready to drop, and of a distraught Julien who could not keep back his tears as he attended to her.

Finally Julien brought Katherine and the two boys back home to Riverbend, and there in 1872 Katherine gave birth to Mary Beth Mayfair, who was baptized and registered as Darcy Monahan’s child, though it seems highly unlikely that Mary Beth was Darcy’s child, since she was born ten and one-half months after the death of her father. Julien is almost certainly Mary Beth’s father.

As far as the Talamasca could determine the servants spread the tale that Julien was, and so did various nurses who took care of the children. It was common knowledge that Julien and Katherine slept in the same bed, behind closed doors, and that Katherine could not have had a lover after Darcy’s death as she never went out of the house except to make the journey home to the plantation.

But this tale, though circulated widely among the servant class, never seems to have been accepted or acknowledged by the peers of the Mayfairs.

Katherine was not only completely respectable in every other regard, she was enormously rich and generous and well liked for it, often giving money freely to family and friends whom the war had devastated. Her attempts at suicide had aroused only pity. And the old tales of her having gone to the quadroon balls had been completely erased from the public memory. Also the financial influence of the family was so far-reaching at the time as to be almost immeasurable. Julien was very popular in New Orleans society. The talk soon died away and it is doubtful that it ever had any impact whatsoever on the private or public life of the Mayfairs.

Katherine is described in 1872 as still pretty, in spite of being prematurely gray, and was said to have a wholesome and engaging manner that easily won people over. A lovely and very well-preserved tintype of the period shows her seated in a chair with the baby in her lap, asleep, and the two little boys beside her. She appears healthy and serene, an attractive woman with a hint of sadness in her eyes. She is not wearing the Mayfair emerald.

While Mary Beth and her older brothers, Clay and Vincent, were growing up in the country, Julien’s brother, Rémy Mayfair, and his wife—a Mayfair cousin and grandchild of Lestan Mayfair—took possession of the Mayfair house, and lived there for years, having three children, all of whom went by the name of Mayfair and two of whom have descendants in Louisiana.

It was during this time that Julien began to visit the house, and to make an office for himself in the library there. (This library, and master bedroom above it, were part of a wing added to the original structure by Darcy in 1867.) Julien had bookcases built into two walls of the room, and stocked them with many of the Mayfair family records that had always been kept at the plantation. We know that many of these books were very very old and some were written in Latin. Julien also moved many old paintings to the house, including “portraits from the 1600s.”

Julien loved books and filled the library as well with the classics and with popular novels. He adored Nathaniel Hawthorne and Edgar Allan Poe, and also Charles Dickens.

There is some evidence that quarrels with Katherine drove Julien into town, away from Riverbend, though he never neglected his duties there. But if Katherine drove him away, certainly his little niece (or daughter) Mary Beth brought him back, for he was always swooping down upon her with cartloads of gifts and stealing her away for weeks on end in New Orleans. This devotion did not prevent him from getting married, in 1875, to a Mayfair cousin, a descendant of Maurice and a celebrated beauty.

Her name was Suzette Mayfair, and Julien so loved her that he commissioned no less than ten portraits of her during the first years of their marriage. They lived together in the First Street house apparently in complete harmony with Rémy and his family, perhaps because in every respect Rémy deferred to Julien.

Suzette seems to have loved little Mary Beth, though she had four children of her own in the next five years, including three boys and a girl, named Jeannette.

Katherine never voluntarily returned to the First Street house. It reminded her too much of Darcy. When in old age she was forced to return, it unsettled her mind; and at the turn of the century she became a tragic figure, eternally dressed in black, and roaming the gardens in search of Darcy.

Of all the Mayfair Witches studied to date, Katherine was perhaps the weakest and the least significant. Her children Clay and Vincent were both entirely respectable and unremarkable. Clay and Vincent married early and had large families, and their descendants now live in New Orleans.

What we know seems to indicate that Katherine was “broken” by Darcy’s death. And is thereafter never described as anything but “sweet” and “gentle” and “patient.” She never took part in the management of Riverbend, but left it all to Julien, who eventually put it in the hands of Clay and Vincent Mayfair and of paid overseers.

Katherine spent more and more of her time with her mother, Marguerite, who had become with each decade ever more peculiar. A visitor in the 1880s describes Marguerite as “quite impossible,” a crone who went about night and day in stained white lace, and spent hours reading aloud in a horrid unmodulated voice in her library. She is said to have insulted people carelessly and at random. She was fond of her niece Angeline (Rémy’s daughter) and of Katherine. She constantly mistook Katherine’s children Clay and Vincent for their uncles, Julien or Rémy. Katherine was described as gray-haired and worn, and always at work on her embroidery.

Katherine seems to have been a strict Catholic in later life. She went to daily Mass at the parish church and lavish christening parties were held for all of Clay’s children and Vincent’s children.

Marguerite did not die until she was ninety-two, at which time Katherine was sixty-one years old.

But other than the tales of incest, which characterize the Mayfair history since the time of Jeanne Louise and Pierre, there are no occult stories about Katherine.

The black servants, slave or free, were never afraid of Katherine. There are no sightings of any mysterious dark-haired lover. And there is no evidence to indicate that Darcy Monahan died of anything but plain old yellow fever.

It has even been speculated by the members of the Talamasca that Julien was actually “the witch” of this entire period—that perhaps no other natural medium was presented in this generation of the family, and as Marguerite grew old, Julien began to exhibit the power. It has also been speculated that Katherine was a natural medium but that she rejected her role when she fell in love with Darcy, and that is why Julien was so against her marriage, for Julien knew the secrets of the family.

Indeed, we have an abundance of information to suggest that Julien was a witch, if not the witch of the Mayfair family.

It is therefore imperative that we study Julien in some detail. As late as the 1950s, fascinating information about Julien was recounted to us. At some point, the history of Julien must be enlarged through further investigation and further collation and examination of the existing documents. Our reports on the Mayfairs
throughout these decades are voluminous and repetitive. And there are numerous public and recorded mentions of Julien, and there are three oil portraits of him in American museums, and one in London.

Julien’s black hair turned completely white while he was still quite young, and his numerous photographs as well as these oil paintings show him to be a man of considerable presence and charm, as well as physical beauty. Some have said that he resembled his opera singer father, Tyrone Clifford McNamara.

But it has struck some members of the Talamasca that Julien strongly resembled his ancestors Deborah Mayfair and Petyr van Abel, who of course in no way resembled each other. Julien seems a remarkable combination of these two forebears. He has Petyr’s height, profile, and blue eyes, and Deborah’s delicate cheekbones and mouth. His expression in several of his portraits is amazingly like that of Deborah.

It is as if the nineteenth-century portraitist had seen the Rembrandt of Deborah—which was of course impossible as it has always been in our vault—and consciously sought to imitate the “personality” captured by Rembrandt. We can only assume that Julien evinced that personality. It is also worth noting that in most of his photographs, in spite of the somber pose and other formal aspects of the work, Julien is smiling.

It is a “Mona Lisa” smile, but it is nevertheless a smile, and strikes a bizarre note since it is wholly out of keeping with nineteenth-century photographic conventions. Five tintypes of Julien in our possession show the same subtle little smile. And smiles in tintypes of this era are completely unknown. It is as if Julien found “picture taking” amusing. Photographs taken near the end of Julien’s life, in the twentieth century, also show a smile, but it is broader and more generous. It is worth noting that in these later pictures he appears extremely good-natured, and quite simply happy.

Julien was certainly the magnate of the family all of his life, more or less governing nieces and nephews as well as his sister, Katherine, and his brother, Rémy.

That he incited fear and confusion in his enemies was well-known. It was reported by one furious cotton factor that Julien had, in a dispute, caused another man’s clothing to burst into flame. The fire was hastily put out, and the man recovered from his rather serious burns, and no action was ever taken against Julien. Indeed, many who heard the story—including the local police—did not believe it. Julien laughed whenever he was asked about it. But there is also a story, told by only one witness, that
Julien could set anything on fire by his will, and that his mother teased him about it.

In another famous incident, Julien caused all the objects of a room to fly about when he went into a rage, and then could not bring a halt to the confusion. He went out, shut the door on the little storm, and sank into helpless laughter. There is also an isolated story, dependent upon one witness, that Julien murdered one of his boyhood tutors.

None of the Mayfairs up to this period attended any regular school. But all were well educated privately. Julien was no exception, having several tutors during his youth. One of these, a handsome Yankee from Boston, was found drowned in a bayou near Riverbend, and it was said that Julien strangled him and threw him in the water. Again, this was never investigated, and the entire Mayfair family was indignant at this gossip. Servants who spread the story at once retracted it.