The Tiled House. J.S. Le Fanu
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– 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, old-fashioned 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 subject!’ 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 thereabout. 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.’
The stranger, having finished this message, turned abruptly, and, with a quick, but silent step quitted the room, before Schalken had time to say a word in reply. The young man felt a curiosity to see in what direction the burgher of Rotterdam would turn, on quitting the studio, and for that purpose he went directly to the window which commanded the door. A lobby of considerable extent intervened between the inner door of the painter’s room and the street entrance, so that Schalken occupied the post of observation before the old man could possibly have reached the street. He watched in vain, however. There was no other mode of exit. Had the queer old man vanished, or was he lurking about the recesses of the lobby for some sinister purpose? This last suggestion filled the mind of Schalken with a vague uneasiness, which was so unaccountably intense as to make him alike afraid to remain in the room alone, and reluctant to pass through the lobby. However, with an effort which appeared very disproportioned to the occasion, he summoned resolution to leave the room, and, having locked the door and thrust the key in his pocket, without looking to the right or left, he traversed the passage which had so recently, perhaps still, contained the person of his mysterious visitant, scarcely venturing to breathe till he had arrived in the open street.
‘Minheer Vanderhausen!’ said Gerard Douw within himself, as the appointed hour approached, ‘Minheer Vanderhausen, of Rotterdam! I never heard of the man till yesterday. What can he want of me? A portrait, perhaps, to be painted; or a poor relation to be apprenticed; or a collection to be valued; or – pshaw! there’s no one in Rotterdam to leave me a legacy. Well, whatever the business may be, we shall soon know it all.’
It was now the close of day, and again every easel, except that of Schalken, was deserted. Gerard Douw was pacing the apartment with the restless step of impatient expectation, sometimes pausing to glance over the work of one of his absent pupils, but more frequently placing himself at the window, from whence he might observe the passengers who threaded the obscure by-street in which his studio was placed.
‘Said you not, Godfrey,’ exclaimed Douw, after a long and fruitful gaze from his post of observation, and turning to Schalken, ‘that the hour he appointed was about seven by the clock of the Stadhouse?’
‘It had just told seven when I first saw him, sir,’ answered the student.
‘The hour is close at hand, then,’ said the master, consulting a horologe as large and as round as an orange. ‘Minheer Vanderhausen from Rotterdam – is it not so?’
‘Such was the name.’
‘And an elderly man, richly clad?’ pursued Douw, musingly.
‘As well as I might see,’ replied his pupil; ‘he could not be young, nor yet very old, neither; and his dress was rich and grave, as might become a citizen of wealth and consideration.’
At this moment the sonorous boom of the Stadhouse clock told, stroke after stroke, the hour of seven; the eyes of both master and student were directed to the door; and it was not until the last peal of the bell had ceased to vibrate, that Douw exclaimed—
‘So, so; we shall have his worship presently, that is, if he means to keep his hour; if not, you may wait for him, Godfrey, if you court his acquaintance. But what, after all, if it should prove but a mummery got up by Vankarp, or some such wag? I wish you had run all risks, and cudgelled the old burgomaster soundly. I’d wager a dozen of Rhenish, his worship would have unmasked, and pleaded old acquaintance in a trice.’
‘Here he comes, sir,’ said Schalken, in a low monitory tone; and instantly, upon turning towards the door, Gerard Douw observed the same figure which had, on the day before, so unexpectedly greeted his pupil Schalken.
There was something in the air of the figure which at once satisfied the painter that there was no masquerading in the case, and that he really stood in the presence of a man of worship; and so, without hesitation, he doffed his cap, and