I must then die tamely and without an effort to defend myself. A thought suddenly struck me; might it not be possible to escape through the door, which the assassin must open in order to enter the room? I resolved to make the attempt. I felt assured that the door through which ingress to the room would be effected was that which opened upon the lobby. It was the more direct way, besides being, for obvious reasons, less liable to interruption than the other. I resolved, then, to place myself behind a projection of the wall, the shadow would serve fully to conceal me, and when the door should be opened, and before they should have discovered the identity of the occupant of the bed, to creep noiselessly from the room, and then to trust to Providence for escape. In order to facilitate this scheme, I removed all the lumber which I had heaped against the door; and I had nearly completed my arrangements, when I perceived the room suddenly darkened, by the close approach of some shadowy object to the window. On turning my eyes in that direction, I observed at the top of the casement, as if suspended from above, first the feet, then the legs, then the body, and at length the whole figure of a man present itself. It was Edward Tyrrell. He appeared to be guiding his descent so as to bring his feet upon the centre of the stone block which occupied the lower part of the window; and having secured his footing upon this, he kneeled down and began to gaze into the room. As the moon was gleaming into the chamber, and the bed-curtains were drawn, he was able to distinguish the bed itself and its contents. He appeared satisfied with his scrutiny, for he looked up and made a sign with his hand. He then applied his hands to the window-frame, which must have been ingeniously contrived for the purpose, for with apparently no resistance the whole frame, containing casement and all, slipped from its position in the wall, and was by him lowered into the room. The cold night wind waved the bed-curtains, and he paused for a moment; all was still again, and he stepped in upon the floor of the room. He held in his hand what appeared to be a steel instrument, shaped something like a long hammer. This he held rather behind him, while, with three long, tip-toe strides, he brought himself to the bedside. I felt that the discovery must now be made, and held my breath in momentary expectation of the execration in which he would vent his surprise and disappointment. I closed my eyes; there was a pause, but it was a short one. I heard two dull blows, given in rapid succession; a quivering sigh, and the long-drawn, heavy breathing of the sleeper was for ever suspended. I unclosed my eyes, and saw the murderer fling the quilt across the head of his victim; he then, with the instrument of death still in his hand, proceeded to the lobby-door, upon which he tapped sharply twice or thrice. A quick step was then heard approaching, and a voice whispered something from without. Edward answered, with a kind of shuddering chuckle, “Her ladyship is past complaining; unlock the door, in the devil’s name, unless you’re afraid to come in, and help me to lift her out of the window.” The key was turned in the lock, the door opened, and my uncle entered the room. I have told you already that I had placed myself under the shade of a projection of the wall, close to the door. I had instinctively shrunk down cowering towards the ground on the entrance of Edward through the window. When my uncle entered the room, he and his son both stood so very close to me that his hand was every moment upon the point of touching my face. I held my breath, and remained motionless as death.
“You had no interruption from the next room?” said my uncle.
“No,” was the brief reply.
“Secure the jewels, Ned; the French harpy must not lay her claws upon them. You’re a steady hand, by G — d; not much blood — eh?”
“Not twenty drops,” replied his son, “and those on the quilt.”
“I’m glad it’s over,” whispered my uncle again; “we must lift the — the thing through the window, and lay the rubbish over it.”
They then turned to the bedside, and, winding the bedclothes round the body, carried it between them slowly to the window, and exchanging a few brief words with some one below, they shoved it over the windowsill, and I heard it fall heavily on the ground underneath.
“I’ll take the jewels,” said my uncle; “there are two caskets in the lower drawer.”
He proceeded, with an accuracy which, had I been more at ease, would have furnished me with matter of astonishment, to lay his hand upon the very spot where my jewels lay; and having possessed himself of them, he called to his son: —
“Is the rope made fast above?”
“I’m no fool; to be sure it is,” replied he.
They then lowered themselves from the window; and I rose lightly and cautiously, scarcely daring to breathe, from my place of concealment, and was creeping towards the door, when I heard my uncle’s voice, in a sharp whisper, exclaim, “Get up again; G — d d — n you, you’ve forgot to lock the room door”; and I perceived, by the straining of the rope which hung from above, that the mandate was instantly obeyed. Not a second was to be lost. I passed through the door, which was only closed, and moved as rapidly as I could, consistently with stillness, along the lobby. Before I had gone many yards, I heard the door through which I had just passed roughly locked on the inside. I glided down the stairs in terror, lest, at every corner, I should meet the murderer or one of his accomplices. I reached the hall, and listened, for a moment, to ascertain whether all was silent around. No sound was audible; the parlour windows opened on the park, and through one of them I might, I thought, easily effect my escape. Accordingly, I hastily entered; but, to my consternation, a candle was burning in the room, and by its light I saw a figure seated at the dinner-table, upon which lay glasses, bottles, and the other accompaniments of a drinking party. Two or three chairs were placed about the table, irregularly, as if hastily abandoned by their occupants. A single glance satisfied me that the figure was that of my French attendant. She was fast asleep, having, probably, drank deeply. There was something malignant and ghastly in the calmness of this bad woman’s features, dimly illuminated as they were by the flickering blaze of the candle. A knife lay upon the table, and the terrible thought struck me— “Should I kill this sleeping accomplice in the guilt of the murderer, and thus secure my retreat?” Nothing could be easier; it was but to draw the blade across her throat, the work of a second.
An instant’s pause, however, corrected me. “No,” thought I, “the God who has conducted me thus far through the valley of the shadow of death, will not abandon me now. I will fall into their hands, or I will escape hence, but it shall be free from the stain of blood; His will be done.” I felt a confidence arising from this reflection, an assurance of protection which I cannot describe. There were no other means of escape, so I advanced, with a firm step and collected mind, to the window. I noiselessly withdrew the bars, and unclosed the shutters; I pushed open the casement, and without waiting to look behind me, I ran with my utmost speed, scarcely feeling the ground beneath me, down the avenue, taking care to keep upon the grass which bordered it. I did not for a moment slacken my speed, and I had now gained the central point between the park-gate and the mansion-house. Here the avenue made a wider circuit, and in order to avoid delay, I directed my way across the smooth sward round which the carriageway wound, intending, at the opposite side of the level, at a point which I distinguished by a group of old birch trees, to enter again upon the beaten track, which was from thence tolerably direct to the gate. I had, with my utmost speed, got about half way across this broad flat, when the rapid tramp of a horse’s hoofs struck upon my ear. My heart swelled in my bosom, as though I would smother. The clattering of galloping hoofs approached; I was pursued; they were now upon the sward on which I was running; there was not a bush or a bramble to shelter me; and, as if to render escape altogether desperate, the moon, which had hitherto been obscured, at this moment shone forth with a broad, clear light, which made every object distinctly visible. The sounds were now close behind me. I felt my knees bending under me, with the sensation which unnerves one in a dream. I reeled, I stumbled, I fell; and at the same instant the cause of my alarm wheeled past me at full g
allop. It was one of the young fillies which pastured loose about the park, whose frolics had thus all but maddened me with terror. I scrambled to my feet, and rushed on with weak but rapid steps, my sportive companion still galloping round and round me with many a frisk and fling, until, at length, more dead than alive, I reached the avenue-gate, and crossed the stile, I scarce knew how. I ran through the village, in which all was silent as the grave, until my progress was arrested by the hoarse voice of a sentinel, who cried “Who goes there?” I felt that I was now safe. I turned in the direction of the voice, and fell fainting at the soldier’s feet. When I came to myself, I was sitting in a miserable hovel, surrounded by strange faces, all bespeaking curiosity and compassion. Many soldiers were in it also; indeed, as I afterwards found, it was employed as a guardroom by a detachment of troops quartered for that night in the town. In a few words I informed their officer of the circumstances which had occurred, describing also the appearance of the persons engaged in the murder; and he, without further loss of time than was necessary to procure the attendance of a magistrate, proceeded to the mansion-house of Carrickleigh, taking with him a party of his men. But the villains had discovered their mistake, and had effected their escape before the arrival of the military.
The Frenchwoman was, however, arrested in the neighbourhood upon the next day. She was tried and condemned at the ensuing assizes; and previous to her execution confessed that “she had a hand in making Hugh Tisdall’s bed.” She had been a housekeeper in the castle at the time, and a chère amie of my uncle’s. She was, in reality, able to speak English like a native, but had exclusively used the French language, I suppose to facilitate her designs. She died the same hardened wretch she had lived, confessing her crimes only, as she alleged, that her doing so might involve Sir Arthur Tyrrell, the great author of her guilt and misery, and whom she now regarded with unmitigated detestation.
With the particulars of Sir Arthur’s and his son’s escape, as far as they are known, you are acquainted. You are also in possession of their after fate; the terrible, the tremendous retribution which, after long delays of many years, finally overtook and crushed them. Wonderful and inscrutable are the dealings of God with his creatures!
Deep and fervent as must always be my gratitude to heaven for my deliverance, effected by a chain of providential occurrences, the failing of a single link of which must have ensured my destruction, it was long before I could look back upon it with other feelings than those of bitterness, almost of agony. The only being that had ever really loved me, my nearest and dearest friend, ever ready to sympathise, to counsel, and to assist; the gayest, the gentlest, the warmest heart; the only creature on earth that cared for me; her life had been the price of my deliverance; and I then uttered the wish, which no event of my long and sorrowful life has taught me to recall, that she had been spared, and that, in her stead, I were mouldering in the grave, forgotten, and at rest.
SCHALKEN THE PAINTER
“For he is not a man as I am that we should come together; neither is there any that might lay his hand upon us both. Let him, therefore, take his rod away from me, and let not his fear terrify me.”
There exists, at this moment, in good preservation a remarkable work of Schalken’s. The curious management of its lights constitutes, as usual in his pieces, the chief apparent merit of the picture. I say apparent, for in its subject, and not in its handling, however exquisite, consists its real value. The picture represents the interior of what might be a chamber in some antique religious building; and its foreground is occupied by a female figure, in a species of white robe, part of which is arranged so as to form a veil. The dress, however, is not that of any religious order. In her hand the figure bears a lamp, by which alone her figure and face are illuminated; and her features wear such an arch smile, as well becomes a pretty woman when practising some prankish roguery; in the background, and, excepting where the dim red light of an expiring fire serves to define the form, in total shadow, stands the figure of a man dressed in the old Flemish fashion, in an attitude of alarm, his hand being placed upon the hilt of his sword, which he appears to be in the act of drawing.
There are some pictures, which impress one, I know not how, with a conviction that they represent not the mere ideal shapes and combinations which have floated through the imagination of the artist, but scenes, faces, and situations which have actually existed. There is in that strange picture, something that stamps it as the representation of a reality.
And such in truth it is, for it faithfully records a remarkable and mysterious occurrence, and perpetuates, in the face of the female figure, which occupies the most prominent place in the design, an accurate portrait of Rose Velderkaust, the niece of Gerard Douw, the first, and, I believe, the only love of Godfrey Schalken. My great grandfather knew the painter well; and from Schalken himself he learned the fearful story of the painting, and from him too he ultimately received the picture itself as a bequest. The story and the picture have become heirlooms in my family, and having described the latter, I shall, if you please, attempt to relate the tradition which has descended with the canvas.
There are few forms on which the mantle of romance hangs more ungracefully than upon that of the uncouth Schalken — the boorish but most cunning worker in oils, whose pieces delight the critics of our day almost as much as his manners disgusted the refined of his own; and yet this man, so rude, so dogged, so slovenly, in the midst of his celebrity, had in his obscure, but happier days, played the hero in a wild romance of mystery and passion.
When Schalken studied under the immortal Gerard Douw, he was a very young man; and in spite of his phlegmatic temperament, he at once fell over head and ears in love with the beautiful niece of his wealthy master. Rose Velderkaust was still younger than he, having not yet attained her seventeenth year, and, if tradition speaks truth, possessed all the soft and dimpling charms of the fair, light-haired Flemish maidens. The young painter loved honestly and fervently. His frank adoration was rewarded. He declared his love, and extracted a faltering confession in return. He was the happiest and proudest painter in all Christendom. But there was somewhat to dash his elation; he was poor and undistinguished. He dared not ask old Gerard for the hand of his sweet ward. He must first win a reputation and a competence.
There were, therefore, many dread uncertainties and cold days before him; he had to fight his way against sore odds. But he had won the heart of dear Rose Velderkaust, and that was half the battle. It is needless to say his exertions were redoubled, and his lasting celebrity proves that his industry was not unrewarded by success.
These ardent labours, and worse still, the hopes that elevated and beguiled them, were however, destined to experience a sudden interruption — of a character so strange and mysterious as to baffle all inquiry and to throw over the events themselves a shadow of preternatural horror.
Schalken had one evening outstayed all his fellow-pupils, and still pursued his work in the deserted room. As the daylight was fast falling, he laid aside his colours, and applied himself to the completion of a sketch on which he had expressed extraordinary pains. It was a religious composition, and represented the temptations of a pot-bellied Saint Anthony. The young artist, however destitute of elevation, had, nevertheless, discernment enough to be dissatisfied with his own work, and many were the patient erasures and improvements which saint and devil underwent, yet all in vain. The large, oldfashioned room was silent, and, with the exception of himself, quite emptied of its usual inmates. An hour had thus passed away, nearly two, without any improved result. Daylight had already declined, and twilight was deepening into the darkness of night. The patience of the young painter was exhausted, and he stood before his unfinished production, angry and mortified, one hand buried in the folds of his long hair, and the other holding the piece of charcoal which had so ill-performed its office, and which he now rubbed, without much regard to the sable streaks it produced, with irritable pressure upon his ample Flemish inexpressibles. “Curse the su
bject!” said the young man aloud; “curse the picture, the devils, the saint— “
At this moment a short, sudden sniff uttered close beside him made the artist turn sharply round, and he now, for the first time, became aware that his labours had been overlooked by a stranger. Within about a yard and half, and rather behind him, there stood the figure of an elderly man in a cloak and broad-brimmed, conical hat; in his hand, which was protected with a heavy gauntlet-shaped glove, he carried a long ebony walking-stick, surmounted with what appeared, as it glittered dimly in the twilight, to be a massive head of gold, and upon his breast, through the folds of the cloak, there shone the links of a rich chain of the same metal. The room was so obscure that nothing further of the appearance of the figure could be ascertained, and his hat threw his features into profound shadow. It would not have been easy to conjecture the age of the intruder; but a quantity of dark hair escaping from beneath this sombre hat, as well as his firm and upright carriage served to indicate that his years could not yet exceed threescore, or thereabouts. There was an air of gravity and importance about the garb of the person, and something indescribably odd, I might say awful, in the perfect, stone-like stillness of the figure, that effectually checked the testy comment which had at once risen to the lips of the irritated artist. He, therefore, as soon as he had sufficiently recovered his surprise, asked the stranger, civilly, to be seated, and desired to know if he had any message to leave for his master.
“Tell Gerard Douw,” said the unknown, without altering his attitude in the smallest degree, “that Minheer Vanderhausen, of Rotterdam, desires to speak with him on tomorrow evening at this hour, and if he please, in this room, upon matters of weight; that is all.”
Complete Works of Sheridan Le Fanu (Illustrated) Page 697