Although "Septimius Felton" appeared so much later than "The Marble Faun,"
it was conceived and, in another form, begun before the Italian romance
had presented itself to the author's mind. The legend of a bloody foot
leaving its imprint where it passed, which figures so prominently in the
following fiction, was brought to Hawthorne's notice on a visit to
Smithell's Hall, Lancashire, England. [Footnote: See _English
Note-Books,_ April 7, and August 25, 1855.] Only five days after
hearing of it, he made a note in his journal, referring to "my Romance,"
which had to do with a plot involving the affairs of a family established
both in England and New England; and it seems likely that he had already
begun to associate the bloody footstep with this project. What is
extraordinary, and must be regarded as an unaccountable coincidence--one
of the strange premonitions of genius--is that in 1850, before he had ever
been to England and before he knew of the existence of Smithell's Hall, he
had jotted down in his Note-Book, written in America, this suggestion:
"The print in blood of a naked foot to be traced through the street of a
town." The idea of treating in fiction the attempt to renew youth or to
attain an earthly immortality had engaged his fancy quite early in his
career, as we discover from "Doctor Heidegger's Experiment," in the
"Twice-Told Tales." In 1840, also, we find in the journal: "If a man were
sure of living forever, he would not care about his offspring." The
"Mosses from an Old Manse" supply another link in this train of
reflection; for "The Virtuoso's Collection" includes some of the elixir
vitae "in an antique sepulchral urn." The narrator there represents
himself as refusing to quaff it. "'No; I desire not an earthly
immortality,' said I. 'Were man to live longer on earth, the spiritual
would die out of him.... There is a celestial something within us that
requires, after a certain time, the atmosphere of heaven to preserve it
from ruin.'" On the other hand, just before hearing, for the first time,